BOOK OF M.E.A.T (Models for Education Alternative Typologies) - 5th Edition by Fear Awe Wonder

R M I T D O C K LANDS M E D I A PRECINCT a [

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SITE : docklands//scale : medium IN PARTNERSHIP WITH R M I T P O L I C Y S T R AT E G Y I M PA C T

P A T R I C K M A C A S A E T T U E S D A Y / / 9 . 3 0 A M / / 1 0 0 . 4 . 3

P M

Joshua Jian Min Khong

A A

T R I C C A S A E

K T

Samuel Danielo

Danny Tan Kah Aik

Dinh Tien Nguyen Eric Thoroughgood Hepeng Miao Justin Yong Sheng Chong

Megan Voo

Ming-Hsien Hsu

Qianqian Chen Ricky Amos Gabriel Lim

CONTENT Joshua Jian Min Khong

PG 3

Samuel Danielo

PG 42

Danny Tan Kah Aik

PG 85

Dinh Tien Nguyen

PG 119

Eric Thoroughgood

PG 159

Hepeng Miao

PG 199

Justin Yong Sheng Chong

PG 231

Megan Voo

PG 269

Ming-Hsien Hsu

PG 301

Qianqian Chen

PG 341

Ricky Amos

PG 383

Gabriel Lim

PG 421

[JOSHUA JIAN MIN KHONG]

LEARNING CIVIC LANSCAPE

Learning Civic Landscape

Joshua Jian Min Khong

A new Pedagogy incorporating the Civic & Series of Learning Landscape Learning Civic Landscape is created to tackle the lack of porosity and civic engagements with the surroundings of docklands precinct. Its goals are to bundle learning, media, esports and civic activation activities for the public. Creating a series of learning landscapes. Collaborative, Circulative, Observational, and Civic learning. It started out with an idea of a walkable roof. Habiting the unused, A concept of an elevated platform for civic and students to use as a flexible learning space. To create a building that attracts the public “Civic magnet”. Tied into this were ideas of creating a series of learning landscapes conditions. Collaborative, Circulative, Observational, and Civic Learning. Collaborative learning is achieved through incorporating design moments of verandas and courtyards, for the public and private to connect. To provide students with the possibility of industry collaboration with media companies in the building. Which dabbles with the idea of interconnectivity and experiential learning. Circulative Learning, the second series of “LCL” includes open learning spaces and smaller workshops that circulates around the first floor, with several smaller staircases that are placed around to promote coincidental meetings and moments. Observational Learning, the third series of learning civic landscapes are located at higher levels. “The peaks” where smaller workshops rooms are facing the civic side. Civic would be able to view students from the civic peaks, however they do not have access to the private areas. Promoting the idea of “watch and learn”. Civic Learning, the fourth series located mainly at north west of the building gives the public an area

Project Introduction

Footnotes LCL “Learning Civic Landscape”

Footnotes Exploration 3 aka Exploration A Exploration 5 aka Exploration B

of open learning spaces as well as a RMIT Sky Deck for anyone to admire the views from higher levels. Furthermore, the civic would also enjoy the green spaces on the second floors as well as an open child slide and mountain climbing area providing iconic experience. To achieve this a series of exploration were made to create form, program, spatial arrangement landscape and façade. Out of five explorations, two of which I have chosen to further develop were Exploration 3, Walkable roof / Elevated plaza, and Porous Engagement. These were pick due to the strong potential alignment with my propositions. Exploration 3 “Train Terminal type” gave me the concept of a walkable room which was incorporated, as it provided several peaks and possible elevated plazas. The building acts as a slope from the group to the top of the hill as being habitable, programmable, and walkable. This idea of pushing the public realm to higher levels rather then the generic bottom approach. Exploration 5 on the other hand “Prison Type”, was a result of several smaller prison cells being clamped together to create atrium like spaces and long scaled axis that became corridors which were inhabited by informal open learning spaces. This relationship between guard and prisoner in this exploration pushed the idea of observational learning. Prisoners can only view guards and opposite cells, learning from a visual point of view that creates an observational learning.

Image. Birdâ&#x20AC;&#x2122;s Eye View, showcasing the building in its context, relationship between city, street and m2 city link

Learning Civic Landscape

Joshua Jian Min Khong

Image: City street viewing Relationship. The peaks that are legible in the view showcase the observational relationship by allowing the civic to view inside the series of Learning Civic Landscape from other buildings and city streets. This promotes the idea of sharing and obersvational learning.

City Street & M2 link Relationship / Entrance

Image: Entrance of the building f the porous entrance with generou private.

from dockland drive. Showcasing us amount of sitting for public and

Image: View from M2 Bridge. This showcase the relationship and potential advertisement opportunity from cars driving on the m2 link to view RMIT promising design and its oberservational learning peaks, rock climbing and children slide.

Learning Civic Landscape

Joshua Jian Min Khong

Image Top: Collaborative Learning, first series of Learning Civic Landscape. Provides new opportunities for students to collaborate with huge industry partners on the ground floor. It features a â&#x20AC;&#x153;high street conceptâ&#x20AC;? where offices and workshop would face each other.

Collaborative, Circulative, Observational & Civic Learning

Image Bottom: Circulative Learning, second series of Learning Civic Landscape. Includes pockets of open learning spaces and smaller workshops that circulates around the first floor, several staircases move upwards to promote coincidental meetings and moments.

Image Top: Observational Learning, third series of Learning Civic Landscape. at higher levels learning through individual lenses becomes a feature. Civic would be able to view students from the civic peak while not have access to the private and vice versa.

Image Bottom: Civic Learning, fourth series of the learning civic landscape, the civic will dwell around in the specified peaks while entering from RMIT sky platform. Observational Learning from public to private areas.

Learning Civic Landscape

Joshua Jian Min Khong

Stage 1: Site Analysis

Site Boundary

M2 Link Bridge

Dockland Harbour Town

Commercial

Residential

Dick Cook Studios / Dockland Studios

Learning Civic Landscape

Joshua Jian Min Khong

Stage 1: Site Photos

Dockland Dr - Site

Dockland Dr & Pearl River Road - Site

Facing Pearl River Road - Site

M2 Bridge

Dockland Dr

Dick Cook Studios

Learning Civic Landscape

Joshua Jian Min Khong

Stage 2: Formal Generation

Out of 5 explorations, two were chosen to create “Learning Civic Landscape” Exploration A & B also know as Exploration 3 & 5. Exploration A Walkable Roof / Elevated Plaza “Train Station Typology” Exploration B Porous Engagement “Prison Typology” These were merged to create the ideal Learning Civic Landscape Formal Generation 1.The merging of both projects, exploration A was treated as a container that could inhabit and programmatic layout. Thus exploration 5 with its “high street concept” atrium like spaces was chosen and inserted. 2.Exploration A on the site shows the peaks facing m2 link bridge while the back is flat to create the illusion of a hill going upwards. This is so that the city street will not be intimidated by too large of a structure.

3.Exploration B on the site shows the porousity of the building inviting the public to visit 4. Exploration B is inserted into A from its original positions on the site to preserve the originality of explorations 5. Exploration B and A is merged creating a different ecosystem of environments , ground floor is porous while higher levels are closed off in the peaks. 6. Adding materiality to the building. Corten panels were chosen to be implemented due to its aging effect to emulate as if the dirt ground itself has risen up to create moumental peaks. Glass giving transparency for obervational learning.

Learning Civic Landscape

Joshua Jian Min Khong

Stage 3: Design Development

Design Development Phase DDP: Developing the overall form and programatic arrangement Design Development. 7. The formal outcome from mid-semster was reduce to meet the area size of the brief, keeping the exisiting condition still present. 8. The â&#x20AC;&#x153;peaksâ&#x20AC;? were extended to create a more smoother gradient from green open space to the top. An introduction of rock climbing on the peaks were implemented as well. 9 & 10. Second set of peaks were form on the east side to create a visual and observational relationship it has with its peaks now facing the city. They include E-sports training center and rock-climbing info center, with one of the peaks extending out to become an interactive wall.

11. The final result of the building will include: Civic learning spaces, Open learning space, several green screen, workshop, editing suite, offices, school hub, rmit sky platform, green space, rock climbing area, e-sport training rooms and children slide, making the peaks unique, to not be only ornamental but usable. RMIT Sky Deck Outdoor Green Space

Children Slide

Rock Climbing

Rmit Redback E-sports Rooms

Private Learning Areas

Learning Civic Landscape Axo

10.

Elevation

11.

Learning Civic Landscape

Joshua Jian Min Khong

Ground Floor Plan 1:250 @ A2

09 11

Legends

01. Game Production Zone

06. Steam Hub 2

11. Storage With Vehicle Access

16. Circulative Learning

02. Physical Effects Workshop 03. Private Industry Collaboration

07. Administration 08. Control Room 1

12. Toilets 13. Storage 1

17. Open Workshops 18. Offices

04. Editing Suites 05. School Steam Hub

09. Control Room 2 10. Control Room 3

14. Storage 2 15. Green Screen Studios

19. Server Room 20. Cafe 1

13 29 14

21. Cafe 2

26. Rock Climbing

22. RMIT Sky Platform 23. Civic Learning Space

27. Children Slide 28. E-Sport Training Rooms

24. Observational Learning Space 29. Outdoor Siting Areas 30. Civic Interactive Screen 25. Outdoor Green Space

Learning Civic Landscape

Joshua Jian Min Khong

First Floor Plan 1:250 @ A2

19 11

17 12

15 21

Legends

01. Game Production Zone

06. Steam Hub 2

11. Storage With Vehicle Access

16. Circulative Learning

02. Physical Effects Workshop 03. Private Industry Collaboration

07. Administration 08. Control Room 1

12. Toilets 13. Storage 1

17. Open Workshops 18. Offices

04. Editing Suites 05. School Steam Hub

09. Control Room 2 10. Control Room 3

14. Storage 2 15. Green Screen Studios

19. Server Room 20. Cafe 1

30 16

13 29

21. Cafe 2

26. Rock Climbing

22. RMIT Sky Platform 23. Civic Learning Space

27. Children Slide 28. E-Sport Training Rooms

24. Observational Learning Space 29. Outdoor Siting Areas 30. Civic Interactive Screen 25. Outdoor Green Space

Learning Civic Landscape

Joshua Jian Min Khong

Second Floor Plan 1:250 @ A2

FLEXIBLE SPACE 1 & 2

413m2

Legends

01. Game Production Zone

06. Steam Hub 2

11. Storage With Vehicle Access

16. Circulative Learning

02. Physical Effects Workshop 03. Private Industry Collaboration

07. Administration 08. Control Room 1

12. Toilets 13. Storage 1

17. Open Workshops 18. Offices

04. Editing Suites 05. School Steam Hub

09. Control Room 2 10. Control Room 3

14. Storage 2 15. Green Screen Studios

19. Server Room 20. Cafe 1

21. Cafe 2

26. Rock Climbing

22. RMIT Sky Platform 23. Civic Learning Space

27. Children Slide 28. E-Sport Training Rooms

24. Observational Learning Space 29. Outdoor Siting Areas 30. Civic Interactive Screen 25. Outdoor Green Space

Learning Civic Landscape

Legends

Joshua Jian Min Khong

Roof Plan 1:250 @ A2

01. Game Production Zone

06. Steam Hub 2

11. Storage With Vehicle Access

16. Circulative Learning

02. Physical Effects Workshop 03. Private Industry Collaboration

07. Administration 08. Control Room 1

12. Toilets 13. Storage 1

17. Open Workshops 18. Offices

04. Editing Suites 05. School Steam Hub

09. Control Room 2 10. Control Room 3

14. Storage 2 15. Green Screen Studios

19. Server Room 20. Cafe 1

21. Cafe 2

26. Rock Climbing

22. RMIT Sky Platform 23. Civic Learning Space

27. Children Slide 28. E-Sport Training Rooms

24. Observational Learning Space 29. Outdoor Siting Areas 30. Civic Interactive Screen 25. Outdoor Green Space

Learning Civic Landscape

Straight & Cross Section

Joshua Jian Min Khong

Straight & Cross Section

Joshua Jian Min Khong

Procedural Explorations. Appendix.

[SERIES OF EXPLORATIONS]

APPENDIX A Typological & Procedural Exploration Investigating how contaminations and transformations of diverse typologies and sub-typologies behaviors can assist in re-imagining formal, spatial, and organizational architecture elements (FORM, CIRCULATION, SPATIAL ARRANGMENT, ORNAMENT, ETC.) Procedural experiments will be deployed to assist in manipulating, distorting, amplifying, shattering, dispersing etc... The behaviours and qualities of existing subtypological behaviours to affect the architectural elements of learning typologies. Throughout the semester 5 explorations were thoroughly tested and pushed to its limit to create several possibilities for RMIT NEW MEDIA PRECINCT. Some may have failed and succeeded, however, this test gave an insight and learning experience to further pursue the course of changing and creating the generic learning environment and really push the ideas of an experimental learning space.

Facade Dictating Form

Joshua Jian Min Khong

Procedural Explorations 1. Appendix.

[TYPOLOGICAL PROCEDURAL EXPLORATIONS 1]

FACADE DICTATING FORM In this exploration the emphasis was mainly put unto form. Experimenting with the idea of façade / structural elements creating producing form instead of the container itself dictating form. Some examples that I was interested in were Precedent from Frank Ghery “Twisting LUMA tower in Arles” The final result from applying the system tomato brunch unto each mullion structured gave the possibilities to create façade as a dictator for forms. This could provide a Concept that could potentially be explored further with different façade types being experimented. Curtain wall, brick system, wood double facade etc.

Generic Operative Diagram - High Rise

Formal value of project could have been further explored in this experiment. Roof could be habitable Typology: High Rise System: Tomato Branching

System: Tomato Branching

Luma tower

Images

Generic Operative Diagram - Application of System 1 â&#x20AC;&#x153; Branching in Tomato â&#x20AC;&#x153;

Process of system applied unto Generic Operative Diagram Final Raw Result and Outcome

1. Branches numbered according to each elevation

2. Infill of mass removed to focus on the facade / mullions

3. Branch 1 is angled and scaled according to the data

4. Branch 2 is angled and scaled according to the data

5. Branch 3 is angled and scaled according to the data

6. Branch 4 is angled and scaled according to the data

Raw Result

Post Process / Final Result

High Street Concept

Joshua Jian Min Khong

Procedural Explorations 2. Appendix.

[TYPOLOGICAL PROCEDURAL EXPLORATIONS 2]

HIGH STREET CONCEPT In this exploration the emphasis was put unto the possibilities of different arrangements that will create interconnectivity between students and industry players. Experimenting if a high street concept is usable. Idea of Interconnectivity, Concept of the University as collaboration with local Industry to increase more spontaneous activity. High Street Concept plays in hand with Interconnectivity as different programs and spaces face each other almost like a courtyard style.

Generic Operative Diagram - Casino

Spatial Arrangement of the project could have been further improved with better “GOD” and application of system towards “GOD” Typology: Casino System: Pollen Honey Bee The casino was chosen to achieve the current proposition. 5 different types of casino was averaged out into the GOD “ Generic Operative Diagram” the system used are data taken from the pollination of honey bee. They were applied by selected components rotating angles and scale. System: Pollen Honey Bee

Images

Generic Operative Diagram - Application of System 2 “ Pollen Honey Bee “

Process of system applied unto Generic Operative Diagram Final Raw Result and Outcome

1. Generative operative diagram “god” typology : casino red “casino”- green “offices” - blue “shops”

2. Red part ‘casino” reduced level to provide as an trium / podium

3. Inside “casino” tables and chairs filled

4. Updated “god” put upon side 90x55m

5. Application of bee system first “13 divisions”

6. Application of bee system first “13 divisons”

7. After cutting the “god” into 13 small components

8. Application of system unto each component

9. Preparing to apply scale system to components

10. Preparing to apply scale system to components

11. Final Raw Result = Final Outcome

Walkable Roof & Elevated Plaza

Joshua Jian Min Khong

Procedural Explorations 3. Appendix.

[TYPOLOGICAL PROCEDURAL EXPLORATIONS 3]

WALKABLE ROOF & ELEVATED PLAZA In this exploration Walkable roof & elevated plaze, was developed with the thought Of an elevated platform which could present itself as being habitable or programmable that could create different opportunities for a new type of circulation. Typology : Train Terminal Application: Tornado Outbreak It starts out with terminals as the typology, this was chosen because of the its interesting zones, platforms and sinking levels the terminals has. Looking at the potential of creating staggered levels and elevated platforms. Therefore, a generic operative diagram was made from the average of 5 terminals. A system is then applied unto each program with scale and angle rotation. Post Process: The platforms are then patched to create a new type of spatial experience and form. The result was a landscape terrain like hill, that slopes from one end to another creating huge pockets of space as well as incredible viewing points from the roof.

Generic Operative Diagram - Train Terminal 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46

Columns Platform Program Walls Platform 2 Staircase 1552 3111 1612 13157 4967 5544 2887 3212 10122 8429 4865 7835 1606 2566 8108 1200 4764 3627 4934 3581 2278 2463 1844 3213 5701 3009 764 1837 3269 2950 2777 3722 2990 1443 1667 5635 4840 3005 1450 7856 3056 1688 7349 3005 2978 8641 1426 2435 12316 1329 4577 7171 2496 1721 1460 1602 1460 0 2954 1406 2954 1581 1477 2886 2886 1535 1477 1392 2852 1341 1392 4380 3004 2937 1426 2122 1433 2886 1494 2977 2905 2923 1371 1396 2854 3225 2978 3652 2978 3652 2992 4780

System: Tornado Outbreak

Images

Generic Operative Diagram - Application of System 3 â&#x20AC;&#x153; Tornado Outbreakâ&#x20AC;&#x153;

Process of system applied unto Generic Operative Diagram Final Raw Result and Outcome

1. Branches numbered according to each elevation

2. Defining each platform,column and program for system to be applied on

3. Application of system unto columns

4. Application of system unto platform and roof

5. Application of system to platform 2

6. Applicaiton of system to programs

7. Application of systems to walls

8. 1/4 of the roof stays, system was not applied

Post Process / Final Result

Stick Campus & Ideas of Domestication

Joshua Jian Min Khong

Procedural Explorations 4. Appendix.

[TYPOLOGICAL PROCEDURAL EXPLORATIONS 4]

STICKY CAMPUS & IDEAS OF DOMESTICATION In this exploration the emphasis was put unto the possibilities of different arrangements that will create interconnectivity between students and industry players. Experimenting if a high street concept is usable and the catalyst of using a courtyard type as an idea of domestication Concept of Domestication has an opportunity to make individuals to feel at home and not want to leave the area. Typology: Chinese Courtyard System: Gunung Agung Histogram

Generic Operative Diagram - Siheyuan

The Project using a SIHEYUAN courtyard to create verandas civic courtyards as well as the size of spaces of the pavilions creates a sense of home furthermore this will strengthen the community through integration and connection with the courtyard style type to create a sticky campus. To achieve this an operative diagram of Siheyuan was model out and applied with data from gunung agung histogram. In programs the data was applied to change the angle rotation, scale, movement and multiplying them. System: Gunung Agung Histogram

Images

Generic Operative Diagram - Application of System 4 “Gunung Agung Histogram“

Process of system applied unto Generic Operative Diagram Final Raw Result and Outcome 1. God of “sihiyuan”

2. application “gunung agung” on External Wall

3. Application of “gunung agung” on Front Courtyard

4. Application of “gunung agung” on Main Courtyard

5. Application of “gunung agung” on Rear Courtyard

6. Application of “gunung agung” on Main Gate entrance

7. Application of “gunung agung” on Second Gate

8. Application “gunung agung” one Ear’s Room

9. Application of “gunung agung” on Corridor

10. Application of “gunung agung” on Master Residence

11. Application “gunung agung” on East Wing

12. Application of “gunung agung” on West Wing

13. Application of “gunung agung” on South Wing

14. Model put unto bounding box site

15. Post Process / Final Result

Porous Engagement

Joshua Jian Min Khong

Procedural Explorations 5. Appendix.

[TYPOLOGICAL PROCEDURAL EXPLORATIONS 5]

POROUS

ENGAGEMENT In this exploration the the idea of civic realm being on all floors, were investigated. the speculation of creating pavilion like structures for the idea of “high street” to be incorporated and to design a porous inviting learning environment that engages the civic / students. Typology: Chinese Courtyard System: Gunung Agung Histogram The prison typology was chosen because of its atrium like position and the interesting relationship of how each prisoner would only be able to see opposite cells and not their neighbours.

Generic Operative Diagram - Prison’s

This can be translated and become a potential for creating a new spatial arrangement, program and relationship between student and civic. The system applied unto the Prison type was “311 calls”. Data taken from this were applied to move, angle rotate, scale and multiply the series of cells and cell bar structures.

System: 311 Calls Systems

Images

Generic Operative Diagram - Application of System 5 “ 311 Calls“

Process of system applied unto Generic Operative Diagram Final Raw Result and Outcome

1. God of “prison”

2. God “prison” divided into each cell basing out of 311 call system

3. God “prison” divided into each cell basing out of 311 call system “plan view”

4. Divided each cell into system colors

5. Bounding box for application

6. “311 calls” system application applied unto cell only

7. Plan view “311 calls” system application unto cell only

8. “311 Calls” System Application unto interior facade

9. Plan & Axo view of Post Process \ Final Result

Collaborative Ecologies

Joshua Jian Min Khong

Collaborative Ecologies Explorations. Appendix.

[TYPOLOGICAL ECOLOGIES]

COLLABORATIVE ECOLOGIES What could have been? In this Ecologies series the two exploration were merge together to test the potential of creating a unique experience for the public MERGE EXPLORATION 3 & DANNY TAN TRAIN TERMINAL EXPLORATION

Ground floor plan

The result of these merge created a unique porous experience, with the prison typology and Dannyâ&#x20AC;&#x2122;s train terminal result giving market like shades. Different condition of platforms that could possibly act as open learning space. Section

Street view

Roof plan

Images Dockland Dr street view Top floor view Pearl River road street vie Pear River road street view 2 Dockland Dr street view Interior view atrium space Interior view overall atrium space

Dockland Dr street view

Top floor view

Pearl River road street view

Pearl River Road street view 2

Dockland Dr street View

Interior view atrium space

Interior view overall atrium space

Image. Axonometric view RAW result of Exploration 3 & 5 where LCL ”Learning Civic Landscape” was borned

[SAMUEL, DANIELO]

SPECTATE

Spectate

Samuel Danielo

Experiment A

Circulation

Seating

Field

+ =

The outcome produces a series of amphitheatre conditions and rows of levels placed one above the other. This experiment proposes both landscaping and spatial arrangement strategy on the ground level. Through the lens of learning environment, this experiment creates tiered structures which amplifies the learning environment by allowing students to learn by spectating others who are also learning. In addition, the outcome also produces a landscaping condition which invites the public to engage with the campus, creating a mutual relationship between the campus and the public realm.

Roof

Windows

Podium

Columns

Palace Typology

+ SPECTATE

+ Wind Wave Model

Top Level

Canopy

Stadium Typology

Result

SPECTATE is a fusion of two researches. Both researches have different visions yet they complement each other. Experiment A extracts the qualities of a stadium typology and amplifies those qualities by applying a windrose system to the typology. Experiment B extracts the behaviour of a Palace Facade and enhances them with a data which was gathered from a wind wave model. Both experiments are then analysed and fused together to form the vision of an observational learning campus.

Program

Experiment B

Windrose System

This booklet is prepared to communicate my researches and explorations towards the vision of the new Docklands Media Precinct. All of the researches and experiments are driven by the idea of observational learning, where informal learning is amplified by creating a campus environment which allows and encourages students to observe others who are also learning, practicing, and refining their knowledge and skills. I name my proposition SPECTATE.

Project Introduction

Result

Experiment A

Experiment B

“Tiered Spectacles”

“Interactive Identity”

+ SPECTATE

Experiment B is an exploration of functional decorative facade through the process of deforming a palace typology. The form and ornamentation of a palace facade is extracted, rescaled and reoriented by using scaling and orientation data retrieved from a wind wave model system. The outcome produces a series of amplified ornamentations and balconies derived from the facade of a palace. This experiment proposes a facade and ornamentation strategy. Through the lens of a learning environment, this experiment creates a face/identity for the campus which can also be habitable and utilized as an informal learning spaces that interacts with the public streetscape. “SPECTATE is the future vision of Docklands Media Precinct. An observational learning environment which amplifies informal learning through observing others who are also learning, practicing and refining their knowledge and skills. Not only does SPECTATE force interactions within the inhabitants of the campus, but it also engages the public realm to be involved. Sharing knowledge both inwards and outwards through spectacles.”

Panoramic Learning. Classrooms are equipped with panoramic windows which allows students to gain inspiration beyond the classroom walls and directly from the outside world.

Spectate

Samuel Danielo

Image: “OBSERVATIONAL CAMPUS” The image above shows the overall relationship of the project with the adjacent context and docklands studios.

Project Images

Image: “CIVIC PROJECTION” The image above shows how the proposal engages docklands’ streetscape. The new media precinct is projecting and sharing its knowledge to the public realm.

Spectate

Samuel Danielo

Image Top: “TIERED SPECTACLES” The image shows how tiered classrooms enhances the opportunity of learning by spectating.

Project Images

Image Bottom: “ADDITIONAL VISION” Through glimpses and additional vision, students are able to observe and learn from the environment beyond the classroom walls.

Image Top: “COLLABORATIVE BALCONY” The proposal also provides spaces for the public to engage and participate with the university.

Image Bottom: “INFORMATIVE GLIMPSES” Lecture theatre is surrounded by porous walls to allow external participant to join and learn indirectly from the event which is conducted inside the theatre.

Spectate

Samuel Danielo

Design Process

Experiment A

Circulation

Seating

Field

Program

Experiment B

Top Level

Canopy

Stadium Typology

Podium

Columns

Wind Wave Model

Windrose System

Result

Windows

Palace Typology

+ =

Roof

Result

SPECTATE

Spectate

Samuel Danielo

Experiment A is an exploration of terrain sculpting and form finding through the process of fluctuating a stadium typology. The overall form and circulation of a stadium are extracted, shifted and altered by using movement and scaling data retrieved from a wind rose system. The outcome produces a series of amphitheatre conditions and rows of levels placed one above the other. This experiment proposes both landscaping and spatial arrangement strategy on the ground level. Through the lens of learning environment, this experiment creates tiered structures which amplifies the learning environment by allowing students to learn by spectating others who are also learning. In addition, the outcome also produces a landscaping condition which invites the public to engage with the campus, creating a mutual relationship between the campus and the public realm.

Design Process

Experiment A • Form • Circulation • Program

Circulation

Seating

Field

Program

Canopy

Stadium Typology

Windrose System

• Movement • Scale

Process

Result

“Tiered Spectacles”

Spectate

Samuel Danielo

Design Process

Experiment B

• Form • Ornaments

Top Level

Roof

Windows

Podium

Columns

Palace Typology

Wind Wave Model

• Scale • Orientation

Process

Result

“Interactive Identity”

Spectate

Samuel Danielo

Roof Plan

Legend: 1. Green Sceen Studio 2. Control Room 3. Game Production Space 4. Physical Effects Workshop 5. Editing Suite 6. Flexible Workshop Space 7. Server Room 8. Equipment Loans and Storage Space 9. Collaborative/Event Space 10. RMIT Connect 11. Schools STEAM Hub 12. Running Track 13. Object Preparation and Preservation Space 14. Equipment Storage Space

Spectate

Samuel Danielo

Ground Floor Plan

Spectate

Samuel Danielo

First Floor Plan

Spectate

Samuel Danielo

Section AA

05 05 02

13 09

Spectate

Samuel Danielo

Section BB

13 12

Spectate

Samuel Danielo

Procedural Explorations. Appendix.

SPECTATE

APPENDIX The following pages are to show the 5 procedural explorations which precede the proposal. All explorations are aimed towards the same goal which is to visualize the new Docklands Media Precinct. However each explorations has its own unique outcomes which contribute to the final proposal. Exploration 1 and 5 investigated formal strategy, Exploration 2 and 4 investigated programmatic strategy, and Exploration 3 and 4 investigated landscaping strategy. The final proposal is a fusion of experiment 4 & 5. These two explorations are considered the most successful as they fullfil the goal of generating formal strategy, programmatic strategy and landscaping strategy.

Stadium Experiment 4 is an exploration of terrain sculpting and form finding through the process of fluctuating a stadium typology. The overall form and circulation of a stadium are extracted, shifted and altered by using movement and scaling data retrieved from a wind rose system.

TYPOLOGY

Airport Experiment 2 is an exploration of program and spatial arrangement through the process of condensing an airport typology. The circulation paths and programs of an airport are extracted, rearranged and condensed by using scaling and rotation data retrieved from a hurricane behaviour system.

Palace Experiment 5 is an exploration of functional decorative facade through the process of deforming a palace typology. The form and ornamentation of a palace facade are extracted, rescaled and reoriented by using scaling and orientation data retrieved from a wind wave model system.

Church Experiment 1 is an investigation of connections and pathways through the process of dismembering a church typology. The overall form and circulation of a church are extracted and reshuffled by using movement and rotation data retrieved from an animal migration system.

Train Station Experiment 3 is an investigation of landscaping and terrain forming through the process of shifting a train station typology. The terrain and levels of a train station are extracted, shifted and readjusted by using movement and elevation changes data retrieved from a continental drift system.

SYSTEM Wind Wave Model

Wind Rose

Continental Drift

Hurricane Behaviour

Animal Migration

Interactive Identity

Tiered Spectacles

Exposed Civic Terrain

Fusion of Spaces

Shuffled Links

Interactive Identity The outcome produces a series of amplified ornamentations and balconies derived from the facade of a palace. This experiment proposes a facade and ornamentation strategy. Through the lens of learning environment, this experiment creates a face/identity for the campus which can also be habitable and utilized as an informal learning space that interacts with the public streetscape.

Tiered Spectacles The outcome produces a series of amphitheatre conditions and rows of levels placed one above the other. This experiment proposes both landscaping and spatial arrangement strategy on the ground level. Through the lens of learning environment, this experiment creates tiered structures which amplifies the learning environment by allowing students to learn by spectating others who are also learning. In addition, the outcome also produces a landscaping condition which invites the public to engage with the campus, creating a mutual relationship between the campus and the public realm.

Exposed Civic Terrain The outcome produces a variety of terrain and levels which redefines the landscape of the site. This experiment proposes both landscaping and spatial arrangement strategy on the ground level. Through the lens of learning environment, this experiment can be seen as an opportunity to create a landscaping condition which welcomes the interaction between students and the public.

Fusion of Spaces The outcome produces a mixture of programs and circulation paths which are blended together. This experiment proposes a programmatic and spatial arrangement strategy. Through the lens of learning environment, this experiment can be observed as a possibilty to combine and intersect different programs within a campus to amplify the learning experience.

OUTCOME

Shuffled Links The outcome creates pathways and links that are interconnecting and distributed across the site. This experiment proposes a circulation strategy with remnants of churchâ&#x20AC;&#x2122;s form embedded in it. Through the lens of learning environment, this experiment can be seen as an opportunity to utilize links and pathways as informal learning spaces that are scattered across the campus.

VISION

Tiered Spectacles + Interactive Indentity Tiered Spectacles + Interactive Identity The future vision of RMIT Docklands Media Precinct is a fusion of Tiered Spectacles and Interactive Identity. A campus which engages interaction not only within inhabitants of the campus but also the public realm. Sharing knowledge both inwards and outwards. The proposal also amplifies informal learning through observing and spectating others who are also learning, practicing, and improving their knowledge and skills.

Spectate

Samuel Danielo

Procedural Explorations. Appendix.

[TYPOLOGICAL PROCEDURAL EXPLORATIONS 1]

TIERED SPECTACLES Experiment A is an exploration of terrain sculpting and form finding through the process of fluctuating a stadium typology. The overall form and circulation of a stadium are extracted, shifted and altered by using movement and scaling data retrieved from a wind rose system. The outcome produces a series of amphitheatre conditions and rows of levels placed one above the other. This experiment proposes both landscaping and spatial arrangement strategy on the ground level. Through the lens of learning environment, this experiment creates tiered structures which amplifies the learning environment by allowing students to learn by spectating others who are also learning. In addition, the outcome also produces a landscaping condition which invites the public to engage with the campus, creating a mutual relationship between the campus and the public realm.

Images

Experiment A

Diagram explaining the process of Typological Procedural Explorations 1

• Form • Circulation • Program

Circulation

Seating

Field

Program

Canopy

Stadium Typology

Windrose System

• Movement • Scale

Process

Result

“Tiered Spectacles”

Spectate

Samuel Danielo

Procedural Explorations. Appendix.

[TYPOLOGICAL PROCEDURAL EXPLORATIONS 2]

INTERACTIVE IDENTITY Experiment B is an exploration of functional decorative facade through the process of deforming a palace typology. The form and ornamentation of a palace facade is extracted, rescaled and reoriented by using scaling and orientation data retrieved from a wind wave model system. The outcome produces a series of amplified ornamentations and balconies derived from the facade of a palace. This experiment proposes a facade and ornamentation strategy. Through the lens of a learning environment, this experiment creates a face/identity for the campus which can also be habitable and utilized as an informal learning spaces that interacts with the public streetscape.

Images

Experiment B

Diagram explaining the process of Typological Procedural Explorations 2

• Form • Ornaments

Top Level

Roof

Windows

Podium

Columns

Palace Typology

Wind Wave Model

• Scale • Orientation

Process

Result

“Interactive Identity”

Spectate

Samuel Danielo

Procedural Explorations. Appendix.

[TYPOLOGICAL PROCEDURAL EXPLORATIONS 3]

SHUFFLED LINKS Experiment C is an investigation of connections and pathways through the process of dismembering a church typology. The overall form and circulation of a church are extracted and reshuffled by using movement and rotation data retrived from an animal migration system. The outcome creates pathways and links that are interconnecting and distributed across the site. This experiment proposes a circulation strategy with remnants of churchâ&#x20AC;&#x2122;s form embedded in it. Through the lens of learning environment, this experiment can be seen as an opportunity to utilize links and pathways as informal learning spaces that are scattered across the campus.

Images

Experiment C

Diagram explaining the process of Typological Procedural Explorations 3

• Form • Ornaments • Circulation

Church Typology

Animal Migration Pattern

• Movement • Rotation

Process

Result

“Shuffled Links”

Spectate

Samuel Danielo

Procedural Explorations. Appendix.

[TYPOLOGICAL PROCEDURAL EXPLORATIONS 4]

FUSION OF SPACES Experiment D is an exploration of program and spatial arrangement through the process of condensing an airport typology. The circulation paths and programs of an airport are extracted, rearranged and condensed by using scaling and rotation data retrieved from a hurricane behaviour. The outcome produces a mixture of programs and circulation paths which are blended together. This experiment proposes a programmatic and spatial arrangement strategy. Through the lens of learning environment, this experiment can be observed as a possibilty to combine and intersect different programs within a campus to amplify the learning experience.

Images

Experiment D

Diagram explaining the process of Typological Procedural Explorations 4

• Circulation • Program

Airport Typology

Hurricane Movement

• Scaling • Rotation

Process

Result

“Fusion of Spaces”

Spectate

Samuel Danielo

Procedural Explorations. Appendix.

[TYPOLOGICAL PROCEDURAL EXPLORATIONS 5]

EXPOSED CIVIC TERRAIN Experiment E is an investigation of landscaping and terrain forming through the process of shifting a train station typology. The terrain and levels of a train station are extracted, shifted and readjusted by using movement and elevation changes data retrieved from a continental drift system. The outcome produces a variety of terrain and levels which redefines the landscape of the site. This experiment proposes both landscaping and spatial arrangement strategy on the ground level. Through the lens of learning environment, this experiment can be seen as an opportunity to create a landscaping condition which welcomes the interation between students and the public.

Images

Experiment E

Diagram explaining the process of Typological Procedural Explorations 5

• Form • Ornaments

Palace Typology

Continental Drift

• Movement • Elevation

Process

Result

“Exposed Civic Terrain”

Spectate

Samuel Danielo

[TYPOLOGICAL ECOLOGIES]

Procedural Explorations. Appendix.

Tiered Identity The typological ecology is a mixture of Experiment A and Experiment B. Both experiments have different outcomes yet they complemet each other. Experiment A, Tiered Spectacles creates internal strategy. Experiment B, Interactive Identity creates external facade strategy. Combined together, they formed Tiered Identity which becomes the base of the proposal.

Images

Experiment A

Experiment B

“Tiered Spectacles”

“Interactive Identity”

Diagram explaining the process of Typological Ecologies

+ SPECTATE

Spectate. Observational learning campus.

[DANNY, TAN KAH AIK]

THE ENLACE TERMINAL

DANNY TAN s3579584

Project Introduction

Our site is located at docklands waterfront city however the site comes with a few unfavored conditions such as its Insecurity issues and the lack of adequate public infrastructure. The Key values of my design vision are Canopy for public learning, Academic Corridors, Interlacing and Aggregation of programs and Atrium Courtyard. Our goal is to design the RMIT media precinct by creating a site which is porous with the general public, and public linkage to the other public institutions such as Docklands Urban School. The Key values of my design vision are Canopy for public learning, Academic Corridors, Interlacing and Aggregation of programs and Atrium Courtyard. Our goal is to design the RMIT media precinct by creating a site which is porous with the general public, and public linkage to the other public institutions such as Docklands Urban School.

sem

By i si cent its ch is

sea

The aggr shou

Footnotes The diagram of â&#x20AC;&#x153;Docklands issueâ&#x20AC;?.

The ideas of publicity in the institution, the circulation connection becomes the essential for connecting the programs. My vision is the circulation shouldn’t be just the connection from point A to point B but also becoming the informal learning environment. The Visionaries “Engulf RMIT of being a Public institution.”

Canopy for Public Learning

Learning Pavilion The merging of learning corridor to public atrium

The Ground Spacing of the site should be reserve with its communities and knowledge should be perserve & share. By designing the learning pavilion the public could enhance the usage for site, making sure its activates to its surounding neighbourhood. The civic space shoulg be welcoming and accessible to public.

Public own Campus

What should campus look like during mester break season? An “Ghost Town”?

implementing a Public own Campus, the ite can fully activates as the community ter for the local community and through haracteristic of public own, the campus fully used whole day 24hours. It will no longer be a campus fill with air during asonal break but place fill with care and ownership.

Corridors Academic As for circulation, corridors shouldn’t be just about connect the progra m together but a place to social and learn. Interactive learning should be form throughout the circulation.

Interlacing and Aggregation of Program

e Ideal learning enviroment should regate as an unity forms. Program ud Interlace each other creating a whole sense of inseparable.

Programatic Porosity

Atrium courtyard The merging of learning corridor to public atrium

Merging of Indoor and outdoor typologies start to create new form of space. The transitions between two typologies start to create its unique identity and characteristic.

My ideal institution environments should be carried it’s own unique identity being grand and welcoming and as for the learning environments aspect , it should be aggregated and interlace, forming the collisions of porosity.The institution should also be the canopy for the public leaning and promotes the academic and publicity engagement. During the night time the building should be just an empty shell filling with air but transforming into the community ground and linkage to the neighbourhood. Instead of frozen monuments, events such as night market & community activities must be filled and turning it into a movement of activating the space. The “ Architecture was no longer supposed to disguise functions, but to make them visible and to render the city and its buildings immediately readable. ”. These inspired me to design the Enlace Terminal being an institute of Innovative, Imagination and Impactful. My vision of activating the spaces fully is to provide a proper ground for hosting Night Media Market so the local communities can engage with the site better. I have develop series of ideas throughout the festival events to enhance the usage of site. “ Trans Programming combining several types of programs, regardless of incompatibilities, together with their respective spatial configurations.”

Image. This is an overview shots of central atrium space related to its surrounding built form, also showing how the coridor stitchup the enlacement design approach.

THE ENLACE TERMINAL

DANNY TAN s3579584

Image: The view showed the entrance from the west carpark entering to our site. It also shows the relationship between the Enlace Terminal to its surrounding context and provide the hosting ground for the local communities night market.

Project Images

Image: The view showed the game production area glancing out the atrium courtyard. The observational learning relationship in and out, where people in the inside room can engage to the atrium people and people studying at the atrium can engage back to the inner room

THE ENLACE TERMINAL

DANNY TAN s3579584

Image Top: The Private nooks for media podcast learning located at the top level of the building and overview the atrium spacing.

Project Images

Image Bottom: The view showed the public amphitheatre located at the Docklands Drive during the night media market festival are activated as a performance spaces and entry point to the building.

Image Top: This is an overview shots of central atrium space related to its surrounding built form, also showing how the coridor stitchup the enlacement design approach.

Image Bottom: The view showed the entrance pathway of southeast corner approaching to our site. The drop off zone located on the east facing of the building.

The Enlace Terminal

Danny Tan

Recipe of The Enlace Terminal

Recipe of The Enlace Terminal Step 1. Set up the Week 4 Exploration:

Step 1.

The Atrium, the atrium was inspire based on the classical library typology. The main idea was to create the colision between politeness and chaotic then forming the new typologies of Order with Chunks.

Step 2. Prepare the Week 5 Exploration:

Step 2

The Palace, the Palace Institution was inspire based on the Baroque Palace typology. The main idea was to form agenda of â&#x20AC;&#x153;grandnessâ&#x20AC;? within the building and identity of majestic and royal within the build form.

Step 3

Isolating the essential bits the exploration model and combine them into a single model without demolish the qualities of the previous model. Step 3.

Using Palace Exploration as Facade and Atrium as Internal Spatial distribution and Circulation. Step 4.

Step 4

Step 5. Further Enhance the model to

Step 5

fits in to its surrounding context make a cut over the northwest corner side of the building to exposed its qualities of grandness and maejstic. At the same time consider the pathway of entering into our site and think about how it corelated to its surrounding structure.

Week 4 Typologies

Week 5 Typologies

One of the visionaries for the circulation was to activate the circulation corridor into a informal learning space. The diagram show the proposal of a new circulation pathway and turning some of the step into reading area and Public resting area. - Reading Space and Public Seating - Corridor New Propose Circulation

The Enlace Terminal

Danny Tan

GROUND FLOOR PLAN

Legend: Ground Level LV1-01: Flexible Workshop Space 01 LV1-02: Flexible Workshop Space 02 LV1-03: Green Screen Studio 01 LV1-04: Office Space 01 LV1-05: Office Space 02 LV1-06: Office Space 03

LV1-07: Meeting Space 01 LV1-08: Meeting Space 02 LV1-09: Office Space 04 LV1-10: Loading Docks/ Storage Space LV1-11: Green Screen Studio 02 LV1-12: Control Room 01 LV1-13: Lift Core/ Toilet LV1-14: Casual Study Area LV1-15: Editting Suite 01

LV1-16: Server Room LV1-17: Editing Suite LV1-18: Info Corner LV1-19: Control Room

Level 2 LV2-20: Classroom 0 LV2-22: Indoor Restin LV2-24: Classroom 0

10 12

m e 02

m 02

01 LV2-21: Exposed Resting Area ng Area LV2-23: Cafeteria 02

LV2-25: Classroom 03 LV2-26: Physical Effects Workshop 01 LV2-27: Private Meeting Room 01 LV2-28: Physical Effects Workshop 02 LV2-29: Games Production Space LV2-30: Live Broadcasting Station LV2-31: Casual Study Area LV2-32: Student Study Area LV2-33: Server Room 02

LV2-34: Classroom 04 LV2-35: Informal Learning Corridor Level 3 LV3-36: Outdoor Study Balcony LV3-37: Private Media Nooks 01 LV3-38: Private Meeting Area LV3-39: Informal Learning Platform LV3-40: Private Media Nooks 02 LV3-41: Library / Quiet Learning Space

The Enlace Terminal

Danny Tan

LEVEL 1 FLOOR PLAN

Legend: Ground Level LV1-01: Flexible Workshop Space 01 LV1-02: Flexible Workshop Space 02 LV1-03: Green Screen Studio 01 LV1-04: Office Space 01 LV1-05: Office Space 02 LV1-06: Office Space 03

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LV1-16: Server Room LV1-17: Editing Suite LV1-18: Info Corner LV1-19: Control Room

Level 2 LV2-20: Classroom 0 LV2-21: Exposed Res LV2-22: Indoor Restin

m e 02

m 02

01 sting Area ng Area

32 30

27 28

26 25

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The Enlace Terminal

Danny Tan

LEVEL 2 FLOOR PLAN

Legend: Ground Level LV1-01: Flexible Workshop Space 01 LV1-02: Flexible Workshop Space 02 LV1-03: Green Screen Studio 01 LV1-04: Office Space 01 LV1-05: Office Space 02 LV1-06: Office Space 03

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LV1-16: Server Room LV1-17: Editing Suite LV1-18: Info Corner LV1-19: Control Room

Level 2 LV2-20: Classroom 0 LV2-22: Indoor Restin LV2-24: Classroom 0

m e 02

m 02

01 LV2-21: Exposed Resting Area ng Area LV2-23: Cafeteria 02

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The Enlace Terminal

Danny Tan

Pespective Section NS & WE

7 2 5

The Section show the gradient of publicity spacing from the ground floor then transits to the upper level of private formal learning environments. Also from the Left Academic spacing to the Right of Comunities spacing. The Section also shows the open plaza located at ground entry of the building, acted as the exhibition space.

19 Legend: 01: Balcony Outdoor Learning 02: Drop off zone 03: Games Production Space 04: Classroom 01 05: Equipment Loan & Return 06: Private Meeting Area

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07: Informal Learning Corridor 08: Private Nooks 09: Informal Reading Corridor 11: Open Amphitheatre 01 12: Classroom 02 13: Classroom 03

12 15

16 11

20 14: Outdoor Study Balcony 15:Exposed Resting Area 16: Flexible Workshop Space 17: Library

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18: Lecture Hall 19: RMIT Info Corner 20: Open Amphitheatre 02 21: Informal Learning Corridor

Danny Tan

Procedural Explorations. Appendix.

[Enlace Terminal]

APPENDIX First Half of our semester was detail focuslized on exploring build form, spatial arrangement, landscape tectonic and facades structure. We as a studio are interested by understanding how the typologies that we picked can be tweet and adapt into learning enviroment and most importanly was to understand the importance of the DATA we inputed behave. The outcome of the Dataset generated model we normally address it as our raw result them step by step modifying and rationalising the raw result and exploring the qualities that we can extract out from the model. Then Futher developing it into our proposition of seeing stuff. The proposition that we have identify then we listed into a collection of our blueprint and we expecting the blueprint could empower our design development to be rich and essential.

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[TYPOLOGICAL PROCEDURAL EXPLORATIONS 1]

Procedural Explorations. Appendix.

LEARNING IDENTITY What is the image of RMIT campus? My design concepts is to create a facade structure that symbolize the noble and royal identity of RMIT. By replicating the Palace facade typologies, I observe the relationship between the open courtyard landscape had bring such a important role in expressing the majesty appearance of the facade. My design strategies is to design the facade represent as icon of the RMIT campus over the site. Building up an atmosphere of a grand and luxury academic experience and uphold the dignity of the RMIT values.

Architecture was no longer supposed to disguise functions, but to make them visible and to render the city and its buildings immediately readable.

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THE ENLACE TERMINAL

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[TYPOLOGICAL PROCEDURAL EXPLORATIONS 2]

Procedural Explorations. Appendix.

ATRIUM CORRIDOR A classical library with the atrium, provide the generous space distribution and open learning enviroments. My ideal learning enviroments should be engaging and unique, through the clash of pourous programing space and formal learning enviroment. While perserving the qualities of voids from the atrium and addition of the protrude learning corridor, the space was once agian being fully activate and creating the unique gestures of contrast between “Polite and Chaos”.

“ Transprogamming combining several types of programs, regardless of incompatibilities, together with their respective spatial confrigurations. ”

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- Zone 2: Schools STEAM Hub Maker space - Zone 1: Design and Production Zone - Exhibition and Events Space - Public study and Hybird Learning Space - Utilities - Adminstrative Office Spaces

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THE ENLACE TERMINAL

DANNY TAN s3579584

[TYPOLOGICAL PROCEDURAL EXPLORATIONS 3]

Procedural Explorations. Appendix.

ENTRAP & SURROUND Entrap & Surrounding, the model presented the spatial quality of the space using the city square as the typologies. The idea was trying to blur the boundaries between the edge and open courtyard conditions. The outcomes reflected the extrusion qualities of the central space boundaries started to break off. My idea of the circulation programs intersecting and interlacing to create the pourous conditions of the program distribution. i identified the possiblities of the intersection of two rotate pieces. However the edge conditions is still obvious due to the limitation of the value data and The central moment condition was worth extracting. My idea of the circulation programs intersecting and interlacing to create the pourous conditions of the program distribution. i identified the possiblities of the intersection of two rotate pieces.

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[TYPOLOGICAL PROCEDURAL EXPLORATIONS 4]

Procedural Explorations. Appendix.

ATRIUM COURTYARD The typological ecologies reflected a great qualities of introducing the landscaping ideas immerge to the formal learning space. The Outcome reflect the public space seemlessly blend into private program. The canopy idea did by Justin were engage to the existing form which create a new typologies “atrium courtyard”.

“ The modernist focus on the architectural object and physical attachment from the ground and field through its natural languages. ”

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THE ENLACE TERMINAL

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[TYPOLOGICAL PROCEDURAL EXPLORATIONS 5]

Procedural Explorations. Appendix.

RMIT TERMINAL My Ideas of the RMIT Terminal comes from the my typologies, train terminal. The wide span internal structure of the train terminal are welcoming and generous, and the landscape typologies of floor sinking into a bowl structure. Reapply those ideas to my post process design, creating a learning pavilion. The design tried to perserve the idea of being neighbourhood friendly and redine the learning the enviroment â&#x20AC;&#x153;must be encloseâ&#x20AC;?. The project also considered about the idea of circulation around the site and how does the site engage to its surrounding enviroment. Creating linkage from the south-east corner (tram stop terminal) to the north-west corner of the future build studio further activate the space.

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Images Southern Cross Staion as one of the precedents that we looking at with consists of varous entry points and levels of porousity. My Ecologies are trying to show the characteristic of train terminal coming over to our site. The level blades running accross multiple layer form and interesting connection between spaces.

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Image. Northwest corner entrance to the Enlace Terminal.

[FINAL ASSIGNMENT]

ENLACE TERMINAL. 118

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[DINH TIEN, NGUYEN]

EXPOROSITY

121

EXPOROSITY

Dinh Tien, Nguyen

This booklet is to decipher and explain the progress of my researches, explorations and design development through the whole semester toward the vision of the new RMIT Dockland Media Precicnt. All of the experiments focused on the idea of externalization of the new learning environment which re-establish the outdoor learning type in the new typology. The purpose of this is to engage and enhance the student connection with professional society not only within the building but also outside of the building. In addition, it also creates the observational condition within the building. So, the project named “EXPOROSITY”. “EXPOROSITY” is derived from the idea of “externalising learning environment” which was presented in mid-term review. “EXPOROUSITY” is the combination of two words “Exposed” and “Porous” when the final outcome was re-analysed the behaviour of theatre and palace typology. If the theatre seating space is exposed and porous for people which allow people from inside the building look at the stage from any corner of the building, the palace courtyard and groundfloor are exposed to the public as an welcoming element of the typology. Based on these behavior, the model from mid-crit was kept as a guideline for the new outcome. Experiment on theatre typology has created the form potential and program arrangement by using the kaleidoscope system. The overall form, circulation, programme arrangement and the ground condition were extracted through the experiment through the series of transformation for the form in which the porous and exposed condition was remained as the guideline. The outcome from extracting the privacy and publicness in the typology of theatre produces a strategy to blur the external and internal space in order to create the dynamic movement for public. Besides, preserving the central hall (auditorium)

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Project Introduction

Theatre Typology

Palace Typology

EXPOROUSITY

and dispersing the other programs surrounding, the outcome also create a new form for the building as well as creating the formal civic space in between. Moreover, by lifting up all the private programs, leaving the opening groundfloor for civic space, and creating the dynamic movement from groundfloor to rooftop produces the intertwining of public and private can take place at anytime without interfering the private spaces. The idea of school in school in this experiment is also applied but not restricting the access of public like traditional type of this learning environment, the roof will be an indentity of the new media precinct as defining the publicness through the level of transparency. Experiment on palace typology with the plant growth system created the idea of dynamic facade and landscape strategy by disorientating the facade to create the habitable space within the facade as well as create the different access within the building and the space within the facade. “EXPOROSITY” is the new future RMIT Dockland Media Precicnt where people can learn from each other, the place for more than learning and studying. “EXPOROSITY” will become a place for enhancing the connection and knowledge of student with professional realms through the series of exposed programs within the building. An exposed and porous learning environment will engage the public to involve where will create the harmony life of Dockland, enhance the indentity for the building itself as well as the site and community of Docklands region.

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Exporous Arena. This image visualise the arena which is used for the Esport event. This esport event can be a great chance for media student practice their skill in filming, editting,etc.

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EXPOROSITY

Dinh Tien, Nguyen

Central Hall: An exposed hall as an gathering spot where students can observe what happenning in the hall as well as the space for students to meet professional realm as the space for exhibition, infromal learning.

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Project Images

Exporous arena: An arena is used for multi-purpose as it can be used as an extension stage for Green Screen Studio so that people from public can observe what happening in the building.

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EXPOROUSITY

Dinh Tien, Nguyen

Entrance from River Pearl Rd & Docklands Dr: There are 4 entrances to the building as an welcoming to public. Especially, at night time the building is more viral when all of the entrance and building are light up make the building more vitalising. The facade is porous when public can see through from all the corners of the building

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Project Images

Main entrance (Bottom Image): The main entrance of the building is located at the main entrance to the Dockland Studios where there are adjacent car parks for public. The exporous stair is exposed as an greeting to the media center comes to the Media Precinct as well as public.

Learning pods (Top Image): The space is only used by students where they have quiet space for studying. The learning pods are porous and exposed to the central halls, arena and the landscape surrounding where they can observe and see what happening out there.

Workshop+Lecture Room: The space acts as a communal bridge connect two private zones (1 &2). It can be used for multiple purposes such as holding an event or workshop or lecture room for S.T.E.A.M Hub.

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EXPOROSITY

Dinh Tien, Nguyen

SITE ANALYSIS & ISSUE

Site boundary Dockland Studio Dockland harbourtown Commercial area Residential area

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EXPOROUSITY

Dinh Tien, Nguyen

TYPOLOGY RE-ANALYSIS

THEATRE TYPOLOGY

The theatre space play an important role in the structure of the typology which connecting all the space surrounding. The porosity in the type become a potential of the new media precinct in which the core will be remained as the connection of the programmes. In addtions, the circulation of the type can be extracted as creating the loop for public to experiene the transition of level of publicness through all the floors as well as create the link between building programs and arena.

PALACE TYPOLOGY

The palace typology has the potential to define the level of publicness and private sectors which can support the idea from theatre typology. The ground condition is thoroughly open to the public with landscape surrounding and ground level with the welcoming behavior to the inside of the building while top level become more private.

EXPERIMENT OUTCOME

ECOLOGICAL OUTCOME

TRANSITION OF PUBLICNESS MID-TERM OUTCOME

EXPOSED

CIRCULATION IDENTITY FOR THE BUILDING

WHAT AM I LACKING FROM THE MID-BREAK ?

COMMUNITY ENGAGEMENT

WHAT ARE THE IDEA BEHIND OF POROSITY?

POROUS

WHAT IS THE SPATIAL QUALITY OF THE NEW MEDIA PRECINCT ?

MORE THAN LEARNING OBSERVATION

OBSERVATION PROGRAM ARRANGEMENT

SCHOOL+EVENT SPOT

TRANSPARENCY

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With the feedback from mid-crit, I realized that I have not deeply understood and mistranslated the behaviour of the theatre and palace typology. So, I decided to look back and reanalyse the possibility of form and function of the theatre typology. By reusing the kaleidoscope system, I slowly re-processed the form in which the language of the design in mid-crit kept as a guideline to manipulate. The base form was transformed to 3 different blocks which represent 3 main zones of the building in which the ground floor remain the same behaviour as the public space (arena). The idea of externalising the learning environment is brought back in term of “EXPOSE” and “POROUS” which means all of zones can look at the atrium and arena and see all of the activities within the buildings as well as outside of the building. This is to engage people not only from inside of the building but also people from outside of the building. FORM GENERATION. 1. The typology is processed with 2 parts of the building (Blocks & Roof) in which the arena (theatre) will be remained the behaviour as a public space. 2. By reusing the kaleidoscope system, the building blocks are splitted into 3 parts by scaling and moving, which represented 3 different zones of the building. 3. The circulation of the building remain within the building as a loop which create the transition from ground to top of the building and acts as a core for building circulation. 4,5,6. The roof is processed as another part of the building in which firstly, to create the shelter of the building, secondly to transform it into a habitable elements penetrating in the building create the formal learning space for students. Finally, it also acts as an identity of the RMIT Dockland Media Precinct which the level of publicness is defined by the level of transparency. This means the more transparency of the roof element, the more publicness is.

STAGE 1: FORM REGENERATION

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STAGE 2: FACADE DEVELOPMENT LANDSCAPE DEVELOPMENT

By looking at the outcome of experiment 5 procedural, the language of pixel facade can be applied for both building and landscape. The experiment 5 is applied by disoritentated the facade of palace typology, it is similar to the language of the pixelated by disorirenting (moving the grid in diffrentent direction and randomly choose the panels to create the transparency (glazing). By applying the language of pixelation, it creates the dynamic views from inside of the building as well as outside of the buildings without disrupting the division of privacy and publicness. For landscape, the pixel landscape can make the building more vibrant to public with some of the pixel pop-up from ground become seating nooks for people can take sit there and enjoy the Dockland landscape, especially the eventful life within the precinct.

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STAGE 3: ZONING

The programs of the buildings are analysed which based on the behavior of theatre and palace typology in which theatre created the loop circulation which people from all the corner of the building can look in the theatre. In addition, the program arrangement of this typology is also another aspect to delve into which the entrance (red), the theatre (pink) is connected as a public components while the blue and black components act as a private space within the type. Similar to palace typoloy in which the front yard act as a public and welcoming component to the building and the ground condition. With the roof of both typologies, they only act as a shelter for the space. However, it has a potential to transform into a functional space for learning envrionment and facade which I did the experiment for theatre typology.

Roof (Meeting rooms, Informal and formal learning space) Private components (Film Studios, Classrooms) Public (Entrance, Gaming Space, Lounge) Circulation (Informal Learning Space, GLAM) Event space (landscape, Arena)

LEARN POD

QUIE SPAC

CLASSR

1. Ground floor: Landscape + gaming arena + public component of zone 1 (Game & Interactive Media Department), Zone 2 (Student lounge, coffeeshop), Office.

2. Second floor: loop circulation also acts a part of and Zone 2 (informal learning corridor) & zone 3 (Exhibition corridor). Private components of Zone 1 (Film & TV departments, VFX & Animation Department, Sound & Digital Departments) & Zone 2 ( Classrooms, meeting room)

(Co

CORRID

MARK SPAC

WORK

AREN

RMI CONNE

STUDE LOUN

3. Third floor: Public components of Zone 1 & 2 ( Flexible workshop spaces, Maker Space) & Zone 3 (Library). Private Component of Zone 1 ( Green Screen Studio) and Zone 2 ( Computer lab, learning pods)

134

4. Mezzanine floor: Public components of Zone 1 & 2 ( Flexible workshop spaces, Maker Space). Private component of Zone 2 ( Computer lab, learning pods)

EXPOROUSITY

Dinh Tien, Nguyen

STAGE 4: EXPLODED PROGRAM DIAGRAM FURNITURE CATEGORIES

1. ZONE 1: DESIGN & PRODUCTION ZONE 2. ZONE 2: LEARNING PODS A. LEARNING POD CIRCULATION B. ROOF 3. EXHIBITION/ INFORMAL LEARNING CORRIDOR 4. ROOF/PUBLIC SHELTER 5. ZONE 2: CLASSROOMS, MARKER SPACE & LIBRARY 6. OFFICE & RMIT CONNECT 7. ZONE 1+ ZONE 2: STUDENT LOUNGE 8. COFFE SHOPS 9. PIXELATED LANDSCAPE 10. MULTI-EVENT ARENA. 11. ZONE 1+2+3: LECTURE ROOM/ WORKSHOP/ EXHIBITION C.LECTURE SPACE D. WORKSHOP SPACE

B 4

B 2

1 A

1 6

PRIVATE FURNITURE

(Learing pods, classrooms, zone 1)

NING DS Private pods 11

ET CE 6

XL size

ROOM

7 S. M. L D

PUBLIC FURNITURE

orridor, workshop, marker space, RMIT Connect, Lounge)

DOR Singular unit

Combined unit

KER CE

KSHOP

Singular unit

Combined unit (v1)

IT ECT 10

ENT NGE

OUTDOOR FURNITURE

Combined unit (v2)

Popped-up from the ground create nooks for public taking rest to enjoy the life of new RMIT Media Precinct Combined unit (v3)

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Ground Floor

BB 01. Game Production Space 02. Physical Effect Workshop 03. Storage 04. E-Sports Arena 05. Administration

136

06. Tutorial Rooms 07. Meeting Rooms 08. RMIT Connect 09. Student Lounge 10. Coffee Store.

11. Coffee store 12. Outdoor Informal Learning Space 13. Control Rooms 14. Sound & Digital Music Experiment Lab 15. Editing Suite

6 7

16. Green Screen Studios 17. Server Room 18. Quiet Rooms 19. Classrooms 20. Student computer lab

21. Group meeting rooms 22. Event/Informal learning corridor 23. Learning pods 24. Marker Space 25. Kitchen

26. Workshop/Lecture rooms 27.Library GROUND PLAN (1:200)

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Second Floor

13 3

21 21

1 17

BB 01. Game Production Space 02. Physical Effect Workshop 03. Storage 04. E-Sports Arena 05. Administration

138

06. Tutorial Rooms 07. Meeting Rooms 08. RMIT Connect 09. Student Lounge 10. Coffee Store.

11. Coffee store 12. Outdoor Informal Learning Space 13. Control Rooms 14. Sound & Digital Music Experiment Lab 15. Editing Suite

13 17

16 12

16. Green Screen Studios 17. Server Room 18. Quiet Rooms 19. Classrooms 20. Student computer lab

21. Group meeting rooms 22. Event/Informal learning corridor 23. Learning pods 24. Marker Space 25. Kitchen

26. Workshop/Lecture rooms 27.Library SECOND FLOOR (1:200)

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Third Floor

20 21

BB 01. Game Production Space 02. Physical Effect Workshop 03. Storage 04. E-Sports Arena 05. Administration

140

06. Tutorial Rooms 07. Meeting Rooms 08. RMIT Connect 09. Student Lounge 10. Coffee Store.

11. Coffee store 12. Outdoor Informal Learning Space 13. Control Rooms 14. Sound & Digital Music Experiment Lab 15. Editing Suite

23 21

25 21

AA 26

16. Green Screen Studios 17. Server Room 18. Quiet Rooms 19. Classrooms 20. Student computer lab

21. Group meeting rooms 22. Event/Informal learning corridor 23. Learning pods 24. Marker Space 25. Kitchen

26. Workshop/Lecture rooms 27.Library THIRD FLOOR (1:200)

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LONGTITUDE SECTION CROSS SECTION

1. Pixelated Landscape 2. Entrance from Dockland Dr to Arena 3. Main Entrance

4. Exhibition/Informal Learning corridors 5. Lecture/Workshop space 6. Central hall

7. Open Workshop Space

10 9

9 10

6 12

1. Entrance from Docklands Dr to Arena 2. Entrance from Pearl River Rd 3. Entrance from Docklands Studio

142

4. Learning Pods 5. Classrooms 6. Exhibtion/Informal Learning Corridor

7. Green Screen Studio 8. Control Rooms 9. Green Screen Studio

10. Corridors 11. Storage 12. Editting Suite

6 7

1 2 SECTION AA (1:200)

6 5

SECTION BB (1:200)

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Procedural Explorations. Appendix.

EXPOROSITY

APPENDIX These pages are to show the process of the final outcome when each of the experiment gave me different aspects, purposes and propositions for my final outcome. The experiment on typology of theatre and palace shaped the guideline in building form, facade and lanscape while the experiments on car park, auditorium and casino gave me the ideas, propositions and visions for the final outcome. Especially, the behavior of theatre in defining the level of publicness and private (Program arrangement, circulation) set a core for for the whole design process for the project. The combination of experiments 2 and 4, 4 and 5 created a challenges for me when I reallised thise will make the building unique in aspect of identity as well as the form in Dockland.

144

WEEK 1: PROCESS ON FORM

WEEK 2: FORMING ABSENCE & TERRAFORMER CASINO COMPLEX

WEEK 3: ASSIMILATED LANDSCAPE

WEEK 4: HYBRID DISPOSITION

CAR PARK

WEEK 5: TECTONICS & IDENTITIES

THEATRE

PALACE

QUOTATION

TYPOLOGY

AUDITORIUM

The word type presents less the image of a thing of a thing to copy or imitate completely than the idea of an element which ought itself to serve as a rule for the model

It is necessary not only to consider generic function of form, but more importantly, it’s individuality and continuity of its form, which persists even after the original use cases.

Typology can therefore be seen as a method of reasoning and experimenting through type. It begins with precedents and proceeds via variations and differentiation in response to specific but shared demands and pressures

The artefact converts from an object of history to a subject of collective memory.

The techniques of ‘torquiring’, or the introduction of asymptotic or exponential ratios: in respect to the geometrical transformations characteristic of previous phases is that displacements, rotations or scalings were techniques aimed at the depletion of content of the ‘graft’, that is , techniques that operate fundamentally on a semantic level. The transformations applied to the data registering the existing buildings involve two types of operations: ‘displacements’ and ‘reorientations’, which are techniques that Eisemans had already used in previous projects; but here they will be applied through asymptotic or logarithmic ratios, rather than as constants. This means that the proportions of the latent traces wil be altered, deformed locally.

A school within a school offers an alternative building and pedagogical structure for learning. From outside, the school appears to be a single unit; inside the school might be organised into colleges or houses where memebers of each house undertake most activities in their own college building.

• A strip configuration, tilted in section, allows for the development of a new spatial type, using movement and program to activate the passage from one side of the valley to the other and from the top of the valley to the bottom

Purple 10.28°

19.35°

Red sides 12.00°

21.89°

12.00°

Green

SYSTEM

26 24

6 42

316

392

Rotation 19 19 19 19 19 19 19 19

System: NaCl Crystalisation 1. Labelling the number for each stage of the system. 2. Tracing the total blocks at each stage. 3. Cleaning up the intersecting lines. 4. Caculating the total area for each stage. 5. Generate the data of size-growth percentage. 6. Measuring the angle of the biggest area at each stage by setting up a horizontal line. 7. Start manipulating the generic operative form.

Stage 1 2 3 4

15240 19016 22788 24372

1&2

2&3

1315 (1&6)

86.2 (1&6)

Line

3776 (2&3)

24.8 (2&3)

3772 (3&4)

19.8 (3&4)

1584 (4&5)

7 (4&5)

1 2 3 4

Length

Growth

140

476 (1&6)

262

122 (2&3)

380

118 (3&4)

System: Kaleidoscope 1. Labelling the number for each stage of the system. 2. Drawing the circles as a representative of each element from the center. 3. Measuring the radius of circles at each stage. 4. Calculating the increase of radius at each stage. 5. Caculating the area for each stage. 6. Calculate the percentage of area increasearch at each stage.

Ave Percentage 5.7 10.8 15.6

462

82 (4&5)

26120

1748 (5&6)

7.2 (5&6)

575

113 (5&6)

23.6

28375

2255 (6&7)

8.6 (6&7)

616

25.4

18.9

COMPARISION

1&2

STAGE

Radius of Red (Rr)

13.2

Scale increase ratio of red (Sr) Area of red (Ar)

1 543

Increase percentage of Red (Pr) Radius of Purple (Rp)

25.6

Scale increase ratio of purple (Sp) Area of purple (Ap) Pp Radius of Green (Rg)

1.05 604

2&3 3 15 1.07 703 16.3 23.4

3&4 4

4&5

770 9.5

18.4 1.17 1062 37.9 47.7

6 21.9 1.19 1510 42.2 51.9

0.83

1.36

1.5

1.09

1720

3202

7149

8476

19.1

-29.9

86.2

123.3

18.6

48.6

49.7

44.4

5&6

15.7 1.05

31.9

1.08 2452

47.7

Scale increase ratio of green (Sg) Area of green (Ag) Pr

2 13.9

11.2 27.9

1 2058

45.6

1.02

1.03

0.87

1.02

7134

7628

7973

8381

6184

6535

6.9

4.5

5.1

-26.2

5.7

Red center

1&2

2&3

3&4

4&5

5&6

Area

100xArea

4800

5900

9400

Gap

41.09°

242

41.09°

Growth Percentage

136 107

41.04°

Growth

41.04°

341

39.40°

205 430 537 569 811

43.52°

Area

1127 1519

43.52°

32.83°

36.37°

44.48°

50.23°

Stage 1 3 4 5

The Function of Ornament

Blue 32.83°

36.37°

33.47°

36.63°

16.53°

34.91°

50.23°

59.90°

36.63°

39.18°

44.48°

16.53°

34.91°

39.30°

59.90°

34.80°

39.18°

22.07°

36.70°

57.76°

39.30°

21.89°

26.72°

57.76°

22.07°

26.31°

26.72°

25.49°

19.35°

25.49°

36.70°

34.80°

26.31°

15.00°

10.28°

19.11°

32.88°

15.00°

6.11°

19.11°

32.88°

33.47°

• Same material can produce different affects depending on the ornament it creates

Bernard Tschumi_Event Cities1_Typological Displacements-Cross Programming

Red

• Ornament can relate to depth in a number of ways. It can work with the entire form, with the load-bearing structure, or exploit the sectional depth of the cladding.

• The combination of the inhabited bridge with new surrounding context enables us to manintain a consistent density, allowing space for a linear park along south side of the valley. A new network of urban relationships results, without the imbalances of overdensification, supporting an urban center capable of intergrating programs of any variety.

6.11°

• Glass alone is unable to provide effective levels of environmental con-trol, and needs to be enhanced through layering or by providing areas of opacity that increase its thermal performance. This alters the use of glass in buildings in such a way that pure transparency cannot produce the building expression.

Bernard Tschumi_Event Cities1_Disprogramming

• Rooftops act as ground floors while the piano nobile can be found on any level. Building function as vertical passageways and bridges as multistory crossings.

9200

7800

7000

-2

-14

-8

23%

73%

-2%

-15%

-10%

Angle

6.11

10.28

19.11

26.31

32.88

36.7

Purple

1&2

2&3

3&4

4&5

5&6

Area

118

136

146

138

102

149

100xArea

11800

13600

14600

13800

10200

14900

Gap

-8

-36

Percentage

15%

-5%

-26%

46%

Angle

19.5

21.89

26.72

39.18

57.76

59.9

Red side

1&2

2&3

3&4

4&5

5&6

Green

1&2

2&3

3&4

4&5

5&6

Area

231

263

227

309

445

433

100xArea

1600

2600

4300

2400

3000

2900

20xArea

4620

5260

4540

6180

8900

8660

Gap

-19

-1

Gap

-36

136

-12

63%

106%

-44%

25%

-3%

Percentage

14%

-16%

36%

44%

-3%

16.53

22.07

34.91

50.23

Angle

32.83

33.47

36.37

39.4

43.52

Percentage

Percentage 12

25.49

1.6

1.4

2.24

2.4

1.3

3.12

0.7

1.2

1.1

1.32

1.7

2.5

1.8

4.5

3.5

2.4

8.4

2.3

1.1

2.53

1.9

1.6

3.04

2.8

1.6

4.48

3.3

2.1

6.93

4.4

3.1

13.64

2.8

1.5

4.2

2.3

2.7

6.21

3.8

3.4

12.92

3.4

2.4

8.16

4.4

3.6

15.84

3.1

1.9

5.89

2.5

3.2

3.5

4.3

15.05

3.6

2.2

7.92

4.2

3.1

13.02

3.3

2.1

6.93

2.8

3.5

9.8

4.7

18.8

4.7

14.1

5.2

2.6

13.52

3.7

2.8

10.36

3.8

2.5

9.5

4.7

2.6

12.22

RESULT

APPLICATION

Angle

Hub/Event Space -The intersection between hub, classroom and landscape opens up possibilities to create a mixed social situation between school and community. - Transitional spaces can be utilised as cafe or shop run by students, creating more civic interaction within school.

Classroom/ Design & Production Zone -The VIP area in casino can turn into classrooms or offices which require the privacy and security all the time.

Landscape/Entertainment Area -Bringing the landscape into learning environment has created a healthy learning environment and vitality for people in the school.

Civic Space Formal Learning Private Atrium/Informal Learning

Circulation

Semi-public Circulation

For the learning space such theatre, studying areas, the window will be in small sizes in order to allow the sufficent natural light.

For the private space for STEAM Hub such as lab, office and classrooms, it is required the sufficient windows for natural light penetration

By distorienting the facade, the roof become more functional which can be used an informal learning space

TRANSITION

IN BETWEEN

IN & OUT

DISORIENTATION

The outcome from extracting the way of zoning in casino complex propose the strong relationship between privacy, public and semi-privacy in layout of casino in order to breakdown the way of traditional school work which lack of

The outcome of extracting the civic space from the grid of collumn of the carpark produce the new typology of civic

The outcome from extracting the privacy and publicness in the typology of theatre produces a strategy to blur the

The facade is just not only an ornament in RMIT architecture but also represent the vision of the RMIT for future generation , especially for RMIT buildings. Looking at the ornament from the typology of palace, the ornament

collaboration and interconnectivity with industries, teachers and peers in the learning environment. Looking at how people in the casino communicate, play game and what they are doing in the casino complex which

IMPROVE THE INTERACTION BETWEEN STUDENTS, LECTURERS, INDUSTRY AND GOVERNMENT

space where student and teachers will have more interaction within the in-between civic space. In addition, the top part can also become an civic space for public access which will breakdown the traditional learning schools where the top part of the building are not used for civic space. By optimizing the rooftop and turn it into

outdoor learning hour access within civic space.

an informal learning space, this new learning environment will bring it back the idea of

environment in new type of civic space and turn it into the 24

FAIL IN FORM

can create the sense of collaborative learning environment by zoning to see how the space link and connect each other. In addition, the layout of casino area in the centre of the complex can act as a gathering spot where all of the informal learning space can take place.

STRATEGY

just the first experiment, the proposition will be reconsidered in the next few experiments.

Large atrium run along the precicnt act as an informal learning space and it is significantly interacted with civic space.

EMPHASIZING A COLLABORATIVE LEARNING ENVIRONMENT

24 HOUR ACCESS TO THE CIVC SPACE ON CAMPUS

external and internal space in order to create the dynamic movement for public. Besides, preserving the central hall (auditorium) and dispersing the other programs surrounding, the outcome also create a new form for

rooftop produces the intertwining

dynamic transformation habitable facade but still remaning the value and cultural elements on type of acess and spaces on

seems not to be habitable, but if we disorientate the facade, it will create the

the building as well as creating the formal civic space in between.Moreover, by lifting up all the private programs, leaving the opening groundfloor for civic space, and creating the dynamic movement from groundfloor to

on the facade and transform it into

the facade. Also disorientating the facde is able to produce different

of public and private can take place at anytime without interferting

the facade

the private spaces of the new learning environment. The idea of school in school in this experiment is also applied but not restricting the access of public like traditional type of this learning environment, the roof will act as a shelter to cover the building as well as give the new spatial arrangement on the top for public acess.

VISION

space which can act as a centre core for gathering people. In addition, dispersing and scaling the form of the auditorium which will allow the range of sizes for the idea of space being adaptable for users. However, this is

In-between privates spaces, the civic space open opportunity to improve the interaction between students and teachers.

IDEA

THE CORE The outcome from extracting spatial elements from typology of auditorium produce a series of interconnecting

IDEA

PROPOSITION

Double height space can become a lecture room or event room.

ENERGETIC, CREATIVE LEARNING ENVIRONMENT FOR FUTURE RMIT STUDENTS

CREATING A DYNAMIC MOVEMENT FOR PUBLIC

H O W T H E N E W R M IT D O C K L A N D M ED I A P R E C I N CT R E P R ES E NT T H E R M IT ’ S V I S I O N F O R F U T U R E G E N E R AT I O N ? Belonging to the community,

Flexible access and open

VISION

participating in campus life and connecting to the others

Engaging value knowledge

insititution to satisfy the demand of public need.

EMPOWERING STUDENT EXPERIENCE

Co-creative and collaborative

INDUSTRY INTERGRATION

for student and public to the wider community through digital excellent technology and workshop

COMMUNITY ENGAGEMENT

learning environment through the series of workshop, discussions, etc.

Healthy learning evnrionment

FUTURE GROWTH

by bringing the sustainable elements into learning environment

REMIX 4+5

REMIX

REMIX 2+4

EXTERNALISED ATRIUM & FORM GENERATION This superimpose produces an opportunity to produce a series of intersecting

to create the metaphor of RMIT

spaces which can produce new type/space for learning envrionment. The intersecting form create the porousity within space where those spaces can have a potential to transform into an civic space for public. The facade of this experiment will be a starting point vision for future generation: creative, energetic and willing learning attitude. Howvever, the outcome seem to breakdown the limitation of the height, area of the space but this experiment can be used as a judgement for the next few superimposing experiment.

MIXED ORNAMENT AND PROGRAMES This superimpose is the updated version of the superimpose 2+4 when it start clearly showing the vision of RMIT for future generation through the disoritating the facade to create the which produces the line of division

dynamic in spaces. The idea of externalised the atrium is also brought it back in this experiment and it is applied through the whole middle part of the building of privacy, public and semi. By creating the dynamic for the facade, the rooftop becoming more public accessible and the ground floor have more activities in it. The stairscape inside of the atrium opens the idea of all civc space can be used flexibily for both formal learning as well as informal learning.

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EXPOROSITY

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Procedural Explorations. Appendix.

[TYPOLOGICAL PROCEDURAL EXPLORATIONS 1]

IN & OUT

10.28°

19.35°

Purple 10.28°

19.35°

21.89°

12.00°

Red side 21.89°

12.00°

Green

-2

-14

-8

23%

73%

-2%

-15%

-10%

Angle

6.11

10.28

19.11

26.31

32.88

36.7

Purple

1&2

2&3

3&4

4&5

5&6

Area

118

136

146

138

102

149

100xArea

11800

13600

14600

13800

10200

14900

Gap

-8

-36

Percentage

15%

-5%

-26%

46%

Angle

19.5

21.89

26.72

39.18

57.76

59.9

Red side

1&2

2&3

3&4

4&5

5&6

Area

Green

1&2

2&3

3&4

4&5

5&6

Area

231

263

227

309

445

433

20xArea

4620

5260

4540

6180

8900

8660

Gap

-36

136

-12

14%

-16%

36%

44%

-3%

Percentage

Gap

7000

41.09

7800

5&6

9200

4&5

9400

43.52

3&4

5900

43.52

2&3

4800

41.09

1&2

100xArea

39.40°

Area

Red center

41.04

34.91

41.04

59.90°

44.48

34.91

59.90°

36.63

57.76°

36.70°

50.23

57.76°

36.37

44.48

36.70°

50.23

32.88°

36.37

33.47°

39.30

3°

36.63

16.5

39.18°

32.8

3°

39.30

3°

34.80

16.5

39.18°

3°

22.07°

26.72°

32.8

26.31°

22.07°

26.72°

25.49

26.31°

25.49

19.11°

Blue 34.80

19.11°

Percentage

146

6.11°

15.00

Red 6.11°

15.00

This experiment brings the new chance in term of creating form as well as program arrangement for the building. By using and observing the theatre’s program layout, I used it as a guidelines to create the private space surrounding while the quality of atrium of theatre remained to create the public connection with the building. The roof in theatre seems to be accessed by certain people which will be changed more accessible for public and people in the building.In term of form and program, this experiment’s outcome seems to be more potential than experiment 1,2 and 3. But, the problemts for this experiment is the scale and civic space.

• Rooftops act as ground floors while the piano nobile can be found on any level. Building function as vertical passageways and bridges as multistory crossings. • The combination of the inhabited bridge with new surrounding context enables us to manintain a consistent density, allowing space for a linear park along south side of the valley. A new network of urban relationships results, without the imbalances of overdensification, supporting an urban center capable of intergrating programs of any variety. Bernard Tschumai_Event Cities1_Typological Displacements-Cross Programming

Application 1.Draw 7 lines to divide the component into 6 part 2. Using Angle to rotate the section lines 4. Rotate by using gap 3. Using 100xArea move along y axis (Red, Purple & Red Sides), 20x Areas for Green and 50xArea for Blue 5. Using percentage to scale up or down along x and z axes

Raw result The raw result creates the sense of dynamic in form in which the roof has the potential to become an indentity for the project while the facade creates the intersection of the programmes.

Post Process The outcome from extracting the privacy and publicness in the typology of theatre produces a strategy to blur the external and internal space in order to create the dynamic movement for public. Besides, preserving the central hall (auditorium) and dispersing the other programs surrounding, the outcome also create a new form for the building as well as creating the formal civic space in between. Moreover, by lifting up all the private programs, leaving the opening groundfloor for civic space, and creating the dynamic movement from groundfloor to rooftop produces the intertwining of public and private can take place at anytime without interferting the private spaces of the new learning environment. The idea of school in school in this experiment is also applied but not restricting the access of public like traditional type of this learning environment, the roof will act as a shelter to cover the building as well as give the new spatial arrangement on the top for public acess.

147

EXPOROUSITY

Dinh Tien, Nguyen

Procedural Explorations. Appendix.

[TYPOLOGICAL PROCEDURAL EXPLORATIONS 2]

DISORIENTATION The experiment is to test the possibility of the facade in term of spatial quality and how it can be formed by the program layout. The contemporary facade not only acts as the ornament and aesthetic of the building but also bring the function for the facade. However, this experiment seemed to be failed for me when I cannot thoroughly manipulate the facade in post process. It has potential to revisit for further exploration

1.6

1.4

2.24

2.4

1.3

3.12

0.7

1.2

1.1

1.32

1.7

2.5

1.8

4.5

3.5

2.4

8.4

2.3

1.1

2.53

1.9

1.6

3.04

2.8

1.6

4.48

3.3

2.1

6.93

4.4

3.1

13.64

2.8

1.5

4.2

2.3

2.7

6.21

3.8

3.4

12.92

3.4

2.4

8.16

3.6

2.2

7.92

4.2

3.1

13.02

3.3

2.1

6.93

2.8

3.5

9.8

4.7

18.8

4.7

14.1

5.2

2.6

13.52

3.7

2.8

10.36

System: Plant Growth 1. Labelling the number for each stage of the system. 2. Drawing a bounding box at each stage 3. Calculating the length and width of the bounding box. 4. Calculating the area of rectangle at each stage 5. Measuring the angle of the diagnonal lines and horizontal line.

148

• Ornament can relate to depth in a number of ways. It can work with the entire form, with the load-bearing structure, or exploit the sectional depth of the cladding.

• Same material can produce different affects depending on the ornament it creates The Function of Ornament

Application 1. Divide each compenent with 10 components vertically and 5 components horizontally. 2. Using length and width to scale the components respectively (GF, SF and RF) along x and y axes. 3. Using angles to rotate the object axes.

Raw result By remaining the ground condition of the typology and disorientating the facade which open the potential for habitable facade for the new learning environment.

Post process The facade is just not only an ornament in RMIT architecture but also represent the vision of the RMIT for future generation , especially for RMIT buildings. Looking at the ornament from the typology of palace, the ornament seems not to be habitable, but if we disorientate the facade, it will create the dynamic transformation on the facade and transform it into habitable facade but still remaning the value and cultural elements on the facade. Also disorientating the facde is able to produce different type of acess and spaces on the facade

For the learning space such theatre, studying areas, the window will be in small sizes in order to allow the sufficent

For the private space for STEAM Hub such as lab, office and classrooms, it is required the sufficient windows for natural

By distorienting the facade, the roof become more functional which can be used an informal

149

EXPOROSITY

Dinh Tien, Nguyen

Procedural Explorations. Appendix.

[TYPOLOGICAL PROCEDURAL EXPLORATIONS 3]

THE CORE This experiment allows the discorvery of new way for generating the form for me. The form was generated through the set of data collection which was generated throught the system analysis. The form seemed to give the opportuinites for varieties of intersecting space inside.

• The word type presents less the image of a thing of a thing to copy or imitate completely than the idea of an element which ought itself to serve as a rule for the model • Typology can therefore be seen as a method of reasoning and experimenting through type. It begins with precedents and proceeds via variations and differentiation in response to specific but shared demands and pressures Stage

Area

Growth

Growth Percentage

Rotation

• A school within a school offers an alternative building and pedagogical structure for learning. From outside, the school appears to be a single unit; inside the school might be organised into colleges or houses where memebers of each house undertake most activities in their own college building. The Function of Ornament

150

Application 1. The system is divided into two phases 2 with phase one (1-4) and phase 2 (5-8). 2. Each phase will have 4 blocks (represent each stage), then rotating each with the angle factor. 3. Using growth data to move each stage with the odd stages will move up and the even stages will move down. 4. Using the growth percentage to split each stage of phase 1 and phase 2, then using total area as a moving factor. 5. Applying the growth percentage to scale down (Phase 1) and scale up (Phase 2) the blocks which were splitted in step 4. 6. Connecting two blocks into one. Raw result -The raw result has the potential in creating spaces with different areas and hierachy. -The spaces which are rotating the core will be a potential to distinguish the private and public spaces in learning environment. -The space in between two cores of phase 1 and phase 2 can be designed as an semiopen space.

Post process The outcome from extracting spatial elements from typology of auditorium produce a series of interconnecting space which can act as a centre core for gathering people. In addition, dispersing and scaling the form of the auditorium which will allow the range of sizes for the idea of space being adaptable for users. However, this is just the first experiment, the proposition will be reconsidered in the next few experiments.

151

EXPOROSITY

Dinh Tien, Nguyen

Procedural Explorations. Appendix.

[TYPOLOGICAL PROCEDURAL EXPLORATIONS 4]

TRANSITION Traditional schools and learning activties which has been restricted in traditional classroom. Traditional learners seems to be limited the creativity in traditional school because lack of the interaction and collaboration. This experiment focus on how the casino complex layout can inspired the new learning environment as well as allows the different interactions to occur.

152

• It is necessary not only to consider generic function of form, but more importantly, it’s individuality and continuity of its form, which persists even after the original use cases. • The artefact converts from an object of history to a subject of collective memory.

Stage

1&2

2&3

Length

Growth

15240

1315 (1&6)

86.2 (1&6)

Line 1

140

476 (1&6)

Ave Percentage 5.7

19016

3776 (2&3)

24.8 (2&3)

262

122 (2&3)

10.8

22788

3772 (3&4)

19.8 (3&4)

380

118 (3&4)

15.6

24372

1584 (4&5)

7 (4&5)

462

82 (4&5)

18.9

26120

1748 (5&6)

7.2 (5&6)

575

113 (5&6)

23.6

Application 1.Split the GOD by using the percentage of area growth. 2.Horizontally move each component according to addtional areas. 3.Using the Length to rotate the component in which the top part rotating with positive numbers and the bottom parts rotating with negative numbers.. 4.Using â&#x20AC;&#x153;Growth Percentage of Areaâ&#x20AC;? to scale up the red parts. 5.Rotating the step 4 according the the Length. 6.Adjusting the raw result in order to fit to the site. Raw result -The raw result has the potential in creating spaces with different areas and hierachy. -The spaces which are rotating the core will be a potential to distinguish the private and public spaces in learning environment. -The space in between two cores of phase 1 and phase 2 can be designed as an semiopen space.

Post Process The outcome from extracting spatial elements from typology of auditorium produce a series of interconnecting space which can act as a centre core for gathering people. In addition, dispersing and scaling the form of the auditorium which will allow the range of sizes for the idea of space being adaptable for users. However, this is just the first experiment, the proposition will be reconsidered in the next few experiments.

Circulation

Classroom/ Design & Production Zone -The VIP area in casino can turn into classrooms or offices which require the privacy and security

Landscape/Entertainment Area -Bringing the landscape into learning environment has created a healthy learning environment and vitality for people in the

Semi-public Circulation

153

EXPOROSITY

Dinh Tien, Nguyen

Procedural Explorations. Appendix.

[TYPOLOGICAL PROCEDURAL EXPLORATIONS 5]

IN BETWEEN The in-between space is the potential to break down the traditional function of the school which is the problem to create the interaction between students and teachers. This experiment seems to fail for me in conveying the proposition in the post process. But it will be the potential for new learning environment if it can be applied in another experiment.

154

• The techniques of ‘torquiring’, or the introduction of asymptotic or exponential ratios: in respect to the geometrical transformations characteristic of previous phases is that displacements, rotations or scalings were techniques aimed at the depletion of content of the ‘graft’, that is , techniques that operate fundamentally on a semantic level. COMPARISION STAGE Radius of Red (Rr) Scale increase ratio of red (Sr) Area of red (Ar) Increase percentage of Red (Pr)

Radius of Purple (Rp) Scale increase ratio of purple (Sp) Area of purple (Ap) Pp

Radius of Green (Rg)

1&2

2&3

3&4

4&5

5&6

13.2

13.9

15.7

18.4

21.9

1.05

1.07

1.05

1.17

1.19

543

604

703

770

1062

1510

11.2

16.3

9.5

37.9

42.2

25.6

27.9

23.4

31.9

47.7

51.9

1.08

0.83

1.36

1.5

1.09

2058

2452

1720

3202

7149

8476

19.1

-29.9

86.2

123.3

18.6

47.7

48.6

49.7

44.4

45.6

• The transformations applied to the data registering the existing buildings involve two types of operations: ‘displacements’ and ‘reorientations’, which are techniques that Eisemans had already used in previous projects; but here they will be applied through asymptotic or logarithmic ratios, rather than as constants. This means that the proportions of the latent traces wil be altered, deformed locally.

Application 1. Divide the GOD based on the colour percentage in Stage 6 of kaleidoscope. 2. Split each component based on the angles which created by colour component of kaleidoscope in stage 6. 3. Blue: •Moving splitted components along x-axis (x2) and scale additional height by using Ap •Using radius of Rp to scale components along x-axis •Moving components along y-axis by using Ap (x2) 4.Green: •Moving splitted components along z-axis (left-side is negative, rigth-side is positive) by using Ag •Using Ag to adjust objects along x and y axes •Scaling object along x axis regarding to Rg •Rotating object by using multiply 10 times with Sg •Multiplying 5 times with Pr to scale up object along z-axis 5. Pink and Red •Splitted pink based on angles of the pink elements in stage 6 of Kaleidoscope •Rotating the pink ones with Rp, then using Ap, Pp, Sp (x10) to scale along its own axis •Using Rr to rotate red components •Moving red component along y axis by multiplying 10 times with Ar •Multiplying 30 times with Sr and 10 times with Pr then scale along their own axis.

Post Process The outcome of extracting the civic space from the grid of collumn of the carpark produce the new typology of civic space where student and teachers will have more interaction within the in-between civic space. In addition, the top part can also become an civic space for public access which will breakdown the traditional learning schools where the top part of the building are not used for civic space. By optimizing the rooftop and turn it into an informal learning space, this new learning environment will bring it back the idea of outdoor learning environment in new type of civic space and turn it into the 24 hour access within civic space.

Civic Space Formal Learning Private Atrium/Informal Learning

Double height space can become a lecture room or

In-between privates spaces, the civic space open opportunity to improve the interaction between students and

Large atrium run along the precicnt act as an informal learning space and it is significantly interacted with civic

155

EXPOROSITY

Dinh Tien, Nguyen

[TYPOLOGICAL ECOLOGIES]

Procedural Explorations. Appendix.

EXPOSE & POROUS The experiment 4 gave the sense of intersecting space and the identity while the porousity of experiment 2 can enhance the lack of porousity in experiment 4. By combining these two experiments has reinforced the idea of externalising learning environment in the new aspect.

The post process of experiment 4 and 5 creates the unique feature of the roof which make it become habitable and standout on the site. However, I did not optimise this feature in midterm crit as it created the challenge for me in form manipulation and also in finding the way to transform the roof into an identy of the building as well as habitable element of the project.

EXPERIMENT 4 (POST PROCESS)

EXPERIMENT 5 (POST PROCESS)

156

This superimpose produces an opportunity to produce a series of intersecting spaces which can produce new type/space for learning envrionment. The intersecting form create the porousity within space where those spaces can have a potential to transform into an civic space for public. The facade of this experiment will be a starting point to create the metaphor of RMIT vision for future generation: creative, energetic and willing learning attitude. Howvever, the outcome seem to breakdown the limitation of the height, area of the space but this experiment can be used as a judgement for the next few superimposing experiment.

This superimpose is the updated version of the superimpose 2+4 when it start clearly showing the vision of RMIT for future generation through the disoritating the facade to create the dynamic in spaces. The idea of externalised the atrium and civic in between are also brought it back in this experiment and it is applied through the whole middle part of the building which produces the mix of privacy, public and semi. By creating the dynamic for the facade, the rooftop becoming more public accessible and the ground floor have more activities in it. The stairscape inside of the atrium opens the idea of all civc space can be used flexibily for both formal learning as well as informal learning.

157

158

Image. Description of project view describing the ideas and propositions being exhibited.

EXPOSE & POROUS

IN & OUT

STAGE 1 STAGE 2

EXPOROSITY

EXTERNALISED LEARNING ENVRIONMENT

STAGE 3 STAGE 4

159

[ERIC THOROUGHGOOD]

THRESHOLD

161

Threshold

Eric Thoroughgood

Threshold’s vision for the Docklands Media Precinct is for a hub of activity which spans beyond the learning environment. It is a space where learning, knowledge, culture, industry and academia meet, are celebrated, and where the environment is able to provide a new and different experience that cannot be replaced by an entirely online learning environment. Where the integration of the outdoor, open environment, and the threshold between indoor and outdoor, is integral to the building’s function, and the integration between public and private, industry and student, internal and external pushes the boundary of the typical university typology. Threshold combines elements from 5 different experiments on typologies, and by examining the results, new concepts and ideas inspired by these original typologies are formed. These concepts are categorised, placed in a hierarchy of importance, and applied cohesively throughout the project through the curation and implementation of the process onto the site. This project deals heavily with the ideas of public and private, these are loaded terms which can hold widely varying definitions depending on the context, the time, and the specific program. For the purposes of the new Media Precinct, public refers people who are not typically “residents” of the learning environment. These people may be pedestrians on the street, visitors to the exhibitions, part time users of the building, or members of industry. The private, refers to the students, the teachers, tutors, lecturers, and any faculty of the building whos primary role takes place in the university campus.

162

Project Introduction

This concept is further explored and explained through the project Additionally, in light of Covid-19, the online environment is being pushed further as a viable alternative to a typical, physical learning environment in closed classrooms. Because this integration has been proven to have occurred relatively smoothly given the compressed timeframe, and will continue to become further integrated over time, I feel as if the physical environment needs to be more deeply examined for what it provides, that an online learning space cannot. The project, Threshold, seeks to test these boundaries and integrate new technology and experiences in a deep, inseparable way from the physical environment, emphasising the human interaction, the mingling of students, public, tutors, industry, in such a way that fosters and distributes learning beyond the boundaries of a classroom or lecture hall.

163

Threshold

Eric Thoroughgood

Multiple Planes Exploded Axonometric // The concept at the core of the project is the idea of multiple primary planes. These planes all have varying approaches to access, program and porosity. These key points define how they spaces are shaped, who they are tailored for. In a standard building, the street front is favoured as the public interface. It is the direct interaction to the street which is visible from the pedestrian level. Threshold, takes the concept of public interface further. How the building engages with the spectrum of users of the buildings, the people, public, private, industry, student, faculty, has been carefully curated to create catered conditions, which provoke specific senses of entrance in order to invite into the building. It also more easily identifies a hierarchy of program and access to disperse confusion. A long the main street face, a grand public staircase invites pedestrians up on top of the building to a open plaza. Entirely open to the sky, it is the first point of contact for pedestrians and visitors, people from industry, and as an informal learning and gathering space for students. Itâ&#x20AC;&#x2122;s a civic gesture, central to the function of the building, and designed to be the most warm, and welcoming environment. The ground floor takes a secondary role, contrary to typical convention it acts not as a initial public interface and space, but as semi public. What this means is that it is primarily for use by students, tutors and faculty, but still available for public access. Contained within the ground floor plane, is itâ&#x20AC;&#x2122;s own open courtyard like space. The ground floor takes on a porous nature which extends through its entirety. On a larger scale there 4 directions of movement in and out of the courtyard, access to each face side of the building, providing a sense of freedom of movement. This porosity also shapes the built form, the ground space is curated to provide a indistinguishable threshold between interior and internal, the program contained within this space is more flexible, this level holds a variety of open, informal learning spaces which cater to many different disciplines, not limited to only the students of the media precinct, this invites a cross-pollination of learning. The interior first floor is a more normative or typical plane. This area is the most private plane of the building. It holds the bulk of the program of the building but contains many areas where program converges, providing greater flexibility and merging of programs.

164

Design Diagrams

Canopy

Rooftop Drive-in P u b l i c

Interior F i r s t F l o o r Private

Internal Interior Second F l o o r S e m i P u b l i c

165

Threshold

Eric Thoroughgood

Point of View Diagram // The top level has restricted viewing of the first floor interior space, the more normative program, this is to reduce distraction and maintain the practicality of a standard private classroom. But the rooftop plane is able to freely view down into the internal courtyard. From the top level this begins to provide a greater spatial understanding of the building, and provide a greater overview of the internal space before the pedestrian or user ventures into it. It acts as the first point of contact for the public, representatives of industry and provides an introduction of the layout of the building. Through the openness to the sky, the internal courtyard gains access to sunlight right to the ground floor. As the internal courtyard is a more student and faculty oriented space, it also is provided a view of an â&#x20AC;&#x153;open sectionâ&#x20AC;? of the interior program, allowing the program contained within, to be displayed as the primary visual interest, The life within the programs and building, becomes the facade.

Bridging Diagram // The Topside Wharf elements extrude out towards Docklands Studios as well as the street. This speaks to the link towards the two building. The program within this link is displayed on itâ&#x20AC;&#x2122;s outside through the largely open glass facades. This provides a visual link directly to its neighbour, whilst also providing the potential for a future physical link.

Life as the Facade // This concept displays itself in multiple ways throughout the building, such as the exposed sections of the internal courtyard, or the MR cafe on the street front. But one of the more notable elements is the large screens which can display the products and happenings inside the building. These may show extended videos or clips of student work, live footage streamed from a VR headset, or advertisement for ongoing exhibitions.

166

Design Diagrams

167

Threshold

Eric Thoroughgood

Image: Aerial. This image shows the curated sense of entrance into the building. The fort like corners generated from the “Circulation Parasites” experiment, provides a sense of mass or Resistance, which strongly contrasts against the open, Porous nature of the faces. These patternation of the two aspects together create the concept of “Resistance vs Porosity” which is a sense of funnelling and entrance, almost archlike in concept, to draw passing pedestrians and students into the building.

168

Project Images

Image: The grand public stairs on the south side of the building are prioritised as the grandest point of entry. This is where the new users of the building, the public, and industry will first engage with the building.

Image Top: Material. The Melbourne Context is also brought in heavily through the use of the ground material, mimicking the bluestone pavers of the CBD streets, the media precinct extracts and implants a uniquely public Melbourne aspect into it’s materiality which hints that the internal space of the building is an extension of the street.

Image: Entrance. Demonstrated is the first point of viewing the building when coming from the city via trams. This is the main entrance to the building, and of note, this is the main entrance to the exhibition hall. This space has been designed to “leap out” towards the street, with a very visible sign to immediately attract the attention of visitors to an exhibition or Esports event.

169

Threshold

Eric Thoroughgood

Image: Rooftop The roof gives a plaza like feeling, the openness and flexibility being afforded gives opportunities for events, gatherings, public viewings, exhibitions of students works, industry expos.

170

Project Images

Image: Rooftop The detailing on the ground also begins to gives hints about the layout of the building. The blue in this view relates to the Design and Production Zone, whoâ&#x20AC;&#x2122;s related programs are contained in the chunk below.

Image: Design and Production Zone. Captured is the informal lecture theatre and gathering space outside of the D&P Zone. Threshold breaks down barriers which separate the internal and external condition. Nearly half the site is outdoors, but the entirety of the space is utilised as a curated, flexible learning environment. The internal courtyard is filled with moments of opportunity built into the constructed form, and they become utilised as learning programs such as this lecture or forum space.

Image: STEAMHub. The STEAMHub, represented by the colour green, has its own entrance directly off the street. The ground floor is kept as somewhat separate, while the upper floor directly integrates with the D&P Zone

171

Threshold

Eric Thoroughgood

Project Images

Images: Typical Interior Chunk, Ground Floor. Shown is a typical layout of the ground floor interior space. It is highly porous with a variety of rooms all containing flexible working spaces and opportunities for cross-pollination of learning.

172

Image Top: Upper Level Interior. Contained within forms from the â&#x20AC;&#x153;Topside Wharfâ&#x20AC;? typological experiment, the upper level program is open to the sky and in the style of Metabolist Architects like Ando or Tange, the light off the industrialist forms of the bridge, give another life to the building through the movement of light.

Image Bottom: First Floor Interior. The view out of the first floor programs provide access to sunlight, as well as the life occurring within the courtyard and across the courtyard into other programs.

173

Threshold

Eric Thoroughgood

Image: MRCafe. As a major draw point, directly integrated into the media precinct, is a Mixed Reality Space, the MR Cafe. This is a space which provides an opportunity for people to experience an Augmented Reality environment, as well as virtual reality. On top of providing all of the usual experiences mixed reality offers, this space provides an opportunity for students of the Media Precinct to display their work directly to the public. An opportunity to be able to demonstrate a VR based game created in the room directly above.

174

Project Images

Image: At night, this Mixed Reality, Tronesque, theme spills out into the street. This space is open 24/7 and provides a destination point for the building after typical open hours. Giving the building a sense of always being inhabited.

Image: Internal Courtyard, Night. The spilling of the Mixed Reality cafe theme also flows into the internal courtyard after dark. The lighting on the interior space, takes on a cyberpunk aesthetic bringing a bit more life to the building beyond the typical clinical sterile lighting

Image: Close up Entrance. The entrance to the internal courtyard as well as the exhibition hall is seamless, without a clear dividing inside and outside. This gives a more open feeling circulation, where a funneling approach is utilized to itâ&#x20AC;&#x2122;s full potential in a similar fashion to Frank Gehryâ&#x20AC;&#x2122;s Guggenheim Museum which contracts, and then rapidly expands to open space.

175

Threshold

Eric Thoroughgood

Exploded Massing Diagram // The building is composed of many individual parts. These parts together create the overall cohesive form. The aspects which are taken from each experiment is carefully curated, accounting for experiential qualities, density and floor area. The base of the building is the Stadium typology “Rooftop Canyon”. This is what the rest of the building revolves around, almost the entirety of the original experiment is kept intact. This provides the bulk of the internal spaces, and creates the internal courtyard condition. Certain aspects of the Airport typology “Circulation Parasites” are brought in as sculptural masses, but also to provide larger rooms to house the larger, more open programs such as the Physical Effects Workshop, and the Exhibition Hall Bringing in these masses also provides a contrast against the relatively open nature of the Stadium typology, creating the Resistance vs Porosity aspect. The Topside Wharf is brought in as another element, positioned above the courtyard it gives a cave like effect to some of the nooks of the internal space, as well as providing extra needed floor area to the program heavy first floor. On top of the physical space, these towers also display the “life on the facade”. Threshold seeks the push the learning environment, and it’s products, as a key visual interest of the building. These elements which flair out towards the street stand out as a point of interest The Car park typology is brought in as the minor landscape element, it has been heavily shortened in a gradient where the tallest elements are on the site boundaries, and shortened to at most 3 steps on the central internal space. This gives a way of breaking up and providing additional variation to the internal courtyard.

Isolated Chunk Analysis // An isolation of the chunk reveals the influence from the “Circulation Parasites” experiment, how it determines the layout or structure of the rooms, including the central corridor of circulation, and breaks up the chunk, giving it a highly porous layout, where what is internal, and what is external isn’t clearly defined. Where these two conditions begin to bleed into each other, program breaks out and expands, and it encourages a more open and multidisciplinary environment with potential for cross pollination of learning, enhancing the learning experience. What this presents for the learning environment is a layout which is highly flexible, allowing for many types of disciplines to integrate into one dedicated learning space, both from the media precinct, but also from other RMIT schools. This concept stems from a symbiotic relationship between a focus on circulation as a primary aspect, and how the program is attached and begins to feed off of this. Internally, the circulation is a large, central open space or corridor, the circulation node. Program is exhibited into these circulation nodes, beginning to merge and blend into these spaces, pushing into it, blurring, and breaking down the lines of what is a designated learning environment, and what is circulation, creating the potential for high visual energy as well as competition between programs. This method, applied throughout the other chunks allows a similar language to be present throughout the ground floor giving a sense of continuity.

176

Design Process

To p s i d e W h a r f Bridges To w e r s

Rooftop Canyon Stadium Canopy

Rooftop Canyon Stadium B a s e

Circulation Parasites Airport C o r n e r Massing

Permeable Microcosm Carpark Landscape

177

Threshold

Eric Thoroughgood

Ground Floor Plan

Editing Suite

Informal Learning

Storage Room Physical Effects

Control Room

Lecture Forum Space

STEAMHub

Student Entrance Control Room

Green Screen

Office Space

Editing Suite

Server Room Student Entrance UP UP Rooftop Drive-in Public Entrance

178

STEAMHub Entrance

Informal Learning

Exhibition Hall

Informal Learning

MRCafe Cafe

Elevator

Exhibition Hall Entrance

Information

179

1:250 5m

10m

15m

20m

25m

Threshold

Eric Thoroughgood

First Floor Plan

Informal Learning

Control Room

Physical Effects

Classroom

Informal Classroom

Classroom Rentable Space

Dark Room Object Prep Lab

Dark Room UP

Office Space

180

Informal Learning

Meeting/ Classroom Classroom

Classroom Game Production Classroom

Classroom

Classroom Meeting

Game Production Rentable

Informal Learning Meeting Meeting

Student Lounge

Informal Learning

Classroom Rentable Space

Female Bathroom

Exhibition Space

Male Bathroom

Classroom Rentable Space

Informal Learning

181

1:250 5m

10m

15m

20m

25m

Threshold

Eric Thoroughgood

Rooftop Floor Plan

In L

Green Screen Informal Learning

Meeting

Public Lecture Hall

Meeting

Meeting Lounge Meeting

Lounge

Meeting

Meeting Meeting Office Lounge

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Meeting

Meeting Classroom

nformal Learning

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Meeting Classroom

Meeting Classroom Meeting Classroom Meeting Classroom

Game Production

Bathroom Exhibition Space

Exhibition Space

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Detail Plans

Classroom Rentable Space

Classroom Rentable Space Classroom Rentable Space

Classroom Rentable Studio

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5m Classroom Rentable Studio

Image: Rentable Space. Contained within the program heavy plane, the first floor, is a number of rentable industry spaces. These spaces can be rented by members of industry, startups, indie game developers, both of the students, and of the public. The other facilities of the building can also be made available. This is in order to develop and foster small businesses, entrepreneurs, to further the always inhabited space, as well as to generate additional capital to help the building sustain itself.

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Physical Effects

Informal Learning

STEAMHub Classroom

Image Top: The spaces above the Esports Arena / Exhibition Hall, can look directly down into the Hall to provide additional seating for larger events.

Image Bottom: The STEAMHub and D&P Zone are directly linked together on the top level, this is to begin to mesh higher learning with the primary and secondary students studying within the building.

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Procedural Explorations. Appendix.

[THRESHOLD]

APPENDIX How the experiments were implanted into Thresholdâ&#x20AC;&#x2122;s final outcome were relatively pure. The particular aesthetic qualities and density of the original forms speaks of a more experiential and organic nature than if it was reduced down to itâ&#x20AC;&#x2122;s cleaned up appearances. In particular, the cave like elements of the internal and the porous, sponge or pumice stone like nature of the ground floor interior space would be lost. These experiments paved the way for ideas to be fostered into deeper examinations for the development of the new learning environments.

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Exploration 1 Exploration 2 Exploration 3 Exploration 4 Exploration 5 Program & S p a t i a l F or m al Com p os it ion P r o g r a m a n d F a c a d e , O r n a m e n t S t r a t e g i e s A s s i m i l a t e d Spatial Strategies a n d S t r u c t u r e P r o c e s s o n F o r m Void and Terraformer Landscape and Civic H y b r i d D i s p o s i t i o n s Tectonics and Identity F o r m a l Co m p o s i t i o n Quotes and Ideas

Quotes and Ideas

As the social, political, and technical roles of those institutions are called into question, the corresponding typologies lose their special capacity to order and represent the space of these institutions. - Stan Allen, “Field Conditions”

Architecture is a formal expression of its society through typological manifestations, analogous to the transformative structure of language. Sam Jacoby, “What’s your Type”

What architecture means, and how it is perceived is as fluid as language. New definitions, words, and changing meanings, are similar to how in architecture, new programs develop, old program changes, and interpretations of aesthetic and formal qualities adapts. A masterplan that is homogeneously structured for the mass production of these high-rise structures (the grid system) increases the city’s dependence on the precarious global market. It takes away it’s responsibility to respond quickly to change, as each plot can only be developed through massive economic investment. - Christopher C.M. Lee “Projective Series”

The Head Teacher is called the ‘CEO’ and some of the teachers are ‘directors’... There is a board room where pupils discuss ‘school business’ - From Ideas for Learning to Architectural Form

More formal meeting spaces, ‘boardrooms’, are sometimes included giving an air of importance and sophistication. Likewise workshops are designed with an industry and workplace feel - From Ideas for Learning to Architectural Form

Large spaces to be converted to a digital medium, for example, large lecture halls become obsolete, replaced by an entirely online system. This allows for a more compact university, with more space and resources allocated to the smaller learning environments, improving their quality and quantity.

Quotes and Ideas

His work will abandon two of it's most important premises: the focus on objects or elements as basic components of his architectures, and the absence of the ground as a relevant compositive element - ”Eisenmann’s Machine of Infinite Resistance”

That the library is not located in the historic centre of Paris is an important and positive factor. It’s very eccentricity allows it to break from any static concept of libraries. Circuits for each set of circulation/program - Bernard Tschumi, “Transprogramming”

Ornament is the figure that emerges from the material substrate, the expression of embedded forces through processes of construction, assembly and growth.

Industry required repetition, series; the new architecture could be pre-cast. Now the work type - in its primary and original sense of permitting the extract reproduction of a model - was transformed from an abstraction to a reality in architecture, by virtue of industry;

The juxtaposition of function, scale and historical time in contemporary culture is not a negative phenomenon but belongs to the logic of a new urban society. How could disparate activities affect each other positively? -Bernard Tschumi, “Disprogramming”

Type had become prototype

Brings into question the interaction between university and community.

-Moneo, “On Typology Oppositions”

P re c e d e n t

Physical environment is “increasingly being seen more as an opportunity to express the culture and reinforce values and beliefs of an organization rather than as a container where all individual, concentrated work or learning takes place”.

Ornament is therefore necessary and inseparable from the object. It has no intention to decorate, and there is in it no hidden meaning. At the best of times, ornament becomes an “empty sign” capable of generating an unlimited number of resonances. - “The Function of Ornament”

P re c e d e n t

How do we bring the need and importance back to the physical environment, do we even want this? How do we implement the benefits of the physical, into the digital? “One of the university’s most remarkable features is its durability as a coherent organisational and physical form... of the 75 or so institutions in the Western world established before 1520 are still existing today in a recognisably similar form... an apparently unchanging exterior masks constant interior turmoil.”

As learning spaces become less departmentalised, utilisation of space is traded for student experience. More time spent travelling, less time within the department for informal or additional learning. What size do our spaces need to be?

Merging or evolution of types, brings in question of what do we want our types to look like, how we want them to function and what kind of definition do we need to give to make them relevant? Do we lose the school type, or is it just undergoing metamorphosis?

Generic Operative Diagram P rec ed e n t

P rec ed e n t

Generic Operative Diagram

Speculation

Food

What interested us most about the car park was the division of space, the organisation of form and the layout of circulation, and how all these aspects were influenced by one component, the column, and thus the column grid. Taking away the car park lines, the space would still function as a car park, the lines only help with clearer organisation and efficiency. How we see this potential through the learning environment lens, is a space which is highly adaptable and porous, providing a great ability to be adjusted and changed to suit the needs of the user. It is open to a large amount of variability through the systems, and enables a connection between site boundary and building

Structure is the ornament. Could be used to fill a space, and give it a structural system. Bridge relates to circulation, the outcome could be circulation focused, using the structure as a facade system. Bridges play with height, enables circulation above the lowest level.

Continuation of field void through outcome will result in atrium spaces, which connect program. Formal and Spatial arrangement

System

317 277 15 376 8 8 305 107 52 224 17 51

965.7 972.1 1003.0 961.5 1005.6 1007.5 972.3 997.0 1004.6 983.8 1008.9 1005.5

1005.0 1006.4 1004.9 1007.6 1006.5 1008.2 1009.6 1010.2 1010.1 1011.6 1011.0 1011.7

-7.0 -4.5 -4.1 -2.1 -1.0 -.5 -.3 2.4 3.3 2.3 2.4 2.6

6903N 6945N 6722N 6224N 6151N 6049N

02047E 02702E 02639E 02541E 02228E 02330E

478 107 179 145 136 104

943.3 988.2 981.2 990.6 993.4 996.5

1003.8 1001.7 1004.0 1008.3 1008.5 1009.6

-8.0 -6.5 -5.6 -1.2 -.2 .4

PRECIPITATION

DAYS 1 MM

01801E 01742E 02406E 01430E 02052E 01727E 01342E 01320E 01804E 01405E 01912E 01821E

MARCH 2017

VAPOR PRESSURE

8 7 18 19 13 14 18 17 5 18 22 7 22 18 10 8

27 16 141 156 48 55 91 106 14 65 203 37 132 91 72 42

9 5 10

25 14 51

SUNSHINE

1 3 5 5 5 5 4 4 2 3 4 3 5 4 4 3

148

% of AV.

1009.4 1010.2 1010.7 1009.9

6653N 6500N 6549N 6312N 6349N 6231N 6040N 5927N 5921N 5745N 5824N 5740N

TEMPERATURE

TOTAL

1002.5 1009.1 1009.0 997.9

-4.2 -11.6 -1.6 -1.6 -4.0 -1.7 .6 4.2 -4.4 2.5 4.7 1.2 4.5 4.0 3.7 2.6

PRESSURE

DEPART

1004.8 997.4 1000.7 987.6 996.8 997.3 1002.0 1004.0 891.2 1004.8 1004.5

QUINTILE

10 29 10 115 16 15 13 15 974 7 36 204 56 9 15 96

MEAN

00840W 01528E 01855E 01856E 01901E 03106E 01422E 00632E 00917E 00936E 00520E 01105E 00453E 00538E 00848E 01043E

DAYS OBS.

7056N 7815N 6941N 6939N 7431N 7022N 6716N 6252N 6207N 6342N 6023N 6012N 5918N 5853N 5824N 5957N

DEPART

SURFACE STATION

The program along the circulation is feeding off of that, supplementing but also acting as a sort of parasite. It adds interest, but also takes advantage of the long walks and tempts passersby.

TOTAL

S p ec u l a t i o n The Airport is a type which prioritises circulation, the pathway from the entrance, to the gates. The circulation being prioritised is emphasised by the wide open pathways, clear, simple lines, as well as a lack of sharp corners which limits vision from point A to B.

EUROPE NORWAY

My speculation for this type is that through the system, this relationship is amplified, the secondary program, the retail and food, begins to further intrude into the circulation, constricting it, but not being allowed to completely cut it off.

01001 01008 01025 01026 01028 01098 01152 01212 01238 01241 01317 01384 01403 01415 01465 01492

R aw R e s u l t

The programs which flank the circulation vies for the attention of those who walk past.

JAN MAYEN SVALBARD LUFTHAVN TROMSO/LANGNES TROMSO BJORNOYA VARDO BODO VI ONA II FOKSTUA II ORLAND III BERGEN/FLORIDA OSLO/GARDERMOEN UTSIRA FYR STAVANGER/SOLA TORUNGEN FYR OSLO-BLINDERN

SWEDEN

System

S p ec u l a t i o n

Speculation

System

DEPART

BOH Admin

MEAN

FOH Admin

Generic Operative Diagram

ELEVATION

Waiting Areas

LONGITUDE

Gates

LATITUDE

Circulation

MEAN SEA LEVEL

Amenities

MEAN STATION

Retail

R aw R e s u l t

02119 KVIKKJOKK ARRENJARKA 02126 GUNNARN 02197 HAPARANDA 02226 OSTERSUND FROSON 02287 HOLMON 02366 TIMRA/MIDLANDA 02407 MALUNG A 02418 KARLSTAD FLYGPLATS 02485 STOCKHOLM 02550 JONKOPING/AXAMO 02589 GOTSKA SANDON 02590 VISBY

FINLAND

02801 KILPISJARVI 02805 KEVO 02836 SODANKYLA 02935 JYVASKYLA 02942 NIINISALO 02963 JOKIOINEN

From the typology, the highrise office, I theorised that the curtain wall grid would create a canopy type outcome, a device to divide space whilst allowing views through. For the learning environment I perceive this as an opportunity to create informal or breakout classroom spaces.

1006.0 1001.0 1001.9 1001.9 998.8 999.1 1003.6 1005.8 1006.9 1005.9 1008.9

1.9 4.2 .7 3.6 1.9 1.2 1.1 1.4 3.5 1.3 2.8

3.8 2.1 4.2 4.2 4.0 4.1 4.9 5.9 3.5 5.5 6.5

3.5 4.0 4.2 4.8 4.7 4.6 5.6 5.5 6.1 6.3 6.6

2.9 3.5 3.5 3.9

3.0 3.3 3.4 4.6 4.8 5.2

1.5 2.6

.5 -.1 .5 .2 .8

7.0 6.8 6.7 5.3

2.5

3.5 3.2 3.2

.2 .2 .2

.9 .9

.3 .5 .8 .6 1.1 1.2

9 8

-28 -4 72 20 21 23 -3 33 -16 16 -5

2 1 5

117

134

153 148

115 110

9 6

38 24

-8

4 3

158

120

11 6 9 9 10 8

55 27 27 36 45 35

2 1 12 10

5 4 3 3 4 4

139 158 118 144

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R aw R e s u l t

System Po s t P ro c e s s

R aw R e s u l t

Outcome

R aw R e s u l t

Outcome

Po s t P ro c e s s

Outcome Outcome Outcome

Themes

Themes Lattice Va r i e d Porosity Closed

Separation of Space array of canopy from one direction face from another

F u r t h e r D eve l o p m e n t Redo to fit correct site Experiment more on the Grid

C l e a r a x i s o f C i rc u l a t i o n S e n s e o f E n t r a n c e F l o a t i n g C a n o p y O p e n L e c t u re S p a c e s Exposed Section, Program as Facade, Look in to the life F a c e Negative space the space P o r o u s S t a i r C o n d i t i o n between, as the important. C o n v e rg i n g G r o u n d C o n d i t i o n M u l t i p l e G r o u n d P l a n e s R o o f t o p Multiple entrances S e n s e o f E n t r a n c e C o l u m n s d e f i n e c i rc u l a t i o n , Po ro s i t y as Redo experiment with angled columns S t r u c t u r e Second Ground V i e w t h e n e g a t i v e . T h e Vo i d Visual and/or Physic Floating Redo experiment with angled columns On V i e w t h e n e g a t i v e . T h e Vo i d Structure Separation

Themes

Themes Dispersed Program around Circulation nodes Circulation as a Priority V y i n g f o r a t t e n t i o n Program growing into circulation like a symbiont

F u r t h e r D eve l o p m e n t D e ve l o p a s a p ro g ra m l o c a t i o n s y s t e m

F u r t h e r D e ve l o p m e n t

Vy i n g f o r Attention

C i rc u l a t i o n Nodes

Themes

Ornament Plane al Bridge Courtyard Stilts of Space

On Stilts

Division of Space

Ca n o py

Symbiotic Life on the Facade E n t ra n c e

Physical/ Visual Bridge

P o ro s i t y

E c o l o g i c a l Exp 3 + Exp 2

Exp 4 + Exp 3

M u l t i p le G ro u n d Co n d i t i o n s T y p o l o g i e s

Exp 4 + Exp 2

Exp 5 + Exp 3

Exp 5 + D Exp 3

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Procedural Explorations. Appendix.

[TYPOLOGICAL PROCEDURAL EXPLORATIONS 1]

ETHEREAL POROSITY â&#x20AC;&#x153;Ethereal Porosityâ&#x20AC;? plays with space defined by transparent boundaries. The Skyscrapers curtain wall grid is repurposed as a lattice like form, and is used to define space without providing a clear indoor and outdoor space. Circulation is entirely unrestricted from one direction, giving a clear directionality on site, while having a physical, but not visual barrier from the other direction. This has potential as way to break up space, and provide opportunities for informal or breakout type classroom spaces.

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[TYPOLOGICAL PROCEDURAL EXPLORATIONS 2]

CIRCULATION SYMBIONTS “Circulation Parasites” looks at how program interacts with circulation. An Airport prioritises circulation as it’s primary function - the pathway from the entrance to the gates. The program which lives a long these axes of circulation feeds off of the pedestrian traffic. Supplementing, but also acting as a sort of parasite, it adds interest, but also takes advantage of the long walks and passersby. This outcome begins to play with how the program of an learning environment may start to emulate this parasitic behaviour. The programs which surround the primary circulation nodes start to eat into the circulation, vying for the attention of those who walk past. The program constricts, but is not allowed to cut off circulation.

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Images The internal condition of the porous yet dense spaces shows how a basic hallway and room layout can be adapted to provide something more.

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Procedural Explorations. Appendix.

[TYPOLOGICAL PROCEDURAL EXPLORATIONS 3]

PERMEABLE MICROCOSM “Permeable Microcosm” looks at the site as series of dispersed blocks, and how the space between becomes the architecture, rather than the built form. The carpark typology is defined by it’s columns. The form, circulation, and division of space is all defined by the column grid. Translating this into a learning environment gives the opportunity for a highly adaptable and porous space. What results is a space which priorities the landscape. Circulation takes place on multiple ground planes, and is unrestricted by defined entrances, instead being a space which has unimpeded access and is freely traversed.

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Images

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Procedural Explorations. Appendix.

[TYPOLOGICAL PROCEDURAL EXPLORATIONS 4]

ROOFTOP CANYON “Rooftop Canyon” presents the idea of the elevated primary ground plane. The stadium type has a clear purpose of providing covered seating around a void. This experiment breaks up that form, adapting to create a dispersed series of blocks, with full height voids throughout. What results from this exploration is the concept of the rooftop ground condition. Where the primary circulation takes place above the building, rather than inside. This provides a different experience to traversing the building. The roof remains public, where pedestrians can venture and peek into what is occurring inside the learning environment. The elevated, open ground plane also provides an opportunity for more informal learning spaces. What occurs inside the “canyon” is a more campus style environment where indoor spaces are dispersed, with open lecture theatres in nooks of the voids, and where the program and life inside the forms is displayed through the exposed section.

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Images

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Procedural Explorations. Appendix.

[TYPOLOGICAL PROCEDURAL EXPLORATIONS 5]

TOPSIDE WHARF “Topside Wharf” rejects the ground floor as a relevant built element. The building takes form on top of a set of columns from the Bridge typology, almost entirely giving up what most public or semi public buildings hold dear: the ground floor, and the interaction to the street. Instead this project holds it’s primary functions at an elevated position. This giving up of the ground floor provides the opportunity for handing back a large portion of usable public space, or allowing additional intervention to develop a new ground condition. The spaces above are defined by structural beams which provide a transparency or porosity across the entire site. Additionally it offers opportunities to “bridge” across to Docklands studio, either visually; by showing the program at key boundary points as a point of interest; or physically, as another access to the building.

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[TYPOLOGICAL ECOLOGIES]

EXP 4 EXP 2 Linearity of the converging experiments Maybe a system to determine program and program nodes? Could use another experiment to increase form quantity Formally the concepts clash, with preferred void spaces divided EXP2 could be modified to better merge with EXP4 clusters

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Images

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R D L

HEPENG MIAO]

RMIT DISCOVERY LAND

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RMIT DISCOVERYLAND

HEPENG MIAO

Discoveryland is not only RMIT’s media precinct in Docklands but also a valuable asset in the Melbourne Harbour Area and life experience for community residents. To a certain extent, it reflects the inheritance and development of RMIT’s historical context and the quality of innovative exploration of new technologies and academics. It is a practice of RMIT combining academic education and industry, as well as the exploration of combining private spaces in schools with public spaces in civic communities. Discoveryland helps students, teachers, businesses, residents, and other people with different identities by providing a variety of exploration and discovery opportunities, where people can explore their knowledge or experience of interest. Discoveryland retains the typical characteristics of the cathedral. Arches, and colonnades while breaking the spatial organization of traditional buildings, making it more free and flexible. Combined with the typical elements of the stadium, the building not only creates a solemn space atmosphere but also flexibly organizes spaces of different scales, with rich and diverse forms to provide the different space needs of users. Discoveryland takes advantage of the essential relationship between stadium buildings—the relationship between audiences and performers and translates it into a variety of interactive relationships between space users and participants. When a person performs some kinds of activity in the building, he is not only a user of the space, he is also an audience or participant from the perspective of others. In the stadium, there is a clear line between the audience and the performers that one seating around another. However, in Discoveryland, thanks to the nesting relationship between two sets of different architecture, the audience or participants of an event are also visited by other people around, and the feature of the role of people in the building

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PROJECT INTRODUCTION

is weakened. Discoverylandâ&#x20AC;&#x2122;s three major programs, Design and Production Zone, Schools STEAM Hub & Maker space and Events and Exhibitions Space. Among them, the exhibition space and multimedia communication part are set on the ground floor, open space to promote the interaction between industry, academia, and citizens. The teaching and design studio locate on the first floor, and the vertical spatial changes provide a novel experience for teaching and design. The space changes from the divers level of the ground floor to the large vertical scale of the first floor, forming a strong contrast, providing users with rich sensory experience. Discoveryland is committed to creating a new community that combines industry with academia and public participants. It is different from the previous urban complexes, only the programs are superimposed together. It pays more attention to the relationship between space and users, and the relationship between users and users. The blurry space boundary and the characteristics of users make it possible for anyone to explore the possibility of space and the particularity of participantsâ&#x20AC;&#x2122; identity.

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Street view. To build a contrast sense between traditional architectiural form and morden activities engagement.

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RMIT DISCOVERYLAND

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MASTER PLAN

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RMIT DISCOVERYLAND

HEPENG MIAO

Image Top: The various irregular shape of the roof in the building can be used as a real-time interactive platform for multimedia teaching. Users can display educational experiments and design results, and people on the ground and first floors can watch in real-time.

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INTERIOR VIEWS

Image Bottom: The public space on the first floor and the private design studios are nested together. Students in the room may be the performers of external visitors, but when visitors engage in the interactive results on the ceiling, they are also objects of observation by students in the room.

Image Top: The free plane increases the porosity of the building, making education, industry, and civic engagement more closely connected. People can choose their favorite exhibitions and join them. The building and user identity attributes are weakened.

Image Bottom: The dome of the cathedral and the auditorium of the stadium are two perfectly combined prototypes. The large-scale space is suitable for presentation in many media studiosâ&#x20AC;&#x2122; results.

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Legend: Legend for FLOOR PLANS.

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HEPENG MIAO

GROUND FLOOR PLAN

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Legend: Legend for SECTIONS.

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FIRST FLOOR PLAN

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RMIT DISCOVERYLAND

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HEPENG MIAO

SECTION VIEW 1

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RMIT DISCOVERYLAND

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SECTION VIEW 2

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HEPENG MIAO

Procedural Explorations. Appendix.

RMIT DISCOVERYLAND

APPENDIX I completed two typology experiments. For the first one, embryo reproduction was used as the system to be imitated, and the stadium was used as a prototype for deconstruction and reassembly. Embryo reproduction is one of the most common evolutionary processes in nature. The seemingly simple process involves many steps. Unfortunately, the movement of the system is difficult to record with certain data. I canâ&#x20AC;&#x2122;t sum up how far some cells or tissues have moved horizontally or vertically, or how many times they have zoomed. So I chose to imitate the systemâ&#x20AC;&#x2122;s movement process and summarize its process behavior. At the same time, the stadium is a very complete large-scale prototype. Various components can be found in the embryo system. Therefore, the prototype was disassembled into several parts and reassembled. Experimental results show that the new building has flexible, free boundaries. It is conducive to communication with the surrounding environment. At the same time, the positive and negative spaces formed are rich in forms, creating many possibilities for the following space exploration.

220

The second experiment used the vortex rotation as the system and the cathedral as the prototype to explore the relationship between form and structure, and the building facade. The vortex has the characteristic of center symmetry, and the rotation speed is different at different radius positions on the plane. It brings a new sense to the experimental results, and the building rotates around itself. In addition to the horizontal movement, the zoom ratios at different radius positions are also different. Therefore, there will be rich changes in the vertical direction. The cathedral as a prototype of the experiment is crazy because its characteristics are too obvious and classic. The space with pillars and arches is combined, and the same structural logic runs through from top to bottom, from inside to outside. So the self-centered rotating cathedral is very interesting. After many experiments, the two results are superimposed on each other. The end result is the result of two completely different set of architecture nested together. They are positive space and negative space, and main space and secondary space.

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HEPENG MIAO

Procedural Explorations. Appendix.

[TYPOLOGICAL PROCEDURAL EXPLORATIONS 1]

Decompose and self-generate I decompose the stadium into different components, to type the process of embryo reproduction. Because the movement trajectory of this system is difficult to quantify into specific data, I chose to imitate this movement process, hoping that the most primitive system in nature will bring more possibilities to proposition. The final form of proposition needs to be broken, and it needs to be reinterpreted in another language.

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System

System Behaviors: Self-evolution (replication, accumulation) Programmed expression of genes Integration with the context

Learning Environment Characteristics: Self-study (obtain, accumulate knowledge) Interact with others (communication and feedback) Academic exchange (Events and Exhibitions)

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HEPENG MIAO

Procedural Explorations. Appendix.

[

E r

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[TYPOLOGICAL PROCEDURAL EXPLORATIONS 2]

Extreme rotation 3D principles: Different radii lead to different rotation speeds. Different speeds different densities.

lead

Different density leads to different volume

Experimentsâ&#x20AC;&#x2122; Steps: 1. Divide the rotation area according to the radius. 2. Set the rotation speed from the center of the circle to the edge area to 012345 3. Select the movement status of each area at a certain moment and record positions. 4. Rotate each area to those positions. 5. Rebuild

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RMIT DISCOVERYLAND

Exploration Process: Choose appropriate results through several experiments.

Due to the architectural logic of the cathedral, structure create special forms, I used arches and columns to type the systemâ&#x20AC;&#x2122;s behaviour.

By combining the results in different radii, the final spatial structure is formed, and then a new proposition space is generated.

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Procedural Explorations. Appendix.

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HEPENG MIAO

Procedural Explorations. Appendix.

[TYPOLOGICAL PROCEDURAL EXPLORATIONS 3]

Design Development As rmit media precinct, not only to meet the needs of space use, but also to inherit the unique quality of rmit. The two sets of architecture are nested, weakening the primary and secondary relationship, and allowing users to participate in the definition of vague identity to achieve the quality of rmit tolerance and innovation.

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HERO PERSPECTIVE. RMIT MEDIA PRECINCT is still an attractive landmark around Docklands even in night.

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[JUSTIN CHONG]

RMIT COMMON GROUND

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RMIT COMMON GROUND

JUSTIN CHONG

Docklands is currently an insignificant town. A site with infinite interpretations, rich in history and ambition, lacking in awareness. City campuses have also been constantly overlooked as just a space for academics to undergo their studies, not for the public or people that are not associated with RMIT itself. RMIT Common Ground is a proposal that tackles these issues. This is not just an institution for media, but also an act of resurgence for the city of Docklands. The built fabric is developed with the ideology of a spillage of boundaries as well as a gradation of publicness in mind. Common Groundâ&#x20AC;&#x2122;s vision is to become a transparent campus for people to experience a studentâ&#x20AC;&#x2122;s dayto day life in a gradation of different ways, be it understanding what campus life here could be, or just indulging in the hands-on mentality that has driven rmit to become what it is as of today. Users are greeted by the spillage of civic steps that slowly creep upwards and inwards into the building, with different pockets of entries from all 4 sides of the design available for people to conjugate in one single space. One would be traversing through the building and realise that they have ended on the other side very swiftly due to the seamless transitioning of walls, steps and floors.The landscape is the architecture, the architecture is the landscape.

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PROJECT INTRODUCTION

The landscape is the architecture, the architecture is the landscape. The precinct prizes itself as not just a media institution, but also an open playing field for all, with different pockets of spaces situated throughout the building allowing for different opportunities to occur. One space, multiple functions. RMIT Common Ground also dwells into the ideology of merging with the existing context, with spaces such as the performance stage facing directly to docklands drive, allowing for moments of interaction between the public and the students, showcasing their talents and hard work for all to see, be it day or night, there is always going to be an event for the masses to come together for. In conclusion, the RMIT Common Ground can no longer be considered a singular object, but more so a singular entity with its surroundings, bounded by the suburb of Docklands as well as its history. The learning environment is a synergy between the interior and exterior, a blurred boundary between education and civic, from the surface of the envolope through to the entire fabric. This is a building with a mission, the goal is to not be separated from Docklands and its people, but to be one with Docklands, its students, its community, its future.

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Image. Axonometric View of RMIT Common Ground. Not just an institution for media, but also an act of resurgence for the city of Docklands.

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Image: Street view of RMIT Common Ground. A constant connection to site, no longer considered a singular object, but more so a singular entity with its surroundings, bounded by the suburb of Docklands as well as its history.

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PROJECT IMAGES

Image: Front Entrance of RMIT Common Ground, a visionary product to become a transparent campus for people to experience a studentâ&#x20AC;&#x2122;s day-to day life in a gradation of different ways, be it understanding what campus life here could be, or just indulging in the hands-on mentality that has driven rmit to become what it is as of today.

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Image Top: RMIT Common Ground prizes itself as not just a media institution, but also an open playing field for all, with different pockets of spaces situated throughout the building allowing for different opportunities to occur.

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PROJECT IMAGES

Image Bottom: RMIT Common Groundâ&#x20AC;&#x2122;s civic roofscape consists of a series of staggered platforms and interconnected ramps that link all of them together at different heights, a sense of interlinked porosity is achieved through the ability to view everyone from different locations.

Image Top: RMIT Common Ground merging with the existing context, allowing for moments of interaction between the public and the students, , be it day or night, there is always going to be an event for the masses to come together for.

Image Bottom: RMIT Common Groundâ&#x20AC;&#x2122;s G.L.A.M Street, an exhibition space for students, collaboraters or work-intergrated associates to showcase their works for the public to witness.

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PROCEDURAL OUTCOME DIAGRAMS

Diagram 1 The seamless steps from Week 003 (appendix for ref.) provide opportunities for the seepage upwards and inwards into the building, a spillage of boundaries from the inside out, generating the idea of being one with the landscape.

Diagram 2 The gradually escalating mass from Week 004 (appendix for ref.) acts as steps of different scales, allowing for a series of different functions to form, be it used as a traversing mechanism, or more generating double height spaces to create a sense of grandeur within the precinct.

Diagram 3 The interconnection of masses from Week 004 (appendix for ref.) allow for the idea of a gradation of publicness to occur within the precinct, a sense of programmatic emergence is achieved through the overlapping of blocks generated from altering of heights and volume.

Diagram 4 The united platforms from Week 005 (appendix for ref.) are interconnected through a series of ramps and vertical circulations, generating informal civic spaces that further activate more urban spaces for users to dwell in.

Diagram 5 The staggered floor plates from Week 005 (appendix for ref.) provide a visual connection at different heights, a sense of interlinked porosity is achieved through the ability to view everyone from different locations.

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CIRCULATION DIAGRAM

Diagram 1 Lifts for disabled access & emergency staircases are spreaded within a 20m radius throughout the entire precinct to ensure the safety and convenience of all users.

Diagram 2 A staggered roof that not just provides shelter for users on the top floor, but also acts as a source of navigation through the civic roofscape with the utilisation of columnades.

Diagram 3 Level 2 of RMIT Common Ground. Here a series of ramps and staircases are utilised, allowing for ease of circulation of all directions through the precinct.

Diagram 4 Level 1 of RMIT Common Ground. Here the introduction of ramps as a mode of circulation , allowing for a seamless transition between floors to be achieved, a man-made landscape.

Diagram 5 Ground Level of RMIT Common Ground. A series of civic steps that slowly creep upwards and into the building are generated from the edge condition of the building, a man-made landscape that is generated on all 4 sides of the building, allowing for users to conjugate in one single space at the center.

Circulation Modes Stairs Ramps Lifts Emergency Staircases

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SITE ANALYSIS DIAGRAM

L CK

244

AR P R

S DS

I UD

BL OC

AD E

A TR

LIN

E V I

R D S

L K C

D N A

LO C

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JUSTIN CHONG

GROUND FLOOR PLAN

RMIT COMMON GROUND

L0-11 L0-07

L0-00 L0-09

A L0-12

L0-01

L0-04

L0-05

L0-00 - Unisex Toilets L0-01 - Informal Learning Space L0-02 - Workshop Space L0-03 - Private Classrooms L0-04 - G.L.A.M Street L0-05 - G.L.A.M Library L0-06 - E-Sports Arena L0-07 - Cafe L0-08 - Convenience Store L0-09 - Multipurpose Court L0-10 - Performance Stage L0-11 - Outdoor Gathering Space L0-12 - S.T.E.A.M Hub L0-13 - Administration Room L0-14 - Physical Effects Workshop

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L0-03

L0-0

L0-03

L0-02 L0-01

L0-10 UP

Legend:

L0-00

L0-14

L0-08

A1 L0-06

L0-11

L0-13

L0-01

L0-00

L0-11

SCALE 1: 350

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JUSTIN CHONG

FIRST FLOOR PLAN

L1-06

L1-00

RMIT COMMON GROUND

L1-09

L1-0

L1-10 DN

L1-00

L1-01

L1-10 L1-01

L1-02 Legend:

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L1-11

L1-00 - Unisex Toilets L1-01 - Informal Learning Space L1-02 - Server Room L1-03 - Flexible Workshop Space L1-04 - Green Screen Studio 1 L1-05 - Green Screen Studio 2 L1-06 - Sound Production Studio L1-07 - Sound Recording Studio L1-08 - VFX Studios L1-09 - Work-Intergrated Hot Desk Space L1-10 - Outdoor Civic Space L1-11 - Outdoor Flexible Working Space

L1-07

L1-08

L1-00

L1-11

L1-10 DN

L1-01

L1-04

L1-10 L1-03 UP

SCALE 1: 350

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JUSTIN CHONG

SECOND FLOOR PLAN

RMIT COMMON GROUND

L2-05

L2-01

L2-04

L2-05

L2-00 L2-05

L2-01

L2-06 DN

L2-00 - Unisex Toilets L2-01 - Informal Learning Space L2-02 - Editing Suite L2-03 - Maker Space L2-04 - Physical Effects Workshop L2-05 - Outdoor Civic Space L2-06 - Outdoor Flexible Working Space

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Legend:

L2-03

L2-00

L2-05

-0 0

L2-05

L2-02 DN

L2-02 L2-05

SCALE 1: 350

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SECTION A-A1

L2-01

L2-03

L1-01

L0-01 L0-11 Legend: L0-01 - Informal Learning Space L0-04 - G.L.A.M Street L0-06 - E-Sports Arena L0-09 - Multipurpose Court L0-11 - Outdoor Gathering Space L0-12 - S.T.E.A.M Hub L1-01 - Informal Learning Space L1-10 - Outdoor Civic Space L2-01 - Informal Learning Space L2-02 - Editing Suite L2-03 - Maker Space L2-04 - Physical Effects Workshop L2-05 - Outdoor Civic Space L2-06 - Outdoor Flexible Working Space

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L1-10

L0-04

L0-06

L2-04

L2-06

L1-10

L0-01

SCALE 1: 200

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SECTION B-B1

L2-05

L1-07

L1-05

L1-10

L0-09

Legend: L0-00 - Unisex Toilets L0-04 - G.L.A.M Street L0-09 - Multipurpose Court L0-10 - Performance Stage L0-13 - Administration Room L1-01 - Informal Learning Space L1-05 - Green Screen Studio 2 L1-07 - Sound Recording Studio L1-10 - Outdoor Civic Space

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0-13

L1-10

L1-01

L0-10

L0-04

L0-00

SCALE 1: 150

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JUSTIN CHONG

PROCEDURAL EXPLORATIONS APPENDIX.

[RMIT COMMON GROUND]

APPENDIX The first 5 weeks of the studio were focused on generating ideas and forms from a variety of sources. We as a class dwelled into different readings, architectural precedents, typological identifications as well as exploring different processes that could lead to an architectural outcome that could only be developed through this design process. Every week, we had to focus on different design strategies within the realms of architecture, be it spatial strategies, facade design, formal qualities or the connection to site. These outcomes and design ideas were then put to use in our search for the future identity of the RMIT Media Precinct. Theres a step-by-step process that is continuous throughout the weeks to generate our design outcomes. We had to first identify the behaviour within an existing building type ( theater etc.), then extract itâ&#x20AC;&#x2122;s programmatic/spatial characteristics that could be amplified to re-evaluate the spatial qualities of contemporary learning environments. This will then lead to the creation of a Generic Operational Diagram (G.O.D) which would be an average quotation of a few different precedents of the same type. We then had to choreograph said G.O.D with a system, analyse data from it and then alter the G.O.D to become something speculative. We then had to judge the outcome andpropose for it to become a potentia llearning environment form.

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Image below. A summarative blueprint of all explorations within the first 5 weeks of the studio, understanding typological behaviours, extracting systems from typical events and then choreographing them into an architectural outcome.

TYPE

READING QUOTES PENDENCE OF FUNCTIONALISM TO UNDERSTAND THE CITY, NOTING THAT FUNCTION

RAW RESULT

CHANGES OVER

• TO CREATE A

WEEK 01

MODEL

MORAL IMITATION

COPY / FORMAL RESEMBLANCE

EARLY PROPHASE

REMIX

PROPOSITION

CONTROLLED MESS, A POROUS

GRID-LIKE MASS THAT SITS HORIZONTALLY OVER LEVEL

LATE PROPHASE

GROUND.

• POCKETS OF SPACES SPREADED THROUGHOUT

METAPHASE

THE ENTIRE DESIGN, BLURRING THE BOUNDARY BETWEEN THE PUBLIC & THE PRIVATE.

ANAPHASE

HIGH & IDEAL ORDER

POST PROCESS

MESS

HIGH RISE BUILDING

TIME. TYPE

POSSIBILITIES

CELL MITOSIS

CONTROLLED

A UTILITARIAN DEVICE

• CANTILEVER SPACES THAT ACT AS AN OVERHANG TELOPHASE

AN IDEA (THE ORIGINAL REASON)

CYTOKINESIS

EARLY G1

ROOF AS WELL AS A WALKABLE ROOF.

THE COMPLETED DEVICE

• A DENSE INTERTWINING

TOKYO SUBWAY MAPPING

ACHIEVED, THE

• IT IS NECESSARY NOT ONLY TO CONSIDER GENERIC

WEEK 02

ASAKUSA

IKEBUKURO

INDIVIDUALITY AND CONTINUITY OF ITS

FOR A MORE COHESIVE INTERACTION BETWEEN TU-

TORS, STUDENTS & THE PUBLIC.

FORM, WHICH PERSISTS EVEN AFTER THE ORIGINAL

USE CEASES.

SHINJUKU 7

• THE ARTEFACT CONVERTS FROM AN OBJECT OF HISTORY TO A

SHOPPING MALL

OF PROGRAMS IS CRIS-CROSS OF FORMAL LEARN-

ING, INFORMAL LEARNING AND CIVIC SPACES ALLOW

FUNCTION OR FORM, BUT MORE IMPORTANTLY, ITS

• A

OTEMACHI

BALANCE OF LEVELS AND EMERGENCE FROM

THE GROUND PLANE IS GENERATED.

SHIBUYA

SUBJECT OF COLLECTIVE MEM-

ORY.

PROGRAMMATIC

EMERGENCE

SHIMBASHI

•

THE ROOFS COULD POTENTIALLY ACT AS PATHWAYS FROM ONE DESTINATION TO ANOTHER FOR STUDENTS AS WELL AS CAN BE USED AS GATHERING SPACES.

VELOPMENT ARE THOSE WHEN

• A

PHOTOGRAPHY HISTOGRAM

• THE MOST INTENSE MOMENTS IN ARCHITECTURAL DE-

• THE ARCHITECTURAL OBJECT CAN NO LONGER BE CONSIDERED AS A SINGLE, ISOLATED EVENT BECAUSE

IT IS BOUNDED

ST AT IO

• CLUSTERS OF

BOUNDARIES

NECTED TO BECOMING ONE GENERAL SPACE. ISO 100

F 2.8

1/4000 SEC

• THE ENTIRE BUILDING IS ACCESSIBLE, FROM THE

BY THE WORLD THAT SUR-

INNER CIVIC SPACES TO THE ROOFTOP PATHWAYS, THE

ROUNDS IT AS WELL AS ITS HISTORY.

BUILDING IS ALWAYS OPEN AND WORKS 24/7 WITHOUT FAIL. • THE DESIGN IS ONE

MELBOURNE TRAM SYSTEM CONFIGURATION, TILTED IN SECTION, NEW SPATIAL TYPE, USING MOVEMENT AND PROGRAM TO

LANDSCAPE.

ALLOWS FOR THE DEVELOPMENT OF A

• THE OUTDOOR CIVIC SPACES ARE POROUS AND

ACTIVATE THE PASSAGE FROM ONE SIDE OF THE VAL-

SITUATED AROUND THE ENTIRETY OF THE DESIGN TO

LEY TO THE OTHER AND FROM THE TOP OF THE VALLEY

ALLOW FOR

TO THE BOTTOM. • THE JUXTAPOSITION

SPACES OF THE DESIGN AT THE MAIN ENTRANCE.

OF FUNCTION, SCALE

AND HISTORICAL TIME IN CONTEMPORARY CULTURE

• THE GRADATION

• THE ROLE OF ARCHITECTS NEED NO LONGER INVOLVE

OUT ONCE AGAIN AT A PERPENDICULAR ANGLE.

• THE POROUS

FACADE IS NOT JUST ORNAMEN-

TAL, BUT ALSO FUNCTIONAL AS IT ACTS AS THE

ADDRESS IN LESSER OR GREATER DEPTH THE SYN-

LINE BETWEEN THE PUBLIC AND THE USERS

ERGY BETWEEN THE INTERIOR AND THE EXTERIOR, FROM THE SURFACE OF THE ENVELOPE

OF THE BUILDING, ALLOWING FOR OUTSIDERS TO OBSERVE THE STUDENTS, BUT NOT BEING ABLE TO

THROUGH TO THE ENTIRE FABRIC.

PHYSICALLY ENGAGE WITH THEM. • THE INDIVIDUAL STAGGERED PLATFORMS ACT AS A

• ARCHITECTURE WAS NO LONGER SUPPOSED TO DIS-

SERIES OF INFORMAL

GUISE FUNCTIONS, BUT TO MAKE THEM VISIBLE AND TO RENDER

PUBLICNESS

HURRICANE SIMULATION

THE ENTIRE FABRIC OF BUILDINGS. IT CAN NOW

OF PUBLICNESS STARTS

GRADATION OF

FROM THE OUTSIDE IN, AND ONCE AGAIN SPREADING

THE LOGIC OF A NEW URBAN SOCIETY.

IS PR

EASY ACCESSIBILITY TO THE PUB-

LIC, SLOWLY CREEPING INTO THE INFORMAL LEARNING

IS NOT A NEGATIVE PHENOMENON BUT BELONGS TO

THEATRE

WITH THE LANDSCAPE,

LANDSCAPE AS ARCHITECTURE, ARCHITECTURE AS

• A STRIP

WEEK 05

SPACES INTERTWINE, CIRCU-

LATION, THE LEARNING AND CIVIC SPACES ALL CON-

OPEN LEARNING SPACES

FOR THE STUDENTS, POTENTIALLY CHANGING THE

THE CITY AND ITS BUILDINGS IMME-

BOUNDED POROSITY

WAYS A MEDIA PRECINCT IS USUALLY CARRIED OUT

DIATELY READABLE.

DOCKLANDS: MEDIA PRECINCT

ALSO FROM A FLOOR TO FLOOR STANDPOINT.

SETS OUT TO FORMULATE A NEW ONE.

LIA

SPILLAGE

BETWEEN NOT JUST THE INSIDE AND OUTSIDE, BUT

WHEN HE GIVES UP A KNOWN TYPE AND CLEARLY

PA R

SPILLAGE OF BOUNDARIES IS ACHIEVED, SENSE OF BLURRED LINES

CREATING A

A NEW TYPE AP-

PEARS. THE MOST DESERVING ADMIRATION IS MADE

WEEK 04

WEEK 03

SYSTEM

• PERMANENCE COUNTERS THE MODERNIST DE-

INDOORS BEHIND CLOSED DOORS.

WK 005

JUSTIN CHONG S3630953

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PROCEDURAL EXPLORATIONS APPENDIX.

[TYPOLOGICAL PROCEDURAL EXPLORATIONS 1]

CONTROLLED

MESS Typology Identification: This exploration looked into the controlled mess that can be found within the mullions of skyscraper buildings. The average dimensions of the curtain wall system, mullion and podium were derived. The procedural outcome was a grid system that didn’t fell “within the grid”. The idealogy was to break apart the rigidness of facade systems, extracting elements from high rise buildings that can be used for a lower contextual input.

Choreography System: The 4 phases that occur within the mitosis procedure - prophase, metaphase, anaphase and cytokinesis were recorded and analysed. Each of these phases have their own specific timeframe and occurances. These outcomes were then re-interpreted and reversed to fit within the architectural context. When chromosomes condense, the mullions thicken, when the nuclear envelope breaks down, the building mass halves in size.

258

G.O.D

Raw Result

Image 1 Perspective view of the procedural outcome. Overhanging spaces and open atriums are generated and spreaded throughout the form.

Image 2 Indoor grids generated from the sky-rise mullions that could be used to segregate spaces internally.

Image 3 A double height undercroft that could be used for a series of different events at different times of day.

Image 4 Overall Axonometric View of the procedural outcome on site. A series of grids at different scales that define the programs within the form.

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RMIT COMMON GROUND

JUSTIN CHONG

PROCEDURAL EXPLORATIONS APPENDIX.

[TYPOLOGICAL PROCEDURAL EXPLORATIONS 2]

PROGRAMMATIC

EMERGENCE Typology Identification: This exploration looked into the idea of programmatic distribution within a shopping centre. A generic box with the dimensions of 80m x 80m x 33m (size of an average shopping centre) was generated. The box is split into 3 parts to distinguish the underground floor, ground floor and first floor, with a central void in the middle. The mall is then altered to generate a series of staggered spaces combining various programs. The large void in the middle would allow for outdoor learning spaces to come to life, while the cantilevered rooms situated around the mass act as private nodes for personal studying within the learning environment.

G.O.D

Choreography System: The 6 main subway stations in Tokyo were identified as destinations. The directory map is split into 3 segments, categorized into the civic, the formal & the informal, one for each floor from the G.O.D. The different pathways from one main station to another are identified for each invididual segment, the distance & angle of rotation between substations are recorded. theindividual segments will be scaled according to the number of increased distance from the table.

260

Raw Result

Image 1 Perspective view of the procedural outcome. Overhanging spaces and open atriums are generated and spreaded throughout the form.

Image 2 The gradual increase in floors through the layering of floor plates.

Image 3 A sense of programmatic emergence is achieved through the overlapping of blocks generated from altering of heights and volume.

Image 4 Overall Axonometric View of the procedural outcome on site. Open fields are situated on the longitudinal end of the site, allowing for possibilities of civic spaces for multipurpose uses to be conjugated.

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RMIT COMMON GROUND

JUSTIN CHONG

PROCEDURAL EXPLORATIONS APPENDIX.

[TYPOLOGICAL PROCEDURAL EXPLORATIONS 3]

SPILLAGE OF

BOUNDARIES Typology Identification: This exploration looked into the spillage of boundaries that can be found within a typical parliament house, with itâ&#x20AC;&#x2122;s main entrance greeted by a large civic staircase that leads upwards into the building, providing a sense of grandeur and formality. The stairway and podium could potentially be used to create informal learning spaces as well as civic spaces for students and the public to roam. The unaccessible roof could be deemed accessible if the stairway leads upwards to it, acting as not just shelter for the masses, but also as a recreational dwelling too. The podium and plenary chambers could be turned into formal learning spaces or private learning spaces, generating a sense of privacy and seclusion from the public eye.

G.O.D

Choreography System: The theory behind photographic histograms were looked into for this experiment. 3 photos of the same location were taken with 3 different settings, under-exposed, properly exposed as well as the over-exposed. The histograms generated were used to show the distribution of certain values within the tones of a photo. Each colour on the histogram represents a different element in the G.O.D, utilising rotation and scaling to alter the generic form.

262

Raw Result

Image 1 Perspective view on the junction of Pearl River Road & Docklandâ&#x20AC;&#x2122;s Drive

Image 2 Stairs seeping upwards and inwards into the building, a spillage of boundaries from the inside out, generating the idea of being one with the landscape.

Image 3 A roofscape that is interconnected directly from the ground condition all the way upwards, a seamless transition is achieved.

Image 4 Overall Axonometric View of the procedural outcome on site. Open fields are situated on all ends of the site, with the addition of civic steps adding to the blurring of site edge conditions.

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RMIT COMMON GROUND

JUSTIN CHONG

PROCEDURAL EXPLORATIONS APPENDIX.

[TYPOLOGICAL PROCEDURAL EXPLORATIONS 4]

GRADATION OF

PUBLICNESS Typology Identification: This exploration looked into the gradation of publicness and spatial arrangement present within a performance theater. A series of staggered spaces combining various programs is generated through the procedure. Different programmatic masses intersect with each other, creating new spaces within the mass. The steps from the theatre are enlarged and transformed to become the outdoor civic spaces, where else an indoor civic space is generated from the public circulation mass of the theatre on the ground floor, creating an open ground plan that is accessible to the public. The performance stage and seating areas were converted into civic spaces that are not just situated on the ground, but also within the mass as well as the roof. The more private spaces generated from the back of house and storage rooms of the theatre at the back could potentially become storage spaces or precincts for the tutors to rest after class.

G.O.D

Choreography System: The Melbourne tram line with itâ&#x20AC;&#x2122;s main stations and tram stops are analysed, all colour-coded according to the appropriation of the G.O.D. The tram stops act as nodes for the system, the distance and angle of rotation between substations are noted too.

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Raw Result

Image 1 Perspective view on the junction of Pearl River Road & Docklandâ&#x20AC;&#x2122;s Drive.

Image 2 A more distinctive sense of building mass is generated. Spaces that are distinctive and generated through the spatial organization of the theater experiment, defining the gradation of publicness within the precinct.

Image 3 Steps of different scales have the potential for a series of different functions, be it used as a traversing mechanism, or more so as an undercroft utility for the shelter of users.

Image 4 Overall Axonometric View of the procedural outcome on site. The form generated is not plonked on site, but more so an addition to it, starting from ground level on both longitudinal ends of the form,slowly increasing in heights and peaking in the middle.

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RMIT COMMON GROUND

JUSTIN CHONG

PROCEDURAL EXPLORATIONS APPENDIX.

[TYPOLOGICAL PROCEDURAL EXPLORATIONS 5]

BOUNDED

POROSITY Typology Identification: This exploration looked into the idea of transparency that is ironically present within a jail corridor. The jail bars within act as a sense of bounded porosity, providing a possibility of a segregation between the civic and the students. The goal of this experiment is to create a porous facade that allows for the precinct to be open to all at all times, but not every part of the building. There will be moments of seclusion for the priority of the students, but both the public and private will still be able to engage on a silver lining. The civic space could be situated on the ground floor as a central atrium that is connected through all 4 sides of the design, and the student facilities could be above ground, looking over the civic. There is limited accessibility upwards, for the priority of the users of the precinct.

G.O.D

Choreography System: The intensity of a hurricane simulation at itâ&#x20AC;&#x2122;s peak is analysed, with every colour depicting the intensity of the winds at a specific area,going from 50mph to 1mph. The points of contact for each colour are individually mapped and recorded, breaking up the G.O.D and creating something new.

266

Raw Result

Image 1 Perspective view on the junction of Pearl River Road & Docklandâ&#x20AC;&#x2122;s Drive. The entire facade of the design is porous and allows for easy accessibility of the public into the civic space on the ground plane.

Image 2 An open courtyard sits in the middle of the outcome, insinuating the prison hallway, allowing for outsiders to observe the students, but not being able to physically engage with them.

Image 3 The open platforms are interconnected through the series of ramps and vertical circulations, generating informal and formal learning spaces, further activating more urban spaces for users to dwell in.

Image 4 Overall Axonometric View of the procedural outcome on site. The roofscape is linked to the programs at the bottom visually but not physically.

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[TYPOLOGICAL ECOLOGIES]

COMMON

GROUND The Superimposition: This exploration looked into the superimposition of 2 previous design outcomes, juxtapositioning them together to create a new identity. The works from Week 003 and Week 005 were used in this exploration because they both had qualities that had potential to transform the future of lerning environments. The seamless steps from Week 003 provide opportunities for the seepage upwards and inwards into the building, a spillage of boundaries from the inside out, generating the idea of being one with the landscape. The united platforms from Week 005 are interconnected through a series of ramps and vertical circulations, generating informal civic spaces that further activate more urban spaces for users to dwell in. The staggered floor plates from Week 005 provide a visual connection at different heights, a sense of interlinked porosity is achieved through the ability to view everyone from different locations. In conclusion, a common ground is generated, connecting the public, the students and the entirety of Docklands to the precinct.

268

PROCEDURAL EXPLORATIONS APPENDIX.

Image 1 A series of staggered platforms overlooking the city, connected through a series of ramps as well as a gradual staircase that runs throughout the entire precinct.

Image 2 A sense of openness and exposure is achieved, with users being able to overlook each other at different times, conducting different activities and experiencing different moments, all in what seems to be just one singular space.

Image 3 The generation of pockets of spaces within pockets, nothing is hidden, all is beholded. Porosity is not just defined by a series of grids anymore, but also the incorporation of glass to create a visual connection, interacting visibly but not physically.

Image 4 A series of step-like indentations that allow users to traverse vertically seamlessly, blurring civic boundaries between the ground plane and the elevated floor.

269

P S

[MEGAN VOO]

POROUS STRATUM

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RMIT COMMON GROUND

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Porous Stratum â&#x20AC;&#x153;The Future of Digital Media, a place that is open and welcoming, allows the public to be more involve in this space. It is a studio that facilitates the spilling forth of human activity that ultimately delights in its complexities, holding a strong identity to RMIT buildings by taking reference from urban surrounding, the attention to details, to allow parts of the building to touch at one to one, striving for a sense of the civic in the ways things are both mad and used. This can be broken down into porous fabric, porous terrain, and porous view. It allows pedestrians to use it as a getaway to the Dockland Studio Melbourne and hence the ground floor can be accessible throughout each corner of the streets. A place for people to loiter, gather, a threshold that links people from different fields. The new spatial composition breaks the norm of designing a school that has a linear arrangement, each cell is designed to engage with one another. By extracting the behaviour of a prison cell, the idea of control porosity can be observed as the user is standing in the main courtyard of Porous Stratum, where the user can observe various learning activities happening at the same time whereas as the user is standing in any given point in the learning cells, it allows a strategic privilege view. These variety of heights, overlapping of spaces create vertical and horizontal visual connections. Instead of having visual from level to level, this new typology encourages students to collaborate, to be more engaged, spreading the interactions between levels instead of one floor. The new media hub is cluster of 3 different zones. Zone A is Design and Production. By referencing Melbourne Dockland Studio Sheds, zone A is a collective of different compartments that are complimented by condensed patterns that are more pragmatic and utilitarian for a focused learning environment. This blur the identity between Melbourne Dockland Studio and RMIT media production zones, creating

272

PROJECT INTRODUCTION

a seamless transition and provoking a sense of transparency within the industry and the university. Zone B is a place design to encourage collaboration between primary, secondary, and university students as well as people from the industry. Situated in the centre of the building, this porous learning cell is designed to inspire collaboration from the surrounding learning pods by creating an open environment, allowing the spillage of boundaries to the central courtyard. Zone C is a place design for events and exhibition, the typology in this cluster is the most porous, highly ornamental and experiential, catering to a variety of different program, all within one building. All these different stratum of porous learning cells come together to bring a high spatial learning experience to students, industry and the civic. Porous Stratum is a school that facilitates a flow between environment, people and architecture, enabling architecture as a process of exchange. A porous vessel that accommodates the spilling forth of human activities, the opportunities to watch and to be watched. It is the production of an urban learning village, creating spaces that allow the civic to mingle, delight and wonder as well as authenticate the build form in which it is experienced.

273

Image. Axonometric View of RMIT Common Ground. Not just an institution for media, but also an act of resurgence for the city of Docklands.

274

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POROUS STRATRUM

MEGAN VOO

Image: North Side street view of Porous Stratum. By referencing Melbourne Dockland Studio Sheds, zone A is a collective of different compartments that are complimented by condensed patterns that are more pragmatic and utilitarian for a focused learning environment. This blur the identity between Melbourne Dockland Studio and RMIT media production zones, creating a seamless transition and provoking a sense of transparency within the industry and the university.

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PROJECT IMAGES

Image: East Side Street View of Porous Stratum. The East side facade of the new media precinct cater specifically to Zone 3 â&#x20AC;&#x153;Events and Exhibitionâ&#x20AC;?, aiming to create a welcoming area to lure the public to delight in this new precinct. The typology in this cluster is the most porous, highly ornamental and experiential, catering to a variety of different program, all within one building.

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Image Top: The vision of Porous Stratum is to create an open and welcoming environment that allows the public to be more involve in this space. A place for people to loiter and gather, a threshold that links people from different fields.

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PROJECT IMAGES

Image Bottom: Inspired by the Melbourne Dockland Studio logo, the pattern on the ground of the Green Screen Studio become a sense of guidance and direction to lure pedestrian into the education space as well as to dockland studio.

Image Top: This new spatial composition breaks the norm of designing a school that has a linear arrangement, each cell is designed to engage with one another. By extracting the behaviour of a prison cell, the idea of control porosity can be observed as the user is standing in the main courtyard of Porous Stratum, where the user can observe various learning activities happening at the same time.

Image Bottom: Porous Stratum is also a place for observation learning, allowing the civic to act as a surveillance to the teaching spaces without disturbing the students.The juxtaposition of landscape in the corridor creates interesting experiential effect as it dematerialise itself, creating a non-definitive boundary, a flexible space for innovation and collaboration.

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DESIGN DIAGRAMS

OCULAS

• An insertion of aperture on different levels allow glimpse of the roofscapes of other learning cells.

CIRCULAR WINDOW

• The insertion of the circular window directly opposite to the oculus extend the the user’s view from the street, to the classroom and to the atrium.

BRIDGE

• The bridges becomes a tunnel that entice the public to loiter in these spaces.

SEMI-OPAQUE CEILING

• The semi opaque glass mezzanine or ceiling create varied movements as shadow of humans cast on in.

MEZZANINE

• This open mezzanine blurs the transition between what is private and semi-private, enabling these spaces to be shared between civic and students.

ZONE B: Innovation &Collaboration Cluster Diagram

ROOFTOP AREA

• Rooftop area can be extension of space for students to gather and rest when class is finished.

SKYLIGHT

•To allow filtration of air and light, to watch and to be watched

SHADING DEVICES

• The grid can be used as a shading device.

Grid Window

• The grid become the frame and mullion of the window.

Balcony

• The balcony become a platform to connect different learning cells.

MEZZANINE

• This mezzanine maximizes the use of vertical space, providing extended spaces for informal learning spaces.

POROUS PARTITION

• The grid become a structure and a porous wall.

MINI AMPHITHEATRE

• The stairs become adaptable and can be used as a mini amphitheatre.

ZONE A: Design & Production Cluster Diagram

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GROUND FLOOR PLAN

DOCKLAN

0202

01 01

03 03

1 13

ZONE 3 EXHIBITION WALL

Legend: 01 - Equipment Storage Space 02 - Green Studio 03 - Object Preparation Space 04 - Cafe 05 - Equipment Loan and Storage Space 06 - Informal Space 07 - Control Room 08 - Auditorium Room 09 - Symposium 10 - RMIT Connect 11 - Maker Space 12 - Female WC 13 - Male WC 14 - Computer Room 15 - 3D Print Room

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04 04

15 15

14 14

DOCKL

ND STUDIO

02 02 09 09 07

05 07 07

PEARL RIVER ROAD PEARL RIVER ROAD

0606

17 48

11 11

LAND DR

SCALE 1: 350 SCALE 1: 350

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FIRST FLOOR PLAN

04 Legend: 01 - Green Studio 02 - Flexible Workshop Space 03 - Editing Suite 04 - Breakout Space 05 - GLAM hub 06 - Informal Space 07 - Dedicated Office Space 08 - Physical Effect Workshop 09 - Control Room 10 - Balcony 11 - Corridor

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SCALE 1: 350

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SECOND FLOOR PLAN

Legend: 01 - Physical Effect Workshop 02 - Flexible Workshop Space 03 - Informal Space 04 - Server Room 05 - Balcony 06 - Game Production Space

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SCALE 1: 350

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LONG SECTION

08 03

05 01

Legend: 01 - Seminar 02 - Control Room 03 - Green Screen Studio 04 - Flexible Workshop Space 05 - Balcony 06 - Sitting Area 07 - Corridor 08 - Informal Space 09 - Mini Amphitheatre 10 - Breakout Space

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06 03

8 04

10 07 09 08

SCALE 1: 220

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MEGAN VOO

PROCEDURAL EXPLORATIONS APPENDIX.

[POROUS STRATUM]

APPENDIX The first 5 weeks of the studio aims to focus on generating formal outcome by studying different types of building typologies. In each exploration, we are require to research on a type of building, study its behaviour and extract a typological behaviour of these elements that potentially can be re-evaluate it’s tectonic properties. These information and research together form a “Generic Operatice Diagram” (GOD) that abstract the specific typological behaviour we aim to focus. A system is applied to this GOD to manipulate the design outcome that is not within our control, allowing our speculation and rules to be faithful to the design outcome. The result of the outcome will form as a “Raw Result”, which we need to judge it based on our earlier speculations and the potential it brings to our research.

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Image below The picture below is a blue print summarising the 5 procedure explorations we have research in the beginning of the weeks. Each research has its own speculation and vision that can be extracted out that contributed to the final outcome of the building.

WEEK 02

WEEK 01

TYPE

SYSTEM

RAW RESULT

• The outcome allows the ornament of the church to become a column, the entry tower as a façade, the extended roof as a bridge or cantilever and the main body can be potentially be split into partitions. • The section of the drawing also creates a new form of typology and raises the question what’s the meaning of a roof within a roof.

LEAF DROP

VOLUMINOUS TYPOLOGY

In experiment 2, based on our observations from various precedents, we notice that most of the airport circulation has a U-shaped pattern. This U-shaped pattern shares a similar system to a learning environment, starting with the main entrance, followed by a courtyard in the middle, and a linear circulation where each student disperses to their own individual classroom.

• The proposition of this project is what if we created a new form of teaching spaces that main circulation, breaking the norm of tight hallway spaces. A generous circulation space that create extensive internal recreation areas or informal learning space. • The result of this project creates a new learning environment that consist of purely circulation, purposely a new typology where the learning environment consist of a serious of ramps juxtaposition each other with pocket spaces. • The raw-result compromises of vertical, horizontal, open and enclosed circulation space that can potentially that can be broken up into different architecture typologies in the future.

WEEK 03

ENDLESS CIRCUIT

60,000 50,000

• The column grid was manipulated into different sizes to allow the columns to serve different purposes and create new formal qualities.

40,000

30,000

• Playing with the sense of scales, the new post process created a different type of formal outcome of columns that can be habitable, highly operable as a structure, a column, circulation, roof, sitting area and ornaments.

20,000

The potential of column grid through the learning environment lens is a space that is highly adaptable and porous, providing a great ability to be adjusted and changed to suit the different needs of the user.

• However, this project was consider unsuccessful because the intersection of the columns doesn’t create a new type of form other than a circle.

10,000

• Through speculation, the different scales and stacking of forms with specific colors can be potentially develop into programatic layout in the future.

STAR EXPLOSION

PROGRAMATIC STACKING

In experimenent 4, Sihe Yuan is a type a traditional Chinese home that were designed around a courtyard. A typical learning environment usually have their outdoor space or field peripheral to the building. Instead of going out to the field to play, what if we bring the fun inside, to the centre and of the building, like a metaphor of a magnetic field, where the force of attraction is the highest in the middle, a place where civic, teachers and students congregate.

VISION

• This new form has a voluminous spaces that can potentially be a new learning environmenet. Perhaps the higher the volume, the higher the hierarchy of the learning spaces.

The experiment for this week was to explode the formal qualities of these volumetric spaces so that they can be re-distributed, expand, contract, shift or explode to create a new type of learning environment.

In experiment 3, the columns and the grid of a carpark was focused on in this project. This is because columns are the main division of space and organisation of form in a carpark.

SPECULATION • The new configuration of forms allows the building to have more variations in forms and breaking up the rigid spatial organization of a church.

ROULETTE

WEEK 04

POST PROCESS

In experimenent 1, the systematic and distribution of spaces in a catholic church was observed. These orders of spaces has its own individual formal qualities that defined the spaces, for example the transept spaces usually has a high atrium and the sanctuary spaces usually has a difference in floor level.

POROUS

B C

D E

E H

• The new designed of the courtyard is used to connect several buildings, it act as a terrain to guide people and also a gateway to Dockland studio. Using landscape to engage with public. This continuous terrain can be used by the civic to pass through different location. The whole building is porous, there is no enclosed space, it is not a solid box. Some are open courtyard. Some are enclosed courtyard (private), a void inside one of these building.

A B

• The symmetrical and social order of the Sihe Yuan is manipulated while maintaining the idea of buildings surrounding the courtyard. However, instead of one, a serious of courtyard were designed.

H B

A B A

F G

D D

B C

J F D

TRAIN LINE

CONTINOUS TERRAIN

WELCOMING MATERIAL THAT CREATE AFFECTS

WEEK 05

8000

In experimenent 5, we are interested in the interior façade of prison. The jail bar has a porous behaviour that creates a visual connection between the guard and the prisoner. This controlled porosity allows the guard to look at all the prisoners, but the prisoners doesn’t have the authority to interact with other prisoners. This behaviour can be implemented into the learning environment where the civic can be the surveillance to the teaching spaces without disturbing the students.

• The outcome of the project creates a serious of different layers of façade, that is operable, railings, habitable, ornamental and can be used as a furniture or shelves. This adaptable edge is creates one identity to the building.

7000 6000

• The building can be access by the civic on all four sides, a continuous terrain that can be used to different locations.

5000 4000

• The circulation of the public is on the outside of the façade whereas the blue tube is used by students and teachers. This creates a controlled porosity where civic (green) can access the learning environment of the students as a surveillance above ground level.

3000 2000

•The mezzanine above ground level becomes balcony or bridges that link various pod for the civic without entering the building whereas on the ground floor it is used as tile for the floor or green spaces.

1000

10 11 12 13 14 15 16 17 18 19

FACTORS FAMINE

ADAPTABLE SHELL

COURTYARD TERRAIN BRIDGES

•This grid structure can also be used as a roof to provide shades or a giant net for students to have informal activities.

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PROCEDURAL EXPLORATIONS APPENDIX.

[TYPOLOGICAL PROCEDURAL EXPLORATIONS 1]

VOLUMINOUS

TYPOLOGY Typological Identification This typological exploration focus on the systematic and distribution of spaces in a catholic church. These orders of spaces has its own individual formal qualities that defined the spaces, for example the transept spaces usually has a high atrium and the sanctuary spaces usually has a difference in floor level.

G.O.D

Choreography System: “Leaf Falling System” was used to explode the formal qualities of these volumetric spaces so that they can be re-distributed, expand, contract, shift or explode to create a new type of learning environment. The number of the wind speed was used to twist the building clockwise, temperature to subtract, followed by splitting each element equally and then arrange them back to its original position.

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Raw Result

Image 1 Section view of the procedural outcome. The new configuration of forms allows the building to have more variations in forms and breaking up the rigid spatial organization of a church.

Image 2 Plan view of the procedural outcome. The extended roof now becomes a bridge or cantilever and the main body can be potentially be split into partitions.

Image 3 The outcome creates a courtyard in the middle of the church, with the ornament turning into a sturcture or column and the entry tower as a faĂ§ade.

Image 4 The short section shows new form of typology and raises the question whatâ&#x20AC;&#x2122;s the meaning of a roof within a roof.

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PROCEDURAL EXPLORATIONS APPENDIX.

[TYPOLOGICAL PROCEDURAL EXPLORATIONS 2]

ENDLESS CIRCUIT Typological Identification Based on our observations from various precedents, we notice that most of the airport circulation has a U-shaped pattern. This U-shaped pattern shares a similar system to a learning environment, starting with the main entrance, followed by a courtyard in the middle, and a linear circulation where each student disperses to their own individual classroom.

G.O.D

Choreography System: â&#x20AC;&#x153;Casiono Rouletteâ&#x20AC;? was used to twist and turn the generic operative diagram to break the linear circulatin of an airport. The procedure begins by rotating the GOD 9 times based on each turn. The number was later used to extrude the height of each GOD. A variation of outcome twisting form was created and was later stack together based on the mid point, forming the raw result. Raw Result

294

Image 1 Section view of the procedural outcome. The outcome created a new form of teaching spaces that focuses on main circulation, breaking the norm of tight hallway spaces. A generous circulation space that create extensive internal recreation areas or informal learning space.

Image 2 Plan view of the procedural outcome. The new learning environment consist of a serious of ramps juxtaposition each other with pocket spaces.

Image 3 The interior spaces of the circulation is also highly experential. Other than being a ramp, the form can potentially become ornaments that can create varied experiences for user to study in this learning spaces.

Image 4 Endless Circuit compromises of vertical, horizontal, open and enclosed circulation space that can potentially that can be broken up into different architecture typologies in the future.

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POROUS STRATUM

MEGAN VOO

PROCEDURAL EXPLORATIONS APPENDIX.

[TYPOLOGICAL PROCEDURAL EXPLORATIONS 3]

PROGRAMATIC

STACKING Typological Identification The columns and the grid of a carpark was focused on in this project. This is because columns are the main division of space and organisation of form in a carpark. The potential of column grid through the learning environment lens is a space that is highly adaptable and porous, providing a great ability to be adjusted and changed to suit the different needs of the user.

G.O.D

Choreography System: “Sun Explotion” was used to expand and manipulated the grid column into different sizes to allow it to serve different purposes and create new formal and spatial qualities.

Raw Result

296

Image 1 Section view of the procedural outcome. Overhanging spaces and open coutyards are generated and spreaded throughout the form.

Image 2 Plan view of the procedural outcome. The formal outcome has a singular identity. Therefore this outcome is consider unsuccessful because the intersection of the columns doesnâ&#x20AC;&#x2122;t create a new type of form other than a circle.

Image 3 The carpark column grid now is highly adaptable, habitable, operable as a structure, a column, circulation, roof, sitting area. and ornaments.

Image 4 The openess and porosity of the built form allow the building to become a gateway to the Dockland Studio.

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POROUS STRATUM

MEGAN VOO

PROCEDURAL EXPLORATIONS APPENDIX.

[TYPOLOGICAL PROCEDURAL EXPLORATIONS 4]

CONTINOUS TERRAIN Typological Identification Sihe Yuan is a type a traditional Chinese home that were designed around a courtyard. A typical learning environment usually have their outdoor space or field peripheral to the building. Instead of going out to the field to play, what if we bring the fun inside, to the centre and the inner core of the building like a metaphor of a magnetic field, where the force of attraction is the highest in the middle, a place where civic, teachers and students congregate.

G.O.D

Choreography System: â&#x20AC;&#x153;Sdyney Rail Networkâ&#x20AC;? was observed and study to be create the raw result of this experiment. The colors of the GOD was based on the social statues and main living spaces of the house. Each group of program based on individual colors are split, resize and rotated clockwise based on the diagram of the train system. Each component was later placed back to the same position as the GOD. Raw Result

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Image 1 Section view of the procedural outcome. The voluminous form creates double height ceiling.

Image 2 Plan view of the procedural outcome. The symmetrical and social order of the Sihe Yuan is manipulated while maintaining the idea of buildings surrounding the courtyard. However, instead of one, a serious of courtyard were designed.

Image 3 Using landscape to engage with public. This continuous terrain can be used by the civic to pass through different location. The whole building is Porous, there is no enclosed space, it is not a solid box. Some are open courtyard. Some are enclosed courtyard (private), A void inside one of these building.

Image 4 The new designed of the courtyard is used to connect several buildings, it act as a terrain to guide people and also a gateway to Dockland studio.

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POROUS STRATUM

MEGAN VOO

PROCEDURAL EXPLORATIONS APPENDIX.

[TYPOLOGICAL PROCEDURAL EXPLORATIONS 5]

ADAPTABLE

SHELL Typological Identification This exploration looked into the idea of control porosity in the facade of a jail cell. The jail bar has a porous behaviour that creates a visual connection between the guard and the prisoner. This controlled porosity allows the guard to look at the prisoners, but the prisoners do not have the authority to interact with the other prisoners. This behaviour can be implemented into the learning environment where the civic can be the surveillance to the teaching spaces without disturbing the students.

Choreography System: â&#x20AC;&#x153;Somalia Famine Systemâ&#x20AC;? was apply to the GOD of the jail interior facade. The component of the GOD was divided into jail bar, cell walls, staircase, mezzanines and floor slab with its own individual color. Each element was manipulated individually based on the histogram by scaling and rotating. The raw result of the jail cell created a serious of different levels and juxtaposition of the cells.

300

Image 1 North view facing Dockland Studio. The outcome of the project creates a serious of different layers of faรงade, that is operable, railings, habitable, ornamental and can be used as a furniture or shelves. This adaptable edge is creates one identity to the building.

Image 3 The circulation of the public is on the outside of the faรงade whereas the blue tube is used by students and teachers. This creates a controlled porosity where civic (green) can access the learning environment of the students as a surveillance above ground level.

Image 4 The building can be access by the civic on all four sides, a continuous terrain that can be used to different locations.

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[OWEN, HSU]

NEW URBAN CIVILLAGE

303

New Urban Civillage

Owen Hsu

This project named “New Urban Civillage” is my proposition on the new sticky campus for the new RMIT Docklands Media Precinct which has been developed throughout the semester from procedural explorations. The title of “Civillage” is based on creating the sense of both the city and the village in one campus, which establishes the opposing experiences between a busy city street used as an exhibition space with digital displays throughout and surrounding this which are arrays of siheyuan buildings which are houses that creates a more cosy study spaces for students. These are regarded as the “domestic axis” in the project. The reason to this approach is because students have different preferences in the kind of space and atmosphere they like to study in, and this is often limited in many existing campus buildings, which suggested a monotone experience that leads to students becoming less willing to stay in campus for a long time. It is my proposal that a campus space has duty in creating a friendly and comfortable study space whether in the size of study spaces or the mood a space creates. This should also be diverse enough to suit that vast preferences for students. Therefore, my project used the procedural experiments to merge and generate a multiple level campus that introduces several buildings and spaces that have large and small scale, as well as ranging from open green study spaces to urban workshop spaces. A third factor that introduces the vastness of this project is the mood established in both the siheyuan buildings derived from past procedural explorations and also the central modern academic street which is buried beneath the landscape of a green village. The trasition of experience from the quiet siheyuan buildings to the central modern academic street in

304

Project Introduction

each domestic axis is depicted in the differece in the lighting, as well as the facade, which from the outer street appears as normal siheyuan buildings, and on the from the academic street it became a window and wall framed shop front. In term of programs, the siheyuan buildings are arranged in several lines pointing towards the large central building, and therefore regarded as “domestic axis”. Each domestic axis is designed to house a simillar type of program, such as the editing suites all being part of an axis. This means that the each axis has its own identity and shares the simillar needs. The informal study areas however, are scattered throughout the campus in various scale and mood to allow students to decide where they prefer to study in. The staircase seen throughout the campus was based on the past process in generating a vertical terrain, which initially aimed to promote a campus filled with stages and audience seatings which can be referred to as theatre spaces. The new development changes this purpose into a new purpose of separating the experience of silent green spaces and cosy siheyuan building spaces from the modern academic street, by occupying the space below the solid staircase in mid semester which were non habitable. “New Urban Civillage” is the new future RMIT Docklands Media Precinct that generates the new community defined in two ways: The first being the strong community formed between students in smaller scale learning spaces, the second being the idea of inclusiveness of the community as a whole, with the vast learning experience welcoming all people into the campus, and for people to discover their favourite locations to study in or engage with.

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Image. The academic street showing exhibition and e-sport displays, and also each domestic axis as modern shop fronts of the streets.

306

307

Image. On the green space above looking towards the main building and the academic street below, showing the opposing experiences.

308

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New Urban Civillage

Owen Hsu

Image: The main campus entry viewed from Docklands Dr and Pearl River Rd, with the interface between streets and the building axis.

310

Project Images

Image: The domestic axis shared by the green space outside, acting as a courtyard of the axis to study or relax at.

311

New Urban Civillage

Owen Hsu

Image Top: An informal pocket study space occupying beneath the staircase, with comfortable atmosphere created through the smaller scale.

312

Project Images

Image Bottom: The STEAM classroom that allows the outside to engage with the class, and using the verandah typology to further enhance the cosy experience of the domestic axis.

Image Top: A view that presents the central academic street connected with open learning spaces, cafe, and the main exhibition area, allowing students to experince studying in the modern street.

Image Bottom: The main building as a large space used for informal learning, meetings, as well as housing larger programs such as the lecture space above and the e-sport competition area below.

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New Urban Civillage

Owen Hsu

The development from typological ecology up to mid semester project was based on the typological ecology of two past experiments. The left being the siheyuan housing that went through the system application of root growth, forming various axis of learning spaces. This experiment drove out the domestic spatial environment with private circulation, restaurants and courtyards. This was then combined with the vertical terrain experiment that uses the parliament house staircase to generate a hilly learning space. The strength of vertical terrain is that it changes learning spaces into theater spaces with audience and the performer. This strengthens the engagement for audience, as well as ensuring no obstruction of view between students in class. The mid semester project development was based on program by program shift, with consideration to the two main factors: 1- establishing a central public street and main building throughout the campus 2- establishing several domestic learning axis (spaces) for smaller communities, but are also connecting to the public street and main building. The rotation and scaling of staircase was to adapt to the several functions it has: 1- as circulation 2- as seating, either private or public 3- as a privacy shield for domestic axis from other axis and the public space. Similar to the staircase, the number of siheyuan buildings in groups of axis were also decreased to free up more open space, and also eliminating the clash from one axis with another, which in the beginning all axis were clashing together. For the programs, each axis was to house a wide variation of program types, such as design production space and gallery spaces arranged together. Introducing this variation means that students can have access to all types of needs in the same axis without going to other axis.

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Design Process - Phase 1

PROGRAM ZONING DARK RED = ZONE 1 (DESIGN PRODUCTION SPACE) ORANGE = ZONE 2 (STEAM HUB AND MAKER SPACE) YELOOW = ZONE 2 (GLAM HUB SPACE) CENTRAL MAIN STREET = ZONE 3 (EVENTS / EXHIBITION SPACE) LAVENDER = CAFES OR PRESENTATION AREAS

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Design Process - Phase 2

From mid semester, the projectâ&#x20AC;&#x2122;s development was focused on incorporating the idea of community further in my project, which has not been inclusive enough because of the accessibiloty issues caused by vertical terrains, and the experience not being diverse for students in terms of spatial scale and materiality. The process began by occupying the non habitable spaces below the staircase terrain. The main change was my initial approach to using the vertical terrain as a learning theater, which now changed its function by occupying the space below as pocket learning spaces. The programs of each axis were also rearranged so that each axis has a distinct program type, which means each axis will have an identity and shares the same interest. To tackle the idea of inclusiveness for a community, the project now shifts into aiming to establish qualities of oppositions in learning space and atmosphere, so that people can begin to choose the kind of space they best prefer to study in. The siheyuan housing was updated with natural experience through wooden materials and changing all open spaces for upper levels to become green space, and occupying the space below staircase in the central street by carving into them and generating the new academic street with modern materiality to oppose the experience of siheyuan domestic environment. The difference in facade was also the dividing threshold between this opposing experience, which on the exterior street is viewed as a siheyuan facade, while on the other side it becomes the interior shop facade of the academic street, leading that shift from a relaxing to busy urban learning environment.

Pocket Spaces

Occupying Space Academic Street

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Ground Floor B

27 22

20 03

17 21

A 25

01 15

22 20

B Legend

318

01. Green Screen Studio 1 02. Green Screen Studio 2 03. Green Screen Studio 3 04. Control Room 1 05. Control Room 2

06. Control Room 3 07. Game Production Space 08. Physical Effects Workshop 1 09. Physical Effects Workshop 2 10. Editing Suite 1

11. Editing Suite 2 12. Editing Suite 3 13. Flexible Workshop Space 14. Server Room 15. GLAM Hub

05 06

14 12

10 07 A 29

30 30 22

16. STEAM Hub 17. Maker Space 18. Administration Office Space 19. Equipment Storage Space 20. Outdoor Green Space

21. Exhibition Area 22. Informal Study Space 23. E-Sport Competition Area 24. Lecture Space 25. Cafe

26. Toilets 27. Vending Machines Area 28. Outdoor Learning Space 29. RMIT Connect 30. Informal Meeting Area

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New Urban Civillage

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First Floor B

30 22

20 03

A 16

01 15 20

B Legend

320

01. Green Screen Studio 1 02. Green Screen Studio 2 03. Green Screen Studio 3 04. Control Room 1 05. Control Room 2

06. Control Room 3 07. Game Production Space 08. Physical Effects Workshop 1 09. Physical Effects Workshop 2 10. Editing Suite 1

11. Editing Suite 2 12. Editing Suite 3 13. Flexible Workshop Space 14. Server Room 15. GLAM Hub

16. STEAM Hub 17. Maker Space 18. Administration Office Space 19. Equipment Storage Space 20. Outdoor Green Space

21. Exhibition Area 22. Informal Study Space 23. E-Sport Competition Area 24. Lecture Space 25. Cafe

26. Toilets 27. Vending Machines Area 28. Outdoor Learning Space 29. RMIT Connect 30. Informal Meeting Area

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New Urban Civillage

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Second Floor B

B Legend

322

01. Green Screen Studio 1 02. Green Screen Studio 2 03. Green Screen Studio 3 04. Control Room 1 05. Control Room 2

06. Control Room 3 07. Game Production Space 08. Physical Effects Workshop 1 09. Physical Effects Workshop 2 10. Editing Suite 1

11. Editing Suite 2 12. Editing Suite 3 13. Flexible Workshop Space 14. Server Room 15. GLAM Hub

A 27

16. STEAM Hub 17. Maker Space 18. Administration Office Space 19. Equipment Storage Space 20. Outdoor Green Space

21. Exhibition Area 22. Informal Study Space 23. E-Sport Competition Area 24. Lecture Space 25. Cafe

26. Toilets 27. Vending Machines Area 28. Outdoor Learning Space 29. RMIT Connect 30. Informal Meeting Area

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Sections

01 22

Section AA

24 30

23 21

Section BB Legend

324

01. Green Screen Studio 1 02. Green Screen Studio 2 03. Green Screen Studio 3 04. Control Room 1 05. Control Room 2

06. Control Room 3 07. Game Production Space 08. Physical Effects Workshop 1 09. Physical Effects Workshop 2 10. Editing Suite 1

11. Editing Suite 2 12. Editing Suite 3 13. Flexible Workshop Space 14. Server Room 15. GLAM Hub

27 08

16. STEAM Hub 17. Maker Space 18. Administration Office Space 19. Equipment Storage Space 20. Outdoor Green Space

21. Exhibition Area 22. Informal Study Space 23. E-Sport Competition Area 24. Lecture Space 25. Cafe

26. Toilets 27. Vending Machines Area 28. Outdoor Learning Space 29. RMIT Connect 30. Informal Meeting Area

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Owen Hsu

Procedural Explorations. Appendix.

NEW URBAN CIVILLAGE

APPENDIX Typological Procedural Explorations -Week 1 focused on form and its different functions based on building type, which in altering its form will redefine its type and change its function. -Week 2 focused on the spatial qualities of a landscape environment, by abstracting the form and function and using them to generate new spatial and programmatic relationship. -Week 3 focused on the generation of terrains and landscape in relation to the school campus, and establishing new terrains for the future learning environment. -Week 4 focused on the disposition of programs and the interaction between different programs, particularly the idea of cross-fertilization between different programs. -Week 5 focused on the role of facade, and how it does not disguise the function of the building as an ornamental mask from its surrounding context. -There is also the typological ecology, which combined the characteristic from two of the outcomes, that were chosen from the weeks to be superimposed.

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Footnotes

Week 1 - The transforming functions of programs

week 1: -Stan Allen / “Field Conditions”- Points + Lines: Diagrams And Projects For The City week 2: -Sam Jacoby / Typal And Typological Reasoning: A Diagrammatic Practice Of Architecture week 3: -Rafael Moneo / On Typology -Paul Fox / Public Institutions week 4: -Bernard Tschumi / Event-Cities 1, Typological Displacements: Cross Programming + Disprogramming + Transprogramming week 5: -Farshu Moussavi & Michael Kubo / The Function Of Ornament

- “To recognize an ever-increasing uncertainty about what constitutes knowledge, who has access to it and how it is distributed” - “Independent elements are combined additively to form an indeterminate whole”

Week 2 - New spatial generation - “Liberated architecture from imitative repetition, gave it autonomy (one not always already historicised) and produced something entirely different if not new” - “Abstracted buildings according to their genres (function) and was unconcerned with typologies defined by comparable organisational and structural diagrams of buildings”

Week 3 - Establishing new functions and activities - “The architect can extrapolate from the type, changing its use” - “In constructing his building, he seizes this space and in doing so he constructs a building characterized not by its use... But a ‘space’ in which an activity is produced later”

Week 4 - The interactive relation between programs - Transprogramming - “such dualities, far from restrictive, suggest unusual possibilities in which disciplines merge and cross-fertilize” -Disprogramming - “we also extracted from the program the most particular or ‘eventful’ functions or activities, which in combination would produce the ‘event’” -Crossprogramming - “buildings function as vertical passageways and bridges as multistorey crossings”

Week 5 - Facade transparency and identity - Ornament as contingent - “architecture was no longer supposed to disguise functions, but to make them visible and to render the city and its buildings immediately readable” - Ornament as sensation - “it has no intention to decorate, and there is in it no hidden meaning. At the best of times, ornament becomes an ‘empty sign’ capable of generating an unlimited number of resonances”

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New Urban Civillage

Owen Hsu

Procedural Explorations. Appendix.

[TYPOLOGICAL PROCEDURAL EXPLORATIONS 1]

TRANSFORM PROGRAMS This exploration looked at a method of recreating new types of programs in terms of form and spatial qualities from an existing type. The program used was the auditorium, mainly focusing on the interior space in the genetic operative diagram. The program was chosen because of its interesting seating arrangement within the large rooms, which can be imagined as a series of smaller classrooms in a learning environment. The system used to alter this form was magnetic force, which was chosen because of its unique attraction of magnetic force. In the experiment, the model from genetic operative diagram was to be divided into smaller sections to represent the individual magnets from the system, and applying the values choreographed from the magnet video which the digits were reused as scale, rotation or movement. This process created programmatic spaces that broke the single interior auditorium space into fragments of exterior space that began to redefine functions and type: the large auditorium ground becoming a series of small circulation spaces and balconies, or becoming smaller classroom spaces.

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Genetic Operative Diagram

System: magnetic force

choreographing data for each magnet

Application to outcome The building is first divided into equal sections to fit the same number as the magnets recorded in the data.

Application of choreographed data into the model, applying the data of each magnet into each divided block of form. This was a step by step process which displayed the transformation and rearrangement of each part of the auditorium.

The result generated fragments of exterior spaces from the single interior space, with varying scales which will suit into new types of functions or programs.

Spatial qualities generated: left: smaller classroom space facing the exterior. right: a series of small circulation spaces and balconies.

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New Urban Civillage

Owen Hsu

Procedural Explorations. Appendix.

[TYPOLOGICAL PROCEDURAL EXPLORATIONS 2]

FLAT SPATIAL LAYERING This exploration looked at a method of creating a civic learning environment that strengthens the engagement or interaction between students and others in the campus, with the centralised large civic spaces for collective participation. The program used was the airport, mainly focusing on the distribution of programs in the genetic operative diagram. The program was chosen because of its largely horizontal spatial qualities, and the civic quality as a central point for people who need to travel or are returning. The system used to alter this form was cloud movement over moonlight. This light and dark relationship was to be used as the zones of change and non change, which in each frame would alter different areas of the program when the diagram overlays the genetic operative diagram. This will start to generate different horizontal layers of learning space. This experiment allowed the interaction between open areas from different levels, especially in large events where people from different levels can all become the same audience to the event happening on ground floor.

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Genetic Operative Diagram

System: cloud movement over moonlight

Choreographing light and dark areas of each frame

Application to outcome left: using the cloud area (stripped lines) to affect programs that are covered. Each program can only be affected once, which will fix its transformation to just the first frame area that affects it. right: transforming the programs based on the data. At each frame from A to F, the affected programs will move up collectively to above the previous frame, which will form six layers of horizontal programs.

The result generated large and open civic spaces existing at different levels, which can be utilised individually based on the main program type from each level. These open spaces can also become a single audience for large events happening at the center.

Spatial qualities generated: Apart from the open civic spaces for public engagement, there is also smaller and private academic space which is located below the civic.

331

New Urban Civillage

Owen Hsu

Procedural Explorations. Appendix.

[TYPOLOGICAL PROCEDURAL EXPLORATIONS 3]

VERTICAL TERRAIN This exploration looked at a method of utilising staircase as the strategy to navigate throughout the campus. In relation to function, staircase can have a wide mixture of use: a public or private gathering space, lecture or general seating area, way of circulation, as well as study space.

Key RED = Roof BLUE - Portico GREEN - Front Porch YELLOW - Chambers PURPLE - Staircase CYAN - Rececption BROWN - Atrium

The program used was the parliament house from exterior area to the chambers. Its grand staircase was the primary reason to using this type. The importance of a vertical learning terrain is to realise media learning space as a theater space, where the vision of students should not block vision behind. Cinema seating also allows students to be more focused and engaged in class. The system used to alter this form was the thunderstorm cloud development, with four layers of density choreographed to suggest areas for greater interaction (level of civic) or less. This experiment was for creating a smaller learning communities that encourage greater engagement and interaction between students and teachers. This reflects a smaller version environment of a theater or lecture space.

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Genetic Operative Diagram

Choreographing cloud density

System: thunderstorm cloud development

Dividing space within each zone

Application to outcome The programs as separated by three types are allocated into the centers of each circle choreographed from the diagram. The circles also have three three types represented by cyan, green and yellow from largest to smallest. After the movement, scaling and rotation were applied based on the cloudâ&#x20AC;&#x2122;s colour zones they are located in.

Moving cyan category programs (open grounds)

Combined process 1

Moving green category programs (circulation)

Combined process 2

Moving yellow category programs (interior grounds)

Combined process 3 (end)

The result generated hilly learning terrain with vertical circulation leading to different programs.The staircase became the primary interaction point between the buildings and the surrounding streets. This can be used as gathering space, and also as outdoor learning environment.

Spatial qualities generated: left: civic entry point for the campus, the staircase draws the publicâ&#x20AC;&#x2122;s attention into the campus, which can also be used as seating areas. right: an outside lecturing space that faces towards the street, or in other words it invites the public to engage.

333

New Urban Civillage

Owen Hsu

Procedural Explorations. Appendix.

[TYPOLOGICAL PROCEDURAL EXPLORATIONS 4]

AXIALDOMESTIC This exploration looked at a method of creating a cosy suburb style learning environment, where students can access through their own street or pathway through the campus, with a pathway created by connecting programs throughout the axis. The small scale street environment would also help to encourage students to stay longer in the campus, rather than a more stressful and uncomfortable one. The program used was the traditional Chinese housing, siheyuan. The axial layout of programs separated by open courtyards and enclosed buildings suggested a new kind of learning environment that leans towards the idea of domestication for students. The system used to alter this form was the root growth, which has multi-axial development similar to a cityâ&#x20AC;&#x2122;s growth. This experiment was for creating learning axis, which as one navigates through will find a spectrum of different programs that supports their need. By having the center as a clash of all axis, this also created a central gathering point for the campus, which can be the starting point before accessing to the individual axis.

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Genetic Operative Diagram

Choreographing root growth

System: root growth

Converting data to values for application

Application to outcome The application was done branch by branch, with a program selection system based on data recorded. Each axis contains a balance of different programs, meaning that each street has the set of programs to allow itself to sustain without the need for students to change axis.

The result generated a rather clustered central space with some axis colliding and some becoming isolated. The domestic environment is also suggested by the housing form that are used from the genetic operative diagram.

Spatial qualities generated: left: the entry to each axis seen from the outer street. The variation is similar to that idea of entering different shop fronts from arcades, where each establishes different experience. right: the verandah became the domestic kind of circulation for students. It is also a kind of invisible barrier that draws in students and the public.

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New Urban Civillage

Owen Hsu

Procedural Explorations. Appendix.

[TYPOLOGICAL PROCEDURAL EXPLORATIONS 5]

INVISIBLE BOUNDARIES This exploration looked at a method of creating a public campus which is established against the idea of university learning space as being private. It no longer separates the university from the city environment it sits within. The program used was the Romanesque cathedral. As a gathering space, its large vertical scale and void of each space was effective in drawing peopleâ&#x20AC;&#x2122;s attention. This quality of drawing attention can be an important attribute for the campus. Genetic Operative Diagram

The system used to alter this form was glass breaking. The aim of using breaking glass was to multiply the amount of programs and potentially create a new space and new ornaments by combining different program blocks together. This experiment was to pull out interior spaces and turning them into container facades for classrooms and other programs such as exhibition or lecture space. This will become a passive force for inviting the public to the campus, and therefore a friendly civic engagement with the campus. System: glass breaking

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Choreographing data

Application to outcome The application was done in relation to each frame of glass, with the numbers of shattering glass determining the number of duplicates each program would receive. After multiplying, the colour filters that were used to measure areas of glass were mapped back to the model and used to determine the different scaling and rotation factors.

Frame 1

Frame 2

Frame 3

Frame 4

Frame 5

Frame 6

The result generated a porous campus with several isolated public pocket learning spaces which are similar to pavilion spaces for gathering and discussion. The isolation of classrooms was also a method for creating a more domestic environment. The vertical scale of each block however, transformed this into a much more public kind of learning space.

Spatial qualities generated: left: the container facade of the nave becoming a central circulation area which draws in the public through its scale and invisible boundary. right: the exhibition area, with smaller circulation space leading towards other classrooms.

337

New Urban Civillage

Owen Hsu

Procedural Explorations. Appendix.

[TYPOLOGICAL ECOLOGIES]

THE VERTICAL DOMESTIC This exploration combined the two potential qualities for the learning environment: one being the vertical terrain from exploration 3 and the other being the domestic learning axis from exploration 4.

From the overlap of two outcomes, a new 3 dimensional relation was created for the domestic axis. This also introduced variation in utilising space, which is no longer limited to just a single level, and verticality can be used to further create privacy between classrooms, which at the same time are not being completely isolated from each other. The staircase used as gathering points can also start to encourage a stronger community between each axis.

5 6

This experiment was chosen for my projectâ&#x20AC;&#x2122;s development because it combined the vertical theater learning environment which is ideal to fit with media school and also the domestic learning axis to encourage comfort for students when they study in campus, making them want to stay longer.

1: An axis filled with various programs.

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2: Domestic classroom surrounded by stairs.

3: The backside entry that leads to the main building.

Images 4: Showing the staircase as the main terrain for building.

5: Staircase leading up to the vertical classrooms.

6: The verandah circulation area.

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Image. Axonometric view of the mid semester project development.

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[QIANQIAN (FORIS), CHEN]

ECOSPHERE.

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ECOSPHERE

QIANQIAN(FORIS) CHEN

Ecophere is a project about an intention of keeping various experiences indoors. Docklands, as it is widely known, one of the windiest area in Melbourne. And the Harbor Town was one of the projects that people planned for activating the street, but the effect was little. So the purpose of project Ecosphere was to explore ways to enrich the interior experience, and ways to activate the area in other aspects. The distribution on enriching the interior experience is divided into different parts. Firstly, as a school campus, the building provides study areas in different levels of enclosure and publicness: the main public area – the atrium; the free learning areas in different sizes and locations; workshop spaces and meeting rooms. They are aiming to response to different requirements on learning environments of different students. The main public space is located in the centre of the building, in front of the foyer. It also works as a transition between the exterior – the actual “public” and the interior. During the time when people travel further into the building, they will gradually experience and get used to the changes on the enclosure and publicness. It will soften the impact when people entering new areas. The second main aspect is the natural lighting in the interior. Light speed is seen as the fastest natural travel speed for the moment, therefore human eye is sensitive to the change on lighting environment. In the building, many areas are able to be affected by natural lights. By the change or the movement of natural light people will find clues for how the time has passed, like how ancient people judge the time by the movement of the sun. Except the sun, the different levels of exposure to the exterior environment can also create different experience under the change of weather, which ties the interior and the exterior together as well as makes them overlay to each other by blurring the boundaries between.

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Project Introduction

About activating the area, one of the ways that had been explored in this project, is by building relationships to the CBD instead of only the surrounding area, because information and messages always spread faster than footsteps. In this project, the reflections and connections are specifically to the city campus of RMIT. The approaches started from the use of colors that were bright and strong in contrast onto the materials, then extracting elements from RMIT buildings, digital precedents or forms, and other relative themes or projects. No matter what and how these elements will exactly reminds people with, the action of having the thoughts already is a piece of connection.

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Street View across the road. The first view from the students travelling on trams. The logo of the university and the bright color will be the strongest impression, which makes the building easily recognisable.

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E LE

Aarial View from the south-east The bright, contrast colors and the pixel-like components are considered as the identity of the campus.

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R EA

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ECHOSPHERE

QIANQIAN (FORIS) CHEN

Street View from Pearl River Rd Presenting the rhythm of the form, the facade and a small public area on the back of the building.

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Project Images

Another Street View across the road Presenting the groups of pattern on the facade facing the south, where need to be kept from the setting sun without blocking the visual connection to the exterior. They are also reflections of picels and the Capitol Theatre.

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ECOSPHERE

Views of the Atrium.

QIANQIAN (FORIS), CHEN

The atrium is the centre of the building as a public space for students and staff. It provides a relatively open area for gathering,

352

Project Images

studying or events. The hollow pattern on the ceiling helps control the amount of sunlight. The movement of light can enrich the interior experience.

Image Top: A corner of the free learning space for STEAM Hub on Lv3. Mainly for people in groups. The sunlight only goes through the gap of the facade during sunset as a remider of time.

Image Bottom: Another corner of the free learninf space for STEAM Hub, mainly for people who work alone or in smaller groups.

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ECOSPHERE

QIANQIAN (FORIS), CHEN

CONCEPT &ELEMENTS [REFERENCES & ANALYSIS]

In the previous stage of the developments. Cathedrals had taken an important part in the building elements. Therefore in further developments, the precedent needed to be strong in impact, and recognizable like cathedrals. Considering the relationship to the city campus, the main precedent was then decided to be the Capitol Theatre. The key words in this projects are generally: “campus“, “media“ “learning environment“. So some the relative objects and projects were selected as suggesting elements.

Although the main idea of this project is to keep people indoor, a simple outdoor space was provided at the back of the building in order to satisfy the requirements for outdoor aactivities. Inspired by the sandbox game Minecraft, the space contains numbers of cubes covered with artificial grass in a size of 500 x 500 x 500 mm. People can freely use them as seats, tables or for any creative purpose.

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CONCEPTUAL DIAGRAM

THE CAPITOL

RMIT NAS

CRYSTAL CATHEDRAL

ORIGINAL EXPLORATIONS:

THE CAPITOL

OPTICAL GLASS HOUSE

PIXELS RMIT INFO CORNER

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ECOSPHERE

QIANQIAN (FORIS), CHEN

SPATIAL DIAGRAM

SPATIAL DIAGRAM [GRADATION OF PUBLICNESS]

More Public

The level of the publicness is decreased progressively with the location of the space. The spaces that need to travel further from the centre - the main public space / the atrium, are considered more private.

More Private

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THIRD FLOOR

SECOND FLOOR

FIRST FLOOR

GROUND FLOOR

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ECOSPHERE

QIANQIAN (FORIS), CHEN

GROUND FLOOR PLAN

1. Flexible Space 1 (for events/galleries/learning - 253m2 2. Canpus Store & Coffee Shop - 77m2 & 85m2 3. Physical Effect Workshop 1 - 66m2 4. Object Preparation & Preservation Space - 73m2 5. Equipment Storage Space - 79m2 6. Equipment Loans & Stprage Space - 70m2 7. Server Room 1 - 30m2 8. Server Room 2 - 15m2 9. Public Space 10. Foyer

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2 1

4 UP

2 10

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ECOSPHERE

QIANQIAN (FORIS), CHEN

1ST FLOOR PLAN

5 7

1. Green Screen Studio 1 - 166m2 2. Green Screen Studio 2 - 57m2 3. Green Screen Studio 3 - 57m2 4. Control Room 1 - 42m2 5. Control Room 2 - 30m2 6. Control Room 3 - 40m2 7. Production House - 46m2 8. STEAM Schools Hub 9. Public Space

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ECOSPHERE

QIANQIAN (FORIS), CHEN

2ND FLOOR PLAN

1. Flexible Workshop Space - 117m2 2. Office - 166m2 3. Editing Suite 1 - 57m2 4. Editing Suite 2 - 40m2 5. Flexible Workshop Space - 46m2 6. Physical Effect Workshop 2 - 87m2 7. Meeting Room - 30m2 8 & 9. Free Learning Space

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ECOSPHERE

QIANQIAN (FORIS), CHEN

3RD FLOOR PLAN

1. Flexible Space 2 (for events/galleries/learning) - 166m2 2. Flexible Space for STEAM School Hub - 177m2 3. Free Learning Space for STEAM Hub 4. Meeting Room

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ECOSHPERE

QIANQIAN (FORIS), CHEN

CROSS SECTION

1. Foyer 2. Flexible Workshop Space 3. Free Learning Space for STEAM Hub 4. Public Space - Atrium 5. Retail - Coffee Shop

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ECOSPHERE

QIANQIAN (FORIS), CHEN

LONG SECTION

13 12

1. Foyer 2. Flexible Space for events 3. STEAM Schoo Hub 4. Flexible Workshop Space 5. Free Learning Space 6. Free Learning Space for STEAM Hub 7. Bathroom 8. Free Learning Space for STEAM Hub 9. Flexible Space for STEAM Hub 10. Physical Effect Workshop 11. Green Screen Studio 2 12. Server Room 1 13. Public Space

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Procedural Explorations. Appendix.

[ECOSPHERE]

APPENDIX [SECOND STAGE OF DEVELOPMENT]

In the design outcome on Mid-semester, the elements were basically extracted from the previous explorations, which resulted in a lack of relationships to the identity of the university and the local contents. Therefore in the following weeks one of the purpose of the development was to tranform this outcome from “a building“ to “a RMIT building“, also with considerations based on the early site studies.

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The form was changed as a reflection to pixel and the elements in the Capitol Theatre

The part of the building was rotated to the south to allow more sunlight into the northern part of the building

Changes were applied onto the plain surface to create variaty and more sunlight for the interior which was shining from the northern east.

Openings with glass glazing were applied mainly on the northern side of the building, and parts of the southern side which facing east.

A group of hollow pattern was applied onto parts of the facade. They mainly located on the southern side as a shade from the setting sun without blocking the visual connection to the exterior. The pattern was also used on the ceiling in the atrium to prevent overheat.

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ECOSPHERE

QIANQIAN (FORIS), CHEN

Procedural Explorations. Appendix.

[TYPOLOGICAL PROCEDURAL EXPLORATIONS 1]

SPATIAL BLOSSOMS FORM , TYPE & PROCESS

"These afford a variety of spatial experience that supports the adaption of teaching methods to suit varied learning and teaching needs." "...; they share a direct visual relationship, connecting intellectual and manual subjects" - Prue Chiles, From Ideas of Learning to Architectural Form

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GENERAL OPERATIVE DIAGRAM: - Main Components in auditorium projects

Ceilling Installations Seats Arrangements Auditorium/seats Stage Supporting Programs (Foyer, Storage, Toilects, etc)

SYSTEM & PROCESS In this exploration, the outcome was generated by a generic type of auditorium with a rotation system abstracted from flower blossoms.

Rotations, bendings and duplications; The expectation of the exploration was to create a building with stronger spatial connections and relationships with a series of centralized operations.

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ECOSPHERE

QIANQIAN (FORIS), CHEN

Procedural Explorations. Appendix.

[TYPOLOGICAL PROCEDURAL EXPLORATIONS 2]

VEINS TO BONES TERRAFORMER & FORMING ABSENCE

In this exploration we were looking at the potential of the spatial structure in airports.

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GENERAL OPERATIVE DIAGRAM: - Circulations in airports

The interesting points in airport circulations are: the circulation is passively guided by the spatial structure, with clear purpose from the entry to the exit/ terminals and secondary guidance to retails and amenities Main Route Secondary Routes - Retail Secondary Routes - Toilets

SYSTEM & PROCESS *inwards

Application Of Transformation Area Force Direction

*Outwards &Downwards

*Outwards

Fig.1

Fig.2

Fig.3

Fig.4

Fig.5

Fig.6

Fig.7

Fig.8

Fig.9

/ /

18% inwards

46% Inwards & outwards

79% Inwards & outwards

95% outwards

100% outwards

200% outwards

470% outwards

560% Outwards & downwards (gravity)

Stage 1

Stage 2

Stage 3

But can the circulation become the spatial structure itself? The purpose of the exploration was to test the potential of circulation forms.

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ECOSPHERE

QIANQIAN (FORIS), CHEN

Procedural Explorations. Appendix.

[TYPOLOGICAL PROCEDURAL EXPLORATIONS 3]

MAZE RUNNER ASSIMILATED LANDSCAPE & THE PULIC INSTITUTION

A general museum doesn't have a completely clear sense of guidance in its space arrangements. Since the exhibits in different galleries/ exhibition halls are not much related, the circulation area doesnâ&#x20AC;&#x2122;t contain much intention for order and specific destination. Instead, it lets the visitors to plan their own visit and make their own routes. The only things the circulation area offers are choices.

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GENERAL OPERATIVE DIAGRAM:

Circulation Areas

- Circulations in Museums

Exhibition Halls & Other Functions

SYSTEM & PROCESS (Tide height on the tip - average tide height 0.46) x 10 Number of the hours

- Char t for M ovements of S ec tions from Tide -

Number of the minute x 0.1

NW 10-11

N 12 1-2

W 9 SW

7 -8

3 E 6 S

4-5

-1 SW 5.7

-1.6 NW 1

-2.2 NW 0.5

-2.8 NW 5.3

-3.3 N 3.8

-3.6 NE 2.1

-3.8 NE 0.4

1.7 NE 3.3

2.1 E 5.8

2.6 SE 0.5

3.1 W 0.3

3.5 S 5.5

3.7 SW 4.4

3.8 SW 3.2

-3.5 W 3.1

-3.5 NW 3.6

-3.3 NW 3.1

-3.1 S 1.9

-2.7 NE 0.3

-2.2 NE 4.5

-1.6 NE 2.5

1.9 SE 1.8

2.3 SE 0.4

2.6 SE 4.6

3 N 2.5

3.3 SW 0.2

3.6 SW 3.9

3.7 SW 1.6

Ver t ical H o r izo nt al

-1 SW 5.7

Un it : M eters

What if the students can freely plan their activities and journey of a day in a building? The exploration was to find the potential pattern in spatial conditions starting from breaking down the components.

The outcome revealed possibilities for outdoor and self-directing study spaces.

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ECOSPHERE

QIANQIAN (FORIS), CHEN

Procedural Explorations. Appendix.

[TYPOLOGICAL PROCEDURAL EXPLORATIONS 4]

UPON& UNDER THE STAGE HYBRID DISPOSITIONS

In this exploration we started with breaking down the interior space of theatres into different zones. The space in the theatre can be seperated into different parts by a gradation of their publicness. How these areas can be analysed and their arrangement in a building was the points we were interested in.

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GENERAL OPERATIVE DIAGRAM: - Theatre Volumes Stage Private Circulation Auditorium Public Circulation Dressing Rooms VIP Dressing Mechanical

SYSTEM & PROCESS

(Lowest Latitude ~ Highest Latitude)

Public Circulation (0 ~ 35) VIP Dressing (20 ~ 40) Dressing Rooms (40 ~ 50) Green Rooms (45 ~ 60) Box (55 ~ 70) Private Circulation (65 ~ 85) Auditorium (75 ~ 90) Stage (70 ~ 90) Mechanical (80 ~ 85) Way of applying system: Divide different componenets in half rotate each half in degrees as the related latitude

The blue component in the exploration became a main corridorlike space that curated other spatial components together, with some potential voids/atriums. The context and the building, the different spaces in a building; their relationship can be consider as the actor and the audience: They are presenting to and for each other

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ECOSPHERE

QIANQIAN (FORIS), CHEN

Procedural Explorations. Appendix.

[TYPOLOGICAL PROCEDURAL EXPLORATIONS 5]

ANATOMY TECTONICS & IDENTITY

What will we find if we take a cathedral apart? What if we consider parts as just parts? The exploration this week we tried to destruct cathdrals in 3 layers: the facade, the spatial volume, and the structure. Started from then, if parts working individually, there must be some spatial potentials within them.

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GENERAL OPERATIVE DIAGRAM: - Romanesque Cathedrals (exploded) Nave Dome Aisle

- Facade Layer

Transpet Narthex Apse

- Spatial Volume Layer

- Structure Layer *Rotation center: component center point *Relovution center: GOD center point

SYSTEM & PROCESS Application Area Rotation Speed –degree/hr Rotation Time –hr (density x10 of the first 6 planets/star ) Revolution Speed – degree/30days

Revolution Time – X*30day(s (density x10 of the last 6 planets )

Planet for Speed Reference

Facade

Volume

Structure

14°/hr

15°/hr

0.25°/hr

360° - 687 days = 16°/ 30 days 18

Mars

360° - 365 days = 29°/ 30 days 13

Earth

360° - 88 days = 122°/ 30 days 13

Mercury

Building elements contain spatial value, so they have potential to be the space itself instead of parts of it. The level of hollowness in the different layers present different spatial conditions which have potential to be developed into learning spaces requiring different levels of enclosure.

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ECOSPHERE

QIANQIAN (FORIS), CHEN

Procedural Explorations. Appendix.

[TYPOLOGICAL ECOLOGIES - CONCEPT DEVELOPMENTS]

“MULTIVERSE“ EXTERIOR INSIDE INTERIOR

CONCEPTS AND CONSIDERATIONS

1. Levels of Enclosure - Visual Connection between different space - Connection and expericence of exterior / weather without being exterior.

Solid / Enclosed Hollow In between

- gradience of publicness

2. Spatial Arrangements - Flexible circulation - Spatial relationship and stoty that can be explored differently - Multi-purposed Areas that bring spaces together

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GOD in Exploration 3

3. Voids and Atriums - Natural lights: a sensible time lapse

Gibraltar University / Ayaltointegral

Erasmus University Rotterdam / Paul de Ruiter Architects

4. About the Site - Obvious difference of wind direction in different seasons It provides another guidance on the requirements of orienation and ventlation to suit different seasons.

Moderate 19.8-28.8 km/h Fresh 28.8-38.9 km/h data from WillyWeather & Melbourne weather station at Olympic Park

Sun Path

The sun path shows that the sunlight mainly came from the north side, which suggests the location of the atrium.

Local Contexts

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RICKY AMOS

MEDIA LABORATORY

385

Media Laboratory

Ricky Amos

The Docklands Media Lab is a laboratory for innovation, ideas, and experiments in the field of film, television, games, and audio production. Within the building, programs are intermingled and mixed together, creating a sensation of freedom and experimentation. Some spaces, such as the green screen studios, are isolated due to specific requirements such as noise and light, while other programs sit side-by-side in the â&#x20AC;&#x2DC;long roomâ&#x20AC;&#x2122;. The long room contains studying zones, game production spaces, editing suites, and start-up spaces. On the peripheries of the long room are offices, a maker space, and a physical effects workshop. The long room winds through the building, and functions as its circulation. There is parallel circulation in other parts of the building which is more rational, enabling quick and easy cirulation around the building. In order to accommodate all the programs and their varied noise and light requirements, the room is flexible. Sliding walls can isolate certain spaces and can be slid away when not required. Dynamic opportunities and potentials are generated within the long room. The mixing of different programs enables interdisciplinary activity. Graduates or startup companies can utilise the space and work with students on professional projects. The long room facilities cross-disciplinary networking and creates a level of openness which encourages experimentation. The idea of the sticky campus was also an important factor in the design of the building. During breaktime, students can retreat to certain parts of the buildings which contain kitchens, toilets, lounge areas, and sleeping pods. The public areas of the building comfortably interact with the learning areas of the building without getting in the way. Both areas share the same courtyard and theatre, and are accessible to each other, however they are not mixed together. On occasions where

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Project Introduction

public interaction is desired, this can take place within the STEAM hub and maker space, which sits on the periphery of the long room. There is also a rooftop space which, while normally used for studying and relaxing, can also host public events. The design process for the Media Lab involved the procedural modification of the cantilever bridge typology and the library typology. The cantilever bridge had a number of transformations acted upon it which were derived from a game of tetris. The library was transformed based on a random number generator. The end result of these experiments was a number of building segments, which were then pieced together on the site using an online darts game to determine the location and rotation of the segments. Each procedural experimentation was performed with a specific typology behaviour in mind. The behavior of occupying the space within a steel frame was amplified in the bridge experiments, and the balcony circulation was amplified in the library experiments. The facade of the building expresses the buildingâ&#x20AC;&#x2122;s program. Certain programs require certain shaped spaces, which were slotted into the appropriate part of the frame. For example, on top of the building in the centre is the theatre, which is slotted within a bridge segment that slopes upwards. The shape of the segment is appropriate to the theatre program. The building connects with the civic landscape through program and appearance. Art galleries and exhibition spaces attract visitors and showcase the talents of RMIT students, graduates, and local artists. The central courtyard provides a meeting place for the community, is wheelchair accessible, and contains a cafe. The building itself also acts as a landmark to attract visitors to Docklands.

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Image. Description of project view describing the ideas and propositions being exhibited.

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The public entrance is located on the southern corner of the site. An art gallery is located near the reception area, showcasing student work. Another exhibition space continues up the tower on the left.

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Project Images

Image: Stairs lead down to the central outdoor area, in which there is a cafe and an entrance for students and start-up employees. The sunken central area is also accessible via wheelchair. Elevated walkways are located above, connecting different parts of the building.

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Above: The central area can be accessed from the southern end of the site. Above are central walkways, along with a public exhibition space and auditorium.

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Project Images

Below: The domestic space on the right opens up to an outside terrace where students can relax. Terraces above are accessible via a staircase within the vertical component on the left.

Image Top: Spaces for game production, video editing, studying, start ups, and more are mixed together in one long room, creating a dynamic environment for collaboration and idea sharing.

Image Bottom: The maker space opens up into the long room, enabling the interaction between students and the public.

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A. PREPARATION - GOD 1. Extract the atrium part of the GOD and represent it as a simplified 2D plan. B. MANIPULATE 1. Using the random number generator, adjust the width, length, and position of each bay within the atrium. Do this five times 2. Select the bays on the right side of each plan and represent them as rectangles. 3. Shift the rectangles so that the right sides are aligned. 4. Stack each of the five parts on top of each other. Represent these as bays. Also extend the right side outwards 1m. 5. Use the random number generator to generate numbers between two and seven. Divide the bays up into four segments, each containing two to seven bays. 6. Use the same cut lines to split up the remaining bays. 7. shift the bays so that they match the width of the cuts. 8. Flip the bays on the right and align them with each other. 9. Bring them together. 10. Rotate the bay walls between -15째 and 15째. 11. Rotate each segment between -10째 and 10째.

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Design Process

GENERIC OPERATIVE DIAGRAM

B4.

A1.

B1.

B2.

B3.

B5.

B6.

B7.

B8.

B9.

B10.

1:2000

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A. PREPARATION - GOD 1. Transform the GOD to resemble different tetris pieces. There should be seven in total. Each part will need to be scaled and skewed to fit. Consider that each tetris pixel is equivalent to 4 x 4 metres. B. DATA/BEHAVIOUR GATHERING 1. In illustrator or a similar program, create the seven tetris blocks using four squares, and a tetris board 10 blocks wide. 2. Record a video of the tetris game so that you can gather data from it. In tetris, when a row fills up with blocks, it will be cleared. For your diagram, you will want to show these rows which have disappeared. 3. Follow each move in the video recording by placing the tetris blocks onto the board. Do not delete rows that have been cleared. You want to show what the board would look like if none of the rows disappeared. If two pieces intersect, place the new piece over the old piece. 4. Flip the board on its side. 5. Write down the points that each tetris piece earned. a. As each tetris piece falls, you can press the spacebar to drop it down and move on to the next piece. Points are gained depending on the height from which the piece is dropped. b. The score is recorded cumulatively, meaning you will have to subtract each score from the previous to figure out the points each piece earned. c. When you clear a line you will also score points. Subtract these points from the score. C. MANIPULATE - SCALING AND STACKING 1. Replace each tetris piece with the ones derived from the GOD. 2. Scale each GOD piece based on the score associated with it. a. The score represents a percentage. Times that percentage by three. b. If the score is 30, scale it to 190%. If it is 24, scale it to 178%, etc. 3. Looking at the old tetris board, delete all the pieces that are not within three pieces of the bottom edge. a. Look from the centre of each piece. If there are more than two pieces below it, then the piece should be deleted. 4. Do the same for the GOD pieces. 5. Stack each GOD piece on top of each other. Use the centre-line of each piece to determine which piece it should be stacked on top of. D MANIPULATE - EXTRUSION AND SEGMENTING 1. Represent the pieces in 3D as 6m wide. 2. Extrude the bottom layer so that it becomes 12m wide. Extrude the middle layer to be 8.5m wide. 3. Use a random number generator to shift the bottom row between -6m and 6m, shifting the blocks directly above with it. 4. Divide the building into six segments.

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Design Process

GENERIC OPERATIVE DIAGRAM

22 26

18 16 18

14 14

26 14 22 12

26 28 26 22 26 18 30 14 30 20 26 34 26 26 30 26 28 1222 16 28 26 2632 26 26 26 22 26 28 18 30 30 24 20 34 24 14 28 26 30 3026 26 30 26 26 826 12 26 26 26 2626 24 28 22 18 2430 24 24 30 30 3034 28 26 30 26 8 26 26 26 26 24 22 24 28 24 24 30 30 26 8 26 24 22 24 2632

16 26

8 8

6 8

10 12 8

A1.

14 20 4 8 18 18 6 16 18 20 24 16 16 12 14 14 128 18 16 14 8 14 24 20 16 20 4 18 18 4 28 8 18 22 6 24 18 16 16 16 12 20 16 20 12 18 24 816 24 20 14 14 12 16 18 20 22 10 4 4 18 22 28 18 16 16 16 20 24 12 12 24 24 20 22 12 16 16 10 18 4 28 22 16 20 12 24 22 12 16 10

18 8

10 0

12 10 10 8 180 0 8 4 12 8 0 10 8 180 4 8 0 12 0 4 0

8 0 8

0 2

0 8

0 4

0 28

0 0

B5. 32

12 28

26 26 24

8 22

24 26

26 26 18

30 26

26 26 34

28 26 24

8 8

20 24 24

28 22

10 16 8 16

8 14 16

12 10

0 12

22 24

8 4

0 4

2 0

C3.

12 28

26 26

26 24

24 26

30 26

B2.

26 14 26

26 34

8 22

28 26 24

8 8

20 24 24

28 22

8 14 16

12 10

0 12

22 24

10 16

14 18

8 4

C4.

0 4

2 0

C5.

D1.

D2.

D3.

D4.

1:2500

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A. COLLATING 1. Play an online dart game and record it so that you can view it later. Record the score for each dart thrown. Three darts are thrown each turn. The first measures direction, the second measures the distance along that direction, and the third determines the rotation. Map this out on a circular field as such. 2. The first six turns determine the position of the bridge segments. The rest of the turns determine the position of the library segments. 3. Use a random number generator to assign each of the six bridge segments with a corresponding location in D2. Do not assign the library segments with a location. Instead, use a placeholder. 4. Overlay the segments over one another 5. Delete excess library segments according to your judgement so that you are left with four. 6. Use a random number generator to assign each of the four library segments with a corresponding location in D5. This is the final raw result. 7. The final result after the raw result has been processed and modified to fit the requirements of the building.

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Design Process

A1.

A2.

A3.

A4.

A5.

A6.

A7.

1:2500

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Ground Floor

161

6 7

9 8

Legend 1. Long Room a. Game Production Space b. Study Space c. Start-up Space d. Editing Suites e. STEAM hub & Maker Space 2. Green Screen Studio 3. Control Room 4. Physical Effects Workshop 5. Flexible Worshop Space 6. Reception 7. Event Exhibition Space 8. Permanent Art Exhibition Space 9. Cafe 10. Domestic Space a. Kitchen b. Lounge 11. Toilet 12. Server Room 13. Loans and Storage Space 14. Office Space 15. Object Preparation and Preservation Space 16. Equipment Storage 17. Tower (Void) 18. Flexible Outdoor Space

400

4 3

616 11

11 10

13 2

5 4

1:400

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First Floor

10a

402

11 11

10a

11 10b

1:400

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Second Floor

10a

10b

Legend 1. Long Room a. Game Production Space b. Study Space c. Start-up Space d. Editing Suites e. STEAM hub & Maker Space 2. Green Screen Studio 3. Control Room 4. Physical Effects Workshop 5. Flexible Worshop Space 6. Reception 7. Event Exhibition Space 8. Permanent Art Exhibition Space 9. Cafe 10. Domestic Space a. Lounge b. Kitchen 11. Toilet 12. Server Room 13. Loans and Storage Space 14. Office Space 15. Object Preparation and Preservation Space 16. Equipment Storage 17. Tower (Void) 18. Flexible Outdoor Space

404

11 11

11 1d 11

10a

10b

1b 18

1:400

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Media Laboratory

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Longitudinal Section

1:300

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Procedural Explorations. Appendix.

[PROJECT TITLE]

APPENDIX I conducted five experiments relating

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Procedural Explorations. Appendix.

[TYPOLOGICAL PROCEDURAL EXPLORATIONS 1]

CITY SQUARE

A. PREPARATION - GENERIC

OPERATIVE DIAGRAM PROCEDURAL EXPLORATION 1. Place the GOD on the site, and scale PROCEDURAL EXPLORATION APPLICATION

A1-B4

it to 30% so that there is enough room APPLICATION around the building and inside the square. 2. Divide the surface so that each subbuilding and floor is marked out.

ER ER RN RN CO CO O O IC IC RT RT PO PO ER ER RN RN CO CO O O IC IC RT RT PO PO R R E E RN RN CO CO O O IC IC RT RT PO PO ER ER RN RN CO CO O O IC IC RT RT PO ER ER RN RN CO CO

A. PREPARATION - GENERIC OPERATIVE DIAGRAM 1. Place the GOD on theOPERATIVE site, and scale it to 30% so that there is A. PREPARATION - GENERIC DIAGRAM enough around thesite, building the square. 1. Place room the GOD on the and and scaleinside it to 30% so that there is 2. Divideroom the surface each sub-building floor is marked enough aroundso thethat building and inside theand square. out. 2. Divide the surface so that each sub-building and floor is marked

B. DATA/BEHAVIOUR GATHERING 1. Mark out each floor of the GOD and divide it into sections of 10m length. 2. Create a 10 x 52 grid, which represents the 2D net of the GOD. Certain rectangles will be blank where they represent the inner edges of the building’s corners. Also make blank the grids which represent the entrance within it. Some cells may have multiple earthquakes. C. MANIPULATE - EXTRUDE Do HORIZONTALLY porticos. not make blank the 1. Each white grid marked on the surface will be extruded a C. MANIPULATE - EXTRUDE HORIZONTALLY permeable parts of with the building. particular length atmarked a particular angle, these being 1. Each white grid on the surface will be figures extruded a derived the at spreadsheet. 3. from Extract a angle, map displaying the particular length a particular with these figures being 2. The data is to be interpreted so that the date is a measurement of derived from the spreadsheet. locations of inApril the anThe angle between and earthquakes 135°.so March 2015 = 45°, 2015North = of 2. data is to be45° interpreted that the date is a measurement 46.5°, March 2020 = 135°. The magnitude is a measurement of an angle between 45° andZealand 135°. March 2015 = 45°,the April 2015 Island New from last= five length such that a magnitude 3.5 = 0m. is a measurement of 46.5°, March 2020 = 135°. Theofmagnitude a. For the half of athe grid representing years. length such that magnitude of 3.5 = the 0m.inner side of the GOD, each increase in the magnitude of 0.1 is equal to 0.5m. a. For the half of grid representing inner side of of the GOD, 4. Lay out the 2D netthe on top the map, b. For the half of grid representing the outer side of the GOD, each increase in the magnitude of 0.1 is equal to 0.5m. each increase in the magnitude of 0.1 is equal to to 1m. skewing and rotating fit.of the GOD, b. For the half of grid representing the it outer side 3. The angle of extrusion extends in a clockwise direction along the each increase in magnitude of 0.1 is equal to 1m. 5. Create a extends spreadsheet to represent horizontal plane, beginning parallel the edge of the building. 3. The angle of extrusion in to a clockwise direction along the 4. The portico entrances not betoextruded. horizontal beginning the edge of thecell, building. write the plane, 2D net.shallparallel Inside each 4. The portico entrances shall not be extruded. D. MANIPULATE - EXTRUDE DOWNWARDS down the date and magnitude of each 1. Each new- EXTRUDE extrusion shall be extruded downwards to that it D. MANIPULATE DOWNWARDS earthquake that falls within it. Some reaches the ground. 1. Each new extrusion shall be extruded downwards to that it 2. Cut away the parts of the building outside the site boundary. cells may have multiple earthquakes. reaches the ground. 2. Cut away the parts of the building outside the site boundary. E. PERMEATE 1. Tunnels of 3m in height and 2.88m in width shall be extruded E. PERMEATE along and of cut3m outinwhere original passageways 1. Tunnels heightthe and 2.88mpermeable in width shall be extrudedwere. along and cut out where the original permeable passageways were.

out. B. DATA/BEHAVIOUR GATHERING 1. Mark out eachGATHERING floor of the GOD and divide it into sections of 10m B. DATA/BEHAVIOUR length. 1. Mark out each floor of the GOD and divide it into sections of 10m 2. Create a 10 x 52 grid, which represents the 2D net of the GOD. length. Certain rectangles bewhich blankrepresents where theythe represent thethe inner edges 2. Create a 10 x 52will grid, 2D net of GOD. of the building’s corners. blank grids which represent Certain rectangles will be Also blankmake where theythe represent the inner edges the entrance porticos. Do not make blank the permeable parts of the of the building’s corners. Also make blank the grids which represent building. the entrance porticos. Do not make blank the permeable parts of the 3. Extract a map displaying the locations of earthquakes in the North building. Island Newa Zealand from thethe last five years. 3. Extract map displaying locations of earthquakes in the North 4. Lay out 2D netfrom on top thefive map, skewing and rotating it to fit. Island Newthe Zealand theoflast years. 5. spreadsheet to represent theskewing 2D net. Inside each cell, 4. Create Lay outathe 2D net on top of the map, and rotating it to fit. write down the date and magnitude of each that falls 5. Create a spreadsheet to represent the 2D earthquake net. Inside each cell, withindown it. Some cells and may magnitude have multiple earthquakes. write the date of each earthquake that falls

11/16 4.8 1/18 4.3 9/16 4.7 7/17 4.1 9/16 4.7 7/17 4.1 x x x x x x x

11/17 4.3 9/16 4.1 6/16 4.6 11/17 4.3 9/16 4.1

9/18 4.2

1/18 4.7

9/19 4.5

12/15 4.8 1/18 4.7

1/20 4.1 3/15 4.3 9/19 4.5

8/16 4.4 2/17 4.2

10/15 4.2 3/16 4.3 12/15 4.8

1/20 4.1 1/20 5.1 3/15 4.3

8/16 4.4 11/19 3.6 2/17 4.2 10/16 4.3

9/19 3.7 11/16 4.3 3/17 4.4 10/15 4.2 3/16 4.3

1/20 5.1

1/20 4.5 11/19 3.6

10/15 4.6 9/19 3.7 7/17 4.0 11/16 4.3 3/17 4.4

10/16 4.3

1/20 4.5

4/17 4.2

11/16 4.6

4/17 4.2

11/16 4.6

7/15 4.3

9/18 2/18 5/16 4/16 9/18 5/16 2/18 5/16 4/16 5/16

10/15 4.6 7/17 4.0

6/16 4.6

5/18 4.3

4.3 4.3 4.4 4.8 4.3 4.8 4.3 4.4 4.8 4.8

10/19 4.3 12/17 4.5 10/17 4.6

6/19 4.1

5/18 4.3 9/18 4.2

1/18 4.3

x x

5/18 4.5

1/16 4.1

1/16 4.4 3/16 4.3

3/17 4.3 11/17 4.6 1/19 4.9 1/16 4.1

1/16 4.4 3/16 4.3

3/17 4.3 x x 11/17 4.6 1/19 4.9

1/18 4.2 7/15 4.3

x x x x

1/18 4.2

x x x x

9/19 4.3 12/17 4.2 9/18 4.3 9/19 4.2 8/16 4.4 12/17 4.2 9/18 4.3 9/19 4.2 8/16 4.4

9/19 4.6 9/17 4.1 2/19 4.1 9/19 4.6 9/17 4.1 9/19 5.1 2/19 4.1 11/15 4.5 9/19 5.1

x x x x x x x x x

5/19 1/17 4/17 9/19 5/18 5/19 1/17 4/17 5/18

4.2 4.5 4.1 4.3 4.5 4.2 4.5 4.1 4.5

11/15 4.5 5/16 4.4

5/16 4.4

8/15 4.3

7/16 4.5

5/16 4.4 9/15 4.6 7/15 4.4 3/17 4.2

1/16 4.6 10/15 5.6 11/17 4.3 1/17 4.1 10/15 4.3 5/18 4.5

7/15 4.4

x x

1/19 4.3

10/19 4.9

9/19 4.5 1/16 4.7

2/18 4.7 3/17 4.3 1/17 4.4

3/17 4.5 4/17 4.4

2/18 4.7 3/17 4.3 11/17 4.2 10/19 5.1 12/15 4.5 1/17 4.4

11/16 5.0 12/16 4.6 x x

x x

4/17 5.0

11/16 5.0 4/19 4.2 x 12/16 4.6 x

x x

4/17 5.0

5/19 5.1 4/19 4.2

x x

5/19 5.1

x x

1/16 4.7

9/16 4.5 6/18 4.6

11/15 5.3 9/16 4.4 7/18 4.4

2/18 4.7 10/17 4.6 5/19 4.4

5/19 4.0 9/16 4.4

x x

2/18 4.7

6/15 4.0 5/19 4.0

4/17 4.2 11/18 4.7 x x

6/18 4.1

5/19 4.0

8/16 4.2 6/15 4.0

4/17 4.2 x 11/18 4.7 x

6/18 4.1

11/16 5.9 2/16 4.5 11/16 4.3 5/19 4.0 8/16 4.2

x x

9/19 4.0 8/15 4.3 11/16 5.1 1/20 5.1 11/16 4.7 3/18 4.3

3/16 4.2

2/17 4.9 1/17 5.0 1/17 4.9 10/15 4.8

10/15 4.8

9/19 4.0 8/15 4.3 8/19 4.1 11/16 5.1 1/20 5.1 11/19 5.8 10/17 5.0 3/16 4.3 5/16 5.1 3/19 4.6 6/18 4.3 8/19 4.1 4/18 4.5 11/19 5.8 10/17 5.0 3/16 4.3 1/19 4.5 5/17 4.9 4/16 4.2 5/16 5.1 3/19 4.6 6/18 4.3 4/18 4.5 11/17 4.8 1/19 4.5 5/17 4.9

9/16 4.5 12/19 5.0 6/18 4.6 12/19 5.0

4/16 4.2

5/16 4.6 2/16 4.5 5/16 4.6 5/17 4.6 3/17 4.9 5/17 4.6 3/17 4.9

11/17 5.5 8/17 4.3

3/19 4.6 2/16 4.4 10/15 4.2 2/20 4.4 2/19 4.7 7/15 4.4 3/19 4.6 10/18 4.9 2/16 4.4 12/18 4.3 2/17 4.3 10/15 4.2 2/20 4.4 4/15 4.2 5/17 4.3 2/19 4.7 7/15 4.4 7/19 4.0 10/18 4.9 7/15 4.5 12/18 4.3 2/17 4.3 10/16 4.8 4/15 4.2 5/17 4.3 7/19 4.0 7/15 4.5 10/16 4.8

11/17 5.5 8/17 4.3

6/16 4.6

6/16 4.6 9/16 4.2

8/19 4.8 10/16 4.2 x 8/19 4.8 x 10/16 4.2 x

9/17 4.7

4/15 4.4

4/15 4.5 9/16 4.2

9/17 4.4 9/17 4.7

4/15 4.4

4/15 4.5

9/17 4.4

2/16 4.5

11/17 4.8 11/17 4.8 11/17 4.8

3/17 4.6

10/17 4.6 5/19 4.4 5/16 4.4

6/19 4.7

11/16 5.9 2/16 4.5 11/16 4.3

12/19 5.1 6/19 4.4 4/19 4.3 10/17 5.0 11/16 4.7 3/18 4.3 11/17 4.2 6/18 4.7 12/19 5.1 9/16 4.5 6/19 4.4 4/16 4.8 3/17 4.8 4/19 4.3 10/17 5.0 2/17 4.9 11/17 4.2 6/18 4.7 1/17 5.0 9/16 4.5 1/17 4.9 4/16 4.8 3/17 4.8

3/17 4.6

5/16 4.4

11/17 4.3

10/17 4.2

6/18 4.3 6/19 4.4

2/16 4.2

11/15 5.3 7/18 4.4

5/16 4.4 9/15 4.6 3/17 4.2

8/17 4.4 12/18 4.4 4/19 4.4 1/16 4.6 10/15 5.6 1/17 4.1 10/15 4.3 5/18 4.5 12/15 4.8 8/17 4.4

11/16 4.7 4/19 4.6 12/19 4.2 9/19 4.5 4/17 4.2 2/20 5.1 11/19 4.1

12/15 4.5

11/17 4.2 10/19 5.1

12/15 4.8

10/19 4.3 6/18 4.3 5/15 4.2 12/16 4.4 5/15 4.7 6/19 4.4 6/19 4.3 6/17 4.1 3/18 4.1

4/17 4.4

3/17 4.5

9/17 4.5 6/15 4.3 8/19 4.3

2/16 4.2

7/18 4.9 6/19 4.7 10/18 6.1 7/18 4.9

12/18 4.4 4/19 4.4 6/19 4.2

x x

10/19 4.9

4/19 4.5

11/17 4.0 6/19 4.2 7/17 4.1

9/17 4.5 6/15 4.3 8/19 4.3

11/16 4.7 4/19 4.6 12/19 4.2 4/17 4.2 2/20 5.1 11/19 4.1 7/19 4.2 10/17 4.2

5/15 4.2 6/19 4.3

4/17 4.2 6/19 4.0

4/16 4.4 11/17 4.0 7/17 4.1

10/19 4.3 12/16 4.4 5/15 4.7 6/17 4.1 3/18 4.1

7/16 4.5

5/16 4.9

1/16 4.1 11/16 4.0

7/19 4.2

10/18 4.3 1/18 4.4 9/19 4.2 10/19 4.4 4/18 4.6 1/17 4.0 7/18 4.3 12/16 4.1 11/19 4.1 5/19 3.7 9/18 4.8 10/18 4.3 12/16 4.6 8/17 4.1 9/15 5.0 1/16 4.5 1/18 4.4 9/19 4.2 6/15 4.2 4/18 4.6 1/17 4.0 7/18 4.3 12/16 4.1 11/19 4.1 5/19 3.7 9/18 4.8 4/16 4.3 5/16 4.9 12/16 4.6 8/17 4.1 9/15 5.0 1/16 4.5 6/15 4.2 4/16 4.3

1/16 4.1 11/16 4.0

11/17 4.3

4/17 4.2 10/19 4.3 6/19 4.0 4/19 4.5 10/18 6.1 12/17 4.5 10/17 4.6 11/17 4.3

4/16 4.4

10/19 4.4

410

11/16 4.8

x x 8/16 4.6

8/16 4.6

x x x x x

PROCEDURAL EXPLORATION C. MANIPULATE EXTRUDE

APPLICATION HORIZONTALLY

1. Each white grid marked on the surface will be extruded a particular A. PREPARATION - GENERIC OPERATIVE DIAGRAM a scale particular angle, 1. Place thelength GOD on the at site, and it to 30% so that there is with enough room around the building and inside the square. from the these figures being derived 2. Divide the surface so that each sub-building and floor is marked spreadsheet. out. 2. The data is to be interpreted so that B. DATA/BEHAVIOUR GATHERING is GOD a measurement of an angle 1. Mark outthe each date floor of the and divide it into sections of 10m length. between 45° and 135°. March 2015 = 2. Create a 10 x 52 grid, which represents the 2D net of the GOD. 45°, April 2015 =they 46.5°, March Certain rectangles will be blank where represent the inner 2020 edges = of the building’s corners. make blank theis grids which represent 135°. TheAlso magnitude a measurement the entrance porticos. Do not make blank the permeable parts of the building. of length such that a magnitude of 3.5 3. Extract a = map0m. displaying the locations of earthquakes in the North Island New Zealand from the last five years. a. For the of the grid 4. Lay out the 2D net on top half of the map, skewing and representing rotating it to fit. 5. Create a the spreadsheet to represent 2D net. InsideGOD, each cell, each inner sidetheof the write down the date and magnitude of each earthquake that falls increase in magnitude of 0.1 is equal within it. Some cells may have multiple earthquakes. to 0.5m. C. MANIPULATE - EXTRUDE HORIZONTALLY b.grid For theonhalf of the grid representing 1. Each white marked the surface will be extruded a particular length particular side angle, with figuresGOD, being the at aouter ofthesethe each derived from the spreadsheet. in magnitude 0.1 is equal 2. The data increase is to be interpreted so that the date is aof measurement of an angle between 45° and 135°. March 2015 = 45°, April 2015 = to 1m. 46.5°, March 2020 = 135°. The magnitude is a measurement of angle length such3. that aThe magnitude of 3.5 =of 0m. extrusion extends a. For the half representing the inner side of thealong GOD, inof the a grid clockwise direction the each increase in magnitude of 0.1 is equal to 0.5m. horizontal plane, beginning parallel to B1 b. For the half of the grid representing the outer side of the GOD, each increase in magnitude to 1m. the edge ofof 0.1 theis equal building. 3. The angle of extrusion extends in a clockwise direction along the 4. The portico shall not be horizontal plane, beginning parallel toentrances the edge of the building. 4. The portico entrances shall not be extruded. extruded.

C. 1. C1

D. 1. D1

D. 2. D2

D. MANIPULATE - EXTRUDE DOWNWARDS 1. Each newD. extrusionMANIPULATE shall be extruded downwards it - to thatEXTRUDE reaches the ground. DOWNWARDS 2. Cut away the parts of the building outside the site boundary.

PROCEDURAL 1. Each EXPLORATION new extrusion shall

E. PERMEATE extruded downwards to that it reaches 1. Tunnels of 3m in height and 2.88m in width shall be extruded along and cut outground. where the original permeable passageways were. the

APPLICATION

2. Cut away the parts of the building

A. PREPARATION - GENERIC OPERATIVE DIAGRAM outside the site boundary. 1. Place the GOD on the site, and scale it to 30% so that there is enough room around the building and inside the square. 2. Divide the surface so that each sub-building and floor is marked E. PERMEATE out.

D. 2. D2

1. Tunnels of 3m in height and 2.88m

B. DATA/BEHAVIOUR GATHERING in width shall be extruded along and 1. Mark out each floor of the GOD and divide it into sections of 10m length. cut out where the original permeable 2. Create a 10 x 52 grid, which represents the 2D net of the GOD. passageways were. Certain rectangles will be blank where they represent the inner edges of the building’s corners. Also make blank the grids which represent the entrance porticos. Do not make blank the permeable parts of the building. 3. Extract a map displaying the locations of earthquakes in the North Island New Zealand from the last five years. 4. Lay out the 2D net on top of the map, skewing and rotating it to fit. 5. Create a spreadsheet to represent the 2D net. Inside each cell, write down the date and magnitude of each earthquake that falls within it. Some cells may have multiple earthquakes.

C. MANIPULATE - EXTRUDE HORIZONTALLY 1. Each white grid marked on the surface will be extruded a particular length at a particular angle, with these figures being derived from the spreadsheet. 2. The data is to be interpreted so that the date is a measurement of an angle between 45° and 135°. March 2015 = 45°, April 2015 = 46.5°, March 2020 = 135°. The magnitude is a measurement of length such that a magnitude of 3.5 = 0m. a. For the half of the grid representing the inner side of the GOD, each increase in magnitude of 0.1 is equal to 0.5m. b. For the half of the grid representing the outer side of the GOD, each increase in magnitude of 0.1 is equal to 1m. 3. The angle of extrusion extends in a clockwise direction along the horizontal plane, beginning parallel to the edge of the building. 4. The portico entrances shall not be extruded.

D. MANIPULATE - EXTRUDE DOWNWARDS 1. Each new extrusion shall be extruded downwards to that it reaches the ground. 2. Cut away the parts of the building outside the site boundary.

E. PERMEATE 1. Tunnels of 3m in height and 2.88m in width shall be extruded along and cut out where the original permeable passageways were.

E. 1. E1

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Media Laboratory

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[TYPOLOGICAL PROCEDURAL EXPLORATIONS 2]

Procedural Explorations. Appendix.

AIRPORT TERMINAL A. PREPARATION - GENERIC OPERATIVE DIAGRAM 1. Transform the GOD into a linear strip. B. MANIPULATE - LASER REFLECTION SYSTEM 1. Start with the 90m x 55m site. 2. Randomly rotate the edges of the site. 3. Starting in the centre of the bottom edge. Shoot the laser beam at 20 degrees away from perpendicular of the bottom line. The beam should reflect off the edges of the site. Once the site is sufficiently full, stop the beam. 4. To create a height variation, each beam will be angled 5 degrees up. When if reflects, it will angle 5 degrees down, then once it reflects again it will be angled at 5 degrees up, etc. 5. Align the linear GOD along the laser beams. 6. The spaces between could be filled with program.

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GOD

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Procedural Explorations. Appendix.

[TYPOLOGICAL PROCEDURAL EXPLORATIONS 3]

PARLIAMENT BUILDING A. DATA/BEHAVIOUR GATHERING 1. On a piece of paper, mark out a large circle and divide it into segments of 10°. Mark out 0° on the left side and then, going clockwise, mark out the measurements to 180°. Copy the same thing on the bottom side of the circle, from 0° to 180°. 2. On another sheet of paper, create a grid consisting of roughly 4cm x 4cm squares. Mark out M1 to M4 three times, T1 to T3 five times, and S five times. You should have 32 squares. a. Mark out the centre point of each square with a small cross. b. Starting from the left and going clockwise, mark each side from 1 to 4. c. For M5, mark out 1A and 1B for the bottom and top of side 1. 3. Randomly shuffle each small square and then one by one drop them onto the large piece of paper. 4. For each square, write down the number on the top, which side is closest to the centre point of the paper, and the angle of the location of the centre of the square. Write down the results for each square in order. a. For S, only write down the number on the top.

414

GOD

B1 M1

T1 M2

T3 M3

T2 T3 M3

A4 Type S T2 T3 M1 T2 S M3 T1 S T1 M4 S M1 T3 M1 T1

Which side faces last Angle of next 4 3 2 1 4 2 3 2 1 1A 2 3 2 4 4

58 34 27 39 53 168 126 125 27 62 48 118 176 44 45

Type M2 T3 M4 M3 T3va M3 T2 T1 T2 T2 M2 S T1 M4 T3 M2

Which side faces last 1 2 1B 2 4 4 2 1 4 4 1

Angle of next 20 168 98 49 40 36 138 135 92 165 112

2 1B 4 4

105 144 152 97

B. PREPARATION GENERIC OPERATIVE DIAGRAM 1. Divide the GOD up into its separate rooms. Label each main room M1, M2, etc. Label each threshold T1, T2, etc. Label the stairs S. C. MANIPULATE 1. Take the first three rooms (outdoors / M1, stairs / S, portico / T1) and lay them facing the short edge of the site. 2. Each room will be placed in a linear series, starting at T1, using the data we have collected before. 3. The first piece of data, the label, determines the type of room used. The second piece of data, the sides labeled 1-4, determines which side of the room will connect to the last room. The last piece of data, the angle, determines the angle that the last room will join at. a. If the angle is between 0° and 45°, then the new room will join to the left side wall, and the angle of the wall will be adjusted accordingly. The base point at which the angle of the wall is changed is in the centre of the door. b. If the angle is between 45° and 135°, then the new room will join to the wall in the middle, and the angle of the wall will be adjusted accordingly. c. If the angle is between 135° and 180°, then the new room will join to the right side wall, and the angle of the wall will be adjusted accordingly. 4. Continue the process until you get to stairs / S. Copy and paste the stairs, then continue the process. 5. Once you have completed the process for each of the 30 rooms, connect each staircase together in order. You can then modify the stairs to go either up and down, and they can go forwards or turn backwards. Try and fit the building onto the site. 6. Scale the building to fit the site, if necessary. 7. Extend each room downwards along the vertical axis, to add more floors below. If two rooms intersect, the room that was there first takes precedence, cutting through the other room. C6 Consider the empty space above stairs and outdoor areas as rooms, which can cut away at other rooms. a. Extrude the main rooms down to the first floor. b. Extrude the threshold rooms down to the ground floor.

C1-4

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[TYPOLOGICAL PROCEDURAL EXPLORATIONS 4]

Procedural Explorations. Appendix.

LIBRARY A. PREPARATION - GOD 1. Extract the atrium part of the GOD and represent it as a simplified 2D plan.

GOD

B. MANIPULATE 1. Using the random number generator, adjust the width, length, and position of each bay within the atrium. Do this five times. 2. Split each plan down the centre. 3. Rotate each segment a random amount. 4. Use the random number generator to create ten coordinated on a 41.25m x 67.5m grid (75% of 55M x 90m). 5. Add the 10 segments onto the site. The first segment goes on the first coordinate, etc. A1

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Procedural Explorations. Appendix.

[TYPOLOGICAL PROCEDURAL EXPLORATIONS 5]

CANTILEVER BRIDGE A. PREPARATION - GOD 1. Transform the GOD to resemble different tetris pieces. There should be seven in total. Each part will need to be scaled and skewed to fit. Consider that each tetris pixel is equivalent to 4 x 4 metres.

14 26

26 30

28 26

24 26

B. DATA/BEHAVIOUR GATHERING 1. In illustrator or a similar program, create the seven tetris blocks using four squares, and a tetris board 10 blocks wide. 2. Record a video of the tetris game so that you can gather data from it. In tetris, when a row fills up with blocks, it will be cleared. For your diagram, you will want to show these rows which have disappeared. 3. Follow each move in the video recording by placing the tetris blocks onto the board. Do not delete rows that have been cleared. You want to show what the board would look like if none of the rows disappeared. If two pieces intersect, place the new piece over the old piece. 4. Flip the board on its side. 5. Write down the points that each tetris piece earned. a. As each tetris piece falls, you can press the spacebar to drop it down and move on to the next piece. Points are gained depending on the height from which the piece is dropped. 28

26 24

418

28 26 20 32 26

30 26

26 26

28 26

24 8

32 26 2630

26 22 2630 22

16 16 20

1418 20 22 16 26 24 12

1824 14 20 30 26 22 28 16 28 243432 26 28 12 26 22 26 26 26 26 18 20 26 14 30 16 2822 2224 3432 2426 24 24 26 12 26 26 30 22 30 26 826 14 26 18 26 30 26 34 24 26 28 22 26 24 24 12 26 30 30 26 826 26 18 26 30 34 28 22 26 24 24 24 30 30 26 826 2626 22 24 24 24 30 30 8 26 22 24

8 828

1822 26 14 20

26 28 18 26 26 20 30 26 2818 30 2226 26 20 12 30 28 26 28 10 3026 26 26 20 30 26 24 28 3026 26 30 24 28 30 26 24 28 26 24

16 16 8

14 8

0 8

8 10 6 8 8 1816 14 18 12 16 14 8 0 16 16 14 18 8 14 16 8 12 6 4 181618 8 12 16214 4 14 18 0 24 8 16 16 12 18 8 14 16 4 14 20 24 20 16 8 181618 64 8 20 16 0 18 14 18 12 16 144 0 12 24 28 16 16 22 128 18 816 14 20 14 12 8 20 24 20 16 4 18 18 6 24 16 22 12 20 16 18 18 4 10 24 28 16 16 22 12 18 816 14 20 14 12 20 24 20 16 4 18 24 18 22 12 16 18 4 10 24 28 16 16 22 12 16 20 12 24 20 16 24 18 22 12 16 4 10 28 22 16 20 12 24 22 12 16 10

4 20 12 20 20

418 8

10 0

1210 0 18 8 0 180 8 0 180 0 00

410 1210 0 88 12104 12 4

0 8

4 0

8 10

8 0

2 2

0 8 8

0 0 0 0

0 0 4

b. The score is recorded cumulatively, meaning you will have to subtract each score from the previous to figure out the points each piece earned. c. When you clear a line you will also score points. Subtract these points from the score.

C. MANIPULATE - SCALING AND STACKING 1. Replace each tetris piece with the ones derived from the GOD. 2. Scale each GOD piece based on the score associated with it. a. The score represents a percentage. Times that percentage by three. b. If the score is 30, scale it to 190%. If it is 24, scale it to 178%, etc. 3. Looking at the old tetris board, delete all the pieces that are not within three pieces of the bottom edge. a. Look from the centre of each piece. If there are more than two pieces below it, then the piece should be deleted. 4. Do the same for the GOD pieces. 5. Stack each GOD piece on top of each other. Use the centre-line of each piece to determine which piece it should be stacked on top of. D. MANIPULATE - SHIFTING AND ORIENTING 1. Assign values from 0 to 6 for each of the 7 GOD pieces. 2. Shift each piece forwards or backwards depending on its value between 0 and 6. A value of 1 is equivalent to 500mm. For example, 6 is equivalent to 3000mm. 3. Lay the building out on the site, with the leftmost edge touching the site boundary. 4. Take the part of the building that extends over the other part of the site and rotate it 180 degrees so that it fits behind the first part of the building. 5. If there is any other part of the building hanging over the edge, delete it. 6. Scale the building in the latitudinal direction so that is is twice as wide. 32

26 24

2 3 4 5 6 D2 8

10 16 8

4 16

0 12

8 14

0 1

8 4

0 4

2 0

1:1250 D6

1:1000

419

Image. Aerial view showing the relationship between the building and its surroundings.

420

421

[GABRIEL, LIM]

THE LOOKING GLASS

423

THE LOOKING GLASS

GABRIEL, LIM

The term ‘through the looking glass’ is in reference to the fiction novel ‘Alice Through The Looking Glass’ the sequel to the novel ‘Alice In Wonderland’, in which the protaganist is transported to an alternate world in which things are contrary to the real world, and not as they should be. The phrase describes the project through a literal interpretation as well as a metaphorical meaning. ‘Through the Looking Glass’ means literarily ‘where things are not as they should be’ and meaning ‘different to what was expected’. This interpretation of the project sees the educational facility in an alternative means and format than that currently employed by mainstream education in such a way that the experiential qualities of the building would be different to expected norms. The literal play on the phrase eludes to the materiality of spaces within the project and the transparency and visual porosity of programs through the designs. This intent is for the programs to be visually porous, visible to those around, whether it is into a private or public space. The literal intent of the phrase ‘through the looking glass’ is to peer into what is usually unpercievable in the norm.

The premise for ‘Through the Looking Glass’ is the combinations of Experiment 004 and Experiment 005, and selected resultants of Experiment 003. By combining Experiment 004 and Experiment 005 it creates the potential for a uniquely experiential spaces through the beams, which acts in a way to offset the ‘bleeding’ behaviour of the programs.

424

Project Introduction

Since Experiment 004 is entirely programmatic, the ideas being that the interconnectedness of the programs and the spaces within one another creates a unique learning environment in which positioning and circumstance allows and enables an occupant to not only view the spaces around them but also to traverse between them freely, in which the walls begin to break down where they intersect. This idea constitutes environmental learning, in which the unique time and place and surrounding occupants all have a role to play in the learning and development of each other. In which one could move from a threshold of a classroom to an open public area or to another classroom. Experiment 005 focused on the ornament and the interactivity between an occupant and the ornament and the ways in which ornament constitute an experiential function to architecture. The resultant of the experiment has progressed to demonstrating the VERTICAL VISUAL POROSITY through various spaces and programs, acting as part of the landscape of the building and as a visual stimulant. This constitutes a part of the learning environment which is necessary to an extent. The privacy of a learning space is maintained in a horizontal state, while vertically open, but not disruptive, which catches the attention of occupants, meaning that a small sense of privacy is maintained, in conjunction with an interactive ornament. Experiment 003 resulted in a series of interesting components out of the whole G.O.D which produced hallways and circulatory pathways which led to nowhere, and didnt intersect with any areas. Employing that idea into â&#x20AC;&#x2DC;Throught the Looking Glassâ&#x20AC;&#x2122; to open some spaces to be a means of observing the surroundings while inside the building, yet at the same time not interactive with the building. Being a passive observer.

425

AERIAL VIEW 001. The â&#x20AC;&#x2DC;Looking Glassâ&#x20AC;&#x2122; is exemplified through the main entrance and the ideas of porosity are pushed in the undulating landscape entrances into the building and surrounding areas.

426

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THE LOOKING GLASS

GABRIEL, LIM

AERIAL VIEW 002: The main entrance exists on the street side corner, with directional paths and directive pathways from other access points, such as carparks and the neighbouring Docklands Studios.

428

Project Images

INTERIOR VIEW 001: The balconey extends from the building as a viewpoint onto the street. The idea comes from Experiment 003 with un-used circulation, sowing the idea back into the design.

EXTERIOR VIEW 001. The idea of peering through a magnifying glass is personified in the crevice, acting as a public openway. The view begins to interrogate the idea of integrated learning through observation, in a vertical plane through the uses of the glass pipes running through the space, and concurrent spaces throughout.

INTERIOR VIEW 002: The interior view of the atrium from top floor, observing the undulating landscape separate from the floor height differences, and the process based stair case.

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THE LOOKING GLASS

GABRIEL, LIM

AERIAL VIEW 003 (Top): The idea of density is pushed throughout the site and corners of the building, each seeking to provide an interactive atmosphere through the the beams and glass pipes.

430

Project Images

EXTERIOR VIEW 002: The main entrance emulates a gateway in its structure pushing into the atrium.

INTERIOR VIEW 003A (Top): The glass pipes are skattered throughout the building providing glimpses from floor to floor, vertical interaction and an element to the room.

INTERIOR VIEW 003B (Bottom): The glass pipes also provide spaces for sunlight to enter as sun roofs, allowing light to travel between floors.

431

THE LOOKING GLASS

GABRIEL, LIM

INTERIOR VIEW 004 (Top): The pipes begin to enable toe passive viewing of the ongoings in between spaces, through the void, expressive regardless of program.

432

Project Images

INTERIOR VIEW 005 (Bottom): The Atrium contains combines the ideas of porosity with the ideas of visual density through the steel beams, the main component of density, and the voided glass pipes.

INTERIOR VIEW 006 (Top): The Atrium contains no glass pipes running through, rather it has a series of steel beams taken from the process and manipulated into ornament and supporting structure.

INTERIOR VIEW 007 (Bottom): The atrium combines the glass pipes, the voided pipes and the beams as the culmination of high density porosity within the single space.

433

THE LOOKING GLASS

GABRIEL, LIM

INTERIOR VIEW 008 (Top): The spaces are divided through the changing floor heights which create a depth and sense of threshold and boundary without physically inhibiting the occupants.

434

Project Images

INTERIOR VIEW 009 (Bottom): The facade and pipes work together through their frames to create a sense of internal privacy while not severely inhibiting the view and opservational potential of other users

EXTERIOR VIEW 003 (Bottom): The public interface to the east holds a primary design feature, containing a bulk of beams and glass pipes which seek to entice the public and promote visual curiosity.

EXTERIOR VIEW 004 (Top): The Public interface is the most ‘glass pipe’ heavy external space, seeking to connect the public to the building without need to enter, enforcing ‘the Looking Glass’.

435

THE LOOKING GLASS

GABRIEL, LIM

The spaces are arranged per level focusing heavily on an aspect of public interaction with each level. The first level is the a heavily public level, comprising of the S.T.E.A.M. Hub, the Maker Space, a variety of meeting spaces, made semi-public through the use of the varied floor heights, a series of public study spaces and an administrations space. The first floor also contains the Green Screen Room and TV and Film rooms which serve as a studio spaces for industry and for student use. The second floor comprises of a semi-private set of programs, which are made to enable a private learning environment where necessary for conducive studies. It consists of a series of study spaces dedicated to students, digital media rooms and a private classroom, convertable to a private E-Sports space for competitive gaming. The floor also contains a library for student use and a flexible collaborative space for media and digital design disciplines. The third floor becomes public through its flexible exhibition spaces and study spaces, which allow for all spaces to be used all year round either as a public study space, workshop or exhibition space. These can also work together with an exhibition space and a walk through study space. The other end of the third floor is for student collaboration and design accessible from the flexible collaborative space below, the areas are used for digital collaboration.

436

Exploded Axonometric, Level distribution

437

THE LOOKING GLASS

GABRIEL, LIM

GROUND FLOOR PLAN

Maker Space

Classrooms

Public Study Space

Classroom

Public Study Space

Meeting Space Meeting Space

Classrooms S.T.E.A.M. Hub

Quiet Stud Space Green Screen Studio

438

Digital Editing Space Public Study Space

TV and Filming Studio

Office Meeting Space UP

Classrooms

Workshop Space

Convertible Atrium

Administration

Classrooms Public Study Space

Quiet Study Space

439

THE LOOKING GLASS

GABRIEL, LIM

FIRST FLOOR PLAN

Library

Public Study Space

Classrooms

Collaborativ Space

Classroom

440

Workshop Space

Public Study Space Private E-Sport Space

Digital Media Space Public Study Space

Unisex Toilet

DOWN UP

Administration

DOWN

Coffee Shop

Quiet Study Space

Flexible Collaborative Space

ve DOWN

Unisex Toilet

SCALE 1:250

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THE LOOKING GLASS

GABRIEL, LIM

SECOND FLOOR PLAN

Flexible Exhibition Space

Public Study Space Flexible Exhibition Space

Public Study Space

Private Studio Space

Public Study Space

Unisex Toilet

Private Studio Flexible Exhibition Space

Look Corn

442

Game Production Space

Production Space Control Room

Collaborative Space

DOWN

Game Production Space

Digital Media Space

DOWN

kout ner

443

THE LOOKING GLASS

444

GABRIEL, LIM

LONG SECTION AA

445

GABRIEL, LIM

Procedural Explorations. Appendix.

[THE LOOKING GLASS]

APPENDIX The ideas of the Appendix which follow through in the project â&#x20AC;&#x2DC;The Looking Glassâ&#x20AC;&#x2122; includes; The idea of porosity, and the ways in which light and visibility influence the learning space and how it can be used to enhance the learning space. The idea of threshold and the undulating landscape which can be made through process in order to dictate a perseption of moving between spaces. The idea of central space and circulation which follows a dictated path. Through which the learning environment can be more fully traversed by a user. The idea of high density and the role it plays in experience. Articulated through the learning environment how can a dense space be combined with porosity to create a space which allows for the user to learn multilingually.

446

SYSTEM PROCESS

- Prue Chiles, From Ideas for Learning to Architectural Form

SYSTEM

DAYS

1910 LD av.

WK 03

LD an.

0.68 6.12

1920 0.83 4.34 1.41

1930 1 4.28

1940

1950

2.64

104

46 82

159

109

MINOR

MAJOR

117

127

NORTHWARD

EASTWARD

111

SPEED

108

DIRECTION

112

119

MINOR

MAJOR

163

142

114

1970

1980

4.38

7.63

5.09

7.56

6.14

OUTCOME

- Learning Environment seminars 2005, pg 26-27

QUOTES

157

The creation of learning spaces with the primary intent of student life, enhancing the ideas of connectivity between students, the ideas of creating social space for independant growth and learning, and exterior spaces conducive as a learning environment.

141

18 39

CIRCULATORY DISCLARITY

1990 2.43 6.81

1.26

0.67

1.28

3.79

3.17

2.93

2.26

5.04

4.98

2.85

6.21

6.79

3.41

5.18

2010 7.82

6 178

128

SPEED DIRECTION

7.86

30.24

5 76

EASTWARD

2000 21.67

3 56

NORTHWARD

2.04

31.79

87 163

1990 9.64

192

46 28

11.23

20.86

25 17

42 86

162

BD av.

Av. D dep.

20 13

60 133

BD an.

Av. D mov.

15 8

167

SPEED DIRECTION

2.24

2.06

10 14

MAJOR

EASTWARD

1960

1.74

8.79

MINOR

NORTHWARD

His is a process engineered to generate accidental emergences and affiliations, to reveal latent potentials rather than to meet the requirements of an emerging demand.

OUTCOME

SH FULL

SH LAND

1000

-0.023

-0.162

- Book Space

Speculation

TYPES

Speculation Structure is the ornament. Could be used to fill a space, and give it a structural system. Bridge relates to circulation, the outcome could be circulation focused, using the structure as a facade system. Bridges play with height, enables circulation above the lowest level.

Speculation

1100

-0.142

1200

-0.169

1300

-0.087

0.263

TIME/LOC

GB FULL

TIME/LOC

GB FULL

GB LAND

GB OCEAN

0.185 -0.221

-0.076

0.254

0.187

-0.092

0.262

1800

0.093

-0.116

0.162

0.178

0.412

0.273

1900

-0.047

-0.178

0.014

2000

0.261

0.368

0.221

2000

0.031

-0.102

0.082

TIME/LOC

SH FULL

SH LAND

SH OCEAN

0.061

0.113

0.067

1100

0.124

-0.176

-0.198

1200

-0.043

0.237

-0.341

1300

0.182

0.386

-0.071

1400

0.045

0.009

0.069

1500

-0.031

-0.496

0.168

-0.067

0.16

0.231

-0.218

-0.468

-0.291

0.167

-0.221

0.133

-0.178

0.563

0.237

2000

0.269

0.436

0.208

TIME/LOC

SH FULL

SH LAND

SH OCEAN

-0.357

-0.071

1000

-0.221

-0.213

-0.204

1000

0.153

-0.394

0.287

-0.224

-0.341

1100

-0.046

-0.184

-0.178

1100

-0.207

-0.389

-0.186

-0.207

-0.084

1200

-0.307

-0.143

-0.091

0.047

1300

-0.114

-0.182

-0.441

-0.158

1200

-0.361

-0.062

1300

1400

0.119

-0.175

0.178

1400

0.071

0.084

0.058

1400

1500

-0.062

-0.143

-0.026

1500

0.367

-0.238

0.056

1500

1600

-0.057

-0.087

-0.132

1600

-0.167

-0.231

-0.216

0.064 0.038

-0.279

0.186

0.223

0.146

-0.093

-0.136

-0.112

0.058

-0.072

0.316

1700

0.214

0.208

0.261

1700

-0.018

0.261

-0.059

0.204

-0.028

0.245

1800

0.072

0.086

0.081

1800

0.324

0.241

0.315

1900

0.059

-0.364

0.087

1900

-0.63

0.087

0.203

1900

0.198

0.063

0.262

2000

0.031

-0.018

0.059

2000

-0.096

-0.298

-0.019

2000

0.162

-0.026

0.204

SYSTEM

PROCESS

0.067

0.119

0.181

1600

1700 1800

- Eisenman’s Machine of Infinite Resistance, pg 52

0.079

1800 1900

-0.053

-0.128

-0.083

0.104

-0.078

0.235

-0.256

-0.113

-0.097 -0.186

-0.193

-0.071

-0.193

1700

1000

1200

-0.138

-0.178 -0.256

0.031

1600

0.273

1100

1300

GB OCEAN

-0.302

0.089

1500

-0.193

1800

GB OCEAN

GB LAND

1400

0.139

0.138 0.132

1900

GB LAND

0.121 0.087

-0.147

0.091 0.046

1700

-0.184

-0.127 -0.196

0.047

0.127 0.061

1600

TYPE // Cantilever Bridge

GB FULL

1000

-0.174 -0.092

-0.086

1600 1700

OUTCOME

- Services / Administration - Atrium Space

TIME/LOC

0.046

-0.141 -0.134

1300 1400 1500

1000

- Quiet Study Space

SH OCEAN

1100 1200

0.188

... combining several types of programs, regardless of incompatibilities, together with their respective spatial configurations - Event Cities 1, Transprogramming

QUOTES

LENGTH

ANGLE

AREA|100M

CLUSTER AREA

100

114.12

118.96

3693.76

200

132.36

121.78

5698.67

300

111.88

120.08

10973.6

400

135.54

151.86

3994.42

500

106.81

123.41

4319.16

600

277.61

121.49

4440.43

700

106.16

135.69

3010.99

800

127.87

180

2249.29

900

127.87

152.4

2812.91

1000

105.64

161.16

1770.31

116.78

142.75

1798.03

106.73

141.88

2600.77

160.16

101.21

3525.99

120.54

152.02

4706.85

104.81

113.41

5346.26

104.81

152.64

6818.48

1100 1200 1300 1400 1500 1600 1700

247.2

180

10203.58

1800

132.16

87.79

6282.26

1900

129.87

93.92

2351.79

2000

171.85

92.65

6256.23

2100

132.16

74.58

2144.4

2200

185.89

130.7

3269.48

3241.25

3393.02

2802.79

KRUBERA CAVE SYSTEM (B) DEPTH 100

LENGTH

ANGLE

AREA|100M

114.12

187.61

200

106.4

117.69

300

CLUSTER AREA

3593.76 5698.67

345.92

176.77

10973.61

400

294.2

160.93

10838.18

500

163.22

138.52

600

105.95

152.63

700

129.42

129.45

800

108.25

130.76

900

127.34

96.77

1000

158.38

140.45

106.08

156.55

3946.54

124.21

157.83

13783.35

181.13

125.34

7265.18

1100 1200 1300 1400

104.76

1500

169.3

7101.95

5355.86 7219.98 4112.63

9008.66 3450.06

2480.43 2724.33 4294.38

125.27

3160.12

2025.95

128.23

2956.4

1600

116.7

154.37

1700.85

1700

20.89

152.43

150.25

BERCHILSKAJA CAVE SYSTEM DEPTH

LENGTH

ANGLE

AREA|100M

CLUSTER AREA

100

46.11

149.66

567.92

106.66

132.56

2827.18

100

160.04

135.96

1960.69

105.17

200 300 400

148.17

4065.63

130.99

88.36

2039.11

71.19

118.81

836.42

2825.24 2954.24

590

DEPTH

LENGTH

ANGLE

AREA|100M

CLUSTER AREA

100

151.49

200

107.45

165.59

1172.15

300

117.85

153.4

3147.97

4511.15

400

177.64

158.6

8889.61

3393.05

500

124.16

160.77

8893.08

600

107.62

136.24

4741.03

700

121.63

147.93

3554.23

800

213.35

152.65

3564.36

900

125.26

82.11

2033.29

1000

244.62

175.6

4555.05

1100 1200

292.92 89.78

177.66

9788.83

99.63

7653.99 2473

12843.73

3054.91

KUYBYSHEVSHAYA CAVE SYSTEM DEPTH

LENGTH

ANGLE

AREA|100M

100

25.57

180

200

105.58

124.56

300

227.43

117.43

400

104.76

142.44

1635.39

500

132.16

79.27

10671.65

600

232.06

90.51

4103.07

700

116.89

157.44

11596.9

800

104.99

135.47

3734.44

900

157.46

156.49

3386.01

1000

335.42

41.79

6910.1

261.76

166.07

9386.11

150.98

173.84

3281.97

1100 1200

CLUSTER AREA

342.07 3347.55 4211.91 9606.84

8490.17 7560.42 12071.58

PROCESS

- The Function of Ornament, Ornament as Necessary

QUOTES

GENRIKHOVA BEZDNA CAVE SYSTEM

They build expressions out of an internal order that overcome the need to “comunicate” through a common language, the terms of which may no longer be available. It is paradoxically in this way that building expressions remain resilient in time.

PROGRAMMATIC ENTANGLEMENT ORNAMENTALLY EXPERIENTIAL

KRUBERA CAVE SYSTEM (A) DEPTH

OUTCOME

- Public Exhibition Space - Public Space

TIME/LOC

QUOTES

PROCESS

TYPES

TYPE // Cantilever Bridge

PROPOSITION

The key [here] is to make the spaces created for learning look and feel appropriate to their subject.

SYSTEM

WK 04

IDEOLOGY

QUOTES

TYPES

WK 05

OUTCOME

TYPES

SYSTEM

TYPE // Cantilever Bridge

PROCESS

SYSTEM

PROCESS

WK 02

WK 01

GOD/TYPE

447

THE LOOKING GLASS

GABRIEL, LIM

Procedural Explorations. Appendix.

[TYPOLOGICAL PROCEDURAL EXPLORATIONS 001]

FORMAL DISPOSITION Experiment 001 observed the relationship between the cathedral, as the G.O.D. and its spatial form. Looking specifically at the undulating heights as well as the outward ornament associated with the program. The experiment was to displace and resize in both axis displacing the formal qualities of the space. The results of Experiment 001 illustrate a rigidity to the form, an adherance to the G.O.D. a series of shifted surfaces both as an exterior and an interior. The formal outcome of the program displaces the cathedral as well as its interior spaces, turning ornament and singular heights into a series of intertwined and displaced programs and spaces. Experiment 001 contributes to the learning type as a means of viewing the â&#x20AC;&#x2DC;alternative classroomâ&#x20AC;&#x2122; in a vertical manner, observing a variety of ceiling heights and what they contribute to the formal nature of space in a learning space, and the cultivation of their effects.

448

Images The process drawings indicate the splicing points for each component of the cathedral. The section indicates the varied ceiling and floor heights based off the re-sizing of the spliced components, and illustrates a formal retension of the cathedralâ&#x20AC;&#x2122;s form

449

THE LOOKING GLASS

GABRIEL, LIM

Procedural Explorations. Appendix.

[TYPOLOGICAL PROCEDURAL EXPLORATIONS 002]

SPATIAL DISASSEMBLY Experiment 002 illustrated the shopping centre as a G.O.D., seeking to observe the circulation and void within the spaces as programmatic. Looking closely at the presence of different spatial qualities in the program and interrogating the uses of void in a learning space. The experiment resizes, rotates and displaces the programs, centralising the void space. The results of Experiment 002 illustrate a unique proposition for the learning space, through the displacement of the programs, resulting in some voidlike spaces, however it lacks a larger more definitive central void space. Experiment 002 posits to the learning environment the unique adaptability that comes from non-standard void and spatial formations. This could be further explored to simulate a terrainesque environment by which learning becomes as traversing the void, whether the void is defined as circulation or lack of program

450

Images The process diagrams illustrate the rotations, and various alterations to the form within the parameters of the experiment. The isometric image indicates a central void as a descrepancy of the type. The images show smaller, uninhabitable voids, which can be observed as void-like spaces.

451

THE LOOKING GLASS

GABRIEL, LIM

Procedural Explorations. Appendix.

[TYPOLOGICAL PROCEDURAL EXPLORATIONS 003]

CIRCULATORY DISCLARITY Experiment 003 proposes that the primary entity of the museum is circulation, observing the exhibitions as temporary and in-consistant to the experience of the museum typology. As a G.O.D. the museum circulation is the main component, resizing, rotating and displacing to achieve a sense of displacement to the circulation, opening new ways to traverse the space. Experiment 003 resulted in a series of large spaces, some of which are programmatic. When observing the spaces, some layers present interesting opportunities, like speculating a circulation path which goes no where, existing only to observe and experience the building. This adapts to the learning environment, seeking a new way of adapting to the space, and the re-imagining of an interior landscape in which one could see but not access a path within a space or form, and vice versa.

452

Images The Images and roof view elude to a traversible top terrain acting in part as circulation in its own. The process diagram illustrates the splicing and other alterations to the G.O.D model The isometric image allows for the observation of more rectilinear perimeter-like components which can be described as misdirectional circulation, which leads to no programs, but allows for observation of the programs.

453

THE LOOKING GLASS

GABRIEL, LIM

Procedural Explorations. Appendix.

[TYPOLOGICAL PROCEDURAL EXPLORATIONS 004]

PROGRAMMATIC ENTANGLEMENT Experiment 004, through a library type and G.O.D. seeks to observe the focal point being the large atrium and the surrounding programs as side stories. Looking at the atrium and the surrounding programs, as well as the idea of traversal, with the potential of blurring boundaries of space. The experiment splits, resizes and rotates the programs, meaning they retain their central position. The resulting form demonstrates a basic bleeding of the spaces into one another, presenting opportunities for interaction between spaces. Experiment 004 poses the potential for bleeding of public to private spaces within a learning environment context. It also demonstrates a unique precedent for a larger open space in the converted atrium, which begins to act as an interactive terrain with an undulating landscape, and further expresses the inaccessibility through balconeys.

454

Images The images show the connectivity and intersections and overlapping behaviour between the spaces and programs. It also shows the different variations in heights for both the flooring and the ceiling heights.

455

THE LOOKING GLASS

GABRIEL, LIM

Procedural Explorations. Appendix.

[TYPOLOGICAL PROCEDURAL EXPLORATIONS 005]

ORNAMENTAL EXPERIENTIAL Experiment 005 focused on the ornamental perceptions of a bridge G.O.D. expounding on the structures consistancy as an ornament and functional, and the focus of the circulation as a program. The experiment splits, resizes, rotates and displaces the components of the G.O.D. Posing in Experiment 005 that the structure would begin to exhibit a heavily experiential proposition in which the ornament would begin to separate spaces, that being its main function aside from aesthetics. The results of Experiment 005 indicate a clustering of the bridge structure and a beginning to show the intersections of the space. This applies to the learning environment with a potential for more visual porosity within a learning environment in which observation becomes a major part of education and experience. The unique landscape, the ornament and the experience create a new medium for educational learning.

456

L L

Images Process diagrams show the resizing and alterations to the G.O.D. to an extreme scale in order to fill the site. Elevation eludes to a high density series of clustered beams from G.O.D structure. The views illustrate a blurring between spaces and the beginnings of an interactive and clustered ornament from the G.O.D structure.

457

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GABRIEL, LIM

[TYPOLOGICAL ECOLOGIES 001]

Procedural Explorations. Appendix.

POROUS FORMALITY The typological ecology of Experiment 004 and Experiment 005 combines aspects from each experiment. From Experiment 004 the programmatic intersections begin to collide, and can be used and interpreted as its own terrain and circulation, with each space â&#x20AC;&#x2DC;bleedingâ&#x20AC;&#x2122; into the next. Experiment 005 produced a series of clustered beams and railings which would serve primarily as ornament, and adds an experiential quality to the space, creating a high density within and partially obstructed views. By combining Experiment 004 and Experiment 005 the programmatic space begins to open up, with a more porous interior series of spaces which can be moved through and observed from different points. And the ornament from Experiment 005 begins to shape the interior and decorate the exterior, clustering and beginning to obstruct the view from the atrium. To expant on this would be to create a higher density series of ornament to better find the balance to visual porosity and high density ornamental interaction.

458

Images The views show various levels of interaction between Experiment 004 and Experiment 005, showing different terrains and densities between interior and exterior.

459

460

461

462