架构师提供的文本描述。Hydronaut是一个半永久性的，可拆除的结构，在莫纳什大学考尔菲尔德校区的西北边缘有一批保安人员。在一个现有的多层停车场的底层，只有五个停车位，其视线包括当地的购物广场、考尔菲尔德火车站和莫纳什大学的校园绿地，每个窗口入口都可以看到周围全景的不同方面。这座新建筑在一个以其安全挑战著称的地方提供了一个泛锥形的存在点。

Text description provided by the architects. Hydronaut is a semi-permanent, demountable structure housing an armament of security staff at the northwest edge of Monash University’s Caulfield campus. Occupying just five parking bays on the ground floor of an existing multi-deck car park, its sight lines include a local shopping plaza, Caulfield train station and Monash University’s Campus Green, each window portal taking in a different aspect of the surrounding panorama. The new building provides a panopticonic point-of-presence in a location known for its security challenges.

 © Peter Bennetts

(Peter Bennetts)

通过突出的入口，镜面的圆形窗户突出了相机的单色图案。在里面，黑边的窥视孔，断断续续的墙壁，内衬拒绝穿孔层声学天花板。单独的内部空间是视觉连接的定制细木工，浮动和截断到装甲屏蔽控制计数器在船头。

Marked by prominent portals, the façade’s mirrored circular windows accentuate a camera monocle motif. Inside, black-rimmed peephole portholes punctuate walls lined with reject perforated-ply acoustic ceiling panels. Separate interior spaces are visually connected by bespoke joinery that float and truncate towards an armour-screened control counter at the bow. 

 © Peter Bennetts

(Peter Bennetts)

该项目的一个核心目标是将产品/基础设施长寿策略集成到工作实践中；然而，与设计离散的长寿对象不同，长寿的概念是从多生命周期的角度考虑的-其中来自一个生命周期的废物为另一个生命周期生成原材料，等等。目的是减少材料消耗，同时保持灵活设计的工艺品和空间环境。

A core aim of the project was to integrate product/infrastructure longevity strategies into work practices; however, rather than designing discrete long-life objects, the notion of longevity was considered from a multi-lifecycle perspective – where waste from one lifecycle generates raw material for another, and so on. The aim being to reduce material consumption while maintaining flexibly designed artefacts and spatial environments.

 © Peter Bennetts

(Peter Bennetts)

为了达到这个目的，并且符合项目的要求，这座建筑的九个张紧的外部模块让人联想到轻量级的帐篷式结构。它们的建造使用了各种不同的家庭、商业、工业和建筑废物-这些废物的特殊性质需要新的建筑方法和材料组合。每个模块都是用废弃的PVC卡车侧帘手工制作的，这些窗帘是由不想要的运动蹦床、废弃的钢制储存架和重复使用的螺柱框架制成的张紧框架。这些组件是为拆卸和进一步重用而预先设计的。

To this end, and true to the project imperatives, the building’s nine tensegrity exterior modules are reminiscent of lightweight, tent-like structures. They were constructed reusing a disparate range of domestic, commercial, industrial and construction waste – the adhoc nature of which required novel construction methods and material combinations. Each module was hand crafted from waste PVC truck side curtains stretched over tensioning frames made from unwanted exercise trampolines, discarded steel storage racks and reused stud framing. These assemblies were designed upfront for disassembly and further reuse.

 Floor Plan

Hydronaut公司预算紧张，设计建造时间短，占地面积50平方米，设有两间办公室、餐厅/小厨房和开放式的监控空间/柜台。从概念上讲，该项目借鉴了杰里米·边沁(JeremyBentham)十八世纪后期的泛光监狱(Panopticon)的社会理论；这位享有特权的看守人可以想象，他在用木柴流氓来调查，质疑谁在观看。偷窥者的窥视镜、船用双筒望远镜、望远镜镜头、检查点查理号、潜水艇等都是进一步探索的概念。(鼓掌)

Working with a tight budget and short design-construction program Hydronaut occupies a small floor area of fifty square meters housing two offices, lunchroom/ kitchenette and an open plan monitoring space/ counter apex. Conceptually the project draws reference from social theories of Jeremy Bentham’s late eighteenth century panopticon penitentiary; the privileged watchman conceivably surveying all with wood-be hoodlums questioning who is watching. The voyeur’s peephole, marine binoculars, the telescopic camera lens, Checkpoint Charlie, submersible vehicles were further concepts explored.  

 © Peter Bennetts

(Peter Bennetts)

在一位热情的设计研究中心客户的支持下，设计师/制造者MarkRichardson和Studiobira之间的这种合作通过开发这两种实践的手工特性，探索了严格的工业设计与环绕毫米架构之间的积极的相互联系和公差。合作者分享了实验材料和工艺的原理、设计和使用特殊材料的手工方法。鉴于该项目是在学术环境下进行的，知识转让也是一个关键问题；在整个建设阶段，有4名学生协助进行研究。Hydronaut表面作为跨学科实践的研究，有一个警惕和好玩的建立结果。

Supported by an enthusiastic design-research focused client this collaboration between designer/maker Mark Richardson and Studiobird explores positive interconnections and tolerances between exacting Industrial Design and round the millimetre Architecture by exploiting the artisanal qualities of both practices. The collaborators share principles of experimental materials and processes, design-by-making and an artisanal approach to using adhoc materials. Given the project was undertaken in an academic environment, knowledge transfer was also a key concern; four students assisted in the research throughout the construction phase. Hydronaut surfaces as an investigation into interdisciplinary practice with a vigilant and playful built result.

 © Peter Bennetts

(Peter Bennetts)

该项目的一个核心目标是将产品/基础设施长寿策略集成到工作实践中；然而，与设计离散的长寿对象不同，长寿的概念是从多生命周期的角度考虑的，其中来自一个生命周期的废物为另一个生命周期生成原材料，等等。Hydronaut的成功成果是能够减少材料消耗，同时保持灵活的设计思想的手工艺品和空间环境。

A core aim of the project was to integrate product/infrastructure longevity strategies into work practices; however, rather than designing discrete long-life objects, the notion of longevity was considered from a multi-lifecycle perspective where waste from one lifecycle generates raw material for another, and so on. The successful outcome of Hydronaut was being able to reduce material consumption while maintaining a flexibly to design thoughtful artefacts and spatial environments.

 Longitudinal Section

这一价值主张很重要，因为它不仅确保负责任地使用有限资源，而且减少垃圾填埋场，尽量减少碳排放，增加产品和基础设施，并提高制造和建筑的材料效率。最终，这种做法将成本重点从一种材料转移到人工(即减少对新材料的投资和增加对人力劳动力的投资，以翻新现有材料)，可以提供真正具有优势的项目，而不是在传统的摇篮到坟墓的物料流动中进行的项目。

This value proposition was important, as it not only ensures the responsible use of finite resources, it reduces waste to landfill, minimises carbon emissions, value-adds products and infrastructure and increases material efficiency in manufacturing and construction. Ultimately this practice shifts the cost emphasis from a materials to human labour (that is, reduced investment in new materials and increased investment in human labour to refurbish existing materials), can deliver projects with a genuine edge over those made within traditional cradle-to-grave material flows.

 © Peter Bennetts

(Peter Bennetts)

在整个项目的所有阶段，设计者从各种来源清除材料，包括来自莫纳什大学其他建筑工地、当地废物转移中心和考尔菲尔德郊区自然带的材料。大约70%的最终项目包含了由设计师和团队实际改装的向上循环的材料。

Throughout all phases of the project the designers scavenged materials from various sources including offcut or rejected materials from other Monash University construction sites, local waste transfer centres and nature strips of suburban Caulfield. Roughly seventy precent of the final project incorporates up-cycled materials that were physically refabricated by the designers and team.  

 © Peter Bennetts

(Peter Bennetts)