1 April 2011 | 01 Week 5
Pushing the intention and form of our follies into a building for Project Two poses the challenge of a "Wicked Problem" in that solutions spawn new problems and the creative process is supposedly a tortured path (something to look forward to I guess). Not only that but the undercurrent of our theme "Light & Form" is to think outside the box - to make architecture more outrageous again.
In this sense then I hope to approach the project with greater experimental intentions both formally, spatially and logically. Using not only model images but also hand sketches and technical drawings to communicate the development and translation of my follie into a concrete form.
| LIGHT & FORM | PROJECT BRIEF
1 April 2011 | 02 Week 5
| SITE SKETCHES |
| SPATIAL DIAGRAMMING |
| SITE MODELLING|
10 April 2011 | 03 Week 6
13 April 2011 | 01 Week 7
Reiterating the original idea behind my follie; the intention was to create a distinct juxtapostion between existing infrastructure and the subsequent intervention. As a statement it read, "transparency, a dynamic form to restore a connection with the riparian". This on its own I would now admit feels relatively vague in terms of its application to a physical building. Thus rather than focussing on one single statement I think perhaps the aim is more so to consider the primary motives behind our follies??
Our first tutorial saw the establishment of a basic programme for project two. After class discussion it was agreed upon that we would design a Performing Arts Academy for insertion in the HSW site. The rational behind this decision was based on the intention of re-invigorating the area though a public endevour rather than merely extending commercial investment. The following outline was produced as an initial guide to the required facilities.
6 April 2011 | 01 Week 6
Clockwise from top left; approaching the site presents a contrast between the Story Bridge and heritage buildings; standing in the site exisitng buildings impede any connection beyond the site instead the eyes are drawn upwards; the bridge disappears seamlessly into the cliff face; below the bridge the space is very contained, the inhabitant is enclosed.
Clockwise from top left; the structural presense of the Story Bridge; a juxataposition between organic elements of the site and artifical insertions; residual structure - a bunkers tucked below the cliff face; linear progression along the river front.
7 April 2011 | 02 Week 6
Initial planning ideas for the required spaces and functional connections.
10 April 2011 | 03 Week 6
It was decided that in order for the class to work within consistent parameters both a digital and physical model of the site would be constructed so that we can test experimental forms and ultimately our resolved model within an actual context. As such our tutorial spent time this week building a replica of the wharves.
I worked with a small group on constructing the Story Bridge while others built the cliff face and exisitng buildings.
The final model is at a 1:250 scale and represents the exact context within which we can built, thus our academy can be sited anywhere on the model.
| INITIAL CONCEPT BRAINSTORMING | (before tutorial)
13 April 2011 | 01 Week 7
Reiterating the original idea behind my follie; the intention was to create a distinct juxtapostion between existing infrastructure and the subsequent intervention. As a statement it read, "transparency, a dynamic form to restore a connection with the riparian". This on its own I would now admit feels relatively vague in terms of its application to a physical building. Thus rather than focussing on one single statement I think perhaps the aim is more so to consider the primary motives behind our follies??
In responding to the wharves physical context then, the aim of my follie was to provide relief from the linear progression of the site, by disrupting routine trajectories and creating a greater sense of openess and exposure (breaking free from the contained space). I assume then that we're supposed to translate such intentions again through our building??
Initial concept brainstorming:
- Emphasis on creating a juxtaposition, rigidity of the site versus fluidity of building form
- Interplay of dynamic form and contrasting spatial experience (through light)
- Cantilevered space, to create exposure and openess
| CONCEPT BRAINSTORMING | (after tutorial)
15 April 2011 | 02 Week 7
After the tutorial I'm beginning to think that although the intentions of my follie play a part in how to conceptualise a more refined form I can't get too caught up in merely the "words" behind my design. According to Nuno the concept should be approached as a physical creation. Rather than relying on plain words to justify design thinking our ideas should be more material and the physical form of our follie should be easily readable through the building. I guess then it means our design process should be more transparent and visually obvious.
In order to properly expand a concept for project two then I think it will be necessary to refer back to the physical progression of my follie rather than getting too caught up in what I can write about it. This sounds like a better starting point as it provides a mental image to work on. I think before I was dwelling too much on the theory behind my ideas rather than their physical reality. So considering elements such as its actual structure, the way it influences movement and how it functions I'm hoping will reinforce the follies to buildings mentality of this project.
| FOLIE TO BUILDING | EXTRACTING THE CONCEPT
16 April 2011 | 03 Week 7
I feel it best to revist my intentions, deconstruct and extend them in an attempt to try and translate the way in which I first responded to the site into this new programme. The following characterisitc stem from my initial intent and are qualities I an aiming to achieve in the design of my building.
Formal Elements:
Curvature (shells, plates, fluid structure)
Organic form
Juxtaposition to the sites present linear progression
Cantilever spaces
Design Qualities
Exposure to view, openess to the greater landscape
Interplay of light and shadow
Transparent thresholds, ease of flow through internal spaces
| DESIGN PARAMETERS |
The parameters of our design are foremost required to refer to the folie, we are supposed to investigate the processes of transforming the narrative of our folie through our building.
Concept – The abstract idea which can be interpreted through the physical form or design drawings. It can and perhaps should be tuned or reorganised by its development through the project.
Context – Relations and connections with the surround environment, up to us to define the extent. Not just a site plan, it is the essence of our location choice, its ambience etc.
Tectonic – Transform and reuse tectonic characteristics of our folie. Light and form underpins – a concrete building, free-forming abilities.
Function – Programme, development of spaces and relations
Contribution – Process of organising the program, how it works, how it relates and enhances public spaces (disruptive way, interventionist or non rationalist)
Issue – Spirit of the theme – LIGHT & FORM
| FORM COMPOSITION | (before tutorial)
Design Qualities
Exposure to view, openess to the greater landscape
Interplay of light and shadow
Transparent thresholds, ease of flow through internal spaces
| DESIGN PARAMETERS |
20 April 2011 | 01 Week 8
The parameters of our design are foremost required to refer to the folie, we are supposed to investigate the processes of transforming the narrative of our folie through our building.
Concept – The abstract idea which can be interpreted through the physical form or design drawings. It can and perhaps should be tuned or reorganised by its development through the project.
Context – Relations and connections with the surround environment, up to us to define the extent. Not just a site plan, it is the essence of our location choice, its ambience etc.
Tectonic – Transform and reuse tectonic characteristics of our folie. Light and form underpins – a concrete building, free-forming abilities.
Function – Programme, development of spaces and relations
Contribution – Process of organising the program, how it works, how it relates and enhances public spaces (disruptive way, interventionist or non rationalist)
Issue – Spirit of the theme – LIGHT & FORM
21 April 2011 | 02 Week 8
Now that I have a better grasp on how to extract the essense of my initial concept and translate it to this new project. I started to draw up some rough sketches of my ideas for a building form which encompasses these elements. At this stage I am concetrating on the fluidity of my design and how to use 'shell structures' to enclose spaces. I was thinking about how to locate the building in order to create flow through the site and bring organic movement of the river into an otherwise artificial landscape.
Below are a few of my intitial expressions of a building form with curving spaces, potentially cantilevered floors and a series of organic roof canopies. I want to explore further how the presence of these can influence the interaction of light within internal spaces.
I started also to look at how functional spaces can be arranged in order to create a progression of public and private spaces, so that privacy can increase as regular users circulate through the building.
| FORM COMPOSITION | (after tutorial)
With a general idea of how I want to arrange spaces within my building I then looked again at its form and attempted to enclose these areas. Initial I made some basic roof plates to get a feel for how I could incorporate an organic form at the outset of my design. Before pushing these out to include radiating floors - an aspect I'd like to use to create a steady circulation within the building and strong distinction between public and private spaces.
25 April 2011 | 03 Week 8
After the tutorial I'm beginning to think that I've overlooked the functionality of my building in favour of the 'facade' or just the pure physical form. Nuno made the observation that we should be constructing the physical form in combination with plans for our programme. I can understand the importance of how circulation and function influence my building and I suppose working from basic plans ensures we make adequate allowances for the function of internal spaces. Below is a rough sketch of a floor plan I did during the tutorial.
With a general idea of how I want to arrange spaces within my building I then looked again at its form and attempted to enclose these areas. Initial I made some basic roof plates to get a feel for how I could incorporate an organic form at the outset of my design. Before pushing these out to include radiating floors - an aspect I'd like to use to create a steady circulation within the building and strong distinction between public and private spaces.
Starting to look at how light penetrates the internal spaces I did a few light studies over basic sections of the building. The auditorium I would assume needs a far amount of controlled lighting for performances which would mean an artificial source. In contrast both the public area - that below the theatre and the private academic spaces would benefit from natural lighting. At this stage I've designed theses areas with glass facades - although I'm not sure whether this is too basic and neglecting the light and form qualities we're trying to achieve ??
| DESIGN EXPLORATION |
2 May 2011 | 01 Week 9
Earlier in the design progress I was aiming to achieve a steady progression of privacy between public and private areas. Below is a basic diagram of my building with theses spaces highlighted.
Refining the floor plans of my building gave me a better understanding of how the circulation between public and private spaces will work. I've separated the areas which will house functions of frequent usage such as classrooms and offices from spaces with more specialized function such as the auditorium and backstage. This is mainly to minimize the congestion of high traffic areas and create a obvious distinction between the spaces - I wonder how can this be enhanced by lighting to effect the emotional atmosphere of a space??
Exploring how the presence of a performance academy would transform the site and how it has the potential to revitalise the area. I think that in the case of the Howard Smith Wharves the building should achieve the following elements:
To act as a landmark for the area. The site at present is fundamentally a 'dead' space with limited
provisions for public use. In order to stimulate the space it needs a strong visual statement - to draw
users .
To intervene with the present path of users. Which at the moment is straight through the site (there is no
pause of appreciation)
To create a transparent threshold. The building becomes part of the context. Pedestrians move easily
from the site into the building.
Earlier in the design progress I was aiming to achieve a steady progression of privacy between public and private areas. Below is a basic diagram of my building with theses spaces highlighted.
Spaces which require artificial lighting for performance or storage reasons I situated at the rear of the academy as this aspect receives minimal sunlight and provides immediate access for deliveries etc. Spaces which benefit from natural light for increased occupant satisfaction in contrast have been situated at the front of the building to maximise views and exposure.
| PERFORMANCE ARTS ACADEMY | INTERIM DESIGN
3 May 2011 | 02 Week 9
The academy is intended to create a strong juxtaposition to the rigid linear context. This I feel is achieved by the buildings organic form. Internal spaces are exposed and open in order to stimulate passive interaction and disrupt routine trajectories. While sculptural qualities of the flowing roof plates also link visually and symbolically to my original folie intervention.
The reception of sunlight within the building is intended to create a dynamic interplay between light and shadow yet I'm not sure this is adequately exploited or achieved. Light studies below demonstrate how sunlight at this stage penetrates internal spaces. Although I'm really not happy with the buildings current response to light. It seems far to basic - there is nothing beyond a passive response!
Basic light studies - from left;
Morning light conditions, optimal penetration in academic space ideal for class times, strong shadow cast
through foyer calm atmosphere as the building 'wakes'
Midday light conditions, bright foyer space ideal for times of peak movement, creates lively atmosphere
Afternoon light, long shadows, dark internal spaces, need for artificial light, the building comes alive again
at night through its provision, night time performances
| INTERIM PRESENTATION |
6 May 2011 | 03 Week 9
| PRESENTATION FEEDBACK |
8 May 2011 | 04 Week 9
Although the presentation went well as I expected there were a few aspect of my building that Nuno pointed out as elements which need to be further explored or refined. Firstly the spatial allowance for my auditorium and back of house areas need to be re-proportioned. The seating was too steep and the stage to shallow. Also throughout the presentation he made reference to the create theatres which don’t prescribe to a formal layout – designs which are more innovative or out of the ordinary. I’d like to explore the potential of this for my theatre. He also commented that the location of my building needed more thought. The building side which borders the site entrance is completely flat and unstimulating while the opposite aspect (which is visible from down river toward New Farm) is more dynamic. This contradicts the intention to create a landmark, visible from Riverside. Overall I think my building needs to be more drastic. The internal spaces at present interact only passively with external light and most are arranged fairly basically. The DADA has been lost or is non-existent. I really want to push the envelope of my building further which is hopefully achievable in the time we have left!
Although the presentation went well as I expected there were a few aspect of my building that Nuno pointed out as elements which need to be further explored or refined. Firstly the spatial allowance for my auditorium and back of house areas need to be re-proportioned. The seating was too steep and the stage to shallow. Also throughout the presentation he made reference to the create theatres which don’t prescribe to a formal layout – designs which are more innovative or out of the ordinary. I’d like to explore the potential of this for my theatre. He also commented that the location of my building needed more thought. The building side which borders the site entrance is completely flat and unstimulating while the opposite aspect (which is visible from down river toward New Farm) is more dynamic. This contradicts the intention to create a landmark, visible from Riverside. Overall I think my building needs to be more drastic. The internal spaces at present interact only passively with external light and most are arranged fairly basically. The DADA has been lost or is non-existent. I really want to push the envelope of my building further which is hopefully achievable in the time we have left!
