Frano Bažalo Architectural Portfolio

Frano Bažalo

ARCHITECTURAL PORTFOLIO

ticketing

south-bound

north-bound

manners north entry/exit

Target Acoustic Range 55 dB A50 dB A 60 dB A 65 dB AKey

Platform.65 dBa is the low end of noise pollution from a light rail trainThis means that the platform can not be below this while a train is present.

Ticketing KioskAS/NZS.2107:2000 states that a ticketing area should not exceed 55 dBa. To reduce excess levels of noise and reverberation, the ticketingbooth has been partitioned off and located above the platform.

Suspended WalkwayHelps absorb sound, reducing reverberation times.

Multipurpose Space.Partially closed off from the main platform to provide an area with slightly more comfortable acoustic levels of 60dBA without closing off the whole space. The indented variations in form work help reduce reverberation.

Toilets.Closed off from the sources of noise pollution so is capable of maintainThe standards of 55dBA outlined by AS/NZS.2107:2000.

Thermal + Lighting Performance.

8am + 4pm Summer - Illumination + Insolation. At 8am and 4pm, the sun is at lower angles (especially winter). As the sun is the main source of illumination and thermal gain, it was important to optimise this light. Part of the design intention of the roof is to allow the penetration of light when the sun is at low angles. The 8am + 4pm diagram shows the thermal spread is less consistent compared to the 12pm temperatures and levels of illumination. However this variation would be larger if the roof was �at.

The diagrams double as thermal radiation grids as well as Illumination levels (Lux). They closely interrelate in this scheme as the main thermal gains are from the sun.

12pm Summer - Illumination + Insolation.The large area of skylights in the roof allow for the station to be illuminated and heated by solar gain. The curving roof reduces the direct sunlight and still allows a di�used day light in the peak hours. (See diagram). The platform area is the lightest and therefore the warmest as it is exposed to the high sun, whereas the bathrooms at either ends are cooler as they are covered. The design optimises of the solar lighting and heating capabilities, providing su�cient natural light to illuminate and heat the station during day light hours meeting the AS/ standards.

north bound trafficsouth bound traffic

in-bound lineout-bound line

pedestrian site study

proposed scheme

site analysis

site analysis

MANNERS UNDERGROUNDThis project is an underground station at Manners Mall. It is one station of a series to service the Wellington CBD with a proposed light rail transit system.

The design was based on tracking the movements and paths of people and traffic on the site. These paths were translated to a network of structure to bridge the cut-and-cover trench for the train. With traffic removed from street level, the undulating surface creates an urban landscape for pedestrians.

As part of the project, light, heat and acoustic studies were undertaken to assess these qualitative performances and how they add to the overall design.

This project was featured in the 2011 Victoria Annual Graduate Magazine.

Sub 3500 millimeters. Suspended walkway

Sub 500 millimeters - Suspension Members

Sub 5000 millimeters.

Sub 6000 millimeters.

Sub 7000 millimeters.

Grade 0 millimeters - Roof Structurevictoria st.entry/exitconcrete foot path surfacesteel beamsglass skylights

entry/exit ramps

Steel I beams w. concrete finish

Pin joint to suspended walkway

from roof structure. See Detail

One for more information

Ticketing Kiosk

Suspended Walkway

Final descending ramp to platform

Toilets found at both ends

Bench seats

North-bound line

South Bound Line

ghuznee street

leed

s st

reet

cuba

stre

et

cuba

stre

et

mar

ion

stre

et

dixon street

tara

naki

stre

et

furn

ess

lane

york street

manners street

swan lane

NZ SCHOOL OF MUSICThis project unites the parallels between music and architecture. It aims to produce a dynamic architectural experience, stimulating our sensibility in a way which is more responsive and more representative of music. This is explored through the mathematic parallels between the two art forms; layering, adding, subtracting, rhythm, space, texture and parameters.

The project is based on a study into Moirè patterns. In physics, a moirè pattern is an interference pattern created, for example when too grids are overlaid at an angle. A double layered facade is used in this project to produce this dynamic effect visually provoking these parallels for the inhabitants.

1:50 Structural Model

0

1500

-1500

3000

4500

6000

9000

ground level

second level

third level

roof height

north-west (waterloo quay) elevation 1:250

NZ EARTHQUAKE MUSEUMEarthquakes are an inevitable process of energy release, constantly re-forming the fragile surface we live on. These sudden moments in time help form our history through modification, destruction and devastation. There are usually three stages resulting from the impact of an earthquake, which are symbolically represented through the three seismically separated buildings (allowing the building to “rupture” and “subduct”). The first stage is the initial event, expressing a sense of shock and uneasiness through entering the building. The second building houses the permanent exhibitions and portrays the subsequent realisation of the devastation from the major events, while the third building leads onto recovery and regeneration of the destruction caused by these events.

The devastation of earthquakes is usually caused by failure of human interventions. The structure of the building thereby has looked to nature for influence, such as the Euplectella aspergillum (cylindrical sponge) which generates and organises a complex network of spicules that support its structure. The language of the building is generated by uniting the harsh earthquake-influenced, angled structural frames with an organic twist inspired by how nature scripts itself to produce a customised structure in order to survive.

1:100 Structural Model

CONSTRUCTION DRAWINGSNZ EARTHQUAKE MUSEUM

As part of the New Zealand Earthquake Museum project, a full set of construction drawings were required. Feature here is a small selection of drawings varying in scale and detail.

Many of the specific elements detailed were related the connections between the seismically separated buildings. This included bridges, expansion joints, the glass canopy and the base isolators.

A CB D E F A CB D E F A CB D E F A CB D E F

5

6

3

4

2

1

7

8

TOP TUNINGRedevelopment concept for under-utilised department store in central München.

The Concept involved the addition of accommodation modules to the existing structure. These student housing facilities are encapsulated within an undulating canopy roof structure. The roof structure is specifically designed to control and enhance the environmental conditions. The modular units are self supporting and loaded onto the existing structure. Small modifications are made to the existing structural framework with strengthened columns to support the new loads and a false floor to encase the services for each of the modules.

EXISITING RETAIL EXISITING RETAIL RET

longitudinal section 1:50

EXISITING RETAIL

EXISITING RETAIL EXISITING RET

EXISITING RETAIL

OFFICE

Cut to FormThis project creates an expanding form from a 2D surface. The final design was derived from extensive experimentation and analysis of surfaces after various cuts, scores and folds are created. The forms generated are consequential to the applied forces after calculated weakening of the material.

This portable roof structure can be transported to site as one sheet of fabric and expanded into a 3Dimensional form simply through an applied force to its nucleus. The size and shape of the cuts combined with a directional force dictates the form the roof takes.

Laminated sailcloth provides the properties required at a 1:1 scale to replicate the forms achieved in a the scale models. Canvas permits the fluid response required to extrude the form while the canvas weave provides enough resistance to hold the desired form when tension is applied.

The cutting pattern is parametrically generated so any variations of forms are possible.

steel tube base ring

laminated sailcloth

stitching encasing the base ring to the membrane

force applied to small ring

tension

unprogrammed cells

o�ce space

shared space

gallery space

supermarket

concrete shell

steel reinforcing

membrane

mesh partition

�rst �oor

upper �oors

Voronoi DecayVoronoi Decay withdrew ephemeral elements from a site to create form through digital distortion of the data.

Processes included digitally decaying elements from the site through the manipulation of their binary code. This process was used to alter these ephemeral moments before feeding them into a digital algorithm to generate form and structure on the site. Each moment formed the loci of a voronoi cell which represented an area of program. These cells then underwent a further series of manipulation and decay, blurring the boundaries of each cell representing an overlap in program. These abstracted areas were used to generate internal forms and a structural system using parametric definitions to interpret this data.

The project resulted in an experimental solution opening up research areas of generative design which I expand on in my thesis.

supermarket

gallery space

shared space

office space

programmed cells

ground level

level two

level three

level four

level five

Assembly InstructionsFor Small, Large & Octagonal Models

GARDEN PRODUCTS

www.pinehavensheds.co.nz

PINEHAVEN GAZEBO SURREY PERGOLAASSEMBLY INSTRUCTIONS

Surrey Pergola Packing Checklist

50mm galv screws

75mm galv screws

1010x1550 trellis sides

Curved Arches (1700mm wide) 4

4

4

2

32

12

Beams (1600mm)

100x100 posts (2300mm +)

QuantityDescription

Customer:

Date:

Reference:

Manufactured by:

Packed by:

Packing Date:

GARDEN PRODUCTS

www.pinehavensheds.co.nz

200 x 50 curved arches

2

1

7

89

6

3

1 100 x 100 post

2 100 x 100 post

3

100 x 100 post

4 100 x 100 post

5

1010mm x 1550mm trellis side

1010mm x 1550mm trellis side6

7 100 x 50 beam

8 100 x 50 beam

9 100 x 50 beam

10 100 x 50 beam

11

12

13

14

11

1213

14

10

4

5

200 x 50 curved arches

200 x 50 curved arches

200 x 50 curved arches

Locate one trellis side panels (3). Note that these panels have an “inner” and “outer” (good) face. Locate 2 x 100x100 posts (1+2) with 2 notches cut into the top end of each post. Note that the notched post tops are cut to �t 2 x 100x50 beams on the top side.

Position the trellis panel between two posts and approximately 50mm below the notched post tops. You may position this panel “higher or lower” as you may choose. Attach to the posts with 3x evenly spaced 50mm screws on each side (total 6).Screw through the rebate of the trellis frame into the post.

Align the pergola beams (7 + 8) into the notches on the top of the posts ensuring an equal over hang at each end. Fix using 2x 75mm galv screws into each post. Ensure that the posts, beams and trellis panels are level and square. Repeat this process with the remaining 2 posts and pergola beams.

Mark the site for 4 x post holes and dig to a depth of approximately 300mm deep x 200mm in diameter. The nature of the ground conditions may require you to adjust the depth and width of the post hole, and alter the amount of concrete required.

Check the depth and diameter of the holes by positioning each of set of Surrey pergola sides.

Tack screw two pergola arches (11 + 14) onto the notched beams using 4x 75mm galv screws. Using two screws at the end of each arch, drive the screw from the side of the arch in on an angle into the top of the beam. This will assist obtaining “level and square.” Temporarily brace the sides of the pergolas with dunnage timber or similar and adjust the depth of each hole until such time you are satis�ed that you have a satisfactory height and width clearance and that the structure is level and square.

Note the opening width can be adjusted by up to 100mm to obtain an opening width to suit your site and aesthetic requirements. Position the remaining pergola arches (12 + 13) into the notches and �x with the 75mm screws provided.

If you are satis�ed with all aspects described above, you may proceed to �x into position with the concrete. Leave the bracing in position for 48 hours to allow the concrete to cure. Complete with �nal coat of paint or stain. Your Surrey pergola is now �nished.

MATERIALS (NOT SUPPLIED)2 or 3 bags of 25kg fastcrete or equivalent. Temporary bracing timber to hold the structure while it is being assembled and concreted into position

TOOL REQUIREDShovel or spade to dig 4 x ground holes. Electric drill with 5mm drill bit and square drive screw bit and a level.Note: The Surrey pergola is manufactured from treated timber. Paint or stain the structure to enhance the longevity of the timber as well improve its appearance. You may choose to apply paint or stain before the components are assembled. Final paint or stain should be added after assembly.

PINEHAVEN SURREY PERGOLAASSEMBLY INSTRUCTIONS

BEFORE YOU START

ASSEMBLY

(Read all of the instructions before commencing assembly)

WALL PANELSStand two wall panels noting each panel has a ‘fillet’ down the left side. Join a fillet with a ‘non fillet side’. (See Fig 8).Ensure the walls are flush and fasten with 4 x 50mm screws through the angled drill holes in the corner fillet.

Repeat the process until all panels are fixed together.

FIXING WALLSAlign the wall panels on the base plate ensuring the opening is located in the desired position. Each panel should be fastened with 3 x 75mm screws; one in each corner, and one in the centre of each panel. (See Fig 9). The screws should be located through the rebate “channel” on the base of each panel. (See Fig 10).Re-check the wall measurements by ensuring the distance from corner to opposite corner is equal. A skewed form will lead to issues when assembling the roof.

Fig.6

Fig.8Fig.7

Fig.10Fig.9

WALL PANEL ASSEMBLYROOF FRAMENote: each under roof member has pre-drilled holes on the ‘chisel end’.Working at ground level, align four under roof members to the spindle where marked. Fix using 4 x 50mm screws. Using a step ladder positioned inside the walls, lift the under roof assembly into position. Each alumini-um bracket of the roof member should be aligned with a “wall fillet”. Fasten the roof member through the alumini-um brackets down onto the top of the wall ‘fillet’ using 4 x 25mm screws provided.Fix the remaining roof members, screwing into the spindle first and then the aluminium bracket into the ‘fillet’.

ROOF PANELSCarefully position the cedar roof panels on the under roof frame. (See Fig 14).The bottom edge of the pine slat brace (on the inside centre of each roof panel) should just touch the top of the wall panel. (See Fig 13).The outer edges of each roof panel at its widest point should all be touching. The panels should be correctly aligned with the spindle. Check that the line of the cedar weatherboards is aligned across all panels.Fasten the roof panel to the top of the wall panel using 2 x 50mm screws through the pre-drilled holes. Repeat this process for all roof panels. (See Fig 14).

Fig.14

Fig.12

Fig.11

Fig.13

ROOF ASSEMBLY

3 4

PINEHAVEN KIT-SET ASSEMBLY INSTRUCTIONSPineahven Garden Products is an NZ based, modular timber building company. Their products required clear, simple and detailed instruction manuals for their whole product range which branches from garden structures to the standard Kiwi shed, through to lined outdoor sleep-outs and studios. As well as descriptive text, clear diagrams are key for the customer to understand the assembly process. Component and exploded drawings serve as the key elements and are often accompanied by details for the more precise processes.

1 The Esplanade, Petone, Lower Hutt

Assembly InstructionsPINEHAVEN STUDIO

PINEHAVEN LAMBTON STUDIO

www.pinehavensheds.co.nz

email: [email protected]

GARDEN PRODUCTS

www.pinehavensheds.co.nz

FIXING TO TIMBER FLOORWhen all panels have been screwed together, centralise the wall assembly on the floor. Before fixing into position with the 75mm screws (two per panel) run a bead of sealant around the perimeter of the shed floor.

20mm

75mm

TOP PLATES Position one “side top plate” on top of the wall panel assembly. (See Fig 12). Note: the gable ends and trusses will fit inside the top plates so test fit a truss to ensure a tight fit before fixing the top plate into position.Note: The top plates will extend beyond the studio wall by an equal distance of approximately 200mm at each end. Screw the second top plate into position allowing for an identical alignment and overhang with the first top plate.

GABLE END TRUSSRun a bead of sealant along the bottom edge of each gable end truss and position on top of the wall assemblies. The truss should butt to the corner boards. Fix into position using four 75mm screws for each wall panel. (See Fig 14).

CENTRE TRUSSES Place the centre trusses between the side top plates and at an equal distance. These will sit to the side of the join in the “wall panel assembly.” (See Fig. 15 + 16). Fix through the top plate from the outside using one 75mm screw on each end of the truss.

75mmEndWall

Truss withCladding on

20mm

corner board

Cross Section of end Wall

5 6

Fig. 12

Fig. 11

Fig. 15

Fig. 16

RANCH SLIDER

Fig. 13

The studio kit has four corner boards. The band-sawn face faces to the outside. Run two beads of adhesive sealant down the edge of the four exposed corners of the shed and fix the four corner boards using the 60mm nails provided. (See Fig 12 +13). Ensure each corner board fits flush to the side & top edge of the wall panels. Note: The front corner boards at 75mm while the rear boards are 65mm.

Lift the ranch slider into position. Drill three 4mmholes on all four sides through the alloy track to secure to the wall, floor and beam with the 60mm screws.

Fig. 14

65mm

75mm

Assembly InstructionsPINEHAVEN SHEDS

FOR LEAN-TO SHEDS

GARDEN PRODUCTS

www.pinehavensheds.co.nz

The shed kit has four corner boards. Run a bead of sealant along the internal edge of the four exposed corners of the shed. (Fig 10).Fix the four corner boards using the 60mm nails provided. (See Fig 9).Ensure each corner board fits snug to the side top plate on the upper edge.

PURLIN WEDGESDepending on the size of your shed, 3-5 timber purlin wedges are included in your kitset. Space the wedges evenly across the top of the back wall as pictured in Fig 9. Using 2x clouts per wedge, attach down onto the top of the back wall panel so as the angle is consistent with the roof pitch.

5 6

Fig 8.

Fig 9.

Fig 10.

Depending on the model, there are three or four purlins in the shed kit. Position one purlin on the back edge so it is sitting on the angled wedges. Position one on the front edge and centre the third (and fourth) in between. Fix with the 60mm nails provided. Ensure the purlins are alligned as the roof fascia boards will be fixed to the ends of this assembly.

Position the fasica boards approximately 10mm above the purlins. Fix into position using 1x 50mm nail per purlin. (See Fig 11).

Fig 11.

WedgeCross Section of Back Wall

Back Wall

cornerboard wedge

ROOF BEAM For the lean-to sheds 1500mm deep, centre roof beams are required. (Tasman x 1, Richmond x 2, Lyell x 3). Attach the beam to the rear wall from the inside of the shed using 2x 75mm screws. Complete fixing with 1x 75mm through the door stop as pictured in Fig 11.

Position the top door stop (760mm long x 50mm x 50mm) into position flush with the inside edge of the top plate using two 38mm screws provided. A snug fit will give accurate positioning of the door assembly.

purlincentrebeam

fascia board

topdoorstop

TOP DOOR STOP

FASCIA BOARDS

PINEHAVEN KIT-SET STUDIOPinehaven Small Buildings were looking to add contemporary models to their modular product range. The market called for a mono-pitch roof.

It was important the designs maintained specific production and assembly constraints for ease of fabrication within the existing Pinehaven framework and factory processes. Some of these constraints included available materials, kitset transportation restricted to a standard flat deck ute, single man delivery, ease of assembly and NZ building regulations.

These two designs are now featured in the Pinehaven range and are sold nationwide through the chain hardware stores.

The products also require a set of assembly instructions so the customers can assembly the kitset on site with basic handyman tools.

12

WALL PANELSThe shed kit will comprise a combination of panels. The front panels are clad in weatherboard while the rear panels are frames. Note: The front and rear walls panels sit inside the angled wall panels. Refer to schematic floor plan. Stand the wall panels in the correct sequence as shown schematically on the Pinehaven checklist.

Use a 4mm bit to drill four equally spaced clearance holes through one side of the panel stud. (Fig. 4).Drill two clearance holes through the bottom of the wall panel in preparation to fix to the floor.

3

Run a bead of sealant down one side edge of the panel before screwing to the adjacent panel. Pre-position 75mm screws into each of the clearance holes. Align the first panel with the second and holding firmly screw the two panels together. (A ‘G-Clamp’ will assist but is

Repeat the process for the remaining wall panels, making sure the panels remain flush. Work toward the door opening, noting the last panel to position is the ‘door wall panel’. Use the bottom door stop as the spacer to ensure to you leave the correct gap for the door.

Fig 4.

Fig 5.

Fig 6.

not critical). Note: Generally it is best to start with an end and side panel enabling the panels to easily stand upright.

DOOR ASSEMBLY

If you have selected a locking handle in your shed kit, you will find the door has pre-drilled holes. Position and fix with the screws provided

Position the pad bolt and hasp and fix with the 38mm screws provided.

Fix the hinges to the door. Position the two door hinges to the notched door frame and fasten using the 38mm screws provided.

Position the door to the wall panel ensuring adequate top and bottom clearance for opening and closing.

Fasten the hinges to the door frame wall panel using the 38mm screws provided.Hint: Fix one screw to each of the hinges and check the clearance prior to fixing the remaining screws.

We recommend all nail holes are stopped with a putty or filler. We recommend a stain or paint, preferably in light colours for protection and in order to deflect heat from the shed. An oil based stain or a water based paint is recommended.The life of your shed will be extended by re-applying stain or paint as required from time to time and occasional washing of the roof and cleaning of the gutters and debris.

Position the top door stop (760mm long x 50mm x 50mm) into position flush with the inside edge of the top plate using two 38mm screws provided. A snug fit will give accurate positioning of the door assembly.

Note: If you have ordered double doors, your door stop will be 45mm x 45mm x 1520mm long.

FLY RAFTEROnce the purlins are fixed, you can attatch the ‘Fly Rafter’ to the underside of the overhanging purlins. The outside edge should be flush with the end of the purlins. Fix with 1x 75mm screw / purlin.

FLY WALLSThe kit contains two framed trellis panels. The flat panel will be fixed to the rear of the shed to support the purlin. Fasten using 2x 75mm screws at the top and bottom, and a further 3x screws into the wall panel.Repeat this process for the angled trellis panel however fix to the rafter instead. Hint: The trellis panels should both sit on top of the extended joists.

FASCIA BOARDSThe kit contains 4x pre-cut and pre-metred fascia boards; 2x vertical + 2x Horizontal. Starting with a vertical fasica, fasten to the joist and rafter + 2x screws into the trellis panel. Ensure it is straight otherwise the miters will not line up on the follow boards. Continue with the next horizontal fasica fastening into the rafters using the 75mm screws provided. Continue around the shed concluding with the opposite vertical fasica. There should be at least a 10mm overhang on the top for the roof steel.Hint: You may choose to tack the fascias first to ensure all mitres align nicely.

87

Fig 12.

Fig 13.

ROOF ASSEMBLY

WALL PANELSYour kit will include the pre-clad wall components as illustrated above. 3x rear wall panels, 4x angled side panels 2x front panels and 1x lintel panel.

Fig.6

Construction formwork to allow a base size which should be 5mm less than the floor dimension on each side. The floor dimension is outlined in the “Pinehaven schematic floor plan”. This will ensure that the shed will “overhang” the pad by approximately 5mm around the shed perimeter. The concrete pad should be at least 100mm deep and reinforced with steel mesh. Note: Do not fix the shed to the pad until the concrete has cured for at least six days.

CONCRETE PAD: optional

1

2

3

5

4

678

9

3

Note the lintel panel will be installed after the ranch slider has been fitted. Note: If your studio contains an optional colour steel front wall (min orb ) cladding, and/or you have elected to have special corner box �ashings, you will notice the outside edge of the cladding on the corner panels have not been nailed o�. Ensure these panels are arranged so the edge which has not been nailed o� is in the correct position and refer to special instructions ‘corner box �ashings’.

BATTENSOnce the so�t has been attached, the wall battens can be attached to cover the joints in the wall cladding as seen in Figure 27.

Attach using 3x 75mm nails in each batten. Be sure to push the top of the batten up �ush against the so�t

Fig.27

12

You may choose to batten the soffit. Run a bead of silicone along the joint before attaching the precut soffit battens to the inner edge flush against the walls as illustrated in Fig. 26. There are 4x battens, one for each side of the shed. Fix using evenly spaced 25mm clouts.

Fig.26

SOFFIT BATTENS (optional)

Pinehaven Contemporary Shed

PLY ROOFRAFTERS

Fig.18

Position the ply sheets over the beams. Note: The 1200mm wide sheets must be fixed on the outside while the trimmed sheets will sit on the inside beams. It is best to start from the top edge. It is extremely important that the sheets remain ‘sqaure.’ You may choose for the join to be up the top or bottom, however it is easier to keep it “square” by starting with the longer sheets on the top edge as shown in (Fig. 18.)

The 5x 100x50 roof beams have been cut to length and pre-mitred. Beams 1 + 5 need to be positioned flush against the top edge of the side angled wall frames. The top of the beam should sit flush with the top of the wall frame as shown in Fig 15.

Predrill the beams and attach to the side wall panels using the 3x hex-screws. Evenly space along the beam with one at each end and one in the centre. Be sure to fully connect with the wall frame.

Slot each beam into position using the slot in the front wall panel as a guide. Fix from the back first. Measure the spacing to ensure the beams are fixed evenly. From the back, fix two 75mm screws on either side of the beam into the back wall panel on a angle.

Fig.14

Fig.13

Fig.15

Fig.16 Fig.17

1

2

3

4

5

7 8

Once the beams are attatched on the rear, fix on the front with 2x 75mm screws per beam by screwing directly through the stud. (Fig 17).

Please note: Before nailing off the ply, it is essential the ply joins line up with the beams. Nail around the perimeter of the ply using 36x nails per sheet. Fix down with 60mm jolt heads, nailing through the ply into the beams and top of the wall framing.

PLY ROOFRAFTERS

Fig.18

Position the ply sheets over the beams. Note: The 1200mm wide sheets must be fixed on the outside while the trimmed sheets will sit on the inside beams. It is best to start from the top edge. It is extremely important that the sheets remain ‘sqaure.’ You may choose for the join to be up the top or bottom, however it is easier to keep it “square” by starting with the longer sheets on the top edge as shown in (Fig. 18.)

The 5x 100x50 roof beams have been cut to length and pre-mitred. Beams 1 + 5 need to be positioned flush against the top edge of the side angled wall frames. The top of the beam should sit flush with the top of the wall frame as shown in Fig 15.

Predrill the beams and attach to the side wall panels using the 3x hex-screws. Evenly space along the beam with one at each end and one in the centre. Be sure to fully connect with the wall frame.

Slot each beam into position using the slot in the front wall panel as a guide. Fix from the back first. Measure the spacing to ensure the beams are fixed evenly. From the back, fix two 75mm screws on either side of the beam into the back wall panel on a angle.

Fig.14

Fig.13

Fig.15

Fig.16 Fig.17

1

2

3

4

5

7 8

Once the beams are attatched on the rear, fix on the front with 2x 75mm screws per beam by screwing directly through the stud. (Fig 17).

Please note: Before nailing off the ply, it is essential the ply joins line up with the beams. Nail around the perimeter of the ply using 36x nails per sheet. Fix down with 60mm jolt heads, nailing through the ply into the beams and top of the wall framing.

WALL PANELSYour kit will include the pre-clad wall components as illustrated above. 3x rear wall panels, 4x angled side panels 2x front panels and 1x lintel panel.

Fig.6

Construction formwork to allow a base size which should be 5mm less than the floor dimension on each side. The floor dimension is outlined in the “Pinehaven schematic floor plan”. This will ensure that the shed will “overhang” the pad by approximately 5mm around the shed perimeter. The concrete pad should be at least 100mm deep and reinforced with steel mesh. Note: Do not fix the shed to the pad until the concrete has cured for at least six days.

CONCRETE PAD: optional

1

2

3

5

4

678

9

3

Note the lintel panel will be installed after the ranch slider has been fitted. Note: If your studio contains an optional colour steel front wall (min orb ) cladding, and/or you have elected to have special corner box �ashings, you will notice the outside edge of the cladding on the corner panels have not been nailed o�. Ensure these panels are arranged so the edge which has not been nailed o� is in the correct position and refer to special instructions ‘corner box �ashings’.

BATTENSOnce the so�t has been attached, the wall battens can be attached to cover the joints in the wall cladding as seen in Figure 27.

Attach using 3x 75mm nails in each batten. Be sure to push the top of the batten up �ush against the so�t

Fig.27

12

You may choose to batten the soffit. Run a bead of silicone along the joint before attaching the precut soffit battens to the inner edge flush against the walls as illustrated in Fig. 26. There are 4x battens, one for each side of the shed. Fix using evenly spaced 25mm clouts.

Fig.26

SOFFIT BATTENS (optional)

Pinehaven Contemporary Studio

Pinehaven Contemporary Studio

JIG-SAW TOWERThis project proposes a modular mid-rise tower in central Munich. The tower is to house small self contained apartments aimed to assist the lack of student housing in Munich. This experimental project aimed to explore the possibilities of modular and prefabrication techniques using emerging technologies.

Being of timber construction, Japanese joinery served as the main source of inspiration. The project was based on interlocking modules which formed both the conceptual and constructional methods. As one module is added, it locks in the modules below and so on. Like-wise, each of the modules are constructed from smaller prefabricated panels which interlock together. The project was largely developed through modelling as an intricate system of interlocking panels was developed. Physical modelling was necessary to resolve structural integrity, fabrication techniques and also a method of construction. As the tower was to be fitted in-between two existing buildings, and constrained by the articulation of a crane, the modules could only be added from the top which largely constricted the way in which each module can lock the next.

The project models, 1:250 site model, 1:50 full modular tower + 1:20 detail module are housed in the Technical University of Munich’s Permanent collection and the project was featured on the front cover of the 2012/13 Winter Semester book.

1:20 Model1:50 Model

1:250 Site Model Street Level Render

W

X

Y

ZBA

3

5

7

6

38

4

Responsive Network Wellington

Wellington Airport

Responsive Network Wellington

Wellington Railway Station

Pick UPconfirmed 16:22

ETA 16:45 (23min)

Collection

Dynamic RoutingThis section of research was undertaken as part of my thesis at VUW. It utilises real time data and algorithmic processes to re-route public transport in Wellington.

Our current public transport system is rigid and unable to adapt to change while maintaining a feasible service. This research shows how the shortest path algorithm can be used define an adaptable public transport framework. Zones are created with a voronoi structure by the number of patrons registering use. These zones are then used to define pick-up points best suited to the patrons using the system at any one time. The algorithm is then capable of calculating the most efficient routes, catering to the exact needs of the patrons using the system at any one time,all while operating under the same resources as the current system.

To supplement the algorithmic framework, an app was developed for commuters to register their desire for public transport. The framework offers a customisable service best suited to the end user with intelligent and dynamic direction of resources.

A

T

U

V

W

X

Y

Z

B

A

T

U

V

W

XY

Z

B

A

T

U

V

W

XY

Z

B

WELLINGTON SOUTHERN TRANSPORT HUBAs part of my Thesis research, the Wellington Southern Transport hub served as an early experimental body to test algorithmic processes within early stage architectural design.

An adaptable public transport framework was proposed for central Wellington requiring a new Southern Transport Hub to facilitate these services. Using this brief, generative modelling and planning process were explored to developed tools for early stage architectural design.

The project focused on generative modelling techniques and automating the dispersion of programme within a volume using voronoi principles combined with a culling system.

Based on the required programme and established programmatic relationships, internal spaces are established and internal pathways are defined.

eastern section 1:50

PARAMETRIC TRANSPORT CANOPYThese parametric canopies were developed in conjunction with my thesis research. Focusing on early stage design, these canopies are designed to supplement a proposed Wellington Public Transport network.

This fully automated script defines an output based on several limited inputs. A three dimensional site is described and a simple boundary curve is defined. The script defines an output based on the number of patrons using the transport system and the facilities required to support the network.

Using a series of developed algorithms such as space syntax, live physics engines, structural analysis, metaballs and voronoi processes, each shelter is fully defined down to building components within a click of one button.

A range of outputs are featured with varying parameters to demonstrate the flexibility of the algorithm.

CONSTRUCTION DRAWINGSTRANSPORT CANOPY

As a development of the parametric transport canopy, a set of construction drawings were required to supplement the design and express building details.

Several areas were focused on to ensure the buildability of the flexible structures. The column footing and tension rings are defined while a modular glazing system is created to cope with the unpredictability of roof angles with standard glazing elements.

ALGORITHMIC FORM FINDINGAs part of my thesis research, I developed an algorithmic tool for early stage architectural design.

Beginning with a simple excel spread sheet, architectural programme is fully defined from room size to programmatic relationships and adjacencies.

Using a wide range of algorithmic theories such as space syntax, graph theories, voronoi, metaballs, through to physics engines, a building envelope is simultaneous formed as the spread sheet is updated.

To reunite the designer with the algorithmic output, an interactive stage is included to tweak the output while maintaining all programmed relationships.

WELLINGTON AIRPORT INTERCHANGEAn exploration of the algorithmic design tool developed for my masters thesis. This project was used to explore the usability and effectiveness of the early stage design tool developed in my thesis. Follow the public transport brief, this project proposes an interchange for Wellington Airport.

Using the algorithmic tool, this hub was fully defined including within a one hour time limit. The architectural programme and boundaries were defined and this was the output. The aim was not to detail a fully functioning piece of architectural but to test the extents of the algorithm within an early stage design frame work.

The proposal includes an optimised programme layout, a sculptural form, a structural system and modular cladding.

WELLINGTON FERRY TERMINALAn exploration of the algorithmic design tool developed for my masters thesis. The project defines a ferry terminal to link all modes of transport in the Wellington Public Transport Network. The location is a unique opportunity where trains, buses and water transport come within proximity of each other. All three modes are united in this transport hub each requiring complex and unique parameters to function. For example, ferry and cruise ships have docking requirements, buses must remain close to Hutt Road and trains are limited by the motorway which divides the site. This complex programme provided a complicated equation for the algorithmic design tool to solve.

Rather successfully a sculptural form is generated within the bounds of the required programme servicing all transport requirements. This project demonstrates the capabilities of the early stage design tool developed.

The project is featured on the cover of the 2015 VUW Architectural Prospectus Hand Book.

BODY CHAIRVectorial BodyThe contour of the Body Chair is inspired by ONL’s design for the Space Xperience Centre in Curacao, which is the terminal building from where the space travels of XCOR will be launched. The Body Chair is assembled by joining together simple components as to form the volume.

ComponentsBased on a fully parametric system of connected triangular components, any shape for any chair can be built. The first design applying this design strategy is the Body Chair. The lasercut components are joined together, riveted where aluminium meets another aluminium piece, bolted where aluminium meets a wooden piece. They fit together like unique pieces of a complex puzzle.

Design appIn the further development of the chair we will open up the design process via a tablet app to the potential consumers, who will be involved in the open design game as co-designers. Their unique proportions - limited within ergonomic constraints - will be produced ans assembled on command.