MoA Design Book by noel

BOOK 2

ARCHITECTURE AS RESEARCH |

From Sources Deep Within:

Two Reservoirs Of Art

Yaxley|Studio

BOOK 2

ARCHITECTURE AS RESEARCH | From Sources Deep Within: Two Reservoirs Of Art Yaxley|Studio

BOOK 2

ARCHITECTURE AS RESEARCH | From Sources Deep Within: Two Reservoirs Of Art Yaxley|Studio

Master of Architecture - Final Year Architectural Design Program School of Architecture and the Built Environment, The University of Newcastle, NSW, Australia November 2014

01 FORWARD

PROJECT ORIENTATION

M A r c h 2013-14 University Of Newcastle

Memorial M us eum

02 CONCEPT DESIGN Th e Domain Pav ilio n

03 SCHEMATIC DESIGN Newcast le A rt G allery

NCCA COMPLIANCE

INTERLUDE

BCA Compl i a n c e R e p o r t

N E PS C o m p . / R ef lect io n

06 DEVELOPED ARCH. N ewcas t le C ult ural Annex es 01

SIM

A661

Site Section Looking East 3,000

STRUCTURAL GLASS TO ENGINEER SPECS WITH CLEAR SILICONE JOINTS ENCLOSING EXIT STRUCTURE AT TOP OF STAIRS FROM RESERVOIR GALLERY

2,900

2,140

3,600

2,760

6,000

2,500

3,000

1,100

BEAMS COMPOSED OF: 2 X 8MM X 1500MM COLD BLACK OXIDE STEEL PLATES HOT RIVETED WITH 100MM SPACER CONSTRUCTED OFF SITE WITH BOLT FIX ASSEMBLY ONSITE. BENT COLD BLACK OXIDE STEEL CAPPING WITH CONTINUOUS WELD AT JOINTS

SIM

VARIOUS DIAMETERS 50mm - 200mm CUT FROM STEEL ROOFING PLATES. FIT WITH MILD STEEL PIPING 0F 400mm LEGTH TO PROTRUDE INTO RESERVOIR GALLERY SPACE FLUSH WELDED WITH TOP PLATE. POLISHED INSIDE OF PIPE TO HIGH REFLECTANCE AND FILL WITH MOLTEN GLASS ALLOW FOR CONCAVE FINISH OF GLASS AT TOP FOR WATER OFFLOW AND CONVEX FINISH AT BOTTOM FOR EVEN DISPERSION OF LIGHT POINTS.

3,000

A661

OBELISK BEYOND COLD BLACK OXIDE STEEL CONNECTING PLATE BOLT FIXED ON SITE

SIM

A631 SIM

100

RL +13.000 (Beams)

A661

1,000

BLUESCOPE STEEL GRADE 250 XLERPLATE WELDED GRATE OVER GUTTER. 8MM COLD BLACK OXIDE STEEL PLATES CONTINUOUS WELD BETWEEN BEAMS

RL +12.000 LEVEL 3 (Roof)

180mm HIGH R VALUE INSULATION 200

25mm PLYWOOD CURVED TO PROFILE OF STEEL ROOF SHEETING. PAINTED BLACK AUSTRALIAN ARCHITECTURAL HARDWOODS IRONBARK 30mmX50mm RECYCLED WHERE POSSIBLE SPACED AT 100mm CENTRES AND BENT TO VOID PROGRESSION PATH UTILISE LED BASED FIBRE OPTICS, WITH APPROPRIATE LENSES TO PROVIDE HIDDEN, GLARE-FREE LIGHTING

1,800

AUSTRALIAN ARCHITECTURAL HARDWOODS IRONBARK 30mmX50mm RECYCLED WHERE POSSIBLE SPACED AT 100mm CENTRES AND BENT TO RESERVOIR GALLERY RADIUS ELECTRICAL WINCH TO OPERATE PROJECTION CURTAIN RING BEAM

290

HIGH LUX VIDEO PROJECTOR SET AT 30 DEGREE INTERVALS AROUND PROJECTION CURTAIN RING BEAM SUSPENDED PROJECTION CURTAIN STEEL RING BEAM TO ADUIO VIUAL SPECIFICATIONS SUPPORTS LIGHTING AND EQIPMENT 2mm X 2500mm X 1200mm PERFORATED 316 STAINLESS STEEL SHEETS STAINLESS STEEL TYPE 1 (SS-1) 20mm HOLES AT 15% STAINLESS STEEL TYPE 2 (SS-2) 30mm HOLES AT 30% STAINLESS STEEL TYPE 3 (SS-3) 40mm HOLES AT 50% VERTICAL 50mm DIAMETRE (3mm WALL) 316 STAINLESS STEEL PIPE MEMBERS ANCHORED TO SANDSTONE WALL WITH CHEMSET TIES TO ENGINEERS SPECIFICATIONS

3,200

PROJECTOR CONNECTED TO 40mm SS PIPE RUNNING HORIZONTALLY SUPPORTED BY SYSTEMATIC ROCK DOWELLING ANCHORS. SEE AUDIO/VISUAL INSTALLATION NOTES. 9,000

SYSTEMATIC ROCK DOWELING WHERE REQUIRED FOLLOWED BY 150mm INITIAL SHOTCRETE LAYER WITH STEEL FIBRE REINFORCEMENT AS PER STRUCTURAL ENGINEER SPECIFICATION. SHOTCRETE IS LINED BY 3.6mm SIKA GEOTEXTILE 500g/m2 PROTECTIVE LAYER WHICH BACKS SIKAPLAN 2mm PVC WATERPROOFING MEMBRANE.

7,000 SIM

A621

20x65 CURVED MILD STEEL FLAT BAR HANDRAIL, BLACK OXIDE FINISH, FIXED TO ASTEC CUSTOM FITTING, GRIND SHARP EDGES TO 2-3mm RADIUS

3,100

6MM TOUGHENED GLASS (VIRIDIAN 'SUPERCLEAR' COLOUR VTOUGH GLASS AND VRENEW SELF CLEANING SURFACE AND NON SLIP COATING) 2 X 12.38mm TOUGHENED GLASS (VIRIDIAN 'SUPERCLEAR' COLOUR VTOUGH GLASS)

35 X 140 AUSTRALIAN ARCHITECTURAL HARDWOODS IRON BARK DECKING FIXED TO 90x50 R.H.S STRUCTURE TO ENGINEERS SPECIFICATION. BOARDS LAID FLUSH AND WITHIN RIGHT ANGLE STEEL FRAME SET 200MM FROM SANDSTONE SURFACE. R.H.S STRUCTURE BOLTED TO R.H.S GALVINIZED STEEL RAILS

CONCRETE SLAB TO ENGINEERS DETAIL ON EXISTING SANDSTONE BED SET IN 100MM FROM SANDSTONE WALL 50MM TOPPING LAYER OF AXOLOTLE WHITE POLISHED CONCRETE. FOLDED COLD BLACK OXIDE STEEL EXTENDED LANDING

200

100MM GUTTER FORMED BETWEEN SANDSTONE WALL AND CONCRETE SLAB TO BE FILLED WITH SMALL LOOSE SANDSTONE RUBBLE (APPROX 50MM DIAMETER)

TECHNICAL DESIGN

300

RL +3.000 LEVEL 2 (Reservoir Gallery)

MOUNTABLE SCREEN OF STRETCHED CANVAS OR OTHER MATERIAL TO BE DETERMINED BY ARTIST. SCREENS CAN BE CONTINUES ALONG WESTERN WALL VOID PROGRESSION OR AT PARTICULAR INTERVALS.

100

COLD BLACK OXIDE STEEL ANGLED FLAT BAR. UTILISE LED STRIP LIGHTING WITH APPROPRIATE LENSES TO PROVIDE HIDDEN, GLARE-FREE LIGHTING.

3,000

FIXING PINS CHEMICALLY SET INTO SANDSTONE AT 600 CENTRES TO ENGINEERS SPECIFICATION.

RIGHT ANGLE STEEL SECTION FLUSH WITH INNER RADIUS OF CONCRETE SLAB BOLT FIXED. SEE DEATIL A651. SUPPORTING STRUCTURE 80X150MM R.H.S WITH LED STRIP LIGHT ATTACHED TO UNDERSIDE.

2,526 4,060

300

3,000

2,900

2,140

3,600

14,000

1,200

2,760

RL ±0.000 LEVEL 1 (Street Level)

6,000

3,000

GENERAL NOTES ON DETAILS 01 A401

01 A401

T he O b elis k R es erv o ir G allery

- Concealed/Pelmet lighting in the theatre, as per detail ‘C’ in drawing E1005

1,300

4,260

8,800

9,780 8,480 1,500 OFFSET CENTRE POINT OF OVEL FROM RES. CIRCLE SETOUT

1,300

9,780 1,300

5,520

19,560

RL 3.000

4,260

STAGE 2

STAGE 3

STAGE 4

TOP ROTATION SET OUT OVAL

RL +9.000 ROTATION SET OUT OVAL

RL +6.000 ROTATION SET OUT OVAL

-DRILL HOLES AT 1m INTERVAL AT RL12.000 TO SET DEPTH OF EXCAVATION

NEWCOMEN

4,260

9,780 8,480

STAGE 1 EXISTING RESERVOIR

-REMOVE BACKFILL FROM WITHIN THE EXISTING RESERVOIR -REMOVE CONCRETE WALLS AND USE AS BACKFILL -CRAIN IN EXCAVATOR WITH ROCK GRINDING ATTACHMENT -CONTINUE RESERVOIR DOWN ANOTHER 3.5m

RL 6.000

8,800

1,300

8,800 17,600

ORDNANC E STREET

9,780 8,480 19,560

8,800

5,520

19,560

8,800

1,500

17,600

9,780

5,520

1,500

120.000°

OFFSET CENTRE POINT OF OVEL FROM RES. CIRCLE SETOUT

4,260

- Utilise LED based fibre optics, with appropriate lenses to provide hidden, glare-free lighting

9,780

5,520

SPECIFIC NOTES ON DETAILS

8,800

19,560

OFFSET CENTRE POINT OF OVEL FROM RES. CIRCLE SETOUT 1,500

60.000°

9,780 8,480

RL 9.000

RL 3.000

17,600

9,780

RL 6.000

OFFSET CENTRE POINT OF OVEL FROM RES. CIRCLE SETOUT

- Cold black oxide is applied at room temperature and is a deposited copper selenium compound. Post application of oil, wax, or lacquer creates a high corrosion resistance surface whilst maintaining a patina on the steel.

RL 12.000

8,800

RL 9.000

SETOUT POINT - S03/SAA

- Most of the details within the building are concealed details through gaps and openings in the wall to emphasise the subterranean setting and create a feeling of anticipation moving into and through the exhibition spaces

01 A401

17,600

RL 12.000

WOLFE STREET

01 A401

EXCAVATION METHOD USES A TOP DOWN PROCESS SEE A050s FOR DETAILED EXCAVATION DRAWINGS

-DRILL HOLES AT 1m INTERVAL AT RL12.000 TO SET DEPTH OF EXCAVATION

STAGE 5

STAGE 6

RL +3.000 ROTATION SET OUT OVAL

-DRILL HOLES AT 1m INTERVAL AT RL12.000 TO SET DEPTH OF EXCAVATION

OVERLAY OF ROTATION

-DRILL HOLES AT 1m INTERVAL AT RL12.000 TO SET DEPTH OF EXCAVATION

RESERVE

-REPEAT PROCESS WITH GREATER SMALLER ROTATION DEGREE FOR SMOOTHER MORE ACCURATE EXCAVATION SET OUT

Yaxley | Studio N

UoN - Architecture Faculty

ROAD

SITE PLAN 1:2000

PLAN EXCAVATION SET OUT DIAGRAM 1:250

mob. 0401 960 097 email: noel@yaxleystudio.com

300

2,500

26,700

SECTION AA RESERVOIR GALLERY 1:50

Notes:

Completion of the quality assurance checks is verification that the document The ideas, information and concepts contained in this document are the property of conforms with the requirements of the quality project plan. Where the quality Yaxley|Studio. Photocopying or reproducing this document and passing it onto assurance check is incomplete this document is preliminary for information others without the express permission of Yaxley|Studio is an infringement of purposes only, or such purposes as stated in the revision column. copyright. All errors and omissions must be reported immediately to the designer.

Client:

Newcastle Art Gallery with The City Of Newcastle

Consultants to ARBE 6230 Arch. Design 5A:

Project:

CONSTRUCTION

19/09/2014

To be confirmed with Jason Elsley

Revision

Issued For

Date

Drawn

Chk

Comments

GSPublisherEngine 0.0.100.35

08 THE ARCHITECTURAL PROJECT

Newcastle Cultural Annexs Stage 1: The Obelisk Site Newcastle Stage 2: No.1 Brown Street Resevoir

Drawing Title:

SECTION AA - RES. GALLERY Scale:

As Noted @ A1

Date Printed: 26/09/2014 Phase:

STAGE 1 ISSUED FOR

CONSTRUCTION

Drawing No:

A401

DEDICAT I O N + A cknowledge m e n t s

The final year of the Master of Architecture program

mentioned below, some played fundamental roles

at the University of Newcastle marks the culmination

in the direction of the project, others were there to

of five years of architectural study in the Bachelor

listen. Whatever role you played, I am grateful for

and Masters programs. This year is also valued as

your time and wisdom, given graciously and often

the first year of a professional career.

above the call of duty.

The journey through a year-long dynamic process has resulted in significant change and development of the elective architectural project. A proposal that began large and singular was continuously distilled

Many thanks and much appreciation to: My parents -

Bruce Yaxley Paola Favaro

and refined. The selection of The Hill as project site started by

My brother -

Daniel Yaxley

moving into a terrace house in the area, at 92 Wolfe

My final year tutors -

Jason Elsley

Street. A personal engagement with the surrounding context, resulted in this project for the Newcastle

Michael Chapman Program convenor -

Chris Tucker

Management lecturer -

Ramsey Awad

Professor -

Richard Leplastrier

hours of research, investigation, conversations,

Professor -

Peter Stutchbury

study, time on site, sketches and photographs to

Reassuring tutors -

Tom Rivard

Cultural Annex to be designed in these sites. In fact the residence falls direcly between the Obelisk Hill and the Brown Street Reservoir, the two foremost sites for the NCA project. This allowed for many

produce a scheme that responds to the landscape

Derren Lowe

and its urban context.

John Roberts

Architecture is something I was made to look at and understand from a young age. My Parents, Bruce &

Practice Mentors -

Richard Francis-Jones

Paola, [yes you guessed it] are also architects. Their

& Matthew Todd (FJMT)

practicing careers span largely between Canada,

Barney Collins (EJE)

Italy, and Australia. After my birth they focused on education, teaching primarily at the University of Venice (Italy), University of Newcastle (AU) and the

Finally, to Lauren Frances Maher my wonderful

University of New South Wales (Sydney), where

girlfriend, I dedicate this book to you. It has been

they currently continue to teach various design and

an often intense journey, yet your love and selfless

master classes.

nature has seen me though to the end - I could not

Many people influenced and supported me during

have done it without you.

these past 7 years of studying and practising Architecture, it has often been a tiring yet rewording process. This yearâ&#x20AC;&#x2122;s project

development from

concept to final design was enriched by the people DEDICATION

004 | 005

FArOR WA R D c h it e c t u r a l R e s e a r c h

BO O K 2: ARC HI T ECT U R A L R E S E A R CH Forward

Book II Architectural Research documents the design

days out from

process for the Newcastle Cultural Annexes (NCA).

decided to submit a similar proposal, but moving

The report contains seven parts: Project Orientation

the site to Newcastle’s Civic Park. The pavilion

includes project initiation and site diagram, Concept

would act in a similar fashion to the Domain’s, yet

Design, Schematic Design, NCCA Compliance

bring together local surrounding institutions such

Report, Developed Architecture, Working Drawings

as the University of Newcastle, the City Library and

and the final submission, the Architectural Project.

Newcastle Art Gallery.

The Newcastle Cultural Annexes project is submitted

For the Schematic Design, the project had once

for completion of the Master’s of Architecture

more morphed into an art gallery project, taking on

2014, graduating from the University of Newcastle.

the much anticipated yet never realised addition to

It signifies the end of my study of the two year

the Newcastle Art Gallery.

professional degree, after completing my Bachelor of Design (Architecture) in 2012.

concept submission I additionally

By the time Developed Architecture was to be submitted, the dust had settled and the project (for

Project Orientation actually began by analysing and

me anyway) felt like it stood on firm ground. The

studying the memorial as an architectural typology,

Newcastle Cultural Annexes or (NCA) project was

engaging with Australia’s role in the Afghanistan

born setting forward a program for the reuse and re-

conflict. What my project initially proposed was a

purposing of forgotten or residual spaces within the

new kind of ‘memorial’, one which hoped to inspire

City of Newcastle. This first proposition stretches

public awareness of the complex issues surrounding

between four sites within Newcastle’s The Hill. The

war, and the events whose residues continue to

proposed program breathes new life into historic water

mould the present and the future. It investigated how

reservoir structures by drawing on people’s desire to

small pavilion like structures could be strategically

interact with art as a means of constructing a new

placed around the country as a counterpoint to

way of genuinely experiencing their urban context.

those organisations that either profited from war or

Unlike typical art galleries, The Reservoir Spaces

the policy makers who sent us to war.

are not sub-servant to the object which traditionally

By Concept Design I retained the idea of a series of pavilions yet moved my subject matter from war to art. This time proposing a cultural annex pavilion within Sydney’s The Domain.

This pavilion would

function as an umbrella building for the various cultural institutions that surround the domain (Art Gallery of NSW, Conservatorium, State Library, ect.); An outreach program for educational institution (such as UNSW USYD, UTS) who wanted a presence within the city’s CBD; and as a support building for

gives that space purpose, they instead focus on the experiential quality, posing a fundamentally different idea of what art is, and how it is first-hand observed. Spanning from The Obelisk Hill, Arcadia Park, Brown St No.1 Reservoir and to the Shipping Marker on Tyrrell Street, the project responds to the role of art within our modern urban context which must be distilled to enhance the individuals’ experience and challenge their understanding whilst potentially offering new insights.

the various cultural activities which The Domain host

The Developed Architecture and the Architectural

such as the Sydney Festival, Tropfest, ect. A few

Project schemes were presented as a series of

FORWARD

006 | 007

architectural

interventions

strategically

placed

across these sites which respond to the dynamic landscape. A number of threshold spaces are designed that place the participant into a journey, a narrative if you will, between Action and Receiver. The Artist Studios at the No.1 Reservoir house the recording platform that allows artist of various genres, from visual arts to the performing arts, to record and digitally manipulate their work (Action), for projection in the Obelisk Reservoir Gallery (Receiver). The Obelisk Reservoir Progression and Gallery space is designed to act as a conduit, transporting the individual to a new world created by the artist. Separating the program across the two sites enhances the experience of the participant by encouraging movement between the interventions. The individualâ&#x20AC;&#x2122;s journey across The Hill is designed to facilitate a deeper understanding and appreciation of the unique role art can play within Newcastleâ&#x20AC;&#x2122;s urban environment. The challenge for this project was the process of continually distilling and refining the scheme until it was completely reduced to the key ideas.

FORWARD

008 | 009

P R OJ E CT OR I E N TAT I ON Ar c h it e c t u r a l R e s e a r c h P a r t 1

P RO JE CT O RI ENTAT I ON Part 1

1.0 | Project Orientation Project Orientation outlines the project name, type, location and rationale for the selected project. The aim is to implement a strategy for the project and to begin defining an architectural approach. The orientation section also includes Site Diagram - a process of site selection, analysis and investigation. The key issues of the project are established and the significant conditions of the site are explored. The opportunities and constraints are explored to result in an architectural strategy determining how the brief will occupy the selected site.

PROJECT ORIENTATION

010 | 011

1.1 | Afghanistan - Conflict Memorial Memory | Space | Politics

consequences of these conflicts both at home and abroad.

RATIONAL: Australia At War - A history of continuous conflicts: • Longest war draws to a ‘bitter-sweet’ end after 12 years.

COMMUNICATING IDEAS: Narrative - A conceptual approach, process and medium of communication in architectural design:

• Beyond the material destruction is a growing social awareness of the hidden psychological ‘costs’ that are the reality of ‘conflict’.

• The project then is directly concerned with how architecture interacts with public opinion and dialogue.

• The recognition of sacrifice which exist on ‘both sides’, long after the glory of duty has been played out.

• The project will consider the potential of performance and the changing aspects of the media as vehicles of communication over time and as catalysts in staging ‘events’.

• Proposed is a new kind of ‘memorial’ to inspire public awareness of these complex events whose residues mould the present and the future.

• Translating the ‘story’ into architecture.

SITE: TYPOLOGY: Memorial - Designing the Presence of Something Absent

Centre Stage - Addressing a ‘National Need’... Whereby creating the greatest social impact Considerations: A project that has political and

Questions the contemporary significances of what

social dimensions at ‘heightened levels’:

are often simplistic icons to military bravery:

• The projection of a series of linked memorials appropriate to a range of contexts from national, to urban centres bringing the discourse to the forefront of society.

• Is there an accurate and rightful memory? Can, or should we be faithful to the past? • How can we portray something extraordinary using ordinary materials? • What is the right representation of the past? • What kinds of memorials enable plurality and political speech? • A function of the memorial will be to raise historical consciousness. ! • The right balance between remembering, forgetting and forgiving becomes the main challenge. • Its relevance to architecture is a practical investigation of architecture’s capacity to represent a wide range of public sentiment. • Attempt to initiate a dialogue upon the broader

• This could include Canberra and/or any of the capital cities around Australia. The project at this stage is not intended to be a ‘museum’ however pro-active, but rather to engage a critical level of political discourse as a catalyst to a constructive [re]evaluation of social networks and values that in turn inform the national conscience.

PROJECT ORIENTATION

012 | 013

1.2 | Site Diagram - Martin Place

•

It must become a spiritual site wherein the nexus of war and Australia is together mirrored.

PROJECT REACTIONS: •

The project is to contrast the polarising intent of a nationalistic memorial & the educational function of a museum.

•

Establish a more ‘pan human’ understanding of the implications of war.

•

An ‘alternative memorial’ must be concerned to unravel and de-construct the mechanism of difference that fuels hatred.

•

Cutting, slicing, fragmentation & splintering form part of the architectural ensemble, for the themes of war must come undone in order to become accessible.

•

Large voids materialise as something that has been ruined, undoubtedly the outcome of war & the emptiness left afterwards. Engaging the participant to experience this absence.

•

Acknowledge the universal humanist roof of suffering.

•

Attempt to mould new values & create a national identity.

•

The memorial must be rethought to transcend the passive involvement of the viewer, to actively engage and confront change.

•

The memorial must attempt to give voice to a common fate

•

Not only inspiring art, poetry, music, drama, etc. but also give home to the contradictions of the ordered/disordered, the chosen/un-chosen, the welcome/unwelcome, the vocal / the silent.

fractured and transformed.

PROJECT ORIENTATION

014 | 015

PROJECT ORIENTATION

016 | 017

1.3 | Reflection - Site Diagram The Site diagram submission was not successful either in my eyes or those of the markers, Chris Tucker and Michael Chapman. The final year project as a proposal; its typology, its program and its site changed drastically from fortnight to fortnight all the way to the developed submission as new ideas were being explored. Thus Site Diagram as a precursor to any architectural proposition would be undertaken 4 more times as the Architectural project and site changed. The project would move from a memorial/museum in Martin Place, to an events/educational pavilion in Sydney’s The Domain, to an art-gallery/library/ student hub in Newcastle’s Civic Park, to art-gallery/ cinematheque/education institution in Newcastle’s The Hill, to its final pared back and refined proposal consisting of a reservoir gallery and an artistin-residence facility dubbed, Newcastle Cultural Annexes.

PROJECT ORIENTATION

018 | 019

1.4 | Carrington Pump House Built in 1877, Carrington Pump House once provided the hydraulic pressure required to drive loading cranes in the port of Newcastle. It is another of Newcastleâ&#x20AC;&#x2122;s great buildings that is quietly awaiting its rebirth. A very interesting building with beautiful detailing in its sandstone facade, the elegance of the building contrasts with its heavy industrial past. This site was ultimately not perused due to the restricted access to the building and its site.

1.5 | Bare Island Site visit and exploration on Sydneyâ&#x20AC;&#x2122;s Bare Island 16/3/2014. This site was an early candidate for the war memorial and museum project.

PROJECT ORIENTATION

024 | 025

CON CE P T DE S I GN Ar c h it e c t u r a l R e s e a r c h P a r t 2

CO NCEPT D ESI G N Part 2

2.0 | Concept Design Phase Concept design identifies the key issues within the design and develops the project brief in response to site issues and research. This phase also establishes a vision for the architectural form of the project and initiates diagrams as useful tools for communicating the key aspects of the project. Concept design is also an opportunity to develop and explore the potential of the project ideas in response to site, brief and research.

On the horizon, then, at the furthest edge of the possible, it is a matter of producing the space of the human species - the collective (generic) work … Leaving

aside

representation,

ornament

and

decoration, art can become praxis and poises on a social level: the art of living in the city as a work of art … In other words, the future of art is not artistic, but urban, because of the future of [mankind won’t be found either in the cosmos, nor the people , not] in production, but in urban society. From Henry Lefebvre, The Production of Space, p422; and The Right to the City, p173

CONCEPT DESIGN

026 | 027

THE DO CULTURA

OMAIN AL ANNEX

CONCEPT DESIGN

034 | 035

A FORUM FOR NARRATIVES / A PLATFORM F

ORUM FOR NARRATIVES / A PLATFORM F

1024 Architecture - Jardin de l'Ile

FOR DEBATE

OR DEBATE

FOR DEBATE

NEWCAST CULTURA

TLE CIVIC AL ANNEX

1 BROWN ST

USING THE MOVING IMAGE -

AFTER LEBBEUS WOODS -

2 OBELISK

3 MEMORIAL DRIVE

Bernard Khoury - B 018 - Beirut, Lebanon

Ai Weiwei and Herzog & de Meuron

CONCEPT DESIGN

058 | 059

S CH E M AT I C DE S I GN Ar c h it e c t u r a l R e s e a r c h P a r t 3

SCHEMAT I C D ES I G N Part 3

3.0 | Schematic Design Phase Schematic design significantly develops the key issues of the project in relation to the design’s local and broader environments. A schematic design clearly shows the organisation of the building in both plan and section. This phase also explores how the building relates to its external and internal spaces. The rationale for the project’s agenda and intent is continually developed and strengthened. The schematic phase design development began with devising a large open space exhibition gallery that responded to the need for the current gallery to host what I called a ‘whale exhibit”. This phase finally set up the foundations for what would ultimately be the final submission. It started the dialogue of reusing the empty reservoir structures for displaying and engaging the community about art, yet its architectural gestures where too heavy handed for a site that required a much softer and less wilful response. A very large brief made use of the already levelled land where tennis courts are currently used by the local residences. The research at schematic stage took me to a very pragmatic place where I responded to a brief rooted in the commercial success of Newcastle Art Gallery’s extension. By the time of the Post schematic I realised how misguided that brief was, catering to a constant market demand for ‘iconic’, bigger is better, competition between institutions. The following pages illustrate the schematic design development and presentation.

SCHEMATIC DESIGN

060 | 061

3.1 | Schematic Design Presentation

pieces. The east and west façades on the other hand are very open and attempted to embrace /

The schematic design presentation began by analysing the Newcastle urban environment to propose how institutions such as an art gallery did not need to be centralised but could instead be fragmented throughout the city. Establishing a

walk-able

city,

where

people

are

offered

opportunities to engage with art at various levels, whilst simultaneously establish a close connection (or juxtaposition) between the built and natural environment to emphasise the experience of both. The site plan established the axial nature of the obelisk reservoir gallery by aligning a north and south gallery that would wrap around the obelisk mound. In the north gallery, the NAG’s historic collection including Joseph Lycett’s early depictions of Newcastle are strategically placed to offer the viewer a similar view/perspective of the city today as from where it was painted. That was achieved by using large vertical steel plates that angled out and framed the view for that particular location. The form of the south gallery on the other hand drew its inspiration from the large coal ships that can be found scattered across Newcastle’s skyline, additionally appropriating the small openings found in the military bunkers that spot Newcastle’s coast line. Creating the south facade are curved shiplike plates of steel, lapped over each other, with box framed horizontal slit openings across several

funnel the public through to the gallery.

SCHEMATIC DESIGN

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SCHEMATIC DESIGN

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SCHEMATIC DESIGN

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SCHEMATIC DESIGN

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SCHEMATIC DESIGN

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SCHEMATIC DESIGN

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SCHEMATIC DESIGN

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SCHEMATIC DESIGN

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SCHEMATIC DESIGN

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SCHEMATIC DESIGN

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SCHEMATIC DESIGN

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SCHEMATIC DESIGN

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SCHEMATIC DESIGN

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SCHEMATIC DESIGN

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SCHEMATIC DESIGN

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SCHEMATIC DESIGN

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SCHEMATIC DESIGN

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N CCA COM P L I A N CE Ar c h it e c t u r a l R e s e a r c h P a r t 4

N CCA C O MPL I ENC E Part 4

4.0 | NCCA Compliance Report The project compliance phase identifies, critically analyses and evaluates issues of the National Construction Code Australia within the schematic design submission. Key compliance issues include egress, access and satisfying the Building Code of Australia. The Compliance Analysis also provides preliminary design

solutions

satisfy

the

performance

requirements of the Newcastle Cultural Annex The attached report on the following pages outlines and identifies the key issues of compliance with the National Construction Code 2014 (NCC) for the Newcastle Cultural Annex (NCA) schematic design project. Key compliances include access, egress and satisfying the Building Code of Australia (BCA) now incorporated within the NCC. The code is a uniform set of technical provisions for the design and construction of buildings that applies to all states and territories through their own building control legislation. The report will analyse the compliance issues with the NCAâ&#x20AC;&#x2122;s schematic design and provide preliminary design solutions to satisfy the performance requirements of the NCC. Building solutions are the ways in which the performance requirements of the BCA are satisfied. The solution may comply with the deemed-to-satisfy provisions, an alternative solution or a combined solution. The deemed- to-satisfy provisions ensure compliance with the performance requirements if followed. Alternative solutions allow for innovative design to satisfy the performance requirements and normally require certification by an expert consultant.

NCCA COMPLIANCE

100 | 101

| Access, Egress + NCC Compliance Briefing Report School of Architecture and Built Environment ARBE 6222

NEWCASTLE CULTURAL ANNEX

Cover Page |1.00 Section Through The Obelisk Art Museum Newcastle Cultural Annex

| CONTENTS

1.0

INTRODUCTION

2.0

PROJECT OVERVIEW

2.1 Building Form 2.2 Planning 2.3 Building Elevation

3.0

BUILDING CLASSIFICATION

4.0

ACCESSIBILITY + EGRESS REQUIREMENTS

8 12

4.1 Provisions for Escape 4.2 Construction of Exits 4.3 Access for people with Disabilities

5.0

GENERAL BCA COMPLIANCE

5.1 BCA Section C - Fire Resistance 5.2 BCA Section E - Services + Equipment 5.3 BCA Section F - Health + Amenity 5.4 BCA Section G - Ancillary Provisions

6.0

SUMMERY

For further information or clarification of information contained within this document please contact: NOEL YAXLEY Student No: 3110556 Email: noel.yaxley@uon.edu.au

Noel Yaxley - Newcastle Cultural Annex

10 June 2014 / Art Museum + Cinematheque + Education

Figure above |1.01 Photograph of schematic model for the Newcastle Cultural Annex

1.0 | INTRODUCTION

| REPORT OUTLINE The following briefing report outlines and identifies key issues of Access, Egress and NCC Compliance within the selected design project incorporated in the master of Architecture program at the Newcastle of University Australia. The project under discussion is described as a cultural annex that explores 3 forgotten or underutilised yet unique sites, with their interstitial characteristic they weave through the city fabric and will be explored further in Section 2.0 Project overview. The National Construction code is a National Code that applies to all states and territories through their own building control legislation. The intent of this report is to identify, discuss and develop design solutions surrounding issues of access, egress and regulatory compliance.

Note: ‘Building Solutions’ – the way in which the performance requirements are met. The solution may be one that complies with the deemed-to-satisfy provisions or an alternate solution or a combination of both. The deemed-to-satisfy provisions are the “black and white” solutions and if followed ensure compliance with the performance requirements. Alternate solutions allow for innovative design and use of materials and normally require certification by an expert in the particular field.

Noel Yaxley - Newcastle Cultural Annex

10 June 2014 / Art Museum + Cinematheque + Education

2.0 | PROJECT OVERVIEW

| PROJECT This project has 3 primary functions that link an Art Museum + Cinematheque + Education through a cinematic narrative language that begins to shape and frame the city of Newcastle as we move though its newly constructed streets and urban parks. [1] A large art gallery space of around 1000m2 that will support a variety of configurations as either a single large space or one which has the ability to be divided into smaller more intimate spaces. [2] The Cinematheque is a venue and study centre for the moving image, integral to the fabric of the Newcastle Art Gallery. Its auditorium will present and interpret programs of international and Australian film, television, video and digital work curated and organised by the Gallery’s specialist moving-image staff. [3] The Education Facilities support practical demonstrations and workshops on artistic techniques and artist-in-residence activities. The inclusion of a film lab also positions students to learn a variety of art mediums through film explorations.

TYRRELL ST SHIPPING MARKER

BROWN ST RESERVOIR

OBELISK

The 3 sites chosen for this project are; the Tyrrell St. shipping marker; the Brown St. No.2 Reservoir, and the Newcastle obelisk.

| PROJECT INTENT On the one hand, the intent of this project is to fulfil an existing brief put forward by council for the expansion of the Newcastle Art SITES Gallery. On the other hand, this project acts as a springboard for an investigation on how people interact with their civic environments and how using cinematic constructs within architecture could be used to form urban narratives that lead us to explore the experiential and possibly the existential notions of space.

Site Location Map |2.01 SIX Maps aerial photo highlighting Newcastle Cultural Annex sites

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NCCA COMPLIANCE

102 | 103

| Existing Tyrrell St. Shipping Marker

| Proposed Tyrrell St. Shipping Marker with additional access and intervention

| Section Through Tyrrell St. Shipping Marker

| Existing Brown St. No.2 Reservoir Elevation

| Proposed Brown St. No.2 Reservoir Elevation

| Proposed under reservoir roof with film lab at rear

Noel Yaxley - Newcastle Cultural Annex

Figures | 2.02 Various views of shipping marker tower and No.2 reservoir project indicating the form of the buildings

Noel Yaxley - Newcastle Cultural Annex

Figures | 2.03 Schematic Plan of Acadia Park + Influences from Plaรงa Vila de Madrid, Barcelona, Spain

10 June 2014 / Art Museum + Cinematheque + Education

| Eastern approach to the obelisk hill showing proposed north and south gallerias in context

| Wolfe St. south-west approach showing proposed principle gallery and main entrance

| View from the existing raised tennis club house looking west towards Wolfe St.

| Artist impression within south gallery

| Ordnance St. north-west approach showing proposed north galleries and entrance

| Looking out towards nobbys headland from a north gallery room.

Figures | 2.04 Various views of Newcastle Obelisk site indicating the form of the buildings

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3.0 | BUILDING CLASSIFICATION The NCC classifies buildings by their use. A project may be made up of a number of classes coexisting as mixed use. The Newcastle Cultural Annex project is deemed as a mixed use classification. Table 1.01 identifies that the following building class apply to the project:

| BUILDING CLASSIFICATION TABLE 1.01 | NCC: CLASSIFICATION OF BUILDINGS AND STRUCTURES ITEM

DESCRIPTION

Art Gallery, Cinematheque and Education Facilities are deemed: CLASS 9

Class 9b [A building of a public nature] An assembly building - Including a trade workshop, laboratory or the like in a primary or secondary school, but excluding any other parts of the building that are of another Class. Assembly building means a building where people may assemble for (a) Civic, theatrical, social, political or religious purposes including a library, theatre, public hall or place of worship; or (b) Educational purposes in a school, early childhood centre, preschool, or the like; or (c) Entertainment, recreational or sporting purposes including (i) A discotheque, nightclub or a bar area of a hotel or motel providing live entertainment or containing a dance floor; or (ii) A cinema; or (iii) A sports stadium, sporting or other club; or

In multiple classification buildings, each part of a building must be classified separately, for example; (i) Where parts have different purposes â&#x20AC;&#x201D; if not more than 10% of the floor area of a storey, being the minor use, is used for a purpose which is a different classification, the classification applying to the major use may apply to the whole storey.

Adaptive reuse of the tennis club house as a gallery cafe/ bar is deemed: CLASS 6

Class 6a [a shop or other building for the sale of goods by retail or the supply of services direct to the public, including] (a) An eating room, cafĂŠ, restaurant, milk or soft-drink bar;

Shipping Marker Intervention is deemed as: CLASS 10

Class 10b [a non-habitable building or structure] A structure being a fence, mast, antenna, retaining or free-standing wall, swimming pool, or the like;

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NCCA COMPLIANCE

104 | 105

Noel Yaxley - Newcastle Cultural Annex

CLASS 6a

CLASS 9b

Figures above | 3.02 NCC Classification. Ground Floor Plan, Obelisk Art Museum

CLASS 9b

10 June 2014 / Art Museum + Cinematheque + Education

Figures above | 3.02 NCC Classification. Ground Floor Plan, Obelisk Art Museum

CLASS 10b CLASS 9b

10 June 2014 / Art Museum + Cinematheque + Education

4.0 | ACCESSIBILITY + EGRESS REQUIREMENTS | ACCESSIBILITY + EGRESS REQUIREMENTS The NCC stipulates performance requirements for Access and Egress of buildings. This section includes Provisions for Escape, Construction of Exits and Access for People with Disabilities. These provisions are determined by the building’s class, size of the building and the number of persons the building accommodates. The NCC states that the Objective of the Access + Egress Section is to; (a) Provide, as far as is reasonable, people with safe, equitable and dignified access to(i) a building; and (ii) the services and facilities within a building; and (b) safeguard occupants from illness or injury while evacuating in an emergency. The performance requirements for Access and Egress to be discussed for the Newcastle Cultural Annex can be seen in Tables 1.02 + 1.03 + 1.04. The provisions will be stated, compared to the project under discussion and building solutions explored in the case of non compliance. Note: ‘Building Solutions’ – the way in which the performance requirements are met. The solution may be one that complies with the deemed-to-satisfy provisions or an alternate solution or a combination of both. The deemed-to-satisfy provisions are the “black and white” solutions and if followed ensure compliance with the performance requirements. Alternate solutions allow for innovative design and use of materials and normally require certification by an expert in the particular field.

Figures above | 3.01 NCC Classification. Ground Floor Plan, Brown St Reservoir + Shipping Marker

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TABLE 1.02 | PART D1 - PROVISION FOR ESCAPE ITEM

DESCRIPTION

D1.2

Number of Exits Required

D1.3

When Fire Isolated exits are required

D1.4

Exit Travel Distances

D1.5

Distance Between alternative exits

D1.6

Dimensions of exits and paths of travel to exits

D1.7

Travel via fire-isolated exits

D1.10

Discharge from Exits

D1.12

Non-required stairways, ramps or escalators

D1.13

Number of persons Accommodated

TABLE 1.02 | PART D2 - CONSTRUCTION OF EXITS ITEM

DESCRIPTION

D2.2

Number of Exits Required

D2.9

When Fire Isolated exits are required

D2.11

Fire isolated passageways

D2.13

Goings and Risers

D2.20

Swinging Doors

TABLE 1.04 | PART D3 - ACCESS FOR PEOPLE WITH DISABILITIES ITEM

DESCRIPTION

D3.2

Number of Exits Required

D3.3

When Fire Isolated exits are required

D3.4

Goings and Risers

Figures | 4.01 Renzo Piano’s The Academy of Motion Picture Arts and Sciences: A glass-enclosed “spine” moves people floor to floor via elevators, escalators, and stairs.

NCCA COMPLIANCE

106 | 107

4.11 | D1.2 - NUMBER OF EXITS REQUIRED

4.1 | PROVISIONS FOR ESCAPE

TABLE 1.05 | D1.2 - Number of Exists Required

All buildings — Every building must have at least one exit from each storey. (see table 1.02).

ITEM

DESCRIPTION

Class 2 to 8 buildings

In addition to any horizontal exit, not less than 2 exits must be provided from the following: (i) Each storey of the building has an effective height of more than 25 m. (ii) A Class 2 or 3 building subject to C1.5.

Class 9 buildings

In addition to any horizontal exit, not less than 2 exits must be provided from the following: (i) Each storey if the building has a rise in storeys of more than 6 or an effective height of more than 25 m.

Access to exits

Without passing through another sole-occupancy unit every occupant of a storey or part of a storey must have access to (i) an exit; or (ii) at least 2 exits, if 2 or more exits are required.

4.12 | D1.3 WHEN FIRE ISOLATED EXITS ARE REQUIRED Class 5 to 9 buildings — Every required exit must be fire-isolated.

4.13 | D1.4 EXIT TRAVEL DISTANCES TABLE 1.06 | D1.4 Exit Travel Distances.

ITEM

DESCRIPTION

Class 5 to 9 buildings

(i) no point on a floor must be more than 20m from an exit, or a point from which travel in different directions to 2 exits is available, in which case the maximum distance to one of those exits must not exceed 40m.

Assembly buildings; In a Class 9b building other than a school or early childhood centre, the distance to one of the exits may be 60m if

(i) the path of travel from the room concerned to that exit is through another area which is a corridor, hallway, lobby, ramp or other circulation space; and (ii) the room is smoke-separated from the circulation space by construction having an FRL of not less than 60/60/60 with every doorway in that construction protected by a tight fitting, self-closing, solid-core door not less than 35 mm thick; and (iii) the maximum distance of travel does not exceed 40m within the room and 20m from the doorway to the room through the circulation space to the exit.

Noel Yaxley - Newcastle Cultural Annex

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CLASS 9b Building: - 2 isolated ﬁre exits to be provided. FAIL - Travel distances 20m to choice, 20m to exit. FAIL Solution: - Additional isolated ﬁre exit to be added [green].

19m

15m

CLASS 9b Building: - Fire isolated passageway connects to ﬁre stair or external open space. FAIL Solution: - Additional isolated ﬁre exit to be added [green].

20m

CLASS 9b Building: - Distance to ﬁre stairs from any point on the story below does not exceed 40m. PASS - Travel from ﬁre stair to outside must be through a smoke isolated corridor or passageway and must not exceed 20m. FAIL

Solution: - Drop down smoke curtains installed isolating safe passage way to the outside

20,000

20m

10,000

19m

20m

14m

10,000

20m

10m

10,000

D CLASS 9b Building: - 2 isolated ﬁre exits to be provided. PASS - Travel distances 20m to choice, 20m to exit. PASS

GSPublisherEngine 0.0.100.100

Noel Yaxley - Newcastle Cultural Annex

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CLASS 6a Building: - 2 isolated ﬁre exits to be provided. FAIL - Travel distances 20m to choice, 20m to exit. PASS

Solution: - Additional ﬁre exit to be added [green].

Figures above | 4.11 Provisions for Escape Example. Ground Floor Plan; Obelisk Art Museum

CLASS 9b Building: - 2 isolated ﬁre exits to be provided. FAIL - Travel distances 20m to choice, 20m to exit. FAIL

48m

44m

Solution: - Additional ﬁre exit to be added [green].

GSPublisherEngine 0.0.100.100

Figures above | 4.12 Provisions for Escape Example. Ground Floor Plan; Lower Ground Floor Obelisk

Noel Yaxley - Newcastle Cultural Annex

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CLASS 9b Building: - 2 isolated ﬁre exits to be provided. FAIL - Travel distances 20m to choice, 20m to exit. PASS

CLASS 6a Building: - 2 isolated ﬁre exits to be provided. FAIL - Travel distances 20m to choice, 20m to exit. PASS

18m

19m

20m

Solution: - Additional ﬁre exit to be added within sliding doors in the event of them being shut[green].

18m 19m

Solution: - Additional ﬁre exit to be added [green].

GSPublisherEngine 0.0.100.100

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Figures above | 4.13 Provisions for Escape Example. Ground Floor Plan; Brown St. Reservoir

NCCA COMPLIANCE

108 | 109

4.14 | D1.5 -DISTANCE BETWEEN ALTERNATIVE EXITS

4.1 | PROVISIONS FOR ESCAPE

TABLE 1.07 | D1.5 - Distance Between Alternative Exits ITEM

DESCRIPTION

Exits that are required as alternative means of egress must be;

a) Distributed as uniformly as practicable within or around the storey served and in positions where unobstructed access to at least 2 exits is readily available from all points on the floor including lift lobby areas; and b) Not less than 9m apart; and c) Not more than 60m apart.

4.15 | D1.6 -DIMENSIONS OF EXITS AND PATHS OF TRAVEL TO EXITS TABLE 1.08 | D1.6 Dimensions of exits and paths of travel to exits ITEM

DESCRIPTION

In a required exit or path of travel to an exit

a) The unobstructed height throughout must be not less than 2m, except the unobstructed height of any doorway may be reduced to not less than 1980mm; b) The unobstructed width of each exit or path of travel to an exit, except for door ways, must be not less than - 1m; or

4.16 | D1.7 TRAVEL VIA FIRE ISOLATED EXITS TABLE 1.09 | D1.7 Travel Via Fire-Isolated Exits ITEM

DESCRIPTION

(a) A doorway from a room must not open directly into a stairway, passageway or ramp that is required to be fire-isolated unless it is from -

(i) a public corridor, public lobby or the like; or

(b) Each fire-isolated stairway or fire-isolated ramp must provide independent egress from each storey served and discharge directly, or by way of its own fire- isolated passageway—

(i) to a road or open space; or (ii) to a point— (A) in a storey or space, within the confines of the building, that is used only for pedestrian movement, car parking or the like and is open for at least 2/3 of its perimeter; and (B) from which an unimpeded path of travel, not further than 20m, is available to a road or open space; or (iii) into a covered area that— (A) adjoins a road or open space; and (B) is open for at least 1/3 of its perimeter; and (C) has an unobstructed clear height throughout, including the perimeter openings, of not less than 3 m; and (D) provides an unimpeded path of travel from the point of discharge to the road or open space of not more than 6 m.

Noel Yaxley - Newcastle Cultural Annex

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CLASS 9b Building; - Isolated ﬁre exits not to open into room [unless a lobby]. - Fails to achieves egress requirements.

Solution: - Add airlock to Isolated ﬁre exits in rooms.

46m

CLASS 9b Building; - Isolated ﬁre exits not to open into room [unless a lobby]. - Fails to achieves egress requirements.

CLASS 9b Building; - Isolated ﬁre exits not to open into room [unless a lobby]. - Achieves egress

Solution: - Add airlock to Isolated ﬁre exits in rooms.

20,000

A CLASS 9b Building; - Isolated ﬁre exits not to open into room [unless a lobby]. - Achieves egress 10,000

14m

CLASS 9b Building; - Isolated ﬁre exits not to open into room [unless a lobby]. - Achieves egress

40m

10,000

B m

25 m

10,000

28m

D CLASS 9b Building; - Provides independent egress from each storey served to open space. - Achieves egress.

GSPublisherEngine 0.0.100.100

Noel Yaxley - Newcastle Cultural Annex

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CLASS 6a Building; - Provides independent egress from each storey served to open space. - Achieves egress.

Figures above | 4.14 Provisions for Escape Example. Ground Floor Plan; Lower Ground Floor Obelisk

CLASS 9b Building; - Isolated ﬁre exits not to open into room [unless a lobby]. - Fails to achieves egress requirements. 16m

Solution: - Add airlock to Isolated ﬁre exits in rooms.

GSPublisherEngine 0.0.100.100

Figures above | 4.15 Provisions for Escape Example. Ground Floor Plan; Lower Ground Floor Obelisk

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CLASS 9b Building; - Provides independent egress from each storey served to open space. - Achieves egress.

19m

CLASS 6a Building; - Provides independent egress from each storey served to open space. - Achieves egress.

GSPublisherEngine 0.0.100.100

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Figures above | 4.16 Provisions for Escape Example. Ground Floor Plan; Brown St. Reservoir

NCCA COMPLIANCE

110 | 111

4.1 | PROVISIONS FOR ESCAPE

4.17 | D1.10 -DISCHARGE FROM EXITS TABLE 1.10 | D1.10 - Discharge from Exits ITEM

DESCRIPTION

An exit must not be blocked;

At the point of discharge and where necessary, suitable barriers must be provided to prevent vehicles from blocking the exit, or access to it.

Class 9b building

In a Class 9b building containing an auditorium which accommodates more than 500 persons, not more than 2/3 of the required width of exits must be located in the main entrance foyer.

4.18 | D1.12 - REQUIRED STAIRWAYS, RAMPS OR ESCALATORS TABLE 1.11 | D1.12 Non-required stairways, ramps or escalators. ITEM

DESCRIPTION

An escalator, moving walkway or non-required non fire-isolated stairway or pedestrian ramp—

(b) may connect any number of storeys if it is (ii) in a carpark or an atrium; or (c) except where permitted in (b) must not connect more than— (i) 3 storeys if each of those storeys is provided with a sprinkler system complying with Specification E1.5 throughout; or (ii) 2 storeys,

4.16 | D1.13 NUMBER OF PERSONS ACCOMMODATED TABLE 1.12 | D1.13 Number of persons Accommodated

ITEM

DESCRIPTION

The number of persons accommodated in a storey, room or mezzanine must be determined with consideration to the purpose for which it is used and the layout of the floor area by—

a) calculating the sum of the numbers obtained by dividing the floor area of each part of the storey by the number of square metres per person listed in Table D1.13 according to the use of that part, excluding spaces set aside for— (i) lifts, stairways, ramps and escalators, corridors, hallways, lobbies and the like; and (ii) service ducts and the like, sanitary compartments or other ancillary uses; or (b) reference to the seating capacity in an assembly building or room; or (c) any other suitable means of assessing its capacity.

Calculated Number:

- Art Gallery, Exhibition Area, Museum - (4m2/per person) - Theatre, public hall, Auditorium - (1m2/per person) - Storage space, Archive - (30m2/per person) - Bar, Cafe, Restaurant (1m2/per person) - Office - (10m2/per person) - Teaching spaces (2m2/per person)

410 Persons 340 Persons 4 Persons 150 Persons 10 Persons 58 Persons

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Indicates points of egress. Patrons exit level below at street grade CLASS 9b Buildings; - Isolated ﬁre exits egress points must not be blocked

Indicates points of egress. Patrons exit level above.

20m

Indicates points of egress. Patrons exit level above.

CLASS 9b Building; - Foyer stairs may be used as point of egress.

01 CLASS 9b Building; - 220 seat theatre below, foyer to be used as point of egress

20,000

10,000

GSPublisherEngine 0.0.100.100

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Figures above | 4.17 Provisions for Escape Example. Ground Floor Plan; Lower Ground Floor Obelisk

CLASS 9b Buildings; - Isolated ﬁre exits egress points must not be blocked

Indicates points of egress. Patrons exit at street grade

GSPublisherEngine 0.0.100.100

Figures above | 4.18 Provisions for Escape Example. Ground Floor Plan; Brown St. Reservoir

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4.2 | CONSTRUCTION OF EXITS

4.21 | D2.2 - FIRE-ISOLATED STAIRWAYS AND RAMPS TABLE 1.13 | D2.2 Fire-isolated stairways and ramps. ITEM

DESCRIPTION

A stairway or ramp (including any landings) that is required to be within a fire-resisting shaft must be constructed—

(a) of non-combustible materials; and (b) so that if there is local failure it will not cause structural damage to, or impair the fire-resistance of, the shaft

4.22 | D2.9 - WIDTH OF STAIRWAYS TABLE 1.14 | D2.9 Width of Stairways ITEM

DESCRIPTION

The required width of a stairway must—

(i) be measured clear of all obstructions such as handrails, projecting parts of balustrades or other barriers and the like; and (ii) extend without interruption, except for ceiling cornices, to a height not less than 2m vertically above a line along the no sings of the treads or the floor of the landing.

4.23 | D2.13 GOINGS AND RISERS TABLE 1.15 | D2.13 Goings and Risers ITEM

A stairway have—

DESCRIPTION

must

(a) not more than 18 nor less than 2 risers in each flight; and (b) except as permitted by (i), going (G), riser (R) and quantity (2R + G) in accordance with Table D2.13; and (c) except as permitted by (i), goings and risers that are constant throughout in one flight; and d) risers which do not have any openings that would allow a 125 mm sphere to pass through between the treads; and (e) treads which have a non-slip finish or an adequate non-skid strip near the edge of the nosings; (f) treads of solid construction (not mesh or other perforated material) if the stairway is more than 10 m high or connects more than 3 storeys; and (g) in a Class 9b building — not more than 36 risers in consecutive flights without a change in direction of at least 30°.

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NCCA COMPLIANCE

112 | 113

4.2 | CONSTRUCTION OF EXITS

4.24 | D2.20 SWINGING DOORS TABLE 1.16 | D2.20 Swinging Doors ITEM

(a) must croach—

DESCRIPTION

not

en-

i) at any part of its swing by more than 500 mm on the required width (including any landings) of a required— A) stairway; or B) ramp; or C) passageway, if it is likely to impede the path of travel of the people already using the exit; and

(b) must swing in the direction of egress unless—

(i) it serves a building or part with a floor area not more than 200 m2, it is the only required exit from the building or part and it is fitted with a device for holding it in the open position; or

c) must not otherwise impede the path or direction of egress.

Figures above | 4.19 Provisions for Escape Example. Ground Floor Plan; Lower Ground Floor Obelisk

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CLASS 9b Building; - Isolated ﬁre exits to be constructed out of non combustible materials.

Not more than 18 risers in each ﬂight of stairs.

CLASS 9b Building: - not more than 36 risers in consecutive ﬂights without a change in direction of at least 30°

20,000

CLASS 9b Building; - Doors must swing in the direction of egress

20,000

10,000

D CLASS 9b Building; - Doors must swing in the direction of egress

GSPublisherEngine 0.0.100.100

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CLASS 9b Building; - Doors must swing in the direction of egress

Figures above | 4.20 Provisions for Escape Example. Ground Floor Plan; Lower Ground Floor Obelisk

CLASS 9b Building; - Isolated ﬁre exits to be constructed out of non combustible materials. - Not more than 18 risers in each ﬂight of stairs. - Doors must swing in the direction of egress

GSPublisherEngine 0.0.100.100

Figures above | 4.21 Provisions for Escape Example. Ground Floor Plan; Lower Ground Floor Obelisk

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4.3 | ACCESS FOR PEOPLE WITH DISABILITIES Buildings must be accessible as required as per table 1.17

4.31 | D3.2 - GENERAL BUILDING ACCESS REQUIREMENTS TABLE 1.17 | D3.2 General building access requirements ITEM

DESCRIPTION

Class 9b An assembly building not being a school or an early childhood centre

To and within— (i) every auditorium but not to every tier or platform; and (ii) the main entrance to the auditorium; and (iii) if fixed seating is provided, not less than 1 wheelchair space for each 100 persons or part thereof, with a minimum of 2 spaces, up to 200 persons, and an additional space for each additional 200 persons or part thereof by which the number of persons exceeds 200; and (iv) all other areas normally used by the occupants. (b) A path of travel required to be accessible must not include a stairway, turnstile, revolving door, escalator or other impediment which would prevent a person in a wheelchair using it. (c) Access, finishes and fittings, including passageways, ramps, step ramps or kerb ramps, signs, doorways and other parts of the building required by this Part must comply with the provisions of AS 1428.1.

Class 5, 6, 7 and 8

To and within— (i) the entrance floor; and (ii) any other floor to which vertical access by way of a ramp, step ramp or kerb ramp complying with AS 1428.1 or a passenger lift is provided.

4.32 | D3.3 - PARTS OF BUILDING TO BE ACCESSIBLE TABLE 1.18 | D3.2 General building access requirements. ITEM

DESCRIPTION

In a building or part of a building required by Table 1.14 to be accessible—

(i) access must be provided— (A) to any sanitary compartment required for the use of people with disabilities; and (B) to areas normally used by the occupants, excluding any plant room, commercial kitchen, cleaners’ store room, maintenance access way, rigging loft, or the like; and

4.33 | D3.4 CONCESSIONS TABLE 1.19 | D3.4 Concessions

ITEM

DESCRIPTION

It is not necessary to provide access for people with disabilities to—

a) more than 30% of the public space in a restaurant, cafe, bar, function room, or the like, in a Class 6 or Class 9b building; or (b) a mezzanine; or (c) a space not regarded as a storey by definition; or (d) any area if access would be inappropriate because of the particular purpose for which the area is used.

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NCCA COMPLIANCE

114 | 115

CLASS 9b building; - Dis-Access to any other ﬂoor to which has vertical access by way a passenger lift - FAIL, vertical access from reservoir gallery to north gallery (see Section) Solution: - Add lift adjacent to stairs. - Rotate stair or shufﬂe galleries around to accommodate

CLASS 9b building; - Ramp from south gallery to north gallery must not exceed 1:14 incline with 1200mm landings every 9m. - achieves egress.

CLASS 9b Building: - A path of travel required to be accessible must not include a stairway, turnstile, revolving door, escalator or other impediment which would prevent a person in a wheelchair using it. - Main entrance achieves egress requirements

20,000

05 Solution: - Provide ramp allowing equal access to north forecourt CLASS 9b Building: - A path of travel required to be accessible must not include a stairway, turnstile, revolving door, escalator or other impediment which would prevent a person in a wheelchair using it. - Secondary entrance does NOT achieve egress requirements. FAIL

10,000

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Figures above | 4.22 Provisions for Escape Example. Ground Floor Plan; Lower Ground Floor Obelisk

Noel Yaxley - Newcastle Cultural Annex

10 June 2014 / Art Museum + Cinematheque + Education

CLASS 9b Building: - Dis-Access to any other ﬂoor to which has vertical access by way a passenger lift

Solution: - Passenger lift provided

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Noel Yaxley - Newcastle Cultural Annex

10 June 2014 / Art Museum + Cinematheque + Education

Figures above | 4.23 Provisions for Escape Example. Ground Floor Plan; Lower Ground Floor Obelisk

CLASS 9b Building: - Doors meet AS 1428.1 - No level change between forecourt and internal space

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Figures above | 4.24 Provisions for Escape Example. Ground Floor Plan; Brown St. Reservoir

Noel Yaxley - Newcastle Cultural Annex

10 June 2014 / Art Museum + Cinematheque + Education

5.0 | NCC COMPLIANCE

TABLE 1.20 | SECTION C - FIRE RESISTANCE ITEM

DESCRIPTION

| NCC COMPLIANCE

C1.1

Type of Construction Required

The National Construction Code of Australia is a national building code that applies to all states and territories through their own building control legislation.

C1.2

Calculation of rise in stories

C2.2

General Floor Area and Volume Limitations

The NCC stipulates performance requirements for seven sections of technical provision. The following section will briefly discuss NCC compliance sections including Fire Resistance, Services + Equipment, Health + Amenity, Ancillary Provisions and Special Use Buildings. These provisions are determined by the building’s class, size of the building and the number of persons the building accommodates.

C2.3

Large Isolated Buildings

The performance requirements for the NCC sections (stated above) to be discussed for the Newcastle Cultural Annex project can be seen in Tables 1.20 + 1.21 + 1.22 + 1.23 + 1.24. The provisions will be stated, compared to the project under discussion and building solutions explored in the case of non compliance. Note: ‘Building Solutions’ – the way in which the performance requirements are met. The solution may be one that complies with the deemed-to-satisfy provisions or an alternate solution or a combination of both. The deemed-to-satisfy provisions are the “black and white” solutions and if followed ensure compliance with the performance requirements. Alternate solutions allow for innovative design and use of materials and normally require certification by an expert in the particular field.

TABLE 1.23 | SECTION H - SPECIAL USE BUILDINGS ITEM

DESCRIPTION

H1.0

Application of part

H1.4

Seating Area

H1.5

Exist from the theatre Stages

TABLE 1.21 | SECTION E - SERVICES + EQUIPMENT ITEM

DESCRIPTION

E1.3

Fire Hydrants

E1.5

Sprinklers

E1.8

Fire Control Centre

E1.10

Provisions for special hazards

TABLE 1.22 | SECTION F - HEALTH + AMENITY ITEM

DESCRIPTION

F2.3

Facilities in Class 3 to 9 buildings

F2.4

Facilities for people with disabilities

TABLE 1.23 | SECTION G - ANCILLARY PROVISIONS

Noel Yaxley - Newcastle Cultural Annex

10 June 2014 / Art Museum + Cinematheque + Education

ITEM

DESCRIPTION

G3.0

Atrium Construction

G3.3

Dimensions of atrium well

G3.3

Separation of atrium by bounding walls

G3.5

Construction at balconies

Figures | 4.25 Web Image form Gordons Construction http://www.gordonsllp.com/sectors/property-and-construction/

NCCA COMPLIANCE

116 | 117

5.1 | NCC SECTION C - FIRE RESISTANCE The Objective of this Section is to—

5.11 | C1.1 - TYPE OF CONSTRUCTION REQUIRED ABLE 1.25 | C1.1 Type of Construction Required ITEM

DESCRIPTION

Type of Construction

Type A construction is the most fire-resistant and Type C the least fire-resistant of the Types of construction.

(a) safeguard people from illness or injury due to a fire in a building; and

Rise in Storeys

(b) safeguard occupants from illness or injury while evacuating a building during a fire; and

2, 3, 9

5, 6, 7, 8

4 OR MORE

(d) avoid the spread of fire between buildings; and (e) protect other property from physical damage caused by structural failure of a building as a result of fire. A building is to be constructed to maintain structural stability during fire to— (a) allow occupants time to evacuate safely; and (b) allow for fire brigade intervention; and (c) avoid damage to other property. A building is to be provided with safeguards to prevent fire spread— (a) so that occupants have time to evacuate safely without being overcome by the effects of fire; and

Class of Building

5.12 | C1.2 - CALCULATION OF RISE IN STORIES The rise in storeys is the sum of the greatest number of storeys at any part of the external walls of the building and any storeys within the roof space. TABLE 1.26 | C1.2 Calculation of Rise in Stories ITEM

DESCRIPTION

In a Class 7 or 8 building,

A storey that has an average internal height of more than 6m is counted as— (i) one storey if it is the only storey above the ground; or (ii) 2 storeys in any other case.

Mezzanine Levels

(b) to allow for fire brigade intervention; and

(i) is regarded as a storey in that part of the building in which it is situated if its floor area is more than 200 m2 or more than 1/3 of the floor area of the room, whichever is the lesser; and

(c) to sole-occupancy units providing sleeping accommodation; and (d) to adjoining fire compartments; and (e) between buildings.

5.13 | C2.2 GENERAL FLOOR AREA AND VOLUME LIMITATIONS TABLE 1.27 | C2.2 General Floor Area and Volume Limitations ITEM

DESCRIPTION

Class 5, 6, 7, 8 or 9 building

(a) The size of any fire compartment or atrium in a Class 5, 6, 7, 8 or 9 building must not exceed the relevant maximum floor area nor the relevant maximum volume set out in Table C2.2 and Clause C2.5 except as permitted in Clause C2.3.

Services

A part of a building which contains only heating, ventilating, or lift equipment, water tanks, or similar service units is not counted in the floor area or volume of a fire compartment or atrium if it is situated at the top of the building.

Atrium

In a building containing an atrium, the part of the atrium well bounded by the perimeter of the openings in the floors and extending from the level of the first floor above the atrium floor to the roof covering is not counted in the volume of the atrium for the purposes of this clause.

Noel Yaxley - Newcastle Cultural Annex

10 June 2014 / Art Museum + Cinematheque + Education

5.1 | NCC SECTION C - FIRE RESISTANCE

5.13 | C2.2 GENERAL FLOOR AREA AND VOLUME LIMITATIONS - CONTINUED TABLE 1.27 | C2.2 General Floor Area and Volume Limitations - Continued ITEM

DESCRIPTION

Type of Construction

Classification

Type of construction of building Type A

5, 9b or 9c

6, 7, 8 or 9a

Type B

Type C

max floor area— 8 000 m2

5 500 m2

3 000 m2

max volume—

33 000 m3

18 000 m3

max floor area— 5 000 m2

3 500 m2

2 000 m2

max volume—

21 000 m3

12 000 m3

48 000 m3

30 000 m3

5.14 | C2.3 - LARGE ISOLATED BUILDINGS The size of a fire compartment in a building may exceed that specified in Table C2.2 where— TABLE 1.28 | C2.3 Large Isolated Buildings ITEM

DESCRIPTION

The building is Class 5 to 9

and is protected throughout with a sprinkler system complying with Specification E1.5 and perimeter vehicular access complying with C2.4(b) is provided; (i) the building exceeds 18 000 m2 in floor area or 108 000 m3 in volume, is protected throughout with a sprinkler system (ii) the ceiling height of the fire compartment is not more than 12m, it has a smoke exhaust system

There is more than one building on the allotment

Noel Yaxley - Newcastle Cultural Annex

10 June 2014 / Art Museum + Cinematheque + Education

If the buildings are closer than 6m to each other they are regarded as one building and collectively comply with (a) or (b).

CLASS 9b Building: - Obelisk Art Museum has slit levels; The auditorium below and a storage mezzanine above the amenities in the south gallery. - North reservoir Gallery is a double height space.

CLASS 9b Building: - The maximum ﬂoor area for a Type B construction equals 5500m2.

Solution: - Floor plates of the North + South Galleries of the Obelisk Art Museum are 3040m2. - Under Area Limitations

20,000

10,000

CLASS 6a Building: - The maximum ﬂoor area for a Type C construction equals 2000m2.

Solution: - Floor plate of Cafe/Bar 90m2. - Under Area Limitations

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Figures above | 4.26 NCC Compliance. Ground Floor Plan; Lower Ground Floor Obelisk

Noel Yaxley - Newcastle Cultural Annex

10 June 2014 / Art Museum + Cinematheque + Education

CLASS 9b Building: - The maximum ﬂoor volume for a Type B construction equals 33000m3. Solution: - The galleries high ceiling heights result in a volume of 29000m3. - Under Volume Limitations CLASS 9b Building: - The greatest number of storeys at any part of the external wall.

Solution: - 2 floor plates designed at 10m floor to floor heights, + Mezzanine on above floor - As per BAC rise in stories for Museum equals 3 stories.

Noel Yaxley - Newcastle Cultural Annex

10 June 2014 / Art Museum + Cinematheque + Education

Figures above | 4.27 NCC Compliance. Section Obelisk Galleries

NCCA COMPLIANCE

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CLASS 9b Building: - The maximum ﬂoor area for a Type C construction equals 3000m2.

Solution: - Floor plate of Brown St. Reservoir and teaching spaces is1000m2. - Under Area Limitations

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10 June 2014 / Art Museum + Cinematheque + Education

5.2 | NCC SECTION E - SERVICES + EQUIPMENT FUNCTIONAL STATEMENTS A building is to be provided with safeguards so that— (a) occupants are warned of a fire in the building so that they may safely evacuate; and (b) occupants have time to safely evacuate before the environment in any evacuation route becomes untenable from the effects of fire.

PERFORMANCE REQUIREMENTS In a building providing sleeping accommodation, occupants must be provided with automatic warning on the detection of smoke so they may evacuate in the event of a fire to a safe place. (a) In the event of a fire in a building the conditions in any evacuation route must be maintained for the period of time occupants take to evacuate the part of the building so that— (i)

Figures above | 4.28 NCC Compliance. Ground Floor Plan; Brown St. Reservoir

Noel Yaxley - Newcastle Cultural Annex

the temperature will not endanger human life; and

5.21 | E1.3 - FIRE HYDRANTS ABLE 1.25 | E1.3 Type of Construction Required ITEM

DESCRIPTION

(a) A fire hydrant system must be provided to serve a building—

(i) having a total floor area greater than 500 m2; and

(b) The fire hydrant system -

(i) must be installed in accordance with AS 2419.1; and

ABLE 1.25 | E1.4 Type of Construction Required ITEM

DESCRIPTION

(b) A fire hose reel system must be provided—

(i) to serve the whole building where one or more internal FIRE HYDRANTS are installed; or

The fire hose reel system must—

(i) the number, mobility and other characteristics of the occupants; and (ii)

the function or use of the building; and

(iii) and

the travel distance and other characteristics of the building;

(iv)

the fire load; and

(v)

the potential fire intensity; and

(vi)

the fire hazard; and

(vii)

any active fire safety systems installed in the building; and

(viii)

fire brigade intervention.

Noel Yaxley - Newcastle Cultural Annex

10 June 2014 / Art Museum + Cinematheque + Education

(ii) where internal FIRE HYDRANTS are not installed, to serve any fire compartment with a floor area greater than 500 m2.

(i) have fire hose reels installed in accordance with AS 2441; and (ii) provide fire hose reels to serve only the storey at which they are located, except a sole-occupancy unit of not more than 2 storeys in a Class 5, 6, 7, 8 or 9 building may be served by a single fire hose reel located at the level of egress from that sole-occupancy unit provided the fire hose reel can provide coverage to the whole of the sole-occupancy unit.

the level of toxicity will not endanger human life.

(b) The period of time occupants take to evacuate referred to in (a) must be appropriate to—

(ii) where internal fire hydrants are provided, they must serve only the storey on which they are located

5.21 | E1.3 - FIRE HOSE REELS

(ii) the level of visibility will enable the evacuation route to be determined; and (iii)

(ii) where a fire brigade is available to attend a building fire.

(e) In achieving system coverage, one or a combination of the following criteria for individual internally located fire hose reels must be met in determining the layout of any fire hose reel system:

(i) Fire hose reels must be located adjacent to an internal fire hydrant (other than one within a fire-isolated exit), except that a fire hose reel need not be located adjacent to every fire hydrant, provided system coverage can be achieved. (ii) Fire hose reels must be located within 4 m of an exit, except that a fire hose reel need not be located adjacent to every exit, provided system coverage can be achieved. (iii) Where system coverage is not achieved by compliance with (i) and (ii), additional fire hose reels may be located in paths of travel to an exit to achieve the required coverage.

CLASS 9b Building; - Fire services and equipment to be placed along side isolated ﬁre exits

20,000

10,000

D CLASS 9b Building; - Fire services and equipment to be placed along side isolated ﬁre exits

CLASS 6a Building; - Fire services and equipment to be placed along side isolated ﬁre exits

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Figures above | 4.29 NCC Compliance. Ground Floor Plan; Lower Ground Floor Obelisk

Noel Yaxley - Newcastle Cultural Annex

10 June 2014 / Art Museum + Cinematheque + Education

CLASS 9b Building; - Fire services and equipment to be placed along side isolated ﬁre exits

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Noel Yaxley - Newcastle Cultural Annex

10 June 2014 / Art Museum + Cinematheque + Education

Figures above | 4.12 NCC Compliance. Ground Floor Plan; Lower Ground Floor Obelisk

NCCA COMPLIANCE

120 | 121

CLASS 9b Building; - Fire services and equipment to be placed along side isolated ﬁre exits

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Figures above | 4.30 NCC Compliance. Ground Floor Plan; Brown St. Reservoir

Noel Yaxley - Newcastle Cultural Annex

10 June 2014 / Art Museum + Cinematheque + Education

5.3 | NCC SECTION F - HEALTH + AMENITY FUNCTIONAL STATEMENTS

5.31 | F2.3 - FACILITIES IN CLASS 3 TO 9 BUILDINGS TABLE 1.30 | F2.3 Facilities in Class 3 to 9 buildings ITEM

DESCRIPTION

Building Class 9b

MALES FACILITIES: - 1 Closet Plan / 250 Patrons - 1 Urinal / 100 patrons - 1 Wash Basin / 150 Patrons

A building is to be provided with— (a) suitable sanitary facilities and space and facilities for personal hygiene; and

FEMALE FACILITIES: - 1 Closet Plan / 75 Patrons - 1 Wash Basin / 150 Patrons

(b) adequate means for the prevention of contaminants to hot water, warm water and cooling water systems. A building is to be provided with— (a)

space or facilities for laundering; and

(b)

suitable means for the sanitary disposal of waste water.

Building Class 6a

MALES FACILITIES: - 1 Closet Plan / 100 Patrons - 1 Urinal / 50 patrons - 1 Wash Basin / 50 Patrons FEMALE FACILITIES: - 1 Closet Plan / 25 Patrons - 1 Wash Basin / 50 Patrons

Building Class 10

Not Applicable

5.12 | C1.2 - FACILITIES FOR PEOPLE WITH DISABILITIES TABLE 1.31 | F2.4 Facilities for People with Disabilities ITEM

DESCRIPTION

Building Class 9b

DISABLED FACILITIES: - 1 Wheelchair Accessible Unisex Facility (per story)

Building Class 6a

DISABLED FACILITIES: - 1 Wheelchair Accessible Unisex Facility (per story)

Building Class 10

Noel Yaxley - Newcastle Cultural Annex

10 June 2014 / Art Museum + Cinematheque + Education

Class 9b building Toilet facilities designed close to NCC performance requirements. Alterations to be undertaken. Class 9b building: Male Facilities - 3 closet pans. 3 urinals, 6 wash basins. Class 9b building: Female Facilities - 6 closet pans. , 6 wash basins. Class 9b building: Disabled Facilities - 1 wheel chair accessible unisex toilet

Solution: - Ample space to design toilet facilities for gallery patrons. - explore storage space for facilities

20,000

10,000

Solution: Toilet facilities need to be included as part of building schedule and meet NCC performance requirements. Alterations to be undertaken.

Class 6a building: Female Facilities - 1 closet pans. , 1 wash basins.

Class 6a building: Disabled Facilities - 1 wheel chair accessible unisex toilet

Class 6a building: Male Facilities - 1 closet pans. , 1 wash basins.

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Figures above | 4.31 NCC Compliance. Ground Floor Plan; Lower Ground Floor Obelisk

Noel Yaxley - Newcastle Cultural Annex

10 June 2014 / Art Museum + Cinematheque + Education

Class 9b building Toilet facilities to be designed according to NCC performance requirements. Alterations to be undertaken to accommodate schedule. Class 9b building: Male Facilities - 6 closet pans. 6 urinals, 6 wash basins. Class 9b building: Female Facilities - 8 closet pans. , 8 wash basins.

Solution - Storage space for facilities - or cleaners closet

Class 9b building: Disabled Facilities - 1 wheel chair accessible unisex toilet

Solution: - Ample space to design toilet facilities for Cinematheque / Auditorium patrons & Staff.

GSPublisherEngine 0.0.100.100

Noel Yaxley - Newcastle Cultural Annex

10 June 2014 / Art Museum + Cinematheque + Education

Figures above | 4.32 NCC Compliance. Ground Floor Plan; Lower Ground Floor Obelisk

NCCA COMPLIANCE

122 | 123

Solution - Storage space for facilities Class 9b building Toilet facilities to be designed according to NCC performance requirements. Alterations to be undertaken to accommodate schedule. Class 9b building: Male Facilities - 3 closet pans. 6 urinals, 5 wash basins. Class 9b building: Female Facilities - 4 closet pans. , 4 wash basins. Class 9b building: Disabled Facilities - 1 wheel chair accessible unisex toilet

Solution: - Ample space to design toilet facilities for Education facility patrons.

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6.0 | SUMMERY

Figures above | 4.33 NCC Compliance. Ground Floor Plan; Brown St. Reservoir

Noel Yaxley - Newcastle Cultural Annex

10 June 2014 / Art Museum + Cinematheque + Education

| SUMMARY The following briefing report has outlined and identified key issues of Access, Egress and NCC Compliance within the selected design project of Newcastle Cultural Annex incorporated in the master of Architecture program at the Newcastle of University Australia.

INTERLUDE

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I N T E R LU D E

Ar c h it e c t u r a l R e s e a r c h P a r t 5

INTERLUD E Part 5

5.0 | Project Narrative ART CRITIQUE GENERATOR

THE COMEDY OF DIVINE ART

THE CURRENT SITUATION OF VIEWING ART NEEDS

The gradual mutation of space, light, art and user

TO BE DE-COMMODITIZED, REVERSED. MUTATED.

become intertwined stories. Through each step of

Today art has been defined with very specific terms, having distinct ambassadors and branding. The Cultural Annexes are a physical critique of the current commercialized art scene. It identifies a gentrification around art spaces, limited spatial experience inside and around the gallery as a window shopping / object driven experience of art. THE CONVENTIONAL ART SPACE IS DISTURBED. The ‘familiar’ shopping and storage space is moved

the mutation, they are all form part of a symbiotic system, a story with protagonists, traps, and spectres. For the illustration of each step a different mode of representation is selected. AXONOMETRIC for the norm COLLAGE for the confusing part PERSPECTIVE for the longitudinal part (red herring) MONTAGE for the revelation part

to the front civic square, hiding true art from display.

PHOTOREALISM for the light (enlightenment)

Art is gradually discovered and purified as you

SHADOWS for the ambiguous.

journey through the city. THE FLAT SLAB OF ART SPACE TURNS INTO A FRAGMENTED SEQUENCE. Into long paths, enclosures and movement. THE USER IS CHALLENGED. Entering familiar spaces in the beginning and then subjected to unfamiliar rooms and uneven levels of experience.

THE MUTATION THE ENVIRONMENTAL TRIGGER - current art experience is magnified. THE MATERIALITY TRIGGER- art obsession and choice overload. THE MOVEMENT TRIGGER - space is art, art is movement, movement is space. THE

CONTACT

TRIGGER

attachment

detachment. THE INTENTIONALITY TRIGGER - the straight exit suggests

INTERLUDE

126 | 127

THE NARRATIVE IS REVEALED.

he realized this path of light must also be a grand

Upon entering the Newcastle Art Gallery the protagonist

was

bored.

The

art

scene

archival network that ran throughout The Hill.

was

surprisingly similar to everywhere else. Emptiness he thought. Suddenly a bright inviting beacon lured him up to The Hill. Upon reaching the beacon the protagonist’s eye followed the projection of light beaming from the tower that casts itself upon a giant screen, a new cultural annex was revealed to him. He stood on the lighten path that lead the way and began his journey, a journey he had imagined

The protagonist is filled with curiosity, “where will this path lead me?” asked himself. He followed the path down Brown St. and into Arcadia park where the light trail cut its thin line through the densely landscaped park. As he followed the winding trail, it begins to reveal a series of structures: a number of pavilions and viewing stations dot the park.

before, a soft city of illusion, of myth, aspiration, and adventure, that was maybe more real to him then the

The protagonist ascends Arcadia park to Wolfe St.

hard city one can locate in statistics, monographs

and finds himself standing at the foot of the Obelisk

and urban sociology. The protagonist started getting

Hill. The light path that he had been following all along

used to this art world. An opening led further inside.

pierced into the side of the cliff and disappeared into the obelisk hill. There at the base of the hill a

The protagonist found himself in a paradise. Art was abundant, art was everywhere. He felt privileged to be in-side this RESERVOIR of ideas. As he ascended the grand steps that led to the sloping

beautiful sandstone staircase that had been carved into the rock invited you to climb up and as it came to its peak it drew him into the second annex along his journey.

green amphitheatre he found others enlightened to art, an architecture of EVENT was born. “This is how

Having emerged from Arcadia Park, the protagonist

everyday life should be” he thought.

crossed Wolfe Street, following the path that had thus far lead him through an incredible journey.

As he looked around, his eye was once again caught by the lighten trail that lead him to the reservoir, but this time he noticed how the path of light continued into the darkness (Arcadia Park). He returned to the street and standing upon the path, looking down at his feet, he realized the trail was instead a mechanical system below the ground. As he kneed

Standing on the forecourt at the foot of the Obelisk Hill, he saw the path becoming a tunnel that carved its way through the sandstone. The tunnel became gradually darker as the protagonist dove deeper. The opening was now disappearing behind him and the warm ground lights that cascaded up the rough sandstone became less and less frequent.

down and looked closer through the lit glass he

A changing light could be seen at the end of the

observed sealed capsules moving backwards and

tunnel with slivers of flashing light that would cast

forwards on a circulating conveyor system. As he

their way down the tunnel. Three quarters of the

looked backwards and forwards along the path

way up the 40m tunnel, the lit path of the archive deviated his movement.

The entrance to the gallery space was a awash with

5.1 | Design Ideas post Schematic / Prior

a water curtain that cascaded from above. This

Developed

fountain stopped and started as more people entered the space controlling the number of participants in

Visitors approach the hemispherical object and

the gallery at one time. The commodity of water had

descend down a sloping ramp. As they go inside

been replaced with the commodity of people, and its

a spiralling staircase lowers them underground into

flow of water replaced by the flow of film.

the central space. The cylindrical chamber and hemispherical roof

Upon entering the sandstone carved space a large curtain wrapped around him, whilst a above him, a projected night sky moved as though the wind was sweeping it by.

create panoramic and panoptic views. The design of this space is guided by its sectional properties and sight-line relationships revealing unexpected views and spaces piercing through the solid rock. The Obelisk Reservoir Annex becomes a mysterious yet inviting space.

When the protagonist left the space, he reflected on this profound journey. A passage that challenged him, distorted his views and for a moment augmented

The inside becomes a negative of the outside world, a city of augmented speed, views and experiences.

his reality. They were somewhat hidden spaces, occupying the residual and interstitial pockets within his city. At the same time these spaces catered to the event and spectacle nature of architecture the protagonist had craved for.

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5.1.2 | A Film Archive Stretching Across The Hill

extreme permanence, and extreme temporariness. This buried film-wall shows that a tension between

This section of the project takes the form of a

the permanent and the ephemeral can play a role

film archive set across The Hill as an architectural

in understanding architectureâ&#x20AC;&#x2122;s relationship with

element that links the two reservoirs sites together.

extreme geological time-scales, and architectureâ&#x20AC;&#x2122;s

The archive is a buried retaining wall made up of

relationship with the immediacy of the event.

hermetically sealed capsules, accessible at certain points within the landscape through viewing booths and by the shipping marker and obelisk tower that are capable of generating a larger spectacle. This buried wall forms a network, a journey, from the Tyrell St. Shipping Marker to the Obelisk maker or visa-versa, through the trails of Acadia park. The buried wall is created by a series of earth removal and burial machines, archival printers which organise the wall systems based on the archival content. As the wall winds its way, access points are constructed along its length, acting as markers at the scale of the landscape, and as points of access to the archived content. As the walls form paths and then networks over time, the towers allow both walkers and technicians means of accessing the archival content. Each tower is outfitted with an interface that allows walkers to access content at a personal level, but the towers are also geared to providing for mass consumption. As the patterns of pilgrimage emerges over time, the towers become sites of ritual in the consumption of buried films. The architecture becomes an event - a mediation between the direct, phenomenal experience of something, and the re-playable, re-watch-able, anywhere, on-demand nature of watching film in the 21st century. The

project

mediates

between

architectureâ&#x20AC;&#x2122;s

relationship with different time-scales and forms of occupation, specifically in the overlap between

INTERLUDE

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5.2 | Newcastle East Public School Sculpture Competition. Left image: photograph of 1:100 scale model with lighting Right image: photograph of 1:25 sectional model highlighting void of the bell. The

photographs

possibilities.

demonstrate

night

lighting

INTERLUDE

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INTERLUDE

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esign Intent

â&#x20AC;Š

INTERLUDE

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D E S I GN D EArVc hEit eLOP MENT ctural Research Part 6

DESIG N D EVELO PME N T Part 6

6.0 | Design Development

During this phase the complexities of the obelisk hill as a significant cultural and geographical

The developed design submission is an opportunity

environment were further explored through the

to further explore and develop the project forms,

creation of a singular striking gesture that resulted in

surfaces, spaces, materials and environmental

a scheme deeply rooted in the enquiry of thresholds

systems in detail. Although the design issues

and progressions. The project evolved to one that

addressed are developed in a smaller scale, or for

enhances the individual experience of the space

only a particular section of the project the resolution

where art may be contained as the key objective

can potentially be translated and applied throughout

within the design.

the entire project.

Dispensing

with

the

gratuitous

intervention

The developed design phase also begins to develop

schematic I returned to a quote from the concept

a rationale for how the project might be constructed,

phase by Henry Lefebvre’s The Right to the City;

while also creatively exploring the potential of detail within the over all project. The project at schematic design revealed that a large gallery on the south along with the striking north gallery intervention around the obelisk had unknowingly moved away from its initial inception of reusing residual space within Newcastle and into a response for a bastardised brief for the expansion of Newcastle Art Gallery. The result was a project that did not appropriately respond to the site conditions and one that took no real position on the role of art within today environment. The reservoirs where

Leaving aside representation, ornament and decoration, art can become praxis and poises on a social level: the art of living in the city as a work of art … In other words, the future of art is not artistic, but urban, because of the future of [mankind won’t be found either in the cosmos, nor the people , not] in production, but in urban society. This has significantly directed and guided the approach to the developing scheme, where the individual’s journey and experience of the changing urban landscape is facilitated by the architectural interventions by posing a fundamentally different

reduced to a motif that failed to engage with their

idea of how art could exist in our cities.

heritage and character.

The following pages are a visual compilation of the

The challenge became about designing an auspicious

design development process.

response to the adaptive reuse of the two reservoir spaces that questioned and engaged the role of art within our urban context. This was distilled during the developed design phase as a series of smaller yet significant architectural interventions across the sites. The developed design was another challenging phase. Continued site visits, photographs, research and sketches re-evaluated the multi-layered and dynamic nature of The Hill. DESIGN DEVELOPMENT

138 | 139

THRESHOLDS Developed Architecture

6.1 | Project Objectives •

Threshold spaces become about the experience of art not really about the art itself.

•

This allow the project to pose a fundamentally different idea of what art is and how it is experienced.

•

It becomes an urban project, re-imagined through an urban experience where one goes to find & discover art. The visitor is not forced fed by an authority, but rather encouraged to find out more through a personal interaction.

•

The project proposes a decentralisation of the typical art space, allowing for a progression of spaces throughout the city each one enriched by a series of installations.

•

When within the space, a delimitation of physical reality occurs. The twists and turns become about finding something new in the labyrinth, the echoes & after-effect created through user interaction are manipulated using loops and feedback mechanism.

•

Unlike typical art galleries, The Reservoirs spaces are not sub-servant to the object which traditionally gives that space purpose, they instead focus on the experiential.

•

By using projected media it removes the heightened value of the art object.

•

The project draws on people’s desire to interact with art as a means of constructing a new way of genuinely experiencing a new urbanism

DESIGN DEVELOPMENT

140 | 141

TYRRELL ST SHIPPING MARKER

BROWN ST RESERVOIR

ARCADIA PARK OBELISK

SITES

DESIGN DEVELOPMENT

142 | 143

DESIGN DEVELOPMENT

144 | 145

DESIGN DEVELOPMENT

146 | 147

DESIGN DEVELOPMENT

150 | 151

DESIGN DEVELOPMENT

154 | 155

DESIGN DEVELOPMENT

156 | 157

MONA

DESIGN DEVELOPMENT

158 | 159

The Projection Curtain Retains The Original Reservoir Size Whilst A New Carved Interior Propels You Around The Space.

DESIGN DEVELOPMENT

160 | 161

DESIGN DEVELOPMENT

162 | 163

DESIGN DEVELOPMENT

164 | 165

DESIGN DEVELOPMENT

166 | 167

Rem Koolhaas from S,M,L,XL: â&#x20AC;&#x153;The ambition of this project is to rid architecture of responsibilities it can no longer sustain and to explore this new freedom aggressively. It suggests that, liberated from its former obligations, architectureâ&#x20AC;&#x2122;s last function will be the creation of the symbolic spaces that accommodate the persistent desire for collectivity.â&#x20AC;?

DESIGN DEVELOPMENT

168 | 169

Inspirational works for the various types of digital art and installation art possible within the Reservoirs.

James Turrell - Roden Crater

DESIGN DEVELOPMENT

170 | 171

T E CH N I CA L D E S I GN Ar c h it e c t u r a l R e s e a r c h P a r t 7

TECHN I CAL D ES I G N Part 7

7.0 | Technical Design

7.1 | Reflection

The technical design phase aims to explain how the

This working drawings phase was actually something

building is constructed. Construction documentation

I was looking forward to all year. Having worked in

allows consultants to complete their drawings, the

a number of architecture offices leading up to the

builder to tender and construct the work and the

masters degree this phase was something I had

client to enter into a contract for the works.

experienced over some of my peers. Nevertheless

This phase focused on part of the developed design to produce a partial set of working drawings. Small scale elements of the building are developed with focus on building materials and systems, detailing for environmental influences.

it was not accomplished with ease. Once you begin technical, you realise how many decisions are involved in creating the space that is wading about the depths of your mind. It is a very difficult process, but I got there in the end.

The technical design phase resolved details of the construction process and method through documenting the Obelisk Void Progression along with the Obelisk Reservoir Gallery from the developed design submission. The spread following includes the sheet layouts for the technical submission. Details, annotations and legends from the submission have been increased in scale and included on the pages following. Note that these drawings are not reproduced to scale. The technical design involved thorough research and specification of materials and systems that would tolerate the high salt content of the coastal environment and require little maintenance. The drawings also included specific notes about the construction process and the treatment of the site.

TECHNICAL DESIGN

172 | 173

LIGHT SHAFTS

INSERTIONS

ENCLOSING SKIN

LIGHT ENTERING VOID PROGRESSION FROM TOP TO BATH LSPACE IN FILTERED LIGHT

ENTRANCE BOX - COLD BLACK OXIDE STEEL SHEETS WELDED WITH EXTERNAL BLACK OXIDE STEEL RIBBING AT JOINTS.

12mm COR-TEN BLADES FIXED TO ROCK WALL WITH CHEMSET ROCK ANCHORS.

VOID PROGRESSION WALL PANELLING COMPOSED OF:

GLASS CURTAIN WALL WITH RECESSED FRAME SET BACK 2m FROM ROCK FACE.

LAMINATED GLASS ROOF 2 X 12.38mm TOUGHENED GLASS (VIRIDIAN 'SUPERCLEAR' COLOUR VTOUGH GLASS AND VRENEW SELF CLEANING SURFACE)

BEAMS COMPOSED OF: - 2 X 8MM X 1500MM COR-TEN PLATES HOT RIVETED WITH 100MM SPACER CONSTRUCTED OFF SITE WITH BOLT FIX ASSEMBLY ONSITE. BENT CORTEN CAPPING WITH CONTINUOUS WELD AT JOINTS. 8MM COR-TEN PLATES CONTINUOUS WELD BETWEEN BEAMS

STRUCTURAL GLASS TO ENGINEER SPECS WITH CLEAR SILICONE JOINTS ENCLOSING EXIT STRUCTURE AT TOP OF STAIRS FROM RESERVOIR GALLERY

PATHS 13

BENT COR-TEN STEEL BLADES, BOLT FIXED TO CONCRETE WALL BEHIND. REFER TO SHOP DRAWINGS FOR LOCATION OF CREASING AND ANGLES.

12mm COR-TEN BLADES FIXED TO ROCK WALL WITH CHEMSET ROCK ANCHORS.

200MM OFF FORM CONCRETE RETAINING WALL. FORMWORK CONSTRUCTED FROM 150 WIDE TIMBER BOARDS RUNNING HORIZONTALLY. MINIMUM BOARD LENGTH 2M.

CONCRETE SLAB ON GROUND TO ENGINEERS DETAIL. REFER TO CONCRETE SET OUT PLANS FOR EXPANSION JOINTS. 50MM PRE CAST AXOLOTLE WHITE POLISHED CONCRETE PAVERS. FIX TO 10MM SCREED.

SANDSTONE BLOCK RECLAIMED FROM EXCAVATION 100MM STEP.

- 2mm X 2500mm X 1200mm PERFORATED 316 STAINLESS STEEL SHEETS CLIPPED TO BOTH: - HORIZONTAL 15mm DIAMETER 316 STAINLESS STEEL RODS SPOT WELDED TO VERTICAL PIPES - VERTICAL 50mm DIAMETRE (3mm WALL) 316 STAINLESS STEEL PIPE MEMBERS ANCHORED TO SANDSTONE WALL WITH CHEMSET TIES TO ENGINEERS SPECIFICATIONS

UoN - Architecture Faculty mob. 0401 960 097 email: noel@yaxleystudio.com

Notes:

Yaxley | Studio

Client:

EXISTING SITE

EXCAVATIONS

PROJECTION CURTAIN STRUCTURE STEEL RING BEAM SUSPENDED FROM ADJUSTABLE HEIGHT ELECTRICAL WINCH. SEE AUDIO VISUAL TECHNICAL SPECIFICATIONS.

GLASS CURTAIN WALL WITH RECESSED FRAME SET BACK 1m FROM BACK OF ROCK FACE.

Newcastle Art Gallery

STEEL STAIR COMPOSED OF: - OFFSET FROM SANDSTONE, 2X CURVED STRINGERS HOT RIVETED BLUESCOPE STEEL GRADE 250 XTERPLATE STEEL STRINGERS FORMING FLIGHTS AND LANDINGS. - BENT BLUESCOPE STEEL GRADE 250 XTERPLATE STEEL TREADS FIXED TO STRINGERS - TOUGHENED SINGLE PLATE GLASS CURVED TO STRINGER RADIUS FIXED TO STAIR SUPPORT RODS WITH CUSTOM STEEL FITTING TO ENG. SPECIFICATION. - STEEL FLAT BAR HANDRAIL, 3MM RADIUS ROUNDED EDGES, CURVED TO STRINGER RADIUS SCREW FIXED TO STAIR SUPPORT RODS WITH CUSTOM STEEL FITTING. - LIGHTS RECESSED TO UNDERSIDE OF TREAD PROJECTING ONTO OVERLAP OF TREAD BELOW, AND LIGHTS ALONG SOUTH STRINGER PROJECTING ONTO SANDSTONE WALL.

EARTH REMOVAL BETWEEN TENNIS COURTS. REUSE EXCAVATED EARTH FRO LANDSCAPING ON SITE. PREPARE GROUND FOR CONCRETE SLAB TO BE POURED.

SAW CUT INTO EXISTING RETAINING WALL, SUPPORT WITH COR- TEN PLATES FLUSH WITH FACE OF RETAINING WALL.

VOID PROGRESSION EXCAVATION FOLLOW EXCAVATION PROCESS ON A051

EXISTING RESERVOIR -REMOVE BACKFILL FROM WITHIN THE EXISTING RESERVOIR -REMOVE CONCRETE WALLS AND USE AS BACKFILL -CRAIN IN EXCAVATOR WITH ROCK GRINDING ATTACHMENT -CONTINUE RESERVOIR DOWN ANOTHER 3.5m

GENERAL NOTES GENERAL EXCAVATION PROCESS NOTES EXCAVATED SANDSTONE CUT IN TWO STAGES.

BLOCK CUTTING ATTACHMENT FIXED TO EXCAVATING MACHINE TO ALLOW FOR RE-USE OF EXCAVATED MATERIAL WHERE POSSIBLE. SEE A050 SET FOR DETAILED EXCAVATION PROCESS AND SETOUT SANDSTONE IS TO BE LEFT AS A ROUGH FINISH, TO RANGE OF 30mm PEAKS AND VALLEYS.

LAMINATED GLASS FLOOR CONSTRUCTION: - 6MM TOUGHENED GLASS (VIRIDIAN 'SUPERCLEAR' COLOUR VTOUGH GLASS AND VRENEW SELF CLEANING SURFACE AND NON SLIP COATING) - 2 X 12.38mm TOUGHENED GLASS (VIRIDIAN 'SUPERCLEAR' COLOUR VTOUGH GLASS) - 30X30MM RIGHT ANGLE STEEL FRAMES EACH LAMINATED GLASS PLATE, SITTING FLUSH WITH STEEL ANGLES ON SILICONE SET DOWN. - SUPPORTING STRUCTURE 80X150MM R.H.S

GREY CONCRETE FILL TO AREAS OF LESS ROCK DENSITY AND CLAY DEPOSIT AREAS. SYSTEMATIC ROCK DOWELING WHERE REQUIRED FOLLOWED BY 150mm INITIAL SHOTCRETE LAYER WITH STEEL FIBRE REINFORCEMENT AS PER STRUCTURAL ENGINEER SPECIFICATION. SHOTCRETE IS LINED BY 3.6mm SIKA GEOTEXTILE 500g/ m2 PROTECTIVE LAYER WHICH BACKS SIKAPLAN 2mm PVC WATERPROOFING MEMBRANE.

FOLLOW EXCAVATION PROCESS ON A050.

500mm EXCAVATION OF RESERVOIR DRY WELL TO RL +2.500 ALOOWS LAMINTAED GLASS FLORRING AN STEEL SUPPORT STRUCTURE TO SIT FLUSH AT FFL +3.000.

MOST OF THE DETAILS WITHIN THE BUILDING ARE CONCEALED DETAILS THROUGH GAPS AND OPENINGS IN THE WALL TO EMPHASISE THE SUBTERRANEAN SETTING AND CREATE A FEELING OF ANTICIPATION MOVING INTO AND THROUGH THE EXHIBITION SPACES

CONCRETE SLAB TO ENGINEERS DETAIL ON EXISTING SANDSTONE BED SET IN 100MM FROM SANDSTONE WALL 50MM TOPPING LAYER OF AXOLOTLE WHITE POLISHED CONCRETE.

Consultants to ARBE 6230 Arch. Design 5A:

Project:

with The City Of Newcastle

CONSTRUCTION

19/09/2014

To be confirmed with Jason Elsley

Revision

Issued For

Date

Drawn

Chk

Comments

Newcastle Cultural Annexs

EXPLODED AXO Scale:

Drawing No:

Date Printed: 26/09/2014

Drawing Title:

Stage 1: The Obelisk Site Newcastle Stage 2: No.1 Brown Street Resevoir

Phase:

As Noted @ A1

STAGE 1 ISSUED FOR

CONSTRUCTION

A801

GSPublisherEngine 0.0.100.35

2,000

7,000

2,000

7,000 1,500

01 A401

1,500

GRID LINES

2,000

1,500

BEAM SETOUTS

1,500

01 A401

500 LG

7,000 1,500

3,000

VOID

3,024

LG LG

TD LG

PLY-1 FCL 12.500

2.0º SLOPE

2,500

2,10

01 PRJ

SP-1

30.00˚

SP-1

6,000

SP-1

ADJUSTABLE PROJECTION CURTAIN RING BEAM RL 10.000 SETOUT POINT - S03/SAA

WNC

PRJ

30.00˚

05 SP

2.2º

LG FCL

2,620

SLO

200

98 TB-1 FCL 12.050

00 LG FCL 12.

200

SLO

LG LG

LG FCL

2,900

2.2º

109.730°

2,390

12.300

2,085

260 200

12.4

LG 12.300 FCL LG 12.400 FCL

LG FCL 12.5

67.952°

64.101°

73.582°

79.279°

82.965°

LG 00 12.5 FCL

TB-1 FCL 12.050

512 BEHIND PLY-1 RL 12.480

3,000

2.0º SLOPE

LG 12.100 FCL

LG 12.200 FCL

111.082°

LG FCL 12.000

2,170

2,140

2,383

200 LG FCL

109.632°

2,197

2,200

2,5

12.1

LG LG

1,055

PRJ

2,140

12.0

107.877°

WNC

200

2,900

490

SLO

30.00˚

110.503°

107.700°

104.664°

1,500

930

2.2º

LG FCL

2,140

1,500

71.630°

3,000

LG FCL 11.9

30.00˚

2,578

.00

2,621

200

3,600

.00

2,615

200

PLY-1 FCL 12.500

200

3,600

BEAMS RL 12.000

2,760

2.0º SLOPE

PRJ

SP-1

30.00˚

SP-1

30.00˚

SP-1

6,000

SP-1

.00

SP-1

.00

WNC

2,760

SP-1

67.033°

11 01 A401

2,000

PLAN ROOF PLAN 1:100

BALUSTRADE 8mm COR-TEN FLAT BAR 120mm WIDE BY 1100mm ABOVE GROUND SPACED AT INTERVALS OF 200mm FIXED TO CONCRETE EDGE BEAM AND LEAFED FOLDED COR-TEN

500MM WIDE CHANNEL FILLED WITH LOOSE SMALL SANDSTONE RUBBLE (100-300MM DIAMETER) FROM EXCAVATION.

CAST IN PLACE REINFORCED CONCRETE EDGE BEAM BEHOND, 400MM WIDE, VARIABLE DEPTH DEPENDANT ON TOP SOIL TO ENGINEER SPECIFICATION WITH 150MM SEMICIRCLE PROFILE GUTTER. 90 DEGREE FOLDED 8MM COR-TEN SHEETS WITH 50MM LEAFED OVERLAP BOLT FIXED TO CONCRETE EDGE BEAM. REFER TO SHOP DRAWINGS FOR LOCATION OF CREASING AND ANGLES. SEE A631

Yaxley | Studio N

UoN - Architecture Faculty mob. 0401 960 097 email: noel@yaxleystudio.com

GSPublisherEngine 0.0.100.35

LAMINATED GLASS ROOF 2 X 12.38mm TOUGHENED GLASS (VIRIDIAN 'SUPERCLEAR' COLOUR VTOUGH GLASS AND VRENEW SELF CLEANING SURFACE). 200mm OVERLAP AND 50mm AIR GAP LEVELLED CONCRETE PADS FIXED TO SANDSTONE FOR BEAM SUPPORT TO ENGINEER SPECIFICATIONS

8MM COLD BLACK OXIDE STEEL PLATES CONTINUOUS WELD BETWEEN BEAMS

7,000

2,000

BLUESCOPE STEEL GRADE 250 XLERPLATE WELDED GRATE OVER GUTTER.

EXISTING OBELISK ON SITE. TAKE CARE TO NOT DAMAGE STRUCTURE.

EXISTING BRICK RETAINING WALL. SAW CUT SLOT THROUGH WALL WHERE LAPPING GLASS ROOF AND CORTEN SHEETS PASS THROUGH.

GLASS PYRAMID EXITING ROOF STRUCTURE SEE A661 FOR CONSTRUCTION DETAILS.

IRONBARK TIMBER DECKING AT UPPER MOST LANDING PLATFORM. SEE A661 FOR CONSTRUCTION DETAILS AND SET OUTS.

CORTEN STEEL PLATES FIXED TO SANDSTONE SHEER WALLS PROTRUDE OUT OF CLIFF FACE EXCAVATION.

Notes:

Client:

Newcastle Art Gallery with The City Of Newcastle

PLAN REFLECTED CEILING PLAN 1:100

BEAMS COMPOSED OF: - 2 X 8MM X 1500MM COLD BLACK OXIDE PLATES HOT RIVETED WITH 100MM SPACER CONSTRUCTED OFF SITE WITH BOLT FIX ASSEMBLY ONSITE.

AUSTRALIAN ARCHITECTURAL HARDWOODS IRONBARK 30mmX50mm RECYCLED WHERE POSSIBLE SPACED AT 100mm CENTRES AND BENT TO RESERVOIR GALLERY RADIUS

PROJECTION CURTAIN STRUCTURE STEEL RING BEAM SUSPENDED FROM ADJUSTABLE HEIGHT ELECTRICAL WINCH. SEE AUDIO VISUAL TECHNICAL SPECIFICATIONS.

BLACK OXIDE STEEL STAIRS COMPOSED OF: - 2 X STEEL PLATE STRINGERS 260mm DEEP - FOLDED STEEL PLATE WITH 70mm TREAD AND RISER - CONCEALED LED STRIP LIGHTING FIXED TO UNDERSIDE OF STEP AND ON ON ROCK FACE STRINGER. - STAIR SUPPORTED BY 16mm STEEL ROD HANING FROM ROOF BEAMS OR FIXED TO ROCKFACE WHERE NECESSARY. - FLAT BAR 20 x 65mm HANDRAIL FIXED TO HANGING RODS. GRIND OFF SHARP EDGES AND CORNERS. - CURVED GLASS SECTIONS FIXED TO RODS WITH CUSTOP STAINLESS STEEL PATCH FITTINGS. TO AS9001

LAMINATED GLASS ROOF 2 X 12.38mm TOUGHENED GLASS (VIRIDIAN 'SUPERCLEAR' COLOUR VTOUGH GLASS AND VRENEW SELF CLEANING SURFACE)

VOID THROUGH CEILING AND ROOF TO GLASS EXITING PAVILION.

Consultants to ARBE 6230 Arch. Design 5A:

HIGH LUX VIDEO PROJECTOR SET AT 30 DEGREE INTERVALS AROUND PROJECTION CURTAIN RING BEAM

GLASS CURTAIN WALL WITH RECESSED FRAME SET BACK 2m FROM ROCK FACE.

CORTEN STEEL PLATES FIXED TO SANDSTONE SHEER WALLS PROTRUDE OUT OF CLIFF FACE EXCAVATION.

VOID PROGRESSION WALL PANELLING COMPOSED OF: - 2mm X 2500mm X 1200mm PERFORATED 316 STAINLESS STEEL SHEETS CLIPPED TO BOTH: - HORIZONTAL 15mm DIAMETER 316 STAINLESS STEEL RODS SPOT WELDED TO VERTICAL PIPES - VERTICAL 50mm DIAMETRE (3mm WALL) 316 STAINLESS STEEL PIPE MEMBERS ANCHORED TO SANDSTONE WALL WITH CHEMSET TIES TO ENGINEERS SPECIFICATIONS

CONSTRUCTION

19/09/2014

To be confirmed with Jason Elsley

Issued For

Date

Drawn

Chk

Comments

NAN

CE STR

EET

RESERVE

ROAD

SITE PLAN 1:2000 Project:

01 Revision

ORD

COM EN ST

7,000

NEW

7,000

WOLFE STREET

2,000

01 A401

Newcastle Cultural Annexs Stage 1: The Obelisk Site Newcastle Stage 2: No.1 Brown Street Resevoir

Drawing Title:

ROOF & CEILING PLAN Scale:

As Noted @ A1

Date Printed: 26/09/2014 Phase:

STAGE 1 ISSUED FOR

CONSTRUCTION

Drawing No:

A304

01 A401 02 A641 1,000

1,500

1,000

1,850

5,800

3,000

UPPER MOST ROTATION LINE DASHED OVERHEAD

1,85

FGL

5,80

FGL FGL

2,500

FFL 3.000

FGL

FFL 3.000

LGF

3,450

FFL 3.000 FGL

1,850

FGL

LGF

FGL

FFL 3.000

FGL

FFL 3.000

SETOUT POINT - S03/SAA LGF

LGF

4,500

LGF FFL 3.000

3,500 LGF

LGF

FGL

LGF

FFL 3.000

350

FFL 3.00

02 A621 03 A621

2,582

2,343

1,420

VOID PROGRESSION FFL 0.75 - 3.00

500

4,82

5,80

1,200 4,071

02 A621

2,607

1,252

02 A631

1,320

3,507

73.582°

107.877°

4,560

4,140

110.503°

109.730° 4,950

FB FFL 3.000

104.664°

4,000

ues

Ris

ntin

3º Co

1,995 103.887°

4,450

966

459

1,079 99.730°

97.639° 4,370

4,092

CONC-1 FLL 3.000

95.022°

RESERVOIR GALLERY

4,759

5,170

3,600

3º Continues Rise

740

LGF FFL 3.000

2,140

6,500

LGF FFL 3.000

FFL 0.95

LGF FFL 3.000

01 A641

ENTRY CHAMBER

LGF FFL 3.000

LGF

LGF FFL 3.000

FFL 3.000

01 A911

530

LGF FFL 3.000

4,725

571

03 A631

1,781

LGF

4,626

2,685

1 4

1 1

FB FFL 0.750

WATER CURTAIN CONTROLLING NUMBER OF PEOPLE ENTERING THE GALLERY DRAINS THROUGH GRATE

3,210

01 A641

FFL 0 - 0.65 3

S FFL 0.850

770

FORECOURT PROGRESSION

SG FFL 0.950

S FFL 0.750

3,480

CONC-1 CONC-1 CONC-1 FFL 0.600 FFL 0.650 FFL 0.650

1,850

01 A631

4,500

FFL 3.000

5,800

REFER TO A203 - 1:100 GA

FFL 3.000 FFL 3.000

02 A631

02 A641

3,000

14,000

3,450

FB 3.000 FLL

2,163

2,100

2,760

FFL 3.000

3,500

FGL

FFL 3.000

6,000

FFL 3.000 FGL

71.630° 1,525

64.101° 700

1,525

01 A401 7,330

4,080

6,513

32,852

EXISTING CHAIN LINK TENNIS COURT FENCE, TO REMAIN. CARE TAKEN NOT TO DAMAGE

COLD BLACK OXIDE STEEL SHEETS WELDED WITH EXTERNAL BLACK OXIDE STEEL RIBBING AT JOINTS.

300MM SEMICIRCLE GUTTER PROFILE CAST INTO IN SITU CONCRETE SLAB. LOOSE SMALL SANDSTONE RUBBLE (50MM-100MM DIAMETER) FROM EXCAVATION TO FILL GUTTER.

BLUESCOPE STEEL GRADE 250 XLERPLATE WELDED GRATE OVER STAINLESS STEEL DISH DRAIN.

CONCRETE SLAB ON GROUND TO ENGINEERS DETAIL. REFER TO CONCRETE SET OUT PLANS FOR EXPANSION JOINTS.

COLD BLACK OXIDE STEEL C SECTIONS FLUSH WITH BOARDS AT INTERVALS OF 4M.

7,000

PLAN LEVEL 2 1:100

50MM PRE CAST AXOLOTLE WHITE POLISHED CONCRETE PAVERS. FIX TO 10MM SCREED. BENT COR-TEN STEEL BLADES, BOLT FIXED TO CONCRETE WALL BEHIND. SEE DETAIL SHEET A641 FOR SETOUT. REFER TO SHOP DRAWINGS FOR LOCATION OF CREASING AND ANGLES.

Notes:

Yaxley | Studio N

UoN - Architecture Faculty mob. 0401 960 097 email: noel@yaxleystudio.com

Client:

BENT BLUESCOPE STEEL GRADE 250 XTERPLATE STEEL LANDING SPOT WELDED TO STRINGERS

100MM GUTTER FORMED BETWEEN SANDSTONE WALL AND CONCRETE SLAB TO BE FILLED WITH SMALL LOOSE SANDSTONE RUBBLE (APPROX 50MM DIAMETER)

CONCRETE SLAB TO ENGINEERS DETAIL ON EXISTING SANDSTONE BED SET IN 100MM FROM SANDSTONE WALL 50MM TOPPING LAYER OF AXOLOTLE WHITE POLISHED CONCRETE.

RIGHT ANGLE STEEL SECTION FLUSH WITH INNER RADIUS OF CONCRETE SLAB BOLT FIXED. SEE DEATIL A651.

Newcastle Art Gallery

LEGEND: BAL-1 - 8mm COR-TEN FLAT BAR 120mm WIDE SPCAED AT 200mm CENTRES BAL-2 - COLD BLACK OXIDE FLAT BAR 30mm X 50mm GRIND OFF SHARP EDGES & CORNERS CJ - CONTROL JOINT CONC-1 - CONCRETE FLOOR FINISH TYPE 1 CONC-2 - CONCRETE FLOOR FINISH TYPE 2 FB - IRONBARK TOUNGE AND GROOVE BOARDS FW - FLOOR WASTE GD - GRATE DRAIN LG - LAMINATED GLASS ROOF PLANE LGF-1 - GLASS FLOOR FINISH TYPE 1 PLY-1 - 25mm MARINE PLY PAINTED BLACK PRJ - PROJECTOR S - SANDSTONE BLOCK SG - STEEL GRATE SP1- STEEL PLATE COLD BLACK OXIDE SPK - SPEAKER SS-1 STAINLESS STEEL TYPE 1 20mm HOLES AT 15% SS-2 STAINLESS STEEL TYPE 2 30mm HOLES AT 30% SS-3 STAINLESS STEEL TYPE 40mm HOLES AT 50% STON-1 - STONE FLOOR FINISH TYPE 1 TD - TIMBER DECKING IRONBARK TGSI - TACTILE GROUND SURFACE INDICATOR T.O.W - TOP OF WALL RL WNC- WINCH

Consultants to ARBE 6230 Arch. Design 5A:

Project:

with The City Of Newcastle

CONSTRUCTION

19/09/2014

To be confirmed with Jason Elsley

Revision

Issued For

Date

Drawn

Chk

Comments

ORD

NAN

CE STR

EET

EN ST

COM

NEW

WOLFE STREET

RESERVE

ROAD

SITE PLAN 1:2000

Newcastle Cultural Annexs Stage 1: The Obelisk Site Newcastle Stage 2: No.1 Brown Street Resevoir

RESERVOIR GALLERY PLAN Scale:

Drawing No:

Date Printed: 26/09/2014

Drawing Title:

Phase:

As Noted @ A1

STAGE 1 ISSUED FOR

A204

CONSTRUCTION

GSPublisherEngine 0.0.100.35

SIM

A661

3,000

2,900

STRUCTURAL GLASS TO ENGINEER SPECS WITH CLEAR SILICONE JOINTS ENCLOSING EXIT STRUCTURE AT TOP OF STAIRS FROM RESERVOIR GALLERY

2,140

3,600

2,760

6,000

2,500

3,000

1,100

SIM

3,000

A661

OBELISK BEYOND SIM

COLD BLACK OXIDE STEEL CONNECTING PLATE BOLT FIXED ON SITE

A631 SIM

A661

100

RL +13.000 (Beams)

1,000

BLUESCOPE STEEL GRADE 250 XLERPLATE WELDED GRATE OVER GUTTER. 8MM COLD BLACK OXIDE STEEL PLATES CONTINUOUS WELD BETWEEN BEAMS

RL +12.000 LEVEL 3 (Roof)

180mm HIGH R VALUE INSULATION 200

1,800

AUSTRALIAN ARCHITECTURAL HARDWOODS IRONBARK 30mmX50mm RECYCLED WHERE POSSIBLE SPACED AT 100mm CENTRES AND BENT TO RESERVOIR GALLERY RADIUS ELECTRICAL WINCH TO OPERATE PROJECTION CURTAIN RING BEAM

290

3,200

PROJECTOR CONNECTED TO 40mm SS PIPE RUNNING HORIZONTALLY SUPPORTED BY SYSTEMATIC ROCK DOWELLING ANCHORS. SEE AUDIO/VISUAL INSTALLATION NOTES. 9,000

7,000

MOUNTABLE SCREEN OF STRETCHED CANVAS OR OTHER MATERIAL TO BE DETERMINED BY ARTIST. SCREENS CAN BE CONTINUES ALONG WESTERN WALL VOID PROGRESSION OR AT PARTICULAR INTERVALS. SIM

A621

20x65 CURVED MILD STEEL FLAT BAR HANDRAIL, BLACK OXIDE FINISH, FIXED TO ASTEC CUSTOM FITTING, GRIND SHARP EDGES TO 2-3mm RADIUS

3,100

6MM TOUGHENED GLASS (VIRIDIAN 'SUPERCLEAR' COLOUR VTOUGH GLASS AND VRENEW SELF CLEANING SURFACE AND NON SLIP COATING) 2 X 12.38mm TOUGHENED GLASS (VIRIDIAN 'SUPERCLEAR' COLOUR VTOUGH GLASS) CONCRETE SLAB TO ENGINEERS DETAIL ON EXISTING SANDSTONE BED SET IN 100MM FROM SANDSTONE WALL 50MM TOPPING LAYER OF AXOLOTLE WHITE POLISHED CONCRETE. FOLDED COLD BLACK OXIDE STEEL EXTENDED LANDING

200

100MM GUTTER FORMED BETWEEN SANDSTONE WALL AND CONCRETE SLAB TO BE FILLED WITH SMALL LOOSE SANDSTONE RUBBLE (APPROX 50MM DIAMETER) 35 X 140 AUSTRALIAN ARCHITECTURAL HARDWOODS IRON BARK DECKING FIXED TO 90x50 R.H.S STRUCTURE TO ENGINEERS SPECIFICATION. BOARDS LAID FLUSH AND WITHIN RIGHT ANGLE STEEL FRAME SET 200MM FROM SANDSTONE SURFACE. R.H.S STRUCTURE BOLTED TO R.H.S GALVINIZED STEEL RAILS

300

100

RL +3.000 LEVEL 2 (Reservoir Gallery)

COLD BLACK OXIDE STEEL ANGLED FLAT BAR. UTILISE LED STRIP LIGHTING WITH APPROPRIATE LENSES TO PROVIDE HIDDEN, GLARE-FREE LIGHTING.

3,000

FIXING PINS CHEMICALLY SET INTO SANDSTONE AT 600 CENTRES TO ENGINEERS SPECIFICATION. RIGHT ANGLE STEEL SECTION FLUSH WITH INNER RADIUS OF CONCRETE SLAB BOLT FIXED. SEE DEATIL A651. SUPPORTING STRUCTURE 80X150MM R.H.S WITH LED STRIP LIGHT ATTACHED TO UNDERSIDE. 2,526 4,060

300 3,000

60 14,000

2,900

2,140

3,600

1,200

2,760

RL ±0.000 LEVEL 1 (Street Level)

6,000

SECTION AA RESERVOIR GALLERY 1:50

3,000

GENERAL NOTES ON DETAILS 01 A401

EXCAVATION METHOD USES A TOP DOWN PROCESS SEE A050s FOR DETAILED EXCAVATION DRAWINGS

01 A401

- Concealed/Pelmet lighting in the theatre, as per detail ‘C’ in drawing E1005

17,600

RL 12.000 8,800

8,800

8,8

4,260

RL 9.000

RL 12.000 1,300

300

2,500

26,700

RL 9.000

EET

9,7 1,3

EXISTING RESERVOIR

TOP ROTATION SET OUT OVAL

-DRILL HOLES AT 1m INTERVAL AT RL12.000 TO SET DEPTH OF EXCAVATION

19,56

WOLFE STREET

RL 3.000

-REMOVE BACKFILL FROM WITHIN THE EXISTING RESERVOIR -REMOVE CONCRETE WALLS AND USE AS BACKFILL -CRAIN IN EXCAVATOR WITH ROCK GRINDING ATTACHMENT -CONTINUE RESERVOIR DOWN ANOTHER 3.5m

5,5

COM EN ST

9,7 80 80

8,4

NEW

8,800

STAGE 2

4,260

8,800 17,600

STAGE 1

RL 6.000

8,8

1,300

8,4 19,56

NAN

CE STR

80 9,7 80

ORD

9,780

17,60 5,5

19,560

OFFSET CENTRE POINT OF OVEL FROM RES. CIRCLE SETOUT

1,3

5,520

9,7

1,500

1,5

OFFSET CENTRE POINT OF OVEL FROM RES. CIRCLE SETOUT

4,2

- Utilise LED based fibre optics, with appropriate lenses to provide hidden, glare-free lighting

8,8

9,780 8,480

SPECIFIC NOTES ON DETAILS 9,780 8,480

120.000°

60.000°

1,500

OFFSET CENTRE POINT OF OVEL FROM RES. CIRCLE SETOUT 1,5 00

8,8

19,560

5,520

OFFSET CENTRE POINT OF OVEL FROM RES. CIRCLE SETOUT

SETOUT POINT - S03/SAA

RL 3.000 17,60

9,780

RL 6.000

4,2

STAGE 3

STAGE 4

RL +9.000 ROTATION SET OUT OVAL

STAGE 5

RL +6.000 ROTATION SET OUT OVAL

-DRILL HOLES AT 1m INTERVAL AT RL12.000 TO SET DEPTH OF EXCAVATION

STAGE 6

RL +3.000 ROTATION SET OUT OVAL

-DRILL HOLES AT 1m INTERVAL AT RL12.000 TO SET DEPTH OF EXCAVATION

OVERLAY OF ROTATION

-DRILL HOLES AT 1m INTERVAL AT RL12.000 TO SET DEPTH OF EXCAVATION

RESERVE

-REPEAT PROCESS WITH GREATER SMALLER ROTATION DEGREE FOR SMOOTHER MORE ACCURATE EXCAVATION SET OUT

Yaxley | Studio N

UoN - Architecture Faculty mob. 0401 960 097 email: noel@yaxleystudio.com

ROAD

SITE PLAN 1:2000

PLAN EXCAVATION SET OUT DIAGRAM 1:250 Notes:

Client:

Newcastle Art Gallery with The City Of Newcastle

Consultants to ARBE 6230 Arch. Design 5A:

Project:

CONSTRUCTION

19/09/2014

To be confirmed with Jason Elsley

Revision

Issued For

Date

Drawn

Chk

Comments

Newcastle Cultural Annexs Stage 1: The Obelisk Site Newcastle Stage 2: No.1 Brown Street Resevoir

Date Printed: 26/09/2014

Drawing Title:

SECTION AA - RES. GALLERY Scale:

As Noted @ A1

Phase:

STAGE 1 ISSUED FOR

CONSTRUCTION

Drawing No:

A401

GSPublisherEngine 0.0.100.35

TECHNICAL DESIGN

174 | 175

BEAMS COMPOSED OF: - 2 X 8MM X 1500MM COLD BLACK OXIDE STEEL PLATES HOT RIVETED WITH 100MM SPACER CONSTRUCTED OFF SITE WITH BOLT FIX ASSEMBLY ONSITE. BENT COLD BLACK OXIDE STEEL CAPPING WITH CONTINUOUS WELD AT JOINTS 12mm BLACK OXIDE FINISH STEEL ROD HANGING STAIRS AND SUPPORTING BALUSTRADE. PIN FIX TO BEAM OR SANDSTONE AS NEED.

SQUARE BAR CREATED AN ADDITIONAL CENTRE FRAME FOR EXPOSED BOTTOM SECTION OF THE BEAM

1,850 5,800

3,000

1,650

ROUGH CUT SANDSTONE FACE. SEE EXCAVATION & EARTHWORKS DRAWING SET (A050s) FOR SPECIFICATIONS.

200mm DEEP SAW CUT INTO SANDSTONE AT 900 AND 1500 FOR INSERTION OF FLAT BAR LATCH

2,716

1,85

5 2,81

2,500

20x65 CURVED MILD STEEL FLAT BAR HANDRAIL, BLACK OXIDE FINISH, FIXED TO ASTEC CUSTOM FITTING, GRIND SHARP EDGES TO 2-3mm RADIUS 65

5,80

100

STAINLESS STEEL PATCH FITTING SUPPORTING GLASS BAL.

ASTEC® CUSTOM STAINLESS STEEL FITTING FASTENED TO ROD BY COUNTER SUNK ALLEN KEY SCREW

980

CLEAR TEMPERED GLASS, FIXED TO STEEL ROD AT COMPRESSION FITTING. SEE DRAWINGS 2 ON A621 FOR STAIR SET OUTS.

7,000

LED CONCEALED STRIP LIGHTING CAST LIGHT ONTO ROCK FACE

2,672

100

1,850

6,000

7,00

FOLDED 8mm STEEL PLATE TRED WITH 70mm FACE AND RISER FOLD 90° WITH 8mm RADIAS

40 32

16mm MILD STEEL ROD FIXED TO STRINGER WITH PIN FITTING THROUGH TUBE SECTION

260

7,000 8mm STEEL PLATES RIVETED TOGETHER AT 770mm CENTRES WITH 1 INCH HOT PRESSED RIVETS, TO FABRICATOR SPECIFICATIONS SEE SHOP DRAWINGS. 50mm DIAMETER 4mm WALL MILD STEEL PIPE SPOT WELDED TO STINGER PLATES. HOT PRESSED RIVET PASSES THROUGH PIPE.

1,320 1,380

100

SETOUT POINT - S03/SAA

76 1,600

ELEVATION Stair Detail 1:10

7,000

5,800

2,760

PRE-CUT HOLE IN INTERNAL STRINGER STEEL PLATE TO ALLOW 40x12mm FLAT BAR TRED SUPPORT TO SLIDE IN AND BE SPORT WELDED FOR THE UNDERSIDE. ALLOW 30mm GAB BETWEEN STRINGER PLATE AND STEP.

2,705

PLAN Stair Detail 1:10

3,600

7,00

50mm DIAMETER 4mm WALL MILD STEEL PIPE SPOT WELDED TO STINGER PLATES. HOT PRESSED RIVET PASSES THROUGH PIPE.

1,850

50mm DIAMETER 4mm WALL MILD STEEL PIPE SPOT WELDED TO STINGER PLATES. HOT PRESSED RIVET PASSES THROUGH PIPE.

FOLDED 8mm STEEL PLATE TRED WITH 70mm FACE AND RISER FOLD 90° WITH 8mm RADIAS CL 70

2,140

2,27

5,80

0 1,50

180

770

2,900

PRE-CUT HOLE IN INTERNAL STRINGER STEEL PLATE TO ALLOW 40x12mm FLAT BAR TRED SUPPORT TO SLIDE IN AND BE SPORT WELDED FOR THE UNDERSIDE. ALLOW 30mm GAB BETWEEN STRINGER PLATE AND STEP.

CONCEALED LED STRIP LIGHTING FIXED TO UNDERSIDE OF STEP.

41 55

PLAN Stair Set Out 1:50

55 380

SECTION Stair Detail 1:5

Yaxley | Studio N

UoN - Architecture Faculty mob. 0401 960 097 email: noel@yaxleystudio.com

Notes:

Client:

Newcastle Art Gallery

Consultants to ARBE 6230 Arch. Design 5A:

with The City Of Newcastle

Project:

CONSTRUCTION

19/09/2014

To be confirmed with Jason Elsley

Revision

Issued For

Date

Drawn

Chk

Comments

Newcastle Cultural Annexs Stage 1: The Obelisk Site Newcastle Stage 2: No.1 Brown Street Resevoir

Drawing Title:

RESERVOIR GALLERY STAIR Scale:

As Noted @ A1

Drawing No:

Date Printed: 26/09/2014 Phase:

STAGE 1 ISSUED FOR

A621

CONSTRUCTION

GSPublisherEngine 0.0.100.35

1,050

03 A631

BALUSTRADE 8mm COR-TEN FLAT BAR 120mm WIDE BY 1100mm ABOVE GROUND SPACED AT INTERVALS OF 200mm FIXED TO CONCRETE EDGE BEAM AND LEAFED FOLDED COR-TEN

180

LAMINATED GLASS ROOF 2 X 12.38mm TOUGHENED GLASS (VIRIDIAN 'SUPERCLEAR' COLOUR VTOUGH GLASS AND VRENEW SELF CLEANING SURFACE)

300

90 DEGREE FOLDED 8MM COR-TEN SHEETS WITH 50MM LEAFED OVERLAP BOLT FIXED TO CONCRETE EDGE BEAM. REFER TO SHOP DRAWINGS FOR LOCATION OF CREASING AND ANGLES. SEE A631

03 A631

530

500MM WIDE CHANNEL FILLED WITH LOOSE SMALL SANDSTONE RUBBLE (100-300MM DIAMETER) FROM EXCAVATION.

CAST IN PLACE REINFORCED CONCRETE EDGE BEAM 400MM WIDE VARIABLE DEPTH DEPENDANT ON TOP SOIL TO ENGINEER SPECIFICATION WITH 150MM SEMICIRCLE PROFILE GUTTER.

2,500 1,200

VOID PROGRESSION WALL PANELLING COMPOSED OF:

35 X 140 AUSTRALIAN ARCHITECTURAL HARDWOODS IRON BARK DECKING

530

2mm X 2500mm X 1200mm PERFORATED 316 STAINLESS STEEL SHEETS

STAINLESS STEEL TYPE 1 (SS-1) 20mm HOLES AT 15%

530

STAINLESS STEEL TYPE 2 (SS-2) 30mm HOLES AT 30%

EXCAVATED SANDSTONE CUT IN TWO STAGES.

530

STAINLESS STEEL TYPE 3 (SS-3) 40mm HOLES AT 50% - VERTICAL 50mm DIAMETRE (3mm WALL) 316 STAINLESS STEEL PIPE MEMBERS ANCHORED TO SANDSTONE WALL WITH CHEMSET TIES TO ENGINEERS SPECIFICATIONS

1,200

BLOCK CUTTING ATTACHMENT FIXED TO EXCAVATING MACHINE TO ALLOW FOR REUSE OF EXCAVATED MATERIAL WHERE POSSIBLE.

SEE A050 SET FOR DETAILED EXCAVATION PROCESS AND SETOUT SANDSTONE IS TO BE LEFT AS A ROUGH FINISH, TO RANGE OF 30mm PEAKS AND VALLEYS.

GREY CONCRETE FILL TO AREAS OF LESS ROCK DENSITY AND CLAY DEPOSIT AREAS.

1,200

SANDSTONE IS TO BE LEFT AS A ROUGH FINISH, TO RANGE OF 30mm PEAKS AND VALLEYS.

70 530

SEE A050 SET FOR DETAILED EXCAVATION PROCESS AND SETOUT

GREY CONCRETE FILL TO AREAS OF LESS ROCK DENSITY AND CLAY DEPOSIT AREAS.

BLOCK CUTTING ATTACHMENT FIXED TO EXCAVATING MACHINE TO ALLOW FOR REUSE OF EXCAVATED MATERIAL WHERE POSSIBLE.

90 50 20 82 140

530

CUT SANDSTONE IN VOID PROGRESSION. EXCAVATED SANDSTONE CUT IN TWO STAGES.

2,500

TYPES:

02 A631

1,200

530

2,500

BOARDS LAID FLUSH AND WITHIN RIGHT ANGLE STEEL FRAME SET 200MM FROM SANDSTONE SURFACE

70 530

HORIZONTAL 40mm DIAMETER 316 STAINLESS STEEL PIPES OFF SET BY SS ROD 100mm FROM WALL PANELLING TO FACILITATE MOUNTING OF PROJECTION SCREENS OF VARIOUS MATERIAL TO ARTIST INTERPRETATION

530

R.H.S STRUCTURE BOLTED TO R.H.S GALVINIZED STEEL RAILS WITH FIXING PINS CHEMICALLY SET INTO SANDSTONE AT 600 CENTRES TO ENGINEERS SPECIFICATION.

1,200

MOUNTABLE SCREEN OF STRETCHED CANVAS OR OTHER MATERIAL TO BE DETERMINED BY ARTIST. SCREENS CAN BE CONTINUES ALONG WESTERN WALL VOID PROGRESSION OR AT PARTICULAR INTERVALS.

530

2,500

530

PROJECTOR CONNECTED TO 40mm SS PIPE RUNNING HORIZONTALLY SUPPORTED BY SYSTEMATIC ROCK DOWELLING ANCHORS. SEE AUDIO/VISUAL INSTALLATION NOTES.

90x50 R.H.S STRUCTURE TO ENGINEERS SPECIFICATION.

03 A631

280

1,960

280 250

PLAN Void Details 1:20

Yaxley | Studio N

UoN - Architecture Faculty mob. 0401 960 097 email: noel@yaxleystudio.com

GSPublisherEngine 0.0.100.35

1,000

2,500

250

SECTION Void Details 1:20

Notes:

Client:

Newcastle Art Gallery with The City Of Newcastle

3 Consultants to ARBE 6230 Arch. Design 5A:

Project:

CONSTRUCTION

19/09/2014

To be confirmed with Jason Elsley

Revision

Issued For

Date

Drawn

Chk

Comments

ELEVATION Void Details 1:20

Newcastle Cultural Annexs Stage 1: The Obelisk Site Newcastle Stage 2: No.1 Brown Street Resevoir

Drawing Title:

Date Printed: 26/09/2014

VOID PROGRESSION DETAILS Phase: STAGE 1 ISSUED FOR Scale:

As Noted @ A1

CONSTRUCTION

Drawing No:

A631

EXISTING CONCRETE CAPPING EXISTING SANSDTONE

240

EXISTING RETAINED EARTH

400

COLD BLACK OXIDE STEEL SHEETS WELDED WITH EXTERNAL BLACK OXIDE STEEL RIBBING AT JOINTS.

BENT COR-TEN STEEL BLADES, BOLT FIXED TO CONCRETE WALL BEHIND. REFER TO SHOP DRAWINGS FOR LOCATION OF CREASING AND ANGLES.

EXISTING BLUESTONE RETAINING WALL SAW CUT AT ENTRANCE TO ALLOW FOR NEW CONSTRUCTION CARE TAKEN NOT TO DAMAGE.

2,260

BLUESCOPE STEEL GRADE 250 XLERPLATE WELDED GRATE OVER STAINLESS STEEL DISH DRAIN.

PIVOT DOOR COMPOSED OF: 10MM 250 XLERPLATE COLD BLACK OXIDE STEEL CUT TO 1420X2400 AND 255X2400 SANDWICH BETWEEN 50MM RIGHT ANGLE COLD BLACK OXIDE STEEL SECTIONS WITH HOT WAX FINISH. WELDED TO 30MM DIAM SOLID ROUND BAR BLACK PATINA HOT WAX FINISH. 20MM SOLID ROUND BAR HANDLE WITH CROSS BRACING WELDED TO RIGHT ANGLE FRAME.

20 120 20

2,680

BEHIND - 200MM OFF FORM CONCRETE RETAINING WALL. FORMWORK CONSTRUCTED FROM 150 WIDE TIMBER BOARDS RUNNING HORIZONTALLY. MINIMUM BOARD LENGTH 2M.

SANDSTONE BLOCK RECLAIMED FROM EXCAVATION 100MM STEP.

50MM PRE CAST AXOLOTLE WHITE POLISHED CONCRETE PAVERS. FIX TO 10MM SCREED.

1,540

1,528

5,543

CONCRETE SLAB ON GROUND TO ENGINEERS DETAIL. REFER TO CONCRETE SET OUT PLANS FOR EXPANSION JOINTS.

360 1,540

EXISTING CONCRETE PAD FOOTING FOR RETAINING WALL

PLAN Entry Detail 1:20

EXISTING BLUESTONE RETAINING WALL SAW CUT AT ENTRANCE TO ALLOW FOR NEW CONSTRUCTION CARE TAKEN NOT TO DAMAGE.

200MM OFF FORM CONCRETE RETAINING WALL. FORMWORK CONSTRUCTED FROM 150 WIDE TIMBER BOARDS RUNNING HORIZONTALLY. MINIMUM BOARD LENGTH 2M.

COLD BLACK OXIDE STEEL SHEETS WELDED WITH EXTERNAL BLACK OXIDE STEEL RIBBING AT JOINTS.

BENT COR-TEN STEEL BLADES, BOLT FIXED TO CONCRETE WALL BEHIND. REFER TO SHOP DRAWINGS FOR LOCATION OF CREASING AND ANGLES.

GUTTER DIRECTS WATER TO FLOW OUT OF SIDE CHANNELS ALONG ENTRY PROGRESSION

CONC-1 FFL 0.650

S-BO FFL 0.850

WATER CURTAIN CONTROLLING NUMBER OF PEOPLE ENTERING THE GALLERY DRAINS THROUGH GRATE

CONC-1 FFL 0.650

CONC-1 FFL 0.600

300MM SEMICIRCLE GUTTER PROFILE CAST INTO IN SITU CONCRETE SLAB. LOOSE SMALL SANDSTONE RUBBLE (50MM-100MM DIAMETER) FROM EXCAVATION TO FILL GUTTER.

S FFL 0.650 3

SANDSTONE BLOCK RECLAIMED FROM EXCAVATION 100MM STEP.

BLUESCOPE STEEL GRADE 250 XLERPLATE WELDED GRATE OVER STAINLESS STEEL DISH DRAIN.

A641 01

1,805

2,200

SANDSTONE BLOCK RECLAIMED FROM EXCAVATION 100MM STEP.

A641 01

CONCRETE SLAB ON GROUND TO ENGINEERS DETAIL. REFER TO CONCRETE SET OUT PLANS FOR EXPANSION JOINTS. 50MM PRE CAST AXOLOTLE WHITE POLISHED CONCRETE PAVERS. FIX TO 10MM SCREED.

S FFL 0.850 SG FFL 0.950

FB FFL 0.750

300MM SEMICIRCLE GUTTER PROFILE CAST INTO IN SITU CONCRETE SLAB. LOOSE SMALL SANDSTONE RUBBLE (50MM-100MM DIAMETER) FROM EXCAVATION TO FILL GUTTER.

GUTTER DIRECTS WATER TO FLOW OUT OF SIDE CHANNELS ALONG ENTRY PROGRESSION

200MM OFF FORM CONCRETE RETAINING WALL. FORMWORK CONSTRUCTED FROM 150 WIDE TIMBER BOARDS RUNNING HORIZONTALLY. MINIMUM BOARD LENGTH 2M. EXISTING CHAIN LINK TENNIS COURT FENCE, TO REMAIN. CARE TAKEN NOT TO DAMAGE

PLAN Entry Detail 1:20

Yaxley | Studio N

UoN - Architecture Faculty mob. 0401 960 097 email: noel@yaxleystudio.com

Notes:

Client:

Newcastle Art Gallery with The City Of Newcastle

Consultants to ARBE 6230 Arch. Design 5A:

Project:

CONSTRUCTION

19/09/2014

To be confirmed with Jason Elsley

Revision

Issued For

Date

Drawn

Chk

Comments

Newcastle Cultural Annexs Stage 1: The Obelisk Site Newcastle Stage 2: No.1 Brown Street Resevoir

Date Printed: 26/09/2014

Drawing Title:

ENTRY CHAMBER DETAIL Scale:

As Noted @ A1

Phase:

STAGE 1 ISSUED FOR

CONSTRUCTION

Drawing No:

A641

GSPublisherEngine 0.0.100.35

TECHNICAL DESIGN

176 | 177

ERTIONS

LIGHT ENTERING VOID PROGRESSION FROM TOP TO BATH LSPACE IN FILTERED LIGHT

GLASS CURTAIN WALL WITH RECESSED FRAME SET BACK 2m FROM ROCK FACE.

LAMINATED GLASS ROOF 2 X 12.38mm TOUGHENED GLASS (VIRIDIAN 'SUPERCLEAR' COLOUR VTOUGH GLASS AND VRENEW SELF CLEANING SURFACE)

CK 1m FROM BACK

ETE WALL BEHIND. NG AND ANGLES.

Yaxley | Studio

GSPublisherEngine 0.0.100.35

WORK NING

ELDED WITH

EMSET ROCK

GLASS CURTAIN WALL WITH RECESSED FRAME SET BACK 1m FROM BACK OF ROCK FACE.

PROJECTION CURTAIN STR STEEL RING BEAM SUSPEN WINCH. SEE AUDIO VISUAL

BENT COR-TEN STEEL BLADES, BOLT FIXED TO CONCRETE WALL BEHIND. REFER TO SHOP DRAWINGS FOR LOCATION OF CREASING AND ANGLES.

12mm COR-TEN BLADES FI ANCHORS.

200MM OFF FORM CONCRETE RETAINING WALL. FORMWORK CONSTRUCTED FROM 150 WIDE TIMBER BOARDS RUNNING HORIZONTALLY. MINIMUM BOARD LENGTH 2M.

CONCRETE SLAB ON GRO CONCRETE SET OUT PLAN AXOLOTLE WHITE POLISHE

ENTRANCE BOX - COLD BLACK OXIDE STEEL SHEETS WELDED WITH EXTERNAL BLACK OXIDE STEEL RIBBING AT JOINTS.

SANDSTONE BLOCK RECLA

12mm COR-TEN BLADES FIXED TO ROCK WALL WITH CHEMSET ROCK ANCHORS.

VOID PROGRESSION WALL PANELLING COMPOSED OF:

35 X 140 AUSTRALIAN ARCH DECKING FIXED TO 90x50 R SPECIFICATION. BOARDS L FRAME SET 200MM FROM S BOLTED TO R.H.S GALVINIZ CHEMICALLY SET INTO SAN SPECIFICATION.

PATHS

STRUCTURAL GLASS TO ENGINEER SPECS WITH CLEAR SILICONE JOINTS ENCLOSING EXIT STRUCTURE AT TOP OF STAIRS FROM RESERVOIR GALLERY

S STEEL SHEETS

EXCAVATIONS

Notes:

Client: Completion of the quality assurance checks is verification that the document The ideas, information and concepts contained in this document are the property of PROJECTION CURTAIN STRUCTURE REMOVAL BETWEEN conforms with the requirements of theSTEEL qualitySTAIR projectCOMPOSED plan. WhereOF: the quality Yaxley|Studio. Photocopying or reproducing this documentEARTH and passing it onto 21 isFRO OFFSET FROM SANDSTONE, 2X CURVED STRINGERS RIVETED STEEL RING BEAM SUSPENDED FROM ADJUSTABLE HEIGHT ELECTRICAL assurance check is incomplete18this -document is preliminary for information others without theHOT express permission of Yaxley|Studio an LANDSCAPING infringement of ON SITE. UoN Architecture Faculty BLUESCOPE GRADE 250 XTERPLATE STEEL STRINGERS FORMING WINCH. SEE AUDIO VISUAL TECHNICAL SPECIFICATIONS. purposes only, or such purposes as stated BE POURED. in the revisionSTEEL column. copyright. All errors and omissions must be reported immediately to the designer. mob. 0401 960 097 email: noel@yaxleystudio.com FLIGHTS AND LANDINGS. - BENT BLUESCOPE STEEL GRADE 250 XTERPLATE STEEL TREADS FIXED 12mm COR-TEN BLADES FIXED TO ROCK WALL WITH CHEMSET ROCK SAW CUT INTO EXISTING RET TO STRINGERS ANCHORS. 22 PLATES FLUSH WITH FACE O - TOUGHENED SINGLE PLATE GLASS CURVED TO STRINGER RADIUS FIXED TO STAIR SUPPORT RODS WITH CUSTOM STEEL FITTING TO ENG. CONCRETE SLAB ON GROUND TO ENGINEERS DETAIL. REFER TO SPECIFICATION. VOID PROGRESSION EXCAVA CONCRETE SET OUT PLANS FOR EXPANSION JOINTS. 50MM PRE CAST - STEEL FLAT BAR HANDRAIL, 3MM RADIUS ROUNDED EDGES, CURVED TO 23 A051 AXOLOTLE WHITE POLISHED CONCRETE PAVERS. FIX TO 10MM SCREED. STRINGER RADIUS SCREW FIXED TO STAIR SUPPORT RODS WITH CUSTOM STEEL FITTING. EXISTING RESERVOIR - LIGHTS RECESSED TO UNDERSIDE OF TREAD PROJECTING ONTO 24 -REMOVE BACKFILL FROM W SANDSTONE BLOCK RECLAIMED FROM EXCAVATION 100MM STEP. OVERLAP OF TREAD BELOW, AND LIGHTS ALONG SOUTH STRINGER -REMOVE CONCRETE WALLS PROJECTING ONTO SANDSTONE WALL. -CRAIN IN EXCAVATOR WITH LAMINATED GLASS FLOOR CONSTRUCTION: -CONTINUE RESERVOIR DOW 19 - 6MM TOUGHENED GLASS (VIRIDIAN 'SUPERCLEAR' COLOUR VTOUGH 35 X 140 AUSTRALIAN ARCHITECTURAL HARDWOODS IRON BARK GLASS AND VRENEW SELF CLEANING SURFACE AND NON SLIP COATING) DECKING FIXED TO 90x50 R.H.S STRUCTURE TO ENGINEERS FOLLOW EXCAVATION PROC - 2 X 12.38mm TOUGHENED GLASS (VIRIDIAN 'SUPERCLEAR' COLOUR SPECIFICATION. BOARDS LAID FLUSH AND WITHIN RIGHT ANGLE STEEL 500mm EXCAVATION OF RESE VTOUGH GLASS) FRAME SET 200MM FROM SANDSTONE SURFACE. R.H.S STRUCTURE 25 LAMINTAED GLASS FLORRIN - 30X30MM RIGHT ANGLE STEEL FRAMES EACH LAMINATED GLASS PLATE, BOLTED TO R.H.S GALVINIZED STEEL RAILS WITHFIXING PINS FLUSH AT FFL +3.000. SITTING FLUSH WITH STEEL ANGLES ON SILICONE SET DOWN. CHEMICALLY SET INTO SANDSTONE AT 600 CENTRES TO ENGINEERS - SUPPORTING STRUCTURE 80X150MM R.H.S SPECIFICATION.

EXISTING SITE

RODS SPOT

TIONS

S STEEL PIPE MSET TIES TO

EARTH REMOVAL BETWEEN TENNIS COURTS. REUSE EXCAVATED EARTH 21 FRO LANDSCAPING ON SITE. PREPARE GROUND FOR CONCRETE SLAB TO HOT RIVETED Client: on and concepts contained in this document are the property of RINGERS FORMING BE POURED. ocopying or reproducing this document and passing it onto express permission EEL TREADS FIXED of Yaxley|Studio is an infringement of with The City Of Newcastle and omissions must be reported immediately to the designer. SAW CUT INTO EXISTING RETAINING WALL, SUPPORT WITH COR- TEN 22 PLATES FLUSH WITH FACE OF RETAINING WALL. NGER RADIUS FITTING TO ENG. VOID PROGRESSION EXCAVATION FOLLOW EXCAVATION PROCESS ON EDGES, CURVED TO 23 A051 RODS WITH

Newcastle Art Gallery

CTING ONTO TH STRINGER

OLOUR VTOUGH NON SLIP COATING) LEAR' COLOUR

FOLLOW EXCAVATION PROCESS ON A050.

ATED GLASS PLATE, T DOWN.

500mm EXCAVATION OF RESERVOIR DRY WELL TO RL +2.500 ALOOWS LAMINTAED GLASS FLORRING AN STEEL SUPPORT STRUCTURE TO SIT FLUSH AT FFL +3.000.

EXISTING SITE

CONCRETE SLAB TO ENGINEERS DETAIL ON EXISTING SANDSTONE BED SET IN 100MM FROM SANDSTONE WALL 50MM TOPPING LAYER OF AXOLOTLE WHITE POLISHED CONCRETE.

GENERAL NOTES Consultants to ARBE 6230 Arch. Design 5A: GENERAL EXCAVATION PROCESS NOTES

EXCAVATED SANDSTONE CUT IN TWO STAGES.

19/09/2014

To be confirmed with Jason E

SEE A050 SET FOR DETAILED EXCAVATION PROCESS AND SETOUT SANDSTONE IS TO BE LEFT AS A ROUGH FINISH, TO RANGE OF 30mm PEAKS AND VALLEYS. GREY CONCRETE FILL TO AREAS OF LESS ROCK DENSITY AND CLAY DEPOSIT AREAS. SYSTEMATIC ROCK DOWELING WHERE REQUIRED FOLLOWED BY 150mm INITIAL SHOTCRETE LAYER WITH STEEL FIBRE REINFORCEMENT AS PER STRUCTURAL ENGINEER SPECIFICATION. SHOTCRETE IS LINED BY 3.6mm SIKA GEOTEXTILE 500g/ m2 PROTECTIVE LAYER WHICH BACKS SIKAPLAN 2mm PVC WATERPROOFING MEMBRANE.

GENERAL EXCAVATION PROCESS NOTES EXCAVATED SANDSTONE CUT IN TWO STAGES.

BLOCK CUTTING ATTACHMENT FIXED TO EXCAVATING MACHINE Project: TO ALLOW FOR RE-USE OF EXCAVATED MATERIAL WHERE Drawing Title: POSSIBLE. EXPLODED AXO Stage 1: The Obelisk Site Newcastle Scale: As Noted @ A1 19/09/2014 SEE NY A050 NYSET ToFOR be confirmed with EXCAVATION Jason Elsley DETAILED PROCESS AND SETOUT Stage 2: No.1 Brown Street Resevoir

Newcastle Cultural Annexs

Date

Drawn

Chk

Comments

SANDSTONE IS TO BE LEFT AS A ROUGH FINISH, TO RANGE OF 30mm PEAKS AND VALLEYS.

ERVOIR

GREY CONCRETE FILL TO AREAS OF LESS ROCK DENSITY AND CLAY DEPOSIT AREAS.

MENT

SYSTEMATIC ROCK DOWELING WHERE REQUIRED FOLLOWED BY 150mm INITIAL SHOTCRETE LAYER WITH STEEL FIBRE REINFORCEMENT AS PER STRUCTURAL ENGINEER SPECIFICATION. SHOTCRETE IS LINED BY 3.6mm SIKA GEOTEXTILE 500g/ m2 PROTECTIVE LAYER WHICH BACKS SIKAPLAN 2mm PVC WATERPROOFING MEMBRANE.

+2.500 ALOOWS RUCTURE TO SIT

CONSTRUCTION

GENERAL NOTES

WITH COR- TEN

Issued For

Issued For Revision Date Drawn Chk Comments BLOCK CUTTING ATTACHMENT FIXED TO EXCAVATING MACHINE TO ALLOW FOR RE-USE OF EXCAVATED MATERIAL WHERE POSSIBLE.

G SANDSTONE BED G LAYER OF EXCAVATED EARTH CONCRETE SLAB TO

ON PROCESS ON CONSTRUCTION

INSERTIONS

ENCLOSING SKIN

LIGHT SHAFTS

COLD BLACK OXIDE COLD BLACK OXIDE IS APPLIED AT ROOM TEMPERATURE AND IS A DEPOSITED COPPER SELENIUM COMPOUND. POST APPLICATION OF OIL, WAX, OR LACQUER CREATES A HIGH CORROSION RESISTANCE SURFACE WHILST MAINTAINING A PATINA ON THE STEEL. MOST OF THE DETAILS WITHIN THE BUILDING ARE CONCEALED DETAILS THROUGH GAPS AND OPENINGS IN THE WALL TO EMPHASISE THE SUBTERRANEAN SETTING AND CREATE A FEELING OF ANTICIPATION MOVING INTO AND THROUGH THE EXHIBITION SPACES

Drawing No:

Date Printed: 26/09/2014 Phase:

STAGE 1 ISSUED FOR

CONSTRUCTION

Drawing No:

A801

02 02

BENT COR-TEN STEEL BLADES, BOLT FIXED TO CONCRETE WALL BEHIND. REFER TO SHOP DRAWINGS FOR LOCATION OF CREASING AND ANGLES.

GLASS CURTAIN WALL WITH RECESSED FRAME SET BACK 1m FROM BACK OF ROCK FACE.

INSERTIONS

08 08

13 14

PATHS

16 PROJECTION CURTAIN STRUCTURE STEEL RING BEAM SUSPENDED FROM ADJUSTABLE HEIGHT ELECTRICAL WINCH. SEE AUDIO VISUAL TECHNICAL SPECIFICATIONS.

15 12mm COR-TEN BLADES FIXED TO ROCK WALL WITH CHEMSET ROCK ANCHORS.

18 17

14 13

19 18

24 23

21 STEEL STAIR COMPOSED OF: - OFFSET FROM SANDSTONE, 2X CURVED STRINGERS HOT RIVETED BLUESCOPE STEEL GRADE 250 XTERPLATE STEEL STRINGERS FORMING FLIGHTS AND LANDINGS. - BENT BLUESCOPE STEEL GRADE 250 XTERPLATE STEEL TREADS FIXED TO STRINGERS - TOUGHENED SINGLE PLATE GLASS CURVED TO STRINGER RADIUS FIXED TO STAIR SUPPORT RODS WITH CUSTOM STEEL FITTING TO ENG.

EXCAVATIONS

12 10

06 03

ENCLOSING SKIN

LIGHT ENTERING VOID PROGRESSION FROM TOP TO BATH LSPACE IN FILTERED LIGHT

LIGHT SHAFTS

25 21 22

EARTH REMOVAL BETWEEN TENNIS COURTS. REUSE EXCAVATED EARTH FRO LANDSCAPING ON SITE. PREPARE GROUND FOR CONCRETE SLAB TO BE POURED. SAW CUT INTO EXISTING RETAINING WALL, SUPPORT WITH COR- TEN PLATES FLUSH WITH FACE OF RETAINING WALL.

EXISTING SITE

GENERAL NOTES

GENERAL EXCAVATION PROCESS NOTES

EXCAVATED SANDSTONE CUT IN TWO STAGES.

BLOCK CUTTING ATTACHMENT FIXED TO EXCAVATING MACHINE TO ALLOW FOR RE-USE OF EXCAVATED MATERIAL WHERE POSSIBLE.

178 | 179

TECHNICAL DESIGN

02 A631

02 A641

4,500

01 A911

01 A641

ENTRY CHAMBER FFL 0.95 2

FB 3º Continues Rise

03 A631

530

6,500

740

2,343

4,626

1,420

FB FFL 0.750

1,781

1 4

WATER CURTAIN CONTROLLING NUMBER OF PEOPLE ENTERING THE GALLERY DRAINS THROUGH GRATE

2,685

01 A641

FFL 0 - 0.65

S FFL 0.850

3,210

FORECOURT PROGRESSION

SG FFL 0.950

S FFL 0.750

3,480

CONC-1 CONC-1 CONC-1 FFL 0.600 FFL 0.650 FFL 0.650

PROG

FFL

02 A631

95.022° 5,170

7,330

4,080

EXISTING CHAIN LINK TENNIS COURT FENCE, TO REMAIN. CARE TAKEN NOT TO DAMAGE

COLD BLACK OXIDE STEEL SHEETS WELDED WITH EXTERNAL BLACK OXIDE STEEL RIBBING AT JOINTS.

300MM SEMICIRCLE GUTTER PROFILE CAST INTO IN SITU CONCRETE SLAB. LOOSE SMALL SANDSTONE RUBBLE (50MM-100MM DIAMETER) FROM EXCAVATION TO FILL GUTTER.

BLUESCOPE STEEL GRADE 250 XLERPLATE WELDED GRATE OVER STAINLESS STEEL DISH DRAIN.

CONCRETE SLAB ON GROUND TO ENGINEERS DETAIL. REFER TO CONCRETE SET OUT PLANS FOR EXPANSION JOINTS.

COLD BLACK OXIDE STEEL C SECTIONS FLUSH WITH BOARDS AT INTERVALS OF 4M.

99.730°

97.639° 4,370

103.887°

4,450

107.

4,560

6,513

32,852

PLAN LEVEL 2 1:100

50MM PRE CAST AXOLOTLE WHITE POLISHED CONCRETE PAVERS. FIX TO 10MM SCREED.

01 A631

4,500

770

350

REFER TO A203 - 1:100 GA

BENT COR-TEN STEEL BLADES, BOLT FIXED TO CONCRETE WALL BEHIND. SEE DETAIL SHEET A641 FOR SETOUT. REFER TO SHOP DRAWINGS FOR LOCATION OF CREASING AND ANGLES.

Yaxley | Studio N

UoN - Architecture Faculty mob. 0401 960 097 email: noel@yaxleystudio.com

Notes:

Completion of the quality assurance checks is verification that the document conforms with the requirements of the quality project plan. Where the quality assurance check is incomplete this document is preliminary for information purposes only, or such purposes as stated in the revision column.

The ideas, information and concepts contained in this document are the property of Yaxley|Studio. Photocopying or reproducing this document and passing it onto others without the express permission of Yaxley|Studio is an infringement of copyright. All errors and omissions must be reported immediately to the designer.

Client:

BENT BLUESCOPE STEEL GRADE 250 XTERPLAT STEEL LANDING SPOT WELDED TO STRINGERS

100MM GUTTER FORMED BETWEEN SANDSTON WALL AND CONCRETE SLAB TO BE FILLED WITH SMALL LOOSE SANDSTONE RUBBLE (APPROX 50MM DIAMETER)

CONCRETE SLAB TO ENGINEERS DETAIL ON EXISTING SANDSTONE BED SET IN 100MM FROM SANDSTONE WALL 50MM TOPPING LAYER OF AXOLOTLE WHITE POLISHED CONCRETE.

RIGHT ANGLE STEEL SECTION FLUSH WITH INNER RADIUS OF CONCRETE SLAB BOLT FIXED SEE DEATIL A651.

Newcastle Art Gallery with The City Of Newcastle

01 A401 02 A641 1,000

1,500

1,000

1,850

5,800

3,000

UPPER MOST ROTATION LINE DASHED OVERHEAD

1,8

FGL

5,8 00

FGL FGL

2,500

FFL 3.000

FGL

FFL 3.000

LGF

3,450

FFL 3.000 FGL

FGL

LGF

FGL

FFL 3.000

FGL

FFL 3.000

LGF

FFL 3.000 FFL 3.000

LGF

FFL 3.000

14,000

SETOUT POINT - S03/SAA

3,500

5,800 LGF

LGF

FFL 3.000

4,725

LGF

FGL

LGF

FFL 3.000

4,75

3,450

1,85

FFL 3.00

02 A621

1,200

4,07

02 A621

966

73.582°

1,995

109.730°

4,140

4,950

4,000

FB 3.000 FLL

71.630° 1,525

64.101° 700

1,525

7,000

Consultants to ARBE 6230 Arch. Design 5A:

Project:

CONSTRUCTION

19/09/2014

To be confirmed with Jason Elsley

Revision

Issued For

Date

Drawn

Chk

Comments

Newcastle Cultural Annexs Stage 1: The Obelisk Site Newcastle Stage 2: No.1 Brown Street Resevoir

ORD

NAN

CE ST

REE

EET

COM

EN ST

WOLFE STR

7,000

NEW

FB FFL 3.000

104.664°

01 A401

NE H

110.503°

ise

es R

tinu

on 3º C

2,163

1,32

3,507

459

1,07

.877°

4,09

CONC-1 FLL 3.000

3,000

2,60

1,252

3,000

5,8

2,10

2,140

500

4,8 571

2,582

03 A621

L 0.75 - 3.00

RESERVOIR GALLERY

VOID GRESSION

2,760

FGL

3,600

FGL

3,500

1,850

FGL

6,000

FFL 3.000

RESERVE

ROAD

SITE PLAN 1:2000 Drawing Title:

RESERVOIR GALLERY PLAN Scale:

As Noted @ A1

TECHNICAL DESIGN

Date Printed: 26/09/2014 Phase:

STAGE 1 ISSUED FOR

CONSTRUCTION

Drawing No:

A204

180 | 181

2,000

7,000

01 A401

2,000

500 LG

3,024

LG LG TD

2.0ยบ SLOPE

2,500

2,1

09 SP-1

SP-1

6,000

SP-1

07 2.0ยบ SLOPE

02 03

2,760

3,600

06 SLO

LG LG

2.2ยบ

E LOP

2,900

2.2ยบ

2,140

3,000

2.0ยบ SLOPE

11 01 A401 2,000

7,000

2,000

PLAN ROOF PLAN 1:100

BALUSTRADE 8mm COR-TEN FLAT BAR 120mm WIDE BY 1100mm ABOVE GROUND SPACED AT INTERVALS OF 200mm FIXED TO CONCRETE EDGE BEAM AND LEAFED FOLDED COR-TEN

500MM WIDE CHANNEL FILLED WITH LOOSE SMALL SANDSTONE RUBBLE (100-300MM DIAMETER) FROM EXCAVATION.

Yaxley | Studio N

UoN - Architecture Faculty mob. 0401 960 097 email: noel@yaxleystudio.com

BEAMS COMPOSED OF: - 2 X 8MM X 1500MM COLD BLACK OXIDE STEEL PLATES HOT RIVETED WITH 100MM SPACER CONSTRUCTED OFF SITE WITH BOLT FIX ASSEMBLY ONSITE. BENT COLD BLACK OXIDE STEEL CAPPING WITH CONTINUOUS WELD AT JOINTS 8MM COLD BLACK OXIDE STEEL PLATES CONTINUOUS WELD BETWEEN BEAMS

BLUESCOPE STEEL GRADE 250 XLERPLATE WELDED GRATE OVER GUTTER.

EXISTING OBELISK ON SITE. TAKE CARE TO NOT DAMAGE STRUCTURE.

EXISTING BRICK RETAINING WALL. SAW CUT SLOT THROUGH WALL WHERE LAPPING GLASS ROOF AND CORTEN SHEETS PASS THROUGH.

GLASS PYRAMID EXITING ROOF STRUCTURE SEE A661 FOR CONSTRUCTION DETAILS.

IRONBARK TIMBER DECKING AT UPPER MOST LANDING PLATFORM. SEE A661 FOR CONSTRUCTION DETAILS AND SET OUTS.

CORTEN STEEL PLATES FIXED TO SANDSTONE SHEER WALLS PROTRUDE OUT OF CLIFF FACE EXCAVATION.

Notes:

Client:

Newcastle Art Gallery with The City Of Newcastle

BEAMS C - 2 X 8MM HOT RIVE CONSTR ASSEMBL

PROJECT STEEL RI ADJUSTA AUDIO VI

LAMINAT TOUGHE COLOUR CLEANIN

VOID THR EXITING

2,000

7,000 1,500

1,500

7,000 1,500

1,500

GRID LINES

2,000

1,500

BEAM SETOUTS

1,500

01 A401

3,000

VOID

2,500

PLY-1 FCL 12.500

01 PRJ

WNC J

30.00˚

˚ .00 30

.00

PR J

6,000

J PR

30.00˚

ADJUSTABLE PROJECTION CURTAIN RING BEAM RL 10.000 SETOUT POINT - S03/SAA

WNC

30.00˚

2,760

PRJ

30.00˚

PRJ

WNC

.00

107.877°

TB-1 FCL 12.050

200

.200

2,14

LG 12.100 FCL

LG 12.200 FCL

2,383

200

.300

LG 000 FCL 12.

2,17

2,39

LG FCL 12

2,08

260 200

LG FCL 12

LG 12.300 FCL

LG 12.40 FCL

.400

111.082°

2,197

2,20

LG FCL 12

109.730°

1,055

PRJ

2,5

200

2,140

SLO

.100

109.632°

2,900

LG FCL 12

2,62

LG FCL 12 .5

512

67.952°

64.101°

73.582°

79.279°

82.965°

LG 00 12.5 FCL

TB-1 FCL 12.050

490

2.2º

30.00˚

WNC

200

LG FCL 12.0

30.00˚

2,57

110.503°

107.700°

2,000

1,500

01 A401

7,000

1,500

71.630°

67.033°

7,000

2,000

PLAN REFLECTED CEILING PLAN 1:100

TED GLASS ROOF 2 X 12.38mm ENED GLASS (VIRIDIAN 'SUPERCLEAR' R VTOUGH GLASS AND VRENEW SELF NG SURFACE)

ROUGH CEILING AND ROOF TO GLASS PAVILION.

Consultants to ARBE 6230 Arch. Design 5A:

HIGH LUX VIDEO PROJECTOR SET AT 30 DEGREE INTERVALS AROUND PROJECTION CURTAIN RING BEAM

GLASS CURTAIN WALL WITH RECESSED FRAME SET BACK 2m FROM ROCK FACE.

CORTEN STEEL PLATES FIXED TO SANDSTONE SHEER WALLS PROTRUDE OUT OF CLIFF FACE EXCAVATION.

CONSTRUCTION

19/09/2014

To be confirmed with Jason Elsley

Issued For

Date

Drawn

Chk

Comments

NAN

CE ST

REE

RESERVE

ROAD

SITE PLAN 1:2000 Project:

Revision

ORD

EN ST

TION CURTAIN STRUCTURE ING BEAM SUSPENDED FROM ABLE HEIGHT ELECTRICAL WINCH. SEE ISUAL TECHNICAL SPECIFICATIONS.

COM

AUSTRALIAN ARCHITECTURAL HARDWOODS IRONBARK 30mmX50mm RECYCLED WHERE POSSIBLE SPACED AT 100mm CENTRES AND BENT TO RESERVOIR GALLERY RADIUS

NEW

EET

COMPOSED OF: M X 1500MM COLD BLACK OXIDE PLATES ETED WITH 100MM SPACER RUCTED OFF SITE WITH BOLT FIX LY ONSITE.

WOLFE STR

104.664°

930

BEHIND PLY-1 RL 12.480

3,000

200 LG FCL 11 .9

.00

2,62

200

3,600

PLY-1 FCL 12.500

2,61

BEAMS RL 12.000

200

Newcastle Cultural Annexs Stage 1: The Obelisk Site Newcastle Stage 2: No.1 Brown Street Resevoir

Drawing Title:

ROOF & CEILING PLAN Scale:

As Noted @ A1

TECHNICAL DESIGN

Date Printed: 26/09/2014 Phase:

STAGE 1 ISSUED FOR

CONSTRUCTION

Drawing No:

A304

182 | 183

SIM

A661

6,000

2,500

3,000

3,000 STRUCTURAL GLASS TO ENGINEER SPECS WITH CLEAR SILICONE JOINTS ENCLOSING EXIT STRUCTURE AT TOP OF SIM 02 STAIRS FROM RESERVOIR GALLERY 01 SIM A661

2,900

2,140

1,100

A661

3,000

2,500

3,000

A661

200

1,000

BLUESCOPE STEEL GRADE 250 XLERPLATE WELDED GRATE OVER GUTTER. 8MM COLD BLACK OXIDE STEEL PLATES CONTINUOUS WELD BETWEEN BEAMS

RL +12.000 LEVEL 3 (Roof)

SIM

1,000

RL +13.000 (Beams)

A631

100

OBELISK BEYOND COLD BLACK OXIDE STEEL CONNECTING PLATE BOLT FIXED ON SITE

100

180mm HIGH R VALUE INSULATION 1,800

25mm PLYWOOD CURVED TO PROFILE OF STEEL ROOF SHEETING. PAINTED BLACK 1,000

AUSTRALIAN ARCHITECTURAL HARDWOODS IRONBARK 30mmX50mm RECYCLED WHERE POSSIBLE SPACED AT 100mm CENTRES AND BENT TO VOID PROGRESSION PATH UTILISE LED BASED FIBRE OPTICS, WITH APPROPRIATE LENSES TO PROVIDE HIDDEN, GLARE-FREE LIGHTING 200

AUSTRALIAN ARCHITECTURAL HARDWOODS IRONBARK 30mmX50mm RECYCLED WHERE POSSIBLE SPACED AT 100mm CENTRES AND BENT TO RESERVOIR GALLERY RADIUS ELECTRICAL WINCH TO OPERATE PROJECTION CURTAIN RING BEAM

1,800

290

3,200

PROJECTOR CONNECTED TO 40mm SS PIPE RUNNING HORIZONTALLY SUPPORTED BY SYSTEMATIC ROCK DOWELLING ANCHORS. SEE AUDIO/VISUAL INSTALLATION NOTES.

7,000

9,000

MOUNTABLE SCREEN OF STRETCHED CANVAS OR OTHER MATERIAL TO BE DETERMINED BY ARTIST. SCREENS CAN BE CONTINUES ALONG WESTERN WALL VOID PROGRESSION OR AT PARTICULAR INTERVALS. SIM

7,000

A621

20x65 CURVED MILD STEEL FLAT BAR HANDRAIL, BLACK OXIDE FINISH, FIXED TO ASTEC CUSTOM FITTING, GRIND SHARP EDGES TO 2-3mm RADIUS

3,100

6MM TOUGHENED GLASS (VIRIDIAN 'SUPERCLEAR' COLOUR VTOUGH GLASS AND VRENEW SELF CLEANING SURFACE AND NON SLIP COATING) 2 X 12.38mm TOUGHENED GLASS (VIRIDIAN 'SUPERCLEAR' COLOUR VTOUGH GLASS) 200

CONCRETE SLAB TO ENGINEERS DETAIL ON EXISTING SANDSTONE BED SET IN 100MM FROM SANDSTONE WALL 50MM TOPPING LAYER OF AXOLOTLE WHITE POLISHED CONCRETE. FOLDED COLD BLACK OXIDE STEEL EXTENDED LANDING

100

RL +3.000 LEVEL 2 (Reservoir Gallery)

300

100MM GUTTER FORMED BETWEEN SANDSTONE WALL AND CONCRETE SLAB TO BE FILLED WITH SMALL LOOSE SANDSTONE RUBBLE (APPROX 50MM DIAMETER)

200

COLD BLACK OXIDE STEEL ANGLED FLAT BAR. UTILISE LED STRIP LIGHTING WITH APPROPRIATE LENSES TO PROVIDE HIDDEN, GLARE-FREE LIGHTING.

3,000

300

FIXING PINS CHEMICALLY SET INTO SANDSTONE AT 600 CENTRES TO ENGINEERS SPECIFICATION.

4,000

300 RIGHT ANGLE STEEL SECTION FLUSH WITH INNER 1,200 RADIUS OF CONCRETE SLAB BOLT FIXED. SEE DEATIL A651.

6,000

2,500 3,000 SUPPORTING STRUCTURE 80X150MM R.H.S WITH LED STRIP LIGHT ATTACHED TO UNDERSIDE. 2,526 4,060

300 3,000

2,900

2,140

RL ±0.000 LEVEL 1 (Street Level) 1,200

300

2,500

GENERAL NOTES ON DETAILS

3,000

SECTION AA RESERVOIR GALLERY 1:50

- Concealed/Pelmet lighting in the theatre, as per detail ‘C’ in drawing E1005 - Cold black oxide is applied at room temperature and is a deposited copper selenium compound. Post application of oil, wax, or lacquer creates a high corrosion resistance surface whilst maintaining a patina on the steel.

RL 12.000 1,300

8,800

01 A401

RL 9.000

EXCAVATION METHOD USES A TOP DOWN PROCESS GENERAL NOTES ON DETAILS SEE A050s FOR DETAILED EXCAVATION DRAWINGS

01 A401

SPECIFIC NOTES ON DETAILS

01 A401

RL 12.000

9,780 8,480

4,260

- Utilise LED based fibre optics, with appropriate lenses to provide hidden, glare-free lighting

RL 9.000

- Concealed/Pelmet lighting in the theatre, as per detail ‘C’ in drawing E1005 9,780

RL 6.000

TREET

5,520

- S03/SAA - Utilise LED based fibre optics, with appropriate lenses to provide hidden, glare-free lighting

NAN

CE S

TRE

OFFSET CENTRE POINT OF OVEL FROM RES. CIRCLE SETOUT 1,5 00 ET

120.000°

60.000° 00

1,500

SPECIFIC NOTES ON DETAILS SETOUT POINT

ORD

19,560

5,520

OFFSET CENTRE POINT OF OVEL FROM RES. CIRCLE SETOUT

8,8

,50

SIM

A661

3,600

2,760

6,000

2,500

SIM

3,000

300

200

7,000

1,800

200

1,000

100

3,000

A661

14,000 3,600

1,200

2,760

6,000

2,500

300 3,000

26,700

GENERAL NOTES ON DETAILS - Most of the details within the building are concealed details through gaps and openings in the wall to emphasise the subterranean setting and create a feeling of anticipation moving into and through the exhibition spaces

01 A401

- Concealed/Pelmet lighting in the theatre, as per detail â&#x20AC;&#x2DC;Câ&#x20AC;&#x2122; in drawing E1005

17,600

RL 12.000 8,800

8,8

1,300

8,800

RL 9.000

SPECIFIC NOTES ON DETAILS

RL 3.000 17,6

9,780 8,480

- Utilise LED based fibre optics, with appropriate lenses to provide hidden, glare-free lighting

TECHNICAL DESIGN

8,8

,560

1,500

184 | 185

SPECIFICATION. SHOTCRETE IS LINED BY 3.6mm SIKA KS SIKAPLAN 2mm PVC WATERPROOFING MEMBRANE.

SECTION AA RESERVOIR GALLERY 1:50

TERIAL TO BE DETERMINED BY ARTIST. SCREENS CAN L VOID PROGRESSION OR AT PARTICULAR INTERVALS.

SIM

A621

EXCAVATION METHOD USES A TOP DOWN PROCESS SEE A050s FOR DETAILED EXCAVATION DRAWINGS

01 A401

RL 12.000 RL 9.000

9,780

4,260

DE FINISH, FIXED TO ASTEC CUSTOM FITTING, GRIND SHARP EDGES TO 2-3mm RADIUS

A661

OFFSET CENTRE POINT OF OVEL FROM RES. CIRCLE SETOUT

5,520

OLOUR VTOUGH GLASS AND VRENEW SELF CLEANING SURFACE AND NON SLIP COATING) SS (VIRIDIAN 'SUPERCLEAR' COLOUR VTOUGH GLASS)

SETOUT POINT - S03/SAA

60.000°

9,780 8,480

D CONCRETE SLAB TO BE FILLED WITH SMALL LOOSE SANDSTONE RUBBLE (APPROX 50MM DIAMETER)

OFFSET CENTRE POINT OF OVEL FROM RES. CIRCLE SETOUT 1,5 00

1,500

LDED COLD BLACK OXIDE STEEL EXTENDED LANDING

19,560

NDSTONE BED SET IN 100MM FROM SANDSTONE WALL G LAYER OF AXOLOTLE WHITE POLISHED CONCRETE.

BARK DECKING FIXED TO 90x50 R.H.S STRUCTURE TO WITHIN RIGHT ANGLE STEEL FRAME SET 200MM FROM RUCTURE BOLTED TO R.H.S GALVINIZED STEEL RAILS

4,2

9,7

ANGLED FLAT BAR. UTILISE LED STRIP LIGHTING WITH LENSES TO PROVIDE HIDDEN, GLARE-FREE LIGHTING.

5,5

20 60

8,800

9,7 8 80 0

8,800

US OF CONCRETE SLAB BOLT FIXED. SEE DEATIL A651.

8,8 00

19,5

1,300

290

ONE AT 600 CENTRES TO ENGINEERS SPECIFICATION.

8,4

17,600

H.S WITH LED STRIP LIGHT ATTACHED TO UNDERSIDE. 2,526 4,060

300

STAGE 1

3,000

2,900

EXISTING RESERVOIR

1,3

STAGE 2

2,140

3,600

TOP ROTATION SET OUT OVAL

-REMOVE BACKFILL FROM WITHIN THE EXISTING RESERVOIR -REMOVE CONCRETE WALLS AND USE AS BACKFILL -CRAIN IN EXCAVATOR WITH ROCK GRINDING ATTACHMENT -CONTINUE RESERVOIR DOWN ANOTHER 3.5m

14,000

STAGE 3

2,760

RL +9.000 ROTATION SET OUT OVAL

-DRILL HOLES AT 1m INTERVAL AT RL12.000 TO SET DEPTH OF EXCAVATION

26,700

PLAN EXCAVATION SET OUT DIAGRAM 1:250

Notes:

Yaxley | Studio

UoN - Architecture Faculty mob. 0401 960 097 email: noel@yaxleystudio.com 01 A401

01 A401

Client:

01 A401

GSPublisherEngine 0.0.100.35

17,600 8,800

RL 9.000

8,800

8,8

RL 6.000

RL 3.000

17,6

120.000°

60.000°

1,500

8,8

OFFSET CENTRE POINT OF OVEL FROM RES. CIRCLE SETOUT 1,5 00

8,8

9,7

OFFSET CENTRE POINT OF OVEL FROM RES. CIRCLE SETOUT

1,3

1,5

OFFSET CENTRE POINT OF OVEL FROM RES. CIRCLE SETOUT 17,6

4,2

1,500

OFFSET CENTRE POINT OF OVEL FROM RES. CIRCLE SETOUT

80 9,7 80

5,5

8,4 60

8,800

8,8

19,5

9,7 8 80 0

8,4

17,600

9,7

1,3

2,140STAGE 2

4,2

14,000

2,760STAGE 3

3,600

TOP ROTATION SET OUT OVAL

1,200

STAGE 4

6,000

RL +9.000 ROTATION SET OUT OVAL

AT 1m INTERVAL AT RL12.000 TO SET DEPTH OF EXCAVATION

19,5

5,5

300

2,500

-DRILL HOLES AT 1m INTERVAL AT RL12.000 TO SET DEPTH OF EXCAVATION

STAGE 5

3,000

RL +6.000 ROTATION SET OUT OVAL

RL +3.000 ROTATION SET OUT OVAL

-DRILL HOLES AT 1m INTERVAL AT RL12.000 TO SET DEPTH OF EXCAVATION

26,700

ce checks is verification that the document the quality project plan. Where the quality is document is preliminary for information tated in the revision column.

Client:

Newcastle Art Gallery

Consultants to ARBE 6230 Arch. Design 5A:

with The City Of Newcastle

- Most of the details within the building are concealed details through gaps and openings in 01 CONSTRUCTION 19/09/2014 NY NY To be confirme the subterranean setting and create a feeling of anticipation moving into and through the exh Issued For Revision Date Drawn Chk Comments

01 A401

GENERAL NOTES ON DETAILS - Concealed/Pelmet lighting in the theatre, as per detail ‘C’ in drawing E1005

17,600

- Cold black oxide is applied at room temperature and is a deposited copper selenium comp of oil, wax, or lacquer creates a high corrosion resistance surface whilst maintaining a patina

RL 12.000 8,800

8,8

1,300

8,800

RL 9.000

SPECIFIC NOTES ON DETAILS

RL 3.000

17,6 9,780 8,480

- Utilise LED based fibre optics, with appropriate lenses to provide hidden, glare-free lighting

8,8

80 9,7 80

8,4

9,7

5,5

ORD

NAN

EET

5,520

OFFSET CENTRE POINT OF OVEL FROM RES. CIRCLE SETOUT 9,780

1,3

WOLFE STR

1,5

FSET CENTRE OINT OF OVEL FROM RES. RCLE SETOUT

19,560

1,500

120.000°

4,260

RL 6.000

0 ,56

RL 3.000

6 4,2

STAGE 4

STAGE 5

RL +6.000 ROTATION SET OUT OVAL

HOLES AT 1m INTERVAL AT RL12.000 TO SET DEPTH OF EXCAVATION

STAGE 6

RL +3.000 ROTATION SET OUT OVAL

OVERLAY OF ROTATION

-DRILL HOLES AT 1m INTERVAL AT RL12.000 TO SET DEPTH OF EXCAVATION

RESERVE

-REPEAT PROCESS WITH GREATER SMALLER ROTATION DEGREE FOR SMOOTHER MORE ACCURATE EXCAVATION SET OUT

ROAD

SITE PLAN 1:2000 Consultants to ARBE 6230 Arch. Design 5A:

Project:

Newcastle Cultural Annexs

Drawing Title:

Date Printed: 26/09/2014

CE S

TRE

SQUARE BAR CREATED AN ADDITIONAL CENTRE FRAME FOR EXPOSED BOTTOM SECTION OF THE BEAM

ROUGH CUT SANDSTONE FACE. SEE EXCAVATION & EARTHWORKS DRAWING SET (A050s) FOR SPECIFICATIONS.

200mm DEEP SAW CUT INTO SANDSTONE AT 900 AND 1500 FOR INSERTION OF FLAT BAR LATCH

20x65 CURVED MILD STEEL FLAT BAR HANDRAIL, BLACK OXIDE FINISH, FIXED TO ASTEC CUSTOM FITTING, GRIND SHARP EDGES TO 2-3mm RADIUS 65

100

STAINLESS STEEL PATCH FITTING SUPPORTING GLASS BAL.

ASTEC® CUSTOM STAINLESS STEEL FITTING FASTENED TO ROD BY COUNTER SUNK ALLEN KEY SCREW

980

CLEAR TEMPERED GLASS, FIXED TO STEEL ROD AT COMPRESSION FITTING. SEE DRAWINGS 2 ON A621 FOR STAIR SET OUTS.

LED CONCEALED STRIP LIGHTING CAST LIGHT ONTO ROCK FACE

16mm MILD STEEL ROD FIXED TO STRINGER WITH PIN FITTING THROUGH TUBE SECTION

260

40 32

100

FOLDED 8mm STEEL PLATE TRED WITH 70mm FACE AND RISER FOLD 90° WITH 8mm RADIAS

8mm STEEL PLATES RIVETED TOGETHER AT 770mm CENTRES WITH 1 INCH HOT PRESSED RIVETS, TO FABRICATOR SPECIFICATIONS SEE SHOP DRAWINGS. 50mm DIAMETER 4mm WALL MILD STEEL PIPE SPOT WELDED TO STINGER PLATES. HOT PRESSED RIVET PASSES THROUGH PIPE.

1,320 1,380

100

76 1,600

ELEVATION Stair Detail 1:10 30

PRE-CUT HOLE IN INTERNAL STRINGER STEEL PLATE TO ALLOW 40x12mm FLAT BAR TRED SUPPORT TO SLIDE IN AND BE SPORT WELDED FOR THE UNDERSIDE. ALLOW 30mm GAB BETWEEN STRINGER PLATE AND STEP.

50mm DIAMETER 4mm WALL MILD STEEL PIPE SPOT WELDED TO STINGER PLATES. HOT PRESSED RIVET PASSES THROUGH PIPE.

PLAN Stair Detail 1:10

50mm DIAMETER 4mm WALL MILD STEEL PIPE SPOT WELDED TO STINGER PLATES. HOT PRESSED RIVET PASSES THROUGH PIPE.

FOLDED 8mm STEEL PLATE TRED WITH 70mm FACE AND RISER FOLD 90° WITH 8mm RADIAS CL 70

PRE-CUT HOLE IN INTERNAL STRINGER STEEL PLATE TO ALLOW 40x12mm FLAT BAR TRED SUPPORT TO SLIDE IN AND BE SPORT WELDED FOR THE UNDERSIDE. ALLOW 30mm GAB BETWEEN STRINGER PLATE AND STEP.

180

770

CONCEALED LED STRIP LIGHTING FIXED TO UNDERSIDE OF STEP.

41 55

55 380

SECTION Stair Detail 1:5

Yaxley | Studio N

UoN - Architecture Faculty mob. 0401 960 097 email: noel@yaxleystudio.com

GSPublisherEngine 0.0.100.35

Notes:

Client:

TECHNICAL DESIGN Newcastle Art Gallery with The City Of Newcastle

186 | 187

Consultants to ARBE 6230 Arch. Design 5

SPACER DE STEEL

TRADE. PIN

CTION OF

1,850

5,800

3,000

1,650

CIFICATIONS.

AR LATCH

2,716

1,8

2,8

2,500

TTING,

5,8

REW

7,000

A621 FOR

6,000

7,0

1,850

2,672

7,000

RIVET

SETOUT POINT - S03/SAA

7,00

2,760

5,800

T TO SLIDE ND STEP.

5 00

2,70

3,600

7,0

RIVET

75 2,2

2,140

0 1,85

RIVET

5,8

2,900

1,5

T TO SLIDE ND STEP.

PLAN Stair Set Out 1:50

530

03 A631

70 70

530

2,500

90x50 R.H.S STRUCTURE TO ENGINEERS SPECIFICATION.

530

R.H.S STRUCTURE BOLTED TO R.H.S GALVINIZED STEEL RAILS WITH FIXING PINS CHEMICALLY SET INTO SANDSTONE AT 600 CENTRES TO ENGINEERS SPECIFICATION.

530

35 X 140 AUSTRALIAN ARCHITECTURAL HARDWOODS IRON BARK DECKING

530

2,500

BOARDS LAID FLUSH AND WITHIN RIGHT ANGLE STEEL FRAME SET 200MM FROM SANDSTONE SURFACE

530

02 A631

530

- VERTICAL 50mm DIAMETRE (3mm WALL) 316 STAINLESS STEEL PIPE MEMBERS ANCHORED TO SANDSTONE WALL WITH CHEMSET TIES TO ENGINEERS SPECIFICATIONS

530

CUT SANDSTONE IN VOID PROGRESSION. EXCAVATED SANDSTONE CUT IN TWO STAGES.

SEE A050 SET FOR DETAILED EXCAVATION PROCESS AND SETOUT SANDSTONE IS TO BE LEFT AS A ROUGH FINISH, TO RANGE OF 30mm PEAKS AND VALLEYS.

2,500

530

BLOCK CUTTING ATTACHMENT FIXED TO EXCAVATING MACHINE TO ALLOW FOR REUSE OF EXCAVATED MATERIAL WHERE POSSIBLE.

GREY CONCRETE FILL TO AREAS OF LESS ROCK DENSITY AND CLAY DEPOSIT AREAS. SYSTEMATIC ROCK DOWELING WHERE REQUIRED FOLLOWED BY 150mm INITIAL SHOTCRETE LAYER WITH STEEL FIBRE REINFORCEMENT AS PER STRUCTURAL ENGINEER SPECIFICATION. SHOTCRETE IS LINED BY 3.6mm SIKA GEOTEXTILE 500g/m2 PROTECTIVE LAYER WHICH BACKS SIKAPLAN 2mm PVC WATERPROOFING MEMBRANE.

03 A631

280

1,960

280 250

PLAN Void Details 1:20

Yaxley | Studio N

UoN - Architecture Faculty mob. 0401 960 097 email: noel@yaxleystudio.com

GSPublisherEngine 0.0.100.35

2 Notes:

1,000

SECTION Void Details 1:20

Client:

Newcastle Art Gallery with The City Of Newcastle

TECHNICAL DESIGN

188 | 189

03 A631

BALUSTRADE 8mm COR-TEN FLAT BAR 120mm WIDE BY 1100mm ABOVE GROUND SPACED AT INTERVALS OF 200mm FIXED TO CONCRETE EDGE BEAM AND LEAFED FOLDED COR-TEN LAMINATED GLASS ROOF 2 X 12.38mm TOUGHENED GLASS (VIRIDIAN 'SUPERCLEAR' COLOUR VTOUGH GLASS AND VRENEW SELF CLEANING SURFACE) 90 DEGREE FOLDED 8MM COR-TEN SHEETS WITH 50MM LEAFED OVERLAP BOLT FIXED TO CONCRETE EDGE BEAM. REFER TO SHOP DRAWINGS FOR LOCATION OF CREASING AND ANGLES. SEE A631

500MM WIDE CHANNEL FILLED WITH LOOSE SMALL SANDSTONE RUBBLE (100-300MM DIAMETER) FROM EXCAVATION.

CAST IN PLACE REINFORCED CONCRETE EDGE BEAM 400MM WIDE VARIABLE DEPTH DEPENDANT ON TOP SOIL TO ENGINEER SPECIFICATION WITH 150MM SEMICIRCLE PROFILE GUTTER. PROJECTOR CONNECTED TO 40mm SS PIPE RUNNING HORIZONTALLY SUPPORTED BY SYSTEMATIC ROCK DOWELLING ANCHORS. SEE AUDIO/VISUAL INSTALLATION NOTES.

H.S STRUCTURE TO ENGINEERS CATION.

MOUNTABLE SCREEN OF STRETCHED CANVAS OR OTHER MATERIAL TO BE DETERMINED BY ARTIST. SCREENS CAN BE CONTINUES ALONG WESTERN WALL VOID PROGRESSION OR AT PARTICULAR INTERVALS.

TRUCTURE BOLTED TO R.H.S ZED STEEL RAILS WITH FIXING EMICALLY SET INTO SANDSTONE CENTRES TO ENGINEERS CATION.

HORIZONTAL 40mm DIAMETER 316 STAINLESS STEEL PIPES OFF SET BY SS ROD 100mm FROM WALL PANELLING TO FACILITATE MOUNTING OF PROJECTION SCREENS OF VARIOUS MATERIAL TO ARTIST INTERPRETATION

VOID PROGRESSION WALL PANELLING COMPOSED OF:

AUSTRALIAN ARCHITECTURAL OODS IRON BARK DECKING

S LAID FLUSH AND WITHIN RIGHT STEEL FRAME SET 200MM FROM ONE SURFACE

TYPES:

2 631

2mm X 2500mm X 1200mm PERFORATED 316 STAINLESS STEEL SHEETS STAINLESS STEEL TYPE 1 (SS-1) 20mm HOLES AT 15% STAINLESS STEEL TYPE 2 (SS-2) 30mm HOLES AT 30% STAINLESS STEEL TYPE 3 (SS-3) 40mm HOLES AT 50%

CAL 50mm DIAMETRE (3mm WALL) NLESS STEEL PIPE MEMBERS RED TO SANDSTONE WALL WITH ET TIES TO ENGINEERS CATIONS

EXCAVATED SANDSTONE CUT IN TWO STAGES.

BLOCK CUTTING ATTACHMENT FIXED TO EXCAVATING MACHINE TO ALLOW FOR REUSE OF EXCAVATED MATERIAL WHERE POSSIBLE. SEE A050 SET FOR DETAILED EXCAVATION PROCESS AND SETOUT SANDSTONE IS TO BE LEFT AS A ROUGH FINISH, TO RANGE OF 30mm PEAKS AND VALLEYS.

NDSTONE IN VOID PROGRESSION.

TED SANDSTONE CUT IN TWO .

GREY CONCRETE FILL TO AREAS OF LESS ROCK DENSITY AND CLAY DEPOSIT AREAS.

CUTTING ATTACHMENT FIXED TO TING MACHINE TO ALLOW FOR REEXCAVATED MATERIAL WHERE LE.

0 SET FOR DETAILED EXCAVATION SS AND SETOUT

ONE IS TO BE LEFT AS A ROUGH TO RANGE OF 30mm PEAKS AND S.

ONCRETE FILL TO AREAS OF LESS ENSITY AND CLAY DEPOSIT AREAS.

MATIC ROCK DOWELING WHERE ED FOLLOWED BY 150mm INITIAL RETE LAYER WITH STEEL FIBRE RCEMENT AS PER STRUCTURAL ER SPECIFICATION. SHOTCRETE IS Y 3.6mm SIKA GEOTEXTILE 500g/m2 CTIVE LAYER WHICH BACKS AN 2mm PVC WATERPROOFING ANE.

250

1,000

2,500

250

SECTION Void Details 1:20

ion and concepts contained in this document are the property of tocopying or reproducing this document and passing it onto express permission of Yaxley|Studio is an infringement of and omissions must be reported immediately to the designer.

Client:

Newcastle Art Gallery with The City Of Newcastle

3 Consultants to ARBE 6230 Arch. Design 5A:

Project:

CONSTRUCTION

19/09/2014

To be confirmed with Jason Elsley

Revision

Issued For

Date

Drawn

Chk

Comments

ELEVATION Void Details 1:20

Newcastle Cultural Annexs Stage 1: The Obelisk Site Newcastle Stage 2: No.1 Brown Street Resevoir

Drawing Title:

VOID PR Scale:

As Not

1,050

03 A631

BALUSTRADE 8mm COR-TEN FLAT BAR 120mm WIDE BY 1100mm ABOVE GROUND SPACED AT INTERVALS OF 200mm FIXED TO CONCRETE EDGE BEAM AND LEAFED FOLDED COR-TEN

180

LAMINATED GLASS ROOF 2 X 12.38mm TOUGHENED GLASS (VIRIDIAN 'SUPERCLEAR' COLOUR VTOUGH GLASS AND VRENEW SELF CLEANING SURFACE)

300

90 DEGREE FOLDED 8MM COR-TEN SHEETS WITH 50MM LEAFED OVERLAP BOLT FIXED TO CONCRETE EDGE BEAM. REFER TO SHOP DRAWINGS FOR LOCATION OF CREASING AND ANGLES. SEE A631

500MM WIDE CHANNEL FILLED WITH LOOSE SMALL SANDSTONE RUBBLE (100-300MM DIAMETER) FROM EXCAVATION.

CAST IN PLACE REINFORCED CONCRETE EDGE BEAM 400MM WIDE VARIABLE DEPTH DEPENDANT ON TOP SOIL TO ENGINEER SPECIFICATION WITH 150MM SEMICIRCLE PROFILE GUTTER.

PROJECTOR CONNECTED TO 40mm SS PIPE RUNNING HORIZONTALLY SUPPORTED BY SYSTEMATIC ROCK DOWELLING ANCHORS. SEE AUDIO/VISUAL INSTALLATION NOTES.

1,200

2,500

MOUNTABLE SCREEN OF STRETCHED CANVAS OR OTHER MATERIAL TO BE DETERMINED BY ARTIST. SCREENS CAN BE CONTINUES ALONG WESTERN WALL VOID PROGRESSION OR AT PARTICULAR INTERVALS.

HORIZONTAL 40mm DIAMETER 316 STAINLESS STEEL PIPES OFF SET BY SS ROD 100mm FROM WALL PANELLING TO FACILITATE MOUNTING OF PROJECTION SCREENS OF VARIOUS MATERIAL TO ARTIST INTERPRETATION

1,200

VOID PROGRESSION WALL PANELLING COMPOSED OF:

2,500

1,200

TYPES: 2mm X 2500mm X 1200mm PERFORATED 316 STAINLESS STEEL SHEETS STAINLESS STEEL TYPE 1 (SS-1) 20mm HOLES AT 15% STAINLESS STEEL TYPE 2 (SS-2) 30mm HOLES AT 30%

STAINLESS STEEL TYPE 3 (SS-3) 40mm HOLES AT 50%

EXCAVATED SANDSTONE CUT IN TWO STAGES.

1,200

GREY CONCRETE FILL TO AREAS OF LESS ROCK DENSITY AND CLAY DEPOSIT AREAS.

1,200

90 50 20 82 140

1,000

2,500

250

3 Consultants to ARBE 6230 Arch. Design 5A:

Project:

CONSTRUCTION

19/09/2014

To be confirmed with Jason Elsley

Revision

Issued For

Date

Drawn

Chk

Comments

ELEVATION Void Details 1:20

Newcastle Cultural Annexs Stage 1: The Obelisk Site Newcastle Stage 2: No.1 Brown Street Resevoir

TECHNICAL DESIGN Drawing Title:

Date Printed: 26/09/2014

VOID PROGRESSION DETAILS Phase: STAGE 1 ISSUED FOR Scale:

As Noted @ A1

CONSTRUCTION

Drawing No:

A631

190 | 191

EXISTING CONCRETE CAPPING EXISTING SANSDTONE

240

EXISTING RETAINED EARTH

400

COLD BLACK OXIDE STEEL SHEETS WELDED WITH EXTERNAL BLACK OXIDE STEEL RIBBING AT JOINTS.

2,680

EXISTING BLUESTONE RETAINING WALL SAW CUT AT ENTRANCE TO ALLOW FOR NEW CONSTRUCTION CARE TAKEN NOT TO DAMAGE.

2,260

BLUESCOPE STEEL GRADE 250 XLERPLATE WELDED GRATE OVER STAINLESS STEEL DISH DRAIN.

20 120 20

SANDSTONE BLOCK RECLAIMED FROM EXCAVATION 100MM STEP.

1,540

1,528

5,543

EXISTING CONCRETE PAD FOOTING FOR RETAINING WALL

PLAN Entry Detail 1:20

EXISTING BLUESTONE RETAINING WALL SAW CUT AT ENTRANCE TO ALLOW FOR NEW CONSTRUCTION CARE TAKEN NOT TO DAMAGE.

COLD BLACK OXIDE STEEL SHEETS WELDED WITH EXTERNAL BLACK OXIDE STEEL RIBBING AT JOINTS.

GUTTER DIRECTS WATER TO FLOW OUT OF SIDE CHANNELS ALONG ENTRY PROGRESSION

WATER CURTAIN CONTROLLING NUMBER OF PEOPLE ENTERING THE GALLERY DRAINS THROUGH GRATE

BLUESCOPE STEEL GRADE 250 XLERPLATE WELDED GRATE OVER STAINLESS STEEL DISH DRAIN.

SANDSTONE BLOCK RECLAIMED FROM EXCAVATION 100MM STEP.

A641 01

S FFL 0.850 SG FFL 0.950

FB FFL 0.750

GUTTER DIRECTS WATER TO FLOW OUT OF SIDE CHANNELS ALONG ENTRY PROGRESSION

PLAN Entry Detail 1:20

Yaxley | Studio N

UoN - Architecture Faculty mob. 0401 960 097 email: noel@yaxleystudio.com

Notes:

Client:

Newcastle Art Gallery with The City Of Newcastle

BENT COR-TEN STEEL BLADES, BOLT FIXED TO CONCRETE WALL BEHIND. REFER TO SHOP DRAWINGS FOR LOCATION OF CREASING AND ANGLES.

BEHIND - 200MM OFF FORM CONCRETE RETAINING WALL. FORMWORK CONSTRUCTED FROM 150 WIDE TIMBER BOARDS RUNNING HORIZONTALLY. MINIMUM BOARD LENGTH 2M.

SANDSTONE BLOCK RECLAIMED FROM EXCAVATION 100MM STEP.

50MM PRE CAST AXOLOTLE WHITE POLISHED CONCRETE PAVERS. FIX TO 10MM SCREED. CONCRETE SLAB ON GROUND TO ENGINEERS DETAIL. REFER TO CONCRETE SET OUT PLANS FOR EXPANSION JOINTS.

360 1,540

200MM OFF FORM CONCRETE RETAINING WALL. FORMWORK CONSTRUCTED FROM 150 WIDE TIMBER BOARDS RUNNING HORIZONTALLY. MINIMUM BOARD LENGTH 2M. BENT COR-TEN STEEL BLADES, BOLT FIXED TO CONCRETE WALL BEHIND. REFER TO SHOP DRAWINGS FOR LOCATION OF CREASING AND ANGLES. CONC-1 FFL 0.650

S-BO FFL 0.850

CONC-1 FFL 0.650

CONC-1 FFL 0.600

300MM SEMICIRCLE GUTTER PROFILE CAST INTO IN SITU CONCRETE SLAB. LOOSE SMALL SANDSTONE RUBBLE (50MM-100MM DIAMETER) FROM EXCAVATION TO FILL GUTTER.

S FFL 0.650 3

SANDSTONE BLOCK RECLAIMED FROM EXCAVATION 100MM STEP. PIVOT DOOR COMPOSED OF: 10MM 250 XLERPLATE COLD BLACK OXIDE STEEL CUT TO 1420X2400 AND 255X2400 SANDWICH BETWEEN 50MM RIGHT ANGLE COLD BLACK OXIDE STEEL SECTIONS WITH HOT WAX FINISH. WELDED TO 30MM DIAM SOLID ROUND BAR BLACK PATINA HOT WAX FINISH. 20MM SOLID ROUND BAR HANDLE WITH CROSS BRACING WELDED TO RIGHT ANGLE FRAME.

1,805

2,200

A641 01

CONCRETE SLAB ON GROUND TO ENGINEERS DETAIL. REFER TO CONCRETE SET OUT PLANS FOR EXPANSION JOINTS. 50MM PRE CAST AXOLOTLE WHITE POLISHED CONCRETE PAVERS. FIX TO 10MM SCREED.

300MM SEMICIRCLE GUTTER PROFILE CAST INTO IN SITU CONCRETE SLAB. LOOSE SMALL SANDSTONE RUBBLE (50MM-100MM DIAMETER) FROM EXCAVATION TO FILL GUTTER.

TECHNICAL DESIGN Consultants to ARBE 6230 Arch. Design 5A:

Project:

CONSTRUCTION

19/09/2014

To be confirmed with Jason Elsley

Revision

Issued For

Date

Drawn

Chk

Comments

Newcastle Cultural Annexs Stage 1: The Obelisk Site Newcastle Stage 2: No.1 Brown Street Resevoir

Drawing Title:

ENTRY CHAMBER DETAIL Scale:

As Noted @ A1

Date Printed: 26/09/2014 Phase:

STAGE 1 ISSUED FOR

CONSTRUCTION

Drawing No:

A641

192 | 193

TH E A RCH I T E CT U R A L P R OJE CT Ar c h it e c t u r a l R e s e a r c h P a r t 8

THE AR C HI T ECT U RA L P R OJ E CT Part 8

8.0 | Final Design Outline

they instead focus on the experiential, posing a fundamentally different idea of what art is, and how it

The final design is the result of the ideas, interests

engages the visitor from being a reflective observer

and design process explored in this year architectural

to an active participant. A number of threshold

research project. The final design recognises the

spaces are designed to place the participant into

potential of the architectural project, brief and site

a journey, a narrative if you will, between Action

while also resolving the schematic, detailed and

(artist-in-residence reservoir, the space of creation)

technical requirements of the project.

and Receiver (the reservoir gallery, the space of performance).

The final design phase required re-designing and

From the Developed Design to the Final Design

re-engaging the Brown St. Reservoir artist’s studios

the process confirmed the relevance to design the

as the space of creation. The previous submissions

journey across The Hill in a way to turn the visitors

had focused on details of the architecture and

attention to the abandoned or under-used buildings

construction

and

and sites enhanced by their new role facilitating a

the intended intervention within the space of

deeper understanding and appreciation of urban

performance.

architecture.

the

Obelisk

Reservoir,

The final architectural design strategy developed a relationship and opened a dialogue between the two spaces of creation and performance. The project sets forward a program for the reuse and re-purposing of forgotten or residual spaces within the City of Newcastle. This proposition stretches among four sites within Newcastle’s The Hill, spanning from the Obelisk Hill and including Arcadia Park, No.1 Brown St Reservoir, and the Shipping Marker on Tyrrell Street. The project responds to the role of art within the current urban context that must be distilled to enhance the visitors’ experience and challenge their understanding whilst potentially offering new insights. The proposed program breathes new life into the historic water reservoir structures by drawing on people’s desire to interact with art as a means of constructing a new way of genuinely experiencing their urban context. Unlike typical art galleries, the Reservoir spaces are not sub-servant to the object which traditionally gives that space purpose, THE ARCHITECTURAL PROJECT

194 | 195

8.1 | Project Synopsis In 1911, the revolutionary thinker and writer, Aleksandr Voronsky defined art as the ‘cognition of life’. This focus on a critical present abandoned the

‘master’s

technique’

merge

accessible

technologies such as photomontage & collage, transforming the mediums of representation in the democratisation of art. Equally, contemporary society confronts a new revolution in imaging the present through the use of computers & digital media that have re-defined the nature of experience, representation & social communication. Architecture has also shifted from re-affirming the present to the challenge of designing ‘open-ended-stages’, upon which the cognition of life is unfolded as event rather than be laid to rest as object or ideal. Residual water reservoirs become vessels for the project to explore contemporary digital art in defining the space of creation and the space of performance beyond the gallery.

8.2 | Aggregating Research And Reflecting

8.2.1 | MONA Museum / Nonda Katsalidis (2011)

Before Final Submission. The subversive characteristics of the reservoirs Taking into account facultyâ&#x20AC;&#x2122;s and guestsâ&#x20AC;&#x2122; criticisms

inspired

and a re-assessment of the project goals, which

otherworldly

changed numerous times throughout the year, this

During the second semester break I visited MONA

part discusses some of the major influences on the

(Tasmania) where this project would ultimately take

design project as it reaches its completion.

many of its design cues from. The lack of sunlight

architecture nature

that

draws

underground

from

the

buildings.

and dark descent down into an unknown cavern creates an atmosphere that is palpable. The small entry above ground and simple lift/stair that leads down helps to hide the building below, and create a false sense of scale and a heightened anticipation before the building reveals itself as a gigantic sandstone cavern below ground.

THE ARCHITECTURAL PROJECT

196 | 197

8.2.2 | TMAG / fjmt (2013) The

Tasmania

Museum

and

Art

Gallery

was

especially interesting for me because of the way it brought together a series of very different historical buildings. One of fjmtâ&#x20AC;&#x2122;s detail features was the way they faceted timber and glass balustrade constructing a playful kinetic sculpture. This practice was influential in designing the initial progression between the tennis courts leading to the Obelisk Reservoir Gallery.

THE ARCHITECTURAL PROJECT

198 | 199

8.2.3 | Dovecote Studio / Haworth Tompkins

loads through an object’s external skin) that was

(2009)

prefabricated and craned into position.

Built around the ruins of an old building this music studio renovation by Haworth Tompkins shows how an incision to an existing building can be used to great effect.

The aesthetics of the two clearly different building types coexisting creates a sort of tension between the two that is easily seen here. This idea is something I’ve been exploring with the Newcastle reservoirs, especial the Brown St. Reservoir which

The new studio builds upon the original industrial

will see an insertion of steel blades cutting through

feel on the campus and almost seems to gracefully

its shell.

grow from the old. Clad in Corten weathering steel, the structure is understood as a separate structure, yet compliments the existing shell with its rustred texture almost matching the red of the bricks. The new form expresses the internal volume of the Victorian structure as a Corten steel ‘lining’, a welded monocoque (structural approach that supports

8.2.3 | Conical Intersect / Gordon Matta Clark

Koolhaas, who recounts how his own interest in

(1975)

Matta-Clark’s work has changed:

Gorden Matta Clark was famous for his approach to art and architecture which was dubbed “anarchitecture”. The building cuts and holes he created in existing buildings were as much a form of artistic expression as they were a statement to the world of art and architecture. A statement that stood in stark contrast to the glistening high rise and department

“I was fascinated by Matta-Clark. I thought he was doing to the real world what Lucio Fontana did to canvas. At the time, the most shocking, exciting aspect of his work was maybe the glamour of violation. Now I also think that his work was a very strong, early illustration of some of the power of the absent, of the void, of elimination, i.e. of adding and making.”

stores that were being built in the 70s. The cuts and

Koolhaas’ attention to the constructive aspect of

alterations were violent acts, a violence that is seen

Matta-Clark’s work is unusual, though it sets the

both in the process and in the aftermath. as you

scene for the present work.

look through the buildings and see the layers and sheer cuts it is hard not to imagine the violent attack that the building had faced. This is not necessarily a bad act, as the works are undeniably beautiful and through their creation they give dilapidated buildings and structures a new life.

This making of additional elements through the act of removing structures has been an inspiration in this project. The cutting of the void progression into the obelisk hill, a site that has endured may cuts before it, and the act of cutting through the No.1 Brown St. reservoir has started a new dialogue with the space.

While his projects are frequently used to illustrate a kind of paragon of ‘de-constructive’ architecture, dissenting voices to this interpretation can be heard. Voices exploring beyond the formalism or sensationalism which can be associated with some of Matta-Clark’s work. One such exception is Rem

THE ARCHITECTURAL PROJECT

200 | 201

8.2.4 | Various Works of Carlo Scarpa In the early 1960s architect Carlo Scarpa transformed the ground floor and courtyard of the Palazzo Querini Stampalia into a major cultural complex in Venice, Italy. Scarpa introduced the experience of water directly into the building through the two arched gates which he lined with identical steel brass hinged grills. Each gate contains three opening grills, with the centre element made narrower and taller then its neighbours. The light catches the play of vertical and horizontal brass as well as forming an overall complex pattern of light and dark elements that are additionally reflected by the water throughout the space. The effect is reminiscent of Islamic patterned window grills, which apart form the bridge, they are the only noticeable part of Scarpaâ&#x20AC;&#x2122;s renovation to appear on the facade. As you move through the various spaces, echoes of the water line are present throughout. These are shown through changing of materials at the water levels and thin lines of tiling and brass.

THE ARCHITECTURAL PROJECT

202 | 203

8.2.5 | Bernard Tschumi

framework she positions the following key question in defining a design process, “How can we describe

Architecture As Narrative

the interface between the conceptual strategies,

In the early 1980s narrative was used to describe

perceptual experience and cultural meaning?”

a set of architectural values, which placed the activities surrounding a building in a higher position than the building itself, holding the ‘event’, as Bernard Tschumi called it, to the highest esteem of the architectural object. Among the realm of architectural theorist Bernard Tschumi was the first to identify that there was, a ‘disjunction’ between the conceptual and perceptual facets of architecture. The conceived and perceived notions of space are often cast in architectural theory as a powerful opposition. In Tschumi’s early studies such as The Manhattan Transcripts (1994) he drew parallels between a sequence of events in space and the physical conditions of the city. In linking ‘stories’ such as a soccer game or a murder mystery, Tschumi

In his writings, Tschumi clearly defines two principle areas of questioning, ‘context’ and ‘programme’, which explore and critically question a means of gaining insight into existing and anticipated relationships.

Within

the

design

process

and

particularly the early stages of conceptualisation both areas invite speculation through which to interpret and frame significances. On the basis of a questioning of the normative qualities Tschumi sees architecture’s role through design, not as one of traditional accommodation, but rather the invention of strategies through which both context and programme reveal the potential for new meaning.

produced a series of theoretical drawings, which

As a process Tschumi envisions that through

explored the dynamic relationship between the

understanding the disjunctions within relations of

physical form of architecture and what happened in

context and programme a concept will evolve within a

it. In a broader sense the Transcripts are a narrative

logic of those relations to reconfigure them; to create

critique of architecture as an institution of limits

the ‘event’ that is architecture. The relationships that

to be transgressed, not of forms to be examined.

emerge from imposing a programme on a particular

They propose a fiction but are not ‘behaviourist’ in

context develop to be more than a building type,

orientation. They on the contrary depart from the

but a particular expression within a morphology

relative innocence of a user as merely an ‘observer’,

of that type. These variations that question the

to who one who begins their own narrative, as

normative assumption and which are effectively

Tschumi explains, “the place your body inhabits is

conceptualisations, he terms ‘codes of assemblage’.

inscribed in your imagination, your unconscious,

This through a design process, become a project

as a space of possible bliss. Or menace” Tschumi

narrative of actual physical relations that are the

continues to explain that ‘events’ are about “social

subject of user perceptions. A ‘code of assemblage’

and

“programmatic

would then be, in the light of the above discussions,

sequences’ that combine “the presentation of an

symbolic

connotations”

a structured narrative, that is its own critique of

event with its progressive spatial interpretation”. It is

contextual meaning set against a programmed use

from this reading that Psarra presupposes an “implied

that directs perception. The project narrative then

narrative exists” in Tschumi’s work. Through his

becomes a push-pull of connected ideas whose

interaction through relationships has the ‘totalising’

dialogue between context, programme and event.

effect of an ‘event’ in shaping experience.

To facilitate this Tschumi interprets the programme as if it were a script; functioning in most respects as it would in a theatrical sense. He comments

“Theory is a practice,

that The Manhattan Transcripts (1976-81) were,

a practice of concepts”

“an attempt to deconstruct the components of architecture”56 They developed representationally

“Practice is a theory,

like a ‘story board’, or a visualisation of a script sequence; the movements and actions of a narrative

A theory of contexts”

as they are progressively ‘played out’. The script is

- Tschumi

an important organisational tool which acts as a medium of translation between the abstractness

To appreciate Tschumi’s view of how a building

of conceptualisation and the immediateness of

becomes its own critique; that is, an evolving

impromptu experience. Accepting the performance

knowledge developed from a set of constructed

theatre as the model for staging ‘events’ the script

relationships

and

then could be seen as a metaphorical dramatisation

programme, it is important to recognise that the set

of the programme. Like good theatre it attempts to

of relationships is neither static nor pre-determined,

stimulate the audience; occasionally prescriptive but

but rather a dynamic and changing reciprocity.

more frequently loosely structured as a set of guiding

This reciprocity between user and building at its

prompts. Potentially then the script for a project

most confrontational, approaches the conditions

could operate at two levels corresponding to both

of performance as it unfolds primarily through

very formal experiences as well as the ordinariness of

movement and stages of perception. Movement

social occasions. As will be discussed this capacity

within Tschumi’s writings and more recently his

to integrate multiple domains of an experience is a

projects is key to an evolving understanding of how

fundamental aspect of exhibition design addressed

buildings are conceptualised and allow an architect

by spatial syntax studies.

to control important aspects of perception, and with

The importance for Tschumi of the programme acting

that, experience. Specifically, Tschumi employs

like a script is that it functions to structure real and

visual relationships because the visual aspects of

perceptual relations within the spatial geometry of

cultural

communication

contemporary

a building. In doing so, it constructs a unique set

society.

Tschumi’s

cinema-graphic

of relationships as a paradigm that is a reflection

techniques puts him outside the traditional canons

upon the variations of time, place and observer.

of architectural composition. Importantly, cinema-

Conceptually, both aesthetics and style are quite

graphic techniques such as ‘framing’ provide a

secondary to ‘structure’ here and at best evoke

measure of continuity from within an established

Norberg-Shultz’s character references. Structuring

language principally drawn from a global urbanity.

experience is a fundamental part of how architecture

From the stand point of a design method, Tschumi

‘operates’ to create, comment upon or challenge

then develops operational conditions to foster a

cultural conventions. As a medium of cultural

arising

from

the

dominate

adoption

context

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change architecture is undoubtedly a slow process yet internally within a project it is its raison d’être to challenge assumptions. Within even the ‘everyday’ it is reliant upon how relations are communicated in a delicate balance between the opportunity for ‘control’ and ‘choice’ within the ‘script’ (settings) and hence an intentional part of the narrative reciprocity. If architecture communicates ‘intentions’ and a logic of intelligibility through the control and development of perceived relationships at multiple levels within space, its primary vehicle to achieve this is through defining the sequence of experience.

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8.3 | Artistic Influences

Anish Kapoor is an Indian born British sculptor who explores ideas of the void. As he states:

The following section discusses the new research direction of the project during and after the mid year break. The readings are a collection of ideas that have inspired the project direction in one way or another.

“[My works are] all about another place. They’re all about something here, which is something inside, something not here. That process seems to happen with emptying things out, making things voided. That seems to actually fill them up. Emptying them

The quotes and images are related and unrelated

out is just filling them up. And that’s somewhere

in a variety of ways, and are not representative of a

else. I don’t know how else to say it.... Something

research conclusion, but rather an ongoing area of

inevitable, something unspeakable, unknowable,

interest.

unmeetable. Filling them up with fear. Fear in that they’re all dark. Fear, I guess, is death.” There is a strong connection between my project and the work of Kapoor in the sense that Kapoor’s sculptures

enact

process

emptying

contemplation of absence. As Kapoor states: Thinking about making nothing, which I see as a void is still something, even though it really is nothing. “In a sense, this idea about something partial is also there in the relationship between the viewer and the work. The work doesn’t exist without the viewer, without somebody looking at it. To a large extent, all work is incomplete. It’s completed by the person who is looking at it. That relationship is what makes it whole. The work seems to be about being and non-being— as the works become more hollow, they also have become much more physical!...] The physicalness of the stone is about non-physicalness. About fear, about the other place, taking in rather than giving out.

Stelarc

for the graphical interface to the computers virtual reality. Artist use technology as a medium whose

Renaissance based ideas about the uniqueness of

computing systems have unique capabilities, which

art are destroyed by the new processes that used

artists can explore and refine. …..

every thing as source materials for their creations.

sentence…

Materials for manipulation and reproduction are appropriated from anywhere for an electronic glut of images.

Rewrite this

The merging of computer and technology in art for electronic processing is the foundation for new art forms, music, film, texts and animation. These make

The Renaissance was the re-birth of classical Greek

art 4D and time based. Multimedia productions and

ideals. The ideas presented in previous times were

performances in which artists produce art works to

very unique in that the works that the artist had

comment on social communications, construction,

created were not to be reproduced ever again. There

of identity. Power relationships and theoretical

was only one original. Any work produced in that time

issues have affected the relationship between the

can now be reproduced to any size, shape or form

artist and his or her role in society. The fine art’s

for one’s interest due to the evolution of technology.

tradition that define the possibilities of what art is, is

This notion destroys the concept of Renaissance

being eroded, destroyed and challenged.

art in that the history and value of these works are extremely important and many are priceless. They sculpt what our views are on art today.

Stelarc presents technology as a catalyst that will speed up the development of humanity. He uses mechanical and electrical performance work. In his

New processes, as discussed in the previous

performances he demonstrates how he hybridised

questions, provide the materials for the reproduction

with the human body and most of his technological

to be carried out and also appropriated. Established

pieces of his own body, eg. Third hand (1997). Paik

post-modern techniques and technology have taken

a member of the Fluxus movement employed the

over our art forms and the ways in which they can

material basis for his practice. His video installation

be perceived. Technology especially, since many

works

artists today use it as an attribute to their works to

and consumerism. He approaches a formal and

convey meaning and interpretation through different

conceptual manner to produce works that question

media, provides the ability to express one’s ideas

what is perceived as art in the modern age. The

electronically and scientifically although their notions

convergence of technology to create new art

may be of the spiritual kind and are based on ancient/

accorded before the modern era. The Renaissance

renaissance ideas. Materials can be manipulated

changed the traditions of medieval art. Renaissance

and used to appropriate whatever an artist desires.

artists made use of new scientific inventions and

At first computers were used to do old things in new

discoveries of anatomy, perspective and maths to

ways, like controlling mechanical devices. Then it

reach their ideals of beauty and naturalism, fine arts

was exploited to simulate existing media forms, such

and applied arts and so the role of the artist shifted.

as photomontage and now it is used for sculpting in

The rate and extent of the changes caused by the

a virtual world. Methods of renaissance art, using the

electronic technologies of the twentieth century

real world or nature materials became a metaphor

are unparalleled. Their impact on art practices is

explore

everyday

life,

cultural

identity

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enormous as electronic tools and software are incorporated into artworks. In the electronic age the earlier traditions of assemblage and employing found objects are extended. Now some artists use themselves as the found object or readymade. The hardware and the software of the electronic age are used in video installations, performance and documentation. Artists have widened the scope of art and have posed questions about the uniqueness of the object and the need for manual skill in art. Electronic expressions of the body are light years beyond the conventional representations of the body in western art and show the enormous impact of new technologies on the role of artists and the function of art. Technology has a guiding force in art practice. The audience is confronted with a range of issues, such as the level of interaction. No longer is the artwork passive but rather becomes dependent on the interplay with the audience.

7.4 | Final Design Progress - Four Sites:

of the city life with the existing tennis and park recreation facilities to the ‘initiation’ path leading

One: The Shipping Marker on Tyrrell Street signifies

‘deep within’ the Obelisk Hill. The second threshold

the starting (or ending point) of the Newcastle

leads the visitor through a sandstone carved space

Reservoir Project. As a clear tall object in space, it

that narrows at the top to allow a subdue light to

marks an urban point as it draws the visitors to climb

enter the space. This is

its structure. Landing on the viewing space, one

of being inside a ravine or a natural gorge. The void

can contemplate from this vantage point, the urban

progression of this incision can be used by artists

art journey of the Reservoirs ahead, the greater

through the architectural gesture set up on its rock

Newcastle and the Hunter region...

wall formation. A sort of laced steel pipe structure,

Two: No.1 St Water Reservoir (the space for

a scaffold framework, hosts projections and panels

creation) has been designed as a flexible space for

a very similar experience

from the artists preparing the visitors for the following

artists and their creative time. Here their work can

main gallery of the Obelisk Reservoir.

be manipulated and translated into digital media and

The Obelisk Performance gallery is designed as a

prepared for exhibit in the Obelisk gallery (the space

carved sandstone space that enhances its internal

of performance). This location as an educational

character. The visitor is here engaged with the

space will be used by locals (schools and community

performance of the artwork, totally enveloped by the

groups) and outside visitors for public interaction with

artists’ creation projected into a curtain of silicon rods

the artists’ creative process.

cascading from the top. The visitor moving through

Three: Arcadia Park is a contemplative space for

the curtain actively participates to the performance

both artists and visitors where they can reflect on their

casting light and shadows on the sandstone.

creative work or on the urban sites already visited

From this point the visitor ascends through the spiral

and/or on their journey ahead toward the Obelisk

stair to the top of the Water Reservoir. This ascend

Hill. At first, a number of pavilions were conceived

can be taken gently and with patience as it is here

with different activities inside. Later this proposal was

that the visitor can look down to the architectural

reconsidered and abandoned as a strong conviction

space of the reservoir and to the artwork projected

started to envision the Arcadia Park as a place of

into the curtain and cast on the stone from a number

non-architecture, or at least of non big architectural

of different perspectives and vantage points along

gestures. Keeping to the spirit of the name, the

the vertical path.

Arcadia Park is enhanced by small architectural gestures for the reflective observer to sit down and be part of the atmosphere of the landscape associated with the image of unspoiled wilderness and harmony from the Antiquity.

Landing on the top of the Obelisk Hill outside the Reservoir, the visitor can finally emerge into the light of the day or starlight in the night embracing the view toward the territory from the Hunter region to the city of Newcastle re-visiting the journey he/

Four: The un-earthing of the Obelisk Reservoir as a

she already experienced from the Shipping Marker.

site of performance marks the fourth site. This has

This moment generates a liberated post-experience

been designed into three thresholds or progressions.

rejoining back to the playful juxtaposition of the daily

Starting from the street location in Wolfe street,

life and hopefully a life affirming experience for the

there is a playful juxtaposition between the everyday

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Master of Architecture - Final Year Architectural Design Program School of Architecture and the Built Environment, The University of Newcastle, NSW, Australia November 2014