Portfolio by Jinn Jyh Leow

Architecture Portfolio

Jinn Jyh Leow M.Arch., University of Melbourne

selected works from 2013-2015

Prelude

rchitecture

Architecture is narration; architects storytellers. At least this is how I think and deal with architecture. There’s an idea, there’s a sequence of events, there’re characters that move through the sequence. There’s a story behind a piece of design, and more stories come after the architecture is in use. A stain, a chip, a scratch - each has a story to tell. When the “perfect” becomes imperfect, that’s when architecture really begins. Architects just create the physical frame to foster the story - the end users intereact and weaves their own

tells

a story.

story within the structure. When the characters change and evolve, architecture should adapt too. It also reflects on the story of its context, and adds to the progression of the history of site. What can an architect do to best manipulate the conditions? What will a demolished past help construct the present and build the future? Or should the past be retained? What will be the project’s legacy? Architects need to be delicate on their touch in the story, as they always alter its course in each project. This is what I believe.

Chapter I

Tales of a

h Su b l im e h Wedding

Fifth Year, Thesis Shortlisted for AIAâ&#x20AC;&#x2122;s Bates Smart 2016 Graduate Prize

SWING

CARBON NANOTUBES PERSPEX DISCS

GLASS PRISMS

GUEST ROOMS

ALTAR

GUEST ROOMS

CLIMAX GUEST ROOMS

BANQUET HALL 3D FOOD PRINTERS FOOD RECEIVER

HONEYMOON SUITE (DEFLATED MODE)

UNION

HALL 0

SECTION 1:100

MARQUEE

10 M

“ To see the world in a grain of sand,

And a heaven in a wild flower, Hold infinity in the palm of your hand, And eternity in an hour.

“

Auguries of Innocence William Blake

The story of the sublime is a complex one, but it ultimately revolves around one’s awareness of their own inadequacy. The Sublime Wedding is an architectural fairy tale, where the plot [a wedding ceremony] and the characters [the couple and guests] come into the story first, and architecture only emerges later out of the crafted story. It explores the many shades and nuances of the “sublime” through a wedding ceremony on the alien context of the Moon. A beautiful union, a grotesque landscape. How will architecture mitigate these two contrasting qualities to achieve the sublime? The thesis is researched and designed in 12 weeks.

DEPARTURE

750M

UNION HALL

80M

FRO

240M

NODE 4 125M FROM PARTNER

150M 15

NODE 3

250M ROM PARTNER

NODE 2 500M FROM PARTNER

RECHARGE STATION

576

576M 576M

3-DAY JOURNEY

NODE 1

1000M FROM PARTNER

ARRIV

2446 FROM PAR

1000

NODE 1 1000M FROM PARTNER

LUNA

VAL

6M RTNER

SITE

WESTERN AR TERMINATOR

EARTHSIDE OF THE MOON

3-DAY JOURNEY

NODE 1

LIGHT ACROSS THE ABYSS

1000M FROM PARTNER

VISUAL CONTACT

NODE 1

10M

LIGHT ACROSS

THE ABYSS 1:200

RESTING STATE

NODE 2 SHRINE OF

LOVE DECLARATIONS

ITEM OF COMMITMENT

NODE 3 2.5M

RING BEARER 1:50

REFLECTIVE PLATE REFLECTIVE PLATE

520MM 520MM

STEP LADDER STEP LADDER

PULLED STATE PULLED STATE

LUNAR LUNAR REGOLITH REGOLITH

MICROWAVE MICROWAVE

READ READ

SLIT SLIT

(3MM) (3MM) STEEL BAR STEEL BAR

RESTING S RESTING S

VISUAL CONTACT VISUAL CONTACT

NODE NODE 1 1

10M 10M

LIGHT LIGHT ACROSS ACROSS

THE THE ABYSS ABYSS 1:200 1:200

STATE STATE

EMOTIONAL CONNECTION EMOTIONAL CONNECTION

NODE NODE 2 2

5M 5M

SHRINE OF SHRINE OF

LOVE 1:100 1:100

DECLARATIONS DECLARATIONS

NODE 3 RING BEARER UNION HALL

240M 80M

DEPARTURE

750M

sublime THE

THESIS STUDIO 2

(FLIRTING WITH SPACE)

JINN JYH LEOW 376016 STUDIO LEADER (CHRISTINA BOZSAN)

WEDDING a SEGMENT 3

(MONOCHROME)

DUST SHIELD (20M HIGH)

LANDING ZONE (100M DIAMETER)

HONEYMOON SUITE (EARTHRISE)

NODE 4

FINAL APPROACH PLAN AND SECTION 1:1000 (10M CONTOUR INTERVAL)

NODE 3 250M FROM PARTNER

NODE 4 SUNDIAL

NODE 4 125M FROM PARTNER

NODE 2

500M FROM PARTN

LUNAR DAY = 354.35 HRS AT EQUATOR, SOLAR ARC = 180O O 1 EARTH HOUR = 0 30” AT 29O50”, THERE IS ONLY 58.7 HRS LEFT BEFORE SUNSET ONCE THE SUN SLOTS INTO THE SUNDIAL

150M

29 50” O

SEGMENT 2

(FRAGMENTED IMAGE)

SEGMENT 1

(FIELD OF COLOURS)

AIRLOCK

(DRESSING ROOM)

SEGMENT 1

ALUMINIUM FINS

(FIELD OF COLOURS)

NODE 4

FINAL APPROACH PLAN AND SECTION 1:1000 (10M CONTOUR INTERVAL)

SEGMENT 2

(FRAGMENTED IMAGE)

3-DAY JOURNEY

FINAL FINALAPPROACH APPROACH

LANDING ZONE (100M DIAMETER)

PLAN PLANAND ANDSECTION SECTION1:1000 1:1000 (10M (10M CONTOUR CONTOUR INTERVAL) INTERVAL)

ARRIVAL 2446M FROM PARTNER

1000

HONEYMOON SUITE (EARTHRISE)

NODE 1

15 48” O

1000M FROM PARTNER

SITE WESTERN LUNAR TERMINATOR

LISSAJOUS CURVE PATH 6-YEAR PERIOD 80 OSCILLATIONS

EARTHSIDE OF THE MOON

13 20”

NODE NODE 44

2 DIAMETER

SUNDIAL SUNDIAL LUNAR LUNAR DAY DAY == 354.35 354.35 HRS HRS O O ATAT EQUATOR, EQUATOR, SOLAR SOLAR ARC ARC == 180 180 O O 1 EARTH 1 EARTH HOUR HOUR == 0 30” 0 30” O O 50”, 50”, THERE THERE IS IS ONLY ONLY 58.7 58.7 HRS HRS LEFT LEFT BEFORE BEFORE SUNSUNATAT 2929 SET SET ONCE ONCE THE THE SUN SUN SLOTS SLOTS INTO INTO THE THE SUNDIAL SUNDIAL

NODE 2

2929 50” 50” O

SHRINE OF

LOVE DECLARATIONS

NODE 1 LIGHT ACROSS THE ABYSS

(FRA

VISUAL CONTACT

NODE 1

REFLECTIVE PLATE

10M

LIGHT ACROSS

520MM

THE ABYSS

STEP LADDER

PULLED STATE

1:200

RESTING STATE

SEGMENT SEGMENT11

(FIELD (FIELDOF OFCOLOURS) COLOURS)

LUNAR REGOLITH

MICROWAVE

READ

SLIT

EMOTIONAL CONNECTION

(3MM)

NODE 2

STEEL BAR

SEGMENT SEGMENT22

(FRAGMENTED (FRAGMENTEDIMAGE) IMAGE)

SHRINE OF

LOVE 1:100

DECLARATIONS

GOLD COATED VECTRAN SPHERE

SUNDIAL (250M)

+100MV

(5M DIAMETER)

HONEYMOON SUITE (INFLATED MODE)

+100MV

ELECTROMAGNETIC RADIATION

SHIELD GENERATOR

UNION

HALL 0

10 M

SECTION 1:100

GUEST ROOM

BEDS

ALTAR LOOKOUT

BEDS

CLIMAX AIRLOCK

(GUEST ENTRANCE)

SHOWER TOILET

Chapter II

The story of

C l e an and Dirty

Fifth Year, Semester 1

Metal Chain and Suspended Platform The platform wobbles slightly as one pushes their heavy scooter on the platform lift before the metal tracks behind stabilises it. The metal chain continues to jingle as it lightly hits the concrete wall.

Timber Screen

Made from timber pallets scavanged from Tilbury Docks, the screen dapples the morning light into the pimping station.

Polycarbonate Lock

This light, transparent lock becomes an oculus at night and brings attention to the scooter-in-upgrade in the shop under the strong fluorescent lights. The shiny, rounded chromes of the scooter contrasts strongly with the dull timber screen.

Chrome Handles

Set at armâ&#x20AC;&#x2122;s width, a quarter turn would free the polycarbonate lock and allows it to be hung on the wall. The polished chrome recalls those in the pimping station, smooth and cool to touch.

Oculus

The oculus forces Woody to bow to the space in his morning shop opening ritual.

Timber Transition

With the same timber, the pine decking heaves and creaks very slightly as one guides his scooter across the concrete bump. Countless tyres leave their mark on the silvering pine,creating a dark track near the middle of this portal.

Asphalt

A continuation of the pavement, rough and acrid smelling. One feels with the soles of their shoes that they are still outdoors.

Concrete Bump

The slight, extra force one has to use to get their scooter across the first bump reinforces their entry onto the platform. A second push establishes the will to enter into the pimping station.

THIS IS A studio based on

ENGLAND This is an architectural spin-off of Shane Meadows’s This is England movie and TV series. We followed the lives of a group of disenfranchised young skinheads in 1980s London, and were to design a scooter shop + cafe and a hair salon to be inserted into the ground level and rooftop of a hypothetical council house complex (public housing) respectively, for these colourful characters. Springboarding from the contrast between the characters’ impeccable outfits and their gritty environment, this project aims to highlight the contrast of clean and dirty within their environment., for one will not exist without the other. The project narrates the sequence of spaces in which the dichotomy between clean and dirty is highlighted by pitching clean and dirty spaces against one

another, always coexisting and invariably intertwined. We strive to celebrate the dirty - as the characters are usually at their happiest when they get dirty, but are also keen to keep cleanliness in sight as it represents the characters’ longing for a less volatile life. This Is England explores architecture for the fringe groups of the society. The project is researched for 5 weeks, followed by the design of Part I (Terra) in 6 weeks and Part II (Astra) in 1 week.

PART 1

TERRA - SCOOTER WORKSHOP + 18HR CAFE

5 4

2 6

TERRA - SCOOTER SHOP + 18HR CAFÉ BASEMENT PLAN 0

1:75

1 2

PLATFORM LIFT SCOOTER WORKSHOP - GENERAL REPAIRS

6 7

MISC. STORAGE NEWSPAPER STAND

3 4 5

STORAGE SHELF SHOWER UNISEX TOILET

8 9 10

CAFÉ KITCHEN CAFÉ STORAGE

1 8

2 8

4 10 5

1 2 3 4

TERRA - SCOOTER SHOP + 18HR CAFÉ GROUND FLOOR PLAN 0

1:75

SMOKING GALLERY SCOOTER WORKSHOP - PIMPING STATION PORTAL DANCE FLOOR

5 6 7 8

DINING AREA BAR UNISEX TOILET ENTRANCE

11 11 2 1

TERRA - SCOOTER SHOP + 18HR CAFÉ LEVEL 1 PLAN 0

1:75 2

1 2 3

KARAOKE STAGE GAME ROOM STAIRS TO UPPER LEVELS (PALIMPSEST)

12 12

TERRA - SCOOTER SHOP + 18HR CAFÉ LONG SECTION 0

1:75 2

The acrid smell of

motor oil and exhaust gas is replaced by that of coffee and

bacon butties

as Lol turns the corner into the cafĂŠ. The initial roar of scooter engines recedes into the background amid the clinking cups and morning buzz. Light washes down the sloped rammed-earth walls into the raised sitting platform, clad in white ceramic tiles. The smooth glazed tiles contrast strongly with the rough texture of the rammed-earth walls, and gleams lightly in the dim, compressed space. Sitting on the cool tiles, Lol looks into the

triple-height scooter workshop and the equally tall red storage shelves at the far end of the space. The volume looms large in contrast to the low ceiling of the platform, with

sunlight pouring generously into the work area, diffused by the frosted polycarbonate fins. Amid the mess and noise and grittiness of the workshop, the fins which run the entire length of the wall create a rhythm and ties the two spaces together. The delicate separation of the spaces almost disappears as Lol smells her

bangers and mash while looking at Woody repairing a Lambretta.

Hot water

streams through

the exposed

copper pipes on the ceiling and out of the

showerheads glimmering in the A slit of light highlights Woodyâ&#x20AC;&#x2122;s face as he extends both his arms

dark, long corridor. lets the hot water remove the first layers of grime.

The wide

overhead rain shower

protects

the smell of the sugar pine out of the nine shower frames and the

Woody from the cold air. Steam quickly engulfs and warms the space, coercing

slightly recessed

shower floor.

soap.

As the water washed off his body pools around his ankles, he listens to the sound of the water reverberating in the corridor and reaches for the

The thick

cigarette smoke exhaled by the morning

sun filtering

the smoking gallery. A quick flash of reflected light draws Milkyâ&#x20AC;&#x2122;s attention. It came from the chrome handles of the circular polycarbonate lock

Milky catches

through the metal

steps above

Woody is turning in order to enter the pimping station. Through a narrow window slit set at the

floor level the scooter-in-upgrade shines beautifully under the cold fluorescent lights and

of the pimping station,

contrasts strongly with all the grease and scraps Milky could see on the

stained concrete floor. The metal steps clanged loudly

above Milky as someone rushes down. The smell of chlorine and yesterdayâ&#x20AC;&#x2122;s

Head and Shoulders shampoo from the shower below the smoking gallery

cigarette smoke before

escaping through the gaps between the metal steps where the morning sun creeps in.

mingles with the

PART II

ASTRA - HAIR SALON + LOL’S APARTMENT

2 3

8 5

1 3

10 2

7 1

9 8

PLATFORM 1 LIFT PLATFORM LIFT OPEN 2 DECK OPEN DECK LOL’S 3 RETREAT LOL’S PRIVATE RETREAT ENTRANCE PRIVATE ENTRANCE

4 5 6 7

STAIRCASE 4 INTO STAIRCASE LOL’S RETREAT INTO LOL’S RETREAT PLATFORM 5 LIFT PLATFORM LIFT WAITING 6 AREA WAITING AREA HAIR 7 SALON HAIR LAUNDRY SALON LAUNDRY

8 9 10 11 12

UNISEX 8 TOILET UNISEX TOILET MECHANIC’S 9 MECHANIC’S ROOM ROOM PLANT 10 ROOMPLANT ROOM STORAGE 11 / HAIR STORAGE PRODUCT / HAIR DISPLAY PRODUCT GALLERY DISPLAY GALLERY CASHIER 12 / EXIT CASHIER / EXIT

ASTRA - HAIR SALON + LOL’S RETREAT ASTRA - HAIR SALON + LOL’S RETREAT LEVEL 9 & 10 PLAN LEVEL 91:75 & 10 PLAN 1:75 1 0

2 1

3 2

4 3

5m4

2 6

6 5

1 2 3 4 5 6

1 WASH AND DYE AREA 2 HAIR CUTTING STATION 3 PLATFORM LIFT MACHINE ROOM 4 LISA’S PLAY SPACE WASH AND DYE AREA 5 KITCHENETTE HAIR6 CUTTING LOL’S STATION BEDROOM PLATFORM LIFT MACHINE ROOM LISA’S PLAY SPACE KITCHENETTE LOL’S BEDROOMASTRA - HAIR SALON + LOL’S LEVEL 11 PLAN 1:75 0

RETREAT

ASTRA - HAIR SALON + LOL’S RETREAT LEVEL 11 PLAN 0

3 6

1 2 3

1:75 2

she looks directly up into the blank fabric of the inflatable. The softly lighted

As she lowers her unwashed head into the basin,

neutral

backdrop sets off the bright orange of Smellâ&#x20AC;&#x2122;s well-tended hair. The inflatable dome amplifies

white

the sound of running down the drain while concentrating

water

the smell of shampoo and washed hair. This, in conjunction with the tiled floor glistening in the diffused light, the double layered

translucent PVC-coated polyester

inflatable canopy creates a cocoon of cleanliness. She closes her eyes and feels Smell washing out the oil in her hair while listening to the rain outside striking the balloon. She is barely aware of the dull hum of

plant room machineries deep in the background.

Chapter III

Weaving yarns about the

R a mp and Roof

Fourth Year, Semester 1

BWEZ

biomaterial research & manufacturing centre

This is a story of the relationship with the ground. Imagine the ground as a piece of fabric to be trimmed, cut and folded. It all started with the aerodrome right next to the site. Despite aircraft landings and departures generate noise at the magnitudes of 90-100dB on-site, it is a popular place for plane spotting. Making use of the soilâ&#x20AC;&#x2122;s property as an excellent acoustic absorber, the research centre will be excavated into the ground, covered by a thick green roof. A central ramp connects all levels, with building programmes flanking the sides of it as it winds down. The excavation and the ramp, a nod to the cityâ&#x20AC;&#x2122;s (Ballarat) gold mining history, now aims to foster nuggets of ideas.

The ramp connects; the roof slopes. What if the roof becomes a sort of ramp? Now the roof slopes gently down and merges with the ground, the green roof becomes accessible, giving plane spotters a quasi-public vantage point once the entire site is developed. The roof becomes a hill, a spectacle in the mostly flat and undeveloped site. The same hill, would become an anti-spectacle once the entire site is filled with other buildings in the future - standing out as an oasis among the development. This project is researched for 6 weeks and designed in another 6.

... !

...

ar at -a

ra ra t

ra ilw ay

lin

major access activated front pedestrian/cyclist bwez boulevard eco corridor

N Site Plan

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

steel support grid

matte aluminium panels

reinforced concrete suspended ceiling

Section Detail 1:50

to detail

entrance

factory reception

incubation area

plant room

theatrette

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

waterproof membrane

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

soil

Section 1:100

ffl 1.00m

7 1 ffl 0.00m

6 4 ffl -2.83m 3

5 2 ffl -1.64m

y ic

r va

e ul

e bw // // // // // // // //

entrance / foyer workshop toilets factory loading bay exhibition breakout space carpark

Ground Level Plan

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

1 2 3 4 5 6 7 8

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

2 1 ffl -3.50m

// // // //

laboratory toilets reception theatrette

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

1 2 3 4

4 ffl -7.00m

ffl -4.10m 3

2 ffl -4.10m

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

Basement 1 Plan

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

1:100

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

6 ffl -7.00m

PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

4 1 ffl -6.32m

10 ffl -7.00m

7 ffl -7.00m

8 5

// // // // // // // // // // //

cafe kitchen pantry breakout space toilets open plan office incubation area incubation pods plant room theatrette exhibition

Basement 2 Plan 1:100 PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

1 2 3 4 5 6 7 8 9 10 11

6 1

doubly curved surfaces

are non-developable

unrolled developable surfaces - split along iso curve

Chapter IV

An allegory on

El e c t ro nic Wa s t e

Fourth Year, Semester 2

Al aluminium

zinc

26.982

65.382

Pblead

indium

114.82

207.21

Sntin 118.71

2007

Sisilicon

Smartphone

28.085

BlackBerry Component Count: 120

Augold

silver

196.97

107.87

Li lithium

Cucopper

6.941

63.456

Co cobalt

Feiron

58.933

55.845

Ptplatinum

palladium 106.42

196.08

Ta tantalum 180.95

TOTAL ELEMENTS: 118

PERIODIC TABLE OF PHONES AND PADS ELEMENT COUNT: 46 1

hydrogen

1.0079

He helium 4.0026

oxygen

fluorine

6.9410

9.0122

10.811

12.011

14.007

15.999

18.998

20.180

22.990

24.305

sulphur

chlorine

26.982

28.086

30.974

32.065

35.453

39.948

manganese

Co cobalt

nickel

Zn zinc

gallium

germanium

arsenic

selenium

bromine

krypton

39.908

40.078

44.956

47.867

50.942

51.996

54.938

55.845

58.933

58.693

63.546

65.382

69.723

72.631

74.922

78.972

79.904

83.798

85.468

87.620

technetium

ruthenium

rhodium

palladium

Ag silver

cadmium

idium

Sn tin

antimony

tellurium

iodine

88.906

91.224

92.906

87.620

<98>

107.07

102.91

106.42

107.87

112.41

114.82

118.71

121.76

127.60

126.90

131.29

Os osium

iridium

platinum

Au gold

mercury

thallium

Pb lead

bismuth

137.33

17497

178.49

180.95

183.84

186.21

190.23

192.22

195.04

196.97

200.59

204.38

207.21

208.98

<209>

<210>

<222>

103

104

105

106

107

108

109

110

111

112

113

114

115

116

117

118

89-102

Uut

Uup

polonium

rhenium

xenon

tungsten

tantalum

132.91

hafnium

barium

57-70

molybdenum

niobium

zirconium

yttrium

lutetium

caesium

copper

chromium

iron

argon

vanadium

phosphorus

titanium

strontium

silicon

scandium

rubidium

aluminium

calcium

neon

potassium

nitrogen

magnesium

carbon

sodium

boron

beryllium

lithium

astetine

Uus

Rd radon

Uuo

francium

radium

laurencium

rutherfodium

dubnium

seaborgium

bohrium

hassium

meitnerium

darmstadtium

roentgenium

copernicium

ununtrium

flerovium

ununpeptium

livermorium

ununseptium

ununoctium

<223>

<226>

<262>

<267>

<268>

<271>

<272>

<270>

<276>

<281>

<280>

<285>

<289>

<293>

terbium

dysprosium

holmium

erbium

Tm thulium

ytterbium

138.91

140.12

140.91

144.24

<145>

150.36

151.96

157.25

158.93

162.50

164.93

167.26

168.93

173.04

100

101

protactinium

uranium

neptunium

plutonium

meitnerium

Cm curium

berkelium

californium

einsteinium

fermium

mendelevium

nobelium

<227>

232.04

231.04

238.03

<237>

<244>

<243>

<247>

<251>

<252>

<257>

<258>

<259>

rare earth metal

other heavy metal

other elements

102

thorium

platinum group metal

actinium

precious metal

gandolinium

europium

samarium

promethium

neodymium

praseodymium

cerium

base metal

lanthanum

elements found in e-waste

potentially recycleable metals

ELECTRONIC DEVICES

The studio challenges what exactly is architecture? Could it be a system, in which built objects are mere manifestations of the connections? The F4urth Bin is piece of science fiction which tells of a cautionary tale on a new type of waste, the electronic waste. First world countries generate most of them, but their toxicity is being exported to third world countries such as India, China, Ghana and Nigeria. Not only is that unfair, it is a waste of opportunity. Each device is an ore - loaded with precious metals and rare earth elements, and at a higher concentration than those found naturally. It makes economic sense to recycle them, with rising metal prices and demand on an ultimately finite material, the country that accumulates them will

dominate the future market. If left unrecycled, the sheer volume of e-waste could cover entire cities, Melbourne is no exception, and she wants to do the right thing. A new system of waste management is designed and follows a discarded device from home to the recycling facility to their ultimate storage. The architecture that results - the bin, the pick-up truck, the facility itself, is just the physical consequence of the system. This project is researched and designed in 9 weeks, with initial 3 weeks of free exploration.

Hardware

l x w x h = volume

iPhone 5s

123.8mm x 58.6mm x 7.6mm = 0.0000551 m3

iPad 2

241.2mm x 185.7mm x 8.8mm = 0.000394 m3

14” Laptop

345.4mm x 238.8mm x 15.2mm = 0.00126 m3

361.6mm x 556mm x 64.9mm = 0.0130 m3

24” Flatscreen Display

CPU

175mm x 401mm x 365mm = 0.0256 m3

32” CRT TV

812.8mm x 650.2mm x 487.7mm = 0.258 m3

Defining an e-waste unit volume Device

Change Rate

Mobile Phone Tablets Laptop PC TV

1-2 yrs 2-3 yrs 3-4 yrs 5-8 yrs 8-10 yrs

Average Unit Volume =

Weight 4.5 4 2.5 2 1

4.5 (0.0000551) + 4 (0.000394) + 2.5 (0.00126) + 2 (0.0130+0.0256) + 1 (0.258) 4.5 + 4 + 2.5 + 2 + 1

= =

0.00248 + 0.001576 + 0.00315 + 0.0772 + 0.258 14 0.3424 14

= 0.02446 m3

2070 e-waste = 1, 155, 844 m3 Daily e-waste volume = 3, 167 m3

Number of Trucks Required daily = 71

Capacity: 45 m3

Capacity: 1.1 m3 800x700x1500mm base 800x1100x1500mm top

2070 e-Waste 1, 155, 844 m3

Eureka Tower 393, 600 m3

2014 e-Waste 78, 076 m3

2014-2070 e-Waste 23, 017, 265 m3

r2 L2 = L1 - 20 log (

r1 r2

75 = 0.5 - 20 log (

) 0.5 r2

)

r2 = 88.91m min from hammer mill to achieve safe the 75d

dB workplace requirement

1 2 3 4 5a

UNLOADING BAY HAMMER MILL MAGNET RING COLLECTION AND DISTRIBUTION CRUSHED E-WASTE DISPENSER

5b 5c

5b CHEMICAL BATH 5c CHEMICAL STORAGE TANKS 6a LEACHED METAL EXTRACTION TANKS 6b SMELTERS 7 FORT 8 PRECIOUS METAL DEPOSITORY

Chapter V

An interjection on

Bi c ycle s

Fifth Year, Semester 1

The door is a treshold, it encapsulates a transition and a separation. Many things we can easily decide whether they belong inside or outside the door. Then comes a tricky little piece of metal with wheels - do bicycles belong to the outside or inside? It belongs to the treshold, and I want to design a piece of furniture that highlights the transitory quality of a bike. The design will be a bike rack, with a bench for putting on/taking off shoes or even treshold small talks. An additional rack is added for coats, helmets or even a second bike. In the subject Timber Furniture Workshop, we had 2.5 days to design a piece of furniture, and a total of 72 hours to build it throughout the semester. Design modifications can be made along

the way as construction progresses.The requirement is that no nails and screws could be used - everything must be joined with just glue and dowels. The final piece is made from arakaria pine, jarrah, blue gum and hickory, finished with danish oil.

Chapter VI

A matter of

C o n st r uct io n

Fourth Year, Semester 2

In groups of three, we were to design a commercial skyscraper at a busy Melburnian intersection. The constraints were: a maximum 250m height, 60,00080,000m2 of net rentable area, as well as a floor plate efficiency of at least 80%. A vertically extruded form is to be avoided. The project is divided into 6 parts, with the first three on general form, structure and facade done as a group, and the final three on detailing done as individuals. As a group, we settled on a form that takes advantage of its location on an intersection - a chamfered box that makes the tower look slender. We then highlighted the structureâ&#x20AC;&#x2122;s slenderness through the structural design - a web of thick, white bracings expresses the diagonal lines of the

building while the load-bearing vertical supports are suppressed and painted black, offset inside. This creates an illusion of a diagrid system when in fact the building is a tube-in-tube construction with external bracings. The facade is designed to be faceted, taking advantage of the already expressed diagonals to make the building sparkle and move as one walks on the street. Photovoltaic glass is embedded as spandrel panels to generate some electricity as a step towards the green initiative. Finally, I have chosen to design and detail the lobby. I imagined a crystalline cave to further push the idea of a beautiful jewel of an office tower.

ENVELOPE PRECEDENTS

DESIGN INTENT: FACETED DIAMOND FACADE APPROACH IS TO CLAD THE TOWER WITH A SINGLE SKIN FACADE TO STRUCTURALLY EXPRESS THE DIAGONAL BRACING WHICH FORMS THE MAIN DESIGN EXPRESSION OF THE TOWER. THE CURTAIN WALL IS FACETED DIAMOND TO CREATE A VISUALLY COMPLEX AND UNIQUE FACADE. TAKING PRECEDENCE FROM 171 COLLINS EXTERIOR FACADE AND INTERIOR ATRIUM, THE FACETED FAIMOND FACADE REFLECTS THE RICH URBAN FABRIC HISTORIC ELEGANCE OF THE SITE AT BOURKE ST LIKE A FINELY CRAFTED jEWEL BOX. THE SOFTLY UNDULATING FACETED FAçADE TRANSFORMS REFLECTIONS OF THE CHANGING SKY, MIRRORING EMERGING CITY LIGHTS AND THE MYRIAD OF COLORS OF THE SETTING SUN.

EXTERIOR

INTERIOR ATRIUM

CURTAIN WALL DEVELOPMENT

EXTERIOR

171 COLLINS STREET, MELBOURNE BATES SMART ARCHITECTS PREMIUM GRADE, 6 STAR GREEN STAR RATING

HEARST TOWER, MANHATTAN, NEW YORK NORMAN FOSTER

NEW YORK’S FIRST LEED GOLD SKYSCRAPER

IMAGE SOURCE: BROOKFIELD MULTIPLEX WEBSITE, ASSESSED 15TH MAY 2014, <HTTP://WWW.BROOKFIELDMULTIPLEX.COM/PROjECTS/AUSTRALASIA/VIC/ CONSTRUCTION/COMMERCIAL/COMPLETED/171_COLLINS_STREET_VIC/>

IMAGE SOURCE: FOSTER AND PARTNERS WEBSITE, ASSESSED 15TH MAY 2014, < HTTP://WWW.FOSTERANDPARTNERS.COM/ PROjECTS/HEARST-TOWER/>

EXPERIMENTATION WITH DIFFERENT DIAMOND FACETED DESIGN. FIRSTLY BASED ON 171 COLLINS ST INTERIOR ATRIUM AND MODIFIED TO SIMPLIFY AND RATIONALISE THE GEOMETRY TO ELIMINATE THE SHARP CORNERS IN THE GLASS MODULES. THE FINAL CHOSEN DESIGN HAS NO SHARP CORNERS AND HAS A SOFTLY UNDULATING FACETED FORM.

PRODUCT SPECIFICATIONS V1: INTERNAL HORIZONTAL SUNSCREEN BLIND

INTERNAL VERTICAL BLIND

-ONYX 40% TRANSLUCENT BLUE THIN FILM PHOTOVOLTAIC GLASS INTEGRATED WITH SPANDREL

V1: -CLEAR BLUE DOUBLE GLAZING WITH LAMINATED GLASS AND LOW-E COATING

V4: -CLEAR BLUE DOUBLE GLAZING WITH LAMINATED GLASS AND LOW-E COATING

-ONYX 40% TRANSLUCENT BLUE THIN FILM PHOTOVOLTAIC GLASS INTEGRATED WITH SPANDREL

-SPANDREL PANEL WITH REFLECTIVE COLOURBACK TO MATCH VISION PANEL

-CLEAR BLUE DOUBLE GLAZING WITH LAMINATED GLASS AND LOW-E COATING 1.54 U-VALUE SHGC 0.44 87% VLT

V2:

-CLEAR BLUE DOUBLE GLAZING WITH LAMINATED GLASS AND LOW-E COATING 1.54 U-VALUE SHGC 0.44 87% VLT -BLUE ANODIZED ALUMINIUM SHEET ON SPANDREL PANELS

V3:

V2: -CLEAR BLUE DOUBLE GLAZING WITH LAMINATED GLASS AND LOW-E COATING -BLUE ANODIZED ALUMINIUM SHEET ON SPANDREL PANELS

-SPANDREL PANEL WITH REFLECTIVE COLOURBACK TO MATCH VISION PANEL

V4:

STEEL SQUARE DIAGONAL BRACING PROMAT CAFCO SPRAFILM WB3 WHITE INTUMESCENT PAINT FINISH, TIE BACK TO BEAM

EAST, WEST FACING FACADE

-GOLD TINTED DOUBLE GLAZING WITH LAMINATED GLASS AND LOW-E COATING 1.54 U-VALUE SHGC 0.44 87% VLT

NORTH FACING FACADE

-CLEAR BLUE DOUBLE GLAZING WITH LAMINATED GLASS AND LOW-E COATING 1.54 U-VALUE SHGC 0.44 87% VLT -SPANDREL PANEL WITH REFLECTIVE COLOURBACK TO MATCH VISION PANEL

ACTIVE SYSTEMS

PASSIVE SYSTEMS Solar Control

Our active energy generation systems (solar + wind) is expected to produce 622,110 kWh of energy annually which accounts for about 3% of the annual energy consumption. The Onyx photovoltaic glass system placed only on the north-facing facade will generate 0.6% of the total annual energy use of the building while the wind turbines (10 in total, 2 at each side, one at each corner) located on the roof will generate the other 2.4% of the energy.

AWS - V 5kW Wind Turbine S Model

The calculations for the energy consumption and generation is shown below. Average Melburnian Office Energy Consumption: 1000MJ/m2 . yr = 277.8 kWh/m2 .yr NLA: 80, 021 m2 Annual building Energy Use: 80, 021 x 277.8 = 22, 229, 834 kWh

AWS - V 5kW Wind Turbine S Model Three Phase Generator with permanent magnet Rotor Height: 5.3m Rotor Width: 4.2m

Heat gain from solar radiation is controlled by the high performance double glazing with laminated glass and low-e coating.

Rated Power: 5000W Melbourne’s Average Windspeed: 12 km/h Annual Energy Output per Turbine: 53436 kWh Total Annual Energy Output from all 10 turbines: 534, 360 kWh

Photovoltaic Glass (Onyx) Our active energy generation systems (solar + wind) is expected to produce 622,110 kWh of energy annually which accounts for about 3% of the annual energy consumption. The Onyx blue thin-film photovoltaic glass system are integrated into the spandrel. As the panels are integrated into the curtain wall, they double as the façade hence saving materials and cost. The building-integrated PV panels also form the active strategy to supplement the building’s electrical needs, taking precedence from 4 Times Square Building in New York. 4 TIMES SQUARE BUILDING: INTEGRATED PHOTOVOLTAIC SYSTEM

Excessive sunlight is controlled by internal blinds.

COLOUR CHOICES:

Image Source: 4 Times Square Building – Integrated Photovoltaic System, viewed 25th April 2014, <http://www.kisscathcart.com/ pdf/4timessquare.pdf>

Rated Power: 80 W/m2

CLEAR BLUE GLAZING ON FOUR ELEVATION SITTING ON A 3-STOREY TALL LOBBY TO CREATE THE IMPRESSION OF A FLOATING TOWER AND REFLECT THE SKY. TO INCREASE THE SLENDERNESS OF THE TOWER, APART FROM ADDITION OF THE VANITY HEIGHT, GOLD GLAZING IS USED AT THE CUT BACK CORNERS NOT ONLY TO HIGHLIGHT THE DISTINCTIVE FACETTED CORNERS BUT ALSO TO CREATE AN OPTICAL ILLUSION IN WHICH THE TOWER WOULD LOOK TALLER AND SLIMMER.

PERSPECTIVE VIEW:

Total PV glass area: 1215 m2 System Power: 97.2 kW Average Daily PV Energy Output for a 1kW system based on Melburnian Climate: 3.6kWh System Daily Energy Output: 97.2 x 3.6 = 350 kWh Annual Energy Output: 350 x 365 = 127, 750 kWh

PHYSICAL MODEL 1:200 PHYSICAL MODEL 1:200:

NORTH ELEVATION 1:500 V1: CLEAR BLUE DOUBLE GLAZING WITH LAMINATED GLASS AND LOW-E COATING V2: BLUE ANODIZED ALUMINIUM SHEET ON SPANDREL PANELS V3: GOLD DOUBLE GLAZING WITH LAMINATED GLASS AND LOW-E COATING V1: ONYX 40% TRANSLUCENT BLUE THIN FILM PHOTOVOLTAIC GLASS INTEGRATED WITH SPANDREL DIAGONAL BRACING PROMAT CAFCO SPRAFILM WB3 WHITE INTUMESCENT PAINT FINISH, TIE BACK TO BEAM

DESIGN INTENT The design seeks to continue the crystalline design language we have explored and expressed for the past few weeks. Its zig-zag facade adds to that idea and the ceiling continues the language of the facade, folding it in. Glass fins and almost frameless revolving doors are used to support the glass facade to enhance the crystalline quality of the building, with copper chosen as the central “chandelier” as the highlight of the lobby. MDF is chosen as the acoustic ceiling panels due to the triple height lobby which would result in a lot of echoes while simultaneously calming the space slightly from all the reflective surfaces within and without.

STAINLESS STEEL CONNECTOR OF GLASS FIN TO SECONDARY BEAM

SUSPENDED MDF CEILING PANEL SUSPENDED COPPER “CHANDELIER

STAINLESS STEEL SPIDER CLAMP EMBEDDED WITHIN GLASS FIN EXPLODED GLASS FIN SHOWING A 12MM ACRYLIC BLADE BETWEEN TWO SHEETS OF 12MM CLEAR GLASS

GLASS FIN AND SPIDER CLAMP DESIGN REFERENCE - TOKYO SUBWAY CANOPY DETAIL

CHOSEN REVOLVING DOOR MODEL

CEILING DESIGN PRODUCT REFERENCE

T h e End

Thank you