Justin Baatjes

AD1 Design Report

Hybrid Types: Complex Typological Adjancencies

Future Christchurch v2
Supervisors: Camia Young & Jordon Saunders

Advanced Design 1 Design Report Semester 1 2012 UOA School Of Architecture Future Christchurch By: Justin Baatjes

Supervisors: Camia Young Jordon Saunders

Contents

Preface Course Prescription Introduction Chapter 1: Textiles Research

Define textiles Global Trade Textile Supply Chain Manufacturing Processes Compositional Processes Raw Materials ICEBREAKER [New Zealand] Christchurch local mode of production Proposal

Chapter 4: Technical Design

Schematic Spatial Design Shearing & Wool Production Line Schematic Spatial Layout Material Flows Site Logistics Labourer Circulation Route Scenarios R&D Office / Labs Schematic Staff Room Spatial Layout Schematic Staff Locker Room Layout Schematic Staff Bathroom Layout Schematic Office Layouts: 1-2 people layout 3-4 people layout Meeting Room Layouts: Small Meeting Room 1-2 people Medium Meeting Room 3-4 people Large Meeting Room 5-7 people Employee Circulation Route Scenarios Ski Lodge Living Units Schematic Ski Lodge Layouts: 1-2 people layout 3-4 people layout 5-6 people layout Building Resolution

53 - 87

9 - 17

Chapter 2: Formal Investigations

Generative Binary Data Extraction Methodology Digital Weave Principals Generating Woven Geometries in Grasshopper Patterns [Binary Data Samples] Catalogue Formal Generative Woven Geometries Deforming Woven Geometries

19 - 35

Chapter 3: Program & Site

Existing Site Conditions Site Logistics Pudding Hill [Mount Hutt Ski Field] Schematic Site Design Hybrid Complex Typology Programmatic Banding Spatial Orchestration

37 - 51

ADVANCED DESIGN 1 BRIEF The Christchurch earthquakes are the most catastrophic natural disaster in New Zealands history when measured by the number of buildings destroyed, the financial impact and the number of lives affected. Every newspaper and news channel remind us of the loss, while covering the political and financial upset the earthquakes have caused they have overshadowed the present opportunity. Unlike so many other places in the world (Haiti (2010), Australia (2009), USA (2005), Indonesia & India (2004)) that have suffered natural disasters, Christchurch is fortunate in that there is a national insurance policy with substantial funds to support in the recovery. However, payouts have been delayed due to the on going earthquakes and the financial untangling between the private vs. public insurance policies. This opens a valuable window of time, which is now, and creates an opportunity for designers and planners to think, debate and design for the future of Christchurch. This is a critical year for designers to engage in the public debate and raise the consciousness around the value of good design as well as define what it means. If this does not happen now, there is the very real risk that the lowest common denominator of design will be built out of urgency and lack of viable ideas. In this course we will seize this time and take advantage of it to engage the public and fuel the debate about quality design. The question of what qualifies as appropriate design for Christchurch will be raised, and the students projects should answer this question through their proposals. By doing so the students have the opportunity to participate in shaping the future of Christchurch by providing creative ideas when they are needed most, which is right now. To engage the public the work for the course will be published in books, articles and exhibitions as well as presented through our course blog. study. Each student will develop a series of option studies to understand formal properties and explore design potential. The use of the digital fabrication facilities will be required for this component of the course. From the research and material investigations each student will choose a site and define a building program, which should in some way relate to their other team members work, and again it is up to the team to define the relationships between the projects. Each students design concept should be grounded in both the research and material investigation, and the final building design will need to clearly demonstrate how the design concept is carried through to become a resolved building. A comprehensive Design Report is required for completion of AD1; this document will summarize the research and material investigation as well as outline the design of the buildings spatial planning, massing, materials, structure, details, and environmental performance. The studio work will culminate in a coordinated exhibition of the final designs to be presented in Christchurch. Camia Young

WHAT IS QUALITY DESIGN? When looking at the history of architecture in Christchurch there are three primary factors that stand out as influential: the latest styles imported from abroad, available construction technologies, and accessibility of materials. Prior to the Otago Gold Rush in 1860, colonial Christchurch was built out of timber forested from Riccarton Bush and the nearby Port Hills, where false fronts were typical, mimicking Italianate facades. The Gold Rush fueled an economic boom, which brought trains and access to nearby quarries. This gave rise to stone construction, which at the time favoured the Gothic Style, also borrowed from Europe. Following WWII Modernism took the stage, and Christchurch saw a boom in reinforced concrete construction at the same time its manufacturing businesses were flourishing. It was also during this period that the economic investment shifted from building religious institutions to more commercial and civic buildings. As Christchurch faces the task of rebuilding, these same three factors will influence the citys architecture, but because we live in a different age, the global trends, technologies and access to materials have changed. The era we live in today is defined by innovation, where the use of materials is constantly being tested and explored for unique design potential. Aided by the use of computer technologies, designers can add further complexity and variation to push materials to new boundaries, which prior to the use of computers was often seen as too costly, but is now economically feasible. While today the access to most any material can be had at a cost, choosing local materials is both environmentally and financially more responsible by reducing transportation costs and supporting local economies. Because materials are at the core of innovation, the students will start their research by choosing a locally available resource. They will become familiar with its properties as well as develop a rigorous formal investigation using their chosen resource as the basis. Following on the students will develop an architectural response derived from their research and explored through the use of computer aided design techniques.

3D Printed Model of Timber Celluar Structure [Model by:Fritha]

3D Printed Model of Circle Packing [Model by:Farah Saad]

METHODS FOR DESIGN The course will have two components, research and design. The purpose of the research component is to develop a rational and intelligent approach to design, whereby design solutions are grounded in purpose and reason. During the first part of the course the students will develop two complimenting bodies of research: an in-depth analysis of a resource specific to Christchurch, and a related material investigation. Then, drawing on their research, the students will develop a building design by establishing a program, choosing an appropriate site, and developing a design concept. At the start of the term, each team will select a topic to research, the only requirement is that it is a resource readily available in New Zealand and ideally easily accessible to Christchurch; example topics could be: stone, concrete, wood, clay (brick & ceramic), metal, textiles, etc. The team will develop an in-depth research into their topic, summarizing its properties, availability, performance, and cataloguing its uses. The aim is to be critical of the found information, and go beyond presenting facts and figures to discover potentials. Each student will be responsible for an identifiable component of the research, but the team will present their information together and support one anothers work. Following the research phase, each team will develop a material investigation using the same resource, and again each student will define a discrete aspect to study. Each student will develop a series of option studies to understand formal properties and explore design potential. The use of the digital fabrication facilities will be required for this component of the course. From the research and material investigations each student will choose a site and define a building program, which should in some way relate to their other team members work, and again it is up to the team to define the relationships between the projects. Each students design concept should be grounded in both the research and material investigation, and the final building design will need to clearly demonstrate how the design concept is carried through to become a resolved building. A comprehensive Design Report is required for completion of AD1; this document will summarize the research and material investigation as well as outline the design of the buildings spatial planning, massing, materials, structure, details, and environmental performance. The studio work will culminate in a coordinated exhibition of the final designs to be presented in Christchurch. Camia Young

Woven Bifurcated Surfaces - Tessellated Arrangement

INTRODUCTION / PROJECT DESCRIPTION How does a customer experience not only a companys product, but also the company itself? How do we begin to formulate an architectural solution for the identity of a company? With this is mind, how do we design an experience? The proposal is a hybrid building consisting of a ski lodge, office spaces, a wool production line, and a shearing shed which together make a R&D station for ICEBREAKER. The building is located at Pudding Hill in the Canterbury Plains at the bottom of Mount Hutt. The driving concept for the building is based on a weave - one of the operations used in creating a textile. Put simply, a weave brings two things together in a way that allows them to be seen as one, this is done with a warp going in one direction and a weft going in the other, together they create a weave. The design of the architecture comes through the inherent nature of banding which is present in a woven fabric. There are four building types, each one is conceived as an individual warp that is woven together spatially through visual thresholds and spatial orchestration. The relationships of each typology is arranged according to controlled linkages in programs. The shearing shed is placed next to wool production line for the flow of material production, the offices next to the wool production line for R&D to take place, and the ski lodge above the offices for people who wear woolly clothing to Mount Hutt Ski Field to get a glimpse of how their clothing is made. Not only does this arrangement allow us to break the barrier between research and development and material production but also allows customers and clients to experience the company. Using architecture as a facilitator for bridging barriers between programmatic stratifications we can strengthen relationships between tactile conditional elements of ICE BREAKER, ranging from the farmers, the wool production workers, the office workers, and the customers / clients.

Chapter 1: Research

1.0_DEFINE_[TEXTILES]

1.0 define [textiles]

what is it?

2.0 global trade

what is its economic role in society?

3.0 supply chain

4.0 raw materials

5.0 compositional process

where does it come from & how is it made?

textile - any filament, fibre, or yarn that can be made into fabric or cloth, and the resulting material itself. The term is derived from the Latin textilis and the French texere, meaning to weave, and it originally referred only to woven fabrics. It has, however, come to include fabrics produced by other methods. Thus, threads, cords, ropes, braids, lace, embroidery, nets, and fabrics made by weaving, knitting, bonding, felting, or tufting are textiles. Some definitions of the term textile would also include those products obtained by the papermaking principle that have many of the properties associated with conventional fabrics.
source: http://www.britannica.com/EBchecked/topic/589392/textile Images 1-5 furore by lamaconcept.nl

6.0 manufacturing processes

7.0 applications

what & where are its uses?

8.0 geotextiles

9.0 innovation

research & development?

10.0 glossary

Sequential diagram of framework for textiles research

Justin Baatjes_&_Tim de Beer Advanced Design 1 Supervisors: Camia Young & Jordan Saunders

RESEARCH FRAMEWORK

Initial questions to address through research

10

2.0_GLOBAL TRADE

bergen south hampton hamburg vancouver le havre new york housten marseille rotterdam antwerp gwangyang dalian qinhuangdao tianjin qingdao ningbo guangzhou pulsan

ulsan

yokahama nagoya

long beach

shanghai kaohsiung hongkong

Paci c Ocean

sao paulo sao sebastiao

Atlantic Ocean

Indian Ocean

Pac c Ocean

port hedland richards bay dampier gladstone new castle

tubarao

World Trade Shipping Routes Key

major merchandise port major shipping routes protected shipping routes

Leading Exporters of Textiles Key

Producer

European Union

China

United States

Hong Kong

Republic of Korea

India

Value ($)

80.2 Billion

65.2 Billion

12.5 Billion

12.2 Billion

10.3 Billion

10.2 Billion

Leading Exporters of Textiles, 2008

GREENLAND

ICELAND UNITED KINGDOM CANADA IRELAND

SWEDEN DENMARK

FINLAND GERMANY POLAND RUSSIAN FEDERATION

SPAIN FRANCE

LUXEMBOURG BELGIUM NETHERLANDS CZECH REPUBLIC UKRAINE KAZAKHSTAN SWITZERLAND AUSTRIA HUNGARY ROMANIA SLOVAKIA SLOVENIA CROATIA ANDORRA ITALY ISRAEL TAIWAN JAPAN

UNITED STATES

SINGAPORE

CHILE SOUTH AFRICA

AUSTRALIA

NEW ZELEAND

GLOBAL TRADE

Textiles as a commodity in a global market. The European Union clearly dominates with the market with a market value of 80.2 billion US dollars, not far off is China sitting at 65.2 Billion. There is a clear gap distinguishing gap between Europe and China and the rest of the world. Although it is hard to compete with the mega producers of textiles like the European Union and China, New Zealand is starting to tap into the global market and Ice breaker is clearly demonstrating this.

Ice Breaker Worldwide Stores

11

Bale of raw material

BLOWING ROOM

CARDING ROOM

BALE BREAKER

CARDING

PRODUCTS
CLOTH

SILVER LAP

WILLOWING

COMBING

SPINNING ROOM

WINDING

WARPING

SIZING/ SLASHING/ DRESSING

WEAVING

BATTING DRAWING

BREAKER SCUTCHER

SLUBBING

YARN (CHEESE)
REELING
MULE SPINNING

BUNDLE

LAPPING

INTERMEDIATE

BUNDLING

FINE ROVING FINISHING SCUTCHER

ROVING

RING SPINNING

SEWING THREAD
DOUBLING BLEACHING WINDING CABLING GASSING SPOOLING

blowing room

carding machine

spinning machine
3.0_SUPPLY CHAIN

1. bale opener 2. pre-cleaner 3. homogenous mixer 4. storage and f eeding machine 5. condenser 6. card 7. silver co e il r

roving machine

Raw materials
A carding machine has wire teeth that comb and clean wool, cotton, or other fibers before the fibers are spun into yarn.

Textile plants
Spinning Weaving Dying Printing Accessories

Apparel plants

Distrib. centres

Retail stores

Customers

Blow room is the starting of the spinning operation where the fibre is opened, cleaned, mixed , micro dust removed and evened

PRODUCTION LIFE CYCLE PROCESSES

The production line of a textile starting from raw material, moving into how it is processed, how it is produced, distribution, and sold to The customers. Key is the different architectural typologies the material goes through for different parts of its life cycle.

supply chain in the textile & clothing sector

MANUFACTURING PROCESS 12

After clothing is produced & manufactured it reaches the consumer through retail stores. If the clothing is used & returned to the retailer, it can re-enter the chain dependent on the condition or properties of the textile. E.g. If the item of clothing has a defect the retailer would send

A typical manufacturing process showing how raw material gets processed into a raw product ready for use to be processed into it to the distribution centre. a If the clothing is damaged it would get sent to the textile plant to get broken down & recycled for its fibers where the process finished product.
then begins at that point.

5.0_COMPOSITIONAL PROCESSES

weaving

knitting

knotting

crocheting

felting

two yarns interlaced at right angles to produce or fabric or cloth longitudinal threads are called the warp and lateral threads are called the weft the method of how the warp and weft are woven together affects the characteristic of the fabric produced a loom is used to hold the warp threads in place while the weft threads are weaved through there are three different types of weave - plain weave - satin weave - twill

knitted fabric is created by consecutive rows of loops. Each stich is held on a needle until another loop is passed through it knitting has much more elasticity than woven fabrics due to the meandering loops knitting wales variations courses and weft and warp knit and pearl

fastening material together by tying or interweaving, often with rope other materials used include - sting - twine - strap - chain knots weaken the material that they are created in at the place where the bend occurs a knot works by creating tension on itself in the direction of the load that is exerted on the rope

similar to knitting, the process involves rows of loops however the material is pulled and twisted by a hook only one stitch is active active a time and it is pulled through the next and can then be repeated until a chain is formed most common materials include yarn or string unlike knitting each loop is only linked to the loops on either side of it so if one link was to break, the structure would stay intact and not unravel

non-woven cloth that is created by matting, condensing and pressing woollen fibres different strengths and toughnesss can be created for different functions such as clothing or construction differernt processes of manufacturing felt create different products - wet felting - needle felting - carroting wet felting is where wool fibres are put through a process of constant friction whilst being lubricated by moisture thus building up a cloth needle felting is an arts craft where multiple needles

courses and wales

weft and warp

loop

bight

plain

twill

knit and pearl

starting end elbow

working end

knot components

crochet components

satin

COMPOSITIONAL PROCESSES

The Weave. Two Yarns interlaced at right angles to produce a fabric or cloth. Longitudinal threads are called the warp and the lateral threads are called the weft. The method of how the warp and the weft are woven together affects the characteristics of the fabric produced. A loom is used to hold the warp threads in place while the weft threads are weaved through.

13

4.0_RAW_MATERIALS_ANIMAL

ANIMAL

PLANT

SYNTHETIC

MINERAL

4.0_RAW_MATERIALS_ANIMAL

ANIMAL

PLANT

SYN

SHEEP GOAT ALPACA LLAMA CAMEL RABBIT

GRASS RUSH HEMP COIR STRAW BAMBOO COTTON PINA LYOCELL

POLYESTER POLYPROLPYLENE ARAMID ACRYLIC NYLON SPANDEX OLENFIN INEGO LUREX CARBON FIBRE

ASBESTOS [FIBRE] BASALT [FIBRE] GLASS [FIBRE] METAL [FIBRE]

SHEEP GOAT ALPACA LLAMA CAMEL RABBIT

GRASS RUSH HEMP COIR STRAW BAMBOO COTTON PINA LYOCELL

POLYE

POLYP ARAM

ACRY

NYLO

SPAND OLEN

INEGO

LUREX CARB

raw material

textile application

raw material

straw

bamboo

hats

goat

sheep

alpaca

vicuna

llama

camel

angora rabbit

musk ox

wool

coir

(coconut fibre)

brushes

floor tiles

twine

doormats

matresses

nettle

hemp

rice

cotton

pulpwood

paper

metal

cotton

flax

jute

Ramie

hemp

bamboo

pina

clothing

glass

grass

rush

hemp

sisal

rope

basalt

asbestos

silk worm

mulberry silk

wild silk

Raw materials and some of their applications for textiles

Raw Materials - of research that looked at the 4 different types of raw materials used to create textiles; those being:
1. Plant based 2. Animal based 3. Synthetics based 4. Mineral based

14

raw material

textile application

NTHETIC

MINERAL

ESTER

ASBESTOS [FIBRE] BASALT [FIBRE] GLASS [FIBRE] METAL [FIBRE]

4.0_RAW_MATERIALS_SYNTHETIC

PROLPYLENE

MID YLIC

ANIMAL

PLANT

SYNTHETIC

MINERAL

spandex

exercise apparel

shaped garments

pillows

ON

DEX

NFIN O

SHEEP GOAT ALPACA LLAMA CAMEL RABBIT

GRASS RUSH HEMP COIR STRAW BAMBOO COTTON PINA LYOCELL

POLYESTER POLYPROLPYLENE ARAMID ACRYLIC NYLON SPANDEX OLENFIN INEGO LUREX CARBON FIBRE

ASBESTOS [FIBRE] BASALT [FIBRE] GLASS [FIBRE] METAL [FIBRE]

polyester cushioning insulation bottles films
hologram film vehicle interiors

BON FIBRE

textile application

olefin

wallpaper

rope

vehicle interiors

coat

jacket

poncho

blanket
nylon fabric carpets guitar string rope bridal veil fishing line

ingeo

apparel

bottles

cloth of gold

stainless steel

casein

eye mask

hat

buttons

glue

rope

cloth

fireproofing

acoustic

insect netting

insulation

cables

space suits

carbon

sports

automotive

siding

acoustic

fire blanket

vinyl sheeting

arimid

cable

rope

speaker diaphram

sails

bulletproof vest

Raw materials and some of their applications for textiles

Raw materials and some of their applications for textiles acrylic socks hats gloves scarfs sweaters awnings

15

GREENLAND

ICELAND UNITED KINGDOM CANADA IRELAND

SWEDEN DENMARK

FINLAND GERMANY POLAND RUSSIAN FEDERATION

LUXEMBOURG BELGIUM NETHERLANDS CZECH REPUBLIC UKRAINE KAZAKHSTAN SPAIN FRANCE SWITZERLAND AUSTRIA HUNGARY ROMANIA SLOVAKIA SLOVENIA CROATIA ANDORRA ITALY ISRAEL TAIWAN JAPAN

UNITED STATES

SINGAPORE

CHILE SOUTH AFRICA

AUSTRALIA

NEW ZELEAND

Ice Breaker 01

A rich highly value product coming out of new zealand. Ice Breaker as a catalyst for the design of a truly new zealand architecture.

16

Local & International Model

merino wool dock

Merino Wool Harvesting & Manufacturing Process

icebreaker farm shearing manufacturing [overseas]

CHCH sheep

CHCH

INT

Proposed Local Model

rural research and development

merino wool

farm

manufacturing [local] shearing

- keep it local - provide jobs

icebreaker

Merino Wool Harvesting & Manufacturing Process

- housing - back packers - woofers

CHCH sheep

CHCH

CHCH

icebreaker rural research and development

Ice Breaker 02
The current mode of production of Ice Breaker and our attempt to intervene using an architectural proposal for reestablished them as 100% pure new zealand owned and operated.

program

17

18

Chapter 2: Formal Investigation

19

Generative_Binary_Data_Extraction
A binary code is a way of representing text or computer processor instructions by the use of the binary number system's two-binary digits 0 and 1. This is accomplished by assigning a bit string to each particular symbol or instruction. For example, a binary string of eight binary digits (bits) can represent any of 256 possible values and can therefore correspond to a variety of different symbols, letters or instructions. Black & White 0 1 1 0 1 0 1 0 1 0 1 0 1 1 1 1 1 1 1 0 1 1 1 0 1 0 1 1 1 0 1 0 1 1 1 0 1 0 1 1 1 1 1 1 1 1 1 0 1 0 1 1 1 0 1 0 1 1 1 0 1 0 1 1 1 0 1 1 1 1 1 1 1 0 1 0 1 0 1 0 1 0 1 1 0 1 0 1 0 1 0 1 0 1 1 1 1 1 1 1 0 1 1 1 0 1 0 1 1 1 0 1 0 1 1 1 0 1 0 1 1 1 1 1 1 1 1 1 0 1 0 1 1 1 0 1 0 1 1 1 0 1 0 1 1 1 0 1 1 1 1 1 1 1 0 1 0 1 0 1 0 1 0 1

Graphical _Pattern

Binary_Code

Inherent_Data_Set_01

Inherent_Data_Set_02

Binary Source Data 20

Understanding a raw data source and what it means in relation to notions about a weave.

Digital_Weave_Principles
warp is the set of lengthwise yarns that are held in tension on a frame or loom. weft is drawn through the warp to create woven geometry

digital_weave_principles <weft> <warp> <X / [U]> <Y / [V]>

<0 / 1>

<-/+>

<weft_X / [U]>

<warp_Y / [V]>

<digital_weft&warp>

0 <- / +>

1 0 1 0 1 0 1 0 1 0 1 0 1 0

0 1 0 1 0 1 0 1 0 1 0 1 0 1

1 0 1 0 1 0 1 0 1 0 1 0 1 0

0 1 0 1 0 1 0 1 0 1 0 1 0 1

1 0 1 0 1 0 1 0 1 0 1 0 1 0

0 1 0 1 0 1 0 1 0 1 0 1 0 1

1 0 1 0 1 0 1 0 1 0 1 0 1 0

01 0 1 01 01 0 1 01 01 0 1 01 01 0 1 01 01 0 1 01 01 0 1 01 01 0 1 01

1 0 1 0 1 0 1 0 1 0 1 0 1 0

0 1 0 1 0 1 0 1 0 1 0 1 0 1

1 0 1 0 1 0 1 0 1 0 1 0 1 0

01 0 1 01 01 0 1 01 01 0 1 01 01 0 1 01 01 0 1 01 01 0 1 01 01 0 1 01

0 1 0 1 0 1 0 1 0 1 0 1 0 1

1 0 1 0 1 0 1 0 1 0 1 0 1 0

0 1 0 1 0 1 0 1 0 1 0 1 0 1

1 0 1 0 1 0 1 0 1 0 1 0 1 0

0 1 0 1 0 1 0 1 0 1 0 1 0 1

1 0 1 0 1 0 1 0 1 0 1 0 1 0

0 1 0 1 0 1 0 1 0 1 0 1 0 1

1 01 01 0 1 01 01 0 1 01 01 0 1 01 01 0 1 01 01 0 1 01 01 0 1 01 01 0

0 1 0 1 0 1 0 1 0 1 0 1 0 1

1 0 1 0 1 0 1 0 1 0 1 0 1 0

0 1 0 1 0 1 0 1 0 1 0 1 0 1

1 01 01 0 1 01 01 0 1 01 01 0 1 01 01 0 1 01 01 0 1 01 01 0 1 01 01 0

0 1 1 0 0 1 1 0 0 1 1 0 1 0 1 0 1 0 1 0 1 0 1 0 1 0 1 0

1 0 0 1 1 0 0 1 1 0 0 1 0 1 0 1 0 1 0 1 0 1 0 1 0 1 0 1

0 1 1 0 0 1 1 0 0 1 1 0 1 0 1 0 1 0 1 0 1 0 1 0 1 0 1 0

1 0 0 1 1 0 0 1 1 0 0 1 0 1 0 1 0 1 0 1 0 1 0 1 0 1 0 1

0 1 1 0 0 1 1 0 0 1 1 0 0 1 1 0 0 1 1 0 0 1 1 0 0 1 1 0

0 1 0 1 0 1 0 1 0 1 0 1 0 1 0 1 0 1 0 1 0 1 0 1 0 1 0 1

0 1 1 0 0 1 1 0 0 1 1 0 0 1 1 0 0 1 1 0 0 1 1 0 0 1 1 0

0 00 11 1 0 00 11 1 0 00 11 1 0 00 11 1 0 00 11 1 0 00 11 1 0 00 11 1 0 00 11 1 0 00 11 1 0 00 11 1 0 00 11 1 0 00 11 1 0 00 11 1 0 00 11 1

0 1 1 0 0 1 1 0 0 1 1 0 0 1 1 0 0 1 1 0 0 1 1 0 0 1 1 0

0 1 0 1 0 1 0 1 0 1 0 1 0 1 0 1 0 1 0 1 0 1 0 1 0 1 0 1

0 1 1 0 0 1 1 0 0 1 1 0 0 1 1 0 0 1 1 0 0 1 1 0 0 1 1 0

0 01 11 0 0 00 11 1 0 01 11 0 0 00 11 1 0 01 11 0 0 00 11 1 0 01 11 0 0 00 11 1 0 01 11 0 0 00 11 1 0 01 11 0 0 00 11 1 0 01 11 0 0 01 11 0

Weft_Binary

Warp_Binary

Weft_&_Warp_Binary_Overlay

Digital_Weave_ Weft_Amplitude_Field_<+/->

Digital_Weave_ Warp_Amplitude_Field_<+/->

Digital_Weave_Weft_&_Warp_Amplitude_Field_<+/->

21

Generating_Woven_Geometries_Grasshopper_Weaving_Definition
a: input_surface_weft b: input_surface_warp c: input_pattern d: inherent_data_set e: F(x)=(x+x)-1 conversion_into_<-/+> values f: <-/+> values

b
Generating Woven Geometries 01
Scripting a digital weave.

22

Generating_Woven_Geometries_Grasshopper_Weaving_Definition

c
e

23

Patterns/Binary_Samples_Catalogue

<Repeat_X_U> <Repeat_Y_V

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Generating Woven Geometries 02 24

Pattern source data input into a script to create a patterned digital weave.

Generating_Woven_Geometries

Note: See Appendix_1 for larger renders

Selected_patterns

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_Left _View

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_Top_View

Generated_Woven_ Geometries

25

Surface_Types

Operations
M X Y Z = = = = Mirror Plane X direction Y direction Z direction mirror_001 mirror_002 mirror_003 mirror_004 mirror_005

planar

pinched

bifurcated

rippled

Of, relating to, or in the form of a plane

Grip tightly and sharply and pulled upward

Division into two branches or parts

A small wave or series of waves

M M

M M

Operations

lift

stretch

twist

pull

tesselate_[X]

tesselate_[Y]

tesselate_[Z]

corners of surface is raised to a higher position or level while the centre of the surface remains fixed

surface made longer or wider without tearing or breaking

surface ends turned while 45 & 90 degrees while the rest of the surface remains stationary

drawing the centre of the surface downward while the edges remain fixed

Simple Geometries 01 26

Experimental models testing and experimenting with the weave as a surface.

Operations_Planar_Surface
lift stretch twist pull

Operations_Pinched_Surface
lift stretch twist pull

27

Operations_Rippled_Surface
lift stretch twist pull

Simple Geometries 02 28

Experimental models testing and experimenting with the weave as a surface.

Operations_Bifurcated_Surface
lift stretch twist pull

29

Operations_Bifurcated_Surface

Operations_Bifurcated_Surface

Operations_Bifurcated_Surface

Operations_Bifurcated_Surface

Complex Geometries 01 30

Experimental models testing and experimenting with the weave as a surface.

Operations_Bifurcated_Surface

Operations_Bifurcated_Surface

31

Operations_Bifurcated_Surface

Complex Geometries 02

Experimental models testing and experimenting with the weave as a surface.

32

Operations_Bifurcated_Surface

M M

33

Loom_Model_001 Warp - steel Weft - elastic bands Loom - timber Varied warp spacing Gradual increase in weft spacing

Physical Weave models 34

Experimental models changing different tactile parameters, material uses, variation in the spacing of the warp in the Z axis, shifts in the spacing of the weft strands.

Loom_Model_002 Warp - timber dowel Weft - elastic bands Loom - timber Alternating warp placement on additional plane Consistent weft spacing

Warp relationship to weft; weft distance adjusts relative to warp spacing. Alternating warp placement onto an additional plane; relationship to vertical space created in the weave. The further apart the warp is placed on the other plane a deeper space is created relative to the weft & warp

35

36

Chapter 3: Program & Site

37

Site Relationships

Strategic approach to choosing site relative to Christchurch and relative to 1. Major highways 2. Methven [sattelite ski town] 3. Mount Hutt Ski Field 4. On the brink between of the Southern Alps and the Canterbury Plains.

38

1 2

c 5

3 4 a b 2 e 1 f

1 Puddinghill agricultural land 2 Methven ski town

1 - 5 existing structures a - e zooms of areas of interest

Site Analysis

Understanding site at different scalar shifts. Relationship of Pudding Hill and Methven. Pudding Hill contains the Ski Field Access Route. Pudding Hill existing commnunity & existing buildings.

39

d
c d

e a b

Site Analysis

Site Conditions and points of interest.

40

existing structure 1

existing structure 2

existing structure 3

existing structure 4

existing structure 5

c 5

c 5 3 4 2

c 5 3 4

c 5 3 4

c 5 3 4

3 4 e 1 f a b 2 e 1 f

e 1

f a b

e 1

f a b

e 1

f a b

Site Analysis

Understanding site at eye level. The feeling of the place.

41

Existing road Site Boundary

Proposed Building location & Orientation Proposed new entrance Proposed new carpark

Site Proposal 42

Proposed site relative to 1. Ski Field access road 2. Subsidary road linkage with major arterial road leading into main Highway [freight logistics] 3. The relationship between the alps and the plains.

Site Proposal

The architecture in-situ. *1:2500 @ A1

43

programmatic banding breakdown

Ski lodger flow
Entry 1 3

sequential banding flows

Living Spaces Hallway Ski Lodge Band

Living Spaces Entry Hallway Ski Lodge Band

Egress 4

Egress

1 2 3 4

Enter the ski lodge [administration] Move through the hallway Enter living space unit Fire egress exit

Hallway Entry Office Spaces

Egress

R & D worker flow

1 Entry

2
3

Hallway Office Spaces

4 Egress

1 2 3 4

Enter the R & D building [administration] Move through the hallway Enter the office space units Fire egress exit

R & D Band

R & D Band

skirting & rolling

classing

storage

distribution

wool flow

1 skirting & rolling

2
classing

3 storage

4 distribution

wool production band

wool production band

1 Woolen fleece enters the building Woolen fleece is skirted and rolled 2 Wool is classed and made into a bale of wool 3 Bales of wool are stored according to grading 4 Bales are picked according to specific order from textile manufacturer Bale of wool is put on a truck and freighted to CBD

entry shelter

pen

shearing

exit shelter

sheep flow

1 entry shelter

2
pen

3 shearing

4
exit shelter

1 2 3 4

Sheep Sheep Sheep Sheep

enters the building gets penned gets shorn exits the building

shearing band

shearing band

Progamme Bar Diagrams

Conceptual Massing and dealing with programmatic alignments relative to the ideas of weaving [weaving buildings together through spatial orchestration and visual thresholds].

44

Hallway Entry Office Spaces

Egress

Entry

Living Spaces Hallway

Egress

4 skirting & rolling

5 classing

6 storage

7 distribution

1 New spatial arrangement

skirting & rolling

classing

storage

distribution

entry shelter

pen

shearing

exit shelter

entry shelter

pen

shearing

exit shelter

Ground Level

Level 1

Mount Hutt

Mount Hutt

Hallway Entry Office Spaces

1 Stack Ski Lodge on top of offices Egress 2 Allows for views views out to Mount Hutt and also into the production processes 3 Add Balconies to allow lodgers to retire in front of Mount Hutt

Entry

Living Spaces Hallway

Egress

4 skirting & rolling

5 classing

6 storage

7 distribution

skirting & rolling

classing

storage

distribution

entry shelter

pen

shearing

exit shelter

entry shelter

pen

shearing

exit shelter

Shearing Processes Wool Production

Ground Level

Shearing Processes Wool Production

Level 1

1 Band alignment shifts 1 Movement of material arrangement Egress The live stock moves left to right, then after shearing shifts into the wool production and moves the entire building back to the left Entry Living Spaces Hallway The bands align so that there is a sense of stratification in the R & D building - meaing that the guys in the left side of the building can focus on skirting & rolling & penning processes, the guys on the far right focus on distrubtion & shearing Entry Living Spaces Hallway

Hallway Entry Office Spaces

Egress Entry

Hallway Office Spaces

Egress

Egress

4 skirting & rolling

5 classing

6 storage

7 distribution

entry shelter

pen

shearing

exit shelter

skirting & rolling

classing

storage

distribution

4 skirting & rolling

5 classing

6 storage

7 distribution

entry shelter

pen

shearing

exit shelter

entry shelter

pen

shearing

exit shelter

skirting & rolling

classing

storage

distribution

entry shelter

pen

shearing

exit shelter

Ground Level

Level 1

Ground Level

Level 1

Hallway Entry 7 distribution 6 storage Office Spaces 5 classing 4 skirting & rolling

1 Movement of material rearrangement Egress The material now moves left to right, then after shearing shifts into the wool production band and moves right to left

Entry

Living Spaces Hallway

Egress Entry skirting & rolling 7 distribution 6 storage

Hallway Office Spaces 5 classing 4 skirting & rolling

1 Re-organised band alignment shifts Egress The bands now align according to the new sequential flow of material & live stock

Entry

Living Spaces Hallway

Egress

distribution

storage

classing

distribution

storage

classing

skirting & rolling

entry shelter

pen

shearing

exit shelter

entry shelter

pen

shearing

exit shelter

entry shelter

pen

shearing

exit shelter

entry shelter

pen

shearing

exit shelter

Ground Level

Level 1

Ground Level

Level 1

Programme Bar Diagrams

Resolving alignments relative to 1. Programme relationships 2. Material Flows 3. Social stratifications 4. Spatial Orchestration 5. Visual thresholds.

45

10 11 12 13 14 15

16

8 1 4 5 6

10

11

12

13

13

22 17

16

15

14

13

12

11

10

21

23

20

18

5
8

19

Conceptual Spatial Planning

Dealing with material flows in the shearing shed and wool production line. Organising the offices so that their is a direct relationship with the material production line. Conceptual plans for the layout of the 4 different typologies.

46

Material Flows
1 Control the sheep into the shelter area
7

2 Feed the sheep into the pens 3 Feed the sheep one by one onto the shearing tables ready for shearing 4 Shearers shear the sheep and retrieve the fleece 5 The sheep are let down from the shearing table and re-penned for inspection and being released from the shearing area 6 The fleece is then taken set aside ready for skirting & rolling
14

7 Here farmers / labourers ensure the sheep are in healthy condition before being let into the shelter and released back onto the farm 8 The fleece is transported to the skirting and rolling room 9 The fleece is stocked here before being processed 10 Workers process the fleece by skirting and rolling it 11 After the fleece has being skirted and rolled, it is then put into bins in prepearation for the people who will class the wool according to specific grades 12 These are the bins that will go over into the classing room to get processed

13 These are bins that will get processed by the workers 14 These group of workers take the classed wool and turn it into bales of wool 15 Once they are classed, someone organises them according to grade and prepares them for transporting to storage room 16 In the storage room the grades of wool define the bays 17 Green bales are an example of High Grade Stock 18 Orange bales are an example of Medium Grade Stock 19 Red bales are an example of Low Grade Stock 20 Here stock is picke for orders to Christchurch also around the rest of New Zealand

21 Here workers sort out their paper work for the stock
7

5 3 4

3
1 Shelter 2 Pen 3 Shearing 4 Skirting & Rolling 5 Classing 6 Storage 7 Distribution 8 Loading dock High

22 These are different stock orders ready to be freighted to the ICEBREAKER textile manufacturing facility in the industrial park in Christchurch 23 Trucks locked, loaded, and ready to go!

Workers / Farmers Unshorn sheep Shorn sheep fleece

Unclassed bale of wool Classed wool Grades of wool Medium Low

47

Entry

Living Spaces Hallway

Egress

distribution

storage

classing

skirting & rolling

entry shelter

pen

shearing

exit shelter

3 6

double height space

Spatial Planning
1 Entry into lodge unit 2 Hallway 3 Living & dining 4 Outdoor balcony 5 Kitchen 7 Storage 8 Bathroom

Entry
stairs to ski lodge hallway

4 1

5 7 8

Spatial cofiguration
1 Hallway_001 2 Balcony 3 Living area

Ski Lodge Spatial Planning 01

4 Dining 5 Bedroom 6 Kitchen

double height space

Initial option for planning the spaces of the Ski Lodge. 7 Hallway_002
8 Bathroom inherent seperation of rooms

Entry

4 1

distribution
6 7 8
general storage

48

physical seperation of rooms [wall]

shelter
Ski Lodge Spatial Orchestration Ski Enter the building at Lodge Spatial Orchestration 1
ground level 2 Check in at administration - get a lodge unit key 1 Enter the building at ground level 3 Take the stairs up to level 1 2 Check in at administration - get a continue key 4 Eitherlodge unitin the public hallway way to see 3 Take the stairs up to the production processes of level 1 ICEBREAKER wool and shearing production lines or continue 4 your continue toEitherlodge unitin the public hallway way to see the production processes 5 Either enter your lodgeof ICEBREAKER wool and shearing unit or have a look out to production lines or continue Mount Hutt and the Canterto your lodge unit bury plains 5 Either enter your lodge 6 View Mount Hutt from here unit or have a look out to Mount Hutt and the Canter7 Use your lodge unit key to bury plains get in 6 View Mount Hutt from to 8 Make a decision to gohere the balcony or continue 7 Use your lodge unit through to bedroom andkey to get in kitchen 8 Make a now in to go to 9 You aredecisionthe living the areabalcony or continue through to bedroom and kitchen 10 Take a left and go outside or take a right into 9 You are now in the living the kitchen area 11 Take a right to go to 10 Take a left and go or your retreat [bedroom]outside or straight to into continuetake a right go to kitchen the bathroom 11 Take a now to go bed12 You arerightin yourto your room retreat [bedroom] or continue straight to go to the bathroom 13 This is the bathroom business is taken care of 12 You are now in your bedroom 13 This is the bathroom business is taken care of

distribution distribution
9

stairs to ski lodge hallway

dist
2 3

Spatial cofiguration
1 Hallway_001 2 Balcony 3 Living area

double height space

double height space

1 1

Entry Entry entry entry shelter shelter

public viewing space

public viewing space

6 6

8 8

10 10 12 12

Visual Thresholds

double height space

11 11 13 13

1 Looking form the public hallway into the production 5 Bedroom processes of ICEBREAKER
6 Kitchen

4 Dining

double height space

2 Looking from within Hallway_002 7 the double height space towards 8 Bathroom Mount Hutt 3 When you first enter your lodge unit, youll see Mount Hutt framed through a glass inherent seperation of rooms sliding door 4 When you come out of physical seperation of rooms [wall] either the bedroom or bathroom, youll see Mount Hutt framed through a glass sliding door
sliding door private

2 2

7 7 5 4 5 4

public hallway

stairs to ski lodge hallway

stairs to ski lodge hallway stairs to ski lodge hallway

3 3

public hallway
public

entry shelter
0 1 2 3 4 5 6 7 8

Entry
stairs to ski lodge hallway

4 1

distr
6

4
5
general storage

general storage

working triangles

distribution distribution
Interior furnishings
1 Inward opening door HALLWAY_001 ground level ------------

entry shelter
0 1 2 3 4 5 6 7 8

Ski Lodge Spatial Orchestration

1 Enter the building at ------------2 Check in at administration

distr
4

dist
7 14

KITCHEN AREA

13 Stove & counter top

Visual Thresholds Visual Thresholds 1 Looking form the public

double height space

2 2

2 Shoe Rack - get a lodge unit key 14 Large counter top with sink 3 Take the stairs up to 3 Ski & Snowboard storage level 1 area 15 Pantry 4 Sliding door 16 see public hallway way toFridge BALCONY -------4 Either continue in the the production processes of BEDROOM ICEBREAKER wool and shearing ------production lines or continue to your lodge unit 5 Either enter your lodge

6 9 8

double height space

double height space

double height space

hallway into the production processes of ICEBREAKER 1 Looking form the public 2 from within the hallwayheightthe production double into space towards processes of ICEBREAKER Mount Hutt 3 When you first enter your 2 Looking from within the lodge unit, youll see Mount double height space towards Hutt framed through a glass Mount Hutt sliding door 3 When you firstout of your 4 come enter lodge unit,bedroom seebatheither the youll or Mount Hutt framed through a glass room, youll see Mount Hutt slidingthrough a glass slidframed door ing door 4 When you come out of either the bedroom or bathroom, youll see Mount Hutt framed through a glass sliding door

5 Hedge / Planting

17 Storage & cabinet [him]

unit or have 6 Outdoor table & chairsa look out to 18 T.V unit

stairs to ski lodge hallway stairs to ski lodge hallway

entry entry shelter shelter

0 1 2 3 4 5 6 7 8 0 1 2 3 4 5 6 7 8

4 3 3
general storage

bury plains 7 Hedge / Planting

Mount Hutt and the Canter-

8 Sliding door

6 View Mount Hutt from here

19 Storage & cabinet [her] 20 Bedside table 21 King size bed

LIVING AREA get in ------------

7 Use your lodge unit key to

general storage

8 Make a decision 22 Bedside table to go to 9 Indoor fire place the balcony or continue HALLWAY_002 through to bedroom and kitchen ----------10 Couch

1 1

11 bookcase 9 You are now in the General storage 23 living DINING AREA BATHROOM ------------10 Take a left and go out--------side or take a right into 24 Toilet the kitchen 12 Dining table & chairs 25 to 11 Take a right to goLaundry unit [washer &
your retreat [bedroom] or continue straight to go to the bathroom area

entry entry shelter shelter

2
stairs to ski lodge hallway

Entry
3

public viewing space

10

10

13

11

12

11
19

15

17

18

12

16

13

28 27 26

7 3
2 21 20 22 23 24 25

5
1

public hallway

stairs to ski lodge hallway

12 You are now in your bedroom 13 This is the bathroom business is taken care of

49

Ski Lodge Spatial Planning 02

50

Revised plans for the concept of the ski lodge. Bringing in the ideas of weaving and banding. Transgression from a dirty space to a clean one. I.e. coming from the ski field and wanting to be in a space that is highly tranquil and takes into the consideration the experience with the alps and the Canterbury plains.

4 3

Spatial Configuration
Have a seat and eat your delicious meal with stunning views out - Mount Hutt 1 entrance to storage for &ski the Canturbery & snoboard gear plains. After, grab this summers must read 2 bedroom and relax on the comfy sofa - those joints must be aching from the 3 bathroom slopes. 4 kitchen

If the evening calls for it, pop open a bottle of Sauvignon Blanc and have a few with the sheep! [metaphorically speaking]

5
5

6
6

7
7

3 2 1

clean

double height space

double height space

2
2

3
3

4
4

sanitise

Spatial Orchestration

1
1

5 living [bookcase] Freshen up and off 1 Ski gear drop get some clean merino. 6 living [couch] 2 3 4 Choose threshold to Make 7 dining enter a bite to eat before making another move. 8 outdoor 5 6 7 Orientation within living space 8 9 Outside When coming from the ski field undo your dirty boots. Leave your mountain bike here and drop off your heavy gear - take a load off!

double height space

stairs to ski lodge hallway stairs to ski lodge hallway

entry shelter
0 1 2 3 4 5 6 7 8
0 1 2 3 4 5 6 7 8

distribu
7 4

dirty

Entry

Living Spaces Hallway

Egress

distribution

storage

classing

skirting & rolling

entry shelter

pen

shearing

exit shelter

Spatial Orchestration
1 Ski gear drop off 2 3 4 Choose threshold to enter 5 6 7 Orientation within living space

stairs to ski lodge hallway

double height space

The concept: Banding A day in Camias Shoes 4 3

If the evening calls for it, pop open a bottle of Sauvignon Blanc and have a few with the sheep! [metaphorically speaking] Have a seat and eat your delicious meal with stunning views out to Mount Hutt & the Canturbery plains. After, grab this summers must read and relax on the comfy sofa - those joints must be aching from the slopes.
5

4
7

outside

Spatial Configuration
1 entrance - storage for ski & snoboard gear 2 bedroom 3 bathroom

8 9

Outside

entry shelter
0 1 2 3 4 5 6 7 8

6
8

distribu distribu
7 4
7 4

3 6

3 2 1

double height space

2

clean

1
3

double height space

2 3 4

4 kitchen

sanitise

5 living [bookcase]

The concept: Banding

7 dining

6 living [couch]

double height space

distribu
3

dirty

8 outdoor 1 Bedroom & living

2 Bathroom & living 3 Kitchen & dining

Freshen up and get some clean merino. Make a bite to eat before making another move.

stairs to ski lodge hallway

stairs to ski lodge hallway

When coming from the ski field undo your dirty boots. Leave your mountain bike here and drop off your heavy gear - take a load off!

stairs to ski lodge hallway

entry entry shelter shelter

0 1 2 3 4 5 6 7 8
0 1 2 3 4 5 6 7 8

stairs to ski lodge hallway

Spatial Orchestration
2 3 The4 Choose threshold toBanding concept: enter 5 6 7 Orientation within 1 Bedroom & living living space 8 9 1 Ski gear drop off

double height space

entry shelter
0 1 2 3 4 5 6 7 8

double height space

2 3

distribution
7 4

distribu distribu
3

2 Bathroom & living Outside 3 Kitchen & dining

Spatial Configuration
1 entrance - storage for ski & snoboard gear 2 bedroom 3 bathroom 4 kitchen

double height space

2 3

stairs to ski lodge hallway

Ski Lodge Spatial Planning 02

5 living [bookcase] 6 living [couch] 7 dining 8 outdoor

Resolving the space through architectonics. Using 1. walls 2. sliding doors 3. floor material changes 4. furniture to address and design for the user of the space.
1

stairs to ski lodge hallway

entry shelter entry shelter

0 1 2 3 4 5 6 7 8

51

52

Chapter 4: Technical Design

53

Ecology

Recap on the notion of designing architecture as part of a wider ecological system addressing particular set of defined constraints. 1. Wool harvesting 2. Wool freight logistics [both local and international] moving the material from pudding hill, to Chrsitchurchs industrial park, to the port of Lyttleton. Opens up a discussion for how we start addressing the location of important architecture that is beneficial to society; in this project particularly looking at merino wool and how that would move around the geography in New Zealand and outside in the global market.

54

North Side Facade

Ski Lodgers get the afternoon sun. A cantilever provides shading for the office glazing

South Side Facade

Workers in the wool production and shearing shed get the diffused lighting conditions.

Building Orientation & Environmental Consideration

Directly North Facing towards the Ski Field and the Southern alps. Ski Lodgers get the afternoon sun, the Wool Production workers and shearers get the diffused lighting coming from in from the south.

55

Building Planning

Address issues such as variation in the planning of the Research and Development and Ski Lodge buildings. 1. Offices In the offices variation is created by allowing for the addition of different types of work spaces such as a small, medium and large meeting rooms. Added was a staff room that doubles as a cafe where clients can converse with the research guys and feel more apart of the organisation [bridging the relations between different social strata [company and customer / client relationship]. The office spaces allows for 1-2 work groups and 3-4 work groups with different spatial arrangements for the two user defined groups. 2. Ski Lodge Variation needs to occur to address different user groups such as individuals, couples, families, larger groups of people who ski and snow board on Mount Hutt. 2 different types were created 1. A 1-2 person quarters 2. A 3-4 person quarters. Within each type 2 different arrangements of furniture is used to create variation with the two types such as deploying different beds and smaller or larger tables and also additional showers.

56

Resolving Plans

Glance at how the plans got resolved on the fly.

57

AA

0 1

2 3 4 5 6 7 8 9 10 11 12

CC

10

11

12

13

3 5

28

27 1

26

DD

29

30

AA

Resolved Plans Level 0

1. Shearing shed resolved 2. Wool production line resolved 3. Building entrance resolved 4. Research and Development offices resolved

58

BB

14

15

16

17

18

19

20

21

22

CC

23

25

24

11 10 9 8 7 6 5

3 2 1 0

DD
1 Entrance 2 Stair Access to Ski Lodge Units 3 Reception / Administration 4 Staff / Client Cafe & Staff room 5 Corridor 6 Male toilets 7 Female toilets 8 Medium meeting room 9 Large meeting room 10 Small meeting room 11 Large office 13 Large Group work space 14 Small office 15 Small office 16 Large office 17 ... 18 Small office 19 Large office 21 Large Group work space 22 Small office 23 Fire Egress 24 Skirting and Rolling 25 Classing 26 Storage 27 Order assembling area 28 Distribution

31

32

33

34

BB

29 Sheep shelter 30 Ramp 31 Pen 32 Shearing 33 Re-pen 34 Sheep shelter

59

AA

35

38
0 1 2 3 4 5 6 7 8 9 10 11 12

39

38

40

38

CC

36

37

DD

AA

Resolved Plans Level 1

1. Ski Lodge cafe resolved 2. Ski Lodge visual threshold into wool production resolved 3. Ski Lodge spatial planning resolved

60

BB

40

38

40

38

40

38

CC

11 10 9 8 7 6 5

34
3 2 1 0

DD

36 Ski lodge cafe 37 Communal laundry 38 1-2 person quarters 39 1-2 person large quarters 40 3-4 person large quarters

BB

61

Cross Sections

Cross sections showing how ideas of a weave get translated into a real building. The Ski lodge guys are separated yet still link in with the wool production line through visual threshold. The guys in the research and development have a direct circulation path crossing into the material production line. Through visual threshold the guys in the shearing shed are connected and linked in with the rest of the architectural frame work. Recap on ideas about intentions about complex hybrid typologies. How do you create a new type of architecture that brings together different uses within one architectural framework? Going back on the concept of the weave, the warp is held in tension and the weft weaves up and over and down and under. The buildings individual typologies are conceived as the warp held in tension; the weft is the tactile conditions operating within the warp that allow for us to weave the different buildings together through people.

62

BB

AA
Architectonics allow us to articulate the ideas of the weave in the real world which become more about making things such as the new hybrid typology link in with a wider idea about the weave as a fabric or textile. 1. The Structural System 2. The roof form in the longitudinal section 3. Facade articulation 3. Floor material choices 4. Wall material choices

63

MALE

fe.MALE

Longitudinal Sections

Primarily the point of interest in the longitudinal sections is the tertiary structure having a dual function. Not only is it tying the primary structural system together, but also is being used to articulate the facade of the offices in section DD and the interior hallway of the Ski Lodge in section CC.

64

CC

DD

65

9 f

c 2

d 3 4

e 5

5 8
5 8 7 9 4 3 2 1

4 7

1 3 2

a e d f c b

a e d f c b

5 4 4

3 2

1 Ski Lodge Unit Typical Exploded Assemblage Breakdown.

All architectonics used to create a highly tranquil interior space.

66

5 8 7 9 4 3 2

a e d f c b

5 4 3 2 1 4

3 2

North Facade Design

Taking cues from the weave in an attempt to weave the light coming through the north facade. Gradient shifts in the articulation of the horizontally in the facade was a key goal to try and weave the light coming through the north face of the building. The balustrade and the timber screens where of particular points of interest when designing. Working in modular balcony units I conceived the entire north face as an animated facade with different density gradient shifts of the horizontal compositional elements.

67

b b a a

d 2 c

b a 6

Exploded Assemblage Structural Breakdown

The basic of the concept for the structure is that is woven. We have two primary structural systems with a tertiary structure strategically deployed for a dual purpose of being a visually permeable wall. The primaries work in unison (one in the warp direction and one in the weft direction) being tied together with tension rods in the Lower part of the north facade and the height of the south facade.

68

b b a a a 5 b

b b a a a b

d 2
6 b a d

b
c

a
b

Structural Detail Resolution

The use of a rocker joint in the weft structure allows us to articulate the structure as something that is literally woven. The weft structure goes up and over and down and under the primary warp.

69

Resolving Structural Design

A glance at how structural design was resolved on the fly. The computer was used as a tool for realising the idea, most of the designing came from sketches on the fly.

70

Corrugated Iron
2

Polished Pinewood

Venetian

Yellow Pinewood

10

11

Rough Sawn Pinewood

13 12 14

Grey Galvinized Steel

Materials Palette

Understanding locally available materials and locally accessible technologies for getting a building built in a rural setting.

71

Resolving Interiors & Exteriors

A glance at how interior and exterior design was carefully articulated

72

73

Resolving Interior Designs 01 Ski Lodge Balcony

Weaving light in the balcony areas of the north facing facade.

74

Resolving Interior Designs 02 Wool Production Line

Bridging relations between social strata. Ski and snow boarders at the top, office worker on the left, wool production worker on the right.

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Resolving Interior Designs 03 Ski Lodge Hallway

Expressing harsher and finer grains of the weave. Harsh in the structure, finer in the ceiling. Floating ski lodge units, negative detail at the bottom of the ski lodge quarters entrances. Indent in the wall for the doors to express the individual units within a wider umbrella of the typology itself [ideas of binary weaving 0s and 1s.]

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Resolving Interior Designs 04 Reception

Double height reception space with ski lodge cafe on level 1 and staff and client cafe at ground. [People watching]

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Resolving Interior Designs 05 Staff Room / Cafe

View from the cafe into the reception.

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Resolving Interior Designs 06 Shearing Shed

Emphasis on the floor to express linearity and help guide the sheep in a straight line ready for shearing.

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Resolving Exterior Designs 01 West and South Facing Facades

West and South Facades under different lighting conditions. Diffused lighting from the south *Note the slight cut in the thermal mass and the profile of the roof to let diffused light seep into the wool production line.

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Resolving Exterior Designs 02 North Facing Facade

The animated facade articulated through different architectonic elements speaking the same horizontal language.

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Resolving Interior Designs 03 West Facing Facade

A view when coming up to the building as a customer getting a view into the 4 different typologies in one glance = a woven architectural framework.

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01 Context

An architecture that responds to its surroundings.

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02 A Woven Architecture

Viewing a woven architecture, the formal design with the essence of the place.

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03 Experiencing A Woven Architecture 86

Living in a woven architecture, the spatial design with the essence of the place.

04 Experiencing A Woven Architecture

Working in a woven architecture, the spatial design with the essence of the place.

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