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INTRODUCTION I. CONSTRUCTION DE SIGN ... - ..- -.. .. --- / .- .. .-. II ET III. STUDIO FIRE >>A >>B ... - ..- -.. .. --- / ..-. .. .-. . >> .>> -... I V. S T U D I O A I R ... - ..- -.. .. --- / .- .. .-. V. C H R I S T M A S PA G E A N T -.-. .... .-. .. ... - -- .- ... / .--. .- --. . .- -. VI. VIRTUAL ENVIRONMENTS ...- .. .-. - ..- .- .-.. / . -. ...- .. .-. --- -. -- . -. - ... V I I . S E L E C T E D I M AG E S ... . .-.. . -.-. - . -.. / .. -- .- --. . ...
INTRODUCTION
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’m O liv ia. I c urrent l y st ud y Env i ro nm ent s (Ma j o ri ng i n A rc h ite c tu re) c om b i ned wi t h a n Ita l i a n La ng ua g e D i p l o m a a t th e Un ive rs ity of Mel b o urne. Thi s i s my fo ur t h i n a tota l of si x yea rs of st ud y. Th is p or tfolio c o nta i ns so m e of t he wo rk f ro m my p a st t hree ye ars of stu d y a nd a l so wo rk f ro m ot her p a r t s of my l i fe. I am inte reste d i n m a ny f i el d s of d esi g n, not so l el y t he b ui l t an d in h ab itab le wo rl d . Ho p ef ul l y, t hi s p o r t fo l i o d em o nst ra tes th is c u r ios i t y a b o ut set d esi g n, g ra p hi c s, l i fe d ra wi ng s, i l l ust ra t i o n a nd p ro p d esi g n.
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II. CONSTRUCTION DE SIGN
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Construction Design is a third year subject aimed at articulating and testing the idea of construction as a process requiring cultural and technical choices. B a s e d o n t h e I v a n h o e G r a m m a r S c h o o l S e n i o r Ye a r ’s B u i l d i n g b y M C R , we were asked to make an axonometric drawing of one section and then complete the same section as a 1:20 model.
M C B R I D E C H A R L E S R YA N I VA N H O E G R A M M A R S C H O O L SENIOR YEARS’ BUILDING
SI TE WOR KS A ND F OU NDAT ION S 1. Soil levels: (taken from borelog 4) 100mm top soil removed for planting 250mm Filling Clayey Silt DRY 300mm Clayey Silt (Grey Brown) Stiff DRY 1900mm Silty Clay (Grey Brown Orange) Very Stiff SLIGHTLY MOIST contains tree roots End of Borelog at 2.4m. Refusal on floater. Natural Clayey silt allows for 50kPa of pressure to be applied. Slab beams will increase this allowance to 200kPa. No water table was encountered. Trees present an impact on the moisture levels in soil. Around these areas, moisture levels at unstable. Angle of repose sits at 1:1 (stiff clay). 2. Termite Barrier 3. 1:100mm fall away from building to allow for water drainage. FO OTI N G S 4. 600mm depth of mass concrete Allows for pressure on ground to be increased and therefore provides a stable base for building to be constructed. 5. Blinding Concrete Seals the concrete underneath and acts as barrier to prevent dirt and grit interfering with the structure below. C O N C R E T E G R OU ND F LOO R S LA B S 6. 125mm thick slab 600mm thick x 400mm wide edge 600mm thick x 300mm wide internal beam 7. 50mm thick sand bed Used to level soil 8. Waterproofing membrane Prevents moisture travel between ground and building envelope 9. Slab Insulation Required by Australian Standards to insulate slab where most heat loss occurs 10. 40mm Concrete cover Must be above neutral axis to transfer compressive loads from above 11. 25mm Edge Rebate for external windows and walls setdown 12. Concrete curing for seven days to reach optimum stability and strength. At a week, concrete shrinkage has almost stopped. C OM P OS IT E F IR ST F LOOR S LA B 13. 125mm thick concrete slab’ 14. Members CB12, CB37, CB38, CB39 and CB40 15. 200mm thick concrete slab 16. RB2 Steel Column with 65mm rebate 17. Steel Reinforcement Provdes tensile strength STRUCT U RA L ST E E L 18. Lightweight steel construction. Many member groups are prefabricated with bolted connection joints. DO O RS A ND W IND OW S 19. Doors 0.05, 0.06, 0.09 and 0.10 2232 x 2425mm and 1105 x 2425mm Aluminiun powder coated hinged doors. Specifications selected by builder or contractor 20. Windows W0.02 Aluminium powder coated fixed windows. Specifications selected by builder or contractor. RO O FI N G 21. Lysaght Klip-Lok 406mm corrugated cladding. 22. 4 degree pitch, sloping towards box gutter. 23. Overflow pop Allows for overflow during periods of heavy rainfall 24. Cladding sheet overlap 25. Permastop building blanket with wire mesh backing 26. 40mm Insulation 27. 40mm height Top hats 28. Purlins 29. RB73 200UB18.2 Roof Beam PARAP E T + C L A D D ING 30. Build up Longline metal cladding on 40mm spacers Permastop Building Blanket with Wire mesh backing 150mm Structural zone with pink insulation batts wall insulation Spandek Metal Cladding on 40mm spacing I N TERN A L F INIS H E S 31. 70mm thick x 295mm wide spotted gum sunshades 32. Suspended Ceiling Plasterboard Acoustic Tiling for entry areas 33. Fairyfloss Pink Felt Pinboards 34. Carpet Underlay 35. Classroom Carpet
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C ONSTRUCTION D ESIGN // ABPL 3 004 1 OLI VI A POTTER 5 8 6562 TUTOR I A L GROUP 4 Ray m on d Cheung AS SI GN MEN T ONE 1:2 0 Axono metric Drawing of McBride Cha r les Ryan’s (MCR’s) Ivan h oe G ramm ar Scho o l Senio r Yea rs Building
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II. STUDIO FIRE >>A
... - ..- -.. .. --- / ..-. .. .-. . >> .Th e St u d i o Fi re b r i ef st i p u l a te d t h e d es i g n of a n ew a rc h i ves fo r Me l b o u r n e Un i ve r s i t y. In t h i s p ro j e c t , we ex p l o re d t h e t h e m e s of g ra f f i t i , p a l i m p s e st s a n d c a b i n et s of c u r i o s i t y.
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m e l b o u r n e u n i v e r s i t y a r c h i v e s P E R S P E C T I V E N O R T H - W E S T F A C A D E B U R N T W I T H G R A F F I T
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Here, it is possible to see the rough grid of the suburb. Strong lines are broken by natural features of the Brunwick area. The idea of the vertical is something that I want to use in my final design - it places emphasis on area and is able to deflect and alter the human perception of space.
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Externally, my Studio A design explores the themes of graffiti and the palimpsest, and challenges the idea that graffiti is an additive process. Instead, my external cladding is reductive and involves the burning of material to produce a different kind of graffiti that hints at the precariousness of the built environment and places the archives in a compromising position. This explores the notion that things become increasingly of value or importance when under threat. Internally, the archives are a cabinet of curiosities - the shelving is not linear or in a grid formation but rather, a rabbit warren of networks hidden deep below the earth, capped by the needed rooms for the functioning of the archives. The entrances to the archives is hidden, barely visible if walking from Syd n ey Rd . Th e ex t e r n a l c l a d d i n g acts as a kind of neighborhood picket fence, disguising the archives from their true intent. Once the slipway entrance has been found, the internal space opens to reveal a garden between two buildings - the public space on the right and the private S T A T E M E N T I N T E N T I O N
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quarters on the left. Underneath, a swelling cauldron of shelving sits, hinted at on the surface through the whirlpool curves of the t w o a b o v e s t o r y b u i l d i n g s . To e n t e r , both buildings are linked by a series of Piranesi style stairs, starting at different heights of the six basement stories. Th e Re a d i n g Ro o m i s t h e m a i n l i n k between the private and public spaces and acts as a buffer to access the archives. Inside, it is much like a church, with a high ceiling and a series of reading vaults in which one can study and close the curtains behind them. The idea was to make the reading room a positive and intriguing space in which to discover the treasures of the archives. The steps down to enter the reading room also give the public a chance to glimpse the internal archives, making the archives more public and given back, in a way to those who use Melbourne University. The back w a l l of t h e Re a d i n g Ro o m c o nta i n s a screen that provides information about banned books in Australia and the power of print.
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1. CONFERENCE ROOM 2. CLASSROOM 3. MEETING ROOM 4 . S TA F F K I T C H E N 5. OPEN-PLAN OFFICE 6. D I R E CTO R ’S O F F I C E 7. E L E VAT O R 8 . L O A D I N G B AY 9. M A L E B AT H R O O M 1 0. F E M A L E TO I L E T 11. SCHOLAR’S OFFICE 12. QUARANTINE 1 3 . D I G I TA L P R O C E S S I N G A R E A
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L 1. VISITING SCHOLAR’S A PA R T M E N T I. LAUNDRY I I . WA L K I N R O B E I I I . E N S U I T E B AT H R O O M I V. I N T E R N A L C O U R T YA R D V. B E D R O O M M O D U L E V. I . D I N I N G R O O M V I I . K I TC H E N E T T E VIII. LIVING ROOM 2. SCHOLAR’S ENTRY CORRIDOR 3. LEFT RAMP
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In my proposal, the Outré Gallery becomes a public map, an artwork of changing and continually updating markings – a palimpsest of burnt lines that represent the occurrences in Brunswick. The building encourages people to mark their place and add to the palimpsest and graffiti that gives Brunswick much of its character. It challenges the notion of graffiti being an additive process and instead becomes a medium where material is removed. A curved façade and the café in the b u i l d i n g’s t h r e s h o l d d r a w p e o p l e i n t o t h e recesses of the space while maintaining the straight street frontage. This internal/ external space can be closed at night through the use of recessed sliding do ors. In this way, the building is almost given a double
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frontage and allows for additional display fo r t h e O u t r é G a l l e r y ’s A r t . The interior of the building is divided into t w o m a i n s e c t i o n s – t h e p r i v a t e m a n a g e r ’s spaces and the public gallery and bookstore. While the gallery uses dramatic ceiling heights and a concrete embedded stairway to create theatrical spaces for t h e a r t , t h e m a n a g e r ’s f l a t i s m o d e s t a n d domestic, set over split levels. The terrace c o n n e c t s t h e m a n a g e r ’s p r i v a t e s p a c e t o his office, removing the need to enter from street level. My design aims to provide a backdrop for print art while adding to the character of t h e S y d n e y R d /A l b e r t S t c o r n e r o f S y d n e y Rd .
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I N T E R I O R R E N D E R S The bookstore has custom designed display units with fully re-arrangable shelving, allowing for flexible use of the space during temporary exhibitions. Matching is the f r o n t c o u n t e r, m a d e f r o m p u r e monolithic materials (as is the rest of the shelving) ensuring the artwork remains the primary focus of the space. In the background it is possible to glimpse stairs set into a concrete mass which travel to the second floor o f t h e g a l l e r y. T h i s p r o v i d e s
The bookstore has custom designed display units with fully re-arrangable shelving, allowing for flexible use of the space during temporary exhibitions. Matching is t h e f r o n t c o u n t e r, m a d e from pure monolithic materials (as is the rest of the shelving) ensuring the artwork remains the primary
a dramatic stage set, again aiding in the successful d i s p l a y of t h e Ou t ré G a l l e r y ’s collections. The cellar in the basement level of the gallery is an additional space within the cabinet of curiosities which is t h e g a l l e r y . To h e l p f a c i l i t a t e in the creation of microcommunities in Brunswick, the bo okstore provides a space to mull over bo oks and wine, or give authors and artists a space for bo ok and exhibition launches. Arched
focus of the space. In the background it is possible to glimpse stairs set into a concrete mass which travel to the second f l o o r o f t h e g a l l e r y. T h i s provides a dramatic stage set, again aiding in the successful display of the Outré G a l l e r y ’s c o l l e c t i o n s .
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I V. S T U D I O A I R
... - ..- -.. .. --- / .- .. .-. S o l L a g u n e w a s m y S t u d i o A i r g r o u p ’s r e s p o n s e t o a c o m p e t i t i o n c a l l e d L A G I , a s k i n g entrants to design an intallation that would both function as a public space while g e n e r a t i n g e n e r g y . We d e v i s e d a p u b l i c b a t h i n g s p a c e , p o w e r e d b y s o l a r t u b i n g . We d e c i d e d t h a t t h e d e s i g n s h o u l d h a v e a n o r g a n i c , e m o t i v e f o r m . W h i l e r e s e r a c h i n g , we discovered a break-through technology called tubular-photovoltaic panels which fitted perfectly with our design. The concept was that you have glass tubes of 120mm in diameter. These house two main par ts: silicon photovoltaic panels that cur ve around the i n s i d e o f t h e t u b e a n d t h e n s i t u a t e d b e h i n d t h e m a r e 5 0 m m *m a t e r i a l * p i p e s w i t h w a t e r running through them. This whole system optimises the energy production due to multiple factors: the curved surface focuses the light onto the photovoltaic panel, the fact they is curved also means that the panels are always perpendicular to the sun and therefore are always able to collect photons, another advantage of the curved shape is that the panels c a n c o l l e c t d i f f u s e a n d ref l e c t e d l i g ht t o c re a t e e n e rg y. It i s n o r m a l fo r p h ot ovo l t a i c p a n e l s t o h e a t u p d u r i n g t h e d a y, a n d t h i s d i m i n i s h e s t h e i r ef f i c i e n c y. Ha v i n g a t u b e of water running behind them collects that excess heat which has two benefits: cooling down the panels, permitting them to optimise the energy production and also produces h o t w a t e r . T h i s w a t e r c a n r e a c h u p t o 1 2 0 ° C . We p l a n o n u s i n g t h i s f r e e h o t w a t e r f o r our public baths. 120°C is clearly too hot for people to be able to bathe in comfortably so we plan on having a mixer regulating the temperature of the baths. Another aspect of the design will be to have the panels glow in the dark at night by using carbon nanotubes photonic crystals that collect photons from a broader spectrum of light wavelengths than the photovoltaic cells. Our design started out as an assembly of spheres with holes punctured in them, however we quickly moved away from this idea in order to make a more sculptural and free structure. The result was a large mess of pipes curling up, over and around the site as if they had a life of their own. Although we enjoyed the fluidity present in this design, it w a s n o t s t r u c t u r a l l y v i a b l e . We t h e r e f o r e c o n t i n u e d t o p u s h o u r d e s i g n . I t t h e n b e c a m e a c o l l e c t i o n of 37 ste e l h o o ps s et 9 m i nto t h e a i r l o c a te d ra n d o m l y ove r t h e s i te. It wa s from these hoops that the tubes containing the photovoltaic panels and water tubes sprung out like waterfalls, hitting the stone base into which the baths were carved. There are nine tubes per hoop, however two of these are structural and therefore made of steel. It wa s t h ro u g h t h es e t wo p i l l a rs t h a t t h e e n e rg y wa s to b e c o l l e c te d a n d d i re c te d to t h e grid.
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c a s t
o f
t h e
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V. V I R T U A L E N V I R O N M E N T S
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This project involved the translation of a natural process into a physical, c o m p u t e r g e n e ra t e d p i e c e t h a t c o u l d b e wo r n o n t h e b o d y. I c h o s e t h e g r o w t h o f a p o m e g r a n a t e t r e e â&#x20AC;&#x2122;s f r u i t . C o m p l e t e d i n 2 0 1 2 , t h i s p ro j e c t st i l l h a u nt s m e t o d a y.
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The initial natural process I looked at was growth â&#x20AC;&#x201C; the transformation of a system into something more c o m p l e x . H o w e v e r, i t c a n a l s o mean an organism becoming more developed. I began by researching the amazing conversion of a yolk into a chicken, a natural process that takes an average of 20 days. While in animals, something wet like a yolk turns into something soft like a chicken, the opposite is true of fruit. The softness of petals instead morphs into the wet, stickiness of fruit flesh. This observation aided me in my s k e t c h p r o p o s a l - t h e Tr a n s f o r m a t i o n of delicacy to stiffness. This was my inspiration for my lantern-transformation through growth. To r e p r e s e n t t h i s c h a n g e , I d e c i d e d to use a pomegranate, which is a
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I wanted to create something that mimicked the fluency and slickness of growth, the natural progression. I began by moulding exactly what I had drawn h o w e v e r, t h e s p h e r e a t t h e f r o n t o f the body was too heavy and disrupted the balance that I wanted to create.
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I added an extra frill to the neckline and altered the shape of the sphere to a f l a t t e r, a l m o n d f o r m . T h i s c r e a t e d b a l a n c e and represented the natural process
more
It suggested the end of the growth process through the abruptness of the s h a p e , h o w e v e r, a f t e r g r o w t h c o m e s d e c a y. I w a n t e d m y l a n t e r n t o s u g g e s t that this process is continuous and
so I decided to adjust the sphere to a more guiding shape â&#x20AC;&#x201C; that of an almond.
w h o l l y.
I
like
this
shape
more.
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Vir tual Environments was an erratic and up-and-down process for me. Design is never straight forward and this is a difficult concept to accept. It is very hard to achieve perfection and a result that designer is happy with. Looking back on my lantern there are things now that I wish were differentc h i e f l y, the panelling t y p e a n d t h e i r c o m p l e x i t y. H o w e v e r, d e s i g n e r s e v o l v e and the understanding of what is possible changes too. Te c h n o l o g y is helping us to realise this- anything imagined is able to be made tangible.
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V I . S E L E C T E D I M AG E S
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>> Printmaking
>> Printmaking
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Anticlockwise from top >> Modern Melbourne Assignment >> Church in the Cinque terre (Italy) >> Church in La Spezia (Italy) > > C a s t l e i n Tr i e s t e ( I t a l y )
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Ispettrice wildenstein una favola italiana : : : pubblicata in 2013
colour blindness check
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Backup >> Goat
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