site tec journal year 3

AN EXPLORATION ON SITE ENGINEERING

SITE TECTONICSTUTOR: CHEN YU CHUI LECTURER: NANO

ON REPRESENTING LANDSCAPE ARCHI

STUDENT: DI SONG STUDENT NO:383403

A SUMMER DREAM

aCKnoWleDGeMentS

This journal is a record

of my progression understanding of SITE TECTONIC and the key themes it brought out in manipu-

lating landscape, ranging from site grading, earth manipula-tion, drainage, built structures, substrates and digital modelling of site.

Special thanks should be given to my tutor Cho, for not only patiently leading us to the final design but also pass me knowledge that goes far

beyond intellectual domain. Also, I shall give my sincere thanks to my group mate, Calvin and Sophia, for their passionate devotions to the

final design. EPIC COOPERATION!

A SUMMER DREAM

This journal is a record

of my progression understanding of SITE TECTONIC and the key themes it brought out in manipu-

lating landscape, ranging from site grading, earth manipula-tion, drainage, built structures, substrates and digital modelling of site.

Special thanks should be given to my tutor Cho, for not only patiently leading us to the final design but also pass me knowledge that goes far

beyond intellectual domain. Also, I shall give my sincere thanks to my group mate, Calvin and Sophia, for their passionate devotions to the

final design. EPIC COOPERATION!

4PERFACE STUDY OUTCOME

Site tectonic, by proposing a design project that re-allocate Farnswort house to the local con-text of a Melbourne suburb, aims to enhance students knowledge of topography manipulation, site representation ( including 3 D modelling of large scale site), and fundamental landscape archi-tecture detailing. I like it how I can learn site engineering knowl-edge through solving problems in a real design issue. During the design process, we faced the problems of unbalanced site

grading (with heavy earth work); too steep a slope for visitors, questionable construction details; heavy cantilevers that go against gravity -due to modelling in a virtual world, people are easy to forget about gravity and create crazy unrealistic forms. Finally we solve the problems after weeks refinements under the instruction of our tutor. The process of study is holistic yet step by steps. I loosely falls my study outcome in site tec-tonics during this semester into

5three categories: 1. Slope manip-ulation on a large scale, for ex-ample: the experiences it creates for visitors (vertical gradient) 2. Detailed slope manipulation such as water drainage and certain degree of embankment (hori-zontal gradient) 3. Materials and construction details of interface.In terms of representing site, the digital software we used were:FOR 2D: autocad, rhino, illustra-tor, photoshop, indesignFOR 3D: revit, rhino, vray, lumion, photoshop, a bit 3Dmax

PRECEdENTs ANd REFlEC-TIONS ON LECTURES -----P9dEsIgN INTENTIONs----P10PlANs + sECTIONs-----P13PhysICAl mOdEl-------P183 d REPREsENTINg------P20RElECTION ON FEEdbACk------------------------------P21gOOd PRECEdENTs ExAm-PLES FROM PEERS--------P21

PRECEdENTs REsEARCh -------------------------P24FOldINg hOusE kENgO kumA -----------------P26NANyANgTECh uNI GREEN ROOF ---------P27INVIsIblE hOusE -----P24 PETER sTuTChbuRygENIs lOCI -----------P24dEsIgN INTENTIONs-------------------------------P30PlANs + sECTIONs---P32PhysICAl mOdEl-----P373 d REPREsENTINg----P36RElECTION ON FEEd-bACk--------------------P36gOOd PRECEdENTs Ex-AmPlEs FROm PEERs--P38

PRECEdENTs ANd REFlEC-TIONs ON lECTuREs----P40COuTyARd -------------P42RETAININg wAll--------P43EmbANkmENT-----------P46dEsIgN INTENTIONs----P48PlANs ------------------P52sECTIONs---------------P48PhysICAl mOdEl-----P543 d REPREsENTINg ---P53RElECTION ON FEEdbACk----------------------------P56gOOd PRECEdENTs ExAm-PlEs FROm PEERs-------P57

ESQUISSE 1 ExTRudINg EmOTION

GETTING START WITH EARTH WORK - FILL

ESQUISSE 2 GENIS LOCI

MERGE INTO LAND-SCAPE CUT

ESQUISSE 3 ENCLOSURE

BALANCED EARTH-WORK - CUT&FILL

CONTENT SITE TEC

gRAdIENTs CAlCulA-TION-----------------P57RAmP dEsIgN IssuE---------------------------P58dEsIgN INTENTIONs---------------------------P59PlANs + sECTIONs----------------------------P60PhysICAl mOdEl---P623 d REPREsENTINg--P63RElECTION ON FEEd-bACk------------------P63

week9- form finding and CALLIGRAPHY EXPERIMENTSweek10 - refinement with CONSIDERATION OF PREC-EDENTSweek11 - refinement with CONSIDERATION OF DETAILSfinal design intentionsPlans + sectionsPhysical model3 d rePresentingrelection on feedback

ESQUISSE 4 GRADIENTS

RAMPS AND EXPE-RIENCES

EsquIssE 5DRAINAGE

DRAIN OUT VS. RE-TAIN= BEING GREEN

FINAL DESIGNROMANTIC EXPRESSION

weeks refinements+ CONSTRUCTION DETAILS

PRECEdENTs -------P69wATER & dEsIgN INTEN-TION-----------------P70CAllIgRAPhy ANd ChI-NESE GARDEN-------P71PlAN----------------P72ChINEsE CulTuRE & MIES------------------P73sECTIONs-----------P763 d REPREsENTINg--P78RElECTION ON FEEd-bACk------------------P79

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PRECEdENTs ANd REFlEC-TIONS ON LECTURES -----P9dEsIgN INTENTIONs----P10PlANs + sECTIONs-----P13PhysICAl mOdEl-------P183 d REPREsENTINg------P20RElECTION ON FEEdbACk------------------------------P21gOOd PRECEdENTs ExAm-PLES FROM PEERS--------P21

ESQUISSE 1 ExTRudINg EmOTION

GETTING START WITH EARTH WORK - FILL

Getting start with earth work - ll

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PRECEdENTs ANd REFlECTIONs ON lECTuREs

In order to strengthen the topic FILL in this week , the precedent we followed was the FALTHAUS- FOLDED HOUSE by x ARChITEk-TEN built in 2001. The building is considered as a statement of modern architecture and at the same time communicates with the rural settings it locates. The exterior form of the building is a folded ribbon with clear cut structure. The building offers ground floor access to the land-scape garden at all levels and it develops horizontally an ex-truded cantilever language. This will provide privacy to the floated

space and offers cross views for people in the extruded room. As according to the lecture , a building placed on site in a fill scenario will have deeper foot-ings , and the base structure s in the earth are more prone to ero-sion with time. Thus Probably the reason why the house is rested on an exposure footing pile is because it doesnt wanted to be graded into soil with a threat to be damanged. Here I see the im-portance of considering site work before designing built structure.

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dEsIgN INTENTIONs

The Farnsworth main compound is placed across the valley (contour levels 8-12) has been chosen for two reasons.1. To capitalize on the privacy given by a higher elevation of the nearby rive2. Use of the nearby slope in juxtoposition of orientation of the site to increase the 3. Both deck and house are located above the maximum peak flood level of nearby River in this site, which will essence the sur

PAVILION PLACEMENT

1. PASSIVE DESIGN CHARACTERSThe main compound of the pavilion is to be placed perpendicular with the contour lines with major living area facing north, bedroom facing north-east, study room and office facing east, and kitchen facing south. The main entrance will be facing west with a big cantilever roof casting heavy shadow in shading summer western sunshine.

2. PRIVACYWith the main structure floating above the terrace, the living room wins more privacy. Deciduous trees are to be planted over the west side of elevated platform in providing both visual interests, passive design approach and privac

PAVILION ORIENTATION

RAMP DOWNMAJOR ACCESSIBILITY

VIEWS

VEGETATION PROVIDE PRIVACY

SUMMER SUNSHINE BLOCKED BY OVERHAND

RECREATIONAL VIEWSECREATIONAL VIEW

OVERHANG AREA IS A PRIVATE SPACE THAT PEOPLE CANNOT LOOK THROUGH AS IT WAS THE DISADVANTAGE OF FARNSWORTH HOUSE

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The Farnsworth main compound is placed across the valley (contour levels 8-12) has been chosen for two reasons. given by a higher elevation of the nearby river.

2. Use of the nearby slope in juxtoposition of orientation of the site to increase the experiential characteristics of the site.3. Both deck and house are located above the maximum peak flood level of nearby River in this site, which will essence the surrounding views.

With the main structure floating above the terrace, the living room wins more

Deciduous trees are to be planted over the west side of elevated platform in providing both visual interests, passive design approach and privacy.

3. RECREATIONAL FUNCTIONThe main body of the pavilion is cantilevered and stretched out from the terrace. With a paramonic glass envolope, the building provides premium view to the owner.The long side of elevated platform is placed parallel to the the contour line. Thus the owner can sit along the edge of the platform and overview the surrounding sceneries.

SUMMER SUNSHINE BLOCKED BY OVERHAND

RECREATIONAL VIEWSECREATIONAL VIEW

OVERHANG AREA IS A PRIVATE SPACE THAT PEOPLE CANNOT LOOK THROUGH AS IT WAS THE DISADVANTAGE OF FARNSWORTH HOUSE

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PlANs + sECTIONs

A-A

A-A

B-B

B-B

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A-A

A-A

B-B

B-B

0.5

0.75

B-B0.3

MARIBYRNONG WEST RIVERBANK PAVILION

SCALE: 1:500 @ A4DRAWING TITLE

PROPOSAL 1- FILL GRADING PLAN

ExIsTINg CONTOuR

PROPOSED CONTOUR

sECTION mARk

lINEwEIghTCHART

The grading plan did herein the first pro-posal was the first time I really pay atten-tion to contours in a real design issue. I did architecture studio 2-water in last year, where the site has dramatically steep slope. I designed my house without a proper con-sideration of the contours and nearly cut all the earth on site in forming a brand new flat site. I think, despite the site engineer-ing knowledge this course want to teach us, another significant influence it gives me is to design according to the site condition , and especially give serious consideration on earth work.

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A-A

B-B


SCALE: 1:500 @ A4DRAWING TITLE

PROPOSAL 1- FILL GRADING PLAN

CONTOURS WITH ROOF COVER

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A-A

B-B

There are some mistakes in my first weeks grad-ing plan that I didnt realised until week seven.

1. Contours lines should be lighter on an interval of 5 meters according to drawing con-ventions. Thus, 5m and 10m contours should be thinner or lighter in colour to show differ-ence from other contour lines.2. lineweight issue: lineweight on plans and sections is always an important issue when drawing 2d representations. This class enables me to practice on adjusting lineweights and form my own palette to make my drawings look good. One thing that I misunderstood dur-ing the period of assignment 1 is that I thought this class was about contours and gradings, so I made contour lines thicker than the build-ing outline. however, this is wrong. Though the class concerns contours, but contours should always be very light, because its something that doesnt exist.

There are some confusing issue I didnt make out during the first half of the semester:how to clearly show contours with the represen-tation of the house? since when I put the build-ing on the contours, the contour lines should be covered by the house, which might make my contours confusing with a broken area. so in my past esquisse, I was always representing 2 plans of which one shows the contours without build-ing and the other: contours with the building covered on it. but this will lead to overlap information on the presentation board. At the end of the semester , I sorted this out by aligning the two plans and erased the information that is overlapped.

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EXISTING SITEFILLED SITE

HORIZONTAL 1:500VERTICAL 1:500SECTION A-A

0

12M

FILLED LAND PLATFORM

GENTLE GRASSLAND+GRAVEL RAMPS

GENTLE GRASS-LAND

RIVER


SECTION B-BHORIZONTAL 1:500VERTICAL 1:500

12M

0

GENTLE GRASS-LAND

RIVERFILLED LAND PLATFORM

BUILDING OVERHANGGRAVEL+GRASS

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HORIZONTAL 1:500VERTICAL 1:500SECTION A-A

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12M

FILLED LAND PLATFORM

GENTLE GRASSLAND+GRAVEL RAMPS

GENTLE GRASS-LAND

RIVER


SECTION B-BHORIZONTAL 1:500VERTICAL 1:500

12M

0

GENTLE GRASS-LAND

RIVERFILLED LAND PLATFORM

BUILDING OVERHANGGRAVEL+GRASS

The definition of sections vari-ous slightly in the vocabulary of architecture and landscape architecture. Landscape sections are always very long and small in scale, so it cant go as detail as architecture sections where detailed structural joints and materials are expected to show. however, landscape sections have their own characters: they integrate the earth, vegetation, building, people and the infra-structure around the building.

In this section, it showed the existing elevation and the proposed elevation on a sliced section, which will give reader a sense of how the site is going to be filled.

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PhysICAl mOdEl

summer evening winter noon

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winter evening

Physical models are made every week as a traditional way of representing site. The model is scaled into 1:500.Cho:physical model is not only a model; it will show the character of the site, and we should make the most of a physical model to make it doesnt look like a model at all.Thinking in retrospect, the photography of this model is badly presented, though it does tell the story of how the shadow moves with the sun movement and the extruded over-hang. This informs my later work to present model in a more designed way.

Digital representing the site: the software being used was rhino+ vray+ photoshop.

Disadvantages in using the digital modelling software: forgetting about the gravity.shown in the photo are the can-tilevered pavilion renderings. Though the structure stands in visual photo, it will probably falls down in really construction since lack of supporting trusses.

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3 d REPREsENTINg + wEEk 1 REFlECTION summARy

In the fill scenario, earth is to be filled to the original site to bring levels up to the subscribed height. It creates an elevated platform

which can provide privacy for the owner of the pavilion. however, the fill scenario is best to be used when excess site material had been generated and had to be disposed. Another disadvantage of using fill is that the building foundation needs to be extended to reach the real site grade before top soil is back filled to cover the footings.

In terms of cross sections, it is not only a representation of vertical di-mension of the land, but also an assistant in the calculation of earth-work quantities. The cross sections produced here is more prone to be design and presentation section rather than engineering section. It lacks constructin detail and detailed annotations. In the final design, we elaborated our sections with annotations and details to make it into a construction+ design section.

THE LIFE MOUNDS BY CHARLES JENCKS

A really evoking example I found my classmates used for the fill precedent. The terraced earthworks are embedded with paths, summit sculptures and inscriptions. The access road winds its way through the earthwork in a dramatic way.by further searching ChARlEs JENCks, I found several interest-ing project he did. 1. The highlands Maggies centre 2. The gar-den of cosmic speculation (the black hole terrace, the universe cascade and the snail mound)I like how he manipulates the landform in a crazy manner yet creating such a hallucinating effect. how he reached the swirling effect? 1, through height of vegetation 2, through earthworks 3, through infrastructures

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RElECTION ON FEEdbACkgOOd PRECEdENTs ExAmPlEs FROm PEERs

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ESQUISSE 2 GENIS LOCIMERGE INTO LANDSCAPE CUT

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PRECEdENTs REsEARCh -----------------------P24FOldINg hOusE kENgO kumA --------------P26NANyANgTECh uNI gREEN ROOF ------------P27INVIsIblE hOusE ------------------------------P24 PETER sTuTChbuRygENIs lOCI ------------------------------------P24dEsIgN INTENTIONs---------------------------P30PlANs + sECTIONs----------------------------P32PhysICAl mOdEl------------------------------P373 d REPREsENTINg----------------------------P36RElECTION ON FEEdbACk--------------------P36gOOd PRECEdENTs ExAmPlEs FROm PEERs-P38

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PRECEdENTs REsEARCh

In this weeks CuT proposal where substantial area of the building will plunge into earth as retaining walls, the transparent, floated, elevated and light- weight feelings of Farnsworth house can hardly be addressed as a main focus point in this design. Thus this design tries to emphasis and zoom out the dia-logue between Farnsworth house and its surroundings. This proposal mainly focus on merge building into landscape and create a spirit of space ( Genius Loci).

As in the case of last weeks proposal, the elevated platform is designed into a recreational space that provides an outdoor space for owners to relax and enjoy views. In this weeks proposal , we advanced the idea by substituting the former elevated platform by a continu-ous roof that gradually connects the two terraces on different heights. The roof of the building functions as a viewing platform. Thus, though the building is subsidence in ground, the whole design will also opens panoramic views to the house owners. The roof also achieves an unified space feeling by intertwining with a poetic gesture.

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THE INVISIBLE HOUSE PETER STUTCHBURY

This design informs the project in such a way that how architec-

ture can merge into landscape . large glass panels open up views for house

owners and large interior space is illuminated by RIBBON WINDOWS. In our design, ribbon windows are used

to form a transparent glass enclosure extruding above ground. This makes our design looks very light from up-

per terrace, which refers back to Farnsworth houses light character.

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tHe CHiva HouSeKenGo KuMa

More than half of this single family house is buried under ground and it sits on terraces of different heights. A folding roof ramp that con-nect both the terraces was created to achieve the goal of forming a unified space. Our design was influenced by its undercurrent thinking of creating a unified space where architecture and landscape can be integrated together as a whole organic entity.

PRECEdENTs REsEARCh

the two most influential building for this weeks proposal are the CHiva HouSe by KenGo KuMa and the nan-YanG teCHnoloGY univerSitY artS SCHool builD-inG bY CpG. the two building shares the same continuous

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PRECEdENTs REsEARCh

nanYanG teCHnoloGY univerSitY CpG

The 5 story facility sweeps a wooded corner of the campus with an organic vegetated from that blends landscape and structure, nature and high tech. The green roof blurred the line between the land-scape and building. The roof creates open space, insulated the build-ing , cool the surrounding air and harvest rainwater for landscaping irrigation.

roof that connects the landscape and the building structure. the roof blends the site and pavilion together and blurs the bound-ary between architecture and landscape, which responds to the concept of Genius loci.

Another precedent I found can benefit our design was the VIllA RONDE by hENRI guEydAN ARCh ANd Ass. The villa is a circu-lar residence with a private museum on a rocky coast by the sea in Japan. It directly engages with the natural elements of the site with the structural partially plunged into the topography of the land. The circular form was driven by the presence of a dominant northern wind. This will enable the structure function as a windbreak and the roundness shape will resist less windload on site. The underground of the the building benefits from thermal exchange and cross ventilation is achieved through an inner garden in the courtyard that served as a convection system in attracting fresh air system. 40cm thick green roof garden holding solar panels functions as natural insulation to the building.This precedent inspired our design in such a way that one can see most of our design characters traced back into this particular project.

VILLA RONDEHENRI GUEYDAN ARCH AND ASS.

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PRECEdENTs REsEARCh

Other interesting projects that blend the boundaries between

structures and landscape and making the most out of green roof system.

Villa toPoject 2010 KOREAWITH CATILEVERED ROOM EXTRUDED OUT AND MAJORITY OF THE ROOM SUNKEN INTO TOPOGRAPHY

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hot summer wind

cold winter wind

wind break( keep warm and breathe well)

WIND

VENTILATION DIRECTION

VIEWS WITHIN MAIN BUILDING UPPER LEVEL VIEWS

LIGHT PATHWAY ( MAIN ACCESS)ARCHITECTURE DETOUR

VEGETATION GROUP

LIGHT ACCESSIBILITY VIEWS

As the building is sunken into the ground, the earth sur-rounded the building func-tions as an ideal thermal mass storing the heat for the building and there are less large glass panels exposed directly to the sun. Thus, passive design issue for this weeks proposal is not as important as it was for last weeks. however, in consid-ering providing sufficient light and well ventilation for the whole underground

space, ribbon windows are used where building extruded above ground. This design element also refers back to Mies idea of celebration of glass. Also the use of ribbon window makes the building looks lighter from human eye-level perspective view, which refers back to the transparent and light characters of Farnsworth house.

Instead of focusing on passive design, the project focus on the wind issue, which is a flec-

dEsIgN INTENTIONs

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LIGHT PATHWAY ( MAIN ACCESS)ARCHITECTURE DETOUR

VEGETATION GROUP

LIGHT ACCESSIBILITY VIEWS


VIEWS

tion of last weeks tutorial. The proposal for the cut assignment trends to make the surround-ing earth as a natural windbreak that avoids wind from invading the building. The diagonal axis formed by the corner of the building points towards N-s direction. This will block the hot summer wind coming from north and cold winter wind from south. The bending shape of the building also embraces breeze from the adjacent river in sum-mer.

The vegetation groups planted around the building passively guide the visitors to engage in the building. It lures people onto the roof ramp by blocking shortcuts, narrowing down their choices of accessibility to get down to the court yeard( which is also the main entrance of the building). The journey on the roof ramp is an architecture detour. It allows people engage in the design, or, engage within the whole architec-tural emotion this project creates.

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PlANs + sECTIONsPlANs + sECTIONs

32

s + sECTIONsPlANs + sECTIONsPlANs + sECTIONs

3232

45

6

78

910

1112

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All CONTOuRs 0.5wITh sECTION lINE 0.3


DRAWING TITLE

SCALE: 1:500 @ A4

PROPOSAL 2 PLAN

3

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EXISTING SITE

CUT SITEHORIZONTAL 1:500VERTICAL 1:500

0

12M

EXISTING SITE

CUT SITE

HORIZONTAL 1:500VERTICAL 1:500


SECTION A-A

SECTION B-B

SECTION C-C

0

12M

0

12M

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EXISTING SITE

CUT SITEHORIZONTAL 1:500VERTICAL 1:500

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12M

EXISTING SITE

CUT SITE



SECTION A-A

SECTION B-B

SECTION C-C

0

12M

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12M MARIBYRNONG WEST RIVERBANK PAVILION

DRAWING TITLE

SCALE: 1:500 @ A4

PROPOSAL 2 PLAN WITH GREEN INDICATED ROOF

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PhysICAl mOdEl3 d REPREsENTINg

TUTORIAL FEED-BACK

Cho: the slope is too deep and the pavilion is elevated in an awkward way. The space on the left hand looks like a car park or something.

Now at the end of the semester, looking back at my week3 es-quisse, I realised how hollow these renders were. The concept seems strong and convincing, but in terms of the final 3 d representing, it was a little bit disappointing in ignoring structural details and standards for slopes.

but I see it a good way in developing weekly thinking.For this week ren-derings, we showed the continuous roof with vegetation,

PS CREDIT: SOPHIA QIAO

we showed the ribbon we showed the ribbon window above the re-taining wall at the back of taining wall at the back of the pavilion, we showed the thinking of how we wanted how structures to merge with the land-scape and really talked about the idea of Genius Loci.

For the following week, we were endeavouring to change the shape and gradient of the ramp as according to Chos com-mand, and we were con-sidering to change the materials for the ramp in order to chase Miess design approach.

Physical model feedback at the end of the semes-ter:

Putting the green trees on the white contours is not a good way to present models. The contrast is too strong.

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RElECTION ON FEEdbACk

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One interesting cutting landscape project from peers:The rietVeld landscaPe + atelier de lyon: PUBLIC MONUMENT AT CULEMBORG

The site is intriguingly cut into a terraced form and it func-tions as a dry water retention pond where water can be col-lected and absorbed into catchments when flooded. while in a dry event, it functions as a playground and place to relax.

bunker 599 - Another land art I assume interesting which is also done by the RIETVELD LANDSCAPE.a long wooden boardwalk cuts through the extremely heavy con-struction. I t leads visitors to a flooded area and to the footpaths of the adja-cent natural reserve.

gOOd PRECEdENTs ExAmPlEs FROm PEERs

PRECEdENTs ANd REFlECTIONs ON lECTuREs----P40COuTyARd ------------------------------------------P42RETAININg wAll-------------------------------------P43EmbANkmENT----------------------------------------P46dEsIgN INTENTIONs----------------------------------P48PlANs ------------------------------------------------P52sECTIONs---------------------------------------------P48RETAININg wAll FACT shEET------------------------P543 d REPREsENTINg ----------------------------------P53RElECTION ON FEEdbACk-PhysICAl mOdEl--------P56gOOd PRECEdENTs ExAmPlEs FROm PEERs-------P57

ESQUISSE 3 ENCLOSURE BALANCED EARTHWORK - CUT&FILL

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casa 360sPain 2009

In responding to last weeks feed-back, we went further in looking at the roof ramp materials and the gradient of the roof ramp, for ex-ample: in what manner could the roof ramp decrease gradually. The precedent we were looking at was the CAsA 360 in madrid. The roof of the villa flows down in a circular loop and the wings of the building embraces a central courtyard.

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PRECEdENTs ANd REFlECTIONs ON lECTuREs

The island house was another prec-edent I was looking at when we are furthering our design proposal. The natural setting around island house, which is a jagged and irregular land-mass, forced the building to cooper-ate with the natural form. The building floats like an architectural mountain with polygonal outline formed by shaped concrete and metal mesh. The green roof garden is accessible. I like how the building exists between the definitions of being monolithic and merge into landscape. It is hard to say this building is truly a natural form that tries to engage in its surroundings or a structure that tries to stand out. In this week, we wanted to push the design in such a way that its definition of being naturalised is questionable.

SOUTH KOREAN ISLAND HOUSEIROJE KHM ARCHITECT

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COuRTyARd ( EmbRACINg wINgs)

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COuTyARd & sECONd lANdsCAPETHE GRID HOUSE- CASA GRELHA

The grid house was another in-spiring precedent for this weeks pro-posal. The house is located in a lush native intact for-est that is needed to be protected and it remains a tight relationship with the land and nature.

The house is built between two hills and suspended above the valley. The roof of the house is planted with turf which forms an extension of the landscape. Suspended above the valley and merging into the hills, the house becomes the land and the land becomes the house, creating a new landscape.

Other than the continuous green roof idea we had from last week, I was looking at how the roof of this pavilion visually creates an exten-sion of the site, how it forms a second landscape and successfully merge the structure into surrounding landscape. Another interest-ing character this pavilion shares with the Farnsworth house is they are both elevated from ground. Though the material of this pavilion is wood, and the purpose of elevating it is due to the humid local clamate, the form inspires me to follow its design manner in creating a second landscape which merge with the original one.

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RETAININg wAll

In the cut and fill scenario, we generally cull the earth out to form a platform to place our pavilion and use the excessive earth material to fill the lower terrace. (The earth that fills the lower terrace will become a water retention embankment.) The roof of the pavilion will be invisible when people walk on the top of the terrace, which also evokes the idea of merging into landscape. (This is driven by the invisible house precedent in previous week and this weeks island house and the grid house.)The main technical topic here is the retaining walls. This week we are looking at the retaining wall details and went deeper on researching on landscape projects that is famous for their retaining walls.

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RETAININg wAll

both of the retaining wall precedents come from seat-tle, one is the free way park and the other is the Olympic sculpture Park. both parks used heavy concrete work and are famous for their retaining walls. The freeway park was built in the 60s as a famous brutalism park and it used se-ries of concrete walls in representing the brutalism style. The landscape it creates is brittle and walls stand out as artificial structures. This precedent informs me that the presence of retaining wall might make the design leap away from the original thinking of merging into landscape.

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however, the Olympic sculpture park demonstrates how retaining wall is designed into the vocabu-lary of merging into landscape. In the park, to hold back 200000 cubic yards of fill, engineers devised a mechanically stabi-lized earth retaining-wall system hidden behind overlapping and sloping precast panels. The earth was stabilized and defined in place by a vertical wall of wire mesh filled with rocks. Then the precast concrete panels were anchored to the ground and bolted to the back block placed on top of the earth. I want to reference this retaining wall con-struction method into my final design and make the retaining wall looks natural.

OLYMPIC SCULPTURE PARK

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EmbANkmENT

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esqu

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dEsIgN INTENTIONs

CIRCULATION

LANDSCAPE EMBANKMENT

VEGETATION GROUP

WINTER COLD WIND

SUMMER HOT WIND

BREEZE FROM RIVER

RETAINING WALL SEPARATE OF ACTIVITIES

STEEP SLOPE

SLOW RAMP

SUNLIGHT FROM NORTH AND EAST

VIEWSBLOCKED WEST SUNLIGHT

HIGHER TERRACE CUT GENTLE SLOPEGRASSLAND

RIVER


FILLED PLATFORM

PATHWAY

EMBANKMENTSTRIP

As a reflection to the lecture, THE COST OF A CUBIC METER OF SOIL IS ABOUT $20. ( A CUBIC METER OF SOIL IS 1.8T) The embankment located along the pathways ensure the excessive cut soil is transported in site, which will cut down the cost. Also the enbank-met acts as a flood buffer zone for the pathway, that slows down the water flows from upper terrace .

CUTFILL

FILL( embankment)

The cut area forms a backyard where elevation is quite flat, while the filled area forms an extruded viewing platform.

a leveled area created by cut is stable as the undistributed soil is settled and impacted through natural forces.

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CIRCULATION

LANDSCAPE EMBANKMENT

VEGETATION GROUP

WINTER COLD WIND

SUMMER HOT WIND

BREEZE FROM RIVER

RETAINING WALL SEPARATE OF ACTIVITIES

STEEP SLOPE

SLOW RAMP

SUNLIGHT FROM NORTH AND EAST

VIEWSBLOCKED WEST SUNLIGHT

PlANs + sECTIONs


RIVER


FILLED PLATFORM

PATHWAY

EMBANKMENTSTRIP

As a reflection to the lecture, THE COST OF A CUBIC METER OF SOIL IS ABOUT $20. ( A CUBIC METER OF SOIL IS 1.8T) The embankment located along the pathways ensure the excessive cut soil is transported in site, which will cut down the cost. Also the enbank-met acts as a flood buffer zone for the pathway, that slows down the water flows from upper terrace .

CUTFILL

FILL( embankment)

The cut area forms a backyard where elevation is quite flat, while the filled area forms an extruded viewing platform.

a leveled area created by cut is stable as the undistributed soil is settled and impacted through natural forces.

upper terrace connected with ramps while lower terrace remains its natural settings. A very basic application of grading is the sepa-ration of activities to reduce potential conflicts. The upper terrace connected by ramps is set to be the main entrance. The lower part of the land is left not being manipulated in purpose,as the steep slope will separate out people coming up from the riverside.

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4M

total run projected to plan: 48M

SLOPE 1: 12D

L

G

total run projected to plal run projected to pla

G

total run projected to

RAMP SECTION

6% SLOPE ALLOW FOR DRAINAGE

Slopes should slope down outwards building edges

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BACKFILL

WATERPROOF MEMBRANE

The PERORATED

GRAVEL

SITE SOIL

RETAINING WALL

RETAINING WALL FAILS AT THE TOP OF TERRACE

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A-A

5555555A-AA-AA-AA-A


SCALE: 1:500 @ A4

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53PS CREDIT: SOPHIA QIAO

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RETAININg wAll FACT shEET

A retaining wall may fail due to overturning with respect to its heel, sliding along its base, fail due to loss of bearing capacity of the soil ("foundation" failure), failure due to shear of the soil at a deeper depth, and excessive settlement of the soil of the foundation.

There are a number of forces that act on the retaining wall. some are relatively constant while others intensity may vary due to factors such as weather.These forces are:1) wEIghT OF ThE wAll ( force acting on the gravity centroid of the sec-tion)2) PRESSURE OF THE RETAINED SOIl( force that the soil pushes the wall)3) The PRESSURES ON THE FOUNDATION (linearly distributed in the form of a trapezoidal diagram)4) The LOADS ON THE RETAINED SOIL5) FORCEs duE TO wATER(If theres a body of water on the back of the wall, therell be hydrostatic pressure acting on it. This can be prevented by installing adequate drainage.)8) ExPANsIONs duE TO ChANgEs OF humIdITy ON ThE RETAINEd SOILOn clay soils the expansions produce an increase of the pressures exerted by the retained soil on the wall. when the soil dries up, it contracts and the pressures decrease accordingly. IF THIS PROCESS kEEPs REPEATINg, IT CAN bE hARmFul FOR ThE wAll. ThIs EF-FECT IS MORE INTENSE ON THE SURFACE, AND THEN IT DECREAS-Es wITh dEPTh.

hOw A RETAININg wAll FAIl?

hOw dOEs IT hAVE TO dO wITh sOIl TyPE?

RETAININg wAll slOPE? hEIghT?

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CuT ANd FIll PhysICAl mOdElRElECTION ON FEEdbACk

For this weeks feedback on progress design, we were critiqued on not following the design path that remains from last week. The form of the building is more rigid than last proposal, yet seems to depart away from our idea of genius loci and continuous roof ramp. however, this week we looked at certain technical details which would benefit our later on exploration and final design. For example, we looked at the possibilities of roof ramp materials and how the ramp can gradually loop down through the CAsA 360, we researched on technical details of retaining wall and found some famous projects that used retaining walls wisely, we thought about the embankment to absorb flooding water in respond to the lecture. These features benefit our final design in a detailed scale.

but it indeed was a problem that we departed away from our initial idea in terms of design concept. So for the later on design, we went back and continued to focus on our original idea of forming a unified space through roof ramp. Our tutor suggested us to find ways to adjust the roof ramp gradient and make it comfort-able for people to walk on. Thus our next step is to explore on different possibilities of roof ramp form.

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PRECEdENTs-----------------------------P57gRAdIENTs CAlCulATION-------------P58RAmP dEsIgN IssuE---------------------P58dEsIgN INTENTIONs--------------------P60PlANs + sECTIONs----------------------P62PhysICAl mOdEl------------------------P643 d REPREsENTINg-----------------------P65RElECTION ON FEEdbACk---------------P64

ESQUISSE 4 GRADIENTSRAMPS AND EXPERIENCES

According to the feedback given last tutorial that we should go fur-ther our design based on the idea of a continuous roof and the major problem in designing this roof ramp is the gradient of the slope is too deep, we looked at the SERRA DAS CAbRAs residence located in brazil. Compare to kengo kumas design, both the house stroke within the existing terrace, but SERRA DAS CAbRAss ROOF is accessible with slow ramps and stairs to connect the ramps. The arm of the ramp embraces a cetral courtyard which is also accessible from the middle terrace. we like how the form of the roof ramp can functionaly combine with the roof ramp gradient.

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PRECEdENT IN PushINg ThE dEsIgN

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RAmP dEsIgN IssuE gRAdIENTs CAlCulATION

The shifting platform idea comes from week 3 propodal where the direction of the platform suggest strong axial views towards the river.

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1;30FLAT - FOR ENTRANCE

SLOW SLOPE - FOR RECREATIONAL EVENTS

1:4-7 SLOPE - FOR VEGETATION

DEEP SLOPE - NOT FREQUENTLY USED

1:14-20 RAMP - FREQUENTLY USED

FLAT

SLOW SLOPE

1:4-7 SLOPE

DEEP SLOPE

1:14-20 RAMP 4-20 RAMP

1;30 - FOR ENTRANCE

- FOR RECREATIONAL EVENTS - F

- FOR VEGETATION-

- NOT FREQUENTLY USED -

FREQUENTLY USED - FREQUENTLY USED

1:12

1:2

1:4, 1;7

1:20

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dEsIgN INTENTIONs

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INSTEAD OF THE ORIENTA-TION , WIND BREAK ISSUE TALKED ABOUT IN PREVIOUS PRESENTATION, THIS WEEK WE FOCUSED ON HOW PEOPLE USE RAMPS AND HOW DIFFERENT SLOPES AFFECT ACTIVITIES.

LOWER RAMP

UPPER RAMP( ROOF RAMP)

COURTYARD BELT DIVIDE FUNCTIONAL AREA

SECTION A

SECTION B

ramp frame the building for viewers from river side

ramp provides directional views towards river scenery

upper terrace

lower terrace

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PlANs + sECTIONs

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SCALE: 1:500 @ A4

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3 d REPREsENTINg

Feedback for this week can be catego-rized into 2 parts:1, we still need to work on the shape of the ramp and try to stretch the ramp form in a poetic way. Right now the ramp wing looks awkward and blocks the front view of the pavilion. Our tutors advise was to be bold and dont be trapped by the limitation of 190mm *190mm site on a 1:500 scale. Thus for our further esquisse explora-

tions, we will change the shape and angle of our ramp and rationise the form of the ramp, eg: on which part of the ramp should have a turn, what views will the turns provide, what kind of experi-ences will the slope of the ramp provide to the people. 2. how we can com-bine the previous ex-truding emotion into this merging into landscape idea. In this weeks esquisse,

the building is totally sunken in the earth, though it is merged in the site with a roof ramp connect-ing the two terraces, it somehow lost Farnsworth houses elevated and floated characters. Our tutors suggestion was to use our first esquisses extruding emotion to create a floated ribbon above the site. This rib-bon will in some part plunge into the site and in some part cantilever above the

ESQ

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ground. The roof ramp could become a second landscape working well with the site.Summary for this weeks esquisse: I learnt how gradient of ramps could affect visitors experiences. Ramp is not only used for its functional and esthetical aspect, but also engage in the design in creating various experience. It can control the pace of the viewers pas-sively, for example, extreme slow slope

will enable viewers to walk faster, medium slow slope leads viewers to walker slower and enjoy the views around, deep slope will make the viewers to slow down their pace yet move their attention from views to their paces.Also according to lecture, ramps exist everywhere in our daily life. They are important to drain water out from the structures. For ex-amples: road is not always flat, they have

a crust in the mid-dle and stormwater will be drained into grated pit located along the two sides of the road. build-ing should be raised 20mm min above the backfill soil in order to drain water out.

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PhysICAl mOdEl

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3 d REPREsENTINg

RENdERINg CREdIT: CAlVIN ChEOk

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PRECEdENTs ------------------P69wATER & dEsIgN INTENTION--P70CAllIgRAPhy ANd ChINEsE gAR-DEN---------------------------P71PlAN-------------------------P72ChINEsE CulTuRE & mIEs---P73sECTIONs--------------------P763 d REPREsENTINg----------P78RElECTION ON FEEdbACk--P79

EsquIssE 5DRAINAGEDRAIN OUT VS. RETAIN= BEING GREEN

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PRECEdENTs

The main idea we developed was to engage with water and being green.According to the lecture where the importance of pre-serving water on site is talked about, we decided to engage the design with wa-ter. The precedents we looked at were Chinese garden ( Suzhou garden espe-cially). These Chinese gardens were famous for its natural ap-proach in manipulat-

ing topography and most of the gardens were undergone severe earthwork yet looked like never be-ing interacted by hu-man. Among those gardens, the most famous one: humble garden, sets a great example of how the water pond was dig out and the excessive earth was piled into mountains to raise buildings up provid-ing overviews of the whole site. Also the local material works

well with its original settings.

what we were inter-ested in was the soil being piled up into mountains func-tions as catchments for stormwater and retain the water from running off. The retaining pond located in front of the pavilion functions as a retaining pond that can collected overflow water from the nearby river in a flood event.

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wATERDIGGING POND AND MOUNTING MOUNTAINS

-provide interesting topography, rich spatial experience, -dealing with water.

Three aspects need to be examined in our research of precedents:

1, how to use topography to get water away from building (or struc-ture)2, how the dig ponds prevent potentially floods3, how these artificial mountains help to absorb excessive rainwater and reduce runoff3, how the water show as a celebrated event

soil catchem

platform

water retainin

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CAllIgRAPhy & ChINEsE gARdENs

a poetic stroke connecting the two terraces

green roof ramp+ local soil ramp decorated with stones+ pond=

The whole roof ramp as well as the artificial mountain ramp stokes down from the upper ter-race to the lower terrace, creat-ing a unified space.

Instead of using stones, we use local soils to mount our artificial mountain. This not only saves labour and cost, but also creates a natural landscape. Using local soil can also absorb stormwater and reduce imperviousness and runoff.

Calligraphy always plays an important role in Suzhou garden design. This is be-cause the designers of those Chinese gardens are always retreated intellectual people. Leading a cosy middle class life and often depressed about their political career, these intellectuals would love to express their appreciation of life through their draw-ings, poems and calligraphy. when they design the resi-dences for themselves, they are always willing to refer to the drawings and cal-ligraphy they or their close friends created. The garden, the drawings and calligra-phy speak out their political ambitions and life motto.

B-B

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PlANs + sECTIONs

B-B

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SCALE: 1:500 @ A4PURE CONTOURS

mies van der rohe was deeply influenced by Asian culture, from which he developed his architecture of simplicity. His famous motto the less is more suggested an alternative thinking of design, which we adopted into our design project. To alter a lot may not be a good outcome on the site, especially on such vast grassland. hence we decided to follow some principles from ancient Chinese garden treatments; to him the idea of syn-thesis people and environment has always been the core concern and top priority.

mIEs ANd ChINEsE CulTuRE

why ChINEsE gARdEN ?why CAllIgRAPhy?

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B-B

PlAN

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B-B


SCALE: 1:500 @ A4CONTOURS WITH ROOF & RAMP

The water retaining lake is creat-ed for both humid and draught period of time. when it is rain-ing, the water can contain the excess stormwater and reduce direct runoff into the river. when it is dry , the dry pond can be a recreational area providing seats and can be transfered into a rainwater garden.

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RIVER


PATHWAY

EMBANKMENTSTRIP

CUT

FILL( embankment)

CUT( absorbing overflow)

FILL( mounting with local soil)

artificial mountian

soil decorated with stone

retaining lake

sECTION

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RIVER


PATHWAY

EMBANKMENTSTRIP

CUT

FILL( embankment)

CUT( absorbing overflow)

FILL( mounting with local soil)

artificial mountian

soil decorated with stone

retaining lake

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RENdERINg CREdIT: CAlVIN ChEOk

3 d REPREsENTINg

FEEDBACK ON THIS WEEKSS ESQUISSE:1, the shape of the ramp still needs some work, though the ramp arm had been moved outwards in order not to block the view of the pavilion. It can be stretched in a more dramatically way. look at the calligraphy prec-edent we were thinking about, and take a step back looking at our plan, one could easily find a gap in linking these two. Our ramp plan looks somehow like someone being trapped and could not stretch his arm.

2. we need more control over our 3d renderings. The rendering

photos dont explain the design idea explicitly. 3D representing is powerful but easily misleads the reader. The renderings seem to tell a story about a grandi-ose casa for upper class while the feeling we wanted to create was a public cosy environment. For the final design , we need to control our 3D representing.

3, we were talking about the influence that Chinese culture inserts on mies and how cal-ligraphy was linked with Chinese garden design, but we didnt talk about how we transferred our design from calligraphy. we need to do more research on calligra-

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phy and its spirit before exploring the desired ramp form ( which is transferred from calligraphy)In respond to these commends, our group was undergone a research of relationship between calligraphy and Chinese garden, and the spirit of calligraphy dur-ing different dynasties. Then we went on an exploration of callig-raphy and possible ramp forms.In terms of technical issue, such as water drainage, we are re-minded not only to pay attention to the vertical drainage but also horizontal drainage. how the water will drain on the ramp? ( 2% slope generally) And water will drain perpendicularly along

contours. This gives us a hint on the contour manipulation.

Also our tutor proposed a very interesting concept, which is to blow out a second landscape. The water, ramp and the topog-raphy each meanders as a layer of landscape. Then these ele-ments meet and depart within the site sporadically. In the fol-lowing week we will work on this idea of second landscape and explode the whole design into several layers: the water as a landscape, the ramp as an arti-ficial landscape, and the original topography.

THIS IS WHERE ALL THE FUN BEGINSREFIN

EMEN

T WEEK 9+

10

80

former esquisse synthesis+ further exPloration

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REFINEM

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EEK 9+10

82

As a responds to the previous es-quisses, we researched on the spirit of calligraphy

and summarised some main characters that a good calligra-

phy should have. 1, At the start of each stroke, there should always be a strong and firm stop. Then this is followed by a fast and confident stroke leading to a concrete ending without hesita-tion. 2. A dry brush is always desired in representing the contrast between solid and void.

characters that a good calligra-characters that a good calligra-

PLATFORMTRANSFORM-ING WATER RAMP

scale 1:500 @ a3

For this weeks exploration, we wanted to import these two main calligraphy characters in our roof design. The roof ramp is divided into 5 strokes and each stroke starts confidently and suggests a viewing platform. we traced the form of the calligraphy as our basic roof ramp outline and then make the void space a water channel meandering under the roof ramp. Construction details are influenced by the water sun-deck in the New york high line Park.

REFI

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REFINEM

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EEK 9+10

84

LANDING

refi

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vegetation growing around the ramp. This elevated platform is in the same situ-ation oas our big cantilevered platform

the high line park uses the contrast of vegetaion and ramp material to show solid and void. In our design we use the texture contrast of water and ramp .

This week in order to enable our viewers to experience the water falls effect in the water retaining pond area, we proposed a glass viewing platform. similar in the high line park construction phase 2we were also thinking about the con-struction detail in the water sundeck part of the high line park. we had a blurry image of using grates, encasement con-crete and layers of flushing and water-proofing layers, but it is not integrated yet.CO

NSTRU

CTION

PRECEDEN

T -

THE H

IGH

LINE PARK

THE H

IGH

LINE PARK

REFINEM

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EEK 9+10

86

THE H

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LINE PARK

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Feedback this week:

1. we should consider how to build the structure. Are we using heavy trusses system to support ramps or maybe we can look at the Diana memorial fountain in Hyde Park.

2. we should carefully and clearly annotate the height of the walk-ing ramp, the water ramp, bot-tom of kerb and top of kerb in order to make the plan easy to understand.3. we should consider the mate-rial we are going to use for the ramp.

Diana Memorial Fountain Kathryn Gustafson

The fountain was designed as a memorial to Diana princess of wales. It is a loop of finely sculp-tured granite. water enters at the highest point and flows into 2 directions towards downstream. Then the water is recycled and pumped into the highest point. The embodied meaning of the sculpture is the circle of life, the meaninglessness of endeavour, life and death.

REFINEM

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EEK 9+10

88

we will look at how the surface of the whole blocks of granite is cut into patterns and how the water engages with these patterns. For example, these patterns can control the flow-ing speed of water and make sounds. Our tutors advice was to use a thick block of travertine as the finish floor of ramp and notch patterns on the surface. Then water will be collected in the notched patterns in a raining scenario.

Then in the following week we evaluated the two construction details and the effects they cre-ate. High Line Park: create a still layer

of shallow water layer Diana Memorial Park: create a vigorous water effect both of the design requires water pump in the structure and prob-ably the construction method of diana memorial sculpture will be heavier. because it not only requires for water channels but also thick finish floor claddings (for notching). After evaluating the two scenarios, we decided to go back to the construction details in high line park.

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89

12 11 10 9 8 7 6 5 4

+RL 12.00

+RL 11.00

+RL 10.00

+RL 9.00

+ 8.05

RL RELATIVE LEVEL

NGL NATURAL GROUND LEVEL

GRVL SELECTED LOOSE GRAVEL

RW RETAINING WALL

FPL FINISHED PLATFORM/PATIO LEVEL

FFL FINISHED FLOOR LEVEL

TOP OF RETAINING WALLTW

BOTTOM OF RETAINING WALLBW

12 EXISTING CONTOUR

12 PROPOSED CONTOUR

TK TOP OF KERB

BK BOTTOM OF KERB

DP DOWNPIPE

GP GRATED PIT

SEP SITE ENTRY PIT

RAMP LANDING PLATFORM

PROPOSED TREES

PROPOSED BUSHES

EXISTING TREES

ASPHALT

GRAVEL

FFL 9.00

RW+TW12.00+BW 11.20

RW RW

RW

+

11.50FPL

+TW12.00+BW 8.00

+TW11.00+BW 8.15

+TW10.00+BW 8.00

+TK

8.60

+TK

8.30

FPL 8.60

+TK

8.58

+BK

8.10

+RL 8.10

+11.60

+11.40

+11.20+11.60

+11.40

+11.20

+11.60+11.40

+11.20

+11.40+11.20

+11.40

+11.20

+11.20

12

12

+11.60+11.40

+11.20

+11.60+11.40

+11.20

+11.60+11.40

+11.20

+11.20

+11.20

RW +TW12.00+BW 11.00

+11.00

1112

10

9

1110 9

+TW11.10+BW 8.00

+11.00

+ 8.10

8

7

6

7

7

6

6

+BK

8.13

+BK

8.14

8

5 4 3

FPL +8.80TK + 8.80BK + 8.42

+ 7.50

FPL +8.48TK + 8.48BK + 8.10

+ 7.60

+ 7.60

+ 7.00

+ 7.00

+ 7.60

FPL +8.00TK + 8.00BK + 7.62

FPL +7.50TK + 7.50BK + 7.12

+ 6.50

FPL +7.00TK + 7.00BK + 6.62

+NG

L

11.50

+NG

L

10.50

+NG

L 9.50

+ 8.05

+RL 8.14

+RL 8.00

+ 8.10

+RL 8.05

+RL 8.13

+RL 8.13

+ 8.05

+ 8.05

+TK

8.30

+BK

8.15

+ 8.10

AG 100mm DIAM. SLOTTED ARGRICULTURE DRAIN

AA

A03

AA

A03

A04

D1

A04D

3

LEGEND

HYDRAULIC FIXTURES


DRAWING TITLE

GROUP: I lap CHEOK,lan qing QIAO,Di SONG

TUTOR: Chenyu CHUI

lECTURER: Nano Langenheim

DATE: 16/10/2012

SCALE: 1:200 @ A2 DRAWING NO:

A02

ENTRY & GROUND FLR PLAN

GP

+12.00

000

SEP

EF ENTRY FLOOR PLANSCALE 1:200

GP

GP

GP

GP

GP

GP

NO.1

SEPNO.2

AG

AG

AG

AG

AGAG

AG

AG

AG

AG

AG

AG

DRAINAGE NOTES

NO LEGAL POINT OF DISCHARGE TO STREET. ALL STORMWATER DRAINS, SURFACE RUN- OFF AND AGGY DRAINS TO CONNECT TO SITE ENTRY PITS IN NOMINATED POSITIONS. SIZE PIT ACCORDINGLY TO RAINWATER LOAD AND BACKFILL WITH BRICK PIECES & 30mm GRAVEL SCREENINGS.W

EEK 11

90

WK 11

12 11 10 9 8 7 6 5 4

+RL 12.00

+RL 11.00

+RL 10.00

+RL 9.00

+ 8.05

RL RELATIVE LEVEL


GRVL SELECTED LOOSE GRAVEL

RW RETAINING WALL



TOP OF RETAINING WALLTW

BOTTOM OF RETAINING WALLBW

12 EXISTING CONTOUR

12 PROPOSED CONTOUR

TK TOP OF KERB

BK BOTTOM OF KERB

DP DOWNPIPE

GP GRATED PIT

SEP SITE ENTRY PIT

RAMP LANDING PLATFORM

PROPOSED TREES

PROPOSED BUSHES

EXISTING TREES

ASPHALT

GRAVEL

FFL 9.00

RW+TW12.00+BW 11.20

RW RW

RW

+

11.50FPL

+TW12.00+BW 8.00

+TW11.00+BW 8.15

+TW10.00+BW 8.00

+TK

8.60

+TK

8.30

FPL 8.60

+TK

8.58

+BK

8.10

+RL 8.10

+11.60

+11.40

+11.20+11.60

+11.40

+11.20

+11.60+11.40

+11.20

+11.40+11.20

+11.40

+11.20

+11.20

12

12

+11.60+11.40

+11.20

+11.60+11.40

+11.20

+11.60+11.40

+11.20

+11.20

+11.20

RW +TW12.00+BW 11.00

+11.00

1112

10

9

1110 9

+TW11.10+BW 8.00

+11.00

+ 8.10

8

7

6

7

7

6

6

+BK

8.13

+BK

8.14

8

5 4 3

FPL +8.80TK + 8.80BK + 8.42

+ 7.50

FPL +8.48TK + 8.48BK + 8.10

+ 7.60

+ 7.60

+ 7.00

+ 7.00

+ 7.60

FPL +8.00TK + 8.00BK + 7.62

FPL +7.50TK + 7.50BK + 7.12

+ 6.50

FPL +7.00TK + 7.00BK + 6.62

+NG

L

11.50

+NG

L

10.50

+NG

L 9.50

+ 8.05

+RL 8.14

+RL 8.00

+ 8.10

+RL 8.05

+RL 8.13

+RL 8.13

+ 8.05

+ 8.05

+TK

8.30

+BK

8.15

+ 8.10


AA

A03

AA

A03

A04

D1

A04D

3

LEGEND

HYDRAULIC FIXTURES


DRAWING TITLE


TUTOR: Chenyu CHUI


DATE: 16/10/2012


A02

ENTRY & GROUND FLR PLAN

GP

+12.00

000

SEP


GP

GP

GP

GP

GP

GP

NO.1

SEPNO.2

AG

AG

AG

AG

AGAG

AG

AG

AG

AG

AG

AG

DRAINAGE NOTES

NO LEGAL POINT OF DISCHARGE TO STREET. ALL STORMWATER DRAINS, SURFACE RUN- OFF AND AGGY DRAINS TO CONNECT TO SITE ENTRY PITS IN NOMINATED POSITIONS. SIZE PIT ACCORDINGLY TO RAINWATER LOAD AND BACKFILL WITH BRICK PIECES & 30mm GRAVEL SCREENINGS.

WEE

K 11

91

SEPNO.1

AG

AGAG

AG

AG

AG

AG

AG

AG

AG

AG

AG

SEPNO.1

APPROX LINE OF CLEARING


AA

SSP SITE PLANSCALE 1:500

DRAWING TITLE


TUTOR: Chenyu CHUI



A00

SITE PLANDRAWING SCHEDULE

DATE: 16/10/2012

FALL

OF

ROO

F

A04

D1

A04D3

A04D2

AAA03

AAA03

A04D4

CCA03

CCA03

BBA03

BBA03

E1A04

E2A04

RL RELATIVE LEVEL


RW RETAINING WALL



12 EXISTING CONTOUR

12 PROPOSED CONTOUR

PROPOSED TREES

PROPOSED BUSHES

EXISTING TREES

ASPHALT

GRAVEL / RIVER BOULDERS

LEGEND

SAND

DP DOWNPIPE

GP

SEP SITE ENTRY PIT


HYDRAULIC FIXTURES

GRATED PIT


WATER FEATURE

ROOF OF PAVILION

DRAINAGE RESERVE

DRAINAGE RESERVE

12 11 109 8 7 6

54

3

2

1

2

1

34

5

6

7

7

6

5

4

3

2

1

22

12 1110 9 8 7 6 5 4 3

8

9

1011

7

6

5

4

8

9

10

GP

GP

GP

GP

GP

GP

DP

SEPNO.2

WEEK 11

92

SEPNO.1

AG

AGAG

AG

AG

AG

AG

AG

AG

AG

AG

AG

SEPNO.1



AA


DRAWING TITLE


TUTOR: Chenyu CHUI



A00


DATE: 16/10/2012

FALL

OF

ROO

F

A04

D1

A04D3

A04D2

AAA03

AAA03

A04D4

CCA03

CCA03

BBA03

BBA03

E1A04

E2A04

RL RELATIVE LEVEL


RW RETAINING WALL



12 EXISTING CONTOUR

12 PROPOSED CONTOUR

PROPOSED TREES

PROPOSED BUSHES

EXISTING TREES

ASPHALT


LEGEND

SAND

DP DOWNPIPE

GP

SEP SITE ENTRY PIT


HYDRAULIC FIXTURES

GRATED PIT


WATER FEATURE

ROOF OF PAVILION

DRAINAGE RESERVE

DRAINAGE RESERVE

12 11 109 8 7 6

54

3

2

1

2

1

34

5

6

7

7

6

5

4

3

2

1

22

12 1110 9 8 7 6 5 4 3

8

9

1011

7

6

5

4

8

9

10

GP

GP

GP

GP

GP

GP

DP

SEPNO.2

WEE

K 11

93

WEEK 11

94

WEE

K 11

95

TEST PRINTING FOR LINE WEIGHTS AND COLOUR AND THE SIZE OF THE TEXT ON PLAN

despite the changes we made mentioned in last chapter, this week we mainly focused on how to make a good grading plan with a consideration of line weights and colour background. And we tried to rationize our plan by add-ing car park and design the entry sequence.

12 11 10 9 8

+RL 12.00

+RL 11.00

+RL 9.00

RW+TW12.00+BW 11.20

RW RW

+

11.50FPL

+TW12.00+BW 8.00

+TW11.00+BW 8.15

+TW10.00

+TK

8.60

+TK

8.30

+11.00

+11.60

+11.40

+11.20+11.60

+11.40

+11.20

+11.60+11.40

+11.20

+11.40

+11.40

+11.20

+11.20

12

12

+11.60+11.40

+11.20

+11.60+11.40

+11.20

+11.60+11.40

+11.20

+11.20

1112

10

9

8

76

+BK

8.13

+BK

8.14

+ 7.60

FPL +8.00TK + 8.00BK + 7.62

+NG

L 9.50

+ 8.05

+RL 8.14

+RL 8.00

+ 8.10

+RL 8.05

+ 8.05

+ 8.05

+TK

8.30

+BK

8.15

+ 8.10

A04

A04D

3

GP

+12.00

0

SEP

GP

GP

GP

GP

GP

NO.1

AG

AG

AG

AG

AG

AG

WEEK 11

96

+RL 12.00+RL 12.00

+RL 11.00+RL 11.00

+RL 9.00+RL 9.00

+TK

8+T

K 8

+TK

.30

+NG

L 9.50

GPGPGPGP

+TW12.00+BW 11.20

+

11.50FPL

12

A04

THINGS NEED TO CHANGE AREAS THAT VEGETATION DETAILS ARE NEEDED

WEE

K 11

97

we produced a 1:500 plan showing the placement of the pavilion and a 1:200 plan showing the entry sequence and the pavement materials. however, the 1:200 plan is confusing that it shows both the furniture arrangement in the house ( which is supposed to below +11.00) and the vegetation, roads, car parks and contours above 11. we found the suggestion our tutor gave us on the format of plan very useful that he proposed us to produce a set of plans with one 1:500 and two 1:200 plans. One 1:200 plan should cut above +12.00. Thus it will show mainly the entry sequence with the roof of the house( since the house is sunken in the ground). The other 1:200 plan will cut through +11.50. Then this plan will mainly show the ramp details with an indication of the furniture arrangement in the pavilion. I found this suggestion very useful not only it solves the question that confused me for a long time but will help me with a thinking in my future plan drawing.

week 11Plan feedback

THINGS NEED TO CHANGE:1, the shape of the car park doesnt match the whole design. It is not necessarily be this big and the sharp corner in the car park should be eliminated.2. There is no need to have stairs providing direct entry from the top terrace to the +8.00 house platform. let the design force people to engage with the ramp.3. The colour of the swatch hatching is too dark. In the final presenta-tion, the hatching will be 50% opacity. 4.need to consider where to plant trees and what trees to plant. As large trees will create axial view and they will function as a view guider, we need to consider make full use of the trees around the car park. better to block views of the car park for a people walking on roof ramp.

FINALS &

CON

STRUCTIO

N D

ETAIL

98WK 12

fin

als

& c

on

stru

ctio

n d

etai

l

99

SEPNO.1

AG

G

AG

AG

AG

AG

AG

AG

AG

AG

AG

SEPNO.1




DRAWING TITLE


TUTOR: Chenyu CHUI



A00


DATE: 16/10/2012

FALL

OF

ROO

F

A04D3

A04D2

AAA03

AAA03

A04D4

CCA03

CCA03

BBA03

BBA03

E2A04

RL RELATIVE LEVEL


RW RETAINING WALL



12 EXISTING CONTOUR12 PROPOSED CONTOUR

PROPOSED TREES

PROPOSED BUSHES

EXISTING TREES

ASPHALT


LEGEND

SAND

DP DOWNPIPE

GP

SEP SITE ENTRY PIT


HYDRAULIC FIXTURES

GRATED PIT


WATER FEATURE

ROOF OF PAVILION

DRAINAGE RESERVE DRAINAGE RESERVE

12 11 109 8 7 6

5

3

2

1

34

5

6

7

7

6

5

4

3

2

1

22

1211

10 9 8 7 6 5 4

3

8

9

1011

7

6

5

4

8

9

10

GP

GP

GP

GP

GP

GP

DP

SEPNO.2

This week is the last week before presen-tation that we can refine our plans and sections. we focused on the construction details and landscape interface. we used sections as our diagram to show the se-quence of the ramp.

finals &

con

structio

n d

etail

100

SEPNO.1

AG

G

AG

AG

AG

AG

AGAG

AG

AG

AG

SEPNO.1




DRAWING TITLE


TUTOR: Chenyu CHUI



A00


DATE: 16/10/2012

FALL

OF

ROO

F

A04D3

A04D2

AAA03

AAA03

A04D4

CCA03

CCA03

BBA03

BBA03

E2A04

RL RELATIVE LEVEL


RW RETAINING WALL




PROPOSED TREES

PROPOSED BUSHES

EXISTING TREES

ASPHALT


LEGEND

SAND

DP DOWNPIPE

GP

SEP SITE ENTRY PIT


HYDRAULIC FIXTURES

GRATED PIT


WATER FEATURE

ROOF OF PAVILION


12 11 109 8 7 6

5

3

2

1

34

5

6

7

7

6

5

4

3

2

1

22

1211

10 9 8 7 6 5 4

3

8

9

1011

7

6

5

4

8

9

10

GP

GP

GP

GP

GP

GP

DP

SEPNO.2

fin

als

& c

on

stru

ctio

n d

etai

l

101

SEPNO.1

AG

G

AG

AG

AG

AG

AG

AG

AG

AG

AG

SEPNO.1




DRAWING TITLE


TUTOR: Chenyu CHUI



A00


DATE: 16/10/2012

FALL

OF

ROO

F

A04D3

A04D2

AAA03

AAA03

A04D4

CCA03

CCA03

BBA03

BBA03

E2A04

RL RELATIVE LEVEL


RW RETAINING WALL




PROPOSED TREES

PROPOSED BUSHES

EXISTING TREES

ASPHALT


LEGEND

SAND

DP DOWNPIPE

GP

SEP SITE ENTRY PIT


HYDRAULIC FIXTURES

GRATED PIT


WATER FEATURE

ROOF OF PAVILION


12 11 109 8 7 6

5

3

2

1

34

5

6

7

7

6

5

4

3

2

1

22

1211

10 9 8 7 6 5 4

3

8

9

1011

7

6

5

4

8

9

10

GP

GP

GP

GP

GP

GP

DP

SEPNO.2

final 1:500Plan showing loCation of pavilion

finals &

con

structio

n d

etail

102

SEPNO.1

AG

G

AG

AG

AG

AG

AG

AG

AG

AG

AG

SEPNO.1




DRAWING TITLE


TUTOR: Chenyu CHUI



A00


DATE: 16/10/2012

FALL

OF

ROO

F

A04D3

A04D2

AAA03

AAA03

A04D4

CCA03

CCA03

BBA03

BBA03

E2A04

RL RELATIVE LEVEL


RW RETAINING WALL




PROPOSED TREES

PROPOSED BUSHES

EXISTING TREES

ASPHALT


LEGEND

SAND

DP DOWNPIPE

GP

SEP SITE ENTRY PIT


HYDRAULIC FIXTURES

GRATED PIT


WATER FEATURE

ROOF OF PAVILION


12 11 109 8 7 6

5

3

2

1

34

5

6

7

7

6

5

4

3

2

1

22

1211

10 9 8 7 6 5 4

3

8

9

1011

7

6

5

4

8

9

10

GP

GP

GP

GP

GP

GP

DP

SEPNO.2

final 1:500Plan showing LOCATION OF PAVILION


DRAWING TITLE


TUTOR: Chenyu CHUI


SCALE: 1:500 DRAWING NO:

A00

SITE PLAN BOTTOM HALFDRAWING SCHEDULE

DATE: 16/10/2012

FIN

ALS

& C

ON

STRU

CTIO

N D

ETAI

L

103

@ A4

uPPer Part of 1:200 Plan THAT SHOWS ENTRY SEQUENCE

22M

@ 1:2

7

16M

@ 1

:16

22M

@11::22

77

12 11 10 9 8 7

+ 8.05

RW+TW11.00+BW 8.15

+TW10.00+BW 8.00

+TK

8.60

+TK

8.30

FPL 8.60

+TK

8.58

+BK

8.10

+RL 8.10

+11.00

+11.60

+11.40

+11.20+11.60

+11.40

+11.20

+11.60+11.40

+11.20

+11.40+11.20

+11.40

+11.20

+11.20

12

12

+11.60+11.40

+11.20

+11.60+11.40

+11.20

+11.60+11.40

+11.20

+11.20

+11.20

1112

10

9

1110 911 00

+ 8.10

8

7

6

7

7

6

6

+BK

8.13

+BK

8.14

8

5 4

FPL +8.80TK + 8 80

+ 7.50

FPL +8.48TK + 8.48BK + 8.10

+ 7.60

+ 7.60

+ 7.00

+ 7.00

+ 7.60

FPL +8.00TK + 8.00BK + 7.62

FPL +7.50TK + 7.50BK + 7.12

+ 6.50

FPL +7 00

+NGL

11.

50

+NGL

10

.50

+NGL

9.5

0

+ 8.05

+RL 8.14

+RL 8.00

+ 8.10

+RL 8.05

+RL 8.13

+ 8.05

+ 8.05+T

K 8.

30+B

K 8.

15

+ 8.10

FPL +12.00TK + 12.00BK + 11.62

+ 8.00

FPL +11.70TK + 11.70BK + 11.32

FALL

OF

ROO

F

AAA03

A04D3

++++++

GP

+12.00

SEP


GP

GP

GP

GP

GP

GP

NO.1

SEPNO.2

FINALS &

CON

STRUCTIO

N D

ETAIL

104

1:200@ a4

22M

@ 1:2

7

16M

@ 1

:16

22M

@11::22

77

12 11 10 9 8 7

+ 8.05

RW+TW11.00+BW 8.15

+TW10.00+BW 8.00

+TK

8.60

+TK

8.30

FPL 8.60

+TK

8.58

+BK

8.10

+RL 8.10

+11.00

+11.60

+11.40

+11.20+11.60

+11.40

+11.20

+11.60+11.40

+11.20

+11.40+11.20

+11.40

+11.20

+11.20

12

12

+11.60+11.40

+11.20

+11.60+11.40

+11.20

+11.60+11.40

+11.20

+11.20

+11.20

1112

10

9

1110 911 00

+ 8.10

8

7

6

7

7

6

6

+BK

8.13

+BK

8.14

8

5 4

FPL +8.80TK + 8 80

+ 7.50

FPL +8.48TK + 8.48BK + 8.10

+ 7.60

+ 7.60

+ 7.00

+ 7.00

+ 7.60

FPL +8.00TK + 8.00BK + 7.62

FPL +7.50TK + 7.50BK + 7.12

+ 6.50

FPL +7 00

+NGL

11.

50

+NGL

10

.50

+NGL

9.5

0

+ 8.05

+RL 8.14

+RL 8.00

+ 8.10

+RL 8.05

+RL 8.13

+ 8.05

+ 8.05

+TK

8.30

+BK

8.15

+ 8.10

FPL +12.00TK + 12.00BK + 11.62

+ 8.00

FPL +11.70TK + 11.70BK + 11.32

FALL

OF

ROO

F

AAA03

A04D3

++++++

GP

+12.00

SEP


GP

GP

GP

GP

GP

GP

NO.1

SEPNO.2

fin

als

& c

on

stru

ctio

n d

etai

l

105

southern Part of 1:200 Plan THAT SHOWS ENTRY SEQUENCE&ROOF RAMP

22M

@ 1:2

7

16M

@ 1

:16

22M

@11::22

77

12 11 10 9 8 7

+ 8.05

RW+TW11.00+BW 8.15

+TW10.00+BW 8.00

+TK

8.60

+TK

8.30

FPL 8.60

+TK

8.58

+BK

8.10

+RL 8.10

+11.00

+11.60

+11.40

+11.20+11.60

+11.40

+11.20

+11.60+11.40

+11.20

+11.40+11.20

+11.40

+11.20

+11.20

12

12

+11.60+11.40

+11.20

+11.60+11.40

+11.20

+11.60+11.40

+11.20

+11.20

+11.20

1112

10

9

1110 911 00

+ 8.10

8

7

6

7

7

6

6

+BK

8.13

+BK

8.14

8

5 4

FPL +8.80TK + 8 80

+ 7.50

FPL +8.48TK + 8.48BK + 8.10

+ 7.60

+ 7.60

+ 7.00

+ 7.00

+ 7.60

FPL +8.00TK + 8.00BK + 7.62

FPL +7.50TK + 7.50BK + 7.12

+ 6.50

FPL +7 00

+NGL

11.

50

+NGL

10

.50

+NGL

9.5

0

+ 8.05

+RL 8.14

+RL 8.00

+ 8.10

+RL 8.05

+RL 8.13

+ 8.05

+ 8.05

+TK

8.30

+BK

8.15

+ 8.10

FPL +12.00TK + 12.00BK + 11.62

+ 8.00

FPL +11.70TK + 11.70BK + 11.32

FALL

OF

ROO

F

AAA03

A04D3

++++++

GP

+12.00

SEP


GP

GP

GP

GP

GP

GP

NO.1

SEPNO.2

FINALS &

CON

STRUCTIO

N D

ETAIL

106

22M

@ 1:2

7

16M

@ 1

:16

22M

@11::22

77

12 11 10 9 8 7

+ 8.05

RW+TW11.00+BW 8.15

+TW10.00+BW 8.00

+TK

8.60

+TK

8.30

FPL 8.60

+TK

8.58

+BK

8.10

+RL 8.10

+11.00

+11.60

+11.40

+11.20+11.60

+11.40

+11.20

+11.60+11.40

+11.20

+11.40+11.20

+11.40

+11.20

+11.20

12

12

+11.60+11.40

+11.20

+11.60+11.40

+11.20

+11.60+11.40

+11.20

+11.20

+11.20

1112

10

9

1110 911 00

+ 8.10

8

7

6

7

7

6

6

+BK

8.13

+BK

8.14

8

5 4

FPL +8.80TK + 8 80

+ 7.50

FPL +8.48TK + 8.48BK + 8.10

+ 7.60

+ 7.60

+ 7.00

+ 7.00

+ 7.60

FPL +8.00TK + 8.00BK + 7.62

FPL +7.50TK + 7.50BK + 7.12

+ 6.50

FPL +7 00

+NGL

11.

50

+NGL

10

.50

+NGL

9.5

0

+ 8.05

+RL 8.14

+RL 8.00

+ 8.10

+RL 8.05

+RL 8.13

+ 8.05

+ 8.05

+TK

8.30

+BK

8.15

+ 8.10

FPL +12.00TK + 12.00BK + 11.62

+ 8.00

FPL +11.70TK + 11.70BK + 11.32

FALL

OF

ROO

F

AAA03

A04D3

++++++

GP

+12.00

SEP


GP

GP

GP

GP

GP

GP

NO.1

SEPNO.2

FIN

ALS

& C

ON

STRU

CTIO

N D

ETAI

L

107

1:200@ a4

22

27

16M

@ 1

:16

22

2277

20M

@1:

20

40M

@1:

40

1 4M @ 1 :14

17M

@ 1

:14

11M

@ 1

:14

14M @ 1:14

12M @1:12

+ 8.05

RW+TW11.00+BW 8.15

+TW10.00+BW 8.00

+TK

8.60

+

FPL 8.60

+TK

8.58

+BK

8.10

+RL 8.10

+11.00

+11.00

+11.20

+11.60+11.40

+11.20

+11.20

+11.20

1112

10

9

10 9+11.00

+ 8.10

8

7

6

7

7

6

6

+BK

8.13

+B

8

5 4 3

FPL +8.80TK + 8.80BK + 8.42

+ 7.50

FPL +8.48TK + 8.48BK + 8.10

+ 7.60

+ 7.60

+ 7.00

+ 7.00

+ 7.60

FPL +8.00TK + 8.00BK + 7.62

FPL +7.50TK + 7.50BK + 7.12

+ 6.50

FPL +7.00TK + 7.00BK + 6.62

+ 8.05

+RL 8.14

+RL 8.00

+RL 8.13

+ 8.05

+ 8.00

FPL +6.00TK + 6.00BK + 5.62+ 4.00

+5.60

FPL +5.00BK + 4.62

4

5

3

2

FPL + 4.00

FPL + 2.00

FFL 9.00

FPL +11.50TK + 11.50BK + 11.12

+11.04

FPL +11.00TK + 11.00BK + 10.62

+8.00

FPL +10.40TK + 10.40BK + 10.02

+9.10

FPL +9.80TK + 9.80BK + 9.42

+8.32

FPL +9.80TK + 9.80BK + 9.42+8.00

FPL +9.00TK + 9.00BK + 8.62

+7.32

+6.52

FPL +9.00TK + 9.00BK + 8.62

FPL +9.30TK + 9.30BK + 8.92

+6.80

+6.50

12

11

10

9

8

7

6

5

4

11

10

9

8

7

6

+TW12.00+BW 11.20

RW+TW12.00+BW 8.00

AAA03

AAA03

A04D3+12.00

SEP

SOP

SETOUT PLAN & RAMP DETAIL PLANSCALE 1:200

NO.1

SEPNO.2

AG

AG

AG

AG

AGAG

AG

A01

RW+TW1+BW 88W 88+BWW+BB++

+11.00

+11.00

+11.20

+11.60+11.40

+11.20

+11.20

+11.20

1212

+11.001

12

11

+TW12.00+BW 11.20

RW+TW12.002+BW 8.008

AAA03

+12.00

0000

+

88

1

final 1:200 Plan showing FURNITURES ARRANGEMENT

FINALS &

CON

STRUCTIO

N D

ETAIL

108

1:200@ a4

22

27

16M

@ 1

:16

22

2277

20M

@1:

20

40M

@1:

40

1 4M @ 1 :14

17M

@ 1

:14

11M

@ 1

:14

14M @ 1:14

12M @1:12

+ 8.05

RW+TW11.00+BW 8.15

+TW10.00+BW 8.00

+TK

8.60

+

FPL 8.60

+TK

8.58

+BK

8.10

+RL 8.10

+11.00

+11.00

+11.20

+11.60+11.40

+11.20

+11.20

+11.20

1112

10

9

10 9+11.00

+ 8.10

8

7

6

7

7

6

6

+BK

8.13

+B

8

5 4 3

FPL +8.80TK + 8.80BK + 8.42

+ 7.50

FPL +8.48TK + 8.48BK + 8.10

+ 7.60

+ 7.60

+ 7.00

+ 7.00

+ 7.60

FPL +8.00TK + 8.00BK + 7.62

FPL +7.50TK + 7.50BK + 7.12

+ 6.50

FPL +7.00TK + 7.00BK + 6.62

+ 8.05

+RL 8.14

+RL 8.00

+RL 8.13

+ 8.05

+ 8.00

FPL +6.00TK + 6.00BK + 5.62+ 4.00

+5.60

FPL +5.00BK + 4.62

4

5

3

2

FPL + 4.00

FPL + 2.00

FFL 9.00

FPL +11.50TK + 11.50BK + 11.12

+11.04

FPL +11.00TK + 11.00BK + 10.62

+8.00

FPL +10.40TK + 10.40BK + 10.02

+9.10

FPL +9.80TK + 9.80BK + 9.42

+8.32

FPL +9.80TK + 9.80BK + 9.42+8.00

FPL +9.00TK + 9.00BK + 8.62

+7.32

+6.52

FPL +9.00TK + 9.00BK + 8.62

FPL +9.30TK + 9.30BK + 8.92

+6.80

+6.50

12

11

10

9

8

7

6

5

4

11

10

9

8

7

6

+TW12.00+BW 11.20

RW+TW12.00+BW 8.00

AAA03

AAA03

A04D3+12.00

SEP

SOP

SETOUT PLAN & RAMP DETAIL PLANSCALE 1:200

NO.1

SEPNO.2

AG

AG

AG

AG

AGAG

AG

A01

RW+TW1+BW 88W 88+BWW+BB++

+11.00

+11.00

+11.20

+11.60+11.40

+11.20

+11.20

+11.20

1212

+11.001

12

11

+TW12.00+BW 11.20

RW+TW12.002+BW 8.008

AAA03

+12.00

0000

+

88

1

fin

als

& c

on

stru

ctio

n d

etai

l

109

final 1:200 Plan showing ramP details 1

22

27

16M

@ 1

:16

22

2277

20M

@1:

20

40M

@1:

40

1 4M @ 1 :14

17M

@ 1

:14

11M

@ 1

:14

14M @ 1:14

12M @1:12

+ 8.05

RW+TW11.00+BW 8.15

+TW10.00+BW 8.00

+TK

8.60

+

FPL 8.60

+TK

8.58

+BK

8.10

+RL 8.10

+11.00

+11.00

+11.20

+11.60+11.40

+11.20

+11.20

+11.20

1112

10

9

10 9+11.00

+ 8.10

8

7

6

7

7

6

6

+BK

8.13

+B

8

5 4 3

FPL +8.80TK + 8.80BK + 8.42

+ 7.50

FPL +8.48TK + 8.48BK + 8.10

site tec journal year 3

Documents

site representation

digital modelling of

final design

site tectonics

design process

site engineering knowledge

design project

real design issue