A B O U T M
E
NAOMI JEMIMA NG Ph: 0451492600 E: naomi.jemima.ng@gmail.com L: English, Cantonese, Chinese FB: /naomi.ng HTTP://naomijng.wordpress.com
E D U C AT I O N 2014-16 Bachelor of Environments [First Class Hons], University of Melbourne, Australia 2012-13 IB Diploma, Sha Tin College, Hong Kong 2007-11 IGCSE, Sha Tin College, Hong Kong
E X H I B I T I O N S & F E AT U R E 2016 MSDx Studio Fire Exhibition, Melbourne School of Design 2016 MSDx Construction Design Exhibition & Exhibition
WORK
Poster
feature, Melbourne School of
Design 2017-18 Student Architect, Grimshaw Architects Melbourne, Australia 2015 Student Architect Assistant, BC&A, Hong Kong
2015 Studio Water Exhibition, University of Melbourne 2015 Digital Design and Fabrication: 2nd Skin Exhibition Poster/Feature, University of Melbourne
[2 Months]
2015 Interview + Feature article on IB Paintings,
AWARDS
2014 Published works in book 'mirrors with memories' and magazine 'Voice XXI' By ESF, HK
'Student Art Guide'
2017 Deans Honours Award Year 3, Melbourne University,
Australia (top 3% of weighted
average in relevant year)
SKILLS Autodesk AutoCAD
2016 Deans Honours Award Year 2, Melbourne
Autodesk Revit
University, Australia 2015 Deans Honours Award Year 1, Melbourne
Mcneel Rhinoceros 3D Grasshopper 3D
University, Australia
Sketchup Vray
2014 Bachelor of Environments Interstate Pathway Scholarship, University of Melbourne, Australia
Lumion
2013 Visual arts academic award 2013, Sha Tin College, Hong Kong
Enscape Kerkeythea Adobe Photoshop
MEMBERSHIP
Adobe InDesign Adobe Illustrator
Architecture Association Visiting Member Australian Institute of Architecture SONA Member
Adobe Lightroom Adobe Acrobat + reader Microsoft office:word, publisher, PowerPoint, excel
COMPETITIONS 2016 Superstudio 'Conversations by the Pool', Australian Institute of Architects
REFEREES
2015 Advanced Architecture Contest 'Productive City',
Sonya Parton, Studio Tutor,
Mark Irving, Studio Tutor,
University of Melbourne, AUS
University of Melbourne, AUS
sonyaparton@gmail.com
poirv@hotmail.com
IAAC x FABLAB barcelona
C
O
N
T
E
N
T
AND SO THE STORY BEGINS...
S
academia
II
I C A T A LY T I C
STUDIO FIRE: THERAPUTIC
INTERVENTIONS:
& WELLBEING CENTER
'INNO-HUB' 11 01
III
V
STUDIO AIR:
S T U D I O W AT E R .
DIGITAL DESIGN &
AQUA-CLOUD
‘ S T U D L E Y PA R K
FA B R I C AT I O N :
B O AT H O U S E '
2ND SKIN
35
43
25
construction
VI
IV
other
VII
VIII
CONSTRUCITON DESIGN:
CONSTRUCITON
WORK EXPERIENCE:
O LY M P I C P A R K F O O T B A L L
A N A LY S I S
MELBOURNE AIRPORT T2
CLUB
THE CAVE HOUSE
ARRIVALS HALL PROJECT
47
49
53
IX
MISC. SKETCHES, PA I N T I N G S , P R I N T S +
55
A
R
C
H
I
T
E
C
T
U
R
E
I N N O V AT I O N A S A N ‘ U N F O R S E E N J O U R N E Y ’
1
Full journal: https://issuu.com/naomijng/docs/naomi_j_ng_699616_aavs_journal *Images from online sources, 2016
01 SUMMER, 2016
ARCHITECTUAL ASSOCIATION X MELBOURNE UNIVERSITY tutor:
H o l g er K eh n e , G us t a v D u i s i n g
in collaboration with angela wang
‘CATALYTIC INTERVENTION’ AN INNOVATION HUB
OLD
NEW
from hierarchy to wirearchy
Australia is experiencing a period of significant economic change, shifting from the current commodity production of industry to a so-called ‘knowledge economy’, fueled by innovation. Aligning with the government’s federal ‘Innovation Strategy’, I strive to ignite an influx of business innovation as an intervention to existing empty streetscape along Swanston and Queensbury street, finding form through program. The project sees innovation as a result of a new era of
business models; networking.
crowdfunding
and
‘Inno-hub’ brings the vir tual nature of crowdfunding into physical space, Promoting innovation through small scale businesses of fast turnover, high flexibility, and a networked structure as It is the age of the collective rather than the autocratic leader. Hence spaces within the ‘inno-hub’ is fluid and interchangeable, as we see innovation as an unforeseeable ‘exchange.
2
3
AXONOMETRIC DIAGRAM
*Design: collaborated efforts with Angela Wang. Diagrams individually produced.
s i t e a n a ly s i s : v ac a n t w a r e h o u s e s o f t h e manufacturing era reactivated by flexible new startups. the program: consisting a 3 month tryout period that stimulate ideas and persuades funding.
AIN ED UN MA INT SIBU VACA NT NE SS ES
CA RS DO
MI NATE PE OP LE OV ER
UN IN V IT IN B G & P O U R H N E IG H IL IN O O D BG JUN K
T OR SP GS AN IN TR ND U R O O AJ RR M SU
I N H E R I T E N C E O F V I RT U A L S TA RT U P S We b ro u g h t t h e n o t i o n o f c ro w d s o u r c i n g i n a p h y s i c a l s p a c e b y p ro v i d i n g s h o r t ’ t r y o u t p e r i o d s ’ f o r s m a l l b u s i n e s s e s a t a l o w rent- expanding if they succeed or replaced by others if they f a i l . 6 0 % a r e f l e x i b l e s p a c e s f o r s m a l l b u s i n e s s to a d a p t to a n y function, while 15% are reserved for information halls and for l a r g e r ‘s u c c e s s f u l ’ b u s i n e s s e s . A s t e p p e d t e c to n i c i s a d o p t e d a s e a c h s t e p s p r e a d s i n to p l a t f o r m s ; I n s t e a d o f b e i n g a n e l e m e n t o f t ra n s i t i o n , ‘ t h e s t e p’ flexi-spaces
fast turnover= high success rate**
i s r e d e f i n e d a s a f l e x i b l e a n d s e l f - e m p o w e r i n g s p a c e o f i t s o4w n r i g h t to e n c o u ra g e v i s u a l t ra n s p a r e n c y a n d h y p e r - i n t e ra c t i o n .
melbourne university 1km
The seemingly abandoned warehouses holds symbolic significance for its industrial past.
Hence,
repurpose
our
approach
emphasizes
over replacement. By uniting
the negative area with existing buildings, laneways and back of house spaces are reactivated into a central hub to encourage hyper-connectivity, simultaneously ghosting its past and welcoming to future.
rmit university 0.5km
From circulating around into interweaving into site
state library 2km Abandoned
f ro m
its
glorified
past,
the site is situated between universities and research institutes, oppor tune for innovative collision. emphasis on the threshold space between cores
The new business model is intervened i n to s i t e t h ro u g h m a k i n g u s e o f t h e c u r r e n t a b a n d o n e d w a r e h o u s e s i n o u r q u a d ra n t . A
fe a t u r e
that
s to o d
out
to
us
was
neighbouring cores. While current use is very much ver tical and linear- we strive to p ro m o t e a f l u i d n e t w o r k b y o p e n i n g u p e x i s t i n g b u i l d i n g s . Fo c u s i n g o n n e g a t i v e s p a c e , t h e ‘' I n n o - h u b'’ p u l l s u s e r s f ro m t h e cores of existing buildings and emerges t h e m i n to a c o l l e c t i v e ‘ t h r e s h o l d ’ s p a c e , p ro m o t i n g e n c o u ra g i n g
individual
m a k i n g p ro c e s s e s .
5
a u to n o m y
unconventional
and
decision
DI SSE CT I ON AN ALYSI S: C OR E S AS POI NTS OF AT T R ACT I ON
current use: circulation confined in individual buildlings
envisioned use
+
extrapolating existing cores
interconnected network
= negative space
connection through negative space
INITIAL FORM WITH STEPPED TECTONIC
6
AL
RM
FO
To retain as much of the current
EA
AR
spaces as possible, a regular grid overlay to
was
functions
reshaped of
the
to
respond
space,
CIRCULATION
which
gathering
space,
spaces,
formal
modular meeting
A RM
A
RE
LA
includes 5 main functions: Informal
O
INF
flexi-
VERTICAL CIRCULATION
spaces,
enclosed formal spaces (e.g. lecture halls) and enclosed informal spaces (e.g. workshops). The trope of the design is categorized under 2 paths, a circulation between platforms (above IM PR
ground) and the space between the
E PIN
YS
AR
ground and the platforms (ground level). We
see
platforms
the as
‘journey’
the
E
PIN
YS
AR
ND
O SEC
FUNCTIONS
within
attraction
point
itself. The minimal use of par titions crafts implied corridors and walls while drawing a strong sense of self-
NEGATIVE SPACE
navigation. Thin frames, as the main structural system promotes porosity to showcase internal functions, yet
EXISTING SITE
conceals enough to retain a sense of mystery, provoking curiosity for spectators to seek fur ther.
Development sket che s e x pl ori n g s pac e of f set f or int er nalized h ype rc on n e c t i vi t y
ABOVE GROUND sp ac e s of ins pirat ion & coll aboration bt artup s , talks, exhibits GROUND LEVEL c omm u n i t y orient ed, s paces of invitation p o p up s , s talls , green spaces
7
S E CT I O N
LEGEND paths to cores existing cores route main cores secondary entries main entry tempoary spaces non-lettable floor area formal spaces-offices casual spaces G/F open market neighbouring buildings
FLO O R PL AN
8
CH
S OS CR ARK P
AC
ET
R ST
TH H
UG
RO S
NG
DI
IL
BU
ER
S
NG
DI
L UI
B
OV
WHAT IS IN IT FOR THE FUTURE? I n n o v a t i o n i s n e v e r e n d i n g - a n d s o i s t h e i n n o - h u b . I t s e n ro a c h m e n t t h ro u g h , a l o n g a n d o v e r e x i s t i n g b u i l d i n g s i n a p a ra s i t i c m a n n e r s e e s a g ro w t h i n h y p e r - c o n n e c tivity and flourishing innovative business in the potential future; rendering the hub a s m o r e t h a n a n a t t ra c t i o n , b u t b u i l d i n g a n e m p i r e o f i t s o w n .
9
‘A M I L L E N I A L’ S I N N O V AT I O N ’
10
a theraputic journey from public, private to seclusion
SITE PL AN: a narrative from public to private
11
02 SEMESTER 2, 2016
STUDIO FIRE
t u t o r : m a rk i r v i n g
I n d i v i du a l
‘ASCENT INTO CONSCIOUSNESS’ THERAPUTIC & MENTAL WELLBEING CENTER
1
2
3 1 public gesture: connectivity to street+neighbours 2 implement internatlized programe > stretch to reach apex 3 encase with roof & facade
T h e i n d i v i d u a l a p p ro a c h e s t h e underpopulated intersection of Batman St and Spencer St with a purpose- a form of spiritual e n l i g h t e n m e n t , a c h a n c e to f a c e o n e s e l f a n d r e f i g u r e o n e’s p o s i t i o n i n t h e w o r l d . T h e ‘ T h e ra p e u t i c c e n t e r for mental wellbeing’ includes a c o m b i n a t i o n o f c o m p l e x p ro g ra m s such as consulation suites, galleries a n d o f f i c e s t h a t s e e k to b r i n g v i s i to r s t h ro u g h a s p i r i t u a l j o u r n e y o f 5 s t a g e s - e m p h a s i z i n g t h e t ra n s i t i o n
f ro m t h e p u b l i c to p r i v a t e . t h e g ra d a t i o n w a s d o n e t h ro u g h implementing an urban gesture e n c o u ra g i n g public c o n n e c t i v i t y, implementation of the privacy h i e ra r c h y ’a s the main p ro g ra m s p a c e , ( Fo r m f i n d i n g t h ro u g h l o o k i n g at the negative space, cutting blocks f ro m b l o c k s ) b e f o r e t h e b u i l d i n g w a s encased with a screening facade and ro o f to r e s p o n d to n a t u ra l c o n t e x t . 12
Fro m c o n c e a l m e n t i n to a m o r e comfor table, expressive private s p a c e - T h e j o u r n e y t h ro u g h t h e building strips away layers of p s y c h o l o g i c a l b a r r i e r s to a p o i n t o f s e l f - r e a l i z a t i o n a n d v u l n e ra b i l i t y. The building is organized in a way that anticipates a journey of 5 stages which are predominately d e f i n e d b y t h e l e v e l o f p r i v a c y. Upon (1a) a p p ro a c h i n g the b u i l d i n g , v i s i to r s w i l l e n t e r a n arcade system with open public spaces (1b), before entering the main atrium space (2). The atrium space has two main means of ver tical circulation, staircase f o r t h e j o u r n e y a n d a n e l e v a to r f o r e f f i c i e n c y, ( 3 ) t h e l e v e l o f p r i v a c y i n c r e a s e s a n d u s e r g ro u p s decrease, until they reach a s e c l u d e d s e l f - m e d i a t i o n ro o m ( 4 ) before leaving the building and refacing the world in a renewed state of mind (5).
13
14
S TAG E 1 : A P P R OAC H S T A G E 2 : P E R I P H E R A L C O N S C I O U S N E S S / AT R I U M
15
T H E R A P U T I C / M E NTA L W E L L B E I N G P R O G R A M M E C I R C L E
MEANS OF VERTICAL CIRCULATION
The healing journey is seen as a looped cycle ra t h e r t h a n a l i n e a r o n e ; h e n c e , i n s t e a d o f a m e r e t ra n s i t i o n f ro m p u b l i c to p r i v a t e - i t a l l o w s v i s i to r s t h e a b i l i t y to r e f a c e t h e p u b l i c . T h e staircase system emphasizes the notion of the j o u r n e y w h i l e e l e v a to r s c a t e r m o r e f o r e f f i c i e n c y. 16
P ro g ra m s a r e c a t e g o r i z e d b a s e d o n l e v e l s o f p r i v a c y w i t h a s t ro n g e m p h a s i s on ver ticality: P u b l i c : r e t a i l & r e s t a u ra n t S e m i - p u b l i c ( l a rg e g ro u p s ) : G a l l e r i e s , Offices, Cour tyard and Seminars Semi-Public (Small G ro u p s ) : Consulting Suites, Hotel Private: Meditation Room for one T h e i n t e r n a l f o r m i s g e n e ra t e d l a r g e l y t h ro u g h l o o k i n g a t t h e n e g a t i v e s p a c e s a n d c u t t i n g a w a y c u b e s f ro m c u b e s , resulting in floor plans that are split i n to h a l v e s t h ro u g h a d o u b l y l o a d e d c o r r i d o r. W h i l e t h e b u i l d i n g f o c u s e s m o r e o n t h e i n t e r n a l i z e d t h e ra p e u t i c p ro g ra m , the building r e fe r e n c e s religious architecturewhere the j o u r n e y l e a d s to a n a p e x : t h e s e l f m e d i t a t i o n ro o m . H e n c e , t h e b u i l d i n g stresses on the relationship with the s k y, w h e r e c o n n e c t i o n to t h e l a r g e r c o s m o s a c t s a s a t h e ra p e u t i c s t ra t e g y.
17
18
19 S TA G E 1 : ENTRANC E / C O M M U N IT Y
S TA G E 5 : RETURN / HEALING
S TA G E 2 : P E R I P H E R A L C O N S C I O U S N E S S / AT R I U M
FLOOR PL ANS
20
21 S TA G E 2 : PERIPHERAL CONSCIOUSNESS
S TA G E 3 : A S C E N D I N G TO H I G H E R L E V E L S O F P R I VAC Y
S TA G E 4 : S E L F - M E D I T AT I O N R O O M
FLOOR PL ANS
22
C O N S T R U C T I O N + M E C H A N I C A L C O N S I D E R AT I O N
In terms of construction, the building is capped with a skilion roof to maximize sunlight into the meditation room. It is cased with prefabricated concrete panels with descending window sizes that respond to the level of privacy, and outermost sheltered by a parametrically modelled faรงade which follows a twisting screen system, evoking a sense of mystery and allurement. Metaphorically, the twisting screening system veils and unveils the building in the same manner mental patients veil and unveils themselves to the world.
parametric twisting facade system
openings based on level of privacy
WINDOW ARRAY
SCALE AND MOVE
SCALED FOR SENSE OF 'MASS'
23
section model
24
O V E R A R C H I N G P R O C E S S - F R O M S C R I P T I N G T O FA B R I C AT I O N
25
full journal: https://issuu.com/naomijng/docs/journal_final_ng_naomi_com2
03 SEMESTER 2, 2016
STUDIO AIR
In
tutor: sonya parton
collaboration with
V a n ess a H o
‘AQUA-CLOUD’ PARAMETRIC & ENVIRONMENTAL PAVILLION FOR MERRI CREEK
CATEGORY 1 METABALL GEOMETRY ITSELF
GROUPMATE’S IDEAS
CATEGORY 2 BUILDING UP REVERSE ENGINEERED SCRIPT
CATEGORY 3 CUTTING FROM/ PATTERNATION
SUCESSFULL HYBRIDS
ANALYSIS AGAINST CRITERIA
CATEGORY 4 INTRODUCE NEW GEOMETRIES
DIVERGING IDEAS
HYBRID & CONVERGING IDEAS
COMBINED HYBRIDS
MY IDEAS
SUCESSFUL DESIGNS
PROTOTYPING
CONVERGING IDEAS
HYBRID & DIVERGING IDEAS
CONVERGING IDEAS
‘FUNCTION FOLLOWS FORM’
Studio Air is unconventional in a sense that it adapts a function follows form philosophy; exploring the possibilities of p a ra m e t r i c d e s i g n t h ro u g h a r i g o ro u s d i v e r g i n g a n d c o n v e r g i n g p ro c e s s . T h e s t u d i o i n vo l ve s 3 m a i n s t a g e s : ( 1 ) D eve l o p i n g a ra n g e o f i t e ra t i o n s o n a s e l e c t e d p ro j e c t t e c to n i c , s p e c i f i c a l l y t h e m e t a b a l l , ( 2 ) m e r g i n g t e c to n i c s w i t h s t u d i o p a r t n e r to g e n e ra t e a h y b r i d
s c r i p t f ro m G ra s s h o p p e r 3 D a n d ( 3 ) a p p l y i n g t h e u n i v e r s a l s c r i p t i n to a c o n t e x t s p e c i f i c b r i e f . U l t i m a t e l y, t h e ‘A q u a C l o u d ’ s e r v e s a s a p a v i l l i o n , b r i d g e a n d w a t e r f i l t ra t i o n s y s t e m in Merri Creek that unites man with the marine biosphere by elevating e n v i ro n m e n t a l a w a r e n e s s t h ro u g h p a r t i c i p a to r y d e s i g n . 26
F I G . 1 D E C O M P O S I N G O U R PA R A M E T R I C T E C T O N I C : M E S H FA C E M E T A B A L L S
F I G.2 IT E R AT I O N + O P T I M I Z AT I O N O F M E TA-B A L L T E CTO N I C
VARIATION/01
CULL=TF
1LAYER
VARIATION/01
SET METABALL NUMBER OF POINTS & LOCATION
VARIATION/02
CULL=TF(WITH-GEOMETRY)
VARIATION/02
POINT NUMBER=3
REDUCE MESH NUMBER (90% REDUCTION)
TURN TRIANGULATED PANELS INTO QUADRANGLES THROUGH CATMULL CLARK SUBDIVISION
VARIATION/04
CULL=TFFF
2LAYER
POINT NUMBER=1
CHANGE SIZE OF RADIUS/ THRESHOLD ACCORDING TO FLOW DIRECTION
VARIATION/03
CULL-TFFFFFF
3LAYER
VARIATION/03
POINT NUMBER=7
5LAYER
VARIATION/04
POINT NUMBER=10
VARIATION/05
CULL=TFFFFFF
2LAYER-LARGE-OFFSET
VARIATION/05
VARIATION/06
POINT NUMBER=15
POINT NUMBER=20
GET QUADRANGLE MESH SURFACES
C O M B I N I N G T H R O U G H M E TA B A L L F O R M , T E N S I L E S U R FA C E S BASE GEOMETRY OF METABALL
The first stage looks at the potential of p a ra m e t r i c m o d e l l i n g t h ro u g h s c r i p t i n g a selected t e c to n i c : meta-ball, an organic n-dimensional g e o m e t r y. By disassembling the fundamental principles i n to f ra m e s , n o d e s , s u r f a c e s a n d i n f i l l s [ F i g . 1 ] , r e f i n e m e n t to t h e s c r i p t e x p l o r e d new modes of performative optimization t h ro u g h a n i t e ra t i v e f o r m - f i n d i n g p ro c e s s [ F i g . 2 ] . T h ro u g h c o l l a b o ra t i o n , a g e o m e t r i c hybrid of meta-balls and tensile surfaces w a s c u ra t e d , p r e d o m i n a n t l y f o c u s i n g o n t h e c o n s t ra i n t s o f p h y s i c s o n t h e c ro s s bred form [Fig.3]. SET METABALL NUMBER OF POINTS & LOCATION
CHANGE SIZE OF RADIUS/ THRESHOLD ACCORDING TO FLOW DIRECTION
CREATE A MESH RELAXED SURFACE
REDUCE MESH NUMBER (90% REDUCTION)
TURN TRIANGULATED PANELS INTO QUADRANGLES THROUGH CATMULL CLARK SUBDIVISION
GET QUADRANGLE MESH SURFACES
FIND POINTS ON METABALL
INPUT PLUGIN PANEL THROUGH BOX MORPH
MODIFY STRENGTH OF TENSILE FORCE ACTING ON PANELS TO SEE ELASTIC BEHAVIOUR
BASE GEOMETRY OF METABALL
STRUCTUAL OPTIMIZATION (VIA KANGAROO PHYSICS)
NEW APPROACH FOR FABRICATION (VIA ATTRACTOR CURVES)
CREATE A MESH RELAXED SURFACE
SET METABALL NUMBER OF POINTS & LOCATION
CHANGE SIZE OF RADIUS/ THRESHOLD ACCORDING TO FLOW DIRECTION
REDUCE MESH NUMBER
SET ATTRACTOR POINT/CURVE
TURN TRIANGULATED PANELS INPUT PLUGIN PANEL THROUGH DRAW ARC BETWEEN INTO QUADRANGLES THROUGH BOX ENDMORPH POINTS
FIND POINTS POINTS ON ON METABALL METABALL FIND (90% REDUCTION)
CATMULL CLARK SUBDIVISION
MODIFY STRENGTH OF TENSILE ADJUST PANEL THICKNESS GET QUADRANGLE MESH FORCE ACTING ON PANELS TO (BENDING DEGREE OF ARC) SURFACES SEE ELASTIC BEHAVIOURTO ACCORDING TO PROXIMITY ATTRACTOR CURVE
SELECT ‘X’ PANELS
BASE GEOMETRY OF METABALL
STRUCTUAL OPTIMIZATION (VIA KANGAROO PHYSICS)
FIG.3 DEVELOPMENT OF HYBRID GEOMTRY 163.0
UNROLL BASE GEOMETRY OF METABALLS EXPLODED
162.0
TAG PANELS
ORIENT TAG ONLY TO SQUARE GRID
161.0 160.0
UNROLL BASE GEOMETRY OF METABALLS UNEXPLODED
27 NEW APPROACH FOR FABRICATION (VIA ATTRACTOR CURVES)
TAG PANELS FIND POINTS ON METABALL
UNEXPLODED TEMPLATE TO BE PRINTED 1:1 AS REFERENCE FOR FABRICATION DRAW ARC BETWEEN END POINTS
173.0
183.0
172.0
182.0
193.0
192.0
203.0
202.0
213.0
212.0
SET ATTRACTOR POINT/CURVE 171.0 181.0 191.0 201.0 211.0 170.0
180.0
190.0
200.0
ORIENT PANELS TO SQUARE
CREATE A MESH RELAXED GRID SURFACE
COMBINE THROUGH BAKING
210.0
ADJUST PANEL THICKNESS (BENDING DEGREE OF ARC) ACCORDING TO PROXIMITY TO ATTRACTOR CURVE
FIND POINTS ON METABALL
SELECT ‘X’ PANELS
INPUT PLUGIN PANEL THROUGH CREATE SQUARE GRID BOX MORPH
STRUCTUAL OPTIMIZATION (VIA KANGAROO PHYSICS)
FOR FABRICATION
163.0
173.0
183.0
162.0
172.0
182.0
193.0 192.0
203.0 202.0
213.0 212.0
ORIENT PANELS TO SQUARE
SET ATTRACTOR POINT/CURVE UNROLL GEOMETRY,
RAPID PROTOTYPING
M E C H A N I C A L D E TA I L S
col 1: cable-tie flexi-joint, fabricated faces col 2: reused cap fixed joint, fabricated frame col 3: permanent eyelets, elastic flexi-faces T h e s e c o n d s t a g e i s a p ro c e s s o f ra p i d p ro to t y p i n g i n w h i c h p ro b e w a y s o f t ra n s l a t i n g t h e s c r i p t i n to p h y s i c a l s p a c e , e x p l o r i n g t h e i r i m p l i c a t i o n s o n i n t e ra c t i v i t y, c o n s t r u c t a b i l i t y a n d f l e x i b i l i t y. T h ro u g h i n c r e m e n t a l r e f i n e m e n t , t h e f i n a l f o r m ( l e f t ) u t i l i z e s t e n s i l e s u r f a c e s i n p l a c e o f m e t a - b a l l f a c e s , f i xe d w i t h e y e l e t s a s n o d e s . T h e s e f a c e s m a ke u s e o f t h e ‘c a t m u l l - c l a r k s u b d i v i s i o n’ , w h e r e e a c h u n i q u e f a c e i s a p p l i e d w i t h d i f fe r e n t t e n s i l e s t r e n g t h s to f o r m a s m o o t h g ra d i e n t .
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M O D E L // I L L U M I N AT I O N E F F E C T S
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D E S I G N D E V E L O P M E N T + FA B R I C AT I O N P R O C E S S
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M E C H A N I C A L D E TA I L S
D E S I G N D E V E L O P M N T + FA B R I C AT I O N P R O C E S S
1 partner’stensile surface prototype 2 combined tectonic prototype 3 refining + experimenting prototype with mechanics 7-9 fabrication
30 *Design, Physical Modelling & scripting: collaborated efforts with Vanessa Ho. Photographs, graphics: idividual works.
M E R R I C R E E K : H I S T O R Y, PRESENT AND FUTURE?
SITE PLAN
E NVIRO, INT ERACT IO & ED UC AT IO
W H AT I S ' I N T E R A C T I O N ' T O U S ?
S tag e thre e invo l ves ap pl y in g th e adaptabl e sc r ipt into M e r r i c re e k . I ts infam o us his to r ic al ties wi th wate r p o llu tio n an d van dalis m p roje c te d to us as main d esign o p p o r tuni ties . H e n c e , o ur ag e n da fo c uses o n thre e at tr ib u tes: e nviro n m e nt , e du c atio n an d par ticipato r y inte rac tio n . Le n din g th e m o d e l of railway s tatio ns fo r i ts similar i t y in spatial ar ran g e m e nt , th e d esign se es to ac ti vate c o nn e c ti vi t y of t wo trails via a b r id g e & b uildin g a re latio nship b et we e n mar in e life an d mank in d . T hro u gh o u t f i ve ways whic h th e sc r ipt is u tilize d , I anticipate a jo ur n ey that ini tiall y allures visi to r s passi ve l y, e du c ates o ur im pac t thro u gh ac ti ve o bse r vatio n an d ul timate l y ex p oses visi to r s to c o nse qu e n c es/rewards (in fo r m of a wate r fo untain) d e p e n din g
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o n th e ir ac tio ns .
P E R F O M AT I V E O P T I M I Z AT I O N T H R O U G H A N
S T R U C T U A L A N A LY S I S O F A N T I C I P A T E D
IT E R AT I V E P R O C E S S
S T R E S S T H R O U G H A LO G R IT H M I C C O M P U TAT I O N
03a culled panels for min shading 01a round pods
01b merged pods
03b low-poly striped glazing
exploded-structual frame
exploded-window frame and panelisation
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p a ss i v e
c a f e + o b ser v a t o r y
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active
i n t er a c t i v e b r i d g e
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p a ss i v e
i n f o rm a t i o n p o ds
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active
u n der w a t er museum - p o d
re w a rd / c o n se q ue n c e
w a t er f i l t r a t i o n
+
fountain
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st r ate gi c mode l of lo ndon bridg e railway station
adapti n g to me r r i creek as a threshol d to activate two si de s & e stabli sh r e latio nship with river
A lthough fundamentally disparate in function, the London bridge station was used as a precedent that predominantly inspired the strategic design approach. As a central strip that lies bet we en t wo spaces of distinct character, London Bridge station successfully dissolves the segregated spaces through its f luid, unconventionally out ward looking plan, not only reconnecting relationship bet we en the t wo spaces , but also the relationship with the train trail itself. T he strategic model was adopted to the bridge as the threshold activating thre e spaces: the Merri Cre ek , S umner Park and Merri Park to encourage a journey of interactive edutainment, from passive to active.
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SITE PLAN
INTRODUCTION I N F O R M AT I O N P O D S
an informative intervention
lo w e r lv l - i n w a r d lo o k i n g , social interaction
outward looking, landscape observation
route 1-transparency across two space
route 2- detour for relationship with water
networked trail, encourage act of searching
viewing pods, learn about pollution on marine life
visual transparency with water source & affect on us
purification as collective responsibility, fountain symbolic of our efforts
SOCIAL INTERACTION C A F E / O B S E R VAT O R Y
passive visitors on predefined routes
sedimentation tank
filter
added chlorine
CONSEQUENCE U N D E R W AT E R P O D W A L K
pump
E X P L O R AT I O N + E D U C AT I O N U N D E R W AT E R P O D W A L K
filter
TRANSITION INTERACTIVE BRIDGE
water in
pump fountain
water filtration & purification process from river to fountain
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IMPLEMENTING FUNCTION IN PRIMITIVE FORMS AS METHOD OF FORM FINDING
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04 SEMESTER 2, 2015
STUDIO WATER tutor: francis wai I n d i v i du a l
STUDLEY PARK BOATHOUSE
main precedent takeaways: harmony with people, nature and built space
LEARNING FROM THE MASTERS: SANAA- A CHILD’S DREAM
The ‘Studley Park Boathouse’ emulates the formal architectural language & design processes of forefront contemporary Japanese architects Seijima and Nishizawa (SANAA). Havng undergone high-level analysis on selections of their projects, this project implements the underlying ideation
of harmony and respect between built space, nature and people and applies prominent motifs such as fluidity, expansiveness, simplicity in materiality for a bouthouse consisted of boat worksops, storage, retail, restaraunts and offices. 36
M O RIYAM A HO U S E C AS E S T UDY These models were done as case study of SAANA architect’s Moriyama House to explore how visual transparency, openness and privacy are counterbalanced through fragmented spatial arrangements. The positive/negative relationship between laneways and building blocks also acted as a crucial basis for how the ground floor of my design was carried out.
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First part of the boathouse, ‘riverdale’, built by the burns family.
Form retained till today. However it is aging and used for functions to make up for decreasing public interest.
Photograph of studley park 1890 with emerging infastructure
How can it recapture the interest as Victoria’s oldest boathouse?
Reconstruction of the boathouse in 1935, one year after the big flood in 1934.
S I T E A N A LY S I S
Painting of Kew, still habituated by aboriginals
distinct segreagation of functions
RESPONSE TO SITE/ FORM FINDING
functions-
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l o c a l f l o r a / t rees
lo c at i o n a n a ly s i s
natural light around, shaded by trees
su n p a t h -
footprint of existing boathouse to inform location of ground level functions
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abundant local flora and fauna vegetation-
a path option from a selection that avoids disruption of trees
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As the ideation is to set harmony between nature, people and built space , the form was largely informed by site analysis and its natural context. Design decisions were made to minimize the obstruction to the existing site, not cutting into natural land and minimal removal of existing vegetation. Functions and floor spaces were arranged as is on the ground floor and fit in a ribbon on the first floor, imitating the design development process of SANAA.
topography-
steep slope induces flooding risk
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i m p l eme n t a t i o n o f f o rm
for above ground level according to path
OFFICE
STATIC PRIVATE
1/F
W.C.
STATIC PUBLIC
G/F
G/F
DYNAMIC PUBLIC& PRIVATE
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C I R C U L AT I O N D I A G R A M
G/F SAANA PRECEDENT
G/F
1/F
OFFICE
KITCHEN
OFFICE
FREE SPACE (RAMP)
COURTYARD
BOAT WORKSHOP RIVER
WC
RESTARAUNT
BOAT STORAGE
CAFE
FREE SPACE (RAMP)
KITCHEN
COURTYARD
TAICHUNG C U LT R A L C E N T E R
FREE SPACE (RAMP)
COURTYARD KIOSK
KIOSK
WC
RESTARAUNT CAFE
DYNAMIC
BOAT WORKSHOP RIVER
FREE SPACE (RAMP)
COURTYARD
BOAT STORAGE
KIOSK KIOSK
S TAT I C
ROLEX LEARNING CENTER
OUTWARD LOOKING
FOOTPRINT
VIEWS+ENTRY POINTS
1/F SAANA PRECEDENT
S T R U CT UA L L AYO U T
M O R IYA M A H O U S E
21C. MUSEUM OF CONTEMPORARY ART
- S PA C E S
PERIMETER
As p e ct s o f t he b o at h o u se b o rro w fo rmal l a n gu a ge s f ro m SAAN A’s p ro jec ts an d emp loyed to fo r m u l a t e m y o w n reper to ire. Hav in g d iv id ed d y n a m i c a n d s t atic sp ac es in to t w o levels, d esig n re fi n e m e n t a d o pted I n ten t io n al simplic it y amid st v i e ws , f o o t p r i n t an d st ru c tu ral layo u t to u lt imately p ro m o t e a p p re c iat io n fo r n at u re. T h e c o u r t ya rd is a primar y mo t if in t h e p ro jec t, l i qu e f y i n g t h e relat io n sh ip bet w een peo ple a n d n a t u re , s e r v in g as a c o mmu n ity h u b th at
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+ S PA C E
G R I D-A R R AY
S E R P I N T I N E PAV I L I O N
ROLEX LEARNING CENTER
e ncourage s ocial amalgamation. It is e ncircled by a fluid, r ibbon-es que ramp that ge ntly unifies the two levels . No s ingular view is s pe cifically frame d to allude expans ivity along the organic, undulate d path. T his is achieved by minimizing obs tr uction from columns , which may be amply ar raye d along its gr id, but re tains vis ual trans parency through its s lende r build. It’s s imple, almos t childlike qualities de em the s pace s uitable for familie s , children, dis abled and e lde r ly alike .
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Consist of a cafĂŠ, retail, boat storage/workshop, outdoor areas and Back of House, the boathouse borrows the core principals of harmony among people, built space and nature into its form; the main tectonic juxtaposes fragmented cubic modules on the ground floor with a fluid, undulating space on the second floor.
GROUND FLOOR
F I R S T F LO O R R E S TA R AU NT
RIVER VIEW
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D a i l y r u n n i n g of b oa th ou se b e co m e s a c ommu n i ty h u b for l e i su re , s o ci a l i si n g a n d h ob by - g oer s.
T O D AY
Night t ime boat house can m ake u s e of t he cent ralized void as a g at h e ri n g space f or st ar gazing+ cam pi n g .
TONIGHT
W h i l e B oat h i re c l os e s i n w i n t e r, s pac e c an be u s e d f or w i n t e r m arke t s , fe s t i val s , pe r f orm an c e s an d pu bl i c s k at e ri n k .
NEXT WINTER
W h e n n at u re t ake s ove r, th e a b ove gro u n d l eve l w i l l be c om e t h e a c tive s p a c e , s im i l ar m an n e r as an e n c lo s e d f o re s t tra il.
NEXT FEW DECADES
S O U T H - W E S T E L E V AT I O N
G / F P L A N - F R A G M E N T E D C U B E S - M O V E M E N T I N N E G AT I V E S PA C E
1 / f P L A N - F L U I D S PA C E - M O V E M E N T I N P O S I T I V E S PA C E
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04 SEMESTER 1, 2015
D I G I TA L D E S I G N & FA B R I C AT I O N tutor: michelle emma james + paul loh
Collaboration with Samuel Coleman
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Is architecture the manipulation of space and our response to it? If so, could architecture be wearable? Our ‘Second Skin’ poses as a wearable structure that reacts to the notion of Personal Space; It falls in a relaxed state when in harmony with its direct environment, but activates a defense mechanism at moments of extreme discomfort, violation or attack. The second skin swells; shards erect and strike out. The kinetically responsive second skin is largely aided by means of digital modelling, translating ideas into wearable structures.
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what is personal space to us?
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*Design & fabrication: collaborated efforts with Samuel Coleman. Photography: Rosie Gunzberg. Graphics: idividual
raising shards
lifting shards frame
PAT T E R N AT I O N I N B I O M I M I C R Y The exponential growth found in the shoots and fruits of pineapple are examples of algorithmic patternation found in nature. Yet, its uncontrollable variables provokes a sense of organized chaos that predominantly inspired our second skin as a form of biomimicry.
t elevation: relaxed
Front elevation: discomfort
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assembly + fabrication
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SEMESTER 1, 2016
CONSTRUCTION DESIGN tutor: annika bree field Individual
MODEL DE TAILS
T h e s e c t i o n a l s t r u c t u ra l s t u d y o n t h e ‘ We s t p a c Center/Olympic park community facility’ in B a t m a n Av e n u e b y C roxo n R a m s ay A rc h i t e c t s s h o w s c o n s t r u c t i o n m e t h o d o l o g i e s , p ro c e s s e s and materials used within real-world commercial buildings.
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OVERALL SECTION LOOKING OUT
E x p r e s s e d a s a ‘s t r i p p e d ’ a xo n o m e t r i c d ra w i n g & a 1:20 physical model, the purpose for each b u i l d i n g e l e m e n t a n d c h ro n o l o g y o f c o n s t r u c t i o n was carefully examined, analyzing the relationship/conflicts between design intentions a n d fe a s i b i l i t y o f c o n s t r u c t i o n .
13.6
SECTION B1 AXONOMETRIC DRAWING
13.7
13.8
13.11
1.0 SITE WORKS AND FOUNDATION 1.1 FILLED GRAVEL 2.8M DEPTH. 1.2 SILTY CLAY 5.9M DEPTH. 1.3 BASALT AT 11.15M DEPTH. GOOD STABLE SOIL 1.4 NATURAL TOPOGRAPHY WITH 1:100 (1.2M) FALL AND 100MM SITE STRIPING 1.5 STABILIZED SAND BACK FILLED
13.9
13.5 13.10
2.0 FOOTING SYSTEM 2.1 VAPOUR BARRIER WITH CHEMICALLY TREATED TERMITE PROTECTION 2.2 BORED PIER FOOTING: CONCRETE STRENGTH 40MPA, BOTTOM AND TOP COVER 60MM, BEARING CAPACITY OF 5000KPA, SIDE FRICTION 500KPA. 400 DIAMETERS, 6N24 BARS, R10LIG@300 CTS. 1400MM DEEP TOO MODERATELY TO HIGHLY WEATHERED BASALT SOIL.
9.1
3.0 GROUND FLOOR SLAB 3.1 120MM REBATED BLOCKWORK AS DOOR GUIDE TRACK 3.2 2 X REINFORCED SQUARE MESH 40MM HEIGHT AT TOP AND BOTTOM OF SLAB WITH TRENCH MESH. GB1, GB2, GB3, GB4, POST TENSIONING SLAB 3.3 BAR CHAIRS TO HOLD REINFORCING TO POSITION
9.2 10.4
4.0 CONCRETE COLUMNS AND DOORS 4.1 IN SITU REINFORCED CONCRETE COLUMNS WITH CHAMFERED CORNERS AND PAINTED FINISH 4.2 COLUMN REINFORCEMENT, WITH STARTER BARS FROM FOOTING TO CONCRETE COLUMNS (SUPPORTED BY 2 LIGATURES) 4.3 D0.64 (STEEL SWING DOOR, POST TENSIONING, FRAMELESS SHOPFRONT, STEEL PLATE REVEALED, MEASURED ON SITE, SMOOTH SURFACE AND PAINT FINISH. METAL PLATE 8MM
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11.1 13.3 10.2
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4.0 NOTE [NOT ON DRAWINGD0.63 AND D0.65 (POST TENSIONED, BIFOLD DOORS, FRAMELESS SHOPFRONT)
10.1
10.3
5.0 5.1 5.2 5.3 5.4
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11.3
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6.0 STRUCTURAL COLUMN AND BEAMS 6.1 OFFICES 150 RAKED EXPOSED UNIVERSAL COLUMN WITH PAINT FINISH. GRADE 300 PLUS. 6.2 EXPOSED RAKED UNIVERSAL BEAM WITH PAINT FINISH. GRADE 300 PLUS.
7.4 8.6
7.1
6.2 9.1
7.0 1F CEILING 7.1 APPLIED SUSPENDED CEILING WITH CUSTOM FOLDED SERVICE TRAY ON PLY BACKING 7.2 10MM SUSPENDED PLASTERBOARD CEILING 7.3 MDF BULKHEAD 7.4 CABLE TIES CONNECTING TO UPPER BEAMS
6.1
7.0 NOTES: RAKED BLINDS X4 WITH SS GUIDES
5.3
8.0 FACADE GLAZING SYSTEM (WINDOW SILL AND LINTEL) 8.1 GLAZING PANELS CONNECTED BY RAKED ALUMINUM MULLION SUPPORT BLADES 8.2 SPANDREL INSULATION 8.3 DOUBLE GLAZING SPANDREL PANEL 8.4 STEEL SHELF ANGLE MECHANICALLY FIXED TO SLAB EDGE TO SUPPORT WINDOW SILL 8.5 STEEL PLATE MULLION MECHANICALLY FIXED TO SLAB EDGE 8.6 MC3 VMZINC FLAT LOCK FOLDED FLASHING AND GALVANIZED STIFFENER AT AN ANGLE. FULLY SEALED WITH SILICON SEAL, BACKING ROD AND NEGATIVE JOINT 8.7 ALUMINIUM TRANSOM
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1F SLAB + FLOORBOARD CONCRETE CANTILEVERED EDGE BEAM 180 AND 220 THICK SLAB POST TENSIONING BARS DOUBLE SQUARE MESH
16.6
9.0 TRUSS AND FACADE SYSTEM 9.2 200 X 90 PARALLEL FLANGED CHANNEL TOP AND BOTTOM CHORD (RT3) 9.2 VERTICAL AND DIAGONAL SQUARED HOLLOW SECTION 75 X 4.0 SCALE 1:50
10.0 FAÇADE CLADDING 10.1 MC2 CLADDING- VMZINC INTERLOCK PANEL- 1MM THICK, INTERLOCKED WITH 5-18 MM JOINTS 10.2 VAPOUR PERMEABLE MEMBRANE 10.3 SUB FRAMING CHANNELS 10.4 BREATHER MEMBRANE
8.2 8.3 5.1 8.5
5.2
8.1
8.4
15.1 16.2
12.0 JOINERY 12.1 PLASTERBOARD WALL LINING AND FLOOR SKIRTING
14.2
14.3
14.4
16.1
1.1
11.0 SILL 11.1 SILL HOOD CANOPY FRAMING 11.2 14.5 75 X 5.0 SHS STUB WITH 1500 SPACING. 6 CFW TO CAST IN METAL PLATES (STUB IS THE LIGHT BLUE FRAME) 11.3 MC3 VMZINC FOLDED FLASHING
14.1
15.3
SCALE 1:50
4.3
4.2 1.2
3.1
13.0 ROOFING SYSTEM 13.1 FOLDED COLOR BOUND BOX GUTTER, INSULATION AND FULL BOX GUTTER ASSEMBLY 13.2 INSECT SCREEN (NEXT TO INSULATION) 13.3 YELLOW ROOF FLASHING NEXT TO GUTTER: APRON FLASHING, ROOF SHEET, PLYWOOD BACKING, AND BLANKET INSULATION, 13.4 BULK INSULATION 13.5 COLOURBOND FOLDED ZINC FLASHING (CAP) WITH BREATHER MEMBRANE AND PLY SUBSTRATE AND GALVANIZED STIFFENERS 13.6 BONDEK INTERLOCKING ROOF DECKING AT PITCHED ANGLE 13.7 BLANKET INSULATION 13.8 VAPOUR PERMEABLE MEMBRANE 13.9 BULK INSULATION IN BETWEEN PURLINS 13.10 PURLINS 13.11 TENSION ROD CROSS BRACING
4.1 2.2
15.2 2.1
1.4 3.2
14.0 EXTERNAL GUTTER 14.1 FOLDED COLOURBOND BOX GUTTER AT PITCHED ANGLE WITH ROOF SHEET AND PLYWOOD BACKING 14.2 INSULATION 14.3 BONDEK 14.4 FOLDED COLOURBOND FLASHING 15.0 OUTDOOR CAFE 15.1 FULLY WELDED 100 UNIVERSAL COLUMN 15MM THICKNESS 15.2 BOLTED TO 600 X 600 X 400 DEEP PAD FOOTING UNDER STEEL MEMBER 15.3 RIDGE BETWEEN PAVED CONCOURSE AND OUTDOOR SEATING AREA 16.0 FASCIA 16.1 BRICKS: MINIMUM 15MPA, STRETCHER BOND, 25MM CLEAR OF SOFFIT OF SLABS AND BEAMS, FILLED WITH COMPRESSIBLE FILLER AND SEALANT. FIRE RATED. WEEP HOLES 1000SPACING MAX 16.2 FOLDED SOFFIT FLASHING WITH BREATHER MEMBRANE AND PLYWOOD SUBSTRATE AND GALVANIZED STIFFENERS 16.3 SUSPENDED TIMBER CEILING WITH SUBSTRATE AND FRAMING 16.4 CONNECTED TO UPPER BEAMS THROUGH INSULATION WITH CABLE TIES 16.5 PLYWOOD BRACE TO HANGER 16.6 CAVITY FLASHING 16.7 STUDS MECHANICALLY BOLTED TO 1F SLAB ON PFC 16.8 SHELF BRICKWORK TO ANGLE
1.3
1.5
LOCATION PLAN: SECTION B1
48 *Drawing & Model: individual work based off design by Croxon Ramsay Architects.
06 SEMESTER 2, 2015
C O N S T R U C T I O N A N A LY S I S tutor: matthew john borg Individual
S TAG E 1 2 : F I N A L F I N I S H E S
2 stages were selected f ro m a s e r i e s o f 1 2 p l a n s and sections – in which outline the construction p ro c e s s e s o f t h e ‘c a v e h o u s e’ by McBride Charles Ryan Architects in Rober ts Road, Belmont. Beginning f ro m e xc a v a t i o n to f i n a l f i n i s h e s , each stage of construction was documented t h ro u g h examining p h o to records and working d ra w i n g s . The relationship between b u i l d i n g e l e m e n t s , t e m p o ra r y structures, equipment and labor p ro v i d e d elevated understanding to w a r d s p r i v a t e r e s i d e n t i a l p ro j e c t s .
S TAG E 1 2 : F I N A L F I N I S H E S & L A N D S C A P I N G
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These are selected works from the project ‘ 'People in the City' ’, exploring the urban conditions of Hong Kong. Majority of these works trace the implications of my grandfather’s dementia in a city where East meets West, old meets new. From close details of drapery to cityscapes, the blend of oil and acrylic paint was used as the medium to convey the ways in which dementia affects perceptions of home and place.
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1-Drawings of drapery during a study in textiles, 2-These sketches capture the memories of places that made an impact to me during my time in Melbourne, Australia.
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