Transcript
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4c

Leah Edwards | Architecture Portfolio The University of Melbourne

Architecture Major

Bachelor of Environments

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Directory A) Design i. Project 1: Studio Fire A……………………………………………........................... 5

ii. Project 1: Studio Fire B……………………………….……………………….………… 12

iii. Project 3: Studio Air……………………………………………………………………… 17

B) Construction

i. Project 2: Construction Design………………..……………………………………… 25

ii. Project 4: Environmental Building Systems…………..……………….………. 33

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Design Studio Fire | A | B

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Inspired by the 1899 Sherlock Holmes Play this particular design revolves around a series of transitional spaces. Much like a play there is a process of transitions where the set and atmo-sphere change. Furthermore a transition from entry to intermission to exit. The theatre there-fore revolves around this journey defined by a main horizontal split.

This centre plane in abstract terms represents the division between real and surreal, here a connection to the Sherlock Holmes inspiration is made as it is much like his internal conflict be-tween reality and his abnormalities. This is por-trayed by a change from simple to complex/ir-regular shapes, from top to bottom building form. Sherlock Holmes 1899 features 5 transi-tions between sets, therefore with the horizon-tal transition in place there are furthermore 4 sub-transitions within the theatre space.

Transitions from public to private views via glass elevators, dark to light, external to internal and a variation of narrow to wide and high to low spaces. Theatres are placed on the highest floor adding to the split of surreal and real - where the surreal comes alive.

Site Analysis

Four Sub-Transitions

Transitional Split

Guide:

1. Foyer 2. Box Office 3. WC 4. Courtyard 5. Restaurant 6. Visitor Office 6. Visitor Office 7. Director Office 8. Kitchen 9. Workshop 10. Loading Bay 11. Tech Office 12. Rehearsal 13. Dressing rooms 13. Dressing rooms 14. Bar 15. W.D Theatre 16. H.P Cinema 17. C.H Studio 18. Private WC

Bourke Street

Spencer Street

Site Boundary

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Floor Plans

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Sections

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The Cuyler Hastings Studio | Theatre Set

InIn order to continue on from my curtain design I wanted to try and connect all 3 theatres. I felt as if my curtain was represen-tative of Sherlock Holmes’ mind and his subconcious in a way. I wanted to therefore have my theatre set represent his physi-cal state/ being as I have the oppurtunity to produce a physical model. For this I chose the scene of Sherlock Holmes’ apart-ment room. The rst reason for this being that it is the scene where my quote for the curtain came from and secondly it is capable of producing a glimse into his life and comfort zone. I started by looking at previous models of Serlock Holme’s room and a real life photo from his house.

Common feautres included a re place, bookshelves, window, table and a general clutter of books and mess. Next I thought about what a stage should do for the audience. It needs to have good angles, portray the scene, atmosphere and com-municate the ideas of the scene. I chose a W shaped design for the set as it allows for maximum views for the audience. From my interpretations the scene represented alot about Sherlock HolmesHolmes character, It shows how attentive and analytical he really is and how he notices all details of past present and future. It also shows his complete lack of self preservation as he abuses the drugs lyring around his room. From this I decid-ed to split my stage into 3 parts. The rst contains the entrance and bay window - an almost public area. The second is the center of his home where I’ve put the table while the last area can be described as his private space, here are the book cases, iconic replace, table of drugs, clutter and entrance to his bed-room. The rst space is the highest and the room is seen as a series of levels.

I put the ‘public’ space as the highest with a series of scattered stairs to portray the detachment be-tween an individual and Sherlock Holmes’ per-sonal space, furthermore his detachment from re-ality as he is hidden away in the furthest room.

The stairs are messy, uneven and difficult as is the path to getting closer to Sherlock Holmes. Only certain people in the play cross all 3 rooms which depects their relationship. The scene begins with Sherlock Holmes and Billy talking, Sherlock Holmes stays within his space for the majority of the scene. Watson enters later and progesses easilyeasily between all 3 spaces throughout. It is a very informative scene, alot of talking takes place around the replace and table area as Sherlock Holmes takes his drugs and informs Watson of Moriarty. There is some panic around the bay window and then the last scene involves Moriaty bursting into the room and him and Sherlock HolmesHolmes are centered around the table. Here the 2 stages of left and right move down so as the center stage is emphasied. This stage is kept low so the audience can see and feel the drama up close. When the scene ends all 3 platfroms come to the same level. Lighting is focuded only on rooms with people in them and the rest are in the dark, being lit up as people walk through.dark, being lit up as people walk through.

In relation to the platforms they are ad-justable and also able to rotate. This is useful for angles such as the last scene with Moriarty. The audiences on left and right dont get the best views, the plat-form could therefore rotate very slowly as they speak, showing all angles and adding to the suspence of the scene. The walls are also adjustable panels for the rest of the scenes.

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Design Studio Air | Tessellation

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Matrix 1.0

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1.2 Case Study One

A project which explored design tech-niques through computational and para-metric modelling explorations. We were required to produce a sculptural form re-volving around the theme of ‘tessellation’ to be designed within space/ air, not spe-cifically to context and location. Present-ed in a journal layout, programs such as Grasshopper and Rhino were of main use as well as experimentation into 3D print-ing and creative modelling techniques.

Matrix 2.0

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1.Grid size: The hexagonal grid size was altered in order to increase and decrease the amount of hexagons/ ex-posure along the surface with 1 being the maximum and the default. Grid size one was chosen as none of the alterations were accepted due to the smaller the number the less holes appearing and a higher amount of punctures was more aesthetically pleasing. This

was the chosen outcome.

2. Number of hexagons: The amount of hexagonal grids here was increased or decreased across the x and y direction. A warping effect can be seen to take effect on the smaller hexagons while the larger ones add diversity and more appeal. 17 x 17 holes were chosen to be used as

it would allow more room for changes.

Case Study 1.0

The next phase in our design process was to gain an understanding of the geometric possibili-ties created through rhino and grasshopper from the definition VoltaDom by Skylar Tibbits. This particular installation was for MIT’s 150th Anniversary Celebration & Fast Arts Festival, it popu-lates a corridor space spanning builds 56 & 66 on MIT’s campus. This example of 3D tessellation closely relates to our research through its use of cones which are an interesting form due to their curvature and consistency. Here reverse engineering was used to explore alterations in parame-ters and gain an understanding of tessellation through computational and parametric software.

The following variations were made to the matrix on the next pages:

1.Changing basic parameters: In this first process we altered sliders on grasshopper in order to ma-nipulate the cones radius, height and pattern. Progressing from basic spread out the cones come closer with an increase in points and then merge together creating the tessellating effect. Point direction and height were then increased and decreased again but lastly with the tips extracted and centre exposed. 2.Attractor points: The second matrix utilises attractor points In order to shrink and expand cones from a particular point. Spacing of cones are therefore shifted as a gradual decrease in cone size from one point to another is created. A centre point shift expresses the morphing reaction more clearly, the subtraction of the tip demonstrates this furthermore in the last 2 as hole sizes or po-tential sunlight paths shrink, though disconnect the tessellation. 3.Curving motion: The use of a curving spiral layout expresses possibilities in tessellation pattern-ing as the rotation or expansion of cones creates an interesting effect on shadowing along the surface. An increase of cone points in one area reflects the tessellation in a curious way as the overall form can be seen to twist, rotate or remain motionless. Depending on cone size/ heights the form can furthermore be seen as bulging and warping within its space.4.Scale/size: For this fourth sequence a flat surface was used in conjunction with an image sampler in order to change the scale and sizing of cones to spheres. Cones were able to be puffed up cre-ating a surface or deflated to a finer plane. 5.Lofted surface: Lastly we explored the use of a curved lofted surface in conjunction with an im-age sampler in order to adjust size, scale, height and spacing of cones. The positioning of cones on a different plane demonstrates another way in which tessellation can be created as the curv-ing motion of the surface bring the cone tips closer together in some areas created a merged view in that region.

Circled interactions were considered more successful of their variations, the use of the cone is aes-thetically appealing due to its proportional nature making it symmetrically attractive.

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1.2 Case Study One

Architecture as a Discourse Architecture is no longer restricted; it is an eternally adapting field, reconstructing within itself as a system of communications, self-producing, also known as ‘auto-poetic’.

Built forms as negligible, no longer a require-ment because architecture can still make contributions to society through conceptual and virtual representations. Pictures, ren-derings and virtual models contain so much detailing and information that they them-selves can serve as architectural discourses allowing us to explore further.

As Architects we are encouraged to think ‘why’ not ‘how’, why have structures come to exist, and from this we are able to think out-side the box and find the reason for design. This is more productive, as casual explana-tions only allow us to reproduce events and designs whereas functional explanations en-courage designers to tackle new and radical perspectives and challenge pre-established concepts, leading to innovative results.

A discourse is a verbal expression; it is the way in which a language is used socially to convey his-torical meanings on a broader scale. It is defined by the social conditions of its use, in this case Architecture as a discourse explores its meaning on a macro level, not simply reading theories but analyzing them, discussing them and arguing opinions. Which brings me to this language of Architecture, generally known only in relation to built structures but in reality it has become so much more.

Architecture can be expressed not only through buildings but through writing, modelling, and the uprising of technological advances in para-metric software such as Rhino, AutoCAD and Autodesk Revit. Such programs allows designs to evolve into fluid forms, yet adaptable and ver-satile in their geometry, these days we can mold and create structures to fit any one of our ab-stract desires.

Digital technology, this software of our future has opened up a new realm of Architecture. Paper, plastic, wood, metal and materials of all kinds can be sculpted into an architectural form not restricted by function or defined as a built construction but rather the idea of designing a practical structure such as a house or museum is merely a preference.

Matrix 2.0

Case Study 2.0 The project EXOtique, a design through fabrication installation as Ball State’s College of Architec-ture, is used here in order to perform reverse engineering. Design in conjunction with The Institute for Digital Fabrication utilised computational tools in order to create a form which uses tools purely as generators for fabrication without the need for representation. We found this project interesting as it utilities programs such as rhino and grasshopper to create a form from technology only available at the university, approaching them for fabrication instead of visual representation. The form uses a combination of hexagonal shapes which curve and elongate in areas creating an overall surface. Small holes are then crafted along the hexagons playing with the use of light and how this impacts the overall

structures tessellation.

In order to re-create this surface we began with a hexagonal grid through the use of grasshopper. Through a process of offset alterations and specifying points the hexagonal grid was then combined with the Volta Dom file where attractor points were then incorporated into one of the inputs. Lastly the lofted surface was formed and hexagonal grid attached within its surface. We furthermore compiled a series of matrix progressions where components of the designs parameters were transformed in order to explore variations. Steps 1 – 5 are a simplified visual demonstration of our process. While our form is lacking in design and does not closely resemble the project due to our difficulties in creating a hexago-

nal surface it was still able to assist us in technique development.

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1.3 Case Study Two

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Matrix 1.01.

Grid Size: The hexagonal grid size was altered in order to increase and decrease the amount of hexagonal/ exposure along the surface with 1. being the maximum and the defualt. Grid size one was chosen as none of the alter-ations were accepted due to the smaller the number the less holes appearing and higher amount of punctures were more aesthetically

appealing. This was the chosen outcome.

1.Changing basic parameters: In the first process we altered sliders on grasshopper in order to manipulate the cones radius, height and pattern. Progressing from a basic spread out the cones come closer with an increase in points and then merge together creating the tessel-lating effect. Point direction and height were then increased and decreased again, and lastly

with the tips extracted the centre exposed.2.

Attractor points: The second matric utilises sttractor point in order to shrink and expand cones from a particular point. Spacing cones are therefore shifted as a gradual decrease in cone size from one point to another is created. A centre point shift expresses the morphing reaction more clearly, the subtraction of the tip demonstrated this further in the last 2 as hole

sizes or potential sunlight paths shrink, though disconnect the tessellation.

Our approoach revolved around voronoi cones without their caps which allow sun-light and shadows to pass through, the use of overlapping cones with increased radius generates the effect of tessellation where

edges intersect.

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1.5 Techinique Developemnt

In order to fabricate our tessellation design we decided to utilise a range of material-ity, for our first step cones were formed through the use of plaster. This process was undergone through the idea of a machine, man-made holes were punctured through cardboard and plaster poured through these pre-planned points. The plaster was then periodically sprayed with water in order to harden, this was repeated until a consis-

tent overlap was crated and cones were an appropriate height.

Prototypes

Beginning as pointed tips we furthermore filed them down creating a smooth consis-tency across all cones and softer aesthetic ap-peal. Cones were treated as if we were gener-ating a panelled surface which could then be repeated for the Wyndham project. Overall the plaster was very difficult to work with as the process became lengthily and fragile, es-pecially around the edges where the plaster

crumbled.

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As a second approach cones were digitally mapped out in rhino and unfolded as a print, here we then used the unfolded template in order to create sepa-rate section out of cardboard. Here we were able to see the individual layout of each cone piece and how they intersect as we attached each cardboard formation together. This process was much easier on all levels as the cones were simple and quick to assemble, on a large scale this could be a plausible option as cardboard could be bound with builders

glue.

1.5 Techinique Developemnt

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Techinque Proposal

Subsequent to our mid-semester presentation we decided our design needed more depth and intricacy as its form and reasoning were fairly simple. Experimentation has led us away from the use of plaster due to its many limitations though we do realise a new approach needs to be taken. Further testing will need to be done as we brainstorm ways to improve our overall form and the finishing structure. We there-fore took a new step in fabrication as a sample of our latest angle, it was decided that instead of having points as random our voronois could be a reflection of Wynd-

ham’s city as if viewed from above.

Areas of high population will impact cones in significant way as opposed to those of a smaller population and those spread out away from the city. As a quick test we used grasshopper and rhino in order to 3D print a model via the fab lab. Here we were able to experience the flawless results produced and present our new direction physically. While this method is too simple to manufacture for our final it outlines possibilities in using attractor points to sink cones for perhaps smaller regions and

raise them in city areas.

1.6 Proposal

1.6 Proposal

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1.3 Current proposal

Current Proposal

Following along the line of tessellating cones in a voronoi design we are continuing this as a basis for our form as we enjoy its appeal and variations. It was decided after much experimen-tation to uniformly distribute cones with the same radius and varying oculus sizes, this was presented for the final crit. Feedback suggested the method we ended with was rather bland and did not exploit full potentials of our design, and it was evident that a new approach was in order. We recognised the lack of creativity in our form yet didn’t want to abandon the concept

all together; instead we back tracked and re-invented.

It was decided that in aim to increase aesthetic appeal of our proposal variations to the cone and overall panelled surface needed to be made, for starters cone alignment remained uniform though cone sizes were now fluctuating. In addition we decided to have point distribution and radius also fluctuating rather than uniform. Progression from a neat structured yet bland panel

to a more abstract and evocative alignment is evident as a resolution.

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1.5 Techinique Developemnt

In order to fabricate our tessellation design we decided to utilise a range of material-ity, for our first step cones were formed through the use of plaster. This process was undergone through the idea of a machine, man-made holes were punctured through cardboard and plaster poured through these pre-planned points. The plaster was then periodically sprayed with water in order to harden, this was repeated until a consis-

tent overlap was crated and cones were an appropriate height.

Prototypes

Beginning as pointed tips we furthermore filed them down creating a smooth consis-tency across all cones and softer aesthetic ap-peal. Cones were treated as if we were gener-ating a panelled surface which could then be repeated for the Wyndham project. Overall the plaster was very difficult to work with as the process became lengthily and fragile, es-pecially around the edges where the plaster

crumbled.

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As a second approach cones were digitally mapped out in rhino and unfolded as a print, here we then used the unfolded template in order to create sepa-rate section out of cardboard. Here we were able to see the individual layout of each cone piece and how they intersect as we attached each cardboard formation together. This process was much easier on all levels as the cones were simple and quick to assemble, on a large scale this could be a plausible option as cardboard could be bound with builders

glue.

1.5 Techinique Developemnt

Prototypes In order to fabricate our tessellation design we utilised a range of materiality, for our first step cones were formed through the use of plaster, This process was un-dergone through the idea of a machine, man-made holes were punched through cardboard and plaster was poured through these pre-planned points. The plaster was then periodically sprayed with water in order to harden, this was repeated until a consistent overlap was created and cones were an appropriate height.

Beginning as pointed tips we furthermore filed them down creating a smooth con-sistency across all the cones and a softer aesthetic appeal. Cones were treated as if we were creating a panelled surface which could then be repeated.

It was establish points would be a reflection of Wyndham’s city from above. Areas of high population will impact cones as opposed to those of a smaller population and those spread

out from the city. Grasshopper and rhino were used in order to 3D print a model via the fab lab. The result experienced was flawless though too simple for our final, it outlines possibili-ties however in using attractor points to sink cones for smaller regions and raise them. Car-board prototypes prodcued via digitally mapping on rhino; unfolded and printed the tem-

plate was then used to create ‘panels.’

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1.6 Digital technique

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1.7 Defined Proposal

We could now finalise our design elements:

1. Point distribution based on density, determined by one or more attractor points2. Oculus size determined by distance of a cone from attractor point3. Grasshopper image created is spilt into four main panels4. Panels are scaled and separated in order maintain the overall image from particu-

lar perspectives5. Revealing of panels to viewers in a static nature as they made their way around

the site

Below...

Grasshopper definition explaining the final 3 dimensional image prior to justification of logic and reason behind its form:

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With this now reproduced system of cones we experimented further with defining a final for-mation. With our increased knowledge on attractor points and how to control their angling plus the effect on surrounding cones we came up with some more iterations. Point density and oculus size were expanded and constricted in order to view their overall effect to the panel, interesting patterning resulted from this. I found in particular the increased radius size most appealing as it put emphasis on the attractor points and their location. An array of overlapping cones is comprised under this exterior surface as shown, displaying a sense of what makes up

this façade.

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1.8 Construction

When considering real life application materiality and contractibility need to be of a certain standard. Mate-rials must be able to withstand real life conditions of heat and wind impact as well as general durability and sturdiness. Not only will the material need to be of a reasonable strength but panels must be supported via structural elements which we must ensure are constructed with attention to detail. In order to achieve the perfect alignment of all four panels to create the overall image they must be strongly supported, yet such elements will need to remain ambiguous to an extent as to not interfere with the subject at hand. Generally a support lattice wouldn’t be difficult with a form of a structured-like nature though our particular arrange-

ment does not follow a typical grid distribution.

Thus our solution to attain a strong yet applicable base is to line a series of beams or columns, fixing them into the ground with deep footings along with additional strength elements. Such a method allows for har-mony and would minimise visible structural components, though this would still be difficult due to the ver-tical and irregular shaping of our panels. For columns to be joined to the cone tessellation 300mm purlins spaced at 3000mm with standard cleat plates would need to be applied. We decided not to use anything too difficult such as a bolt system as it would require much tweaking while there are many simpler methods

such as welding of materials.

Construction elements 1.8 Construction

Joinery

After overall structural integrity had been determined the next important factor was joinery of individual elements. Our design must be able to support itself, free standing and further-more when subject to loads of any nature such as lateral wind forces and rain/hail impacts. Fortunately our main cone shape is already a good resistor of shear loads as the curvature na-ture allows for wind forces to glide over its surface and be directly off the sides. The edges on the other hand would pull said forces inwards when reflected off the centre, universal beams should therefore be placed vertically from the spine supports of each panel as well 300mm zee

purlins used for attachment of panels to beams.

Materiality was determined by factors of durability and weather resistance; it felt most appro-priate to use galvanised steel as it fills these requirements while also having a malleable quality. In order to form cones a laser cutter would be used to attain their base through an unfolded net of each cone, joints would then be welded by a fillet function directly cone by cone. As ad-ditional support we considered using a reinforcing pipe network lining each intersection of the cones from behind, strength and rigidity would be added yet expenses would be too much and too difficult. Lastly the structure would be coated in a weather-protecting resistant paint; this adds a clean clear cut modernistic finish to our abstract form while also maintaining a quality of

visibility during the evening.

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Digital explorations

Working off our mid-term presentations panels needed to be scaled in order to accomplish alignment as their distances were already determined. This was established through 2 refer-ence points on the top and bottom of panels determining each of their scales in correspon-dence with the next. By using said reference line we were able to figure out how much larger each adjacent panel should be based on the distance between reference points on each piece. In this process of scaling and alignment the reference line is the key factor as points must obey

its positioning to maintain an overall suitable scale. Here we established the following:

Panels 1 to 2: ScalingPoint A: 10772.8mm

Point B: 12880.375mmScale factor = 1.1956

Panels 2 to 3: ScalingPoint A: 11401.7mmPoint B: 13632.2mmScale factor = 1.4458

Panels 3 to 4: ScalingPoint A: 11320.8mm

Point B: 19902.8Scale factor = 1.7581

1.6 Digital technique

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Digital Explorations Allignment was established to create one form for passerbyers coming from a distance and

then breaking into their 4 seperate panels when drawing closer. 2 reference points on the top and bottom of panels determined each of their scales in correspondance with the next. This

helps us establish how much larger each adjacent panel should be, based on distance between points on each piece. Points must obey its positioning to maintain overall scale and unity.

• Cone size• Cone alignment• Oculus size• Number of points• Spacing of points• Distribution of points

The solution to attaint a strong yet applicable base is to line a series of beams or columns, fixing them into the ground with deep footings, along with additional strength elements. This method allows for harmony and would minimise visi-ble structural componenets, though this would still be difficult due to the vertical and irregular shaping of our panels. For columns to be joined to the cone tessellation 300mm purlins spaced at 3000mm with standard cleat plates would need to be applied. A bolt system would be too difficult as it would require much tweaking, there are many

simpler methods such as welding of materials.

Construction Elements Joinery Our design must be free-standing and subject to loads such as lateral wind forces, rain and hail. Our main cone shape is already a good resistor of shear loads as the curves allow for wind force to glide over its surface and direct off the sides. The edges however would pull forces inwards from the centre, uni-versal beams should therefore be placed vertically from the spine supports of each panel as well as 300mm zee purlins used for attachment of panels to

beams.

Galvanised steel was concluded for materiality as it is durable and weath-er resistant while also having a malleable quality. Cones would be formed with a laser cutter to establish their base through an unfolded net of each cone, joints would then be wealed by a fillet function directly cone by cone. Lastly the structure would be coated in a weather-protecting resistant paint; this adds a clean clear cut modernistic finish to our abstract form while also

maintaining a qaulity of visibility during the evening.

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Step 2:After receiving all 193 cone cut outs we were able to assemble our model through a long pro-cess of folding each piece into the appropriate shape. Our numerical system proved useful here in keeping track of which section went where, sections themselves furthermore turned out nicely with no errors, burns or chaotic edges. We found it helpful to fold and bend the sections into their concaved form as it prepared the polypropylene in terms of elasticity, getting it ready for final applications.

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Step 3:Simple yet effective super glue was used as a means of joinery (resembling welding in a real life scenario) and applied to all edges necessary in order for connections. Already interesting qualities can be seen as the radius increase and decreases in relation to cone sizing. The smaller the cone and less surface area available to work with the more difficult construction became yet proved successful.

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Step 4:After our panel was successfully constructed mounting it to structural support was next, here foam core sheet was used to resemble such elements. Beams were pre-determined on Rhino through a measurement of panel size ratios and the foam core was then used to replicate said structural system. Panels would align as intended if calculations were predicted successfully.

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Step 4:After our panel was successfully constructed mounting it to structural support was next, here foam core sheet was used to resemble such elements. Beams were pre-determined on Rhino through a measurement of panel size ratios and the foam core was then used to replicate said structural system. Panels would align as intended if calculations were predicted successfully.

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FabricationStep 1:

To begin the fabrication process a series of vector images were created on Rhino through the unfolding of previous panel work. These images were then sent to the fab lab to be printed on our material of choice being polypropylene sheets. Pieces are labelled numerically in order to keep

track with ease.

Step 2:After recieving 193 cone cut outs we assembled the model by folding each piece into the appropriate shape. sections were folded and bent into their concaved form to prepare the polypropylene in terms of elasticity.

Step 2:After receiving all 193 cone cut outs we were able to assemble our model through a long pro-cess of folding each piece into the appropriate shape. Our numerical system proved useful here in keeping track of which section went where, sections themselves furthermore turned out nicely with no errors, burns or chaotic edges. We found it helpful to fold and bend the sections into their concaved form as it prepared the polypropylene in terms of elasticity, getting it ready for final applications.

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Step 3:

Super glue was used as joinery (resembling welding), interesting qualities can be seen as radius increases and decreases in relation to cone sizing.

Step 3:Simple yet effective super glue was used as a means of joinery (resembling welding in a real life scenario) and applied to all edges necessary in order for connections. Already interesting qualities can be seen as the radius increase and decreases in relation to cone sizing. The smaller the cone and less surface area available to work with the more difficult construction became yet proved successful.

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Step 4:Mounting was next, foam core sheet was used to resem-ble such elements. Beams were pre-determined on Rhino through measurement of panel size ratios and the foam core

was theorised to replicate said structural system.

Step 5:Lastly Lighting for night time drivers, the curvature nature of the cones created fascinating shadowing effects depending on light direction; elongating or constricting the shadow. A Spot-light system was decided to highlight aesthetically appealing ab-

stract shadow projections from the facade onto the ground.

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Construction Design

Dandenong Education Precinct |

| Hayball Architects

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Construction Design… From a selected location - in our case the Dandenong education precent by Hayball architects, we were to re-create a small section of the building showing construction details and processes. The following images present the completed peel-back model of a corner section where important areas are cut back to reveal the various layers of construction design in detail. Furthermore an axonometric of the piece was produced using AutoCAD highlighting all building specifications. A detail was then chosen from within the building to further elaborate on at a closer scale.

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Trusses

Overhang Box gutter Window frame Frame details Exterior frame Brick Veneer

Weep holes

Suspended ceiling

Metal deck roof

Soil profile

Wall: Plaster board + kick board + plaster Floor: Concrete slab + carpet finish

Insulation + waterproofing

First floor stud wall progress

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`

Matt Beanland [538904] Leah Edwards [541937]

BUILDING LC-6

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A1STUDENT NAME

STUDENT NUMBER PROJECT DESCRIPTION:

DRAWING DESCRIPTION: SCALE:DATE:DRAWN BY:

DRAWINGNO:

SUBJECT NAME:

TUTOR:

ABPL30041 CONSTRUCTION DESIGNLeah Edwards

541937

AXONOMETRIC

PRELIMINARY DRAWINGS

1:20 at A1

Leah Edwards

1.1

44.63

16/4/2014N

LISA BRENNAN

HAYBALL ARCHITECTS | Dandenong Education PrecinctBuilding LC-6

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6.8

6.9

One: Soil

Bore hole: 28Class M: (Moderately Reactive) Red Bluff sands1.1. 500mm Sandy Clay PP > 120 - 190kPa (firm)1.2. 500mm Sandy Silt (wet)1.3. 200mm Sandy Silt (moist)1.4. 300mm Fill, Sandy Silt (dense)1.5. 150mm Top soil (over slab rebate)

Two: Ground Slabs

2.1. IB1 Internal beam > 300 wide 400 deep2.2. PF5 Pad footing > 1600 x 4800 wide (Structural support for precast concrete panel and brick wall)2.3. Blinding concrete for pad footing > 15MPa and 500mm under Sandy silt soil.2.4. Water vapour barrier under main slab and above blinding concrete (taped down)2.5. Sand bed > 50mm deep placed below slabs2.6. Concrete slab > 25MPa and 100mm thick2.7. Slab reinforcement SL92 > Steel bars (9mm) 200 x 200mm apart2.8. Reinforcement in pad footing N16 > Steel bars (16mm) 300 x 300mm apart2.9. Rebate > 200mm deep2.10. Reinforcement which sits from the slab up into the precast concrete panel2.11. Outside tile finish

Three: Ground Floor

3.1. Polished concrete floor finish3.2. Carpet finish 500 x 500 tiles3.3. Precast concrete panel > 300mm thickness (load bearing wall)3.4. Brick cavity wall of 65mm set on top of rebate > Brick dimensions 230 x 110 x 76 with 10mm mortar bed3.5. Reinforcement for brick wall > 480mm apart (galvanised wires)3.6. Wall ties to hold foil board in place3.7. Termite proof mesh3.8. Flashing placed in cavity (above 3.7 mesh) and Weep holes 2 bricks up and 1200 spacings3.9. Foil board sitting away from brick wall at 10mm distance (protection/insulation)3.10. Reinforcement for precast panel > SL102 (mesh) 1-N20 (perimeter bars)3.11. Reinforcement from bars in slab below3.12. Stud wall on top of slab > 450 cts studs and 1200 x 2400 spaced noggings3.13. Wall insulation batts (Tontine TSB) > R4 and 70mm wide3.14. Plaster board > 13mm thick and reaches to the top of stud wall3.15. Gyprock Impactcheck kick board > 13mm thick and 1200 tall3.16. Wet plaster finish3.17. Skirting board > 100mm tall and 10mm thick3.18. Glass window (glazed)3.19. Aluminum frame3.20. Lintel3.21. Ply board cladding (painted black)3.22. Suspended ceiling (see 4.13)

Four: First Floor

4.1. 4 core Hollowcore slab > 400mm thick on top of edge beam and precast panel4.2. Concrete slab > 100mm thick4.3. Edge beam PCB1 > 600mm wide and 560mm deep placed a top precast panel4.4. Reinforcement for edge beam from precast panel4.5. Reinforcement for hollowcore N16 > placed in every 2 rows4.6. Reinforcement for concrete slab SL924.7. Carpet Finish 500 x 500 tiles4.8. Polished concrete floor finish4.9. Stud wall (same as 3.12.) sits atop concrete slab4.10. Ply board bracing > 12mm thick (placed within stud wall)4.11. Insulation as on ground floor4.12. Wet plaster finish4.13. Suspended ceiling (steel) joined to trusses and rafters4.14. Suspension clip4.15. Ply board cladding (paint black) > reaches to ply board cladding on ground floor)

Five: Overhanging wall

5.1. Frame support > 30 x 75 wooden battens for metal cladding5.2. Metal deck cladding > 25mm of depth and spans down to reach over ground floor walls5.3. Hardwood beams > extend all the way down and then up to support trusses above (attached to studwall)

Six: Roof System6.1. Trusses > 3 degree rise to account for angled roof (creates roof structure)6.2. Purlins > wooden battens which sit a top trusses6.3. Sarking > water barrier and protective insulation6.4. Roof insulation place between sarking6.5. Roof insulation net6.6. Metal deck roof finish with turn downs (into gutter) > 3 degree fall6.7. Top hats (powder coated glavanised) > 1200 cts intervals6.8. Secrete box gutter6.9. Fascia hiding gutter (water proofing)

3.22

0.000 FFL

3.700 SFL

2.850 SFL

6.550 SFL

7.150 SFL

Fall

Natural earth line

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Page 30: Architecture | Portfolio

Leah Edwards [541937]

DETAIL 2 - GUTTER (OUTSIDE SECTION)

WALL SECTION: A3

Page 31: Architecture | Portfolio

A3STUDENT NAME

STUDENT NUMBER PROJECT DESCRIPTION:

DRAWING DESCRIPTION: SCALE:DATE:

DRAWN BY:

DRAWING NO:SUBJECT NAME:

TUTOR:

ABPL30041 CONSTRUCTION DESIGNLeah Edwards

541937

DETAIL 2 (OUTSIDE SECTION)

FINAL DRAWINGS

1:5 at A3

Leah Edwards21/5/2014

NLISA BRENNAN

HAYBALL ARCHITECTS | Dandenong Education PrecinctBuilding LC-6

Fall

Section: Secrete Box Gutter1.1. Box gutter placed behind the roof sheeting line in order to conceal it's appearance

1.2. 60 x 75mm Fascia of zincalume steel colorbond 1.6mm thick with folded 75 edge lip of more than 90° angletrim placed over the edges of roof in order disguise gutter and ensure no water held> Aligns with parapet/ barge capping at wall beyond> Fixed to top hats> It is angled in order to ensure water falls into the gutter and none gets into the roof structure> Fascia below is upturned in order to prevent water for sitting in it but rather flowing off

1.3. Powdercoated galvanised steel top hat placed in 1200 cts (center) intervals> Fixed to roof deck ribs

1.4. Metal deck roof cladding 25mm depth> Ribbed in order to direct runoff to gutter and ease flow> Fall of 3 degrees> Roof angles upwards at 3°

1.5. Metal deck wall cladding running down the side fixed to wooden battens> Cut back to show fascia but actually covers battens at top and reaches into fascia curve to direct any run off

1.6. Wooden batten part of a frame support for metal deck

1.7. Studs also part of frame which also leads to a window below

1.8. Aircell Sarking waterproof sheet over support batten and brought to gutter edge> Insulation net below> Roof insulation battens> Second layer of sarking

1.9. Rafter fixed to wall plate allowing depth to the formed gutter> Steel I beam outside of section offers support to the roof structure (trusses etc.)

1.10. Lintel (structural)

1.11. Support beam under sarking and insulation

1.12. Stud wall above window below, completes wall structure

1.13. Acoustic tile edge fixed to wall> Wall trim fixed to tile in order to hold suspendedceiling

1.14. Suspended metal ceiling systemwith suspension clips attached torafters> Acoustic tiles 1200 x 600mm

1.15. Down Pipe

LC - 1 Parapet

1.1

1.2

1.3

1.4

1.5

1.6

1.7

1.8

1.9

1.12

1.13

1.14

1.15

1.10

1.11

3° Pitch

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Page 32: Architecture | Portfolio
Page 33: Architecture | Portfolio

Environmental Building Systems | House Plan

Page 34: Architecture | Portfolio

GAS GAS GAS GAS GAS GAS GAS GAS GAS GAS GAS GAS GAS GAS GAS GAS GAS GAS GAS GAS GAS GAS

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HW

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HW

HW

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HW

HW

HW

HW

HW

HW

HW

HW

HW

HW

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HW

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HWHWHW

HWHWHWHW

HWHWHW

HWHWHW

HWHWHW

HWHWHW

HWHWHW

HWHWHW

GM

WM

LEGEND

A1

STUDENT NAME

STUDENT NUMBER

PROJECT DESCRIPTION:

DRAWING DESCRIPTION:

SCALE:

DATE:

DRAWN BY:

DRAWING NO: REVISION NO:

A

SUBJECT NAME:

TUTOR:

Environmental Building SystemsLeah Edwards

541937

SITE PLAN

ASSIGNMENT 1

1:200 SIZE: A3

Leah Edwards

Trees

Gate

Water meter

Sewerage manhole

Telecom pit

Gas meter

Side entry pit

Drainage grated pit

Water stop value

Sewerage pit

Site boudary/ Picket fence

Sewerage (underground)

Adjacent buildings

Gas (underground)

Water

Pole

Overhead electricity

Pole with light

Electrical meter box

Hot water system

Drainage

09/8/2013

N

GAS GAS GAS

GM

SEP

GP

sv

HW HW HW HW

S

Richard Noble

South-Westerly winds:

Wind path and direction

Winter sunpath

Summer sunpath

Evening sun

Morning sun

Afternoon sun

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E

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sv

S S

781.5m2

90^20'

38.41

270^29'

39.27

00^29'

20.12

20.14

178^03

GATE

GA

TE

Concrete Footpath

28

27

26

CA

LLE

RY

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SE

NT

BENJAMIN STREET

TITLE:

Drawing Number 04 Rectangular

House

WM

GARAGE &

WORKSHOP

BEDROOM 1

BEDROOM 3

BEDROOM 2

BATHROOMWC

LOUNGE/ DINING

HALL

KITCHEN

VERANDAH

ENTRY

Cross ventilation

Existing vegetation

(trees) acts as a

barrier for strong

winds in winter

while allowing air to

pass through in

summer

Cross ventilation is possible from 2 points (bathroom and kitchen)

ventilation is adjustable through opening and closing the doors - ventilation

is increased through window systems. Smaller windows on the south side

and larger windows on the north allows for hot air to rise and exit efficiently

from the north side.

Solar PV panel system

(on roof)

Solar evacuated solar panel tubes

(on roof)

Existing

vegetation (tree)

allows for shading

of the verandah

during the strong

afternoon sun

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Leah
Typewriter
A subject that taught us to analyse and consider context and site details as well as the parameters and restrictions at hand. Everything from electrical, gas, water and sewerage pathways were considered in order to position the given residential design in the optimal location.
Leah
Typewriter
Leah
Typewriter
Leah
Typewriter
Leah
Typewriter
Leah
Typewriter
Leah
Typewriter
Leah
Typewriter
Leah
Typewriter
Leah
Typewriter
Leah
Typewriter
Environmental Building Systems...
Leah
Typewriter
Leah
Typewriter
Leah
Typewriter
Leah
Typewriter
Page 35: Architecture | Portfolio

W1W2 W3

W4

W5

W6W7W8W9

D2

D1

D3

D4

D5

D6

D7D8

D9

D10 D11

D12

D13

D14

D15

D16

LINE OF EAVES OVER

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S

GARAGE &

WORKSHOP

BEDROOM 1

BEDROOM 3

BEDROOM 2

BATHROOMWC

LOUNGE/

DINING

ENTRY

HALL

KITCHENLND

PANTRY

R

WR

CPBD OVER

VERANDAH

WR

AR

CH

OV

ER

AR

CH

OV

ER

WINDOW SCHEDULEDOOR SCHEDULE

W1

WM

CD

DW

W2

W3

W4

W5

W6

W7

W8

W9

3000 x 1800 mm

NNE direction

Double glazed

Frame - ALBRK

thermal break

Blinds - adjustable

3000 x 1800 mm

NNE direction

Double glazed

Frame - ALBRK

thermal break

Blinds - adjustable

3000 x 2400 mm

NNE direction

Double glazed

Frame - ALBRK

thermal break

Blinds - adjustable

3000 x 1800 mm

ESE direction

SGTL single glazed

Frame - ALBRK

thermal break

Blinds - adjustable

2000 x 1800 mm

ESE direction

Double glazed

Frame - timber

No blinds

1000 x 1200 mm

SSW direction

Double glazed

Frame - timber

No blinds

1000 x 1200 mm

SSW direction

Double glazed

Frame - timber

No blinds

1000 x 500 mm

SSW direction

Double glazed

Frame - timber

No blinds

1000 x 1200 mm

SSW direction

Double glazed

Frame - timber

No blinds

Awning aluminium window

Awning aluminium window

Awning aluminium window

Awning aluminium window

Awning aluminium window

Awning aluminium window

Awning aluminium window

Awning aluminium window

Awning aluminium window

MECH

VENT.

D2, 14, 16

External doors:

Outside to inside

Timber framed

Standard swing

opening

D1

Standard garage door

D3 - 5 & 7 - 13 & 15

Internal doors:

inside to inside

Timber framed

Standard swing

opening

D6

Internal doors:

inside to inside

Aluminum frame

Single sliding door

3

0

m

m

f

a

ll

o

n

r

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o

f

R.L 101.730

F.F.L. R.L 101.800

A2

LEGEND

STUDENT NAME

STUDENT NUMBER

PROJECT DESCRIPTION:

DRAWING DESCRIPTION:

SCALE:

DATE:

DRAWN BY:

DRAWING NO: REVISION NO:

A

SUBJECT NAME:

TUTOR:

Environmental Building SystemsLeah Edwards

541937

HOUSE PLAN

ASSIGNMENT 1

1:100 SIZE: A3

Leah Edwards

TITLE:

Drawing Number 04 Rectangular

House

09/8/2013

N

Richard Noble

Sink

Refrigerator

Washing machine

Dishwasher

Stove

TV

Coffee table

Bedside table

Dresser

Wardrobe

Shower

Cross ventilation

Line of eaves over

Skylight

R

WM

DW

WR

Skylight inserted in

bathroom due to

minimal natural light

- reduces the use of

artificial light, saves

on costs of

electricity

The house is situated on a concrete slab allowing for the use of thermal mass to

moderate the internal temperatures to a comfortable level

Timber decking for verandah - comfortable clean finish

Brick cavity wall was used as the external building material - good thermal insulator

and appropriate for residential buildings

Bathrooms and kitchen = ceramic tile finishes due to heavy water exposure in this

area

All other finishes are of carpet

>30 degree pitch in the north direction

>Single clear

>500 x 500 mm

Note:

Internal blinds - Vertical shading on all East

windows

Internal blinds - Horizontal shading on all

North and South windows

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Page 36: Architecture | Portfolio

S

GARAGE &

WORKSHOP

BEDROOM 1

BEDROOM 3

BEDROOM 2

BATHROOMWC

LOUNGE/

DINING

ENTRY

HALL

KITCHENLND

PANTRY

R

WR

VERANDAH

WR

Outside lighting on the veranda for evening time - summer

nights

An outside weatherproof socket has been placed on the

veranda for exterior uses (gardening machinery)

The electrical switch board

has been placed in the

kitchen for easy access from

the exterior due to the door

located here. It is furthermore

hidden away in a cupboard

above.

High density switches for the oven/ stove and fridge have

been placed. Switches are permanently on, not commonly

adjusted.

PV electricity solar panels have been inserted along the

north of the house in order to take in the most sunlight

for energy conversion. This is connected the the

electricity meter and the electricity meter is also

connected to the street electricity pole for times when no

sun power is availiable

A3

STUDENT NAME

STUDENT NUMBER

PROJECT DESCRIPTION:

DRAWING DESCRIPTION:

SCALE:

DATE:

DRAWN BY:

DRAWING NO: REVISION NO:

A

SUBJECT NAME:

TUTOR:

Environmental Building SystemsLeah Edwards

541937

ELECTRICAL, LIGHTING & COMMUNICATIONS

ASSIGNMENT 1

1:100 SIZE: A3

Leah Edwards

TITLE:

Drawing Number 04 Rectangular

House

09/8/2013

N

Richard Noble

LEGEND

3W 12V MINI LED lighting

downlight outside

ECO 13W LED downlight inside

Data broadband outlet

Telecom pit

Overhead fan

with light

TV outlet wired to

antenna

Socket 2 connections

Socket 1 connection

Outside weatherproof socket

Smoke detector

Exhuast fan

Electricity connections

Underground internet/ telephone line

Overhead electricity

Pole with light

Electrical meter box

Electrical switch board

High density charge switch

(permanent not for adjusting)

Switch x 1

Switch x 2

Electrical Solar PV

panels (on roof)

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Page 37: Architecture | Portfolio

LINE OF EAVES OVER

HW

UNDER

S

GARAGE &

WORKSHOP

BEDROOM 1

BEDROOM 3BEDROOM 2

BATHROOMWC

LOUNGE/

DINING

ENTRY

HALL

KITCHENLND

PANTRY

R

WR

VERANDAH

WR

GAS GAS GAS GAS GAS GAS GAS GAS GAS GAS GAS GAS GAS GAS GAS GAS GAS GAS GAS GAS GAS GAS GAS

GA

S

GA

S

GA

S

GA

S

GA

S

GA

S

GA

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GA

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A hydronic heating system has been installed as

it has a fast response time and ensures heating

around the whole house while excluding

unnecessary areas

Water is heated from the heating tank via the gas

instantaneous booster in order to achieve high

temperatures quickly

A return line is also placed for the heating system

Apricus evacuated solar panels have been installed in

order to heat the hot water via the sun - energy

efficient

Water is also connected to the gas system for times

when solar energy is not available

A tempering valve and

thermostat regulate the

temperatures when

necessary

A4

LEGEND

STUDENT NAME

STUDENT NUMBER

PROJECT DESCRIPTION:

DRAWING DESCRIPTION:

SCALE:

DATE:

DRAWN BY:

DRAWING NO: REVISION NO:

A

SUBJECT NAME:

TUTOR:

Environmental Building SystemsLeah Edwards

541937

GAS AND WATER PLAN

ASSIGNMENT 1

1:100 SIZE: A3

Leah Edwards

TITLE:

Drawing Number 04 Rectangular

House

09/8/2013

N

Richard Noble

Water meter

Gas meter

Hot water tank

Gas instantaneous

booster/ pump

Downpipes

5,000L Rain water tank

Rain water pipes

Water mains

Hot water pipes

Hydronic heating

system

Return line

Gas (underground)

Apricus evacuated

solar panel tubes

Thermostat

Thermostat

adjustable

Gas pipes

Eaves/ box gutter

Tempering valve

Drainage

GAS GAS GAS GAS

GM

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Page 38: Architecture | Portfolio

LINE OF EAVES OVER

HW

UNDER

S

GARAGE &

WORKSHOP

BEDROOM 1

BEDROOM 3BEDROOM 2

BATHROOMWC

LOUNGE/

DINING

ENTRY

HALL

KITCHENLND

PANTRY

R

WR

VERANDAH

WR

WM

CD

DW

S

S

GP

SP

A5

LEGEND

STUDENT NAME

STUDENT NUMBER

PROJECT DESCRIPTION:

DRAWING DESCRIPTION:

SCALE:

DATE:

DRAWN BY:

DRAWING NO: REVISION NO:

A

SUBJECT NAME:

TUTOR:

Environmental Building SystemsLeah Edwards

541937

SEWERAGE & STORM WATER PLAN

ASSIGNMENT 1

1:100 SIZE: A3

Leah Edwards

TITLE:

Drawing Number 04 Rectangular

House

09/8/2013

N

Richard Noble

Sewerage pit

Sewerage manhole

Hot water tank

Grated pit

Downpipes

5,000L Rain water tank

Rain water pipes

Sewerage (underground)

Grey water pipes

Line of eaves/

roof line/ box gutter

(above)

Drainage undeground

Garden tap

Grey water

treatment system

Black water pipes

Down pipe flow

direction through

box gutter

Hotwater underflow

(underground)

Rainwater overflow

(underground)

Greywater overflow

(underground)

Pump

Vent (for emitting sewerage

oders and releasing pressure)

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