Friday 30 October 2015

ARCH 9006 CONTEMPORARY FABRICATION


The objective of this project is to fabricate an architectural model using predominantly digital techniques - my model is a 1:20 cross laminated timber roof, wall and floor section. Cross laminated timber (CLT) construction is particularly well suited to the objective of this course as the panels are manufactured using CNC robotic machines to produce complex joints between panels. In a time where construction's cost and detrimental effect on the environment is so great, I am particularly interested in CLT from the standpoint of its environmental credibility as a material but also the efficiencies of its CNC processing and assembly on site as a 'kit of parts' shortening construction time.

This video shows the CNC machine processing of CLT panels that my project aims to emulate, albeit within the limitations of a small 3-axis CNC mill;





The accuracy and complexity of these CNC processes allows the design and construction of complex geometry using sustainable materials with relatively short onsite construction time. Mazarin by Arboreal Architects is an example of this process - from digital model;

Mazarin digital model. From: Archdaily, 
To the resolution and cutting of complex joints in the CLT panels;
CLT panel joint. From: Archdaily, 


To onsite assembly;

Mazarin construction. From: Archdaily, 
And the finished project;

Mazarin. From: Archdaily, 


My main objective is to produce a mitre joint using a metal connection that would represent a typical dry CLT panel joint - but most importantly to take advantage of the accuracy of CNC machining to make it perfect. It was important conceptually that no hand techniques would be employed in the making of the joint. The only hand process was finish sanding of the plywood faces, not of the joints themselves.

The design and fabrication of my detail model is as much about its production than it is about the end product. All of my design decisions were driven by the limitations of the Roland MDX-540 3-axis CNC mill at UNSW.  Plywood was an obvious choice for a CLT model but the scale of the model was driven by the maximum workpiece size of the mill, the joint design and size by the smallest tool bit available as well as the CNC machining process itself.

Typical CLT metal jointing. From Rethink Wood,
http://www.rethinkwood.com/sites/default/files/Connection-Solutions-Modern-Wood-Buildings-CEU.pdf (accessed October 29, 2015)

Early concept model in SketchUp.

Early concept joint in SketchUp

My original intention was to utilise the rotary axis unit for the mill which would ensure CNC controlled accuracy by allowing the machining of both the upper and lower joint in one process. This would remove the need to downcut the top joint and then flip the piece in the mill to machine the bottom joint. The danger of this would be the possibility of error in the relationships of these parts through the incorrect placement and movement of the workpiece and the machine origin in relation to the first and second cuts.



Unfortunately the rotary unit was unavailable so I was forced to revise my methodology to design, fabricate and utilise a series of jigs to remove any human based inaccuracy which hugely prolonged the process but in the end made it more interesting as well as a better insight into the limitations and extensive set up involved in CNC manufacturing and fabrication generally.

Another interesting element of the process was 3d modelling software based. The mill was refusing to cut holes with very little tolerance between the tool bit size and modelled hole using SketchUp. We assumed that this was because of the SketchUp hole geometry being facetted;

Facetted SketchUp Hole geometry

I moved the project modelling into Autodesk Inventor which is perfect for this process and the results were quickly improved. The accuracy and control of modelling to fine tolerance was made relatively easy (once I'd learnt the basics of another complex piece of 3d modelling software) and I was finally able to get cutting.

Autodesk Inventor hole geometry

Perfectly defined geometry and modelling control in Autodesk Inventor

First successfully machined test joint


This six minute video describes the fabrication process employed to produce the final model;



Best viewed in YouTube here: https://youtu.be/MtSw0SMvcIg


Final model images;














Wednesday 20 November 2013

ARCH1302 - STUDIO 6 - THE ‘GLENN MURCUTT’ REGIONAL STUDIO



The Bachelor of Architectural Studies graduate studio led by Glenn Murcutt explores an architecture that is a response to a specific environment, not one of imposition. This studio places an emphasis on hand drawing and modelling as a mode of design thinking. The project brief is for a live-in facility for both recreation and study that engages with the physical, psychological and cultural nature of its site; the sandstone pagodas and waterway of Dunn's Swamp, ‘Ganguddy’, in the Wollemi National park approximately 140km north west of Sydney. The project also incorporates the design of off-grid power, water and waste management systems.

Conceptually, my project consists of a linear element which redefines the water's edge, anchored by a sandstone outcrop. A passage between natural rock and man-made concrete brings visitors into a sequence of expansive timber and glazed accommodation spaces which frame the waterway and mountain views beyond. As a counterpoint, a mass concrete wedge provides a ‘cave’ which offers a communal sense of enclosure and retreat.


















full size screen resolution PDF of drawings available here:

arch1302_gilling_scrn.pdf 2.6Mb





ARCH1301 - DESIGN STUDIO 5 - BONDI APARTMENTS

The project for this course was to propose a mixed use program of apartments and cafe/bar as a redevelopment of a prominent corner site in North Bondi.

The course objective was that our proposals would be the result of a thorough analysis of the applicable LEP and DCP as well as the Residential Flat Design Code. We were encouraged to push the boundaries of these codes in our design and then argue the merits of our proposal where it did not comply. We also addressed developer requirements such as return on investment through the maximising of FSR and the appropriateness of our project within the existing marketplace for apartments in Bondi.















full size screen resolution PDFs are available here:

gilling_arch1301_board_1_scrn.pdf 1.9Mb

gilling_arch1301_board_2_scrn.pdf 1Mb

gilling_arch1301_board_3_scrn.pdf 1Mb

gilling_arch1301_board_4_scrn.pdf 0.5Mb








Thursday 23 August 2012

PRECEDENT ANALYSIS

A graphic analysis of Harpa - the Reykjavik Concert Hall and Conference Centre by Henning Larsen in Iceland. Parti diagrams distill the design concept into a simple and precise series of lines which are then related to the plan and section of the building. Then the analysis looks at the project in a broader urban context.

Harpa's concert hall and conference rooms are designed to represent the natural elements of Iceland, black basalt cliffs, volcanic mountains and the ocean. Once inside the foyer, the hall's outer material is dark, reminiscent of the basalt sea cliffs while the interior of the main concert hall is clad in a natural timber with a rich red finish that represents the powerful heart of Iceland's volcanic landscape. These halls are enclosed in a glass facade that appears as a crystalline structure reflecting Reykjavik's rugged surrounding environment and the city's port and citizens. Harpa was also part of a major urban master plan that intended to make it the heart of a new arts precinct, connecting the port area with the city's centre, which was previously cut off by major roads and industrial development.