Architecture Portfolio 2016
Rebecca D. Mahoney
Masters Design Studio One Archives For Endangered Ideas
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INTRO
KAIT WORKSHOP
12-19 WALL DRAWING 173
20-27 THE AGENCY OF MAPPING
28-37 ARCHIVING
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Arguably, critical and conceptual ideas are dying in the contemporary context. In a world over-saturated with material and images, deep and complex ideas are overlooked, or worse, reduced to stylised appropriation. This studio seeks to develop a methodology to generate process based outcomes which preserve, reflect and strengthen these endangered ideas. Using the programmatic context of an archive, students try encapsulate selected precedent work of architects, artists and writers, through a critical process of exploration. A new working methodology, the ‘One and Three’ relational method will be tested. This method seeks to explore and synthesise three fundamental forms of articulation; language, visual and spatial. These archives will highlight the use of trans-disciplinary reference material as both content for, and development of architectural outcomes. Further the studio seeks to re-establish the relevance of architectural and art theory, history and precedent in the contemporary design process and practice.
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KAIT WORKSHOP KANGAWA INSTITUTE OF TECHNOLOGY 2008 JUNYA ISHIGAMI 21,410 M2
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The room is not directional. Manifested as an assortment of unstably fluctuating spaces. There are many routes. Spaces are defined by the user. Different heights define spaces. The grid does not dictate flow. There are fuzzy and ambiguous boundaries between spaces. Many columns give the impression. Spaces can come about not necessarily by the varying subjective views. Landscape designs the space. They walk around disregarding the position of the pillars. The space is regenerated each time like the growth of a forest. Thus rewriting the structure of the building each time. But sometimes with clear objectivity. Circulation is dependent. The way in which we perceive spaces can be linked directly. By and large people follow the same routes all the time. A circulation path of certain stability is revealed. Are spaces formed by pillars? Uncertainty in the design of the building. Create an uncertain state in which the true nature of things is impossible to grasp. There was a coexistence of uniform placement with non-uniform orientation. Due to the lack of continuity of shape and layout. Different behaviors arise depending on the direction one is facing
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Large scale pavilions undulating across a landscape with no distinct route or trail to follow. The structures weave the user within and without.
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SOL LEWITT WALL DRAWING #173 1973 “LINES FROM FOUR CORNES AND MIDPOINTS OF FOUR SIDES TOWARDS THE CENTRE OF THE WALL” CRAYON ON WALL
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Lewitt created art through collaboration, for him concept outweighed the physicalisation of the art and the idea became the machine that drives the art whilst the art itself remains emotionally and unengaging to the eye. He would write instructions for the art, for them to be carried out by someone else. The physical form of the space are ‘unimportant’, Lewitt believed ‘using a simple form repeatedly narrows the field of the work and concentrates the intensity to the arrangement of the form.. form becomes the means’
Conceptual artists are mystics rather than rationalists. They
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27. T h e leap to conclusions tional that logic cannot j u d g e The a r t i s t con- may not reach. ments repeat cept necessarily rational judgeof a understand his w o r k own m e n t s . art. His of art perception is m a y 29. The neither better 2 8 . involve O n c e process is t h e nor worse the idea mechanical and matter of than that of the 17. A l l f piece is should not be the piece o ideas are art or the other established in tampered if they the artist's mind a r e process in s . and the final form is with. It concerned with art and which it is decided, the process should run fall within the conventions of i s m a d e . a r t .
18. One usually carried out blindly. its understands the There are many side course art of the past by applying 23. The effects that the t h e 18. 26. An artist artist . convenmay artist cannot O n e tion of m a y m i s p e r c e i v e imagine. t h e usually presit T h e s ent understands p e r c e i v e (understand e , the art of the differently from the artist) a the art of work past by applying of art but still be set off in the convention others h i s b e t t e r own chain of thought by 2 0 . oft theh present, u s that misconstrual. t h a n 24. Success- m i s u n d e r Perception is the art standing h i s s u b j e c t i v e . ful art of the our p a s t . o w n . 25. The artist may changes not necessarily understanding of the 19. The n convenunderstand his conventions by altering tions of w h i own art. His perceptions. art are c h perception our 21. Perception of ideas leads to at el r eis neither i t better new ideas. is n o r 22. The artist cannot imagine his art, and db y
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Conceptual artists are mystics rather than rationalists. They
25.
1. 2 . R a -
27. T h e leap to conclusions tional that logic cannot j u d g e The a r t i s t con- may not reach. ments repeat cept necessarily rational judgeof a understand his w o r k own m e n t s . art. His of art perception is m a y 29. The neither better 28. involve O n c e process is t h e nor worse the idea mechanical and matter of than that of the 17. A l l f piece is should not be the piece o ideas are art or the other established in tampered if they the artist's mind a r e process in s . and the final form is with. It concerned with art and which it is decided, the process should run fall within the conventions of i s m a d e . a r t .
18. One usually carried out blindly. its understands the There are many side course art of the past by applying 23. The effects that the t h e 18. 26. An artist artist . convenmay artist cannot O n e tion of m a y m i s p e r c e i v e imagine. t h e usually presit T h e s ent understands p e r c e i v e (understand e , the art of the differently from the artist) a the art of work past by applying of art but still be set off in the convention others h i s b e t t e r own chain of thought by 2 0 . oft theh present, u s that misconstrual. t h a n 24. Success- m i s u n d e r Perception is the art standing h i s s u b j e c t i v e . ful art of the our p a s t . o w n . 25. The artist may changes not necessarily understanding of the 19. The n convenunderstand his conventions by altering tions of w h i own art. His perceptions. art are c h perception our 21. Perception of ideas leads to at el r eis neither i t better new ideas. d is n o r 22. The artist cannot imagine his art, and b y
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3. of this tradition, thus completion. IrraHis wilfulness placing limitations on the tional may only be artist who would be reluctant judgements e g o . 16. If lead to t o words are used, and new make art that goes beyond the they proceed ideas about expe- art,from then they are art l i m i t a t i o n s . and not literature; ri- numbers are not mathematics.
15. Since no form is
9.
10. The concept and idea are superior 12. intrinsically to another, the Ideas F o r artist may use any different. The former implies a can be form, from an general direction while works of e a c h expression of the latter is the words art; they are in work of art (written or component. Ideas a chain of that becomes spoken) implement to development that t h e physical there physimay eventually find cal some form. All are many variations re-al c o n ideas need not be made ce that do not. p h y s i c a l . 13. A work of art may be 11. Ideas do not necessarily understood as a conductor proceed in logical order. They from the artist's mind to the may set one off in unexpected directions, viewer's. But it may never but an reach the viewer, or it may never idea must leave the artist's mind. necessarily be completed 14. The words of one artist to another may in the induce an idea chain, if they share the same mind c o n c e p t . be
wo
cannot perceive it until it is complete. w
5. Irrational thoughts should be followed 8. and logically. 7. 6. If the artist changes his mind When midway through the execuwords The such as tion of the piece he artist's p a i n t i n g compromises the will is and sculpture s e c Formal result and are used, they ondary art is to the connote a whole e s s e n - repeats past p ro ce s s t i a l l y results. tradition and imply h e
4 . absolutely
rational.
t
initiates a from idea consequent o
acceptance
3. of this tradition, thus completion. IrraHis wilfulness placing limitations on the tional may only be artist who would be reluctant judgements e g o . 16. If lead to t o words are used, and new make art that goes beyond the they proceed ideas about expe- art,from then they are art l i m i t a t i o n s . and not literature; ri- numbers are not mathematics.
15. Since no form is
9.
10. The concept and idea are superior 12. intrinsically to another, the Ideas F o r artist may use any different. The former implies a can be form, from an general direction while works of e a c h expression of the latter is the words art; they are in work of art (written or component. Ideas a chain of that becomes spoken) implement to development that physiphysical there cal t h e may eventually find some form. All are many variations re-al c o n need not be made that do not. ce p ideas h y s i c a l . 13. A work of art may be 11. Ideas do not necessarily understood as a conductor proceed in logical order. They from the artist's mind to the may set one off in unexpected directions, viewer's. But it may never but an reach the viewer, or it may never idea must leave the artist's mind. necessarily be completed 14. The words of one artist to another may in the induce an idea chain, if they share the same mind c o n c e p t . be
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This Sol Lewitt space is a system of joints and connectors given to the visitor, they can assemble the joints into the prescribed cubic formation, or they can create any space they desire. Without the users the space doesn’t exist.
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The Agency of Mapping James Corner 1999 Drift/ Rhizome/ Game Board/ Layering
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A library made of four sections each referencing the chapters of Corner’s text.
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Archiving
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vLewitt’s work on the island is interpreted to use his ideas and instructions for art to guide, inform and dictate the users experience and tour of the island. Once the users arrive at the island they are faced with a choice of 1 of 9 instructions by Lewitt which will begin their journey through the island by placing them on a corresponding pathway that tracks across the island. They are given a GPS tracker and the instructions to be tracked as they move, they can use the instructions to create the intended art work on a huge scale across the island… or not. The physical form of the walkways is ‘unimportant’, Lewitt believed ‘using a simple form repeatedly narrows the field of the work and concentrates the intensity to the arrangement of the form.. form becomes the means’. Lewitt and his instructions to be the building blocks and scaffolding for his collaborative art, which is here physically manifested as simple scaffold across the island whose layout is dictated by wall drawing 289, called the location drawing, appropriate in that it was one of his few drawings that specified a start point by no defined end point was given rather the end of the route was subjective to the artist and their will.
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Once the idea of the piece is established in the artist's mind and the final form is decided, the process is carried out blindly. There are many side effects that the artist cannot imagine. These may be used as ideas for new works. -Sol Lewitt
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8IBU UIF XPSL PG BSU MPPLT MJLF JTO U UPP JNQPSUBOU 5IF <GPSN> CFDPNFT UIF CBTJD HSBNNBS GPS UIF UPUBM XPSL JU JT CFTU UIBU UIF CBTJD VOJU CF EFMJCFSBUMZ VOJOUFSFTUJOH TP UIBU JU NBZ NPSF FBTJMZ CFDPNF BOE JOUSJOTJD QBSU PG UIF FOUJSF XPSL .VDI PG XIBU IF EFWJTFE DBNF EPXO UP TQFDJGJD JEFBT PS JOTUSVDUJPOT B UIPVHIU ZPV XFSF NFBOU UP DPOUFNQMBUF PS QMBOT PS ESBXJOHT PS BDUJPOT UIBU XPVME CF DBSSJFE PVU CZ ZPV PS OPU
TURN B°
WALK G (d)
FIND E
WALK A(d)
WALK M (d) FIND (i)
WALK C(d) TURN H°
WALK F (d)
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The Kait workshop by Junya Ishigami is a space created from landscape and not from section and composition. It’s a creation of spaces within space that have no standard orientation, they are relationally defined, seeking out the ambiguous and undefined. The first chapter of Ishigami’s book another scale of architecture discusses the Kait workshop and forest, the following are concerned with sky, cloud, horizon and rain. All these chapters have been physicalized into corresponding gallery spaces. The gallery here is a non-directional space whose floor plate has pushed and pulled relative to the arrangement of columns in the Kati workshop to create a miniaturised topographical space using different heights to define spaces and paths cresting ‘animal trails’ throughout The gallery displays the hundreds of models for kait as well as the pages of the forest chapter. Each gallery displays its respective model or work and chapter pages too
‘People trace a winding path for some reason, despite being able to walk straight if they wish. Spaces are born out of the relationship between architecture and non-architectural elements’’ -Junya Ishigami
Landscape designs the space. Users walk around disredarding the position thus rewriting the spatial structure of the building each time. Circulation is dependent. CHAPTER ONE FOREST
MODELS 1-50 MODELS 50-100
MODELS 150-200 MODELS 250-300
MODELS 300-350
Finally I have created a library archive that is an exploration of mapping derived from James corner’s 1999 text the agency of mapping. The text and this building explore realities previously unseen or unimagined, shown through selection, omission, isolation, distance and codification. The location of the archive is away from the other spaces and walk ways, but is designed to be the end point of the user’s journey in that the Lewitt instructions are guided towards it and from high points on the island it reveals itself. I started my analysis of the text by colour coding, highlighting and overlapping five main aspects of the text, being idea (mapping), action, precedent, outcome and the antithesis of the idea. Once overlapped and interconnected these elements of the text defined my plan and helped organise internal program. Mapping was physically represented as smaller vaults within the whole that housed corners own maps, writing and works. There are large gallery spaces to show the work of influential map makers and writers such as Mercator and Buckminster fuller. The rest of the works are stored as texts of the precedents arranged by their physical location within the overlaid text. The space is punctured by large void walls which represents the antithesis that corner continually references, it is how not to map and what mapping should avoid The final space set apart from the main archive is the ‘live mapping’ room, this room is the connector to the rest of the island and its precedents. It is a room that collects and projects the information from each users GPS system that they were given upon arrival. The maps in this room display how the user has traversed the site.
‘‘The function of mapping is less to mirror reality than to engender the reshaping of the world in which we live’’ - James Corner
Realities previously unseen or unimagined are uncovered here through the selection, omission, isolation, distance and codification.
VAULT EXHIBIT
VOID
Undergraduate Final Year Studios
Parametric design and capstone studio
52-67
PARAMETRIC DESIGN
68-75
ARCHIVE DESIGN
76-87
GALLERY DESIGN
PARAMETRIC EXPLORATIONS
Designed for the European capital city Copenhagen, this project aimed to create an engaging and visually aesthetic form that generates on-site renewable energy. My project is the result of generative design in parametrics and computation, taking a set of parameters relevant to site and design style and creating a viable form. I created a series of greenhouses of different forms that are parametrically derived and site responsive to Copenhagenâ&#x20AC;&#x2122;s solar patterns. Each greenhouse has a different type of ecosystem on display, this will attract users to the site and help educate about the possibilities and beauty of renewable energies
MODEL PROTOTYPING
DC
ENERGY EFFICIENCY DIAGRAMS
2000 KWh
Produced anually by the Swiss Tech convention centre with 355 active solar panels on the west facade
306,892 Kwh
Produced onsite by greenhouseâ&#x20AC;&#x2122;se 2000 active solar panels
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Inhabitants worth of electricity will be offset anually. equivalent to 60 four person households
163,200
Kg of carbon dioxide will be anually offset by our green house
JANUARY
ANNUAL SOLAR PATHS
APRIL
AUGUST
DECEMBER
570 Kwh/ m²
2200 Kwh/ m²
228 Kwh/ m²
913 Kwh/ m²
SOLAR OUTPUT
R PATHS
TOURISTS
HOME GROWN VEGETABLE FANS
BOTANY ENTHUSIASTS
FAMILIES
CHILL SEEKERS
EDUCATIONAL GROUPS
NORMAL PEOPLE
USERS
EAST GREENHOUSE Northern European flower types
NORTH GREENHOUSE Tropical and exotic plant types
GREEN HOUSE TYPES
SOUTH GREENHOUSE Native forest and fir tree types
WEST GREENHOUSE Vegetable garden and home planting greenhouse
GREENHOUSES
VEGETATION
CIRCULATION PATHS
ACCESS PATHS
EXPLODED AXO
SOUTH ELEVATION
NORTH ELEVATION
EAST ELEVATION WEST ELEVATION
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1
2
2
3 3
4
1:100
4
1
2
2
3 3
1:100
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PINE TREE GREEN HOUSE
WEST EXTERIOR
5400 MM
3700 MM
1:50 SCALE 0
C- CHANNEL FOR GLASS CLEANING AND MAINTAINANCE
STEEL HOLLOW SECTION SUPPORT ARCH
ALUMINIUM CHANNEL FOR WIRING ALUMINIUM GRIDSHELL FOR WIRINGA ND SOLAR PANEL SUPPORT ALUMINIUM GRIDSHELL FOR WIRINGA ND SOLAR PANEL SUPPORT
3700 mm
HOLLOW ALUMINIUM SECTION FOR WIRING
0
50
100 CM
SCALE MODELS
The aim of this project has been to design a new building for the University of Melbourne Archives, currently housed in a rather uninspiring-looking warehouse in Brunswick West. Starting with sculpture, I strove to create a space of simplicity and sparseness, emphasised by the phenomenology created through planarity and void. The archives here become a space that gives back to the community in that it has reintroduced public green space into Brunswick.
JOHN MCCRACEN â&#x20AC;&#x2DC;FAIRâ&#x20AC;&#x2122;
PLANAR SURFACES
INTERSECTION OF PLANES
ENTRANCE GALLERY
RECEPTION + LIBRARY
OUTDOOR CINEMA
ROOFTOP GARDEN
AXONOMETRIC SCALE 1:250
LL
WA
M
1C
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IO
US
TR
EX
C PV
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PIP
RE
ISTU
MO
IP
DR
NE
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MB
ME
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IRR
ON
ATI
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MID
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VERTICAL GARDEN CONSTRUCTION DETAIL
The Outré Gallery is self described as “Australia’s original alternative gallery dealing in contemporary international pop, lowbrow, pop surrealism and underground art”. This project looks at creating a new gallery and multi purpose space for the business, including a cafe and book store. I aimed to look at new relationships between retail spaces by varying the amount of opacity and transparency in a space. I wanted to explore the phenomenology that comes from visible invisible and opaque through layered surfaces, patterns and textures.
OVERLAYING OF TRANSPACRENT SURFACES TO CREATE DEPTH AND OPACITY OVERLAYING OF TRANSPACRENT SURFACES TO CREATE DEPTH AND OPACITY
OVERLAID TRANSPARENCY TO CREATE DEPTH AND OPACITY
TRANSFORMATION OF CONVENTIONAL STORE SPACES TRANSFORMATION OF CONVENTIONAL STORE SPACES
TRANSFORMATION OF CONVENTIONAL RETAIL SPACES
SECTIONING OF SPACES SECTIONING OF SPACES
SECTIONING SPACES
REMOVAL OF SPACIAL HEIRARCHIES REMOVAL OF SPACIAL HEIRARCHIES
REARRANGEMENT OF SPACES
UP
38 m
GROUND FLOOR CAFE + BOOK STORE
BOOK STORE MEZZANINE
FIRST FLOOR
GALLERY
UP
SECOND FLOOR GALLERY UP
STAFF OFFICE + LUNCH ROOM
UP
UP
THIRD FLOOR GALLERY
MANAGERS APARTMENT DN
DN
SIGNAGE
400 900 6000
BESPOKE GALLERY COUNTER DESIGN + ELEVATION
3000
ARTWORK DISPLAY
OUTDOOR SEATING
GALLERY HANGERS
GALLERY DISPLAY
BOOK STORE
CAFE
ENTRANCE
CAFE OUTDOOR