Architecture Portfolio - Undergraduate by Stuart Carney

\ Contents

PORTFOLIO Stuart Carney

Curriculum Vitae

Keep House - Compact Courtyard

Biography, Skills, Work Experience

[sketching, digital rendering, detailed drawing]

Community Hub Cultural Centre

House - Family [Metamorphological]

[digital rendering, competition-style posters]

[physical modeling]

The Astronomers of Perenthia

[sketching, physical modeling, photography]

Site Intervention

Appendix

[physical modeling, pencil drawing, digital rendering]

[Detailed drawing, physical modeling, pencil drawing]

Page 3

Stuart Carney

carney.stuart@gmail.com

0413 152 742

curriculum vitae

13 Barnfield Road, Claremont, 6010

Education

Master of Architecture [current, expected completion 2023] Curtin University, Perth, WA.

BASc Architectural Science [awarded 2021] Curtin University, Perth, WA.

BASc Mechanical Engineering [awarded 1996] University of Waterloo, Waterloo, Canada.

Awards: Vice Chancellors List, 2021 (top 1% academic achievement)

Awards: First Class Honours

Biography I am a MArch student at Curtin University, having completed the BASc Architectural Science degree in 2021. I also hold a bachelor’s degree in Mechanical Engineering from the University of Waterloo, Canada. Professionally, I have 20 years’ experience in project management, delivering software design and development projects for clients around the world. Originally from Canada, I have lived and worked in Luxembourg, the U.K., Scandinavia and the Caribbean before emigrating to Australia in 2010. I made the decision to pursue architecture in 2017, a discipline which I’ve had a persistent interest in for many years. I find a unique satisfaction comes with making and the physical realisation an idea. My interest is also rooted in an appreciation for efficient, thoughtful, beautiful design. Architecture, for me, is the perfect combination of art and science. I’m now pursuing a position at a firm where I can begin to establish myself in the field and work toward AIA accreditation while pursuing my Masters (online). A position where my technical background, management experience and architectural skills are applicable would be ideal for my unique mixture of skills and experience.

Skills Digital • 3D Modeling: Revit 2021 / Sketchup Pro 2021 / Modello (interactive modeling) • Visualisation: Lumion 11 / V-Ray 5 • Adobe Suite 2022: Photoshop / InDesign / Illustrator Analogue • Physical Model Making • Sketching Professional • Project Management, • Contract Negotiation & Administration, • Business Efficiency

PORTFOLIO Stuart Carney

Employment History Cerillion Technologies [2009-10] Stockholm, Sweden Title: Project Manager Role: Project Management and website design and development

Husky IMS [1998 - 2000] Toronto, ON Title: Junior Project Engineer Role: developed software for various in-house applications

Touchstone Group [2000 - 2006] London, UK Title: Consultant Role: Client facing consulting, including business analysis, software development and project management

Husky IMS [1998 - 2000] Dudelange, Luxembourg Title: Junior Project Engineer Role: developed software for various in-house applications

Cerillion Technologies [2007-09] Nassau, Bahamas Title: Program Manager Role: Lead a team of 20 in the delivery of a $10M USD telephony system for the Bahamas Telecom Company.

PM-Partners [2018 - 2019]. Canberra, ACT Title: Project Leader Role: Lead a team of 6 in the design and implementation of a new project management office (PMO) for a large federal government corporation.

NEC [2010 - 18] Perth, WA Title: National Delivery Manager (software solutions) Role: Managed the national team of client facing project managers. Member of the National Leadership Team.

Data#3 [2019 - 21] Perth, WA Title: Project Manager Role: Lead a 10 person team to deliver a multi-year, multi-million dollar network systems upgrade project for Woodside.

Cerillion Technologies [2006-07] Sydney, Australia Title: Program Manager Role: Lead a team of 12 in the delivery of a $5M AUD telephony system for a Sydney based VOIP provider

Page 5

Keep House

Project: Self Directed Type: Small Family House - Courtyard Year: 2021 Site: Claremont, WA

Traditionally, a keep is a fortified enclosure within a castle

Keep House is situated on a small, sub-divided block

house’s keep-like impenetrability, allowing only glimpses

compound. The most secure of it’s structures, its pur-

with minimal opportunity for traditional backyard space

of light from inside. Private, secure and aloof.

pose is to act as a refuge of last resort should the walls

that is private and secure. The garden is located in the

be breached and the castle overrun by a bloodthirsty en-

central courtyard, making possible expansive, private

emy. Keep House re-imagines this ancient concept for

views from all areas of the house. The courtyard also

the modern era. Although bereft of marauding cavalry

serves to delineate the main spaces: separating kitchen,

and siege machines, the present day is undoubtedly as

dining, lounge & master bedroom to allow for privacy,

frantic and fraught as life in medieval times. Compact,

while preserving the open plan.

green and light; wrapped in concrete and masonry walls with all views directed inwards; the house performs as a

The house’s external windows are raised above head

silent bulwark against the outside world.

height. The effect is solid wall at eye level, underlining the

Inspiration

• security • privacy • light

Resolution

PORTFOLIO Stuart Carney

Materials:

• Clay Brick - front facade. • Rammed Concrete - main structure. • Blonde Wood - courtyard framing. • Polished concrete - floor. • Planting - various tree and shrubs. (Japanese cherry & olive trees shown)

PORTFOLIO Stuart Carney

Page 7

Solid as Void Courtyard Study Models

The solid forms represent the courtyard void within the mass of the house. The courtyard is the main organising device for the-pro gram. The form of the courtyard affects how light enters the house, and how it will function. The final form is a single rectangular parallelepiped, manip ulated to allow space for stairs and added privacy for the master bedroom. a. - h. - trialing various courtyard configurations i & j. final courtyard form

PORTFOLIO Stuart Carney

Dining

Lounge

Master Bedroom

Kitchen

Page 9

PORTFOLIO Stuart Carney

Courtyard Perspectives form from the four surrounding rooms

Generic form

Manipulate void

Lounge

Dining

Kitchen

Master Bedroom

Courtyard form delineates the open plan

Make transparent

Planting for shading, privacy, etc.

Page 11

Envelope Design

15m x 30m site 12m x 22m building footprint

PORTFOLIO Stuart Carney

Rectilinear form

Raise front and rear sections

Add windows to raised sections. East & west facades remain opaque

Create central courtyard

Glaze courtyard for light & aspect

Page 13

Ground Floor Plan

Lower Floor Plan

8 1

1. Master 2. Study 3. Kitchen 4. Pantry 5. Lounge 6. Dining Room 7. Bedrooms 8. Games / Kids Lounge 9. Storage 10. Laundry

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Axonometric Isometric Projection

3 1

5 7

9 10

Worm’s Eye View

Page 15

Earth Render (kithcen bench)

Timber (courtyard framing)

Materiality

PORTFOLIO Stuart Carney

Rammed Earth (main structure)

Polished Concrete (floor)

Trees, shrubs, vines (courtyard)

PORTFOLIO Stuart Carney

Minimising Joinery

Page 17

Section A - Construction Details*

1. Rammed earth wall 300 mm 2. Zinc flashing 3. Solid hardwood beam 4. Zinc roof sheeting, standing seam 5. Waterproof membrane 6. Rigid foam insulation 35 mm 7. Structural timber framing 8. Structural timber framing 9. Fibre wool insulation 90 mm 10. Ceiling board 30 mm

11. Solid hardwood section 12. Zinc gutter 13. Solid hardwood fascia 14. Burnished steel bench top 15. Cement rendered island 16. Gravel underlay for drainage 17. Paving stones 18. Window slider gutter 19. Waterproof membrane 20. Rigid foam insulation 50 mm

21. Structural concrete slab 150 mm 22. Surface layer, polished 50 mm 23. Earth

11.

10.

* Construction detailing for roof and floor structure informed by Morq Architecture’s Enclosed House I, as published in a.mag architecture technical magazine, vol. 24, pages 20-21. Sept. 2021.

PORTFOLIO Stuart Carney

12.

13.

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14.

16.

17.

18.

19.

20.

21.

22.

15.

23.

0.5

1.0

2.0 m

Page 19

PORTFOLIO Stuart Carney

.... allows a view through the bedroom to the courtyard window. Views through the courtyard are to the kitchen, dining and living areas.

Internal Views

Page 21

Culture - A - Culture

Project: 3rd year studio Type: Village Community Hub Year: 2020 Site: Site-less

The Village Community Hub (VCH) is designed as a prac-

preciation that is a necessary ingredient in the forming

devoid of human influence - adjacent to the exhibition

tical use cultural space intended to perform as a device

and strengthening of cultural bonds, which are essential

space. These spaces will be thoughtfully created, and

for the strengthening of community bonds. It’s objective

for “community” to take form.

designed for quiet contemplation - empty of content.

is to achieve two distinct things: While shared elements of culture are fundamental to the Celebrate and promote the understanding of unique

formation of community, a recognition of the barriers that

cultures. Through a curation and exhibition of cultures

can be created is essential if we are to avoid the pitfalls of

present within the broader community, the purpose is

misunderstanding, division and strife. Therefore, to pro-

to facilitate understanding and appreciation in those to

vide a counter-balance to the notion of culture the VCH

whom a specific culture is not well known. It is this ap-

will incorporate a series of Non-Cultural zones - spaces

Aspirational Brief To create a practical use building with ‘Utopian’ core; a community centre that celebrates understanding of unique cultures + promotes a stronger community through an absence of cultural barriers.

Components

Composition Kids Space - activities to immerse kids in cultures from around the world

A-Cultural Spaces (Tree & Pool) spaces devoid of content and culture.

Cafe / Lounge - positioned at the intersection of the Kids and Culture wings

Culture Gallery - a rotating exhibition of cultural elements Classrooms - lessons related to exhibitions

PORTFOLIO Stuart Carney

Page 23

A-Cultural Spaces

Cultural Barriers prevent communities from developing

Overcoming these barriers is fundamental to establishing a broader community

The VCH is to facilitate community formation through an understanding and appreciation of the diverse cultures.

A-Cultural spaces use ambiguous form and incorporate nature. They are devoid of human culture. The polyvalent form permits its intent to interpreted individually, promoting inclusivity.

PORTFOLIO Stuart Carney

Cultural Spaces

Revolving Program - to stay aligned with the needs and interests of the community, and to appeal broadly across cultures

Cultural spaces use the ordered forms typical of civic buildings, intended to be broadly recognised as a public gallery. The grid represents human imposed order, i.e. ‘culture’.

Page 25

A-Cultural Spaces Disconnecting from Culture

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nally unrecognisable as a intentio idual par sense-making. It is to fa

es bl ta e. ltur cu ed ish

A. People placed further apart, further away from culture

B. People closer together, closer to culture

PORTFOLIO Stuart Carney

Cultural Spaces Gallery Detail - Axonometric Section

1. Culture Gallery Entrance. 2. Classrooms. 3. Ground Floor Sculpture Gallery. 4. First Floor Picture Gallery. 5. Tree Enclosure (A-cultural space). 6. Reflecting Pool (A-cultural space).

Page 27

A2 submission poster “Fantasy”

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A2 submission poster “Reality”

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Case Study House [Metamorphological] Project: 3rd Year Studio Type: Multi-Generational Family House Year: 2020 Site: Site-less

The purpose of a building can be fixed or changeable.

the course of decades, from childless couple through to

no superfluous space is created, and that the building

Many houses have a fixed purpose - form and program.

empty-nest & retirement.

be designed efficiently, with no overlapping or redundant

As a family grows, the house is outgrown. Families move away.

functions. Flexible/adaptable housing will minimise the need for families to move as they grow and shrink in size over

Metamorphosis

The Case Study House (CSH) has been designed to ac-

time, contributing to stability and continuity in the local

count for the passing of time, evolving with the predict-

community.

noun, plural met·a·mor·pho·ses

able changes in family life.

[met-uh-mawr-fuh-seez]. The house will address the notions of shared and private

The Aspirational Brief for the CSH was to create a family

space by examining their fundamental definitions. Due

A profound change in form from one stage to the next in

house designed to consider changing family needs over

to the high cost of land and construction, it is important

the life history of an organism, or house.

Needs Change Over Time

An Instant in Time

The Sequence of Time

Adaptability Over Time

Movable Partition Walls

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Divisible Interior

Multi-functional Interior

Convertible Interior

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Page 33

Study Models

A central, spinal wall is used as the main organising device for the house, around which the volumes are arranged. The wall is utilised to both divide and connect spaces, while allowing the house to evolve around it over time.

PORTFOLIO Stuart Carney

Page 35

Demographic

Parents

Toddlers

Teens

Multi-Gen

Paying Guest

1. Three Principle Volumes

Required Program

Practical Considerations

Living

Kitchen

Master

Study

Kids Bed

Kids Play

Bed 1

Bed 2

Study

Lounge

Living

Kitchen

Bed/ Bath

Living

Kitchen

Bed/ Bath

2. Spinal Wall as Organising Device. To divide and connect the spaces

PORTFOLIO Stuart Carney

Minimise mortgage

Ensure parents have visibility of kids at play

Privacy for Parents and Teens

Accessibility (no stairs)

Guests and Family Space must be privately separated

3. Single Volume. Adult Couple, no kids. Minimum volumes built to minimise budget

Volumetric Organisation

Principle Volumes

1. Fixed Core The program represents a simple house, requiring a single volume

2. Adaptable The flexible program required for growing kids will be contained in a single volume designed for easy adaptability M

3. Self Contained L

4. Metamorphosis - puncture wall to connect existing Adult volume to new Adaptable Volume. Self Contained Volume can function as BNB to supplement young parents income

Identical programs mean Multi-Gen and Paying Guest spaces can be contained in a single volume

5. Partition-able Wall - divides the volumes for privacy for Adults and teens. Self Contained volume remains as BNB or Granny Flat

PORTFOLIO Stuart Carney

Budget

Visibility Connecting Volumes The spinal wall is structurally designed to allow for easy removal of the window section - an H beam supports the stone wall above. This design strategy allows for the connection of the original adult volume to the new adaptable volume, when the time comes for it to be built. New volumes built subsequent to initial volume.

Privacy Screens create distinct, private volumes

Permanent, separating wall

Connected Configuration

Private Configuration

Hierarchy

Entrances

Page 37

Section B

Section C

Four distinct spaces within the Adjustable volume; diversifying the space for ongoing adaptability

In this example, partitions are arranged in the Adaptable volume to create study and lounge spaces for teeens

PORTFOLIO Stuart Carney

Floor Plan

Section A

Page 39

A2 submission poster Metamorphological House

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A2 submission poster Metamorphological House exhibited at the Culture - A - Culture gallery

PORTFOLIO Stuart Carney

The Astronomers of Perinthia

Project: 2nd Year Studio Type: Interpretation of Calvino’s Invisible Cities Year: 2019 Site: Perinthia

M i n i s t r y

I o f

A s t r o n o m i c a l

R e v e l a t i o n

The Brief required an interpretation of one of Italo Calvi-

The elite Astronomer class rule over a city of monsters

The Tell-Tale provides the Astronomers with an oppor-

no’s Invisible Cities, where the design was to describe

- poor, twisted, sick and deformed. The great progress

tunity to make a choice .... will they reveal the enormity

a small structure to accommodate two people - a story

evident in the city - the gleaming towers and astronom-

of their errors, or will they persevere, straight-faced, with

teller and a listener. The city selected was Perinthia, and

ically aligned boulevards - have come at great cost to

the Goebellian lie that they alone understand the true na-

the concept for the design was the ‘inescapable reality of

the citizens of Perinthia, upon whose misery they have

ture of the world?

the objective nature of truth’.

been built.

3 Headed Child

The Fatman

Hunchback

Bearded Woman

The Astronomer

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Page 45

Initial Sketches

Calvino’s text is open to interpretation. There is no firm direction, only indirect clues pointing toward how a Tell-Tale might be formed. The characters provide strong visual signals, as do the notions of eclipses and the ‘harmony of the firmament’. The Tell-Tale is to be a place where the city’s founding principles are used to question the very nature of its continuing existence.

PORTFOLIO Stuart Carney

Impression

An Initial imagining of Perinthia

Expression

Opium dreams and Telescope Towers - interpreting the text

Experimentation

“Perinthia was constructed to perfectly capture every eclipse for a 1000 years....” 1 Capturing the light and casting shadow in the cone

Resolution

Developing the Tell - Tale form

Page 47

The Perinthetical Orbital Gearing Mechanism https://www.youtube.com/watch?v=u3YLvAfIEWQ

The central sun gear (S) rotates .... causing the two Planetary gears (P1 & P2) - which act as the platforms for the occupants - to rotate on their axes around the large outer Ring gear (R). The effect is the Teller and the Listener orbit the room on rotating platforms, moving in and out of shadow; symbolising the revealing / concealing that the Astronomer must decide upon. They sometimes face each other, and sometimes oppose each other. As they pass through the shadows cast across the moonlit walls, moments of eye contact will be few, with little opportunity to reveal the truth.

S Facing

Assembled Mechanism

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Opposing

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Page 49

“.... every eclipse for a 1000 years ....”

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a).

b).

c).

The conceptual form of the imaginary structure was then translated into a practical building --a Com munity Centre - although not in Perinthia but closer to home in Cottesloe, WA. The Community Centre included three main structures, including:

Page 51

PORTFOLIO Stuart Carney

The Perinthian Delegation

Page 53

Site Intervention

Project: 1st Year Studio Type: Intervention Year: 2018 Site: Claremont, WA

The Brief required a “response to an aspect of movement

Combining the two abstractions creates the

It is a place of intersection - of journeys, forms, and

in this place”. The place is Bayview Terrace in Claremont,

final design form; representing intersecting

people.

WA. A busy street with car & pedestrian traffic, it leads

paths of movement and intersecting forms

directly to Stirling highway and the Fremantle train line. It is a street with a history - 100 year old buildings stand side by side with new ones.

“Respond to an aspect of movement in this place”

1a. Decaying motion

2a. Road - perspective view

1b. Linear representation of decaying motion

2 b . L in e a r re p re s e n t a t io n o f ro a d in p e r s p e c t iv e

1c. Geometric sequence-based abstraction of decaying motion

2c. Geometric sequence-based abstraction of road in perspective

Final Design - intersecting forms of motion

PORTFOLIO Stuart Carney

Page 55

Elevation

Form - the design represents the intersection two paths of movement. The vertical steel columns represent decaying motion in the plane of the page. The horizontal beams represent a road in perspective view, vanishing into the page. Placement - the design is placed in an area of recessed frontage where it divides the area into two paths and serves as a gateway to the site, defining intersecting, pedestrian paths.

Plan

Axonometric Physical Model (opposite page) Foam board, cardboard, balsa wood Scale: 1 : 50

Materiality - the design incorporates the intersection of old and new forms specific to the site. Polished metal columns represent the modern structures, while aged wooden beams represent the heritage buildings of the site.

Design detail: metal & wood.

PORTFOLIO Stuart Carney

Page 57

Appendix

Selected work Type: technical drawings, model making. Year 2019 - 2021

Opposite page:

Detailed drawing - Stair Detail Software: Revit 2021 Tannock Hall, University of Notre Dame, Fremantle, WA. Reproduced from original drawings by Marcus Collins Architects, 2009. Size: A2

Following Pages (in order):

Detailed drawing - Wall Detail Software: Revit 2021 Tannock Hall, University of Notre Dame, Fremantle, WA. Reproduced from original drawings by Marcus Collins Architects, 2009. Size: A2 Detailed drawing - Window Detail Software: Revit 2021 Tannock Hall, University of Notre Dame, Fremantle, WA. Reproduced from original drawings by Marcus Collins Architects, 2009. Size: A2 Axonometric drawing Pencil on trace 50 x 50 House, Mies van der Rohe. Physical Model Card, balsa wood & etching plate 50 x 50 House, Mies van der Rohe. Scale 1:100 Physical Model (x 4) Card, balsa wood 2nd year design project - 100m2 house Scale 1:50

PORTFOLIO Stuart Carney

PORTFOLIO Stuart Carney 50 2430

1690

Carpet

117 117 41

Provide Sample Of Section For Approval

13 A15

Stair 1 Balustrade Handrail Detail 1:2 50

100

Lift

Glass Blocks

50 Diam. Handrail Extrusion

1750

Lift

Cradle With Tapped Grub Screws

1890

1420

2430

7 Equal Goings

12 Diam. S.S. Bracelet Fixing With 100 Diam. Face Plate Masonry Anchored To Wall

1420

9 Equal Goings 100

1750

Lift Shaft

Glass Blocks

100

100 1750

1350 42

117

154

117

1584

1350

117

150

117

Slot Over And Adhere To Glazing

117

1630

Carpet

1542

150

1584

154

1350

1542

1350

50 Diam. Aluminium Handrail Extrusion

75 1438

50 Diam Continuous Jarrah Handrail. Mitre Corners

1690

9 Equal Goings

2430

690

2600 Lift Shaft

Stair 2 - Level 2 Plan

Stair 2 - Level 3 Plan

1 : 50

A15

1 : 50

A15

Stair 1 Wall Mounted Handrail Detail 1:2

Aluminium (Stair 1) Or Timber (Stair 2) Handrail Aluminium Handrail Extrusion W Slot For Glazing

Timber Handrail

Verdian "Armourview" Glazing System

Veridian "Armourview" Glazing System

Glass

Carpet To Stair 2. Overstitch Ends

Grey Cement Coloured Skim Coat

90 Deep & 45 Wide Recess For Glazing Installation 90

90 45

Grey Cement Coloured Skim Coat

250

Grey Cement Cloured Skim Coat To Landing Soffits 12 PL Painted Cast Into Stair Concrete (Refer Structural Engineers Drawings)

10 x 10 Continuous Negative Detail Adjoining Steel Stringer

Painted 12 PL Stringer Cast Into Stair Concrete (Refer To Structural Engineers Drawings)

10 x 10 Continuous Negative Detail Adjoining Steel Stringer

Stair 2 Balustrade Detail

Elevation/Balustrade Detail At Landing

1 : 10

A15

Grey Cement Coloured Skim Coat To Stair Tread Edges

90 x 45 Wide Recess For Glazing Installation

12 PL Painted Cast Into Stair Concrete (Refer Structural Engineers Drawings)

Grey Cement Coloured Skim Coat To Stair Tread Edges. Extend Skim Coat 50mm Along Treads And Risers On Stair 2

25 0 (S tai r1 )

90 Deep x 45 Wide Recess For Glazing Installation

Stair 1

Tile Flooring To Stair 1

Detail

Veridian "Armourview" Glazing System

865

Wall

1 : 10

A15

F.G

F.G.

100

1085

F.G

F.G.

F.G

100

1100

100

1115

F.G.

1085

F.G

100

10 Equal Risers

F.G

F.G.

F.G

1115

F.G.

1100 100

1800

10 Equal Risers

100

1800

F.G.

1599

F.G

100

1496

8 Equal Risers

F.G.

2315

100

F.G.

100

3 A15

Elevation 3 (Stair 2) 1 : 50

F.G

1100

2618

14 Equal Risers

1115

F.G

4 A15

Elevation 4 (Stair 2) 1 : 50

18 A15

2500

100

Elevation 5 (Lift) 1 : 50

100

19 A15

1200

100350100

Elevation 6 (Li 1 : 50

Page 59

Existing Building

S.S. To Corner At Max. 6 Course. Vertical Centres Typical

Face Limestone In Alternating 4 & 2 Course Bands To Both Internal And External LEafs

510

350

160

110

270

110

390

Boundary

Concrete Column. Refer To Structural Engineers Details

S.S. Masonry Ties. Refer To Specifications For Centres

S.S. Straps Fixed To Column At Max. 6 Course Vertical Centres 50 165

110

325

240

390

175

215

1 A16

350

Plan Detail - N/W Corner 1 : 20 565 390

Limestone Cavity Wall

175

325 165

S.S. Masonry Ties At Max. 6 Course Centres And 1500mm Centres Typical

240 110

S.S. Straps Fixed To Column At Max. 6 Course Vertical Centres Typical

Concrete Column Refer To Structural Engineers Details

300

Face Limestone In Alternating 4 And 6 Course Bands To Both Internal And External Leafs Concrete Column Refer Structural Engineers Details

Selected Aluminium Glazing Frames With Double Glazing Application

CFC Board With Powdercoat (Select Colour) FInish Aluminium Cladding To Form Nominal 9 mm Thick Spandrel Internal Face Panel With Insulation Layer Adhered To Non-Visible Face

Seraphic Glass (Select Colour) Spandrel External Glass Panel

85 305

150 110

A 2 A16

Plan Detail - Auditorium Window 1 : 20

Selected Aluminium Glazing Frames With Double Glazing Application To Auditorium Side

1 : 20

Timber Core Solid Door Complete With Acoustic Seals In Timber Frame In Timber Panel Wall

Plan Detail - Lobby Door / Window 1 : 20 780 325

Limestone Cavity Wall

215

Limestone Cavity

455

165 50 110

50 165 350

215

S.S. Masonry Ties Refer Specification For Centres

S.S. Masonry Tie Refer Spec. For C

350

Face Limestone In Alternating 2 & 4 Course Bands To Both Internal & External Leafs

S.S. Straps Fixed At Max. 6 Course Centres Typical 700

185

165

S.S. Straps Fixed To Column At Max. 6 Course Vertical Centres

1735

Face Limestone I 2 & 4 Course Ban Internal & Externa

Reconstituted Limestone Corner Blocks. Alternating Courses of: 520 x 500 x 210 x 4c High & 300 x 250 x 210 x 2c High

50 0

520

210 210

570

390 16 5

A 4 A16

Plan Detail - SW Corner (Level 1) 1 : 20

Concrete Column Structural Engine

1035

Concrete Column Refer To Structural Engineers Details

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Plan Detail - Auditorium Spandrel

Solid Timber (Nom. 110 x 50) Infill Closer Between Door Frame And Aluminium Frame Mullion

Selected Aluminium Glazing Frames With Single Flushline Glazing

A16

7 A16

Reconstituted Lim Blocks. Alternatin 520 x 500 x 210 x 300 x 250 x 210 x

PORTFOLIO Stuart Carney

100 360

Elevation A

Face Limestone In Alternating 2 & 4 Course Bands

12 deg.

1:5

Level 4

150 PFC

Bitumenistic Paint To Top & Upstand Of Level 4 Concrete Projection

100

A13

Z Purlin 15mm Gap To PFC

Steel Stub Columns In Cavity

60 x 60 10PL Tab Welded To 16PL Horizontal Rail. Bolt To Verticals W Mio Bolt

Colorbond Cover Flasing Shown On Marine Ply Sheet Base

12914 132 c

1:5

Control Joint 115

SS Glazing Buttons

115

CFC Board With Powdercoat Finish. Aluminium Cladding To Form Nominal 9 mm Spandrel. Panels With Insulation Layer Between

150 x 12 EA Shelf Angle Over Window Heads

Pre-Cast Concrete Beam. 350 mm

4c Limestone Block Headers Over Window Openings

A13

Pre-Ca

Pre-Cast Concrete Plank

180 PFC Cast Into Slab

100

Sunscreen Detail A

Elevation B

1:5

Concrete Columns And Beams To Have Off Form FInish

Selected Aluminium Glazing Suite

A13

Pre Cast Bea

Sunscreen Detail B

10mm Thick Glass To Sunscreening. 30mm Gap To All Sides

1:5

A13

Section

1:5

A13

180 PFC Cast Into Slab Edge F.G. (Vertical)

Level 3 9314

180 PFC Cast Into Slab Stone

No Glass

CFC Board With Powdercoat Finish. Aluminium Cladding To Form Nominal 9 mm Spandrel. Panels With Insulation Layer Between

90 c

Control Joint

F.G. (Vertical)

Pre-Cast Concrete Beam. 350 mm

4c Limestone Block Headers Over Window Openings

150 x 12 EA Shelf Angle Over Window Heads

No Glass

65 EA Set Into Limestone

65 PL Rail

F.G. (12 deg.)

Sunscreen - refer Details

F.G. (12 deg.)

10 PL Flat Mid Horizontal Rail. Bolt To PFC Amd 16 PL W 10 PL Base

F.G. (12 deg.)

Pre-Ca

Pre-Cast Concrete Plank

180 PFC Cast Into Slab

Pre Cast Beam

CFC Board With Powdercoat Finish. Aluminium Cladding To Form Nominal 9 mm Spandrel. Panels With Insulation Layer Between

16 PL Flat Mid Horizontal Rail. Bolt to PFC & 16 PL W 10 PL Base

Face Limestone Internally To Classrooms

16 PL Flat Vertical T Mid Points/ Bolt To Cast In PFC W 10 PL Base F.G. (Vertical)

F.G. (Vertical)

125 PFC To Support Glass / Louvres At Grid Lines

125 PFC

Weld 2 x 8 PL Webs Into Cast In PFC At Grids To Align With 125 PFC Flanges

CFC Board With Powdercoat Finish. Aluminium Cladding To Form Nominal 9 mm Spandrel. Panels With Insulation Layer Between

180 PFC Cast Into Slab

Level 2 5714

180 PFC Cast Into Slab Stone

1 : 20

7 A13

Sunscreen - Typical Elevation 1 Bay

OFC Finish To Balcony Soffit 70

1 : 20

Pre-Cast Concrete Beam. 565 mm

Pre Cast Beam

Cast In Downlight To Soffit. Refer To Electrical Drawings

20 mm Limestone Facing Blocks To Course Below Slab

Cast In Drip Groove

10 PL Tabs To Top & Bottom Of 125 PFC Vertical Member. Bolt To Cast In PFC W 2 x M10 Bolts

150 mm Frames To ground Floor Windows Facing Cliff Street. Double Glazing Inserts To Auditorium Windows

Elevation C

Level 1

1:5

1600

100

10 A13

343

A13

End Elevation

Pre-Ca

Pre-Cast Concrete Plank

Allow To Paint Slab Edge 60

48 c

Continous Waterproof Membrane

Column Footing. Refer To Str. Engineer's Drawings

11 A13

Sunscreen Detail C 1:5

1 A13

Section E - Typical Detail

1 : 20

A13

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Axonometric - Exploded 50 x 50 House Mies van der Rohe

PORTFOLIO Stuart Carney

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PORTFOLIO Stuart Carney

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PORTFOLIO Stuart Carney

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PORTFOLIO Stuart Carney