The Bower Studio Project at Cummeragunja by Ruby Mazzocco

CONSTRUCTION METHODS R U BY M A Z ZO C C O 6 9 9 1 2 3

WORKBOOK

002 CONTENTS

004 010 022 028 038 044

L E A RN I N G A B O U T TH E L AND O N W HI C H W E P L AN TO CONST RUCT

PART TWO G AT HE R I N G TH E M ATE R I AL S

PART THREE PRE PAR I N G TH E S I TE \ W HAT W E HAV E TO WO R K W I TH

PART FOUR ASSE M B L I N G A N D S EC U R I NG THE FO R M WO R K

PART FIVE PO U RI N G TH E C ON C R E TE \ R EM OV I NG THE FO R M WO RK

REFLECT

T HE P O S I TI V ES , TH E NEGATI V ES AND AL L THE WAYS WE CAN IMPROVE

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PART ONE

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PART ONE

THE LAND

006 PA R T O N E \ T H E L A N D

INTRODUCTION On Monday the 29th of March 2021, a group of eager, excitable firstyear Masters students arrived at Cummeragunja to begin a week of construction. We sported smiles, hats and a wide range of safety equipment, ready as ever to get our hands dirty and create something meaningful, practical and with purpose. This subject was like no other university coursework I have completed. It was so much more valuable than the assessments and the minimum deliverables. This subject taught us the importance of land and considerate, informed construction. It gave value and substance to our creations and it made us think broader about our architectural intentions. Our goal for the week was to create communal seating for a cultural pavilion where indigenous elders would teach the young people of the Cummeragunja community.

On the following day, Uncle Cole - a local elder - came to talk to us about the importance of Cummeragunja land to the indigenous people who reside there. He spoke about the late mission, the schoolhouse, and the river. He was proud of his history, a difficult fact to grapple with, considering the years of oppression and destruction white Australians have inflicted on the indigenous community. The unmissable beauty of Cummeragunja is the wide, winding section of the Murray River that separates it from Victoria. Uncle Cole spoke of the river with intense necessity; it is a life force. It cleanses, nourishes, hydrates and teaches. It is a beautiful, powerful, undulating body of water.

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008 PA R T O N E \ T H E L A N D

THE SITE Previous students from the Bower Studio projects had already constructed the foundations of the cultural pavilion. We arrived to find four concrete blocks - varying in size - with untreated steel supports projected vertically from their surfaces. These would, in the future, support local timber beams, more untreated steel and eventually, the pavilion roof. We made ourselves familiar with the site and began levelling the ground around three of the foundation blocks. This would become the area on which we built our concrete seating.

F L AT T E N E D L A N D P H OTO C R E D I T O F J O R D A N S M I T H

009 THE BARE SITE P H OTO C R E D I T O F J O R D A N S M I T H

O R G A N I S I N G M AT E R I A L S P H OTO C R E D I T O F J O R D A N S M I T H

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PART TWO

THE MATERIALS

012 P A R T T W O \ T H E M AT E R I A L S

TOOLKIT Our set of power tools for the week included a range of drills, drivers and saws. Each of these tools used rechargeable batteries that we recharged intermittently throughout the day. We used at least one of each of the following: •

Impact driver

•

Screwdriver

•

Drill

•

Drop saw

•

Angle grinder

•

Planer saw

•

Circular saw

On top of this, we used many other tools to help construct our formwork and level concrete. These included the following: •

Hammer

•

(Many) Clamps

•

Shovel

•

Spirit level

•

Concrete trowel

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SAFE PRACTICE To be present on the construction site, all of us were required to wear work boots. On top of this, all of the power tools used required extra protective gear to be worn, namely earmuffs and safety glasses. We were lucky enough to experience incredibly summery weather whilst in Cummeragunja. Therefore, hats, glasses and sunscreen were also worn whilst on the construction site. Everyone maintained common caution around the construction site as there were often multiple power tools being used at once.

014 P A R T T W O \ T H E M AT E R I A L S

T H E K I T O F PA RTS Each group was allocated half of a

P1 = Panel 1 of formwork

concrete, boomerang-shaped seat to construct over the week. The materials listed below, cover those used to construct the formwork for one whole boomerang, or two groups’ seats.

1 X 2 4 2 0 X 4 0 0 X 1 7 M M F O R M P LY FORMWORK PANEL ONE

1 X 2 4 1 0 X 4 0 0 X 1 7 M M F O R M P LY FORMWORK PANEL THREE

FORMWORK PANEL TWO

1 X 4 0 0 X 4 0 0 X 1 7 M M F O R M P LY

FORMWORK PANEL FIVE

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1 X 6 3 0 X 4 0 0 X 1 7 M M F O R M P LY

1 X 2 3 0 0 X 4 0 0 X 1 7 M M F O R M P LY FORMWORK PANEL FOUR

1 X 2 1 8 5 X 4 0 0 X 1 7 M M F O R M P LY FORMWORK PANEL SIX

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T H E K I T O F PA RTS

P A R T T W O \ T H E M AT E R I A L S

2 X 2320X90X45MM MGP10 TO BE USED AS WALERS ON PANEL ONE

2 X 2 27 0 X 9 0 X 4 5 M M M G P 1 0 TO BE USED AS WALERS ON PANEL THREE

5 X 400X90X45MM MGP10

4 X 500X90X45MM MGP10

T O F I X C O R N E R S E X T E R N A L LY

T O A D D E X T R A S TA B I L I T Y

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2 X 2300X90X45MM MGP10 TO BE USED AS WALERS ON PANEL FOUR

2 X 2085X90X45MM MGP10 TO BE USED AS WALERS ON PANEL SIX

4 X 400MM TRI-QUAD S E C U R E D I N S I D E F O R M W O R K T O C R E AT E A C H A M F E R E D C O R N E R

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T H E K I T O F PA RTS

P A R T T W O \ T H E M AT E R I A L S

1 6 X 9 0 0 M M S TA R P I C K E T S T O H O L D T H E B A S E O F T H E F O R M W O R K F I R M LY I N P L A C E

~ 4 4 X 7 5 M M B AT T E N S C R E W S TO BE SCREWED FROM THE INSIDE OF THE FORMWORK OUT 3D BATTEN SCREW DOWNLOADED FROM HTTPS://3DWAREHOUSE.SKETCHUP.COM/

~50 X 50MM TEK SCREWS TO SECURE THE FORMWORK EXTERIOR 3D TEK SCREW DOWNLOADED FROM HTTPS://GRABCAD.COM/LIBRARY/SERIES-DRILL-TEK-SCREW

T O S U P P O R T T H E B A S E O F T H E C O N C R E T E S E AT I N G

5 X 9 0 X 7 M M R E O O F F C U T S ( S TA R T E R B A R S ) I N S E R T E D I N T O C O N C R E T E F O U N D AT I O N S T O S U P P O R T R E O

5 X 50 - 65MM BAR CHAIRS P L AC E D O N T H E G RO U N D TO SU P P O RT T H E R EO

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3 X 2000X200X7MM DIAMETER REINFORCEMENT MESH (REO)

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PA N E L R E F E R E N C E

P A R T T W O \ T H E M AT E R I A L S

SCALE 1:50

P6 P4

SCALE 1:50

P4 P3

P1 P2

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FORMWORK STRUCTURE

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PART THREE

THE FOUNDATION

024 P A R T T H R E E \ T H E F O U N D AT I O N

THE SITE The existing site measured 5390 x 5390mm and had an area of roughly 29 m2. The planned seats will protrude out of this square at varied angles, creating comfortable seating in the sun and shade at all times of the day. We also planned to create spacious and tight areas, where people can watch from a distance as well as engage in intimate conversation.

F O U N D AT I O N S The foundations were made up of two square and two rectangular blocks, each 600mm high and submerged 200mm into the earth. As our seating was not foundational in nature, it did not need to be submerged into the ground for extra support.

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SCALE 1:100

500

3890

1000

3890 500

026 P A R T T H R E E \ T H E F O U N D AT I O N

T H E M O T I F / P AT T E R N Each group is tasked with the design and creation of a physical motif that will either be recessed into or protrude from their section of concrete seating. In considering the importance of the site on which the pavilion will sit, each group’s motif will vary both visually and in its construction technique. After being positively affected by Uncle Cole’s story of the Murray River and its power and importance, our group opts for (after much deliberation) the symbolisation of the curvaceous contours of the Murray river through Cummeragunja. To create this design, one must complete the following steps.

Take panels One (2300 x 400 x 17mm) and Two (630 x 400 x 17mm) of the formwork and lay them flat on the ground.

Use Google Maps as a guide and draw, using any pencil that works, the general curve of the river along the surface of panel One, one-third of the way up from the bottom.

Repeat this process four times until you reach the bottom of the panel.

Line panel Two up beside panel One at a point where the lines would meet around a corner.

Continue the contour lines onto panel Two, finishing at the very bottom of the formwork.

Use an angle grinder to etch out the contour lines. Make sure that the angle grinder is on enough of an angle that it cuts a deep chunk out of the formwork but does not cut through. This will ensure that the concrete creates a noticeable protrusion that water may even run off when it rains.

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PART FOUR

THE FORMWORK

030 PA R T FO U R \ T H E FO R M W O R K

PLACEMENT After a lengthy discussion with Mayor David regarding the position of the seating, we settle on a location for our boomerang shapes. Taking the unsupported formwork panels, we position them around the foundation block, in the general shape of a boomerang. We temporarily secure the formwork with clamps to ensure that all of the edges and joins work well. We let the panels fall inwards and lay them on their front so that we can commence securing the walers to their exterior.

031 C L A M P S H O L D I N G FO R M W O R K CO R N E RS I N P L AC E

I N I T I A L T EST I N G O F P O S I T I O N S

032 PA R T FO U R \ T H E FO R M W O R K

STRUCTURE In order to create strong, unyielding formwork, we must secure the walers to their exterior. Follow these steps to secure two whalers to each of the four long formwork panels.

Secure one 400x90x45mm piece of MGP10 to the end of the formwork panels One and Two and secure two 400x90x45mm pieces of MGP10 to both ends of formwork panel Five with two to three batten screws each.

Group the walers and formwork panels together according to their numbers. Eg. walers for panel One with formwork panel One.

Place one length of pine 50mm from the top and one 50mm from the bottom of the panel as shown.

Flip the structure so that you can drill from the interior of the panel through to the external waler. Make sure to not drill into the motif design.

Use around four batten screws to secure each waler to its panel.

Repeat this process until all four long panels are supported with two walers.

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034 PA R T FO U R \ T H E FO R M W O R K

A S S E M B LY Once the walers are secured, follow these steps to assemble the rest of the formwork.

Re-form the boomerang shape and secure the panels in place with clamps. Panels that meet at internal corners of the boomerangs will have to be shaved down with a planer saw to create a clean join.

Place the last 400mm length of pine vertically at the intersection shown in orange and secure with two batten screws.

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Place tri-quad in the outer four corners of the formwork and secure with 1.6mm diameter bullethead nails.

AN EXAMPLE CORNER JOIN

036 PA R T FO U R \ T H E FO R M W O R K

REINFORCEMENT Once the formwork is freestanding, it is necessary to add further reinforcement to stop the weight of the wet concrete from buckling the formwork panels. Follow these steps to secure the base of the formwork.

SU P P O RT E R B E A M B E FO R E B E I N G S ECU R E D I N P L AC E

Hammer star pickets into the ground along each panel to secure it firmly in place. Ensure that the widest surface of the star picket sits flush against the pine waler. This will allow you to drill Tek screws through the picket into the pine walers.

Once you have all of the star pickets in place, you may need to add supporter beams in the most vulnerable spots. Take the five 500mm lengths of MGP10 and lean them against the star pickets as shown. Then hammer another star picket into the ground at the base of the supporter beam.

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PART FIVE

THE CONCRETE

040 PA R T F I V E \ T H E C O N C R E T E

THE POUR At 11:30 am on Wednesday, once the formwork had been correctly assembled and secured, concrete from Echuca was poured into boomerangshaped voids. These steps should be followed when levelling wet concrete.

Drill starter bars into the base of the concrete foundation blocks.

Place bar chairs on the ground within the formwork and spread them out evenly across the boomerang. Place Reo on top of the bar chairs and secure it to the starter bars with wire offcuts.

Using shovels, spread out the wet concrete as it is poured into the formwork - it is not necessary to get it perfectly level at this stage.

Keep shovelling until the form is nearly full (about 50mm from the top of the formwork), then submerge the second layer of Reo into the top of the concrete.

Use leftover pieces of 90x45 pine to roughly level out the top of the concrete.

Meanwhile, hammer the outside of the formwork to release any air pockets from within the concrete.

Using a concrete trowel, smooth out the surface of the concrete.

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042 PA R T F I V E \ T H E C O N C R E T E

THE REVEAL After allowing the concrete to set overnight, we were able to remove the formwork from the seating. Ideally, one would wait 24 hours to do this, however, the intricacy of a lot of the motifs meant we needed to remove the formwork before the concrete adhered to strongly to the detailing. After unscrewing the Tek screws and removing the star pickets, we were able to pry the formwork gently off the concrete seat to reveal the designs below.

RIVER BANK CONTOUR CONCRETE DESIGN

043 RIVER REEDS CONCRETE DESIGN

S A N D P O C K E T S C R E AT I N G H O R I Z O N T A L V O I D S

044

REFLECTION

THE LEARNING

046 REFLECTION \ THE LEARNING

THE LEARNING Our four days in Cummeragunja were invaluable, to say the least. From basic tool usage to rich indigenous culture, we were taught the ins and outs of the entire construction process. Looking back, I am thankful for the knowledge I gained from Uncle Cole, Mayor David, James Neil and David O’Brien. I am sure that I will carry it through to the end of my architecture degree and beyond. In terms of our construction, I felt that there were areas in which our group could have improved. We seemed to have an indecisive start to the project, taking too long to settle on a motif and assemble our formwork. If I were to undergo this process again, I would try to give ourselves a timeline to work with, so that we were not tempted to explore endless design ideas, wasting valuable assembly time.

In saying this, our visual motif is also what I am most proud of. I feel that we captured the physical essence of the Murray River and its undulant banks and I believe that the indigenous community of Cummeragunja will appreciate this. I appreciate the value behind what we created for this project. Though there were some difficult times mainly those which involved timed architectural drawings - the knowledge that we were creating a structure that would be used by many generations to come, filled me with pride. I consider the Cummeragunja project a privilege, and I hope to take part in another construction project in the future.

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REFLECTION \ THE LEARNING

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Consideration for the environment was of great importance whilst completing our project at Cummeragunja. As we were using relatively unsustainable materials to construct the pavilion and seating, namely concrete and steel, we made an effort to have a lower environmental impact in all other aspects of the project. Where possible, we ensured that the materials used for formwork (eg. Formply and pine walers) were recycled from previous projects and that these materials and screws, could also be recycled after our project by future Bower Studio students. We used repurposed start pickets to secure our formwork, offcuts of Reo to create our starter bars, offcuts of timber to level our concrete and these same offcuts to create supporter beams. As a group, we also made an effort to carpool to and from Baramah to reduce our travel emissions.

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S U S TA I N A B I L I T Y

CONSTRUCTION METHODS WORKBOOK TWO

RUBY MAZZOCCO 699123

ALL IMAGERY USED IN THIS BOOK, UNLESS OTHERWISE STATED, IS MY OWN.