SUSPENDED A Mine and Fossil Museum Experience in Mount Isa, Queensland RUI MA 813232
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Riversleigh Fossil Exploration Museum Gaming Experience
Concept: Most of the museums just display a stack of objects within boxed spaces but underestimate the important relationships between the objects and the viewer. Therefore, the design aims to transfer the experience of visiting the museum into an exploration game. In doing so, exhibition spaces are no longer been defined by walls but by the programs. The visitors shall have a continuous journey through different scaled spaces to have a more enjoyable exploration experience.
presence.” The kit of parts, which are created from the site, disregards the original meanings and been used as lego bricks to create a new form. In doing so, a series of prototypes are created to examine the user experience from two different aspects. ‘Destination’ represents how the objects will be presented and found by the visitors. Meanwhile, the approaching method represents the circulation. Therefore, the prototypes provide different viewing angles to appreciate the objects. Thus, the relationship between the objects and the viewer are dramatically changed.
The concept drawing tries to reveal the visual continuity and disjunction of different programs that are across a variety of different leveled space. Inspired by James Corner, the mapping takes the game as a method to diagram the Mount Isa into a chessboard. The different colored cubes represent the different programs on-site. In doing so, a new set of the ‘kit of parts’ is created to be used for creating the form. As Stan Allen argued in his ‘Notations and Diagrams’ that, “To work with notations and diagrams implies giving up ideas of depth, authorship, and intent, betting instead on immediacy and 2
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TABLE OF CONTENTS
Rui Ma_TingTing Zeng_ Yuhan Feng_ Jade Lavana Hsu p 22
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‘BODIES OF WORK’(online lecture) Stan Allen p6
‘Unfolded Section & Plan Drawing’ Group_04 Rui Ma_TingTing Zeng_ Yuhan Feng_ Jade Lavana Hsu p 28
2. ‘KIT OF PARTS’ Group_04 Rui Ma_TingTing Zeng_ Yuhan Feng_ Jade Lavana Hsu p10
8. ‘Riversleigh Fossil Exploration Museum ’ (Massing 1) p 34
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‘Impression Drawing’ Group_04 Rui Ma_TingTing Zeng_ Yuhan Feng_ Jade Lavana Hsu
‘Concept Research Collage ’ P 42
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4. ‘Forensic Site Plan’ Group_04 Rui Ma_TingTing Zeng_ Yuhan Feng_ Jade Lavana Hsu p16
‘Final Design Stage - Riverseligh Fossil Exploration Museum’ 11. ‘Riversleigh Fossil Exploration Museum ’ (Presentation Drawings)
5. ‘PRACTICE: ARCHITECTURE TECHNIQUE + REPRESENTATION - Notations & Diagrams’(PDF Scan) Stan Allen P. 20 6. ‘Mappings of the site’ Group_04 4
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1. ‘BODIES OF WORK’(online lecture) Stan Allen
In the UVA School of Architecture, Mr. Stan Allen argues that “The Galllery is a kind of empty frame, that is only completed by the artist.” It inspires me to think that the role of architect is to create space with opportunities for further development and engagement. Meanwhile, probably, a way of defining a good design is that the design does not underestimate the potential of a space that can become something much more fabulous in the future. He mentioned about the Taoist idea of the window and the frame, the room and the empty space in his lecture. It seems like he is very instereted in the idea of the infill and the frame. Therefore he argues that “The job of the architect in the case of a largescale urban proposition like this is to create a kind of framework that’s going to be complte by other authors, other agents later in time.”(UVA School of Architecture, 2017). “Landscape urbanism: - territorial scale - surface pattern - program + event - progress + change(in time)”(UVA School of Architecture, 2017) “Geology is formed by change over times as well.”(UVA School of Architecture, 2017)
Figure 1 Maribor Art Gallery Model Note. From stan allen architect|afasia. https://afasiaarchzine. com/2010/09/stan-allen-architec-2/
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“Creating catalogue of architectural elements of different scales & rearrange them on those infrastructural platforms... There is no fixed schema for all of that ... things are juxtaposed to other things in ways that you would not always except.”(UVA School of Architecture, 2017) “We can analysis these systems based on their degrees of openess, connectivity and so on.”(UVA School of Architecture, 2017) “Field describe a space of propogation of effects, it contains no matter or material points rather functions vectors and speeds, it describes local relations of dfference within fields of celerity transimissions or careening points in word that Minkowski called the world.”(UVA School of Architecture, 2017)
Figure 2 Maribor Art Gallery Model Formation Note. From stan allen architect|afasia. https://afasiaarchzine. com/2010/09/stan-allen-architec-2/
The following lectures focuses on the idea of “Landscape urbanism” where I kind of argree with what he says but it seems ramdon and lackse depth of the thinking behind the design work. The linkage between his theories and his designwork seems unclear to me. He uses pentagon as a basic geometric form to create a series of blocks. The nature of the pentagons would create gaps and empty space when connecting them together. The ting that is missing for me is the linkage between his design strategy and his argument on the field condition. In other word, the form connection to the city is not so clear and convincing to me. However, the idea of bringing the site condition to the site gives me a new direction of creating forms which is creating a complex form from smaller components.
UVA School of Architecture. [UVA School of Architecture].(2017, November 13). STAN ALLEN: Bodies of work [YouTube Video]. YouTube. https://www.youtube.com/ watch?v=QFpw5nDT4vo
Figure 3 Maribor Art Gallery Ground Floor Plan Note. From stan allen architect|afasia. https://afasiaarchzine. com/2010/09/stan-allen-architec-2/
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2. ‘KIT OF PARTS’ Group_04 Rui Ma_TingTing Zeng_ Yuhan Feng_ Jade Lavana Hsu In the groupwork, we discussed different angles and posibilities of abstracting elements from the site. For instance, we believed that in order to create a system of structural elements there must be static and dynamic elements to be involved. Meanwhile, to tell the story of a place, functions and narrative structure should also be considered. However, the diffculty was that each of the elements contains more than one characters that we want to include. Therefore, we catagorised our elements into three parts: Functional & Dynamic, Ornamental & Static, and Monumental & Symbolic.
Figure 4 Mount Isa Google Map Street View Note. Adapted from [Map of Mount Isa], by Google, n.d. (Retrieved Jan 10, 2021 from https://www.google.com/ maps/@-20.7258095,139.4885094,16z. Copyright 2021 by Google.
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3. ‘Impression Drawing’ Group_04 Rui Ma_TingTing Zeng_ Yuhan Feng_ Jade Lavana Hsu
Figure 5 Kit of Parts Drawing (Content Created by Group)
Figure 6 Impression Drawing (Content Created by Group)
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Figure 7 Impression Drawing analysis (Content Created by Group)
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4. ‘Forensic Site Plan’ Group_04 Rui Ma_TingTing Zeng_ Yuhan Feng_ Jade Lavana Hsu
Figure 8 Forensic Site Map (Content Created by Group)
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Man with a movie camera
‘PRACTICE: ARCHITECTURE TECHNIQUE + REPRESENTATION - Notations & Diagrams’(PDF Scan) Stan Allen
Dziga Vertov ‘Experimental 1929 Soviet silent documentary film’
Allen(2009) argues that architectural drawings are more than just being mimetic representation of the reality. He(2009) states that it’s an instrument for communication through shared conventions. Therefore, Stan (2009) took music notes as an example to what he regards as the ‘intangible properties of the real’ which cannot be graphically described. By further refering to Gilles Deleuze + Felix Guattari, he(2009) argues that meanings being given through the process of design which is about trace and operations of projections. The notational representation of architecture gives up “ideas of depth, authorship and intent” but only focus on immediacy and presence.
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It reminds me of the work that I did with films study. The rhythm of the films is not tangible or visible from the film itself, it only reviews itself when I transferred the duration of each scene into diagramtic notes. Therefore, a systematic structure can be seen and understood by other people who do not know about the film.
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The idea guides us to map the town with a Cartesian coordinates grid of system to record the propoerties and activities of the site.
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What I have learned the most from doing these diagrams is that the relationship from shot to shot should not just be analyzed only with adjacent shots. For example, the time duration of the shots is gradually decreased/increased on every second shot from this film.
On the other hand, what I also learned from the editing technique of this film is that each individual shot can be broke down into smaller takes and inserted into each other to increase the tension with its tempo of the film.
Figure 9 Studio 35MM Journal - Film Study (Content Created by Author)
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Figure 10-14 Mapping Drawing series (Content Created by Group)
6. ‘Mappings of the site’ Group_04 Rui Ma_TingTing Zeng_ Yuhan Feng_ Jade Lavana Hsu
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Thinking about the typology of museum which contains functions of education and certain levels of entertainment. It seems that the basic functions of a museum can easily been replaced by today’s modern techonology of the internet. We think what could also be added into the immersive experience is the interaction between the visitors and the place. Inspired by the games ‘Monopoly & Minecraft’, we try to bring the game experience to the museum design. Hence, we take our designed projects, from the kit of parts, as stop points for the players, who are the visitors, to be engaged. Meanwhile, we design the landscape as parts of the exhibition by creating terraces based on a 20x20M Grid. The idea of playing with the views of the visitors is our main drive to differentiate the heights of the terraces. In addition, it also reflects the site conditions which we analysed from our mapping drawings. We regard the kit of parts that we created from the previous assignment as the content of the game and the mapping of the urban site as the rubics to create the gaming board and rules. Furthermore, to guarantee the success of a game, we set up certain rubics and rewards for the players/visitors to experience the site.
Figure 15 Analysis of the game experience for mapping Content created by the group
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MOUNT ISA PROJECT UNFOLDED SECTION & PLAN DRAWING
7. ‘Unfolded Section & Plan Drawing’ Group_04 Rui Ma_TingTing Zeng_ Yuhan Feng_ Jade Lavana Hsu
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SECTION A-A’ SCALE: 1:200 Figure 16 Parts of the unfolded section/plan drawing Content created by the group
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The design of the gaming ground has challenged us to think about manipulations of the basic geometries. We tried to reduce the size of the block and also the sense of the square pattern by breaking each block into smaller sectors. The green parts represent the area for greeneries to grow and the Red iconic elements are representations of the characters of the site. The thinking behind the design of the patterns is to guide people walk through the space with the sense of discovering of an unknow space.
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8. ‘Riversleigh Fossil Exploration Museum ’ (Massing 1)
Ariel view Programming Isometric Exoloded Diagram
The design aims to play with the idea of the infill and framing by having a mixture of the steel structure and the solid building volume.
It shows that there are two major programs at the centre of this organization. They are the theatre and fossil field.
View from the site entrance The facade tries to break the rigid geometric form by creating curvatures. View from the existing building The form tries to create a transition between the exisiting building and the new one. The strategy is to have a seuqenced space that are characterized by the steel framework. Feed back The forms seem to be intuitive and I was not considering them as circulations or programs.
View from the next project by other teammate 34
Creation of ‘kit of parts’ The diagram shows the relationship between the kit of parts and the mapping excercise from previous work.
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KIT OF PARTS
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NEW MASSING MDOELS
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Therefore, I start to think them as circulations and programs which are designed with rigid scaled space.
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Testing of materiality
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9. ‘Concept Research Collage ’
Cubism & Installation Art
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Film and Montage
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Sciencefictional imagination of the industrial future
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Materiality & atmosphere
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Italian Futurism painting
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Cureent museum experience
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10. ‘Final Design Stage - Riverseligh Fossil Exploration Museum’
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Form study
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Levelling of Interior space 50
Levelling of Interior space 51
Form evaluation 52
Interior form evaluation 53
Plan Draft - Second Floor
Modelling Process 54
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Plan Draft - Ground Floor
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11. ‘Riversleigh Fossil Exploration Museum ’ (Presentation Drawings)
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