Kecen Guo__Folio by KECEN Guo

KECEN GUO

PORTFOLIO

WORK AT AKTIS RESIDENCE RENOVATION: 1104 - Steve the plumber - Cecil Street FITZROY

PROPOSED EXTENSION OF BRICK WALL

'RHEINZINK' CLADDING OR SIMILARLY APPROVED MATERIAL

EXISTING ROOF & EXISTING CEILING HEIGHT

RL1

600

RL2

2700

BATHROOM

160

800

Job No.

15/5/14

1104/2 CD

100 1300

STUDY

BEDROOM 3

W15 over

D07

Drg No.

600

300

P4 P7

570

EXHAUST

title boundary

GLASS ON ROOF

W11

5000

1140 100

CECIL STREET

400

C4+ RC6 over

4650

6820

2920

W10

Rev No.

100

BATHROOM

RC5 over

Stage

title boundary

W12

4430

5295

Checked

2830

4400

3690

4360

Drawn

W13

VOID

WIR W8

960

1:100 @ A3

aktis pty ltd

EXISTING ROOF

Date

TM01

W07

Steve Percy

Scale

TM01

W06

RC4 over

Proposed Sections 01 Client

D08

W05 RC3 over

110

title boundary

W14

RC1 over

level 3, 105 victoria street, fitzroy 3065 po box 85, clifton hill 3068 tel: (O3) 9417 5354 fax: (O3) 9417 5594 email: aktis.pl@gmail.com

North

Drawing Title

570 100

title boundary

9530 Project

71 Cecil Street, Fitzroy 3065

This document is copyright. No part of this document may be reproduced, stored in a retrieval system, or transmitted in any form or by any means without prior authorization by Aktis pty Ltd.

RC2 over

300

9595 Copy right

310

A 600

Section B

02 -

CANTILEVERING GUTTER

C 601

D 601

Existing floor

Drawn Amendments

Date

PROPOSED ROOF TO GROUND FLOOR

LIVING / KITCHEN

5295

Rev

Proposed concrete floor

260

6605

Drawn Amendments

6820

6520

B 600

Section A

135

Date

300 300 220

220

RAKED CANOPY / ROOF

270

Rev

BEDROOM 1

BEDROOM 2

2700

B13

BATH ROOM

LIVING / KITCHEN

FFL (proposed grd floor)

STORAGE

300

3150 EX CEILING

1100 B1

FCL

BEDROOM 3

1345

1650

FFL (1st storey)

1150

CB2 CB1

2700

750

RL3

535

EXISTING FENCE

4750 4750

9000 AVERAGE

2147

3505

18560

2255

Finishes Schedule : CO01

Polished Concrete

TM01

18 mm Thick KDHW on 18 mm Thick Particle Board

D0x

Door Tag

W0x

Window Tag

Before

24325

FITZROY STREET 810 01

Rev

Date

1 2

22/05/14 LW 27/05/14 EM

Drawn Amendments DOORS AND WINDOW TAGS AMENDED D07 AMENDED

Rev

Date

808 01

Drawn Amendments

802 02

Project

Copy right This document is copyright. No part of this document may be reproduced, stored in a retrieval system, or transmitted in any form or by any means without prior authorization by Aktis pty Ltd.

North

71 Cecil Street, Fitzroy 3065 Drawing Title

Proposed First Floor Plan Client

Steve Percy

Scale

1:100 @ A3

Date

Drawn

Checked

Job No.

15/5/14

1104/2 CD

Stage

Drg No.

301

Rev No.

level 3, 105 victoria street, fitzroy 3065 po box 85, clifton hill 3068 tel: (O3) 9417 5354 fax: (O3) 9417 5594 email: aktis.pl@gmail.com

aktis pty ltd

BOUNDARY

RESIDENCE RENOVATION: 1203 - 57 St Andrews St, BRIGHTON

FCL: +2.60

EXPOSED BRICK

STEEL PANEL GATES NATURAL FINISH MT03

BOUNDARY

1000

500 500 500

FCL: +3.60

TM01

BOUNDARY

STEEL PANEL INFILL NATURAL FINISH MT03 1360 SETBACK

RL: +4.10

RL +3.00

W04 TM01 MT02

MT02

2500

MT02

MT01 CFC01 PT05

D07

FFL: +0.00

1540

NGL: +0.60

FGL -0.18 NGL: -0.30

West Elevation

Front Fence Elevation

BOUNDARY

STEEL ANGLE STEEL PANEL

MT02

EXISTING FACADE TO BE RETAINED

550

1360

RL: +4.10 TM01

RWH

Section

MT01

Elevation

CFC01 PT05

STEEL PANELS AT ALTERNATING ANGLES AT 50mm INTERVALS NATURAL PATTERN 50

2640

4100

FCL: +3.00 RL +2.64

FFL: +0.00

Plan NEW 1.7m BRICK & STEEL FENCE & GATES DASHED IN FRONT

02 -

Front fence detail Scale 1:5

East Elevation

FOR CONSTRUCTION Date

Drawn

12/06/14 09/09/14 09/10/14

Rev

Amendments

LW LW LW

FOR TENDER 2715 FOR CONSTRUCTION OPERATION OF EXISTING WINDOWS INDICATED

Date

Amendments

Project

8375 150

Copy right

2290 110

5940 940

3000

740

110

2065

800 110 875 110

110

2290

2385 SAW CUT JOINTS @ 1000MM. REF. STRUCT DOCS

ROOF ABOVE

UPPER ROOF ABOVE

BBQ GAS POINT

A 600

BULKHEAD ABOVE

level 3, 105 victoria street, fitzroy 3065 po box 85, clifton hill 3068 tel: (O3) 9417 5354 fax: (O3) 9417 5594 email: aktis.pl@gmail.com

North

57 St. Andrews Street, Brighton

This document is copyright. No part of this document may be reproduced, stored in a retrieval system, or transmitted in any form or by any means without prior authorization by Aktis pty Ltd.

Drawing Title

Proposed East & West Elevations

Scale

Date

1:100 @ A3

HEBEL POWERPANEL XL FRL 180/180/180

aktis pty ltd

Client

Christine & Simon Golding Drawn

Checked

FEB/14

Job No.

1203

Stage

Drg No.

Rev No.

500

FFL +0.00

WIR

110 110 400 1155 850

BEDROOM 1 (EXISTING)

ENTRY

785

D04

1500

BOUNDARY WALLS TO BE RETAINED

PARTY WALL TO BE RETAINED BULKHEAD ABOVE

A 600

150

NON COMBUSTIBLE SKYLIGHT ABOVE

150

2620 5590

150 640

BEDROOM 2 (EXISTING)

D05

110

FLR01

MASTER BEDROOM (EXISTING)

FLR01

DINING

1070

865

705

2520

150

2510

150

1880 5565

110

100

6806

27 1403 2560

01 801

FLR01

2715

INTERCOM

230

LIVING

4000

PAVING C 601 B 600

CC1

110

FFL +0.00

FGL -0.30

FFL +0.00

EXISTING RECESSED POWER METER

8175

3905

800 7835 6255

D07

CARPORT

PORCH (EXISTING)

OUTDOOR LIVING

D 601

GAS METER

D06

TL01

ENSUITE

01 804

TL01

CUPBOARD RE P.C

BOOK SHELVES

W01 DS

2° D02

BATHRM

990

TL01

COURTYARD

D01

LAUNDRY

D03

FLR01

225

1200

KITCHEN

FLR01

CC1

2380

D 601

CC1

SWB RECESSED INTO WALL

C 601 B 600

HWS

1390

C4 C2

1500

300

840

NEW TIMBER PALING FENCE ALIGNED TO BOUNDARY

01 807

FGL +0.00

790

T1 C1 C2

230 150

Rev

LEGEND

GENERAL WET AREAS REFER TO INTERNAL ELEVATIONS FOR BATHROOM DETAILS. SELECTED TILES ON FLOOR/OR AS INDICATED, TO FALL TO FLOOR WASTE/GRATE. TANK ENTIRE BATHROOM BY USING 'DYNAFLEX' H.V.S. MEMBRANE BY A.V. SYNTEX OR SIMILAR APPROVED PRODUCT. APPLY TO MANUFACTURER'S SPECIFICATION AND CARRIED INTO FLOOR WASTE. TANKING TO BE CARRIED 300MM UP WALLS & 2000MM UP SHOWER WALLS. Rev T1 T2 C1 C2 C3

Date 12/06/14 21/07/14 09/09/14 18/09/14 01/10/14

09/10/14

Drawn LW LW LW LW LW

WORKS TO BE RETAINED

50 X 50 Square steel mesh on 50 x 50 galv steel angle frame

25mm SLAB SETDOWN 50mm SLAB SETDOWN

Amendments FOR TENDER TENDER ADDENDA NO. 3 - WALL THICKENED FOR HEBEL PANEL FOR CONSTRUCTION BULKHEAD ADDED, CARPET DELETED DIVIDING WALL EXTENDED, SET DOWNS NOMINATED, EXISTING TREES REMOVED, INTERCOM ADDED, SERVICES INDICATED, SKYLIGHT ADDED, GAS BBQ POINT ADDED 2 X SKYLIGHTS DELETED, NOTES ADDED

FOR CONSTRUCTION Rev

Date

Amendments

Project

North

57 St. Andrews Street, Brighton Drawing Title

Proposed Ground Floor Plan Client

Christine & Simon Golding Scale

1:100 @ A3

Before

100 X 100 UC

REFER 800 DWGS FOR JOINERY DETAILS

Date

Drawn

FEB/14

Checked

Job No.

1203

Stage

Drg No.

301

Rev No.

level 3, 105 victoria street, fitzroy 3065 po box 85, clifton hill 3068 tel: (O3) 9417 5354 fax: (O3) 9417 5594 email: aktis.pl@gmail.com

aktis pty ltd

SHOP RENOVATION: 1306_Queensprade,North Fitzroy

300mm DEEP 300mm DEEP

Before

STRUCTURE AS SPATIAL GENERATOR The role of structure in architecture is self-evident. This project researched and reviewed 7*2 precedents and re-design them through various mediums and drawings. The review of these precedents shows the role of structure in defining a formal response in the generation of architectural expression/the crafting of interior spaces. The revealing of structure to define space.

TEA HOUSE By Alvaro Siza

How the material to response the surrounding. This building used Concrete structure. From the outside, the raw wood texture is still reminded on the concert surface. Those nature texture and grey colour of the concert make the house fits in beautifully with the rock surrounding. The house located on such environment with hard and sharp rock, clod sea wind. The waving Wood cladding on the underside of the slabs created a certain thermal, soft and visual comfort. The wood is the presenting of noble areas. It created this elegant pace on such a rough landscape.

PRECEDENT: VIIPURI LIBRARY By Alvar-Aalto

Continuing his particular path Aalto also designed in this library small elements to the user, such as handrails, chairs, curtains and other interior elements. The building was completely white outside and inside the various elements retained their natural color, with the exception of some metal elements were painted black, white or gray.

HIRSHHORN MUSEUM By Gordon Bunshaft

The Hirshhorn Museum is unique among the structures in that the building itself is a sculptural work of art. According to the museum, Bunshaft considered the “hollow-centred, elevated cylinder” as “‘a large piece of functional sculpture’ among the shrine-like structures of the National Mall.” Appearing as if it was carved from a single block, the massive structure rises from four sculptural columns, allowing visitors to pass under the cylindrical volume to the central court.

CHURCH OF SAN GIOVANNI BATTISTA By Mario Bottata

This project was inspired by the condition o deep devastation of its immediate context highly unusual situation produced by a natu ral disaster. Two buttresses which tie the lowe and upper walls together, like massive struts guard against the inherent danger of a new avalanche. The chapel’s structure has been built to last for long time; to understand its so lidity we should start looking at the section o its perimeter walls and the way they becom slimmer rising towards the sky.

PRECEDENT: MARIN COUNTY CIVIC CENTRE By Frank Lloyd Wright

The civic centre is a sprawling building that connects two hills,.The indoor and outdoor spaces of the Marin Civic Centre blend seamlessly together. As the building climbs up the hill, the roof stays at the same height, such that it feels as though it is coming out of the ground. Wright’s original design called for the building to be open to the elements, but skylights were later added.

PRECEDENT: CHAPEL OF ST. MARY OF THE ANGELS By Mario Botta

Both buildings were built from local stone linking them to their specific sites, expressing monumental qualities, and adhering to th spiritual qualities of the space. These churche may be perceived as part of the continuous at tempt of humans to build their cosmos pillar from stone as a sacred link between earth and heaven, and as an expression of possessing the mountain.

of a uer s, w n oof me

MIT CHAPEL By Eero Saarinen

The Chapel is a cylindrical brick building, the exterior void of windows, except for the irregularly sized arched windows at the base of the building. The moat it is set in actually reflects the outdoor light up through the windows set at the base of the building into the chapel. This combined with light that filters in through a honeycomb-screened skylight creates an ambient quality of light that is well suited for a space of spiritual respite

es g he es trs d g

PRECEDENT: OREON E. SCOTT MEMORIAL CHAPEL By Eero Saarinen

Eero Saarinen’s attention both to detail and to the flow of space is very evident in this religious commission. The brick exterior of the chapel is contrasted with the wood-slatted interior. The only brick visible on the inside resides above the door. This gives a reminder of what exists on the outside while the visitor makes an adjustment to the interior.

METROPOLITAN CATHEDRAL OF BRASILIA By Oscar Niemeyer

The Cathedral of Brasília in Brasilia is a Roman Catholic cathedral designed by Oscar Niemeyer. Those 16 concrete columns, weighing 90 tons each, formed the Hyperboloid structure, and this structure hold up whole glass roof which makes the unique shape and the huge column free space of cathedral. Moreover, when resisting outside forces, hyperboloid structure is much more stable compare to “straight” structure.

THE YALE CENTRE FOR BRITISH ART By Louis Kahn

The Yale Centre for British Art was designed on a three-dimensional grid structure of column and beams. The columns and beams are visu ally exposed on all surfaces of the building and each geometric unit on the façade is articulat ed by stainless steel panels and glazing units The arrangement of these units reveals the in ternal layout of the building.

PRECEDENT: MUSEO SOUMAYA By Fernando Romero

From the outside, the building is an organic and asymmetrical shape that is perceived differently by each visitor, while reflecting the diversity of the collection on the inside. The shell of the building is constructed with 28 steel curved columns of different diameters, each with its own geometry and shape, offering the visitor a soft non-linear circulation all through the building.

PRECEDENT: PHILLIPS ECETER ACADEMY LIBRARY By Louis Kahn

Compared to the Yale Centre for British Art the Philips Exeter Academy Library also use the grid system for the plan. Each of the fou sides of the court has giant circles cut out o them. These circular openings reveal the row of book stacks. This way, there’s a visual con nection across the space and between th floors. The circular forms also serve a structura purpose: they brace the tall corner columns.

n ns ud ts. n-

In the design concept of a large space for individual study it was used to encourage greater communication between students of various disciplines of the school. Andrews described as “a large factory-open space with smaller spaces adjacent to specialized activities. A large workshop with smaller spaces for specific activities is interconnected. The architect wanted the structure and mechanical systems were exposed roof partially as an aid to teaching.

GUND HALL By John Andrews

t, es ur of ws nhe al

Starting with windowless walls John ended up with a stepping-back form for the science building to allow for skylights at each level. The concept derived directly from the problem of providing natural light to the labs, yet retaining full wall space. Tiered sections also provide daylight to internal streets and full height court, ‘meeting place’ placed at the meeting of two converging streets.

PRECEDENT: SCARBOROUGH COLLEGE By John Andrews

RENOVATION- PETER EISENMAN HOUSE VI House VI was designed by the then famed paper architect Peter Eisenman during the early to mid 1970. This project gave Ei¬senman the oppertunity to realise his ideas into an actual building. The House designed in non-functional pur¬poses, rendering the house nearly inhabitable to live in. Its structural elements are exposed howev¬er most of the beams and columns have no struc¬tural purpose and is purely for its design.

ORIGINAL HOUSE VI PHYSICAL MODEL

SLIPPAGE -Light well North-South -Wind Tower East-West

INVERSION Use of the stairs Switch the rooms Rain garden Windows inversion

GROUND LVL

REDESIGN HOUSE VI PHYSICAL MODEL

ADDITIONS

Technology House Alejandro Zhen Kecen Tutors

Andres Joon

Peter

Tomas Chew

Eisenman

Guo Nick

s3381766 s3410984 s3340706 Bourns

Ground floor -Architectural Inventory drawing scale: 1:50

heating and cooling system power system

AREA total area: 121 m2 ground floor : 64 m2 first floor: 57 m2 basement: 12m2 STORAGE: walk in robe basement kitchen and bathroom cabinets STAIRS two stairs cases one functional one sculptural exposed in viod WINDOWS 17 external glazed windows and glass no windows sills two skylight: ground floor @ 0.4 m2 first floor @ 22.4 m2

GROUND LVL

DOOR one exterinal entry door two internal door most rooms are open plan FLOOR HEIGHT 2400mm COLUMNS seven freestanding columns extenal columbs

LIVING ROOM

STUDY ROOM

KITCHEN

ENTRANCE

DINING ROOM

LIVING ROOM

STUDY ROOM

Technology House

Alexander Kecen Tutors

Andres

Peter

Tomas

Eisenman

s3381766 s3340706 Bourns

Guo Nick

TILE FINISH

SUMMER SUN

Technology House

76°

CORRUGATED ROOF

TIMBERCRETE BLOCKS

DURRA PANEL TIMBER STUD STRUCTURE

29° WINTER SUN REINFOCRED CONCRETE SLAB

INSULATION

TIMBERCRETE PANEL TIMBER STUD CLAD STRUCTURE

TIMBER STUD STRUCTURE

REINFOCRED CONCRETE SLAB INSUL-DECK

REINFORCED CONCRETE Drawing documentation

IINSUL-DECK

Detail 1A &1B

Drawing documentation

drawing scale: 1:10

WALL DETAIL 1A

AWLL DETAIL 2

INSUL-DECK

SUMMER SUN

drawing scale: 1:10

WALL DETAIL 1B

Technology House Alexander Kecen Tutors

76°

Andres

Peter

Tomas

Guo Nick

Eisenman

s3381766 s3340706 Bourns

TIMBER STUD DOUBLE GLAZED WINDOW FRAME TIMBER STUD CLAD STRUCTURE

Drawing documentation

WINTER SUN

Detail 3A &3B

29°

drawing scale: 1:10

WINDOW SILL TIMBERCRETE PANEL

TIMBERCRETE BRICK MORTAR TIMBER STUD CLAD STRUCTURE

WALL DETAIL 3B

WALL DETAIL 3A

Technology House Alexander Kecen Tutors

Andres

Peter

Tomas

Eisenman

Guo Nick

s3381766 s3340706 Bourns

CORRUGATED ROOF REINFOCRED CONCRETE SLAB INSUL-DECK METAL FURRING FOR FINNISH ATACHMENT STUD STRUCTURE UTILITY HOLES EXPANSION CAP GLASS BLOCKS MORTAR Drawing documentation

DETAIL DRAWING 1 drawing scale: 1:10

Alexander Kecen Tutors

Andres

G N

HETEROTOPIA Thesis: When architect renovate a historical building, the abandoned years of that architecture should not be ignored. Whole History of Architecture

in use Built

abandoned Closed

Renovation

History that most architect today focuse on

ABANThey are fascinating for at this stage of life: spaces of doubt and incompletion; nature coexist; places standing outside of daily experiences.

THE OVERALL STRATEGIES:

The factory will be turning into a brickworks museum with the place can still be readily understood as brickworks after renovation. Keep the aesthetic of the abandoned architecture.Keep the arrangement of the layout and reform of each existing building. The approach to reform of each existing building divides into 3 steps. First of all, it is take out the very easy wreathing skin and not important structure; then transform them by distortion, dissolve, insertion cast and casting overlap and so on. Next step is gives them materiality. All existing building go thought these 3 steps, I will explain it more when go though each programs.

In griffin’ plan, circle as geometric cleverly worked into and around the plains and hills of the molonglo river. The central lake was to be semi-circular and the east and west basins circular. But the brickworks was not following the griffin’ plan, because it has been built before the plan introduced. So in the renovation, the circle as a symbol of canberra be used in different scale to integrate with the urban fabric.

CITY

YARRAL UMLA Capital Hill

WESTON CREEK DEAKN

FROM URBAN SCALE

FOREST CREEK

HUGHES

Royal Canberra Golf Clu

KEY VIEWS INTO THE SITE

KEY ACCESS STREETS FO

RM AL

YARRALUMLA

Old Canberra Brickworks

AV E

YA CC E

WESTON CREEK

ET S

Yarralumla Uniting Church

North curtin house paddocks

DEAKN

100 M

CURTN Royal Australian Mint -Tourist Attraction

WEST DEAKN

The site is surrender by a large an open landscape. Only the north-west has connected to the suburb. The whole landscape sink from east to west, the whole site is concealing from the residence. This setting contributes to a sense of remoteness from the urban environment which is distinctive and imparts a particular aesthetic quality experienced from within the site.

IN PRECINCT SCALE

lding #

Canberra Brickworks and Environs Planning Strategy

Make Safe - architectural

Make Safe - structural

Quarry

Core space

Ensure fencing to perimeter is secure and all existing holes and missing wires made good.

Concrete retaining wall

Core element

Remove all vegetation.

Photo

Building #

Building Name Significance as identified in the 2010 CMP review

Make Safe - architectural

Fan House for Kiln 1

Make Safe - structural

05. Fan house for Staffordshire kiln A

Left: Quarry face, 1920s. 06

Core element

Investigate rainwater goods and make operational ensuring connection to storm water system. Secure openings.

Seal all windows to protect internal ele ments. Demolish retaining wall. This may also require underpinning of footings or demolition of adjacent small room. Further investigation required once wall has been demolished.

Chimney stack Core element for Kiln 1

Right: Quarry 2009.

04. Staffordshire kiln A

Remove and reinstate damaged ceilings if

Rebuild timber fascias, replace gutters and required.

down pipes, connect to site storm water Early Phase system. Seal all windows and doors from the ele 1911-20 Secure all openings with CGI sheeting or ma ments.

rine grade plywood on timber frames. Retain Provide secure handrails around internal pit.

existing window and door joinery. Fill sinkholes with suitable fill.

Remove invasive vegetation (blackberry) from roof. Implement pest control measures to remove pigeon infestation.

Core element

From left: Downdraught kiln control room (c. 1960); Power House (1915); and Offices (built from 1925).

Power House

Current

Photo

Early Phase 1911-20

01. Quarry

02. Concrete retaining wall Collapsed brickwork on the upper section of the retaining wall and retained soil should be removed. The tree should also be removed before it becomes too large and collapsed. Earth should be battered at 45 degrees

Left: West elevations of the Staffordshire kiln, stack and fan Left: West elevations of the house, 1917. Staffordshire kiln, stack and fan Right: Comparable view, 2010.

06. Stack for Staffordshire kiln A

CCap top of chimney to make chimney weath- Provide steel straps around top of chimney er tight. stack. Check lightning protection and rectify/reFence off around ‘oven’ to restrict access.

Left: place ifQuarry required. face, 1920s.

Kiln interior

Prepared for the Land Development Agency February 2015

Canberra Brickworks and Environs Planning Strategy

Left: Hardy patent kiln I stack and fan house under construction, 1926 (looking east). Right: Hardy patent kiln I stack and fan houses, 2010 (west elevations).

LOVELL CHEN

Building #

10. Chimney stack for Hoffmann kiln Bkiln B

Interior of the upper floor of the kiln looking west across the firing floor.

Prepared for the Land Development Agency February 2015

07 kiln B

Building Name Significance as identified in the 2010 CMP review

Make Safe - architectural

Offices

Investigate rainwater goods and make oper ational ensuring connection to storm water system. Secure openings. Refix slipped tiles.

Core element

Building Name Significance as identified in the 2010 CMP review

Make Safe - architectural

Fan House for Kiln 2

Refix rusted and loose CGI sheeting to walls. Replace collar ties to each line of rafters.

Allow to replace sections of rotted timber Seal all windows and doors from the ele framing. ments.

Install new eaves gutters and down pipes, Provide secure handrails around the internal

connect to storm water system on site. pit.

Replace CGI roof sheeting to full extent. Fill sinkholes with suitable fill.

Allow to install new battens to full extent. Secure all openings with CGI or marine grade ply. Remove invasive vegetation.

Make Safe - structural

Photo

21. Elevator / Conveyor

Downdraft Kilns (Kiln 4-5)

Remove loose stone debris from roof. Rectify damaged galvanised down pipes at base where damaged by traffic to north and south. Remove invasive vegetation from open storm water drain to perimeter and ensure A8 operational including discharge to pits.

Reinstate welds/connections where they

have been damaged.

Install mesh over brickwork where currently

loose to prevent falling debris.

Reinstate missing wall braces to match exist ing.

Prepared for the Land Development Agency February 2015 Damaged portal columns should be straight ened to original condition.

Building #

Make Safe - architectural

Incidental element

Downdraft kiln Supporting control room element Demolish and clear site.

Prepared for the Land Development Agency February 2015

Make Safe - structural

Photo

house (Crusher element House 1)

Building #

18. Small Crusher House I

16. Machine Bay III kiln C

19. Large Crusher HouseII

Photo Building Name Significance as identified in the 2010 CMP review

Make Safe - architectural Make Safe - structuralMake Safe - architectural Photo Building # Building Name Significance Make Safe - structural 25. Amenities block as identified 28. Boiler house Fence off all levels of building to perimeter to

in the 2010 22. Downdraught kilns D (x3) 29. storage building restrict access/entry. 26. Amenities block CMP review 23. Downdraught kiln D Incidental Demolish 29 Ancillary storDemolish and clear sitePhoto Building NameIncidental Significance Demolish Make Safe architectural Make Safe -Incidental structural and -clear site. 26 Building # Amenities element age building element as identified block element control room in the 2010

28 Boiler House have been damaged.

Install mesh over brickwork where currently

loose to prevent falling debris.

Reinstate missing wall braces to match exist ing.

Damaged portal columns should be straight ened to original condition.

LOVELL CHEN

Amenities block

Incidental element

Ancillary storage building A15

Incidental element

Demolish and clear 27 site

Substation/ control room

Incidental element

Substation/ control room

Prepared for the Land Development Agency February 2015 OVELL CH E N February Prepared for the LandLDevelopment Agency 2015 LOVELL CHEN

Incidental element

Building #

Demolish and clear site.

Prepared for the Land Development Agency February 2015

Canberra Brickworks and Environs Planning Strategy

Building Name Significance as identified in the 2010 CMP review

Make Safe - architectural

Model railway workshop

Incidental element

Install new eaves gutters (allow replacement Possible underpinning may be required due

of fascias) and new downpipes. Connect into to the demolition of the adjacent retaining

storm water system. wall.

Secure all openings with CGI sheet or marine Collapsed brickwork on the upper section of

grade plywood. the retaining wall and retained soil should be

removed. The tree should also be removed

before it collapses. Earth should be battered

at 45 degrees away from the top of the wall.

The adjacent buildings (33 and 34) should be

monitored during the demolition.

Building 33 should be underpinned during the

wall removal.

Model railway storage shed

Incidental element

Demolish

Prepared for the Land Development Agency February 2015

LOVELL CHEN

Make Safe - structural

27. control room

Photo Model railway workshop 33.

34. Model railway workshop

A15

LOVELL CHEN

GALLERY (ORIGINAL HOFFMANN KILN B)

A13

Demolish and clear site.

A18

Prepared for the Land Development Agency February 2015

31. storage building 32. storage building

CMP review

Expansion phase 1921-1940 LOVELL CHEN

Canberra Brickworks and Environs Planning Strategy

Remove/poison grub out all invasive vegeta tion (blackberry).

29 Rebuild retaining wall to west side – Refer

Prepared for the Land Development Agency February 2015 L OBuilding VELL C H E Confirm N notes retaining wall in #03

existing storm water system is operational.

Secure all openings with CGI steel sheet or

marine grade plywood.

Hoffmann kiln C

have been removed (3 off). House associated with the brickworks.

Restrict access to public. change.(White element pan room/ existing roof, allow refixing loose CGI Remove debris from floor and higher levels. Upper section that is roofed retainRetain and en

Demolish Remove all equipment and debris that is not Wall braces should be replaced where they Machine Bays II (left) and III (right) removed (3 off). Strategy

associated with the brickworks.

Canberra Brickworkshave andbeen Environs Planning Strategy Retain existing roof, allow refixing loose CGI Remove debris from floor and higher levels. sheeting and ensuring connection of existing Reinstate damaged and removed CGI wall eaves gutters via down pipes to storm water and roof sheeting. system.

Provide fencing around the base of the build Remove invasive vegetation and debris from ing to prevent public access. and Environs Planning Strategy

Strategy open storm water drain toCanberra perimeter Brickworks and

ensure operational including discharge to and

from pits.

Photo Remove invasive vegetation.

Prepared for the Land Development Agency February 2015

A17

This build is form by a series original “machine bay” building. Those building were used to transport clay from the quarry, they were a series link points that linking quarry to the kiln, east &west. Firstly take of the weathered structure, then twist it to follow and adapt the topography of landscape; flip the whole structure upside down to give visions from human scale and also combine with an arch symbol. Those series individual “machine bay” turn into one single building. It is not only link the quarry and one kiln, but as a link point for the whole complex as well as the landscape. A20

Prepared for the Land Development Agency February 2015

LOVELL CHEN

16.

n kil ffman 12. Ho

Photo

II) down pipes to storm water systemeaves gutters via down pipes to storm water and roof sheeting. Remove all invasive vegetation. system.

Provide fencing around the base of the build Remove Remove vegetation and debris from open invasive vegetation and debris from ing to prevent public access. storm water drain to perimeter and

storm water drain to perimeter andopen ensure operational including discharge to and

operational including discharge to ensure and from from pits.

pits. Remove Remove all equipment and debris that is notinvasive vegetation.

ofSafe building to perimeter to

with the brickworks. Fence off all levels Building Name Significance associated Make Safe - architectural Make - structural Photo restrict access/entry.

as identified in the 2010 CMP review

element Large Crusher Supporting House (White element pan room/ Crusher House II)

Canberra Brickworks and Environs Planning Strategy

Strategy Canberra Brickworks and Environs Planning Strategy

Photo

Make Bay Safe - structural 15. Machine II kiln B

Make Safe - architectural

braces should be replaced where they 19 Agency FebruaryLarge Crusher RemoveNo all equipment and debris that is not

Wall Remove loose and damaged timber elements. Small crusher Supporting This to lower section. Prepared for the Land Development 2015building L O VisEunroofed L Supporting L CHEN

28Amenities Block Boiler Incidental The viewedHouse from the west

Interior of enclosure showing the north elevation of two of the three kilns

Make Safe - structural

This building is unroofed to lower section. No Remove loose and damaged timber elements. Restrict access to public. change.West elevations of Hardy Left: Upper section thatI isand roofedStaffordshire retain and en patent kiln kiln sure connection of existing eaves gutters via c.down 1927. Note married quarters at pipes to storm water system Canberra Brickworks and Environs Planning Strategy Remove all invasive vegetation. rear. Remove vegetation and debris from open storm water drain to perimeter and ensure Right: West elevations operational including discharge to and of fromthe three pits. continuous kilns, 2009 Remove all equipment and debris that is not associated with the brickworks.

Crusher House of existing eaves gutters sheeting and ensuring connection of existing Reinstate damaged and removed CGI wall sure connection via Canberra Brickworks and Environs Planning Strategy

LOVELL CHEN

A18

A16

Building Name

Small crusher Supporting house (Crusher element House 1)

Building Name Significance as identified in the 2010 CMP review

Building #

24. Chimney stack for downdraught kilns Dwelds/connections where they

Reinstate

Toilet block

Building #

11. Amenities block

Photo

as identified Building Name Significance Make Safe - architectural Make Safe - structural in the 2010 as identified CMP review in the 2010 CMP review Remove/poison grub out all invasive vegeta 22 Downdraft Supporting Remove loose stone debris from roof. tion (blackberry).

Kilns (Kiln 4-5) element Rectify damaged galvanised down pipes at Rebuild retaining wall to west sideCheck – Refer

Chimney stack Supporting lightning protection and rectify/re base where damaged by traffic to north and notes retaining wall in Building #03 Confirm

for Kilns 4element place if required.

south. existing storm water system is operational.

Cap top of chimney to make weather tight.

Remove invasive vegetation from open Secure all openings with CGI steel sheet or

Cracked brickwork to top courses (outward storm water drain to perimeter and ensure marine grade plywood.

operational including discharge to pits. leaning).

Secure all openings in face of chimney with

CGI Steel sheet or mesh gates.

Remove invasive vegetation.

Building Name Significance

Canberra Brickworks and Environs Planning Strategy

14. Machine Bay I for Kilm A Building #

18A6

Cap to make weather tight Provide steel straps around top of chimney stack. Brick growth to top course, refer Structural Engineer recommendations. Canberra Brickworks and Environs Planning Strategy

Strategy Check lightning protection and rectify/re place if required.

Make Safe - structural

Downdraft kiln Supporting control room element

12. Hoffmann kiln C 13. Chimney stack for Hoffmann kiln C

Chimney stack Core element for Kiln 2

Make Safe - architectural

Post closure phase from 1926

Expansion 1921-1940

Right: Hardy patent kiln I stack and fan 2010 (west Significance Makehouses, Safe - architectural elevations). as identified in the 2010 CMP review

20. Primary Crusher House III

Building Name Significance as identified in the 2010 CMP review

Photo

07. Offices

Left: Hardy patent kiln I stack and fan house under construction, 1926 (looking east).

Building #

Core element

Make Safe - structural

08. Hoffmann kiln B

Right: West elevations of the three continuous kilns, 2009

Whole complex can be read as 4 groups of buildings. Each of the group has a “Machine Bay”, a main kiln and a chimney. The brick making processing is taking the clay from the quarry, fire in the kiln, stored on the central brick yard. The historical significance of the Canberra Brickworks is not just on the kilns but also on the layout and arrangement of building.

09. Fan house for Hoffmann

Left: West elevations of Hardy Canberra Brickworks and Environs Planning Strategy patent kiln I and Staffordshire kiln c. 1927. Note married quarters at rear.

Supporting element

Establishment phase 1911-1920

Right: Quarry 2009.

Expansion 1921-1940

Canberra Brickworks and Environs Planning Strategy

Right: Comparable view, 2010.

03. Power House

Remove invasive tree and vegetation growing in oven.

LOVELL CHEN

house, 1917.

stack

Building Name Significance as identified in the 2010 CMP review

13. Chimney

Post-ww ii phase 1944-1976

Mac hin

15.

Mac hine

14. Bay

Mac hine

Bay

INTRODUCTION OF THE BRICKWORKS

III

08.

09.

e hous Fan

ln B

Hoffmann kiln B

05.

04.

e hous Fan

hire ords Staff

A kiln D 22.

Staffordshire kiln A

ki ght rau nd

D lns

Downdraught kilns D

cont rol ro

24. Chimney stack

23.

ki ann Hoffm

06. Chimney stack

Bay

10. Chimney stack

Proposal This design captures a moment of uncertainty, somewhere between real and unreal, object and landscape, nature coexist ;being and non-being, doubt and incompletion, constantly on the edge of deletion, that is exactly the fascination of old buildings.

01 21 13

33 02

17 32

18 31

09 04

03 23

26 27

Original staffordshire kiln a will be used as artist studio. This type of kiln has separate kiln rooms: same as the 2nd kiln cylinder insertion changed the circulation. Give them a centre space for exhibition. The cap caused by the orientation of the brick, created the light and shadow, shadow rich the sense of uncertainty, remind people of the light got through the abandoned crack brick wall. Light and. The pattern of dome is coming from the arch of the kiln.

ARTIST STUDIO (ORIGINAL STAFFORDSHIRE KILN A)

CO R R I D O R ENTRANCE (ORIGINAL HOFFMANN KILN C)

Entrance is a corridor formed by two arches representing kiln and lead people into the history museum. It is a museum about history of this brickwork. So when people walking in, this form itself is telling the story of the brickworks’ built process, that kiln stacked up one by one piece of brick. On the other hand, it also expresses an opposite process to construction, that because it been forgotten, so it been sliced, decomposition and start slowly breaks down.

CENTRE SQUARE (THE BRICK YARD)

the large open spaces- the old brick yard between the kilns are key to an understanding of process. Now it become a square with view to the landscape I totally changed the circulation of the brickwork, but the on the layout and arrangement of building retains.

The 2rd kiln is a gallery about how the hoffmann kiln was working. By boldly insert 3 cylinder intros the body of kiln those structure and detail that hidden inside are revealed. Looking at the old plan, we can see a heavy wall is in the middle of the kiln. It is for leading the hot air going through all the bricks. It is sustainable use of the hot air. But it is not encourage people interaction as a gallery. This 3 cylinder insertion changed the whole circulation.(Show on the new plan & and rendering) one as the entrance, one as exhibition space, one as out door leading people to the 3rd kiln.

Intersecting arch forms are combined to create an unbalanced and undulating landscape of brick parapets. The combination of curved forms creates a sense of illusion and depth which sites in contrast to the rectilinear forms of brickwork infrastructure in distance. And also, Landscape is a Critical of Canberra. Canberra is very about an object in a landscape without any sense of enclosure space. This setting circular wall laying on the landscape, is delivery a similar aesthetic quality experience.

LINKING SPACE (ORIGINAL MACHINE BAY)

LANDSCAPE

ICONIC URBAN ECOLOGIES

Thesis: Investigating the future sustainable urban potential for Fishermen’s Bend.

Programs on the site Transportations

Commercial

Spots facilities

Residential

Culture

Green space

Water features

Fresh food & Market

Health service

Disposal

Exsiting urban typology

Transformation

city center

RECLAIM KARRATHA_WELCOME STRANGER The relic in the desert and parallels existing Karratha, it is so unique that different from any city in the world. (Figure 4) This is where rewrite the Karratha from cell level to magnate level then back to architecture scale; where the plant meet the city and building; where put things shouldn’t be together together and created new things.

Aerva javanica

Fig. 03

Fig. 04

Fig. 05

Fig. 01

Fig. 02

Fig. 06

Fig. 01 Lower cuts with unexpanded flowers 1:2 Fig. 02 Upper cuts with Expanded flower 1:2 Fig. 03 view of a stamen 1:100

Fig. 04 unexpanded flowers 1:20 Fig. 05 Expanded flowers 1:20 Fig. 06 half fruit-bearing calyces

Fig. 07 A seed Fig. 08 ovule Fig. 09 ovule

Fig. 07

Fig. 08

Fig. 09

whole site every block have 1 connection point every point connection clost 10 point outsite 400 m

whole site every block have 1 connection point every point connection clost 5 point outsite 400 m 0.5 degree (5m)

whole site every block have 1 connection point every point connection clost 5 point outsite 400 m 0.2 degree (2m)

whole site every block have 2 connection point every point connection clost 5 point outsite 200 m

whole site every block have 2 connection point every point connection clost 5 point outsite 200 m 0.8 degree (8m)

drive way shops under road city program residentail green space & agriculture water storage walking way

whole site every block have 2 connection point every point connection clost 5 point outsite 200 m 0.8 degree (8m) with exsiting rode

proposed site + 30+years PoorCondition + entances of the site every block have 1 connection point every point connection clost 20 point outsite 250 m 0.8 degree

proposed site + 30+years PoorCondition + entances of the site every block have 1 connection point every point connection clost 20 point outsite 250 m 0.8 degree with exsiting rode

proposed site + 30+years PoorCondition + entances of the site every block have 1 connection point every point connection clost 15 point outsite 250 m 0.8 degree with exsiting rode

proposed site + 30+years PoorCondition + entances of the site every block have 1 connection point every point connection clost 10 point outsite 250 m 0.8 degree with exsiting rode

drive way shops under road drive way shops under road

city program residentail

city program

green space & agriculture

residentail

water storage

green space & agriculture

walking way

water storage walking way

Mining&Energy group every two house have 1 connection point every point connection clost 5 point outsite 250 m

Mining&Energy group every two house have 1 connection point every point connection clost 5 point outsite 250 m 0.8 degree with exsiting rode

SYNERGY INSIDE THE BORDER Both of South Korea and North Korea have some resources that another part of the peninsula doesn’t have. Because of political and historical reasons, DMZ blocks the sharing of resources and the chance of mutual benefit. Being awarded with the benefit of reasonably sharing resources will approach at better understanding about the relationship between North and South Korea and enhance people’s aspiration about subverting the border – DMZ. Thus, we propose to inject a temporary toilet to serve big events in site and a temporary sanctuary for migrating birds.

NORTH KOREA

Labour & Land

Kaesong Industrial Complex

Money & Technology

SOUTH KOREA

NORTH KOREA

Transportation

SOUTH KOREA

EXISTING: SEPARATE BORDER Against nature

EXISTING : SEPARATE BORDER Aganinst nature

SUBVERT BORDER BY BUILDING LINK Water and land coexist naturlly, through building

BUILDING SUBVERTION Subvert border bathing playground and vegetation as a buffer

leave Mexico–U.S barrier Mexico–U.S barrier

outside Mexico–U.S barrier

inside

volume

enter

Border Crossing Oasis Mexico-USA, OFFICE Kersten Geers David Van Severen Mexico–U.S barrier

NORTH KOREA

cross Waster of land resources

DMZ

Mexico–U.S barrier

panopticon architecture

SUBVERT BORDER BY BUILDING LINK Water and land coexist naturally through building

SOUTH KOREA

Cafe

9m high wall of volume 3-4 m high Mexico–U.S barrierBORDER EXISTING : SEPARATE Aganinst nature

SUBVERT BORDER BY BUILDING LINK Water and land coexist naturlly, through building

Cafe

BUILDING SUBVERTION

Cafe

Subvert border bathing playground and vegetation as a buffer

Cafe

Birds

Metabolism

& Human

Human

Birds & Human

The Nakagin Capsule Tower by Kisho Kurokawa

Bird people Movement

Male & Famale

Human Bird

Male & Famale Male & Famale

people Movement

Male & Famale NORTH KOREA

Water & Land

Minerals

Water & Land

Subvert border of Water & Land, bathing playground andSubvert border of Water & Land, bathing playground and vegetation as a buffer

Thermal Power Plants

Energy

Hydroelectric Plants

vegetation as a buffer

Bring People Movement Bring People Movement to the water-edge to the water-edge And enhance the link And enhance the link between stage and cafe between stage and cafe

Tidal Energy Wind Energy Nuclear Energy

SOUTH KOREA

“Merzbau”

EXISTING : SEPARATE BORDER Aganinst nature

by Kurt Schwitters Location: Hannover, Germany Year: 1923-1936

SUBVERT BORDER BY BUILDING LINK Water and land coexist naturlly, through building

BUILDING SUBVERTION Subvert border bathing playground and vegetation as a buffer

Stage

Reed obstacles Tangle foot obstacles Secondary electrical fence

Reed fence with pointed spikes

Primary electrical fence

Water edge

Sunken corridor

Fencing system

Using the form of wire fence which is a represent of isolation to let a curve platform break the border between water and land.

another way to dealing with the water is the sunken corridor. It makes the relationship between water and ground more diversified.

Fence as a border was built to block communication. As an irony, a typical fence element has been used in our synergy building and this element of fence become a key system of our building from.

Iconic form

Habitat for birds

Perch Tree

In order to admire Kaesong complex - an important example of synergy, we use industrial style form to become a part of our architecture.

There are many endangered species living in peace in the DMZ. In some way, DMZ provides protection for wild life. Such irony. In our design,People looks like staying at a birdcage and on the other hand, birds are free.

Resting and overlook location for birds. Eventually the rotting wood becomes habitat for insects which in turn provide forage opportunities for birds.

Cantilever

Observatory Station

At the eve of this architecture, we add Korean traditional architectural element – cantilever in it and combining it with our key grid system.

Observatory for people enjoying birds and amazing views.

Information center Information center becomes a buffer zone between main building and the water close platform.

TAIAHA - A NEW MARAE FOR MELBOURNE For the Maori, the indigenous people of New Zealand, the Marae is space that provides a focus for each community. Connected to the concept of Turangawaewae, which translates as ‘’a place to stand”, the Marae is a place of connection to both landscape and ancestry. It is a place of debate, support, celebration and mourning

For the M people o Marae is s focus for e

FFL 0.00

FFL 0.30

9 3

FFL 0.30

FFL 0.00

UP FFL 0.00

FFL 0.00

2 7

D -

E-

1 Entrance 2 Maori ATEA 3 Whare Nui 4 Whare Whakahaere 5 Gallery 6 Corridor 7 Wet Area 8 Whare Kai 9 Kitchen 10 Courtyard 11 Hangi 12 Bleacher 13 Performing arts area 14 Cycle park

original form

Whare Kai

spiritual intent expressing identity the body of an ancestor

sense of holy, peceful

WhareNui “hāngi” love eat outsite Maori Weapons

Gallary “land war” painful memories

daniel libeskind jewish museum

Connected to the concept of Turangawaewae, which translates as ‘’a place to stand”, the Marae is a place of connection to both landscape and ancestry. It is a place of debate, support, celebration and mourning.

Maori, the indigenous of New Zealand, the space that provides a each community.

Section D 1:200

Section E 1:200

ALLEGRO Thesis: When architect renovate a historical building, the abandoned years of that architecture should not be ignored. They are fascinating for at this stage of life: spaces of doubt and incompletion; nature coexist; places standing outside of daily experiences.

THE OVERALL STRATEGIES:

The factory will be turning into a brickworks museum with the place can still be readily understood as brickworks after renovation. Keep the aesthetic of the abandoned architecture. Keep the arrangement of the layout and reform of each existing building. The approach to reform of each existing building divides into 3 steps. First of all, it is take out the very easy wreathing skin and not important structure; then transform them by distortion, dissolve, insertion cast and casting overlap and so on. Next step is gives them materiality. All existing building go thought these 3 steps, I will explain it more when go though each programs.

facade-steel

enclosed building - composite fiber - friber glass

facade-steel -glass fibre reinforced concrete gypsum

lines created the spaces for the building and programmes

basement with glass-fibre-reindorced concrete combing walkway and seating for lounge

Wet Wool Experiment

Generation : 100 Attractotion : 5

NORTH-SOUTH SECTION SCALE 1:200 @A2

Generation : 500 Attractotion : 20

Generation : 600 Attractotion : 30

ALESSI - CUP HOLDER PATTERN DEVELOPMENT

The initial ideal is from latte art. we find most of takeaway coffee cover up or just pain coffee straight out of machines. the lack of enjoyment in take away coffee really does not provide the drinker a full experience. to enhance the coffee consuming experience both visually + physically , we introduce a sledding geometry inspired from the fluidity of movement of mike and coffee. But how can the” fluidity of movement “ constructed a 3D space? that where i bake to my form “library” I found this math equation called Clifford attractor create those pattern with similar aesthetic movement of latte art. and then develop my project based on this. In order to avoid burnning, a colour paint will combine with the material to visullsial temperature by this holder. the movement of the late art all of these, provide us a great fact about how a good coffee really being made and the wonderful experiment it can bring to people.

RMIT Melbourne | WINTER 2015

3d knitting - marina savochkina- youseng chen - kecen guo

Knitting in Space Studio Matias del Campo

“Think not of form, but of the act of forming.” Paul Klee Digital materiality changes the way architecture is thought about and designed, it creates a contradictory dialog between the man and the machine where the result becomes an experimental process of

process

3d knitting - connection

detail

the material interaction. Unpredictability is a very nature related property which in architecture has only started to take its place. Transformative possibilities of the material set limits to the architectural outcome, however to the certain degree of control of the machine it is possible to the architectural outcome, however to the certain degree of control of the machine it is possible to

achieve structural qualities of the elements, where the limits of flexibility remain unpredictable. The unpredictability of the behaviour of the material creates a more open-minded approach towards design. Architects were always interested in employing elements of nature not merely into the process of generating architecture but also into the interdisciplinary design methods, one of which is fashion. Fashion

and architecture has strong interconnection which can be explored with me techniques and material properties. Jecquard loom is a great example where architecture meets textile design. But in order to apply this methodology the architect has to allow to lose control over the details and allow a dynamic exchange between the matter and the materiality.

RMIT Melbourne | WINTER 2015

3d knitting - marina savochkina- youseng chen - kecen guo

Knitting in Space Studio Matias del Campo

process

3d knitting - connection

plan

RMIT Melbourne WINTER 2015

Knitting in Space - Marina Savochkina Yousheng Chen Kecen Guo

Knitting in Space

Studio Matias Del Campo

“Think not of form, but of the act of forming.” Paul Klee

Digital materiality changes the way architecture is thought about and designed, it creates a contradictory dialog between the man and the machine where the result becomes an experimental process of the material interaction. Unpredictability is a very nature related property which in architecture has only

started to take its place. Transformative possibilities of the material set limits to the architectural outcome, however to the certain degree of control of the machine it is possible to achieve structural qualities of the elements, where the limits of flexibility remain unpredictable. The unpredictability of the behaviour of the material creates a more open-minded approach towards design, meanwhile a more nature related design. Architects were always interested in employing elements of nature not

merely into the process of generating architecture but also into the interdisciplinary design methods, one of which is fashion. Fashion and architecture has strong interconnection which can be explored with the techniques and material properties. The architect needs to allow to lose control over the details and allow a dynamic exchange between the matter and the materiality. In this project, our interest was to combine knitting techniques with the properties of an architectural element, such as a column.

concept

designed tool path

possible material behaviour

possible material compution

model diagrams ;ENDFOLD ;FOLD PTP FIRST POSITION, VEL= 20 %, TOOL[5], BASE[4] $BWDSTART = FALSE PDAT_ACT = {VEL 20,ACC 100,APO_DIST 100} FDAT_ACT = {TOOL_NO 5,BASE_NO 4,IPO_FRAME #BASE} BAS (#PTP_PARAMS,20) ;ENDFOLD PTP {E6POS: X 436.484, Y 430.340, Z 4.000, A 0.000, B 90.000, C 90.000, E1 1500.000, E2 0.0, E3 0.0, E4 0.0, E5 0.0, E6 0.0, S ‘B 110’} LIN {E6POS: X 436.484, Y 430.340, Z 4.000, A 0.000, B 90.000, C 90.000, E1 1500.000, E2 0.0, E3 0.0, E4 0.0, E5 0.0, E6 0.0} C_VEL WAIT SEC 1 LIN {E6POS: X 436.484, Y 430.340, Z 79.000, A 0.000, B 90.000, C 90.000, E1 1500.000, E2 0.0, E3 0.0, E4 0.0, E5 0.0, E6 0.0} C_VEL WAIT SEC 1 LIN {E6POS: X 482.376, Y 475.132, Z 79.000, A 0.000, B 90.000, C 90.000, E1 1500.000, E2 0.0, E3 0.0, E4 0.0, E5 0.0, E6 0.0} C_VEL WAIT SEC 1 LIN {E6POS: X 529.317, Y 520.112, Z 79.000, A 0.000, B 90.000, C 90.000, E1 1500.000, E2 0.0, E3 0.0, E4 0.0, E5 0.0, E6 0.0} C_VEL WAIT SEC 1 LIN {E6POS: X 620.729, Y 565.110, Z 79.000, A 0.000, B 90.000, C 90.000, E1 1500.000, E2 0.0, E3 0.0, E4 0.0, E5 0.0, E6 0.0} C_VEL WAIT SEC 1 LIN {E6POS: X 711.181, Y 610.117, Z 79.000, A 0.000, B 90.000, C 90.000, E1 1500.000, E2 0.0, E3 0.0, E4 0.0, E5 0.0, E6 0.0} C_VEL WAIT SEC 1 LIN {E6POS: X 802.537, Y 655.240, Z 79.000, A 0.000, B 90.000, C 90.000, E1 1500.000, E2 0.0, E3 0.0, E4 0.0, E5 0.0, E6 0.0} C_VEL WAIT SEC 1 LIN {E6POS: X 783.124, Y 700.121, Z 79.000, A 0.000, B 90.000, C 90.000, E1 1500.000, E2 0.0, E3 0.0, E4 0.0, E5 0.0, E6 0.0} C_VEL

use of the ‘wait’ comman in code, and in the designed tool path

bottom of the main tower

FORK TOOLPATH WAITCOMMAND 1 SECOND

RMIT Melbourne WINTER 2015

Knitting in Space - Marina Savochkina Yousheng Chen Kecen Guo

Studio Matias Del Campo Traditional Greek representation of a column, is a concrete filled structure with ornamental elements that mainly have decorative purpose. On the other hand, looking at the examples of the columns of the works of Gaudi, strong, elegant and organic shapes, helped us to design architectural elements that would have these

characteristics. To test this approach, we have used four simple geometric operation (Gaudi), that were used to soften the shapes of any edge columnlike structure: _Relax: remove an edge without collapsing its end point. _Sag: bend an edge towards the minimal surface. _Smooth: smooth local features. _Twist: twist the model about its central axis. By testing these operation, we were able identify what does and what does not work. One of the key challenges quickly identify limitation

of the material and the machines, and to create design that works within these limits. One of which was, that the tool (the extruder) can only go exactly in the middle of rods of the ‘fork’, this was limiting our design very significantly. Consequently, the pattern became the biggest challenge of the process. While, we were already aware, exactly, how far we can place points apart to avoid severe and unpredictable material deformation, it was still not enough to create a sophisticated design.

concept

TRADITIONAL COLUMN

NEW COLUMN

structure is filled with material inside; the ornamentation has purely decorative character

based on nature based pattern and crystal like structure

idea of the columns

designed tool path

possible material behaviour

possible material compution

model diagrams

‘fork’ in the position, extruder following designed tool path

work flow

small tower

‘fork’ gets into position

‘fork’ is on hold, while the extruder is in action

two robots working together