Elliot Pike_More with Less

More With Less Creating architectural expressions with standardised construction components Elliot Pike 100377241

ARC80003 Design Research Studio D

Elliot Pike 100377241

Swinburne University Of Technology Elliot Pike 100377241 ARC80003-Design Research Studio D Studio Leaders Canhui Chen Petar Petrov

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We acknowledge the traditional custodians of the land that our Australian campuses occupy, the Wurundjeri people, and pay our respect to Elders past and present, including those from other areas who now reside on Wurundjeri land.

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CHAPTER 1 Global Background The Circular Economy Building From Waste

CHAPTER 7 Massing & Planning Form Finding Design Development Visual & Axial Diagram Design Embodied Energy

CHAPTER 2 Australian Construction Construction Waste

CHAPTER 8 Expressive Modularity Methods of Construction Modular Iterations Construction Exploration Precedent Study

CHAPTER 3 Precedent Studies Ferrock ICE House

CHAPTER 9 Design Development Further Form Finding Iteration Development

CHAPTER 4 Embodied Energy SR Building

CHAPTER 10 Final Design Render Axial & Visual Diagram Sections Floor Plans

CHAPTER 5 Expressive V Modularity Expressive Architecture Modular Architecture Research Question

CHAPTER 11 System Design Construction Process Construction Detail Sectional Detail Dynamic Structural Systems Components Diagram Re-Use Diagram Physical Model 1:10 3d Print 1:150 Ferrock

Contents

CHAPTER 6 Site Analysis Swinburne University Train Line

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About: A Melbourne based, Graduate architect student who loves music and sport but ultimately aspires to become an industry leader in the architectural world.

My strong passion for designing to influence social interaction in built spaces - on a residential scale, crafting solutions crafting solutions tailored to specific clients interests and there life styles as well as on a commercial scale, evolving the use of space to improve functionality, emotive experiences and environmental impacts going hand in hand with my ability and will to go against the social norm.

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WASTE NOT

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WANT NOT

Mortimer Quarries, Construction=Demolition Facility, 8th November 2022, http://www.mortimerquarries.com/construction-and-demolition-facility

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ARUP, How recycling concrete could accelerate sustainable construction, November 8 2022, https://www.arup. com/ perspectives/how-recycling-concrete-could-accelerate-sustainable-construction

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Container Deposit System (2018), WhyLandfill is a dirty word, November 8 2022, https://www.containerdepositsystems.com.au/articles/why-landfill-is-a-dirty-word

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Thesis Statement The circular economy and design for disassembly go hand in hand. However, conflict between bespoke architecture and design that applies the initiatives of the circular economy often results in a building plagued with elements of modularity through straight lines. I aim to break this trend, through testing how we can create organic and expressive architecture using standardised elements that can be disassembled and fit into the mold of the circular economy whilst utilizing an alternative to concrete ultimately reducing the buildings carbon footprint.

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Chapter 1 Global Background

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Krivec, Ales, Timber Logging, November 8 2022, https://unsplash.com/photos/KnV-mJDGWzU?utm_source=unsplash&utm_medium=referral&utm_content=creditShareLink

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Morris, Jamie (2018), Timber Logging Forrest, November 8 2022, https://unsplash.com/photos/796FOi6EO9o?utm_ source=unsplash&utm_medium=referral&utm_content=creditShareLink

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Global Challenges The Building Industry Faces In just one year we as a population manage to extract close to 100 billion tonnes of raw materials, (Miller, 2021) ripping it straight out of the fabric of the earth. This is the equivalent to tearing down a total of two thirds of the entirety of Mount everest (Miller, 2021).

From these materials we extract, nearly half goes directly into the construction industry (Miller, 2021) as the world continues to urbanize, resulting in a demand stronger then ever before for new buildings. As this demand for new buildings grows so does the waste produced in the construction and demolition sectors, accounting for 30% of the entire planets total waste (Purchase, C.K. et al. 2021). On average an estimation of more then 35% of all C&D waste does not get recycled and is instead disposed into landfills annually (Purchase, C.K. et al. 2021), threatening the earth with greenhouse gas’s and greatly impacting our air,water and land quality.

Through the extraction of these materials humanity is wrecking havoc on our planet as the more we use the more scarce an already finite resource becomes. This brings the question, how do we continue our growth as a civilization whilst ensuring we have ample materials to do so?

And does our massive disregard for the careless disposal of waste into landfill contain the solution to accelerating us towards sustainable construction?

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Linear Economy

What Is The Circular Economy?

Take, Make, Use Dispose. In today’s economy we are accustomed to a model in which we as the consumer will purchase products typically made by raw materials and use them until the end of their life cycle. Often these products are then merely discarded as waste, destined for landfill with no regards of the ecological footprint of our actions. This is known as a linear model or the linear economy and it’s solely driven by the prioritisation of profit over sustainability, greatly contributing to today’s climate crisis (Santander, 2021).

What If we changed this model and transitioned to a focus of ensuring that materials and products produced are kept in this cycle for as long as possible, ensuring value is extracted from them at every stage often without being compromised or diminished in quality (Elsey, 2022).

This is the Circular Economy and it’s focus is to ensure a future based on the principles of reduce, reuse and recycle (Santander, 2021), ensuring production has as little impact on the environment by reducing its overall ecological footprint and embodied energy.

The foundation of a circular economy begins with the transition to renewable energies and materials, greatly reducing or eliminating the economic activity from the consumption of a finite resource (Macarthur Foundation, 2022).

Why is the Circular Economy Important?

As the world continues to evolve so too does our ecological footprint on the earth’s surface.

As a result of this both the construction and design industries have had pressure building to transition from their linear based models of processes to circular models of thinking.

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Due to recent events such as the Covid-19 pandemic as well as the vast amount of natural disasters both Australia and the rest of the world experience such as flooding, bush fires and earthquakes, the availability of materials are becoming increasingly scarce resulting in rising inflation of materials we use on a daily basis (Rahman, T. et al. 2021).

From shipping costs to manufacturing delays every day material prices continue to soar with our incomes largely staying the same, resulting in a model that is unsustainable and economically un-viable.

Circular Economy The design industry is now being forced to address these issues as often poor planning throughout the design stages leads to a poor implementation of materials and process in the construction phase. These factors include things such as design changes, design, complexity, design errors, not using standard material sizes, and a poor choice of material selection often opting for materials high in price with a large ecological footprint (Camenzuli et al., 2022).

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Both Australia and the rest of the world have not seen material scarcity and inflation like this for quite sometime resulting in an ever growing pressure to change the way we think in both our design and construction of infrastructure leading us to a transition into the circular economy. By doing this we can benefit from the recent challenges our economy has faced by reducing our waste and increasing our renewable’s through finding solutions towards alternative building materials.

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Principles of the Circular Economy What are the principles of the circular economy in the context of architecture?

first place and their highest value is retained (Macarthur Foundation, 2022).

The circular economy is based on three principles driven by design:

To achieve this we must think of products and materials as belonging to two fundamental cycles - the technical cycle and the biological cycle (Macarthur Foundation, 2022).

Eliminate Waste and Pollution Our current economy largely works to a take, make, waste system meaning we take raw materials from the earth in order to make products with them. Once the products are no longer of use we throw them away (Macarthur Foundation, 2022), sending them directly to landfill and having an enormously negative effect on our ecosystem.

For a large amount of products on the market there is no other end goal in site other than landfill. This is largely due to how these products are designed almost resulting in a product that is designed to be disposed of (Macarthur Foundation, 2022). Unfortunately this is a system that does not work in the long run as the materials on our earth are finite often leading to designs that never address the question of: what happens to the material or product when it is no longer needed?

Designers can change this trend by ensuring we design products with a purpose for all stages of its life cycle allowing it to be used and used again for decades to come.

Circulate Products The second principle of the circular economy is to ensure we keep our materials in use either as components, raw materials or products. This ensures that nothing ever becomes waste in the 28

Eliminate Waste & Pollution

In the technical cycles - products can be reused, repaired, recycled and reintegrated into society, where as in the biological cycle products are biodegradable and can be returned to the earth, acting as nutrients to its surface (Macarthur Foundation, 2022).

In order for this to be achieved successfully it is essential for these products to be designed with their future circulation in mind, preparing and planning for what happens next in each stage of the products life cycle.

Circulate Products

Regenerate Nature By shifting from a take, make, waste mindset towards a circular economy we can support natural process in our design and provide space for nature to thrive (Macarthur Foundation, 2022).

Instead of our incessant degrading of nature we can build our natural capital, employing practices to ensure nature rebuilds soils and increases its biodiversity allowing for the return of biological materials to the earth (Macarthur Foundation, 2022), ensuring that these materials are no longer lost at the end of its life cycle and instead emulate natural systems as there is no waste in nature, everything works hand in hand with each aspect of the planet feeding another.

Regeneration is key.

Regenerate Nature

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Building From Waste Recovered Materials In Architecture and Construction

Waste is the result of human action and interaction. And through the book “Building From Waste: Recovered Materials in Architecture and Construction” (Dirk, E. H., et al 2014) the aim was to discuss the possibility of understanding waste as an integral part of what we define as a resource. Architects and designers have been working in a holistic circular manner incorporating techniques that would allow for the creation of an efficient system where materials live through a continuous life cycle removing the final stage of waste and closing the loop.

Over the years architects have developed introduced and built on ideas of the circular economy and the use of renewable resources. Today however, it is still an issue and materials being used are built in the age of industrialisation without the thought of sustainability and availability of resources.

To really change this trend, we need to begin thinking of waste as more than something that is unwanted and rather something that is of value. Something that can be utilised in a much more practical way rather than just disposing of it all in landfill.

As stated in the title of the book “Building From Waste: Recovered Materials in Architecture and Construction” (Dirk, E. H., et al 2014)we need to investigate the idea of turning this waste into forms of building materials. As a first step we might think about how we could categorize this waste.

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The obvious way to achieve this might be sorting it in its material characteristics, such as glass, plastic, paper and so on. However, is that really the right way to be thinking about alternative building materials?

Instead, it is suggested that to truly categorize this waste in its most efficient way, we may look to do so through the types of process that turn the unwanted waste into something of value and these are spread into 5 categories; Densified, reconfigured, transformed, designed and cultivated.

Densified: The most obvious and direct way to process waste materials into building construction elements is densification. Which is basically the result of compacting waste material to a very high degree.

Reconfigured: A configuration describes the arrangement of elements in a particular form, figure, or combination in order to perform a certain function. Reconfigured waste materials, in our definition, thus comprise all products where the components of raw waste have been rearranged before being processed into a new construction element. Shredding, breaking, sawing, or grinding are some of the forms of applied mechanical force used to change the original configuration of the waste material. The resulting pellets, chips, strands, fibers, etc. Are then processed further, usually by mixing them with other components such as organic, inorganic, or mineral adhesives and pressing them into molds of any form and size.

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Building From Waste Recovered Materials In Architecture and Construction

Transformed: Next to densification and the mechanical processing of waste, there is a third method used in the production of construction elements from re-used materials: through transformation of the molecular state of waste.

This process enacts the conversion of garbage into a new state of existence in different form, composition, shape, and function through the complete loss of the existing organisational structure of the material. Transformation is an alteration of the material state by direct intake or incorporation of other materials or forms of energy from the surroundings – these are typically man-made and come in the shape of mixing chambers or pressure molds.

Designed: The idea of specially designed goods that potentially never go to waste: they spend their material lifetime in a constant state of re-use, re-adaption, and recycling, without having to be densified, reconfigured, or transformed. Throughout their life cycle they are meant to keep their original form, properties, and material composition while their functions may change dramatically.

Cultivated: The change of volume, to a layering or multiplication of particles in an effort to form construction elements over time. The concept is based on the growth of micro-elements that until now were unappreciated or even considered hazardous: just waste.

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Chapter 2 The Australian Construction Industry

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In 2020 Australia generated 27 million tons of waste from the construction and demolition Industry.

RMIT University (2019), Construction Waste, 7 September 2022, https://www.rmit.edu.au/news/all-news/2019/jul/ construction-industry-waste-landfill

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Construction Waste: Australia What is the current situation of the building industry in Australia?

Over the next 5 years it is predicted that annual growth rate of the Australian construction Industry will hit 2.4%, Currently the construction industry generates over $360 billion in revenue, contributing to around 9% of Gross Domestic Product (AISC, 2022).

What are the waste scenarios in the local context?

“It’s only recently that people have woken up to the consequences of resource mismanagement. We don’t inherit the Earth, we borrow from future generations.”

- Rayanne El-hawli

Milestone Civil Aus (2021), Unrestricted Demolition Works, 22 October 2022, https://milestoneaustralia.com.au/ demolition/

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As a result of Australia’s rapidly growing construction industry. The sector has become one of the largest producers of waste in Australia, with the construction and demolition (C&D) industry producing up to 27 million tonnes of waste in 2020, making up 44% of all waste generated across the country. Of that building waste, 20 million tonnes ends up in landfill every year. This has resulted in a 61% increase on the figures shown in 2006-2007 (Shooshtarian et al., 2022 and Shooshtarian et al., 2019) making it more important than ever before to successfully integrate alternate building materials and initiatives to reduce C&D waste.

As a result of this waste, Australia is continuously having to extract and manufacture more and more materials every year, such as steel, manufacturing 5.3 million tonnes (Australian Steel Institute , 2022), timber harvesting 32.9 million cubic meters (ABARES, 2019) and most importantly concrete.

Concrete is one of the most widely used construction materials around the globe with Australia alone producing up to 29 million cubic meters of concrete annually. Enough to fill the MCG 18 times (Advanced Solutions International, 2022). In order to produce this concrete, Australia is also having to produce cement, creating an estimate of 10.4 million tonnes of it every single year (Cement Industry Federation, 2021).

Cement is the world’s single biggest industrial cause of carbon emission with each tonne of cement producing eight tonnes of C02 (Vijayan et al., 2020). It is vital Australia and the world find an alternate solution.

What are the challenges ?

Australia has a demolition problem with 107,294 residential buildings approved for demolition in the country between 2016 and 2021 with 95.1% of all residential buildings approved for demolition, being houses (Knight, 2022). From these demolition practices we find ourselves with more and more construction material being sent straight to landfill with a substantial amount of that material being concrete (Tam, 2009).

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Chapter 3 Precedent Studies How have design principles of the circular economy been practiced around the world?

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Ferrock The Future of Concrete?

What is Ferrock?

Is This The Future Of Construction Materials In Australia?

Across the globe concrete is the worlds second most used entity only second to water. As a result of this, concrete accounts for 8 to 10% of our total c02 emissions largely due to cement (Vijayan et al., 2020), its embodied energy and its waste, with concrete contributing up to 81% of all construction and demolition waste (Tam, 2009).

Ferrock is a concrete alternative discovered

by David Stone and created with the steel dust left behind by the steel manufacturing process (Bonnefin, 2017) which is relatively hard to recycle resulting in its majority ending up in landfill.

This dust rusts and turns into iron carbonate which when fused with silica from ground up glass or fly ash generates a reaction with carbon dioxide resulting in iron carbonate. This then binds Co2 from the atmosphere to create Ferrock (Bonnefin, 2017).

Characteristics Ferrock has a great potential to be used in the construction industry as an alternative to cement containing roughly 95% recycled materials (Bonnefin, 2017). Ferrock is also tested as being 5 times stronger and also more flexible than standard porcelain cement (Vijayan et al., 2020), making it popular use in areas of active seismic activity.

Uses and Formula

Just Wood Furniture (2020), What is Ferrock?, 22 October 2022, https://www.justwoodfurniture.net/what-is-ferrock/

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Ferrock consists of a ratio of 60% iron dust, 20% fly ash, 12% Metakoalin and 8% Limestone (Vijayan et al., 2020), completely eliminating the use of cement within its production and can be

perfect to use as various building components such as floor slabs, wall panels, bricks and paver’s.

Viability for use in Australia An alternative to cement which can be used to the large scales that countries such as Australia need would be a great step forward in the transition towards a circular economy. However, is Ferrock the future of concrete in Australia? In order to accurately find out we must first dive into Australia’s cement production as well as our overall concrete production. This must then be compared to the amount of steel dust being produced by Australia’s steel industry in order for us to accurately gain an understanding of just how much concrete production Ferrock can replace within our local landscape.

Australia’s Cement Industry and concrete Production Around 10.4 million tonnes of cement was produced in Australia in 2019 (Cement Industry Federation, 2021) contributing to the 29 million cubic meters of premixed concrete being manufactured each year (Advanced Solutions International, 2022).

Australia’s Steel Industry According to the Australian Bureau of Statistics 2017-2018 Australia produces 5.3 million tonnes of steel each year. This is produced through two of Australia’s leading steel producer Bluescope Steel, located in the region Illawara, NSW, contributing to approximately 2.6 million tonnes of steel annually and Liberty Onesteel located in Whyalla, SA producing up to 44% of Australia’s steel annually.

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Steel Dust

Conclusion

Basic Oxygen Furnace (BOF) steel making plays a vital role in the production of steel across not only Australia but the world, as it is one of the primary techniques of producing steel, contributing to a total of 70% of steel worldwide (Naidu et al., 2020). This process however also produces BOF off gas (OG) solid waste or “steel dust”. On average the generation of BOF off gas or steel dust can produce around 18 kg/ tLS according to the International Iron and Steel Institute which usually ends up in landfill (Ma, 2016).

Like some have eluded to before, the concept of Ferrock is an industry changer specifically due to its material characteristics however, unfortunately we do not produce the required amount of steel dust in order for us to replace the cement in concrete production to make it a viable option within Australian construction.

Although Ferrock may not be the ultimate solution for large-scale projects, it could be considered as an initial option for fighting towards environmental conservation and our search for an alternative to traditional concrete.

Calculation In order for us to calculate the total amount of Ferrock we can produce within an Australian context we must first determine how much steel dust we produce from BOF production of steel. This can be done by multiplying Australia’ s annual steel production (5,300,000Mt) by the average BOF off gas (OG) per liquid tonne of steel (18kg). We must then Divide our total (95,400,000 kg) by 1000 in order to convert our kilogram total into tonnes (95,400Mt). This figure is then divided by 70% which is the average global steel produced using BOF resulting in 66,780 tonnes. This total is then divided by the percentage of steel dust used to replace cement in a concrete mix (0.6) in order to obtain the total amount of Ferrock Australia can produce every year (111,300Mt).

5,500,000 x 18 = 95,400,000 kg 95,400,000 / 1000 = 95,400 tonnes 95,400 x 0.7 = 66,780 tonnes 66,780 / 0.6 = 111,300 tonnes of Ferrock In order to find the percent in which Ferrock can replace cement in the production of concrete we must first divide our total amount of annual Ferrock production (111,300Mt) by the total amount of concrete being produced in Australia each year (29,000,000) equaling 0.00383793%.

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https://buildabroad.org/2016/09/27/ferrock/ Certified Energy (2017), Emerging Materials: Ferrock, 22 October 2022, https://www.certifiedenergy.com.au/emerging-materials/emerging-materials-ferrock

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“ICEhouse is a structure designed for disassembly and reconstruction. In a poetic sense, like ice, it is ephemeral: It is here for a week, in the Alps. Next week it will melt away… destined to reappear elsewhere.”

William McDonough

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ICEhouse

by William McDonough Conceived by William McDonough as place to gather and discuss the future of innovation for the Circular Economy (ICE). ICEhouse is designed to showcase the framework described in the book “Cradle to Cradle: Remaking the Way We Make Things” (Oh, 2016).

ICEhouse displays the possibilities that arise when designs eliminate the idea of waste and instead adds to the resourcefulness of a system,which makes up the foundation of the circular economy.

Cradle to Cradle proposes that, similar to nature, the “waste” of one system can become food for another (Mcdonough, 2022). Everything can be designed to be disassembled and safely returned to the soil as biological nutrients or re-utilized as high quality materials for new products as technical nutrients (Mcdonough, 2022).

ICE house primarily uses these main materials (Mcdonough, 2022): - Aluminium as the structural frame - Polymers (SABIC’s LEXANTM sheet and systems used for the walls and roof, Nylon 6 in the form of the William McDonough Butterfly Effect Collection carpet from Patcraft, and Kartell furniture and light fixtures) - Aerogel (Cabot Nanogel® is used as an insulation material within the LEXAN wall and ceiling system).

At the end of their cycles these materials will be returned to the industry and be endlessly re-manufactured into new products with zero loss of material quality.

Used as place of gathering and discussion for the World Economic Forum annual meeting initially it was then disassembled and reconstructed elsewhere (Oh, 2016). The project experimentally used McDonoughs Wonderframe a simple, structural system designed to be adapted to local materials (Oh, 2016).

For the ICEhouse, the Wonderframe is supplemented by LEXAN™ polycarbonate sheet and systems, and Shaw Contract Group flooring materials. Demonstrating a new development in Cradle-to-Cradle design and the Circular Economy (Mcdonough, 2022), the whole building can be built and rebuilt in just a few days, allowing endless reuse and relocation.

McDonough, William, William McDonough Unveils ICEhouse, 8 November 2022, https://www.archdaily. com/780655/william-mcdonough-unveils-icehouse-the-next-step-in-the-circular-economy

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How it Works: Connection The Wonderframe comes together in three parts, the aluminium space frame, the aluminum base and polymers sheet used as the interior walls and ceilings. This is all connected through a series of M12 nuts, bolts, and washers with each element of the space frame overlapping one another and fixing into the aluminium base.

McDonough, William, William McDonough Unveils ICEhouse, 8 November 2022, https://www.archdaily. com/780655/william-mcdonough-unveils-icehouse-the-next-step-in-the-circular-economy

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Apply the Wonderframe

Through a design exercise we can experiment by applying Mcdonough’s wonder frame concept to a standardised set of elements. For this instance each element utilises an 800 x 800 mm dimensions which when stacked upon each other can create standard door frame sizes, wall heights and windows. These elements can easily be assembled and then disassembled to create new and varying spaces with ease and in different locations. This is something that can be considered when applying to a project, as modular design for disassembly is one of the key principles in aligning the Circular Economy within an architectural context.

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Chapter 4 Embodied Energy

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What is Embodied Energy

Whilst the importance of investigating alternate building materials continues to rise, it is just as important to consider the embodied energy that goes into producing those materials, ensuring that the ecological footprint of the production of these materials do not over shadow the intended sustainable properties of each alternative.

Embodied energy is a calculation of the total energy that is expelled through the production of a material or product. From mining, to manufacturing to transportation, all of these processes generate a certain amount of carbon dioxide emissions which when added together make up the total embodied energy of the material.

When studying the carbon emissions of a building and its total ecological footprint, carbon emissions are separated into two types: Embodied Carbon and Operational carbon. The latter refers to the overall combined amount of carbon dioxide emitted during the life of an entire building rather than calculating the building materials alone, Operational energy also encompass electricity consumption, heating, cooling and more.

What is the environmental footprint of building materials?

Material 4000x3000 Concrete 200mm Cross Laminated Timber 175mm Cork Slab 50mm Plywood Outdoor 50mm SIP Panel 150mm Fibre Cement Sheet 24mm Aluminium Sheet 6mm MDF Sheet 18mm

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Embodied Energy (MJ) 9176.64 3530.1 676.62 2239.02 4723.2 383.4432 345.5999998 6811.2576

Embodied Water (L) 11497.2 3162.1 750.96 1119.51 7594.2 191.721 187.1999999 3842.4456

Embodied green house gas emissions (kgC02e) 1312.08 237.3 35.784 1119.51 243 91296 31.248 407.7864

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Embodied Energy SR Building

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1,514,384 MJ

1,713,211

172938 Co2

Embodied Energy

Embodied Water

Embodied Greenhouse Gas

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Chapter 5 Expressive vs Modularity

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Expressive Architecture A hidden problem Expressive and bespoke architectural forms are perfect examples of how the lines can be blurred between an artistic sculpture and a fully functioning building. As time moves forward some architects like to be on the forefront of creating futuristic and modern architecture, through organic concrete forms leading the way in innovating how buildings should look. However, behind these beautiful forms there are often hidden environmental costs that never seem to be considered.

Take the Wormhole library for example, a truly eye catching and elegant architectural form which could be seen as an art installation rather then a dwelling. To construct something like this however, it takes a large amount of temporary form work to set these concrete mold’s. Once these mold’s are set this timber form work often ends up in landfill, contributing greatly to our climate crisis one building at a time.

Whilst these forms are stunning in their own right it has to be thought that perhaps creating architecture such as this is not worth the constant environmental damage being done time and time again as this is quite literally the opposite of the circular economy.

But is there another way?

Archdaily (2020), MAD’s Curved Wormhole Library is Under Construction in China, 7 September, https://www.archdaily.com/945475/mads-curved-wormhole-library-is-under-construction-in-china

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Wormhole Library

by MAD Architects 63

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Wormhole Library Form work

by MAD Architects 64

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Dezeen (2021), Wormhole Library by MAD nears completion in China, 7 September, https://www.dezeen. com/2021/02/09/wormhole-library-by-mad-nears-completion-in-china/

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Rolex Learning Center

by SANAA 66

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The Architectural Review (2010), Rolex Learning Centre by SANAA, Lausanne, Switzerland , 7 September, https:// www.architectural-review.com/today/rolex-learning-centre-by-sanaa-lausanne-switzerland

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Rolex Learning Center Form work

by SANAA 68

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Bouygues Construction (2022), Rolex Learning Centre, 7 September, https://www.bouygues-construction.com.au/ project/rolex-learning-centre/

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Habitat 67

by Moshe Safdie

Modular Architecture In Contrast to expressive and bespoke architecture. There is an ever growing interest in design methods such as modular re-use, design for disassembly, and design for adaptive re-use.

These methods are the driving force behind designing for the circular economy as they are easy to construct as well as simple to design, leaving as little environmental impact on the land that it sits as possible. However, when incorporating circular design methods such as this we often find ourselves constructing buildings plagued with straight walls and sharp corners in a constant sense of repetitive forms truly draining motivation out of both architects and the buildings users.

But does it have to be boring?

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Atlas Obscura (2022), This 1967 experiment in modular architecture was designed to be a new model for urban living, 7 September, https://www.atlasobscura.com/places/habitat-67

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Dyson Institue of Engineering and Technology

by Wilkinson Eyre 72

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Archdaily (2019), Dyson Institute of Engineering and Technology / WilkinsonEyre, 7 September, https://www.archdaily.com/919886/dyson-institute-of-engineering-and-technology-wilkinsoneyre

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Can we create modular design for disassembly whilst simultaneously achieving bespoke and expressive architecture?

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Chapter 6 Site Analysis

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Swinburne University Of Technology Location: Hawthorn, Melbourne Building: SR The Site is located at Swinburne University of Technology, Hawthorne campus. Currently occupied by the SR building found to the North eastern side of the campus, connected to the George building and adjacent to the train line.

The campus boasts state of the art learning facilities, situated near the Glenferrie’s shopping precinct and Glenferrie train station. Accessible through multiple paths and lane ways connecting the campus to Glenferrie road.

This moderately small building houses facilities dedicated to the specific courses of Nursing and Occupational Therapy, as well as a dance studio.

The building is also home to a rather decrepit swing-door elevator, the only one of its kind on campus.

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SR Building Characteristics Swinburne’s SR building is a modest two story building with a physical connection to the adjacent George building.

From the exterior, the building is largely made up of brick cladding on all of it’s external faces, along with a series of aluminum window frames.

Towards the front face of the building a series of pathways through a large patch of synthetic grass can be found leading to the entrance’s double sliding doors, with the rear of the building facing the train station and a long walkway.

From the Interior, the building contains large amounts of exposed brick which can be assumed to be structural supports. This should be considered further into the buildings design alteration. The interior also contains a small dance studio along with a series of class rooms, small office space’s, and administration spaces all joined together through a singular stair core and a swing door elevator.

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Site Mapping Access Points

Location

Entry Points

Train Line

Road Network

Path Network

Through mapping key features of the site we can determine the opportunities that can be taken advantage of when considering our circular design interventions.

Key Access Points The site can be accessed through three main points; Wakefield Street, the only vehicular access point to the site which runs through the Swinburne campus from Williams Street to Glenferrie Road, John Street, a pedestrian only street running from Burwood Road to Park Street and a pedestrian walkway which runs along the train line from Glenferrie train station to Williams Street.

Walkways The SR building is surround by an abundance of connective walkways, allowing user to navigate to the center of campus easily from the North, East, South and West.

Roads The Swinburne campus is accessible through a series of roads and streets each of which run off of either Burwood Road or Glenferrie Road, with the only accessible vehicular road to the SR building being Wakefield Street.

Entry Points The Sr building is surrounded by multiple buildings each with a different purpose for various discipline. Through mapping the entry points of these buildings we can create new connection points between the new proposed building and the existing buildings.

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The Train Line Towards the rear of the SR build runs a train line entering Glenferrie station. Along this train line is a pedestrian walkway which runs from Glenferrie station to Wakefield Street. During the site visit we can see that the majority of the buildings running along this train line largely ignore this interface through there rear facing facade often lacking windows, entrances and any sort of visual connection between the train line and pedestrian walkway. This provides an opportunity for designers to re-engage this forgotten point of the campus by establishing a visual connection between the two.

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Chapter 7 Massing and Planning

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An Exercise in Form finding

Through an initial massing exercise a primary focus was placed on exploring various ways of implementing a structure large enough to include the majority of the required programs within such a small site.

Through this exploration a testing process of both organic and rigid forms were undertaken however, the primary focus was creating a space large enough to implement the required programs.

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Volumetric Massing Iteration 1 Accessible WC

AMENITIES

WC’s Kitchenette Total m2: 34.5

Agora

CO- WORKING AND PRESENTATION

Lecture Theatre Co-Working Gallery

Total m2: 382

Meeting Room Large, Medium, Small

A PLACE TO MEET AND COLLABORATE

Project Office Breakout Space Open Plan Office

Total m2: 374

Pre-function Space

A PLACE OF COMMUNITY AND LEARNING

Flexible Space Community engagement space Total m2: 250

Server Rooms

MISC

Refuse Bicycle Parking Total m2: 94

Fire Stair

VERTICAL CIRCULATION

Lift Core Feature Stair Total m2: 115.5

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Volumetric Massing Iteration 2 Accessible WC

AMENITIES

WC’s Kitchenette Total m2: 34.5

Agora

CO- WORKING AND PRESENTATION

Lecture Theatre Co-Working Gallery

Total m2: 382

Meeting Room Large, Medium, Small

A PLACE TO MEET AND COLLABORATE

Project Office Breakout Space Open Plan Office

Total m2: 374

Pre-function Space

A PLACE OF COMMUNITY AND LEARNING

Flexible Space Community engagement space Total m2: 250

Server Rooms

MISC

Refuse Bicycle Parking Total m2: 94

Fire Stair

VERTICAL CIRCULATION

Lift Core Feature Stair Total m2: 115.5

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Chosen Volumetric Massing Iteration 3 Accessible WC

AMENITIES

WC’s Kitchenette Total m2: 34.5

Agora

CO- WORKING AND PRESENTATION

Lecture Theatre Co-Working Gallery

Total m2: 382

Meeting Room Large, Medium, Small

A PLACE TO MEET AND COLLABORATE

Project Office Breakout Space Open Plan Office

Total m2: 374

Pre-function Space

A PLACE OF COMMUNITY AND LEARNING

Flexible Space Community engagement space Total m2: 250

Server Rooms

MISC

Refuse Bicycle Parking Total m2: 94

Fire Stair

VERTICAL CIRCULATION

Lift Core Feature Stair Total m2: 115.5

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Mid semester Massing Design

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FORM DEVELOPMENT

Through the initial iteration process, two forms were chosen to be further developed. These forms would be merged together to create a bespoke aesthetic which takes advantage of all that the site has to offer.

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Design Development

Through the blending of the two chosen forms it is possible to determine which sections of the current SR building may be retained by reducing, cutting, and extended certain areas of the existing building to arrive at the first design concept.

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Connection Diagram

Connection Diagram

Axial

Visual

Through large organic gestures we can imitate the axial movement of the train line as each train goes past creating a connection between form and movement for passengers passing by.

This Gesture simultaneously opens up towards passing by trains departing Glenferrie station creating a visual connection between users and its form.

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Embodied Energy

Outcome Traditionally a building of this form would generate a large amount of embodied energy particularly through its large organic gestures and use of traditional concrete construction methods, generating 4,725,267 Megajoules of total embodied energy. However through the proposed systems and interventions which will be developed further into the semester it will be possible to significantly reduce the building’s ecological footprint.

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Mid Semester Conclusion

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Chapter 8 Expressive Modularity

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Setting the Mold

Temporary Form work

Traditional Method In order to form a surface such as this, traditionally it would require a great amount of temporary timber form work to ensure the structure is stable whilst the concrete mold is setting. However, once this mold is set the form work is no longer required and is stripped away from the surface. This form work then typically ends up in landfill generating a negative environmental footprint just for it to be done time and time again.

Landfill

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Modular A popular alternative to the traditional method of achieving this form is through modular elements however, these elements are all uniquely shaped and un-standardised resulting in a series of panels which are useless at the end of the buildings life cycle.

Modular Re-use I aim to achieve a surface that is constructed through a set of standardized construction components giving us the possibility to re-use them at the end of the building life cycle reducing the overall environ118 mental impact over the course of the building life.

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An Iterative Process In order to test my theory i began with a base. Using a double curved surface that follows a free flowing and expressive form. From here i embarked on an iterative process testing the differences and potentials to create bespoke forms through standardised panalisation. In the corresponding table each iteration becomes more fluid as it shifts horizontally along the axis whilst also becoming more modular and standardised in its panels as it shifts vertically along the axis. The purpose of this exercise was to determine the best median between the two, enabling me to incorporate as much modularity as possible whilst still being able to achieve these unique and organic forms.

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Chosen Panelisation

Chosen Panelisation

Findings

Findings

Through an extensive iterative process i decided on this being the method i would move forward with. Heavily inspired by a roof shingle system, each panel overlaps one another ensuring adequate water run off is provided.

By doing this we are able to place panels at a multitude of angles ensuring we create the most fluid form possible created through a set of standardised 1x1 meter concrete panels.

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Construction Exploration

Construction Exploration

RAIL SYSTEM

EXTRUSION SYSTEM

This requires each panel to run along a length of rail which is then fixed to a 4 way steel connective system which joins to each corner of every panel.

This method required a series of steel extrusions which would connect each corner of every panel with the corresponding corner of each overlapping panel. However as every corner does not overlap this would require a rearrangement of the panel system.

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Construction Exploration

Construction Exploration

AXIS SYSTEM

FIN SYSTEM

Through a rotating steel axis system i am able to rotate each extruding steel member to certain angle in order for it to connect with each overlapping panel’s corresponding corner. However as each corner is at different length it would require a specific size for each steel member.

Through a steel fin running down the side of each panel i am able to connect each overlapping panel together whilst ensuring the structure is water tight.

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Further Precedent Studies

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Harpa-Concert and Conference Centre

by Batteriið Architects Opened in August 2011, Harpa is located in Austurbakki 2 101, in the capital of Iceland, Reykjavik. As part of a large-scale development, 100.000m2 for the eastern port city, the East Harbour Project (Wiki Arquitectura , 2020).

Harpa is a project where art and architecture combine resulting in a unique building, summarising the close collaboration between the artist Olafur Eliasson and Henning Larsen Architects.

Assembly:

Conclusion:

By taking Inspiration from the Quasi-Brick perhaps i could create a structural system with my design rather then just that of a standard facade or cladding. By using a frame to create cladding on both side of the system i can potentially create a structural and water tight surface which can act as either a wall or even a floor slab. This precedent will be the primary inspiration for the connective detail of the proposed system.

The walls are made up of multiple variations of different quasi-bricks. The south facade has 823 units with 12 quasi-brick sides individually crafted. Whilst the rest of the facades and the roof contain variants of a two-dimensional geometric split of the system 12 side, resulting in flat facades five-sided and six-sided polygonal frames (Wiki Arquitectura , 2020).

The frame is made up of steel and glass with a modular system of twelve-sided geometric filled with a “quasi-brick” (Wiki Arquitectura , 2020), the building looks like a kaleidoscopic play of colors.

The south facade, which rises to 33 meters, consists of more than 1,000 stacking elements, each of about 2.2 meters high, which Olafur Eliasson called “the quasi brick”, filling the space occupied by twelve sections of glass and steel (Wiki Arquitectura , 2020). the remaining walls and ceiling are sectional representations of these three dimensional structures and geometric facades resulting dimensional planar structural frames five and six sides (Wiki Arquitectura , 2020).

Henning Larson Architects, Harpa Concert Hall and Conference Centre, 8 November 2022, https://www.archdaily. com/153520/harpa-concert-hall-and-conference-centre-henning-larsen-architects

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“The building itself raises a question, what is art and is architecture?… “ Peer Teglgaard Jeppesen

Olafur Eliasson (2005), Harpa Reykjavik Concert Hall ad Conference Centre, 8 November 2022, https://olafureliasson.net/archive/artwork/WEK100668/facades-of-harpa-reykjavik-concert-hall-and-conference-centre

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Lehoux, Nic (2013), Harpa Reykjavik Concert Hall ad Conference Centre, 8 November 2022, https://olafureliasson. net/archive/artwork/WEK100668/facades-of-harpa-reykjavik-concert-hall-and-conference-centre

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Chapter 9 Design Development

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Further Form Finding During the second phase of form finding an even larger emphasis was placed on expressive and fluid gestures. Ensuring each surface of every form would flow off one another creating seamless transitions and blurring the lines between an artistic sculpture and a fully functioning building.

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Iteration Development

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Model Development

Model Development

Phase One

Phase Two

The chosen Iteration begins with a simple square.

This is divided into two parts whilst extending the form’s height with a rectangle.

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Model Development

Model Development

Phase Three

Phase Four

Next the square is reduced, leaving a rectangle extruding outwards from the form.

To give the form shape the edges of the rectangle are trimmed to allow the extruded rectangle to flow into the main building extrusion.

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Model Development

Model Development

Phase Five

Phase Six

This step was repeated with the top of the main building form, creating a contrast between the two curved geometries.

In order to divide up the height, this was repeated once again by adding another curved extrusion following a similar yet less extreme shape as the top extrusion.

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Model Development

Model Development

Phase Seven

Phase Eight

The corners are rounded at the end of the form to assist in giving it a sense of one singular gesture by reducing its rigidness.

Two main bespoke and expressive gestures are added to both the topside and underside of the form giving it a sense of invitation.

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Model Development

Model Development

Phase Nine

Phase Ten

Once all structural modifications had been made the final form has been set.

By incorporating glazing the form can be opened up. This is then complimented with vertical cladding to contrast between the building’s horizontal flow and its vertical extrusions.

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Chapter 10 Swinburne’s Centre for Innovation

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Final Connection Diagram

Final Connection Diagram

Axial

Visual

A structure that utilizes its unique and fluid form to represent the axial movement of the train line and passengers passing by truly opening, inviting, and re-engaging rest of the campus with the building and its walkway.

Through large organic gestures and wide open windows a visual connection is made between the buildings users and the train line, ensuring the building maintains a constant sense of open spaces and connectivity with its surroundings.

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Floor Plans The building consists of 4 main levels with 1 smaller level which sit at the top of the structure, containing a small lecture theatre. Each floor provided a connective point through to the corresponding George building.

Final Design Floor Plans

Ground Level: This level contains two main entry points from either side of the building and is a relatively open space complete with a large voided atrium which rises through to three of the main levels. The floor is complete with a gallery, Co-working space, and a foyer.

Level One: A place to meet and study complete with various small meeting and presentation rooms as well as a large open Co-working space.

Level Two: A place to gather featuring a large open function space and a flexible discovery space.

Level Three: A place to work, consisting of an open plan office space, project specific offices and small to medium private office spaces. This level is complete with an outdoor rooftop garden consisting of native plants to the local area designed to attract the native fauna.

Level Four: A Place to present, complete with 255 seats for students and lecturers to present their ideas and findings.

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GR Building Level 1

GR Building Ground Level

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GR Building Level 3

GR Building Level 2

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Final Design Sections

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Section A-A Through Section A-A a set of feature stairs connects the ground level with the above mezzanine whilst displaying the atrium through a large open void which seamlessly rises from the ground level up towards the ceiling.

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Section B-B Through Section B-B the vertical circulation of the building is showcased through a double lift core which runs through each of the five levels of the building.

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Chapter 11 System Design

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An Expressive Modular System In oder to construct these bespoke gestures which form the primary language of my final design. An expressive modular system has been developed which allows us to create fluid and flowing architectural forms through utilising a set of stadardised construction elements, placing a heavy focus on ease of assembly, disassembly and re-use of the system’s pieces at the completion of its life cycle.

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Construction Process

Construction Process

Phase One Each steel element is of the same length with the system allowing for each element to be placed at a unique angle.

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Construction Process

Construction Process

Phase Two

Phase Three

The process begins with a set of pre-fabricated stainless steel framing modules which are transported to site.

The modules are then fixed to the floor slab and stacked on top of each other through Hex bolt fixings.

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Construction Process

Construction Process

Phase Four

Phase Five

Frame extension modules are then added to accommodate for various shifts in the surface angle.

The frame is then clad with a set of standardised concrete panels and made water tight with double glazing.

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A Dynamic Structural System Whilst this system may look like nothing more then a facade, it really offers us the option and flexibility to use it as the main structural component for a variety of instances. As we know, this system can act as standard components such as a wall or canopy, creating a striking dynamic aesthetic on both sides of the frame. However, this frame also offers the potential to act as a structural floor slab by ensuring one side of the frame is flat whilst the other can continue to amaze with its stunning scale like pattern. This can also be done with other structural elements such as a set of seating or a flight of stairs through the extrusion of each row of modules higher then the last we can create a step like pattern on the top half of the frame ensuring all space within the building is used to its maximum capacity.

Structural Systems

Dynamic System .

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Structural Systems

Structural Systems

Floor System

Stair/Amphitheater System

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Components In order to construct this particular frame it requires a total of 1,540 steel frame modules. Once constructed into a cube it will then be clad on both sides, with 770, 1000x1000 concrete panels, this will result in a total of 385 modules making up the complete frame.

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Component Re-use Once the modules have come to the end of its life cycle for it’s intended use, it can then be disassembled and rebuilt as standard cladding for the facade of a building. For instance the 385 total modules used to create the original form will be able to construct a 13000x34000 standardised facade.

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1:10 Physical Prototype This prototype demonstrates how the concrete panels connect to the frame through the use of multiple stainless steel ‘L’ brackets.

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Physical Prototype 3d Print Scale 1:150

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Physical Prototype 3d Print Scale 1:150

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Ferrock Panels In order to further reduce my final design’s carbon footprint, I can implement the use of Ferrock, a carbon negative concrete alternative that utilises steel dust from the steel manufacturing process as a substitute for cement. This will be manufactured into the standardised panels which will be clad to the frame i have developed over the course of the semester. This will be done to showcase and demonstrate how alternative concretes can replace traditional cements within the construction industry, leading to more sustainable design outcomes that should be one of our main priorities of research when developing alternate construction materials.

8-11% Of Ferrock is made of C02

95% From recycled Material

Certified Energy (2017), Emerging Materials: Ferrock, 22 October 2022, https://www.certifiedenergy.com.au/emerging-materials/emerging-materials-ferrock

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Bespoke and expressive architecture is often seen as the pinnacle of modern design, resulting in buildings that aren’t just viewed as a place of shelter but rather a piece of livable art. However, through creating such fluid and organic concrete forms, we are often oblivious to the extraordinary amounts of temporary form work destined for landfill, in order to develop such structures.

In contrast to this, the architecture industry has also seen a rise in modular design for disassembly.

However, these designs often result in repetitive forms that are plagued with straight walls and sharp corners. Through developing a system capable of achieving bespoke architectural forms that utilises the core principles of modular design for disassembly through a set of standardised construction elements, we can achieve expressive design gestures and eliminate the need for the temporary form work that ends up in landfill, truly allowing us to do more with less.

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Reference

Reference

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Shooshtarian, S. et al. (2019) How to stop 20m tons of construction industry waste going to landfill each year, RMIT University. Available at: https://www.rmit.edu.au/news/all-news/2019/jul/construction-industry-waste-landfill (Accessed: November 8, 2022).

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