MILES
MILES
DEAN Miles D A Dean 17 Chapel Court 17 Portland Street Leamington SPA CV32 5EW m: 07590006962 e: miles.dean@mac.com
Looking forward: What do I think could happen? What issues do I want to approach? What do I think is important? How can we design and implement a solution for recycling and resource recovery in communities? • Could the a community be served by an inclusive place of worship and spirituality that allowed people to connect through their relationship with the faith rather than the details of their beliefs? • Could you design a system and physical framework for housing that allows the client to ‘fill in the gaps’ in response to their own needs and changing conditions? Could this be applied at the scale of a whole block with the supervision of a community design council? • Could a report into ‘deadspace’ in urban areas encourage more introspection into existing urban environments, unlocking potential uses that allow us to build in rather than out? • Can we create a furniture range out of offcuts of CNC timber manufacturing that uses waste material thats only crime is not being a full sheet of plywood? • What is the effect of a new architectural generation emerging with limited practical / site experience and how will this shape the buildings and places of tomorrow? Could a ‘physical education’ module at design schools fill this gap in knowledge, teaching students how a light timber frame is constructed or a bathroom tiled? Will this even be necessary soon? • What would it be like to bring the lessons of a professional kitchen into a design environment as an exercise in originality? Go out at the start of a process to gather resources and inspiration, brainstorm an objective, try it, break it, re-work it and perfect with constant reviews and hard and fast iterations? • Can we create a new model for living that tackles the housing crisis? At a problem of this scale the solution is not more houses, so if not that then what? • Can we tackle the idea of private ownership over non-consumable items by implementing a system where a community pools its possesions into a ‘library of things’? • How can we design in a more non-destructive way where assembly is prioritised over processes that consume materials as they are built?
How do I work? How do I add value or even create value? Process. Our value to our society and community come form process. By concerning myself with processes I am still mindful of any potential outcomes but I focusing on a journey rather than a destination. Processes can constantly be re-adapted and re-employed and hopeful one day it will be a collection of activities that define what I do rather than a collection of achievements. Research & Reference. The world outside of our architectural community constantly offering us both questions and answers. We design for people, place and time. All of which can be understood if we talk to people, go outside and understand where we have come from. By engaging with a range of factors and references throughout a process, the process becomes richer. Communication. I try to get to know who I am designing for/with and work in their language. To be able to share an idea or a process with someone is one of the most exciting things about what I think I want to do. Efficiency. Only when it’s appropriate, working efficently means of the right things can be happen. This involves working in new and different ways rather than rushing existing processes. Simplicity. Simplicity helps a design to be honest. To me it doesn’t mean less complex but rather it means making something that is easy to understand. This doesn’t mean that something has to look simple or be made simply. Physicality. I know it’s important to me to work with my hands, to understand materials and to feel the shape and size of things. Even if only for a reference, I will always seek out tactile experiences with architecture. Question. It’s important to question situations directly and indirectly in order to work in a critical and relevent way. In doing this, you can learn where there is room to move into a deeper understanding of the context and then you can really play.
Project Name:
Spolia
Academic / Professional Duration: 1 Term
Year:
Individual / Group
2017 Level: yr3
Instructor: Thomas Stromberg
Unfortunately, the final studio project of the degree carried an unwelcome trait of the course right until the end. For a number of years this studio has been run in exactly the same way [more or less]. Same site. Same brief. Same precedent. We were asked [told] to design a space for public discussion and exhibition on the edge of the Domain Park just behind the Royal Mint off Macquarie St in Sydney on the site of an existing post war office building. A heavy list of programmatic requirements were detailed as minimum floor areas required in the final design too. 80m2 entrance space, 80m2 cafe, 72m2 office space and so on... I looked to the site to define the building as that was one particular we were afforded no control over. These site investigations we supported by investigating a suitable example of the type of architecture we were being asked to look at - Parametricism and the works of Jorn Utzon. Project Description [graduate exhibition catalogue / 2017] By investigating what it means for architecture to be public in its immediate and extended urban fabric, Spolia constructs a program through intentionally stolen typologies. It answers to the city’s verticality, defined by an activated ground plane, arrays of indistinguishable floors and a symbolic crowns. A new tower set off from the urban mass floats above an inverted podium that reflects inwards and upwards with the above building both its canopy and stage. Classical tectonics of surrounding architectures are bastardised once more. Faux sandstone columns control light and aspect in response to vertical conditions both internally and externally. The active and performative threshold offers a direct criticism of the glass and steel boxes that litter the city.
7
How can you reduce a city to the product of it’s parts and bring them together in a new form?
1.02 > The immediate context of the site is clarified by an area of heritage listed buildings wedged between the City of Sydney and the Domain. This early site drawing hints at the projects future resolution: a new ‘block’ pulled out from the matrix of the city. 1.03 > Through an analysis of the Kuwait National Assembly by Jörn Utzon and the City of Sydney in tandem, the role of additive design in constructing and reconstructing order within urban frameworks elvoved as a shared characteristic between the two typologies. This drawing superimposes the elements of the KNA over the grid of the CBD to illustrate this relationship. 1.04 + 1.05 > The reconstruction and deconstruction of the Kuwait National Assembly [structure, streets, rooms, courtyards, facades] was explored in these drawings. Utzon’s ‘additive’ principle and in turn the typology of the city at a macro scale become a driving force in the design process.
1.00
1.02
1.03
1.01
1.01
1.04
1.05
How can you draw upon existing conditions to ground a building in a context that is dominated by opposing architectural forces?
1.06
1.06 > Originally produced to classify the distribution of the program, this axonometric employs typical/iconic elements that define the environments of the five secondary programs required as part of the brief. From bottom: gallery, restaurant, office, services, sculpture garden. 1.07 > 1:500 concept model representing the idea of stealing ‘floors’. This proposed deconstructed elements of the city that are repeated ad infinitum in modern cities like Sydneyand in turn be reconstructing them to form the new architecture. 1.08 > The New South Wales State Library is imposed with a storied typology over its classical facade to create a new ensemble out of two architectural forces conflicting within the city. 1.09 > The brief asked for the inclusion of a performance space. With the intensely public qualities of the site’s extended location [Opera House, Martin Place, Pitt Street...] and the current state of civic discourse in Sydney the project looked to act as a platform both literally and architecturally. This meant engaging with the idea of podiums, stages and symbolism to create a scene that spoke to the city and give the city a place to speak to itself too.
1.07
1.08
1.09
How can you create a part and whole relationship that is once provides flexibility and also engages with classical ideas of order and proportion?
1.10 > Conceptual section and axo exploring the relationship between contemporary and classical tectonics in space and proportion [originally produced at 1:20]. A part and whole relationship is created by cladding a simple post and slab structural systems in hollow half columns made form reconstituted Sydney sandstone and deep floor profiles. It is at once a part to the whole of the structure and a part to the whole of the facade. The facade can now be articulated and the relationship between inside and out can respond at each level to environments internally and externally. 1.11 > The lower two floors recede into the overall volume of the building to impart a sense of entry and shade the restaurant and gallery. The raked entablature of the top colonnade is clad in mirrored panels. Model made at 1:200 scale from CNC pine base, boxboard, 3D printed stairs and biro pen shells. 1.12 + 1.13 > An open air sculpture gallery offers a type of public space not available in Sydney - one where the public can access higher floors of buildings and engage with the broader context of their city without paying $20 for a drink. 1.14 > The sunken podium borrows elements form classical civic architectures; inner and outer courtyards, stepped approach and entablature. The building above acts as the backdrop for the stage of public debate.
1.10
1.11
1.12
1.13
1.13
1.14
Project Name:
Tripartite
Academic / Professional Duration: 1 Term
Year:
Individual / Group
2017 Level: yr3
Instructor: Gabrielle Pelletier
We were asked to design and detail a marine research facility in Rozelle Bay to consisted of a tripartite ensemble: an island (marine research facility), bridge, sentinel (public gallery & residence).The design employs simple geometry held together by a circulatory system that ties the architecture together with a consistent narrative. The exhaustive structural and programmatic requirements inspired a literal interpretation of the brief at a large scale. The site was predetermined. The land based building was to be of ‘raum-plan’ construction lit from above with a list of programmatic requirements to support its uses as a research residence and public gallery. The bridge was to be of minimum 30m free span construction constructed out of a limited catalogue of members. The island was to be the opposite of the sentinel; freeplan and lit from the sides. The secondary focus of this design studio was technical drawing and communication as in line with that we were required to produce a range of drawings at 1:20 resolution. that described the primary and secondary structural systems and materials.
15
How can the public engage with delicate environments in a socially and ecologically sound way? How can a built body position itself in these territories too?
2.00 > To ground the ambitious extended limb to the land, 4 anchoring masses are deployed and rotated through a sequence in contrast to the extension that proceeds straight out over the water. The once naturalised foreshore is reclaimed, creating a fluctuating tidal zone around the anchoring structures. A board walk explores this ecological zone just above high tide level before it traverses over the water towards the far reaching research facility which shimmers on the harbour water. 2.01 > The cross section of the land based building highlights some of the themes that run throughout this scheme. The low level glazing brings the smell and the sound of the tidal zone into the interior. Similar to the offices in the laboratory, the public toilets are housed in their own volume suspended from the walls and surfaces in order to preserve the purity of cuboid volume. 2.02 > The three simple volumes feel heavy and solid with small thin windows and an imposing off form concrete skin. The waffled roof structure that appears to intersect these forms feels slight and weightless - floating above the contrasting natural landscape of the inter-tidal zone peppered with vegetation, rocks and coastal wildlife.
2.00
2.01
2.02
Can we create a different relationship to our surroundings in a culture that has a fixed view on the nature of views?
2.03 > The bridge is designed to compress the experience of the expansive harbour environment. Acting as a pinch point between the richness of the coast and the expanse of the bay, the sheet steel walls capture the sound of the water below as you walk a meter above its surface where you are only separated by a grated mesh walkway. The mercurial surfaces of sea and sky are the only refuge along a path that leads out into the bay. 2.04 > 1:200 timber model. CNC jelutong base, basswood & 3D printed roof structure. 2.05 > During the interim stages, a 1:50 mock up of the proposed bridge structure was modeled and tested with loads. A Warren bottom-chord system was used to try and get the longest possible length and the smallest cross sectional profile using 2 of the 3 structural materials we had available: 100CHS and 200x50 pine. 2.06 > Birds-eve view of the bridge showing the polarised approach to horizontal / vertical relationships. 2.07 > The gridded roof structure was inspired by the use of quadrants in biological / geographical fieldwork. The resulting patterns of sunlight and shadow on the inter-tidal zone highlight certain features, helping views look around without having to walk around.
2.03
2.04
2.05
2.06
2.07
How do we create a laboratory that presents itself to the public but also offers privacy and shelter to its occupiers?
2.08 > The research facility, designed as a free-plan structure has three skins and hence three types of use, privacy and light quality. The outer shell, bound between a steel mesh screen on the outside and the glass box of the laboratory on the inside is the public domain. The middle shell houses the scientific activity and equipment - a kind of theatre for the public backed research that occurs inside. The inner shell houses all the private facilities for the laboratory, away from the view of the public. 2.09 > The public gallery around the perimeter of the building shares the qualities of passage and journey with the bridge, extending the perceived environment a little further. From this gallery the public can look into the research lab and see its inner workings, even seeing the contents inside the cupboards where various samples and objects of scientific curiosity could be stored. At the end of the procession the public can access a rooftop viewing platform. This is the release and reward at the end of a long[ish] walk. Cross section through Island [originally produced at 1:20 on oversize A1],
2.08
2.09
Project Name: Academic / Other Duration: Ongoing
Radway
Year:
Individual / Group
2018-2019 Level: n/a
Instructor: n/a
When the opportunity to take over a dilapidated 18th century Chapel on the edge of the Cotswolds came up in late 2017 we got together as a family and talked through what it could mean for us, how we could use it and if we wanted to test ourselves to try and turn this small space into something that both our family and an extended community of artists, writers and creatives could use to live and work. We are currently planning to submit planning approval at the end of the summer and we are going to split the construction into two phases so that Josh and I can commit to working on it over the summer months in between university (hopefully). I’m really only going into it with the experience I absorbed whilst working in Sydney for a few years throughout my undergraduate degree and just after so it will be a huge challenge but there in lies the huge reward. Not just for me but for us as a family too - we’ve talked about doing something like this at one point and I guess we just got a little impatient and started 5 years too early...
23
Can we create a retreat from everyday environments where everyday processes can still take place?
3.00 > The current scheme constructs space around a bookshelf that weaves through the room. We wanted a space that supported taking the time to read and research something that we seem to have too little time for in our current schedules and spaces. The new works are aligned on a 450mm grid which has been superimposed throughout the existing internal envelope. The new insertions into the space align to this network, subtly marking a difference between the old and the new by proportion and rhythm. 3.01 > Before the internal facade and balustrade were realized as a bookshelf accessible on both sides it was originally designed to assist in forming a space for the sleeping area. It provides enclosure and structure, helping detach the space subtly whilst still providing views through the two street facing windows. 3.02 > Internal end elevations. Photographed June 2018 3.03 > Streetscape. Photographed June 2018
3.00
3.02
3.01 3.03
Ground Floor Plan
WM
3.04
FF
We know how we want to live in this space - now we have to make sure this space reflects these ambitions and supports the activity of living...
Ground Floor
450
300
1210
7510
600 1680
A
B
C
P R D 0
3.04 > An early set of plans (July 2018) which have subsequently been developed. I was working on this in Sydney with video calls back to the UK to review drawings at different stages. 650
First Floor
Attic Space Plan
1250
900
A
B
Underneath an oversize desk is nestled under the stairs and walkway above whilst a restrained lounge area utilises the cozier corner of the room, A new extension will be added at the rear of the chapel where an existing lean-to brick outhouse is in disrepair. This new unit will house all of the necessary amenities and services to support sustained living in this space - essentially acting as a battery pack for the house.
1830 2480
C
First Floor Plan
3.05 > The space is controlled by a sculptural bookshelf that weaves through the room. Accessible form both sides this bookshelf puts our families collection of reference and literature books at the heart of the house. It covers the staircase and the open bedroom on the mezzanine which hopefully will feel like its floating out into the room.
Attic A
3.05
13
12
11
10
8
8
7
6
5
4
3
2
1
450
Q
450
P
2250 ceiling 450
O
900 bal.
450
N
450
M
L
450
K
450
J
2250 ceiling 450
I
900 bal.
450
H
450
450 seat.
G
F
450
450 lights.
E
450
D
2250 ceiling. 450
C
450 bench.
A
-
900 table
1350 clear.
450 bench 450
900 stair.
3600 room 450
450
450
450
1350 joinery. 450
450
450
450
450
450
450
450
900 desk.
450
B
Project Name: Academic / Other Duration: 1 Month
InsideOut
Year:
Individual / Group
2018 Level: n/a
Instructor: n/a
This project developed as a bricolage of a number of forces and ideas that Will and I experienced at the end of our undergraduate degree. We went looking for an output and as we have done before we came back to Sculptures by the Sea as a platform to try things out and put real work out there. Accompanying submission statement: “A standardised and homogenised bathroom is turned inside out revealing a familiar environment in a uncomfortably public setting. The work seeks to disarm the notions of privacy. Turning things inside out has been a staple for artists and thinkers. Not just does the question of ‘whats on the inside’ provoke both fear and thought but it achieves the goal of putting the observer in a position where they can reflect, as something they believe they know is adjusted, estranged or undone. InsideOut proposes to do that with the most private of spaces; the bathroom. Placing the users unconscious at the center of this artwork, a standard bathroom was designed as a starting point before being opened to the outside. Something everyone uses and knows is re-represented for them, adorned with a familiar shower cubicle, basin and door on each of its four sides. The subconscious familiarity people will have with these objects and their inverted positions will serve to make an immediate connection to the spectacle, whilst suggesting something more unfamiliar.”
29
How do you condense a seasons worth of experiments into a real life project in order to test them and learn from the process?
3.00 > One reference for this project was an ongoing interest in deploying architecture directly onto the coastline in a similar way to Floating Walkway by Christo and Jeanne-Claude. This natural threshold is sacrosanct in Australia. Any works undertaken are remedial and restorative by nature. This speculative sketch explores a conceptual promenade that follows the coastline through the Royal National Park creating an pedestrianised stage that intersects land and sea. 3.01 > We also drew on the urban skin of many buildings in Tokyo which I brought back references of after going there early in 2018. So much of it is covered in white tiles that we’re only really used to finding in bathrooms especially as it was the hot trend in residential architecture in Sydney at the time. 3.01 > We wanted to play around with the extensive experience we gained in practice for designing and planning bathrooms... 3.01 > Works like Alvaro Siza’s Leca Pools and the drawings of Superstudio influenced us and we loved the confluence of immaterial and infinite surfaces on ordered forms intersecting with natural environments. This site context sketch shows proposed location of the installation on Tamarrama beach.
4.00
4.01
4.03
4.02
Can we convince a jury that two students with limited experience can pull this off? Apparently not...
4.09 > 1:50 maquette intended for display. The model captures the intended interaction with the artwork. People are walking up to it and the sculpture works at both the scale of the whole beach and that of a person. 4.10 > In addition to the two main images, we also detailed the product life cycle and installation process. Each of the four walls and roof structure is to be assembled off site and tiled. On site, the panels are mounted to the base and the corners tiled. The bathroom fixtures are already roughed in and on site they are mounted to the cube. We had sourced tiles, plumbing and fixtures from companies willing to sponsor us in exchange for the advertising they would receive being in this prime location for two weeks. 4.11 > To show them how we intended to build the thing we drew an exploded axo detailing its parts which aimed to show how this was a very simple structure that only relied of a limited number of skills and finishes. The door opens up to the inside allowing work to be undertake to fix the structure from the inside and manage plumbing. We had planned to work with the organizers to asses whether a rainwater tank could be fitted to capture water for use in the sink and shower. We’d have loved it if people engaged with our bathroom as if it was their home.
4.04
4.05
90
1610
~1mm zincalume capping installed on site to inside corner of top tile course.
90
90 Roof sheeting installed to manufactures specifications at specified degree. 90x45mm untreated pine stud as angled beam pre-drilled and bolted to stud frame on site. 25x50mm timber battens nailed to beams below.
1610
Waterproof flashing over stud frame cap and plasterboard. Rendered over and faced with tiles. 685 100mm box gutter with fall to downpipe fixed to timber frame below.
90 50
840
90. dia pvc drainpipe to drain through footing to sand. 50 150 Standard 2040 x 840 internal hinged door and frame fixed into stud wall. Locked during exibition but accessible for maintenance / assembly / bump out. Tiles mitered at corners and pre-assembled onto stud frames which are fastened together from the inside and sealed along edge.
90 45
310 50
25 50
Wall mounted mirror in white frame.
Freestanding basin (product tbc in accordance with resourcing outcomes). Fixed to stud/plaster/tile component off site and installed in situ. Taps finished in accordance with all finishes schedule (chrome painted white).
900 2040
650
2100
All white picture frame fitted with white acryclic glazing glued to tiles.
Wall mounted toilet roll holder (tbc in accordance with resourcing outcomes). Plaster soaked toilet roll to mould ot form.
900
900 450
Freestanding shower cubicle (product tbc in accordance with resourcing outcomes). To base of footing on site and sealed. Glazed panels drilled and bolted though plaster.
500 Freestanding toilet (product tbc in accordance with resourcing outcomes). Fixed to stud/plaster/tile component off site and installed in situ. Bowl filled with gyprock plaster to standard water level. 1810 x 1810
200 Preliminary footing of 150mm concrete slab poured off site with strip footing to edge. Non sculpture specific / open to re-working under conditions.
Project Name:
Welsh & Major
Academic / Professional Duration: 18 Months
Year:
Individual / Group
2017-2018 Level: n/a
Instructor: Chris Major & David Welsh
Over the 18 months spent at Welsh & Major I was put into a lot of exciting and challenging positions and got to be involved with a huge range of projects including the masterplan of an inner city golf course, the design of a new restaurant in a heritage listed warehouse basement and this small and compact community centre. In a position like this, when I wasn’t in control of the direction, I really learnt to invest in the process in order to make sense of the work I was doing. Each task became it’s own project and from each one I started to see the lessons there to be learnt. I did learn how to design things or how to build things but I learnt a lot about how to bring a client into the design process (when suitable) and I learnt a lot about how people from a non-architectural background approach drawings, models and visualisations.
35
What did I learn? What did I do?
5.00 > 1:50 model built for client consultation and review. 5.01 > I produced a visualisation for this project that reflected the playful nature of its form and perhaps an ambition for its role within the community. An existing two storey brick structure was retained and covered in Tyrolean render whilst a lightweight timber crown was mounted on top. Artwork from local artists decorated the inside of the parapet which was designed to be viewed from behind just as much as from in-front. This same texture / pattern encloses an existing substation in-front of the building. The image was populated with a diverse range of cartoon figures, in keeping with the images playful nature but also to circumvent misguided sensitivities within the council body in regards to diversity and representation. This image, at the request of the council (client) was updated 4 times to better reflect their idea of the local communities demographic. Marrickville has a strong Vietnamese and Greek community... 5.03 + 5.04 > Detailed design drawings for tender purposes. Originally at 1:100 (i started these drawings but due to leaving before the new year I had to hand them over to someone else).
5.00 5.01
5.03
New roof to be installed above ex building. New solar panels.
New artist mural within parapet. 2 502
W
05
pb
Ex roof to be demolished and replaced. New fc screen on 50x50mm SHS galv frame to ex services boxes. New balustrade: 50 x 12mm galv staunchion with 50x50 EA handrail. 100x6mm flat plate to AS 1428. Spacings no greater than 1m. Refer to detail.
W
02 Community Space Upper la
J.05
New lightweight timber flooring over ex stair. Risilient flooring, Linoleum finish.
Stroller Storage la
la
la
J.05: New joinery unit below W01 + W02.
st
ep
ep
ep
ep
Line of ex brickwork beyond. Wall mounted lighting to align with ep joints. Refer to spec. D 02
D 03
J.02: New joinery unit: lockable storage below bench seating. Alternating drawers/cupboards.
Community Space Lower
Store
J.02 la
la
la
la
la
la
la
la
la
la
la
la
la
la
la
la
fp
Ex drain.
2.5 Legend:
A 09/11/18 16/11/18 ex
on 5
ex D
6m
07
gl box gutter la column lm concrete concrete pavers mr of door pb downpipe pbr echo panel existing ex pp r face brick rf fibre cement rm floor waste Drwh fixed glass sl fixed panel
08
glass louvre laminex laminate metal roofing overflow plasterboard painted brick permeable paving riser risilient flooring rendered masonry rainwater head skylight
st tf tr w wb
steel timber floor tyrolean render window weather board
ex
Project
B
2 Thornley Street, Marrickville, NSW
Level 4, 69 Reservoir St, Surry Hills New South Wales Australia 2010 mail@welshmajor .com exTel: 02 9699 6066 ABN: 67 612 977 303 ARB No. 6968 Nom. Arch: D. Welsh www.welshmajor.com W
Line of structure over / under To be demolished Existing structure New wall
Proje
Drawing Title
450
Draw
A2
Section 2 Scale:
01
Date:
Line of steel 1:50 at A3awning below. Nov 2018
Drawn:
Checked:
ALF
DW
135
Electricity riser to ex meter below.
C
r
C
C
C
C C
C
Line of 12mm mild steel plate window sill.
Wall mounted heaters to spec.
2925
J.04: Full-height lockable storage.
W 02
3829
Remove ex windows and mesh. Demolish ex interior walls as shown.
COMMUNITY SPACE 2 FFL 5.20 ex con
C
New bollards to spec. bg over C
12mm mild steel plate window reveal welded between existing brickwork + 100x100 SHS. Refer to structural engineer's drawings.
RWT dp
C
J.05
110
3.0
sl over r
fr
New rc pad + retaining wall to RWT.
R
FE
ACCESSIBLE WC 2 FFL 5.20 fw rf 01 A6
3.5
Ex opening to be filled in.
STROLLER STORAGE FFL 5.20 rf C
D 11
W 04
W 03
Stroller storage racks. Refer to spec. 150 Kingflor suspended slab. Bear onto ex masonry. tgsi
3047
2208
9
3015
Refer to A 102 for stair information.
8 7 6
other consultant's drawings. Do not scale off
Issue / Amendments:
Date:
1
A
Legend:
2
5
B
Project
270
New lightweight flooring over ex stair. New lightweight flooring over ex stair.
C
271
DW
New lockable bin store: 9mm fc sheeting fixed to 50x50 galv steel frame
C
120
RE
TO
r
950
G
Ex external masonry walls to be retained.
Demolish ex external stair.
C
J.06
251
2120
D 09
1949
C
J.04
Rainwater storage tank. Refer to spec.
18
Steel Park Community Centre
270
4
bg c con cp d dp ep ex ex fb fc fw fg fp
2
Date:
DD/ Preliminary Tender Tender Issue
1
Issue / Amendments: A B
2.5
5.04
onsultant's drawings. Do not scale off efore work commences. Any discrepancies mediately. The Building Code of Australia, thorities are to be complied with.
Visualising architecture Who is it for and what is it’s purpose?
5.06
5.07
5.08
5.06 > Produced for Heritage assessment for Orange County Council. Existing 1800 cottage on the right with new pavilion extension adjacent. 5.07 > Produced for a China based property company exploring developing a function centre on a heritage estate near Sydney. 5.08 > Internal view of a casual dining area for a proposed redevelopment of a heritage hotel on the NSW coast. 5.09 > Promotional visualisation for a rooftop extension to a heritage hotel in the Rocks, Sydney. 5.10 > Visualisation produced for heritage and council authorities to assess the impact of a new terraced deck to a hotel in the Rocks, NSW. 5.11 shows finished structure. 5.12 + 5.13 > 2 of 3 photomontages produced to represent the effects of our masterplan for an inner city golf course along a river frontage. 5.14 + 5.15 > Internal renders produced for a client to sign off on concept for a middle eastern restaurant fit-out in a heritage hotel basement.
5.09
5.10
5.11
5.12
5.13
5.14
5.15
Project Name: Academic / Other Duration: Ongoing
Offcut
Year: Individual / Group
2019 Level: n/a
Instructor: n/a
I arrived back form 5 years in Australia in early January and moved to London. I quickly started work at Hub Workshop in South London who operate a CNC machine to manufacture and finish sheet materials for clients who want anything form cupboards to houses cut and sometimes assembled and installed. My brother works in the same workshop and for some time we have talked about the huge potential that lies in the waste material from this process. Each time a job is cut there is often a significant amount of high quality waste material. Together we have started working on this project called Offcut which aims to utilise this waste material by designing specific furniture based on the offcuts from job. Each job leaves a different shape and size ‘offcut’ and by looking at the cutting sheets before they are processed we can, for a small fee, add one of our designs to the process to be cut as well. For a minimal increase in cutting time and a reduction in waste material we can produce furniture that essentially creates something form nothing. This project is definitely more work in progress than finished achievement. It is an exciting prospect that we can explore whilst we work, create some useful, beautiful and environmentally responsible furniture that hopefully we can market and sell to support other projects in the future.
41
Can we create a furniture range from CNC timber manufacturing offcuts that recycles material thats only crime is not being a full sheet? 6.00
6.01 LEG_1 x1 / sheet FACE_2 x1 / sheet
6.02 > Process diagram for Offcut showing how Offcut seamlessly integrates with HUB’s existing process. This negates the impact of waste on the business and environment and turns offcuts into bespoke furniture.
CUT SHEET 24mm / BB/BB
6.01 > This is a 1:10 drawing of a cutting sheet showing the desk job in black and the coffee table in colour. Two sheets will make one desk and the only post production required will be sanding, rounding and oiling.
TOP_1 x6 / sheet
Hub Workshop is currently cutting, finishing and assembling 40 desks which will have this standard ‘offcut’ 20 times - allowing us to make 10 tables.
FACE_1 x1 / sheet
6.00 > This is a deign for a small coffee table produced out of long thin members which are well suited to be placed on the edge of a sheet.
6.02 CLIENT
OFFCUT
[Provides 2D files]
[design of product library]
HUB
INCEPTION
[prepare files for manufacturing]
[shares file specifications]
NESTING
[calculates most efficient sheet layout]
MATERIALS
+
INPUT
[offcut file added to sheet layout]
CUTSHEET
[delivered and stored in workshop]
[loaded onto CNC machine]
WASTE
CUTTING
[cut up and stored for skip / firewood]
[3-axis CNC cutting bed]
PARTS
[offloaded and stored for post production]
PARTS
[offloaded and stored off-site] 1. Client engages HUB workshop to manufacture product or assemblage and files are either provided or consulted on.
POST-PROCESS [sanding, rounding, oiling, painting etc...]
ASSEMBLY
[fitting with hardware and assembled]
DELIVER
[picked up or delivered to client]
POST-PROCESS [sanding, rounding, oiling, painting etc...]
ASSEMBLY
[doweled and glued]
SOLD
[sold online / at weekend markets]
2. Subject to quoting, files are prepared and sign-off requested from client. 3. Files are nested. If there are usable offcuts, HUB agrees to load suitable files from product library. 4. HUB and Offcut files are nested and loaded onto CNC machine. 5. Once cut, HUB files are offloaded and stored for post processing. 6. Offcut pieces are extracted, finished and assembled either independantly or as part of a collaboration with HUB. 7. Offcut products are sold online [tba] or at marked, events and trade fairs.
Curriculum Vitae
Academic: BDes Design in Architecture University of Sydney 2015 - 2018 BDes Design in Computing University of Sydney 2013 A Levels Warwick School Geography: A Physics: B Design: B GCSE Warwick School A*, A, A, A, A, A, A, A, A, B. Professional: Welsh & Major Architects (Sydney) 2017 - 2018 (16 months) Architectural Assistant MASQ Architecture (Sydney) 2015 - 2017 (16 months PT) Freelance Design Assistant Other Employment: 4 years cocktail service throughout university in Sydney. Currently employed as a digital manufacture assistant in a London based timber cnc workshop.