Commemorate|
Por tfolio of Researc h and Design Development of Kellyville and Rouse Hill Station
X i a ox i Tam my Tan 311027008 Che nyi Shan 420054232
Abstract|
Based on parametr ic design logic, this project explores the possibilities of architectural interpretation of Celtic Knot in parallel with many aspects of traditional architectural design process for a brief which calls for design of train stations. Celtic Knot, which embeds commemorative significance, is chosen as the theme of parametric study due to the strong relation of site histor y with Ir ish people in the past.
The experiments mainly consist of two par ts: Exper iment A explains the speculative process of translating the log ic behind Celtic Knot into architectural expressions in its contexts, while Experiment B looks into the structural scheme and buildability of the designed featuring component.
Contents|
Chapter 1 - Precedent Studies - Context and Site Analysis - Problem Statement
Chapter 2 - Literature Review - Research Method and Strategy
Chapter 3 - Exper iment A: Station Architecture - Exper iment B: Architectural Component Making
Chapter 4 - Proposed Design for Rouse Hill Station - Proposed Design for Kellyville Station
Chapter 5 - Conclusion - References - Bibliog rapy
Appendix - Appendix 1 - Appendix 2 - Appendix 3
C h apter 1 |
Precedent Studies|
Casa- Por t Rai lway S t a t i o n L ocation: Casablanca, Morocco A rea: 2500 m 2 A rc h itecture: A R EP Structure: UTECA / I NGECOB AT
Casa-Por t Railway Station is designed by AREP l o c a t e d i n C a s a bl a n c a , M o ro c c o.
The concour se holds all travel-related ser vices such as ticket offices, infor mation displays, reception, waiting area etc. It is separated into the stores, outlets and pray room by locating them in different levels, connected by vertical circulation. The ver tical circulations pass through a central floor ing opening and link the main concour se with the lower level, which allows skylight to pass through the opening to the g round floor.1
The parametr ic input of the design comes from the geometr y of the roof and the patter ns on the screen which car r y on the her itage of Moroccan palaces and public buildings while paying tr ibute to the moder nity of Casablanca.
Precedent Studies|
Suzhou Rai lway St a t i o n L ocation: Suzh ou, Ch ina A rea: 40000 m 2 A rc h itecture: Ch ina A rc h itectural Desig n a nd R esea r c h I nst i t ut e Structure: Ch ina A rc h itectural Design a nd R esea r c h I nst i t ut e
Suzhou Railway Station is designed by China A r c h i t e c t u r e D e s i g n & R e s e a r c h G ro u p, l o c a t e d i n Suzhou, China.
The main entrance of the station is located in the middle of the building after the security check. Main concour se and waiting area are on the upper floor while the platfor m is on the ground. The circulation is clear and easy for commuters to f o l l o w, p r e v e n t i n g p e o p l e i n d i f f e r e n t r h y t h m t o collide. The concour se ceiling height is more than 10 meters, all the retails, restaurants and shops are elevated 4 meter s above the g round so that the slow stream does not affect the f ast-flowing commuter s.
The parametr ic design concept takes influences from the lattice window in these traditional gardens, for which the City of Suzhou has gained its f ame. T h e c o l o u r u s e d i n t h e t r a i n s t a t i o n , w h i c h i s g r e y, white and brown, also represents the tradition of t h e c i t y.
Context and Site Analysis|
The Inn Culture
The two chosen stations, Kellyville and Rouse Hill stations, seat on the Old Windsor and Windsor Roads, which were the only r idding track between Hawkesbur y f ar ms and Par ramatt and have recorded histor y of over 200 year s. They are known among t h e o l d e s t r o a d s i n S y d n e y. 3
In response to minimising construction impacts to potential archaeolog ical sites and existing traffic, the 4km elevated skytr ian was developed between Bella Vista and Rouse Hill.4
Cluster of inns are preser ved as histor ical sites in the study area. Among them, the White Hart Inn and the Royal Oak Inn (now known as the Fiddler) were the most f amous ones on the road at the time. In h i s t o r y, t h e y w e r e s e r v e d a s s t a g i n g p o s t s f o r c o u c h r unner s, providing food and basic accommodation.5 Concerning the historical strategic function of this area, the design will read the station as a place not merely for people to pass by but also a place for p e o p l e t o s t a y. T h i s w i l l b e d i s c u s s e d f u r t h e r i n t h e proposed design in Chapter 4.
Hawk esbur y far ms
W indsor
R oyal Oak I nn I r ish Bar a ti o n
ou
e r m in a in T
R se
S k y tr
H ill St at io n
Wi nds or Rd T h e W h i t e H a r t I nn
Wi
nds
or
Rd
Old Wi nds or Rd Kel ly v ille Sta tion
Ca st le H i ll g o ver nment fa r m Sky trai ta n S
Pa r ra ma t t a
rt
Her itage item distr ibution
Context and Site Analysis|
Tr a f f i c
Wal king time
Context and Site Analysis|
Public spac es
Draina ge ha za rd
Context and Site Analysis|
Bush f ire hazard
Context and Site Analysis|
Memor i ali ze the I r i s h Pe o p l e As early as the Windsor and the Old Windsor Roads were built, Gover nor Phillip at the time circled an area of 14000 hectares cover ing much of the later parish of Castle Hill to be a stock farm for t h e c o l o n y. D u r i n g i t s s e r v i c e t i m e , n u m e r o u s I r i s h convicts were sent to here to work. 3 Some histor ians even suggest many histor ical sites we preser ve today in the area, including the roads and the White Har t Inn were initially built up by those Ir ish convicts. However, it is widely recognised that Ir ish people had concrete contr ibution to the earliest development of this area to moder n Australia, and it might also evident in the name of Kellyville w h i c h w a s n a m e d a f t e r H u g h K e l l y, a n I r i s h f o r m e r convict.3
Right next to the site of Rouse Hill station, stands a sculpture at Castlebrook memor ial park and a V i n e g a r H i l l M e m o r i a l L i b r a r y, c o m m e m o r a t i n g the sacrifice of Irish people in the uprising battle against the Br itish injustice. Their spir its for l i b e r t y, f r e e d o m a n d j u s t i c e s t a y i n s p i r i n g f o r modern Australia.6
The symbols for celebration of the Irish spirits were also found in the decoration of a local Ir ish bar in the Fiddler, a recent redevelopment of the Royal Oak Inn. The repetitive patter n denoting Ir ish wish for immor tality found on site g ives a star ting point of dig ital research in the proposition of commemorating the significant contribution of Ir ish people to the earliest development of the local area. How this concept has been developed into a scheme and led to the proposed design will be discussed in Chapter 3 and 4.
V i neg a r H i ll Memo r i a l L i b ra r y
Battle of V inegar Hill Memor ial
Castlebrook memorial p ark
Ca st le H i ll g o ver nment fa r m
Pa r ra ma t t a
Problem Statement|
Parametr ic precedents the skin or of
application in many ending up merely to one feature element the building.
On one hand, this project tends to challenge this limitation and develop one parametr ic schema from the logic behind Celtic knot that could be used in more aspects of the design s i m u l t a n e o u s l y, f r o m s m a l l t o large scale considerations, from architectural elements to spatial planning, and even to str uctural possibilities.
On the other hand, how the proposed station designs would evoke the interconnectedness and continuity feelings in the proposition of commemoration, and meanwhile functionally not only act as stations but also preser ve the inn atmosphere for the local area will be the key focus of the design.
Hawk esbur y fa r ms
W i nd so r
R oyal Oa k I nn I r ish B a r a ti o n
ou
V i neg a r H i ll Memo r i a l L i b ra r y
se
e r m in a in T
R
S k y tr
H ill St at io n
Battle of V inegar Hill Memor ial
Cast leb r o o k memo r i a l p a r k
Wi nds or Rd T h e W h i t e H a r t I nn
Wi
nds
or
Rd
Old Wi nds or Rd Kel ly v ille Sta tion
Ca st le H i ll g o ve r n m e n t far m Sky trai tart n S
Pa r ra m at t a
C h apter 2 |
Literature Review|
Celtic knot, taking its shape as unending loops reflects the belief of eter nity in Ir ish culture. its spiritual meaning coincides with the aim of the project in memor izing the Ir ish people for their sacr ifice and contr ibution to the local area.
This art form in Ireland has a long history that could be dated back to late 6th century in monaster ies in Iona where a number of manuscr ipts were found wr itten in a developed style of or namentation. The book of Kells is known as the pinnacle of illustrations of this type.7
T i l l n o w, t h e C e l t i c k n o t h a s b e e n a l r e a d y w i d e l y expressed the in form of orWWnaments and accessories in daily life: 2D pattern decorations can be found printed on clothes, on tiles; 3D accessor ies are also commonly seen, such as in wave p a t t e r n f o r s w e a t e r s , i n j e w e l l e r y. T h o s e i n s p i r a t i o n s have also influenced many sculptures. Although architectural expressions in Celtic knot is rare, it is still promised that the research can star t with following previous approaches in other fields.
Details in th e Ch i R h o monogram from Th e B o o k o f K ells. 8
Literature Review|
Celtic Knot has been favoured by groups of mathematicians and computer scientists over a long per iod. At the beg inning of this research project, several approaches to produce Celtic knot has b e e n s t u d i e d a n d c o m p a r e d . G e n e r a l l y, t h e r e a r e two types of methods: one type is based on a g r id system, the other is based on a tile system.
P e t e r C r o m w e l l ’s “ R a y Tr a c i n g T h e o r y ” o n 2 D Celtic patter n is the most intuitive illustration of the for mer type. He argues that Celtic knot can be explained in a ray tracing manner in a gr id coordinate that a ray hits a ser ies of boundar ies and reflects until it goes back to its or ig in.9 Meanwhile, A n d y S l o s s ’s “ T i l e T h e o r y ” i s t h e m o s t e x p l a i n e d among the later type. He suggested Celtic knot can be drawn by matching a basic set of tile patter ns. Each tile descr ibes how a basic line type enter s and l e a v e s t h e t i l e c o r n e r s . 10
These two theor ies lay the foundation for many computational design methods, and they have also provided technical backg round for this project. How these two theor ies have guided the research exper iments will be explained in more details in Chapter 3.
Diagram of P eter Cromwell’s meth o d ex p la i ned i n t h e a r t i c le o f Celt i c k no t wo r k : ma t h ema t i c a l a r t 9
Typical Celtic k not d rawn by tile met h o d
Research Method and Strategy|
The research will firstly analyse adjustable parameters that control the making of Celtic P a t t e r n s f r o m 2 D t o 3 D.
The iterative 2D analysis will be car r ied out next in the specific architectural context with the rules f o u n d i n t h e m a k i n g o f C e l t i c k n o t b a s e d o n Pe t e r C r o m w e l l ’s “ R a y Tr a c i n g T h e o r y ” a n d A n d y S l o s s ’s “Tile Theory”. In this step context information such as street boundar ies, inter nal space divisions, the flow of people will be taken into account and inter preted with the developed schema.
After that, iterative 3D analysis will be tr ied out with the physical parametr ic for m-finding model first to discuss potential spatial relationships. In t h i s s t e p, t h e t r e n d o f f o r m , ve r t i c a l a n d h o r i z o n t a l c i r c u l a t i o n w i l l b e e x a m e d . Ta k i n g i n s p i r a t i o n s from the physical parametr ic conceptual model, digital model will be made with the principles kept from the same schema to finalize positions of each prog ram, circulation integ ration and detailing featuring component.
F i n a l l y, t h e b u i l d a b i l i t y o f t h e r e s u l t a n t c o m p o n e n t design will be tested with physical prototype making, followed by obser ving potentials of the resultant component design in helping to enhance t h e s p a t i a l q u a l i t y. The final selected design from the iterations will be a result of the best fit with specific site context and development needs. More details will be in chapter 3.
C h apter 3 |
Exper iment A: Station Architecture|
R ul e 1
Rule 1 to Rule 5 experimented P e t e r C r o m w e l l ’s “ R a y Tr a c i n g Theory” on 2D Celtic pattern.
Set
up
a boundary surface
R ul e 2
Divide the boundar y
Rul e 3
Start from the second point from the top left, count the number of divisions to the r ight in the line. Link the point with the corresponding point with the same number of divisions to the top in the neighbouring line
Rul e 4
Reflect at the boundary till meeting the next boundary
Rule 5
Stop reflecting when a loop is achieved. Jump one point r ightward as a new start and repeat Rule 3, if the new start is still within the b o u n d a r y, o t h e r w i s e fully stop
n 1 =2 a , a =2
n 1 = 2a, a=1 n 2 =2 b, b =2
n 2 = 2b, b=2 A-2X1
A-2X2
One loop
Tw o l o o ps
Exper iment A: Station Architecture|
If a equals to 1, or b is not an integral multiple of a, the shape can be made by one continuous loop
Recur s io n Law 2
Full testing process of the matr ix is attached in Appendix 1.
R ecur s i on Law 1
Due to the algor ithm nature of pattern itself, after a matrix of boundar ies with certain divisions was tested, Recursion Laws related to the number of loops were found.
If a does not equal to 1, and b is an integral multiple of a, the shape has to be made by at least a number of loops
A-2X1
A - 3X 1
A-4X1
A - 3X2
A-2X2
A-5X1
A-5X1
A -6 X2
A-4X2
A-4X3
A - 3X3
A -6 X1
A-5X3
A-6 X3
Exper iment A: Station Architecture|
R ul e 6
Rule 6 to Rule 9 guide the 3D exploration of the 2D pattern.
Select a weave patter n that will not intrude the continuity
Rule 6, in par ticular, discusses different interlaced weave p a t t e r n s i n 3 D.
1
3
8
10 11
12 13 14
A-3X2
U D
U D
U D U
D U
D U
D U D
B-3X2-1
U U
U D
D U D
D U
U U
D D D
B-3X2-2
D U
U D
U D D
U D
D U
D U U
B-3X2-3
U U
D D
U U D
D D
D U
U D U
B-3X2-4
U U
U U
U U D
D D
D D
D D U
B-3X2-5
U U
D D
D D D
D D
U U
U U U
B-3X2-6
U U
D U
U U D
D U
D D
U D D
B-3X2-7
U D
D D
U D U
D D
D U
U U U
B-3X2-8
U U
U D
D D D
D U
U U
D U D
2
4
5
6
7
9
U - Up D - Down
A-3X2
B- 3X 2- 1
B-3X2-2
B-3X2-3
B-3 X2 -4
B-3X2-6
B-3X2-7
B-3 X2 -8
1/8
9/14
2/7 B- 3X 2-5 6/13
5/10
3/1 2
4/11
Exper iment A: Station Architecture|
R ul e 7
Rule 6 to Rule 9 guide the 3D exploration of the 2D pattern.
Adjust height at each point of intersection to a desirable level
Rule 7, in par ticular, discusses the adjustable height of each ver tex point.
1
3
7
8
9
10 11
12 13 14
A-3X2
-2 2
-2 2
-2 2
-2
2
-2
2
-2
2
-2 2
C- 3 X 2 - 1
-2 2
-2 5
-2 7
-2
9
-2
2
-2
2
-2 2
C- 3 X 2 - 2
-2 9
-2 5
-2 7
-2
9
-2
5
-2
7
-2 7
C- 3 X 2 - 3
-2 2
-2 5
-2 7
-2
9
-2
2
-2
5
-2 5
C- 3 X 2 - 4
-2 2
-2 5
-2 9
-2
5
-2
2
-2
2
-2 2
C- 3 X 2 - 5
-2 5
-2 5
-2 9
-2
5
-2
5
-2
5
-2 5
C- 3 X 2 - 6
-2 2
-2 9
-2 5
-2
9
-2
2
-2
2
-2 2
C- 3 X 2 - 7
-2 2*9 -2 9
-2 5
-2
9
-2*9 2
-2
2
-2 2
C- 3 X 2 - 8
-2 2*9 -2 9
-2 5
-2
9
-2*9 2
-2
7
-2 7
2
4
5
6
* - A n a dd i t i o n al po in t
A-3X2
C- 3X2- 1
C- 3 X 2 - 2
C- 3 X 2 - 3
C -3 X2 -4
C- 3 X 2 - 6
C- 3 X 2 - 7
C -3 X2 -8
1/8
9/14
2/7 C- 3X2- 5 6/13
5/10
3/1 2
4/11
Exper iment A: Station Architecture|
Rule 8, in par ticular, discusses the effect of divergent sectional shapes.
R ul e 8
Rule 6 to Rule 9 guide the 3D exploration of the 2D pattern.
Determine a section shape
A-3X2
D- 3X 2- 1
D- 3X 2 - 5
D-3X2-2
D-3X2-3
D -3 X2 -4
D-3X2-6
D-3X2-7
D -3 X2 -8
Exper iment A: Station Architecture|
R ul e 9
Rule 6 to Rule 9 guide the 3D exploration of the 2D pattern.
Deform the boundary surface when necessary
Rule 9, in par ticular, discusses the deformability of the boundary surf ace.
Partial to the exper iment, some results discovered dur ing the exploration from Rule 6 to Rule 9 were sent to powder pr int to visualize the physical existence. Images of the powder pr int together with GH exploration with the rules are attached in Appendix 2.
A-3X2
Or i g i na l fo r m
E-3X2
S c a le t h e b o und a r y sur fa c e i n o ne d i mensi o n
EE-3X2-1
S t r et c h o ne b o und a r y ed g e i n p la ne
EE-3X2-2
D ra g c o r ner p o i nt i n p la ne
EE-3X2-3
Ch a ng e b o und a r y ed g e fr o m li nea r t o c ur ve
EE-3X2-4
P ull c o r ner p o i nt o ut o f p la ne
EE-3X2-5
S i ng le- c ur ved b o und a r y sur fa c e
EE-3X2-6
D o uble- c ur ved b o und a r y sur fa c e
EE-3X2-7
D o uble- c ur ved b o und a r y sur fa c e
A-3X2
E- 3X 2
E- 3X 2-4
E-3X2-1
E-3X2-2
E -3 X2 -3
E-3X2-5
E-3X2-6
E -3 X2 -7
Exper iment A: Station Architecture|
H o w e v e r , f o l l o w i n g A n d y S l o s s ’s “Tile Theor y”, all the der ivative p a t t e r n s f r o m P e t e r C r o m w e l l ’s “ R a y Tr a c i n g T h e o r y ” a b o v e a n d even the patter ns with nested or merged boundary conditions were found to be made of 7 standard types of tiles. A null tile is added as an alter native type p r a c t i c a b i l i t y.
R ul e Ex tensi ons
When boundaries are nested or merged, the pattern can be difficult to visualize.
When boundaries are nested or merged, p i x c e l i z e t h e 2 D pattern into 7 types of standard tiles and a null tile.
A-3X2
F - 3X2- 1
F - 3X2- 2
F - 3X2- 3
F - 3X2+3X 1
Exper iment A: Station Architecture|
A n d y S l o s s ’s “ T i l e T h e o r y ” h e l p s i n d r a w i n g the pattern in complex conditions, which benefits the translation of the schema into architectural contexts. The boundary conditions can be read as streets, internal divisions, and patter n line can be read as the flow of circulation, the trend of for m, and the tile is especially helpful in measuring the scale by g iving a unit coordinate. Thus, site conditions, prog rams and spatial organization can be discussed in different scales in many iterative designs for each station.
Moving on from the 2D analysis, the intuitive for m finding process is explored fur ther with a puzzle system to discuss the 3D relationship between spaces.
B oundar y C el ti c Pa tter n R o use H i ll D esi g n 1 Tile
B us Zone
Wa i ti ng Zone
C o ncours e Zone
C a r Acces s
Trai n Street
Exper iment A: Station Architecture|
Boundary C e l ti c Pa t ter n R o use H i ll D esi g n 2 Ti l e
B u s Z one
Wa i t i n g Z o ne
C o n c o u r s e Z one
C a r A c c es s
Trai n S t r eet
R ouse Hill Design 3
Exper iment A: Station Architecture|
Boundary C e l ti c Pa t ter n R ouse Hill D esi g n 4 Ti l e
B u s Z one
Wa i t i n g Z o ne
C o n c o u r s e Z one
C a r A c c es s
Trai n S t r eet
R ouse Hill D esi g n 5
Exper iment A: Station Architecture|
Boundary C e l ti c Pa t ter n R o use H i ll D esi g n 6 Ti l e
B u s Z one
Wa i t i n g Z o ne
C o n c o u r s e Z one
C a r A c c es s
Trai n S t r eet
R ous e H i ll D esi g n 7
Exper iment A: Station Architecture|
Boundary C e l ti c Pa t ter n R ouse H i ll D esi g n 8 Ti l e
B u s Z one
Wa i t i n g Z o ne
C o n c o u r s e Z one
C a r A c c es s
Trai n S t r eet
R ouse Hill Design 9
Exper iment A: Station Architecture|
Boundary C e l ti c Pa t ter n R ouse H i ll D esi g n 1 0 - S elec t ed Ti l e
B u s Z one
Wa i t i n g Z o ne
C o n c o u r s e Z one
C a r A c c es s
Trai n S t r eet
The selected design for Rouse Hill is chosen for its best connectivity to the existing shopping centre, while in Kellyville's situation, where there are no existing sur rounding buildings in the near precinct, the chosen design is selected for its best efficiency in organizing spaces, and its ability in redefining street block edges.
Some early sketches discussing this evaluation process is also attached in Appendix 3.
Exper iment A: Station Architecture|
Boundary C e l ti c Pa t ter n K elly v i lle D esi g n 1 Ti l e
B u s Z one
Wa i t i n g Z o ne
C o n c o u r s e Z one
C a r A c c es s
Trai n S t r eet
K elly v i lle D esi g n 2
Exper iment A: Station Architecture|
Boundary C e l ti c Pa t ter n K elly v i lle D esi g n 3 Ti l e
B u s Z one
Wa i t i n g Z o ne
C o n c o u r s e Z one
C a r A c c es s
Trai n S t r eet
K elly v i lle D esi g n 4
Exper iment A: Station Architecture|
Boundary C e l ti c Pa t ter n K ellyvi lle D esi g n 5 Ti l e
B u s Z one
Wa i t i n g Z o ne
C o n c o u r s e Z one
C a r A c c es s
Trai n S t r eet
K ellyville D esi g n 6
Exper iment A: Station Architecture|
Boundary C e l ti c Pa t ter n K elly v i lle D esi g n 7 Ti l e
B u s Z one
Wa i t i n g Z o ne
C o n c o u r s e Z one
C a r A c c es s
Trai n S t r eet
K elly v i lle D esi g n 8
Exper iment A: Station Architecture|
Boundary C e l ti c Pa t ter n K elly v i lle D esi g n 9 Ti l e
B u s Z one
Wa i t i n g Z o ne
C o n c o u r s e Z one
C a r A c c es s
Trai n S t r eet
K elly ville D esi g n 1 0 - S elec t ed
Exper iment A: Station Architecture|
In the same manner, each par t of the building can be expressed with direct influences taking from the schema. The example shows the evolving process of prog ram spaces, hor izontal and vertical circulation, and featuring component in the chosen design for Kellyville station.
G r o und flo o r semi - o p en p ubli c sp a c e
Exper iment A: Station Architecture|
L evel 1 / Co nc o ur se level
Co nc o ur se level c i r c ula t i o n / i nt er na l d i v i si o n
Exper iment A: Station Architecture|
Ver t i c a l c i r c ula t i o n
L evel 2
Exper iment A: Station Architecture|
L evel 2 c i r c ula t i o n / i nt er na l d i v i si o n
Roof
Exper iment A: Station Architecture|
Ro o f a c c esso r y / c o mp o nent
G r o und flo o r ex t ensi o n ser v i c es a r ea
Exper iment B: Architectural Component Making|
The chosen component is the hang ing roof d e c o r a t i o n d e v e l o p e d f r o m t h e s c h e m . Wo o d is chosen to be the material for its light weight. As the design and construction require, the wooden pieces would be bent in at least two directions. The study focuses on wood bending techniques to g ive a general idea on how the real constr uction could be carried out.
The study started on cutting different patterns on the same type of timber material, which is the plywood, with different densities and material thickness. The experiment tested four different possibilities and results were compared. It was found that denser the pattern is and the thinner the material is , the easier the timber piece would be able to bend. However, the fir st three patter ns only g ive the timber piece one deg rees of freedom to bend, while the last zippered patter n not only g ives the best results for the commonly shared deg ree of freedom but also offer s two more degrees of freedom for bending, which makes it more desirable than the fir st three. Therefore, fur ther study was car r ied out on this pattern.
3m m plyw ood nor mal p atter n d ensity
3 mm p ly wo o d lo wer p a t t er n d ensi t y
6 mm p ly wo o d no r ma l p a t t er n de n s it y
Exper iment B: Architectural Component Making|
A 1 to 200 model for the design of Kellyville was built using the technique found in this experiment to test the flexibility in bending and intergration of the system.
Des i gn of Kelly ville station – 1: 200 view from rear street
Exper iment B: Architectural Component Making|
Des i gn of Kel lyvi l l e s tation – 1: 200 view from main street - Old W ind so r R d
Exper iment B: Architectural Component Making|
The 1:200 model also illustrates the possibility of the technique found in this experiment in the making of other building elements apart from the roof hangs, such as walls and ramps.
Des i gn of Kel lyville station – 1: 200 view from main entranc e
Exper iment B: Architectural Component Making|
Exper iment B: Architectural Component Making|
I n t h e re a l c o n s t r u c t i o n s c e n a r i o, t h e t i m b e r pieces will not be cut by laser cutting machines due to the scale, nor CNC milling due to the high expense. Instead, the timber studs will be joined by screws at the top and bottom one by one. By doing the prototype of a section, it was found that the 1:2 model exhibits a similar behaviour to the smallscale laser cutting piece.
The tr ick is to keep the connection between timber studs semi-fixed, which allows the timber to bend rather than to rotate in a pinned connection so that the timber studs are still integrated – when one stud b e n d s , t h e o t h e r s w o u l d f o l l o w. K e e p i n g the connection semi-fixed also reduces the r ig idity of fixed connection so that the stud could still rotate a little while bending to make most of the elasticity of timber.
Exper iment B: Architectural Component Making|
The result g ives sur pr ising lighting effect which in tur n helps to enr ich the architecture. Major Steps of the component making involve: -Preparation of mater ial: Screws, nut caps, timber studs and a steel rod. -Dr ill two holes on the both end of each timber stud for screws and a hole in middle of them for the steel rod. -Fix the top and end of the timber stud by screws one by one -Str ing the timber studs by the steel rod and bend the steel rod in place into a desired shape. -Use nut caps to hold the studs in position to create the desired cur ved shape, which has cur vature in two directions.
C h apter 4 |
Proposed Design for Rouse Hill Station|
Apart from the application of the schema, being part of the town centre, the design of Rouse Hill station aims to provide connection to the existing shopping centre and address additional attention of the public to the memor ial park across the street.
Des i gn of R ouse Hill station - Pesp ective
Proposed Design for Rouse Hill Station|
The two stations share similar interior design quality inherited from the schema, which further intensifies the continuous senses from the exter ior, framing the s k y l i g h t a n d v i e w.
D esi g n o f R o use H i ll st a t i o n - I nt er i o r - C o n c o u r s e
De s i gn of Rous e Hi l l s tation - Semi- outd oor site viewing cafe area
On the elevated concour se level, there is a semi-outdoor site viewing cafe area for today's viewers, honour ing the past sacrifices.
Proposed Design for Rouse Hill Station|
Des i gn of Rous e Hill station - West Elecvation - 1:500
Proposed Design for Rouse Hill Station|
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Des i gn of R ouse Hill station - Circulation Plan - 1:10 0 0
Rous e Hi l l Ex pl od ed A xo 1: 500
L egend 1. B us S top 2. Ex i s ti ng O rganic F ood Mark et 3. Lands capi ng f or "Moder n I nn" Future Devel op ments 4. Li f t ( C oncour se/ Street) 5. Es ca l ator 6. Pl a tf or m s 7. C of f ee Lounge 8. S em i -outdoor Site V iewing Cafe 9. M ai n C oncour se 10. Tol i ets 11. S ta f f O f f i ce 12. Inf or m ati on Center / Tic k et C enter
16.
13. Wai ti ng Area 14. Event Venue 15. Hi s tor y G a l ler y 16. T i m ber Roof Overh ang
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Proposed Design for Kellyville Station|
Apart from the application of the schema, as there are nearly no existing developments for the site of Kellyville, the design of Kellyville station aims to revitalization the local inn c u l t u r e i n h i s t o r y.
Des i gn of Kel lyvi l l e station – Pesp ective view from main street - Old W indsor R d
Proposed Design for Kellyville Station|
Des i gn of Kel lyv i l le station – P espective view from rear street
Proposed Design for Kellyville Station|
Des i gn of K elly ville station - West Elecvation - 1:500
Proposed Design for Kellyville Station|
Street block edges are redefined so that passengers taking buses to the station will get access from the main street, passenger s dr iving pr ivate car s to the station will be directed to the rear street.
D esi g n o f K elly v i lle st a t i o n – Ma i n ent ra nc e
De s i gn of Kel lyv i l l e s ta ti on – Ground floor landscap ing area for "moder n i nn" fut ur e d evelo p ment s
The station is elevated, so ground floor landscaping area is preser ved for the public, serving as staging posts for passenger s to have a rest, chat and some fresh food when future retail developments are settled.
Proposed Design for Kellyville Station|
Des i gn of K ellyville station – Section A - 1:500
Proposed Design for Kellyville Station| A
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Proposed Design for Kellyville Station|
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Des i gn of Kellyville station - Second Fl oo r Plan - 1: 1000
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kel lyvi l l e Ex pl od ed A xo 1: 500
Legend 1. B us S top 2. Drop O f f / Pi c k Up 3. Li f t ( C oncour se/ Street) 4. C ar Park 18.
5. Lands capi ng f or "Moder n I nn" Future Devel op ments 6. Pl a tf or m s 7. C oncours e 8. Inf or m ati on Center / Tic k et C enter 9. C ontrol Room 10. Wai ti ng Area 11. Inter na l Li f ts 12. S ta f f O f f i ce 13. Es ca l ator 14. Tol i ets 15. C af e 16. S em i -outdoor Dec k ing A rea
15.
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C h apter 5 |
Conclusion|
Precedent studies reveal that parametr ic design tends to be merely a skin generator, which has become one of the main drawbacks of parametr ic design. After a close analysis of the local context, Celtic knot is chosen to be the theme of parametric study to commemorate the contribution of Irish people to the local histor y and development. Literature review shows previous studies were done mostly in other fields other than architecture. However, they have provided sufficient exper ience and theor y to develop one architectural schema.
This project demonstrates a new way of reading and interpreting architectural contexts, such as street boundar ies, circulation and inter nal spatial divisions, by rule-based design taking the logic from Celtic knot. The outcome aims to remind people of the interconnectedness and unending feelings, which means eternity for Irish people in the proposition of memor izing them. With the schema, function prog rams can also be discussed in scale by the unit coordinate system embedded. G e n e r a l l y, t h e s c h e m a h a s s h o w n p r o m i s i n g a b i l i t y in generating iterative preliminar y designs for architectural inspirations.
In contrast to the precedent studies, the schema developed in this project has been applied to m a n y a s p e c t s o f t h e d e s i g n s i m u l t a n e o u s l y, f r o m large-scale planning considerations to small-scale component design. The making of the component, in par ticular, discusses a special way of building cur ved timber surf aces according to str uctural proper ties, and which in tur n g ives sur pr ising lighting results to enhance the architectural exper ience as a bonus.
References 1 . A r c h D a i l y. C a s a - P o r t R a i l w a y S t a t i o n / A R E P. R e t r i e v e d o n 1 5 t h o f M a r c h 2 0 1 8 a t h t t p s : / / w w w. a r c h d a i l y. c o m / 7 6 9 0 0 1 / c a s a - p o r t - r a i l w a y s t a t i o n - a r e p. 2. China Architectural Design and Research Institute. Suzhou Railway Station reconstr uction project. Retr ieved on 19th of March 2018 at http://en.cadreg.com/works/content.asp?workclass=1&worksubject= 14&id=442. 3 . N o r t h We s t R a i l L i n k P r o j e c t – K e l l y v i l l e S t a t i o n P r e c i n c t – E u ro p e a n H e r i t a g e A s s e s s m e n t . P re p a re d by Ave r o n b e h a l f o f T K D Architects in August 2015. 4 . S y d n ey M e t ro. A b o u t s ky t ra i n . R e t r i eve d o n 1 0 t h o f M a rc h 2 0 1 8 a t h t t p s : / / w w w. s y d n e y m e t r o . i n f o / n o r t h w e s t / s k y t r a i n . 5 . S y d n ey M e t ro. H i dd e n H e a r t : W h i t e H a r t I n n b r o c h u r e. R e t r i eve d o n 1 0 t h o f M a r c h 2 0 1 8 a t h t t p s : / / w w w. s y d n e y m e t r o . i n f o / s i t e s / d e f a u l t / files/White%20Hart%20Inn%20September%202016.pdf. 6. National Museum Australia. Castle Hill Rebellion. Retr ieved on 1 7 t h o f M a r c h 2 0 1 8 a t h t t p : / / w w w. n m a . g o v. a u / o n l i n e _ f e a t u r e s / defining_moments/featured/castle_hill_rebellion. 7 . T h e L i b r a r y o f Tr i n i t y C o l l e g e D u b l i n . T h e B o o k o f K e l l s . R e t r i e v e d o n 1 9 t h o f A p r i l 2 0 1 8 a t h t t p s : / / w w w. t c d . i e / l i b r a r y / m a n u s c r i p t s / book-of-kells.php 8 . F a c s i m i l e F i n d e r . B o o k o f K e l l s. R e t r i e v e d o n 1 9 t h o f A p r i l 2 0 1 8 a t h t t p s : / / w w w. f a c s i m i l e f i n d e r . c o m / f a c s i m i l e s / b o o k - o f - k e l l s - f a c s i m i l e 9. Cromwell, PR. 1993. Celtic knotwork: mathematical ar t. Math Intelligencer, 15(1): 36–47.
10. Sloss, A. (1995). Celtic Knotwork – a practical handbook. Bath: Bath Press.
Bibl i og raphy B r o w n , P. 2 0 1 5 . A m a z i n g Wo o d B e n d i n g Te c h n i q u e ! R e t r i e v e d o n 1 5 t h o f M a y 2 0 1 8 a t h t t p : / / w w w. i n s t r u c t a b l e s . c o m / i d / A m a z i n g - Wo o d B e n d i n g - Te c h n i q u e / . Cromwell, PR. 2004. Knots and Links. Cambr idge: Cambr idge Univer sity Press. Cromwell, PR. 2008. The distr ibution of knot types in Celtic interlaced ornament. Journal of Mathematics and the Arts, 2(2), 61-68. K i n s e y, L . a n d M o o r e , T. 2 0 0 2 . S y m m e t r y, s h a p e , a n d s p a c e . N e w Yo r k : Key C o l l e g e P u b. R o b e r t , A . a n d Wo o d b u r y, R . 2 0 0 5 . M u l t i - l e v e l i n t e r a c t i o n i n P a r a m e t r i c D e s i g n . S i m o n F r a s e r U n i v e r s i t y, S c h o o l o f I n t e r a c t i v e A r t s a n d Te c h n o l o g y. Ross,J. 2001. Railway Stations, Planning, Design and Management Oxford: Architectural Press. S t i n y, G . 1 9 8 0 . K i n d e r g a r t e n g r a m m a r s : d e s i g n i n g w i t h F r o e b e l ’s building gifts. Centre for Configurational Studies, The Open U n i v e r s i t y, M i l t o n K e y n e s M K 7 6 A A , E n g l a n d . Wa s h b u r n , D K a n d C r o w e , D W. 1 9 8 7 . S y m m e t r i e s o f C u l t u r e : T h e o r y and Practice of Plane Patter n Analysis. Seattle: University of Wa s h i n g t o n P r e s s . Wa s s i m , J . 2 0 1 3 . P a r a m e t r i c D e s i g n f o r A r c h i t e c t u r e . L o n d o n : Laurence King.