05.1. CREATECURATE by charensiaaa

STUDIO 41: CREATE | CURATE

SANCTUARY TRAILS CHARENSIA PRICILLA ROMPIS | 860209

860209 | CHARENSIA pricilla ROMPIS

STUDIO 41: create | curate

hI, readers :)

SANCTUARY TRAILS woodblock printing STUDIO 41: CREATE | CURATE MASTER OF Architecture studio d CHARENSIA PRICILLA ROMPIS | 860209 tutor: yui uchimura

860209 | CHARENSIA pricilla ROMPIS

TABLE OF CONTENTS W1

1.3 - 7.3

INTRODUCTION PROJECT 01 | CRAFT = CONCEPT

8.3 - 14.3

PRESENTATION: PROJECT 01 PROJECT 02 | PLANET XX

15.3 - 21.3

PRESENTATION: PROJECT 02 PROJECT 03 | ROOTING CRAFT & CONCEPT

22.3 - 28.3

100

PRESENTATION: PROJECT 03 PROJECT 04 | APPRENTICE’S XX-HOUSE

122

29.3 - 4.4

PRESENTATION: PROJECT 04 SITE MODEL WORK IN PROGRESS

EASTER

5.4 - 11.4

132

MID SEMESTER PREPARATION

STUDIO 41: create | curate

12.4 - 18.4

160

MID SEMESTER

19.4 - 25.4

174

LANDSCAPE PRESENTATION CONCEPT REFINEMENT = WIP

26.4 - 2.5

188

LANDSCAPE & LIGHTING PRESENTATION WIP

3.5 - 9.5

204

INTERIM PREPARATION

W10

10.5 - 16.5

226

INTERIM WIP

W11

17.5 - 23.5

234

WIP = material samples

W12

24.5 - 30.5

246

final review preparation

final project 860209 | CHARENSIA pricilla ROMPIS

264

STUDIO 41: create | curate

1.3 - 7.3

INTRODUCTION PROJECT 01 | CRAFT = CONCEPT On the first day of the studio, we were introduced to a series of introductory exercises that aim to “Reconnecting the Hand & Mind”. The first exercise is Self Introduction: Abstract Physical Diagrams. From this exercise, we were given a number of questions about ourselves, and we were required to create a series of abstract physical diagrams using scrape materials that we brought to the class. The next exercise was Sharon’s Lookout. In this task, we were divided into a group of two, and my groupmate was Sharon. The brief of this task was to design a physical model of a lookout for Sharon based on her self introduction physical diagrams. We were given time to ask questions to our ‘client’ (groupmate) regarding what is an ideal Lookout for them. At the end of each exercise, we were asked to present our work in the class, and as for the Lookout exercise, each client had to critique the work of the designer and provide some feedback on what aspect works well and what aspect could be improved. The final introductory exercise was Creative Critical Reflection. In this task, we had to present our most recent project from our previous architecture studio. We were required to critically reflect on a number of questions relating to our previous project and what will be our creative strategy for this semester.

WEEK 1 | INTRODUCTION & CRAFT = CONCEPT

EXERCISE 01 | self introduction: abstract physical diagrams Q: What is your favourite building and why? Capture the view that stands out to you the most. A: Instead of my favourite building, I would like to produce something that has been my point of interest for a while. Composition. I learnt a lot from my favourite architect Christ Precht. In the physical model that I made, I created a split composition that follows two straight lines like a guide. I should have made it more abstract. However, I was running out of time and that I should learn to improve my time management skills. 1.1. My favourite form. Q: What is your favourite place and why? Capture the view that stands out to you the most. A: I like to stay in an enclosed space. It is interesting to think that a series of walls can create a space or a partition. Walls provide barriers that give privacy. Having my own personal space makes me feel a lot safer and comfortable. I guess that is why I like it. I like the sense of being under a shelter in a small intimate space. In the physical model that I created, I wanted to highlight the thickness of a wall showing how solid and firm it is. The connection between the walls provides a barrier that highlights a ‘space’. 1.2. My favourite place. Q: How would you describe yourself/ personality - as one core word and two subsidiary characteristics? A: I am an introvert. I usually have a lot of things going on in my mind, but I never really show it to the world. I am the type to keep everything to myself and just go along with the flow. I believe that no matter what is in front of me, I have to keep on going forward. There will always be a solution to everything, whether I like it or not. Life is just life, and what is bound to happen will happen. We all just gotta enjoy the ride till it last. 1.3. Me, myself. 8

STUDIO 41: create | curate

1.4. My main interest (1).

1.5. My main interest (2).

Q: What is your main interest/ hobby outside of architecture? A: Violin. I am currently learning how to play the violin. It is interesting to me how a series of string produces such a beautiful sound and rhythm. In the physical model that I created, I made an origami-style of pattern that intertwines, producing an unexpectedly beautiful pattern. Similar to violin, it requires the hand to act as a controller. The outcome of the sound and the pattern of the physical model relies on the human hand.

1.6. Craft I am interested in (1).

1.7. Craft I am interested in (2).

Q: Do you have a craft you partake in or are interested in? Capture the aspect which appeals to you the most. A: I have been investigating origami craft in my spare time, particularly in packaging and this idea of compress and release. It is interesting how a certain fold can be used for a different purpose. One of them is storing. The most simple way to think of a ‘fold’ is when we apply it to shirts. In order to store it, we normally fold it and put it into our wardrobe. This intrigued me in discovering more tricks in origami.

WEEK 1 | INTRODUCTION & CRAFT = CONCEPT

1.8. Brainstorming sketches for exercise 01.

exercise 01 | REFLECTION DESIGN DECISIONS From exercise 01, I realised how timeconsuming it was to make models. In my first studio, I only brought sheets of copy paper which gave me limited options to build the models. I had to only use one material throughout the exercise, which I found very challenging. However, it made me think of how to utilise sheets of paper in different kinds of model. ITERATIONS The last time I made architectural models were around two years ago. Therefore, I was really excited to get back into it and challenge myself. It took me a long time to figure out what I wanted to do and how I should do it. I started off by doing some random sketches and realised that I was running out of time. Therefore, I started cutting a piece of paper and model anything that comes into my mind.

After making the physical model, I realised that some of the models are inspired by the previous models that I have built. I did not get to make other iterations as I was running out of time. SUCCESS/ UNSUCESSFUL I think this is a great introductory exercise that challenged me to think faster. I think the model I did for Violin was the most successful one. It conveys what I wanted to express through the model. The least successful one would be the Compositional model. I was running out of time, and therefore, I could not do what I initially wanted to do for it. I feel like I could have done more on the models, but given the time constraints, it was quite difficult for me. FUTURE DECISIONS From this task, I would like to use this exercise as a practice to improve my time management skills and hand modelling skills, also, to be more iterative with my designs.

STUDIO 41: create | curate

EXERCISE 02 | SHARON’S LOOKOUT BRIEF Based on Sharon’s self-introduction diagrams, design and physically model a lookout for her. Consider context, style, materiality, approach, and spatial relationship to the environment. CLIENT-DESIGNER INTERVIEW - Client likes the idea of a contemporary village. - Client enjoys a comfortable place and travelling. - Client likes to break the rule sometimes. - Client likes going to the mountain. PROPOSED DESIGN IDEAS - The lookout will be designed on a mountain as the client’s favourite travelling spot. - Contemporary roof design is implemented into the lookout to highlight the idea of villagelike space. This enclosed space is designed as a shelter for the client in case harsh sun lights come in or rain pouring down. One thing to point out is that the client prefers comfort rather than being adventurous. - Client enjoys comfort place in which space is designed mimicking a house where the client can spend time under the roof. - The main materiality of the lookout will be wood as it represents nature and it brings out the idea of comfort and warmth. - Balustrade is important in the design as the client is afraid of height, and the lookout will be located high up in the mountain. - Operable timber screens can be used as an extension of the roof, better ventilation, and also can provide a sense of privacy for the client. - Solid structure will be constructed in the middle as it will be the main support of the lookout.

1.9. Proposed design concept for exercise 02.

WEEK 1 | INTRODUCTION & CRAFT = CONCEPT

PROPOSED DESIGN model FOR SHARON’S LOOKOUT

1.10. Lookout’s support.

1.11. Operable timber screen (1).

1.12. Operable timber screen (2).

1.13. Final touches.

exercise 02 | REFLECTION FEEDBACK - Client really liked the idea of an operable timber screen and the choice of materiality. - Considering the client likes to break the rule, the design could be explored more and that the design can let the client breaks the rule for fun. SUCCESSFUL/ UNSUCCESSFUL After the first exercise, I was able to work faster than I was. I really enjoyed designing this task as it felt like it was a real project. At first, I did not even think of having an operable screen, however, when I was making the model, the paper was a bit short, and therefore, I came up with the idea of an operable screen. From this, I realised that making models challenge my design thinking outside the box. I think this project is successful as my client was very happy with the design. One aspect that I have not carefully considered is the environment. I was too focused on designing the lookout that I forgot about the experience of going to the lookout. 12

STUDIO 41: create | curate

exercise 03 | CREATIVE CRITICAL REFLECTION BRIEF Present your recent project from previous studio in class, following the questions below: Q: What do you think are the weakest parts of your project? A: I did not pay enough attention to the scale, and I chose to take more than what I was capable of doing. I would prefer to have a small scale but detailed rather than a large scale. I like to focus on details as I believe the beauty in design is in the small detailing that captures people’s attention. Q: How would you like these aspects to be improved? A: Carefully consider the scale of a space and accessibility for all types of occupants. Q: What do you think was the most successful part of your project? A: I spent a lot of time figuring out the programs, which I think was quite successful. I also thought about how space will be used by the occupants. Q: What is your creative pattern that have proven successful for you? A: Usually, I would start off doing research on my topic and come up with a concept and ideas. Secondly, I would start making a rough sketch of my idea and draw a quick mindmap if the project is quite complex. Lastly, I always jump into 3D Modelling straight after to produce the design.

Q: What is your biggest overall weakness in architectural design? A: Sometimes 3D Modelling has its own constraints, especially with complex design. Sometimes, there is a limit to my knowledge, especially with the grasshopper. My other weakness is that sometimes I get overwhelmed before I start working on something, only, later on, I realised that sometimes it is good to jump into the computer and just start doing than thinking too much. Q: What is your biggest overall strength in architectual design? A: I would say detailling and line drawing. Q: What is your creative strategy for this semester? A: I would like to experiment on something old rather than new. I would like to go back to the contemporary ways of designing. This semester, I will aim to include physical model making in my creative process and use hand drawing throughout the process and representation. I would also like to develop hands-on skills and time management skills.

I know some people like to do a lot of sketches before they start modelling, but that is not the case for me. I think when I start modelling, I can imagine how it will look like, especially the scale of the project. Sometimes, I cannot figure it out until I test it on the computer, and I think I work faster once I start modelling on the computer. 1.14. Recent project from Studio 04: The Ark. more: https://issuu.com/charensiaaa/docs/arkjournal_

WEEK 1 | INTRODUCTION & CRAFT = CONCEPT

W1 STUDIO REFLECTION DESIGN DECISIONS In Week 1, we had to produce series of model-making. It was quite challenging as I was not familiar with model making, and given the short amount of time, I had to force myself and work faster. I did not like some of the models that I made. However, due to time constraints, I had to go along with it. Sometimes, I realised that I am quite afraid of testing out a new idea. I found myself ended up making something I am already familiar with. I guess that is how I managed to finish all the models; however, the quality wise is still not up to satisfactory. KNOWLEDGE ACQUISITION The introductory exercises from the studio today were really helpful in giving me an insight into what will be required this semester. In the first exercise, I was a bit impressed by the number of physical models we had to produce within a short amount of time. However, it helped me familiarise myself with model making, which was really good. I never realised how time-consuming it is to make one model until we were given time constraints to finish the exercise. It was quite challenging, but I enjoyed it. From the exercises today, I learnt how important it is to have time management skills. Brainstorming and modelling require a lot of time; however, I believe that if I practice every week, I will be able to overcome this weakness and improve my hands-on skills. ITERATIONS On the second exercise, I worked a lot faster than I previously did on the first exercise. I brainstormed really quickly on sketching and proceed through model making. I gained most of the ideas through the creative process of making a model, which I had not expected in the first place. SUCCESS/ UNSUCESSFUL During the final exercise, I realised that I was not used to presenting in front of the class as I have not done it for more than a year. I think having a lot of presentations will help me to practice. Also, I really like the collaborative environment we had in class. Listening to others present made me think outside the box. FUTURE DECISIONS In the upcoming studios, I would like to explore other model making tools and materials. I believe the options of having different materials and tools will help me present my ideas better.

STUDIO 41: create | curate

woodcut printmaking

PROJECT 01 | CRAFT = CONCEPT In Project 01, we were tasked to perform a week of intensive research in our chosen craft (woodcut printmaking) that we will base off throughout the semester. This task includes research on the process, material, tools, and history of the chosen craft and will be presented in forms of two-dimension (hand-drawn) and three dimensions (physical model making). Upon the completion of this project, we were asked to collect physical material samples of the chosen craft. Breakdown of the tasks below: 1. Graphic Craft Research 2. Graphic Craft Inventory 3. Historical Geographical and Environmental Research 4. Material Research 5. Parti as Artefact: Philosophy (+ Aesthetics) 6. Contemplations on Creativity WEEK 1 | INTRODUCTION & CRAFT = CONCEPT

Graphic craft research Photographic images summarising the process of woodcut printmaking.

1.15. Simple woodcut printmaking tools.

1.16. Prepare design on a sheet of paper.

1.17. Transfer design into woodblock.

1.18. Transferred drawing.

1.19. Drawing outline.

1.20. Redraw design. STUDIO 41: create | curate

1.21. Carving wood with gouge.

1.22. Carving wood with gouge (2).

1.23. Printmaking ink.

1.24. Ink application onto a plate of glass.

1.25. Roller to absorb the ink.

1.26. Application of ink into woodblock.

WEEK 1 | INTRODUCTION & CRAFT = CONCEPT

image source: https://crafts.tutsplus.com/tutorials/printmaking-essentials-carve-andprint-your-own-woodblock--craft-5477

1.27. Application of ink into woodblock.

1.28. Placement of sheet above the wood.

1.29. Pressing process with spoon.

1.30. Pressing process with machine.

1.31. Detach paper from the wood block.

1.32. Drying process and final outcome. STUDIO 41: create | curate

Graphic craft research Hand-draw diagrams summarising the most critical processes in woodcut printmaking.

WEEK 1 | INTRODUCTION & CRAFT = CONCEPT

Graphic craft INVENTORY

Small V Gouge

U Gouge

Palette Knife

X-Acto Knife

Bamboo Baren

Large V Gouge Pencil

Peg

Hole Punch Straight Chisel

15 Core Tools of Woodcut Printmaking.

SCALE 1:2

20mm 0mm

40mm

60mm

STUDIO 41: create | curate

Large Rubber Bayers

Small Rubber Bayers

SCALE 1:2

WEEK 1 | INTRODUCTION & CRAFT = CONCEPT

20mm 0mm

40mm

60mm

Glass Plate

Water Bucket

SCALE 1:4

40mm 0mm

80mm

120mm

STUDIO 41: create | curate

WOODCUT PRESS MACHINE

Plan

Isometric

Front Elevation

Side Elevation

SCALE 1:35

WEEK 1 | INTRODUCTION & CRAFT = CONCEPT

0.5m 0m

Graphic craft INVENTORY 5 Objects/ Products of Woodcut Printmaking.

Framed Print

Carving Tools

Printmaking Ink

Drying Process

SCALE 1:3

50mm 0mm

80mm

120mm

1.42. Printmaking objects and end products. 24

STUDIO 41: create | curate

lo db

oo W d

rve

SCALE 1:3

50mm 0mm

80mm

120mm

1.43. Carved and Inked woodblock. WEEK 1 | INTRODUCTION & CRAFT = CONCEPT

Graphic craft INVENTORY

Subject + Carving

Subject + Drawing

Subjects in Process.

SCALE 1:20

200mm 0mm

400mm

600mm

1.44. Subject in Process (Drawing + Carving). 26

STUDIO 41: create | curate

Subject + Inking

SCALE 1:20

200mm 0mm

400mm

600mm

1.45. Subject in Process (Inking). WEEK 1 | INTRODUCTION & CRAFT = CONCEPT

Subject + Pressing Woodblock

SCALE 1:20

200mm 0mm

400mm

600mm

1.46. Subject in Process (Printmaking). 28

STUDIO 41: create | curate

Subject + Drying Artwork

SCALE 1:20

200mm 0mm

400mm

600mm

1.47. Subject in Process (Drying Artwork). WEEK 1 | INTRODUCTION & CRAFT = CONCEPT

Graphic craft INVENTORY Diagrammatic Isometric Drawing of Printmaking Workshop.

3. “Inking” Zone

2. “Carve” Zone Daylight

Sink

Storage

5. “Dry & Soak” Zone 4. “Press” Zone 1. “Design” Zone

SCALE 1:75

1m 0m

STUDIO 41: create | curate

HISTORICAL GEOGRAPHICAL = ENVIRONMENTAL RESEARCH Historical/ geographical locations of woodcut printmaking.

APPEARANCE

8th Century (701-800)

15th Century (1400-1500)

East Origin: Japan

West

Woodcut Printmaking

DEVELOPMENT Woodcut Printmaking

TODAY

1400

Japan

Europe

Woodcut printmaking first appeared in the 8th century in the East. Later on, in the early 15th century, woodcut started developing in the West, which was known to be the earliest reliefprinting method. There is speculation that the Chinese may have produced a primitive form of print early on; however, the first authenticated prints rubbed from woodblocks were Buddhist charms printed in Japan and distributed during the 8th century. Woodcuts print on paper developed around 1400 in Japan and slightly later in Europe. These are the two areas where woodcut has been most extensively used purely as a process for making images without text. source: https://www.britannica.com/art/printmaking/Major-techniques-of-printmaking WEEK 1 | INTRODUCTION & CRAFT = CONCEPT

HISTORICAL GEOGRAPHICAL = ENVIRONMENTAL RESEARCH Important location that has a significance contribution into the development of printmaking.

JAPAN Woodcut Printmaking

8th Century (701-800)

15th Century (1400-1500)

17th Century (1600-1700)

1st authenticated prints from woodblocks.

development of woodcut printmaking

Discovery of Japanese Art (ukiyo-e)

Industrialisation

Chinese-influenced Art

The first authenticated prints from woodblock were found in the 8th Century from Japan. In the 15th Century, woodcut printmaking on paper developed in Japan. According to history, early prints were highly influenced by Chinese art until the 17th Century. During the early 17th Century, Iwasa Matabei, along with Iwasa Matabei II and Matabei of Otsu, was credited as the founders of Japanese woodcuts named “Ukiyo-e”. “Ukiyo-e” is a genre of Japanese art produced from woodblocks representing the classical traditions of Japan.

1.33. Ukiyo-e print depicting the art of the tea ceremony by Mizuno Toshikata, c. 1895.

1.34. Shiseido the ginza window by Kamisoe, c. 2019.

source: https://www.britannica.com/art/printmaking/ image source: https://www.britannica.com/art/ukiyo-e http://kamisoe.com/?s=karakami 32

STUDIO 41: create | curate

HISTORICAL GEOGRAPHICAL = ENVIRONMENTAL RESEARCH Development of Printmaking in Australia.

AUSTRALIA

1788

1940

First Fleet arrived in New South Wales.

The first Australian prints were acquired by the Government to decorate official residences.

1968

NOW

Printmaking

A printing press was included in the essential cargo needed to form the new colony

Collaboration with Aboriginal & Torres Strait Islander Art (>1500 artworks)

Printmakers in Australia use a lot of different printmaking techniques. Instead of using woodblocks, linoleum is more common as the material is soft, ready-made, easy to carve, and cheaper than woodblocks.

1.35. Lithograph of the First Fleet entering Port Jackson, 1788, by Edmund Le Bihan. 1.36. Little Balcony, Drypoint printed in brown ink with plate-tone, from one plate, 1925, by Lionel Lindsay. source: https://nga.gov.au/aboutus/press/australianprintmaking.cfm http://www.printsandprintmaking.gov.au/about/national-gallery-of-australia/history-ofthe-australian-print-collection/ WEEK 1 | INTRODUCTION & CRAFT = CONCEPT

HISTORICAL GEOGRAPHICAL = ENVIRONMENTAL RESEARCH Core material = wood. During the process of printmaking, the natural environment is not necessary for producing good quality prints. However, due to the natural material properties of the wood, its structure varies, and it influences the cutting process. The most common wood types that are used for woodcut are pear, rose, pine, apple, and beech. The old masters preferred fine-grained hardwoods as it allows finer detail work than softwoods. On the other hand, modern printmakers prefer the coarse grain of softwoods and often incorporate it into the design.

source IMPORT: JAPAN, INDONESIA, UNITED STATES, AFRICA LOCAL: AUSTRALIA

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TYPE OF LOCAL WOODS 1. Lime,50mm Linden, Basswood: ACT 0mm 80mm 2. Huon Pine: TAS120mm 3. Boxwood: ACT 4. Oak: ACT 5. London Plane: ACT 6. Walnut: ACT 7. Claret Ash and desert ash: ACT 8. Mahogany: ACT 9. Fruit Woods: ACT 10. White Beech: NSW, QLD 11. Kauri pine: QLD 12. Box Elder: QLD

SCALE 1:3

source: https://www.britannica.com/art/printmaking/ https://www.woodcraftguild.org.au/wp-content/uploads/2012/06/CarvingWoods.pdf 34

STUDIO 41: create | curate

HISTORICAL GEOGRAPHICAL = ENVIRONMENTAL RESEARCH How Architectural Gestures and Interaction with the Environment can reveal the woodcut printmaking’s historical narrative.

architecture x environmeNT + History of printmaking

HOW IT USED TO BE ARCHITECTURE

CRAFT - PRINTMAKING

VERNACULAR ARCHITECTURE

Discovered and made using raw/ local materials.

Use of local material and knowledge of construction.

TODAY ARCHITECTURE

CRAFT - PRINTMAKING

- Use of cold material *concrete. - Lost a sense of nature.

- Influenced from all parts of the world. - Blur in traditional/ local craftsmanship.

re-discover TRUE “local”

WEEK 1 | INTRODUCTION & CRAFT = CONCEPT

MATERIAL RESEARCH Materials Associated with Woodcut Printmaking

Wood: Fine-grained hardwoods allows finer detail work than softwoods. The coarse grain of softwoods can often be incorporated into the design. Paper: Dampened paper is an ideal quality to absorb the ink. 60% cotton is ideal type of paper. Press Tool: There are several methods of pressing woodblock which are press machine, wooden spoon, and bamboo baren. Ink: The type of ink used to print woodcuts are fairly solid and sticky so that it lies on the surface evenly without flowing into the hollows. It can be applied with dabbers or rollers. Rollers: Rubber material for ease of ink application, even result, easy to clean, and longlasting. Carving Tools

Framed Print

SCALE 1:3

Printmaking Ink

Large Rubber Bayers

Small Rubber Bayers

Framed Print

Carving Tools s Drying Proces

Printmaking Ink

50mm 0mm

80mm

120mm

STUDIO 41: create | curate

MATERIAL RESEARCH Types of ideal wood for woodcuts.

Lime, Linden, Basswood (Genus Tilia): Commonly used by the German masters. Material property: bland, some grain, trees can grow large so can sometimes be obtained in large blocks. Originated from Europe (expensive to purchase); however, the alternative option is Tilia cordata (small-leaved European linden) which grows to small sizes in Canberra. Huon Pine (Dacrydium franklinii): Because of its slow growth, its material properties are consistent, and it carves well. This type of wood may have some colour variation and has a unique, pleasant odour. Originated from Tasmania (expensive and relatively scarce). Jelutong (Dyera lowii): Material property: bland, almost no grain. Widely used by patternmakers for precision moulds. It absorbs sweat; therefore, handle with cotton gloves. Not recommended for the beginner as the lack of grain does not give the experience that you need to acquire. Originated from Indonesia (expensive to purchase). Boxwood (Buxus sp.)): A slow-growing hardwood used to make rulers, chess pieces and Netsuke. Comes in a small size. Originated from Europe & Central America; however, the alternative option is Buxux sempervirens (common European box) available in Canberra. Oak (Quercus sp.): Commonly used by Medieval carvers in a green state. Material property: long term stability is good, proven by many church carvings. This type of wood is relatively hard timber when dry with large pores and prominent ray figure on the radial face. A number of European and North American oaks are planted in Canberra and available in large sizes. London Plane (Plantanus x acerifolia): A hybrid of Sycamore (Platanus occidentalis) originated from North America and Oriental plane (Platanus orientalis). This type is also called Lacewood from its delicate ray figuring. It is a common tree in Canberra, planted as a street tree. Walnut (Juglans sp.): Material property: the heartwood has beautiful colouring, and the end finishes are ideal. The grain is not a problem and widely used for furniture. Juglans regia (English walnut) has been planted extensively as a nut tree in Australia. However, the timber of Juglans nigra (Black walnut from North America) is considered better quality. There have been limited plantings in Canberra.

source: https://www.woodcraftguild.org.au/wp-content/uploads/2012/06/CarvingWoods.pdf WEEK 1 | INTRODUCTION & CRAFT = CONCEPT

MATERIAL RESEARCH Types of ideal wood for woodcuts.

Claret Ash (Fraxinus oxycarpa): Originated in South Australia. Material property: colour is pale to cream with clear growth rings and large pores. It cuts cleanly and high density that helps with cross-grain cuts. A number of these species are planted extensively around Canberra, commonly available in large sizes. Mahogany (Khaya sp.): There are many trees known as ‘mahogany’; however, the African mahogany (Khaya ivorensis) has the best quality. The timber works well and often has a ‘lustrous’ finish. Fruit woods (Pear, apple, cherry etc): Pear wood has a close grain and minimum colour. It carves well and can be obtained in large sizes. Cherry wood can have interesting colouring. The sapwood of many of the fruitwoods can split badly upon drying; therefore, they should be slabbed as soon as after the trunk is cut. White Beech (Gmelina leichhardtii): Native of coastal NSW and southern Queensland. This type of wood has been recommended in Australia. Material property: easy to work with and is somewhat oily; therefore, it has poor gluing properties. Kauri pine (Agathis sp.): Originally sourced in large quantities and very large sizes from New Zealand. This source has largely been cut out or reserved; however, some kauri comes from Queensland (Agathis robusta) and Pacific islands. Box Elder (Acer negundo): Originated from North America. It is a maple with relatively soft and fine grain, and it carves well. It has been extensively planted around Canberra and grows well, so trees become available from time to time.

source: https://www.woodcraftguild.org.au/wp-content/uploads/2012/06/CarvingWoods.pdf 38

STUDIO 41: create | curate

MATERIAL RESEARCH Types of wood to avoid.

Brush Box (Lophostemon confertus): Native to NSW and Queensland. Material property: dense, close-grained, often curly and interlocked timber that contains silicon which quickly dulls carving/ cutting tools. This is less of a problem these days with modern high-speed steel tools but would still be a challenge. Desert Acacias (Acacia sp.): Many dry-country acacias are extremely hard, but they can have beautiful dark grained heartwood. Material property: have the tendency to break away. It would be recommended to use files on them. Many Eucalypts (Eucalyptus sp.): Material property: any of the native eucalypts have very dense, hard timber that may have interlocked grain. These type of difficult woods are often found in groups, including ironbarks, boxes and bloodwoods. While with perseverance, this type of wood can produce products with interesting colour and grain, it is not recommended for beginner.

source: https://www.woodcraftguild.org.au/wp-content/uploads/2012/06/CarvingWoods.pdf WEEK 1 | INTRODUCTION & CRAFT = CONCEPT

MATERIAL RESEARCH Wood source across the globe.

NORTH AMERICA

EUROPE

ASIA

AFRICA SOUTH AMERICA AUSTRALIA

SOFTWOOD FORESTS *cypress, fir, larch, pine, spruce, yew. TROPICAL HARDWOOD FORESTS *balsa, ebony, mahogany, narra, rosewood, teak. TEMPERATE HARDWOOD FORESTS *ash, birch, cherry, maple, oak, walnut. MIXED (HARDWOOD & SOFTWOOD) FORESTS.

STUDIO 41: create | curate

PRECEDENT STUDIES Architecture-related precedence.

1.37. Housing typology in Chiloe.

1.38. Craftsmanship in Chiloe.

Housing Typology in Chiloe: - Housing typology in Chiloe is connected through woodcrafts. - Chiloe’s architecture relies on the knowledge and skills of the local carpenters. - Creating architecture with local qualities. - Relation from nature to architecture, where the architecture bonded with the landscape. - Less insulation found due to materiality and climate condition. - Technique of using curved roofs to create a warmer space. - With the limitation of wood, steel is incorporated into the construction.

source: https://www.archdaily.com/897629/explore-the-local-wood-work-of-chiloe-islandchile WEEK 1 | INTRODUCTION & CRAFT = CONCEPT

1.39. Tiny Office (exterior) by delaVegaCanolasso (2020).

1.40. Tiny Office (interior) by delaVegaCanolasso (2020).

Tiny Office by delaVegaCanolasso (2020) - Garden office module type made of Corten Steel frame lined with OSB Poplar Wood, insulated with 12cm of recycled cotton, - All furniture, cabinets, and worktables are made of local wood, pine, and poplar. - Warm environment to work, rest, and observe nature.

Source: https://www.archdaily.com/954852/tiny-office-delavegacanolasso 42

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1.41. Botanical Pavilion by Kengo Kuma and Geoff Nees (2020).

Botanical Pavilion at NGV Australia is a collaboration project between Japanese architect Kengo Kuma with Melbourne artist Geoff Nees. The pavilion is a graceful arch with a tessellated interior of wood culled from felled trees at the nearby Royal Botanic Gardens.

“The forest is the ideal for my architecture,” “I wanted to create as natural a shape as possible, without a square plane. I know Lee Ufan personally and really respect his artwork. He has a strong nature, and our installation shows the same spirit of simplicity.”

source: https://www.archdaily.com/954585/melbournes-ngv-triennial-ponders-thedistant-past-and-a-post-pandemic-future WEEK 1 | INTRODUCTION & CRAFT = CONCEPT

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week 1 | reading The Eyes of the Skin, by Juhani Pallasmaa (1996)

The eyes of the skin identifies that architecture is not only based on visuals, but all of your senses. The eyes and the hands are always in constant collaboration with one another. The eyes control your movement and gesture, and the hands provide the tactile experience your eyes wish to touch. It was interesting how the hand and your eyes are always interconnected; the sound and the smell are more complementary to your primary senses. In this reading, I learnt about how all of our senses can be triggered by a certain factor in architecture. Learning from this reading, I wish to learn more about how I could achieve the tactile experience that this book mentioned and apply it to my project. WEEK 1 | INTRODUCTION & CRAFT = CONCEPT

PARTI AS ARTEFACT: PHILOSOPHY (= AESTHETICS) Essence of Craft.

1.42. Compiled models for Task 5.1. Essence of craft.

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1.43. Model: embodied experience (process).

1.44. Model: embodied experience (process).

1.45. Model: embodied experience (output).

1.46. Model: embodied experience (output).

WEEK 1 | INTRODUCTION & CRAFT = CONCEPT

1.47. Model: historical roots.

1.48. Model: historical roots.

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1.49. Model: geographical + environmental relationship.

1.50. Model: geographical + environmental relationship.

1.51. Model: material manifestation.

1.52. Model: material manifestation.

WEEK 1 | INTRODUCTION & CRAFT = CONCEPT

PARTI AS ARTEFACT: PHILOSOPHY (= AESTHETICS) Craft as architectural aesthetic: concept model inspired from woodcut printmaking.

1.53. Compiled models for Task 5.2. Craft as architectural aesthetic.

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1.54. Model: materiality (1).

1.55. Model: materiality (2).

1.56. Model: materiality (3).

1.57. Model: materiality (4).

WEEK 1 | INTRODUCTION & CRAFT = CONCEPT

1.58. Model: Wood (1).

1.59. Model: Wood (2).

1.60. Model: Wood (3).

1.61. Model: Wood (4).

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1.62. Model: nature (1).

1.63. Model: nature (2).

1.64. Model: nature (3).

1.65. Model: nature (4).

WEEK 1 | INTRODUCTION & CRAFT = CONCEPT

contemplation on creativity Reflection on productive space and creative space.

Reflect on the in-class model making exercise, and diagram making exercise above undertaken in a different environment (e.g. in isolation at home, set up a workspace in a public space or in nature, etc). Consider—does anything change? How and why do you think the physical environment affects your productivity and subjective experience? Personally, I am the type to do work at home. I am more focused when I work from home as I am more comfortable being in my own personal space, and I have access to everything I need, especially during model making exercise. The physical environment affects my productivity a lot, particularly when I do work at university; I get distracted a lot by people walking or having a conversation with someone I know.

What environments cultivate or allow you to exert your creativity e.g. solitude, collaboration + social interaction, natural white noise (e.g. insects, leaves rustling in the wind, water flowing through river)—do certain aspects / phases of the process flourish differently? In terms of doing work, I usually have less social interaction and collaboration with people. I only open up to a few close friends that I trust. I believe that sometimes when you share your work with a friend, you get a better understanding of what you are actually doing. Sometimes sharing feedbacks with my fellow university friends helped a lot; however, I still prefer to develop my own work so I will not get distracted by others.

Does the productive space and creative space overlap? Yes, I believe the productive space and creative space overlap. I usually get most of the ideas when I am at home. Sometimes I get productive when I was forced into a class environment; however, the works that I produced sometimes are not ideal. Therefore, being productive does not always mean being creative.

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WEEK 1 | INTRODUCTION & CRAFT = CONCEPT

PROJECT 1 REFLECTION DESIGN DECISIONS In Project 1: Craft + Concept, I decided to choose printmaking as my chosen craft for this semester. I first learned woodcut printmaking around 3 to 4 years ago. During the introductory phase, I was given linoleum instead of woodblock. After consulting with professionals, I think it is more common in Australia that printmakers used linoleum as their medium as I believe it is a lot cheaper and easily resourced than wood. This reason became my drive for this semester’s task. I want to focus on wood, especially locally sourced wood. I want to use this idea of celebrating local wood as the main focus. KNOWLEDGE ACQUISITION I found myself diving deep into the world of printmaking. During the research process, I did not realise that it triggered me to discover more and more about it. It was interesting to find out such history behind a craft and how it developed over time. I felt like this project taught me to work fast, especially with the drawings and models. This project was a good exercise that helped me get myself around technical stuff. It trained me to think faster, design faster, and work faster. ITERATIONS From the model-making tasks, I tried to keep it to a minimum with a maximum of 2-3 materials. With the idea of wood printmaking as my concept generator, I was able to come up with different ideas. Often I realise that I got inspiration when I was resting my hand on top of the cutting mat, touching the material, and feeling a bit lost. That was when the idea comes. The models that I made were not made from a sketch. It was all made straight on the spot. SUCCESS/ UNSUCESSFUL The research part of the step-by-step printmaking was not bad as I am familiar with it; however, the historical background was quite challenging as there is no 100% actual data on where it came from. It is based off on human’s speculation. Given such a short amount of time, I was really satisfied with how much I have uncovered and learnt from the research. I think the research, drawings, and models are all successful. I felt like I discovered a lot through history and gained back my model-making skills. FUTURE DECISIONS This task gave me an insight into how I will be going forward for the next task. I will be focusing more on wood and printmaking, where it will be my main concept generator for the rest of the semester. Taking from the experience of computer drawing, I decided to test on hand drawing. Also, improving my model-making skills in terms of having a well-detailed and clean model.

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WEEK 1 | INTRODUCTION & CRAFT = CONCEPT

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8.3 - 14.3

PROJECT 02 | PLANET XX In the second week of studio, we spent most of the time on Project 01’s presentation. After the presentation, we were introduced to Project 02 and given a mini exercise. We were given a plan view of the site that we were gonna focus on later on in the semester and a series of images of the site. We had to investigate which areas were showing from the series of images and draw a section of our site. WEEK 2 | PRESENTATION = PLANET XX

IN CLASS MINI EXERCISE Plan diagram identifying images on site + Section drawing on site.

2.1. In-class exercise: Site Plan (not to scale).

2.2. In-class exercise: Site Section (not to scale).

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W2 STUDIO REFLECTION PRESENTATION FEEDBACK - Comprehensive research. - More research to be done on the type of wood that can be sourced and used in terms of hardwood and softwood. - Consideration of the use of wood as an architectural detail and expression of materiality. SUCCESSFUL My project 01’s presentation went really well. I got a number of helpful feedbacks in terms of going forward. I think what I did was successful is that I did thorough research to back up my idea and how the order of presentation was going with the flow. Throughout the process of research and drawing, I learnt more about printmaking, and I kept thinking of how am I going to develop it further for my design. IN-CLASS MINI EXERCISE The mini exercise from the studio today was a really good introductory exercise to the site. I worked with Lauren, my classmate, to identify the site images according to the plan. It trained us to investigate the plans critically and created a section in a short amount of time. It helped me familiarise myself with the site, especially with the steep slope and its surroundings. I think the property nearby was raised on a platform due to the slope of the landscape that drops dramatically. FUTURE DECISIONS In the future, I would like to do more research on timber qualities, what sorts of timber is available and what type of timber is ideal for woodcut printmaking. In this week’s task, I used computer drawing to produce my graphics; however, I will try to shift myself into hand-drawing as I feel like this is a good opportunity to get back to hand drawings and model making skills. After all, it is a craftbased studio. WEEK 2 | PRESENTATION = PLANET XX

PLANET OF WOOD PRINTS

PROJECT 02 | planet xx In Project 02, we were tasked to perform a design esquisse Planet of Wood Prints: Site of Worship & Pilgrimage. The task is to design a place of worship and pilgrimage for printmaking, primarily consisting of the spaces for worship, gallery, and residential. The spaces may be amalgamated into one building or scattered throughout the site: 2A Viewpoint Lane, Daylesford. A few things to consider would be how the visitors experience the landscape through movement and interaction with the spaces that will be created. Breakdown of the tasks below: 1. Rough site model @1:1000 scale (A4 size approx.) 2. Brainstorming hand-drawn sketches of plans, sections, spatial progression sketches 3. 3x Options for conceptual designs, articulated as hand-drawn diagrams 4. 2x Conceptual designs, articulated as physical models 5. Plan & Section of 1 scheme @1:200 scale as line drawing + collage 62

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SITE MODEL

2.3. Site model @1:1000 scale (A4 size). Hand-cut on 1cm thick foamcore.

WEEK 2 | PRESENTATION = PLANET XX

BRAINSTORMING Plans + Sections Sketches

2.4. Diagrammatic Plans.

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2.5. Testing on Sections.

WEEK 2 | PRESENTATION = PLANET XX

CONCEPTUAL DESIGN Spatial Qualities

2.6. Spatial qualities for ambulatory, chapel, and relics.

2.7. Conceptual design 1. 66

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2.8. Conceptual design 2.

2.9. Conceptual design 3. WEEK 2 | PRESENTATION = PLANET XX

2.10. Physical Model 1.

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2.11. Physical Model 2.

WEEK 2 | PRESENTATION = PLANET XX

plan & section of scheme 1 Scale 1:2000

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PROJECT 2 REFLECTION DESIGN DECISIONS In Project 2, I started with diagrammatic programming of the site and did a quick research on the site access and its surroundings. I am very interested in this idea of communal/ a village in the sense that all of the forms are sort of small scale but intimate. My main concept was developed from the idea of layers of wood carving that are transformed into layers of walls, providing little nooks of the space as an ambulatory. From the aspect of experiential quality, I tried to map out the visitor’s route and started relating it back to printmaking. Therefore, I had this idea of using corridors as an ambulatory. It is meant to re-connect the visitors through the form of crafts; therefore, corridors act as a connecting form. After the ambulatories, there are temples where people sort of appreciating the relics (prints and woodblocks). The use of prints was applied to wall decorations and room dividers. The woodblocks from the printing press were designed as relics of the temple. The carved wood triggers a feeling of interaction between the wood and the hand itself. KNOWLEDGE ACQUISITION This week’s task taught me to focus on the spatial experience of the site and to put myself in the shoes of the visitors/ craftsperson. This week, I used the physical models that I made and turned them into a diagram. I did not think that it was an option before, but after using it and drawing on top of the image, I was able to imagine things differently compared to sketching. ITERATIONS From the quick iterations and model making, I was able to test on different kind of form and spatial expression that I want to convey. It made me realise whether something is successful or not successful and what to keep for future design decisions, and what to avoid. SUCCESS/ UNSUCESSFUL One thing that I realised is that I should explore on a smaller scale rather than working on a larger scale. Working on a larger scale is more about the form rather than the spatial qualities. On my final sketch, I was happy with the result I ended up with, which was inspired during the process of sketching each layer of the wall. FUTURE DECISIONS In the future, I would like to reflect back on my failure, especially the scale, the architecture qualities, and work on improving it. I realised that I work most of the time by myself in which was not very helpful in terms of getting feedback. I should talk to my peers more and reflect on it. Also, I will work on looking more into precedents and readings to come up with a strong concept. WEEK 2 | PRESENTATION = PLANET XX

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week 2 | reading Atmospheres by Peter Zumthor (2006)

From last week’s reading, I wished to learn how to achieve tactility within my design. In this book, Zumthor explained how certain factors could contribute to the atmosphere’s spatial qualities. I used to be the lazy type when it comes to reading.It was quite funny when he mentioned about making the readers feel bored. However, I feel the opposite. I kept flipping the pages because it was very intriguing. It is like a mystery that you have to solve through materiality, lighting, temperature, and sound. Another thing that I would like to point out is about the highest quality that he mentioned. When something can’t be taken away, otherwise, the whole integrity would be ruined. It is like a swing. WEEK 2 | PRESENTATION = PLANET XX

PRECEDENT STUDIES The Therme Vals by Peter Zumthor (1996)

2.12. The Thermal Vals by Peter Zumthor (1996) (1).

2.13. The Thermal Vals by Peter Zumthor (1996) (2).

2.14. The Thermal Vals by Peter Zumthor (1996) (3).

2.15. The Thermal Vals by Peter Zumthor (1996) (4).

After reading Peter Zumthor’s book, I searched up one of his famous building, the Thermal Vals (1996). Zumthor is famous for his phenomenology, which was interpreted into this thermal bath. He incorporated the space as if it is like a cave. He carved into the landscape and used natural material such as stone and water. He carved the journey of the visitors very thoroughly as if you are in the woods. It is about the sense of discovery. The site location is similar to our current site, which sits within a sloped landscape. It uses natural material to elaborate on the idea of being in the landscape, embracing it rather than taking it away. source: https://www.archdaily.com/13358/the-therme-vals 74

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Horbelev Kulturgård by WERK (2013)

2.16. Horbelev Kulturgård by WERK (2013) (1).

2.17. Horbelev Kulturgård by WERK (2013) (2).

2.18. Horbelev Kulturgård by WERK (2013) (3).

2.19. Horbelev Kulturgård by WERK (2013) (4).

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15.3 - 21.3

rooting craft & concept in site In the third week of studio, everyone presented their Project 02’s presentation. After the presentation, we were introduced to the Group Project & Individual (Rooting Craft & Concept in Site) and divided into three groups. I got assigned into Group 3: Environment & Ecology where we have to make a class site model for mid semester. We also had Adam Markowitz as our guest to talk through about his experience as a furniture designer as well as architect. WEEK 3 | PRESENTATION = ROOTING CRAFT & CONCEPT

W3 STUDIO REFLECTION PRESENTATION FEEDBACK - Using the idea of paper and trees as a concept. - A great form contrasting monastery and temple. - Scale was not accurate. - Have a research on Ise Shrine. - Wood could be used as part of spatial qualities. - Wood can be applied to the idea of cultivation and regeneration. - Readings and precedents. - Ramps can be worked out. UNSUCCESSFUL I realised some mistakes that I made after I presented my work and after seeing my peers’ work. I should have done more research to develop my concept further. I was a bit stuck on deliverables that I kept thinking of ticking off the deliverables; meanwhile, I should have done initial research to develop a strong concept. Another part that was unsuccessful is the scale, and this is the first studio that I am relying mostly on hand drawing, which is why it was quite difficult to work on the scale in comparison to working straight on Rhino. ADAM MARKOWITZ’S PRESENTATION After Project 02 presentation, we had a guest coming, Adam Markowitz. He is an architect and furniture designer. I was very inspired by his life journey on how he became a furniture designer from architecture. I learnt a lot from listening to his presentation, from the interaction of the hand by Juhani Pallasma, and how he described that furniture making is about designing and making at the same time. FUTURE DECISIONS From today, I decided to take a step back and re-do everything from the beginning, from research and precedents, into a well-developed concept and be really mindful with the scale before progressing forward.

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rooting craft & concept

PROJECT 03 | ROOTING CRAFT AND CONCEPT IN SITE In Project 03, we had to do a site analysis of our current site in Daylesford. We were divided into three groups, and I got assigned to Group 3: Environment + Ecology. Breakdown of the tasks below: 1. Physical model of existing conditions, 200-250m radius approximately from the centre of site @1:1000 in presentation quality. 2. Research on orientation, rainfall, climate, microclimate, geography, native fauna/flora, and ecology. Our group decided to go with Timber CNC, and I got assigned to do research on native fauna/flora within site. In addition to the group deliverables, there is an individual research task: propositions rooting craft and concept in the site. Breakdown of the tasks below: 1. 1x page of craft/ concept specific brief, graphically summarised 2. 1x page of scale diagram showing all proposed floor areas in m² with room/ space labels (may be abstract, but needs to be to scale). 3. 1x page preliminary drawings (can be a sketch of a plan, section, etc.) WEEK 3 | PRESENTATION = ROOTING CRAFT & CONCEPT

PHYSICAL MODEL IN PROGRESS Fablab Induction + Material Preparation for CNC

3.1. Material Choice for CNC.

3.2. Cutting Victorian Ash.

3.3. Gluing pieces of wood for CNC.

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PHYSICAL MODEL REFLECTION PROCESS We had fablab induction early in the morning to be able to use the timber workshop in fablab. After we finished our induction, We were given a couple of timber material to choose from. All of us decided to go for Victorian Ash due to the colour, the grain, and its origin. After settling on the timber, we had to estimate the size of each timber so that it can be used for CNC. Then, each of us tried to cut the timber so that it is in equal shape ready for assembly. After cutting the timber, Josh, the workshop technician, helped us even the wood so that it can be glued properly. Then, the final step was gluing it together and using the clamp to hold it together for a few hours. We went to grab lunch and came back to remove the clamps. After removing the clamps and storing the timber, we have to leave it over the weekend as the fablab will be closed. We are short of time because there is a lot of preparation to be done for CNC. FUTURE DECISIONS The process was really therapeutic. It’s like taking a break from doing studio work to do something I enjoy. In the future, I would consider using CNC to make my own site model; however, I believe that it needs a lot of preparation, just like how we worked on the class’ site model.

WEEK 3 | PRESENTATION = ROOTING CRAFT & CONCEPT

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week 3 | reading The Thinking Hand by Juhani Pallasmaa (2009)

The reading this week was a bit difficult compared to the previous weeks. Each chapter focused on a different aspect that contains multiple topics, which got me quite confused. It is pretty similar to Pallasmaa’s previous book, the Eyes of the Skin. However, in this book, he mentioned about craftsmanship in the first few pages, which is related to what we are doing this semester. The hands of different craftsperson were sculpted according to the types of their craft and the way the hand plays a bigger factor compared to the eyes; however, both of them still work together to produce art. In my case, the hand in printmaking plays a major factor in producing the artwork. It relies on the power that the hand gives to the medium and also, the final carved block gives a tactile experience with your skin through the texture. WEEK 3 | PRESENTATION = ROOTING CRAFT & CONCEPT

RESEARCH: NATIVE FLORA & FAUNA Fablab Induction + Material Preparation for CNC

3.4. 2a Viewpoint Lane, Daylesford 3460.

3.5. Native flora around the site. 84

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3.6. 10km radius from the site identifying EVC bioregions.

3.7. List of native flora and fauna within the 10km radius.

WEEK 3 | PRESENTATION = ROOTING CRAFT & CONCEPT

RESEARCH: NATIVE FLORA & FAUNA Fablab Induction + Material Preparation for CNC

Macropus giganteus or Eastern Grey Kangaroo

Turdus merula or Common Blackbird

Malurus cyaneus or Superb Fairy-wren

Vombatus ursinus or Bare-nosed Wombat

Wallabia bicolor or Black-tailed Wallaby

Habitat Ranging from semi-arid mallee scrub through to woodlands. They tend to favour denser scrubs and forests.

Habitat Found in urban areas and surrounding localities, but has successfully moved into bushland habitats. It is often seen along roadsides and in parks.

Habitat Found in forest, woodland and shrub land habitats

Habitat Found in temperate forest-covered. The species tends to avoid rainforests and is often found in the mountainous areas.

Habitat The preferred habitat is thick forest undergrowth or sandstone heath.

Identification - Hind legs that are larger than their forelimbs. - Long muscular tail is used for balance when hopping and as a fifth limb when movements are slow. - The fur is a light grey woolly colour except the face which is darker.

Identification - The male is the 'black' bird, with deep orange to yellow bill, a narrow yellow eye-ring and dark legs. - The female is a brown bird, with some streaks or mottling, and has a dark bill and legs.

Identification - The crown and sides of the head are blue, and the shoulder patch is a rich chestnut. - The depth and variety of colours in the male varies among the four subspecies, distributed across the Australian mainland

Identification - A short, stocky, barrel-shaped animal with physical characteristics that reflect its burrowing nature. - It has a broad head with small eyes, a short strong neck, powerful shoulders and a very small tail (~25 mm) hidden by fur.

Identification - This small, stocky wallaby has dark brown fur, often with lighter rusty patches on the belly, chest and base of the ears. - It feeds on a variety of plants including introduced and native shrubs, grasses and ferns.

3.8. Prevalent native fauna in Daylesford.

Acacia melanoxylon or Blackwood

Eucalyptus macrorhyncha or Red Stringybark

Acacia dealbata or Silver Wattle

Eucalyptus polyanthemos or Red Box

Eucalyptus viminalis or Manna Gum

Flowering July-December

Flowering February-July

Flowering July-November

Flowering July-December

Flowering December-May

Habitat Grows in a variety of habitats, chiefly in wet sclerophyll forest and in or near cooler rainforest.

Habitat Widespread and locally dominant, in dry sclerophyll forest or woodland on shallow poor soils on rises.

Habitat Grows usually in dry sclerophyll forest or woodland, on a variety of substrates, often on slopes and creek banks.

Habitat Widespread and abundant, in grassy woodland or forest on fertile loamy soils.

Identification - Tree to 30 m high, though often less. - It has rough, stringy, grey to reddish brown bark on the trunk and branches

Identification - Erect shrub or tree to 30 m high; bark smooth, deeply fissured with age, grey, grey-green or brown to almost black.

Habitat Widespread and abundant, in grassy or sclerophyll woodland on light shallow soils; south from Gulgong, with a small outlier in the upper Hunter Valley.

Identification - Grows as small bushy trees (e.g. as seen along roadsides). Blackwood may grow into a large, long lived tree, and the larger trees have been milled for cabinet timber.

Identification - Tree to 20 m high; - Bark mostly smooth, shedding in large plates or scales. Bark persistent on trunk and larger branches.

Identification - Tree to 30 m high (sometimes 50); bark smooth or persistent on lower trunk, grey to grey-black, shortly fibrous, hard, platy, smooth above, white, grey or yellow, shedding in long ribbons.

3.9. Prevalent native flora in Daylesford.

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RESEARCH: SITE ANALYSIS Surrounding workshops that utilise wood.

3.10. List of native flora within the site. The trees within site are within the group of Eucalyptus Characteristics: when sawn, it can crack, bend, warp and twist, therefore, not suitable for woodworking. Eucalyptus is not considered a particularly stable wood due to variations in moisture content. Alternative solution: recycle and reuse from the leftover wood used by furniture makers.

Daylesford Home Timber & Hardware

The Amazing Mill Markets

Boon Bromley

Pride Furniture

3.11. Furniture makers near the site. WEEK 3 | PRESENTATION = ROOTING CRAFT & CONCEPT

RESEARCH: MATERIAL Printmaking Materials

3.12. Materials from furniture maker space.

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3.13. List of timber at Fablab.

3.14. Sample materials to test on.

WEEK 3 | PRESENTATION = ROOTING CRAFT & CONCEPT

MATERIAL TEST

3.15. Carving test on types of wood.

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CONCEPT

WEEK 3 | PRESENTATION = ROOTING CRAFT & CONCEPT

CONCEPT DEVELOPMENT

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WEEK 3 | PRESENTATION = ROOTING CRAFT & CONCEPT

PROPOSED FLOOR AREAS

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WEEK 3 | PRESENTATION = ROOTING CRAFT & CONCEPT

PRELIMINARY DRAWINGS

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PROJECT 3 REFLECTION DESIGN DECISIONS The time I spent in fablab for the site model made me become more familiar with timber. I asked the head technician, Josh, regarding the types of wood that is workable for wood carving. Then, I went to collect a few samples and tried carving them. I was actually surprised that none of the Australian timber worked well. The closest would be Tassie Blackwood. But it feels like I might have to source into something else. It was quite challenging as I wish to work on local timbers. KNOWLEDGE ACQUISITION The activity in fablab taught me a lot of things, from timber properties, how to work with them, and hands-on skills. From the iterations that I made, I realised that it trained me to imagine the space a lot quicker and make design decision faster. ITERATIONS I decided to write down a couple of notes for my brief and tested it on the preliminary drawings. Noting down the ideas actually helped me a lot in mapping the programs like what I want it to be like and how big do I want it to be. I tried sketching my conceptual design and compared it with my previous week’s design. SUCCESS/ UNSUCESSFUL I found myself going back to my previous week’s design that I think was working well, except for the scale. It was a civic scale, and I should work more on compressing it and making it a friendly workshop. FUTURE DECISIONS In the future, I would like to make myself become more familiar with the size and how each program would occupy the site. I would also like to spend more time on producing good quality graphics and model making.

WEEK 3 | PRESENTATION = ROOTING CRAFT & CONCEPT

PRECEDENT STUDIES Form Studies in Landscape

3.16. ‘Casa Narigua, by p+0 architecture. source: https://www.designboom.com/ architecture/p0-architecture-casanarigua.

3.17. MA House, by Plan:b arquitectos (2015). source: https://www.archdaily.com/791083/ ma-house-plan-b-arquitectos.

3.18. Vail Grant Residence, by unknown. source: https://dornob.com/setbackszoning-shaped-this-sweet-modernhillside-home/.

2.19. Physical Model by Lucia Uribe (2015).. source: https://huaca.wordpress.com/ page/2/.

As the project site is located in a sloping landscape, I decided to go on Pinterest and search for physical models of buildings within the landscape. It gives me a better understanding compared to real site image or rendering. In the future, I would like to learn some aspects from these precedent studies and apply them to my building. 98

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Casa Miravalle by Colectivo720 (unknown)

2.20. Casa Miravalle by Colectivo720 (1).

2.21. Casa Miravalle by Colectivo720 (2).

2.22. Casa Miravalle by Colectivo720 (3).

2.23. Casa Miravalle by Colectivo720 (4).

As I was scrolling through Pinterest, I found this architecture model that intrigues me. I searched on the Architect’s website. It was not easy to read as it was in a foreign language. However, the images of the atmosphere are very interesting. It is like a combination of forms that are connected with a corridor. In previous weeks, I have been interested in designing something similar to this. I love the idea of a corridor acting like a passage, sort of a journey that leads you from one space to another. It is a residential project. Everything looks very calming and welcoming. It makes you feel at home, as well as the large window that blurs the inside and the outside. The feeling of being in the landscape. source: https://www.colectivo720.com/casa-miravalle WEEK 3 | PRESENTATION = ROOTING CRAFT & CONCEPT

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22.3 - 29.3

PROJECT 04 | apprentice’s xx-house In the fourth week of studio, we spent most of the time for Project 03’s presentation as usual, and after the presentation, we were introduced to Project 04 while having a tea ceremony hosted by Lauren. After that, we were given some model-making precedents and saw Yui’s lockdown model making.

WEEK 4 | PRESENTATION = APPRENTICE’S XX-HOUSE

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PHYSICAL MODEL IN PROGRESS Fablab Induction + Material Preparation for CNC

4.1. Scraping excess dried glue from the timber.

4.2. Dressing the combined piece of timber with Planar.

4.3. Reducing the size of the timber through 4.4. Applying glue to the combined piece of timber. the thicknesser..

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4.5. Using clamps to hold the timber and leave 4.6. Trimming the piece of timber to match the required size for CNC. overnight.

4.7. Dressing the sides of timber to have an 4.8. Triming timber piece following the grain direction. even surface as a guide/base for sawing.

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PHYSICAL MODEL IN PROGRESS Fablab Induction + Material Preparation for CNC

4.9. Triming the end piece of timber with additional guard.

4.10. Sanding the sides of timber to have an even surface.

4.11. Final look of the timber piece ready for 4.12. Ensuring right angle of each side of the timber piece. CNC.

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PHYSICAL MODEL REFLECTION PROCESS This week, we continued working on the piece of timber. I did not think that it will be this time consuming and difficult to work with timber. Glueing the piece together took a day, and the hardest part was trimming down the timber and the sizing. We struggled a lot in trying to get the perfect measuring of the timber. We had to use a lot of different machines to work our piece of timber due to the size that is relatively big. UNSUCCESSFUL During the process, we noticed a few errors regarding the measurement and the trimming process. Especially when we tried to use the saw, the machine was unable to cut the piece in one go, and we had to redo it on both sides. However, we did not end up with a clean, nice edge. In the end, we relied on using the sanding machine to have an even surface. SUCCESSFUL After everything has been done, we are so glad that the piece of timber has the right angles and that it was ready for CNC. Also, in the end, we were unable to get the perfect even numbers for the timber, but we will use a timber frame to cover the area that we lost.

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W4 STUDIO REFLECTION PRESENTATION FEEDBACK - Re-check the site entry. - Compress the building more and consider human-scale. FUTURE DECISIONS In the coming weeks, I think I need to be really careful with the actual proportion of the building size. Instead of designing the whole building, I would like to investigate further the interior space and the spatial requirement. Then, it will be a well-designed space. Sometimes I get too overwhelmed by the size of the site that it makes me lose control of the size. This is what I should practice more, and hopefully, as the semester goes, I will improve on this.

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APPRENTICE’S XX-HOUSE

PROJECT 04 | CURATING SPACES & LANDSCAPES PART 1 In Project 04, we were given a task to focus on the accommodation part of the brief. The exercise is to think of what kind of moments we want to curate and how do we achieve them. Breakdown of the tasks below: Part 1. Spatial Curation 1. 1x Spatial progression sketch 2. 1x Spatial/ Architectural diagram Showing: approach, arrival, bathe, eat, rest/sleep, and think/reflect/read/draw. Part 2. Spatial Design 1. Plan @1:50 2. Section @1:50 3. Plan of key moment @1:10 4. Massing model @!:100 (on a thick base) Showing: experiences in detail (materiality, etc.) WEEK 4 | PRESENTATION = APPRENTICE’S XX-HOUSE

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BRAINSTORMING SKETCHES

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PRECEDENT STUDIES

source: https://www.archdaily.com/957120/ziedlejas-wellness-resort-open-ad

source: https://www.archdaily.com/900282/an-australian-tiny-home-cabn I have always wanted to design a cabin house in the back of my mind, so I searched for a cabin design reference and got immersed in it when I was doing research. I love how simple and compact it is. Especially in the Wellness Resort, they incorporated a foldable bed and table that are designed in one spot. The large window facing towards nature is the sort of atmosphere that I want to aim for. To make you feel as if you are in the landscape. WEEK 4 | PRESENTATION = APPRENTICE’S XX-HOUSE

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week 4 | reading Thinking Architecture by Peter Zumthor (1998)

In this book, Zumthor talked about his life experience and appreciation in everyday life, the materiality and detail. From his design process, I realised a few things that applied to me. In my design, I tend to do something that I am familiar with. I guess it related to my unconscious brain that refers back to the experience of what I see and what I feel. I realised that I remember something because it has its own distinct characteristics, and that is what I am aiming for. From this reading, I realised that it is important to follow our heart, our instinct, and most of all, to not be afraid of failure. When we fail, we actually learned something. We learned not to make the same mistake twice, and that is the process of learning. WEEK 4 | PRESENTATION = APPRENTICE’S XX-HOUSE

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SPATIAL PROGRESSION SKETCH

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1. APPROACH

2. ENTRY

3. rest

4. crafting

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5. WASH

6. DRINK

7. INSPIRED

8. CONTEMPLATE

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SPATIAL/ ARCHITECTURAL DIAGRAM

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PROPOSED DESIGN: PLAN & SECTION

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BEDROOM/ CRAFTROOM

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KEY MOMENT: PLAN & SECTION

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PROPOSED UNITS WITHIN THE SITE

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PHYSICAL MODEL

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PROJECT 4 REFLECTION DESIGN DECISIONS I always have this idea in the back of my head to design a cabin house that is facing towards a forest. Now that I got the opportunity to play with the current landscape, I want to incorporate this compact design that becomes a part of the landscape. The shape that I came up with is like reflecting back to nature, the wind direction, and the roof that opens up to nature. ITERATIONS Looking back at the process, I realised that I did not do as many iterations in relating to the shape. I sort of set my mind onto the cabin style in which I think that I should have put more effort into the schematic design rather than just “ticking off” the deliverables. SUCCESS/ UNSUCESSFUL I personally really like the design even though it was very simple. However, I think I should have put more considerations into curating the space to be more related to my craft. I realised later on that I put most of the time into producing good quality graphics rather than curating my concept properly. KNOWLEDGE ACQUISITION From this project, I feel like I have developed my hand drawing skills and model making skills. For this week, I focused a lot on detail, whether it be the model or hand drawing, which I think was very important. FUTURE DECISIONS In the future, I would like to firstly focus more on my concept rather than jumping straight into the deliverables. I think the importance has a strong concept, then the rest will follow.

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29.3 - 4.4

SITE MODEL WORK IN PROGRESS In the fifth week of studio, we had Project 04’s presentation, and for the rest of the week, my group focused on doing some final touch to the site model and focused on the Journal Interim Submission on Sunday, 4/4.

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W5 STUDIO REFLECTION PRESENTATION FEEDBACK - Consider accessibility from the entrance to the site. - Re-work on the roof shape, make it more abstract than literal. - Material can be something else, instead of using all timber. - Having a foldable bed and table were not ideal for two people staying in one unit. UNSUCCESSFUL The feedback I received today made me realise that my proposal’s concept was not strong enough. It was too literal, and that I should reconsider the entire layout and shape. I found myself spending days on the drawings that I just sort of enjoy myself without really thinking about my concept. I realised that I was just stuck at the moment that I always fancy bathhouse that I always want to design. FUTURE DECISIONS In the future, I would like to try another method. Instead of being too literal, I would like to test on a new method of brainstormings, such as creating parti-diagram or sketching. I believe this will help me more in coming up with a strong concept and design. I guess I was just a bit lost and was not sure where to go. In the following week, I will look back on my previous reflections and try not to repeat the same mistake.

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PHYSICAL MODEL IN PROGRESS Timber Finish

5.1. Sanding the surface of the site model after milling.

5.2. Sanding the sides of the site model with sanding machine.

5.3. Applying clear stain to maintain the timber’s quality.

5.4. Leaving the timber to dry overnight.

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PHYSICAL MODEL IN PROGRESS Adding Surrounding Context

5.5. Putting on the Resin 3D Print and using the buds from baby’s breath as surrounding trees.

5.6. Spray painting the branches from the baby’s breath.

5.7. Adding acetate into the water bodies 5.8. Trying out sticks of branch onto the site (successful) and trying out the branches onto model (unsuccessful). the site model (unsuccessful).

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PHYSICAL MODEL REFLECTION

PROCESS This week, we received our site model from the fablab. It took around 40 mins to finish milling it in, which was pretty good. The day after the studio, we went to the fablab to sand the surface and the sides of the site model so we can apply the clear stain later on. We chose clear stain as we did not want to use coloured one to maintain the characteristic of Vic Ash. SUCCESSFUL After leaving the site model overnight to dry, the piece came out looking perfectly. The colour turned out a bit darker, which I think was not a problem at all. It turned out to be even better. This whole process is very satisfying as it feels like we are taking a break from everything. It is very time-consuming; however, working in a group makes me experience the collaborative working environment and having social interaction post-lockdown felt good. UNSUCCESSFUL After staining the timber, we worked another day on adding some details to the existing context. I brought some baby’s breath from my house and glued it into the site model. However, it looked very literal and looked very bush-y. Therefore, we decided to try a different method. We used spray paint to colour the branches from the baby’s breath. We chose the burnt umber colour to make it less distracting and to match with the model’s aesthetic. Then, we were faced with another problem. The branches did not turn out as we expected. The trees looked weird, and the sticks were slanted due to the slope of the landscape. With the feedbacks from the fablab’s technician, we decided to submit another CNC file to have the timber milled. We wanted to create holes so that the trees can stand up properly. The whole process of figuring out the grasshopper script for the randomised trees took a very long time. Now, we are just waiting for the job to finish and we will continue working on the trees. REFLECTION After spending every week on the site model, it made me realise that it has consumed so much time that I could have spent on my own personal project. It was fun and enjoyable; however, given the time constraints with the due dates from this studio and my other subjects, it drove me to the point that sometimes I have regrets, and sometimes I feel quite pressured and lost. I guess I just have to take the consequence, finish this up, and be proud of it. It’s all about the process.

WEEK 5 | PRESENTATION = site model WIP

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PRECEDENT STUDIES Bamboo Pavilion by archi-union (2018)

5.9. Bamboo Pavilion by archi-union (2018) (1).

5.10. Bamboo Pavilion by archi-union (2018) (2).

5.11. Bamboo Pavilion by archi-union (2018) (3).

5.12. Bamboo Pavilion by archi-union (2018) (4).

This multi-functional cultural centre by Archi-union incorporates the idea of using bamboo throughout the space. It contains space for exhibitions, conferences, and other community events. It plays around with the floating roof that provides the largest possible view of nature, blurring the interior and exterior space. It consists of two courtyards that are defined by the sweeping roof. I really love this idea of having access to nature at all times. It makes you feel like you are in nature while being protected under a haven. source: https://www.designboom.com/architecture/archi-union-in-bamboo-infinitypavilion-chongzhou-china-05-02-2018 128

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Horbelev Kulturgård by WERK (2020)

5.13. Sonora Art Village by duo davit and mary jilavyan (1).

5.14. Sonora Art Village by duo davit and mary jilavyan (2).

5.15. Sonora Art Village by duo davit and mary jilavyan (3).

5.16. Sonora Art Village by duo davit and mary jilavyan (4).

Sonora Art Village is designed with colourful clusters that are meant to distract you as if you are in a different world. This kind of setting reminds me of when I go to a theme park. I suddenly forget about life for a second. It feels like an escape to seeks joy, love, and happiness. The design looks very surreal with the colour rendering. The stepped pathways show a different route to each house. I have always been interested in the playfulness of this village. It makes me feel like I want to be in this space. I wish to incorporate a similar technique into my design. source: https://www.designboom.com/architecture/sonora-art-village-davit-mary-jilavyanmexico-06-22-2020/ WEEK 5 | PRESENTATION = site model WIP

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week 5 | reading The Architecture of Natural Light by Henry Plummer (2009)

In this book, Plummer mentioned about seven aspects of constructing metaphysical space through light. Each aspect covers how lighting could be incorporated into space. He introduced a few techniques on how to translate light. It is interesting how we can manipulate the light to create a certain atmospheric quality. I decided to read this book because I thought lighting is an important aspect of a building. Similar case to when I am doing work, I always choose a place where it has a lot of natural light. I do not really enjoy working in the computer lab in MSD, especially with the strong white light. I preferred working in Baldwin Spencer or MSD library that overlooks nature. When I am working at home, I made sure that my study space has a lot of daylight access to my study desk. It makes me become more productive. I guess there are times when you wish you are in the dark space and sometimes in a bright space. They say when you want to feel something, you tend to close your eyes to focus on it. Sometimes, the eyes distract what you want to feel or touch. In a similar sense to the books that I previously read by Juhani Pallasma, it says that the eyes and the hands are always in collaboration with one another; however, I believe that sometimes it contradicts, like how your head and your heart are always in a constant battle. WEEK 5 | PRESENTATION = site model WIP

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EASTER

5.4 - 11.4

MID SEMESTER PREPARATION During the Easter break, we had material workshop with Yui and Graphical Representation Workshop with Dhanika. We spent time on doing work for the mid semester review. My physical site model group took a day to finalise the physical site model for mid semester review on Monday, 12/4. I got an extension up until Friday, 17/4 midnight due to personal matter.

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PHYSICAL MODEL IN PROGRESS Adding Vegetation within the site model and photography.

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E.1. Model after CNC and adding tree branches.

E.2. Finished model and photography preparation.

E.3. Photography preparation.

E.4. Photography preparation.

E.5. Finished site model.

E.6. Finished site model.

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PHYSICAL MODEL REFLECTION PROCESS This week, we waited for Fablab to finish working on the CNC of our site model. Last week, we decided to add holes to our site model to make it easier for the tree branches to stand. Then, we proceed on gluing the baby’s breath branches and stick them inside the holes. SUCCESSFUL The representational look of the trees is a lot more cleaner and more abstract. It looks a lot better than what we had last week. We are glad that we ended up CNC-ing the holes. It becomes a lot easier to install the branches. REFLECTION After spending much time on the site model, we were all very happy with the result. It sure is a lot of work and time spent on this. However, the lesson is very valuable. I am glad that I got the chance to work on this site model that we all are very proud of. In the future, I would like to maximise the use of CNC. It is a good opportunity to experiment and improve my model making skills.

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MATERIAL WORKSHOP KNOWLEDGE ACQUISITION This workshop by Yui opened up my mind about how certain material could affect many things. Does a certain space need a durable material? Waterproof? Heatproof? Weatherproof? Material can have its finishes and coatings depending on the space requirement. Another thing is how each material has different texture and finishes and how it impacted its aesthetic and the way the human touch it. Even fixing can create an aesthetic value, for example, how timber is joined together and the timber grain that creates a natural aesthetic and imperfections. REFLECTION The material workshop is very helpful in deciding which material to use. For the project, I am focusing mainly on timber and from the workshop, I learned that there is a lot of different technique that can be used to express its natural imperfection. In the future, I would like to see if there are any possibilities to implement other material than timber.

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GRAPHICAL REPRESENTATION WORKSHOP KNOWLEDGE ACQUISITION The workshop by Dhanika is very interesting and knowledgeable. She explained a lot about Rhino modelling and how to get the proper shadows and lineweight. I often work with Rhino and import it to Illustrator to fix the lineweight. I usually have my own layering convention which only I would understand, however, she taught us how to work on a proper layer with its naming convention to make it easier in the future and in the workforce. REFLECTION I enjoyed Dhanika’s presentation. She was very cheerful and enthustiastic which makes it even more interesting. I would like to apply this knowledge for my future use. Also, since I am doing analogue drawing, I feel like some of the material are not related since I am doing everything manually by hand. I am currently doing Design Communication and taking that as a learning, I wish to improve my manual hand drawing skills.

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PRECEDENT STUDIES Fairhaven Beach House by John Wardle Architects (2012)

E.7. Fairhaven Beach House by John Wardle Architects (2012) (1).

E.8. Fairhaven Beach House by John Wardle Architects (2012) (2).

E.9. Fairhaven Beach House by John Wardle Architects (2012) (3).

E.10. Fairhaven Beach House by John Wardle Architects (2012) (4).

The beach house is located near the Great Ocean Roads. The design strategy is about creating sensory and spatial experience from the arival to the main living room space. Each area is curated with a dramatic interior that twists and folds, forming the spaces inside. Large window is used to frame the scenery outdoor. The furniture and joinery adopted the idea of using local timber such as Victorian Ash. . source: https://www.johnwardlearchitects.com/projects/fairhaven-beach-house/ 138

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Borneo Country House by John Wardle Architects (2017)

E.11. Borneo Country House by John Wardle Architects (2017) (1).

E.12. Borneo Country House by John Wardle Architects (2017) (2).

E.13. Borneo Country House by John Wardle Architects (2017) (3).

E.14. Borneo Country House by John Wardle Architects (2017) (4).

The house is designed with copper exterior that defines the framed view towards the scenery. Similar to the previous precedents, they use local timber as their joinery, interior lining, and furniture of the house. The use of timber becomes a celebration of high craft and finesse. The house is designed to connect with the landscape, as an embedded participant and also observer. source: https://www.johnwardlearchitects.com/projects/boneo-country-house/ EASTER | MID SEMESTER PREPARATION

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EASTER | reading Landscape as Protagonist by Bruce Pascoe (2020)

In this excerpt, Pascoe mentioned the importance of landscape history and how Aboriginal people utilise the flora. Aboriginal people worked hard in building the landscape and that we should treasure it, not destroy it. In terms of working with plants, there are several types of plants that are used by local craftspeople and weavers. According to history, Aboriginal people use these plants to weave an eel trap. Pascoe believes that plants are a part of embracing the local community through crafts. Space could also be designed with the idea of landscape in mind. Let the greeneries become the primary, not secondary. In this reading, I realised how important landscape is and referring back to our site. I feel like this is a good opportunity to value the landscape instead of treating it as an obstacle. I know that it will require a lot of work to figure out the planning as it is not usual. A lot of buildings these days disregard the importance value of the landscape, and that this project should be a critique on how we should treat the nature as it deserves.

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CURATING SPACES IN LANDSCAPE

re(treat)

RE(CONNECT)

MID SEMESTER REVIEW For Mid Semester, we had to produce a drawing set for the Workshop and Accommodation (refined version from previous week). Then, we have to provide a quick brief for the private residents. Along with the drawings, we have to produce massing model of each design and a site model. Breakdown of the tasks below: Week 1-4 - Important information that is related to the craft and the design - Context Plan @1:1000, Site Plan and Section @1:500 - Physical Model with proposal @1:!000 Week 5-6 - Workshop (Concept Diagram, Plan and Section @1:100, Key Moment Plan and Section @1:20, Massing Model @1:100) - Accommodations (Concept Diagram, Plan and Section @1:100, Key Moment Plan and Section @1:20, Massing Model @1:100) - Private Residents (Concept Diagram and Brief) 142

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MID SEMESTER BRIEF

The young couple wishes to move into Daylesford and pursue their dream of running a printmaking workshop alongside a couple of accommodations as their secondary source of income. The Apprentice (25) has been their student during their teaching in RMIT. She currently lives in Daylesford, and she is willing to work in the workshop for the young couple. The couple treats her as if she is their daughter.

YOUNG COUPLE (MASTERS) W(35) & H(38)

APPRENTICE (25)

Daylesford is known for its tourism, especially in mineral bathing, reserve, and chill-out festival. PostCOVID19, the situation is slowly getting back to how it used to be. Visitors across Victoria are even getting paid to travel to regional Victoria. People seek to escape from their daily lives, to re(treat), and re(connect). The type of visitors is usually university students, high school students, couples, craftsperson, and even family. VISITORS

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CONTEXT SITE PLAN

*Drawings are sized to fit for the purpose of Journal. Please disregard the scale bar. 144

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SITE PLAN

Section

*Drawings are sized to fit for the purpose of Journal. Please disregard the scale bar. EASTER | MID SEMESTER PREPARATION

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CELEBRATION OF CRAFT

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WORKSHOP | CONCEPT

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WORKSHOP | PLAN

WORKSHOP | SECTION

*Drawings are sized to fit for the purpose of Journal. Please disregard the scale bar. 148

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WORKSHOP | DETAIL PLAN

WORKSHOP | DETAIL SECTION

*Drawings are sized to fit for the purpose of Journal. Please disregard the scale bar. EASTER | MID SEMESTER PREPARATION

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APPRENTICE XX’S HOUSE

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ACCOMMODATION | CONCEPT

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ACCOMMODATION | PLAN

ACCOMMODATION | SECTION

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ACCOMMODATION | DETAIL PLAN

ACCOMMODATION | DETAIL SECTION

*Drawings are sized to fit for the purpose of Journal. Please disregard the scale bar. EASTER | MID SEMESTER PREPARATION

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COMMUNAL AREA | CONCEPT

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COMMUNAL AREA | DETAIL PLAN

COMMUNAL AREA | DETAIL SECTION

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SITE PHYSICAL MODEL @1:1000

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MID SEMESTER PROJECT REFLECTION ITERATIONS In my initial workshop design, I had a double-storey building where everything is very geometric and carved internally. However, after consulting with Yui, I realised that it was not the best decision I could come up with. Therefore, I put that idea aside and started fresh. For the accommodation design, I decided to redo my entire design from what I had last week. I feel like my concept was not fully integrated with the interior space. DESIGN DECISIONS In the process of redoing my design, I started by looking at precedence studies by John Wardle. I feel like I am very into his style of design, especially on some of his residential project. Then, I tried to implement some of his design strategies into my project. For the accommodation area, I decided to carve the internal space so that it can create a spatial and tactile journey of the visitor, from the entrance to the outlook with a framed view. The walls and ceiling are designed so that they can create a dramatic feel as a result of carving. In terms of the workshop space, I first started off by planing the visitors’ journey and the walls and programs that act as a guiding device for the visitor. The roof is slanted to welcome the natural light within the workshop space. SUCCESS/ UNSUCESSFUL Compared to my previous design, I feel like I have progressed a lot and am in a much better position than before. Due to time constraints, some of my design is not fully resolved as I was rushing them. I spent a few days working on the accessibility of the site, which was very time-consuming. It was not easy to the point that I felt like I should have focused on my designs instead. KNOWLEDGE ACQUISITION From this project, I learned a lot about working with ramps and grading. I also learnt how difficult it is to design on a very steep slope. It was like a mystery that I want to solve. FUTURE DECISIONS In the following weeks, I wish to keep exploring different concepts and filter them one by one. I wish to really develop a good project that actually benefits from the steep slope, not just a building that is embedded into the landscape. EASTER | MID SEMESTER PREPARATION

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SITE PHYSICAL MODEL @1:1000

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12.4 - 18.4

MID SEMESTER In week 6, we had mid semester review and given a task for self reflection. We are required to work on a presentation relating to our landscape strategy to be presented to a Landscape Tech next week.

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W6 STUDIO REFLECTION PRESENTATION FEEDBACK - Well presented and graphics, - Reconsider choice of material - rammed earth is ideal for getting a carved look. - Create a better integration between the workshop and accommodations. - Though there is still room for improvement, the idea of carving in accommodation is working quite well. However, material needs to be reconsidered. This idea could be further explored in the workshop area so that it can have the same design language or connection. - The roof of the workshop could be like carving or referring to mistakes in carving as a skylight. - Consider the idea of submerging the whole program within the landscape. - Work on the room arrangement - Hand bathing could be anywhere, can be just one, to elaborate the use of hands. - Courtyard space could be integrated. - Bathroom size might be too big. - The shape of the accommodations might be too restricted. SUCCESSFUL/ UNSUCCESSFUL The feedback that I received today was very constructive. It went much better than I anticipated. Although there is still room for improvement, I feel like I am on the right track. Some of my concepts are working well, although it is not perfect. I am really curious to where it will take me in my next submission. FUTURE DECISIONS In the following weeks, I would try to see if there is a possibility of merging the program within the landscape to really elaborate the idea of carving. Taking the feedback into account, I would like to be more ambitious in my design decision. I guess I was a bit scared and unsure to try bold moves in my design, but I should try and give my best.

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WEEK 6 | MID SEMESTER

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MID SEMESTER | SELF-REFLECTION STRONGEST PART I think the design feature that works the best is the interior panels in the accommodation. Although there is room for improvement, I love how it gives a carved look in the interior space and a dramatic journey. In terms of drawing, the workshop plan is my favourite and that everyone agrees on. I think it was very successful. It shows how people navigate around the space, and the shadows give it a strong look. WEAKEST PART Both the Accommodations and the Workshop is not well integrated. There is a disconnection in terms of design language. I admit that both are designed in different parts and that I ran out of time to refine one or the other. The workshop space looks like a form follows function in the walkway. However, as soon as you step in the room, it becomes function follows form, which I was not very fond of. I only realised this after our guest crit mentioned the room layout. In terms of the roof of the workshop, it is either you like it, or you hate it kind of feeling. I was not sure about it myself. Another weakest part is the materiality. I was stuck on the idea of using timber, however, I should look into other material to create different tactility in my design. HOW I MIGHT IMPROVE? In the future, I would like to rework the concept of “carving”. I feel like there is a lot of potentials that can be done in terms of carving. I have to be ambitious in trying a new approach. I would also like to value and embrace the landscape instead of seeing them as an obstacle in my design. In terms of internal space and taking the accommodation as a stepping stone, I would like to further enhance the journey of carved interior to feel like a cave.

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rooting in LANDSCAPE

PROJECT 07 | ROOTING IN LANDSCAPE In Project 07, we were tasked to curate a presentation relating to our landscape strategy. We have to consider: how can the ecological context and landscape features work with your craft + architectural spaces, and further root your concept in site? Consider soil, water, native vegetation to address certain environmental condition, 1. What is your approach and response to the existing ecological context? 2. What landscape features: both soft or hard will complement your architectural concept + resulting spaces? Add: Site plan, concept, type of plants and details, and reference photography. 166

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LANDSCAPE STRATEGY: FLORA

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LANDSCAPE STRATEGY: NATURAL DYE

source: https://sallyblake.com/eucalyptus-dyes-1 https://bpg.unimelb.edu.au/ 168

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LANDSCAPE FEATURE

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PRECEDENT STUDY

source: http://www.thestylesaloniste.com/2013/05/fields-of-vision-nature-glorified.html 170

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WEEK 6 | REFLECTION DESIGN DECISION For the landscape presentation, I worked on the part that I am confident of, such as the natural dye which is derived from the Eucalyptus plants. During my research a few weeks ago, I found out several native plants around the site and most of the trees are from the Eucalyptus family, which makes it a lot easier. Taking advantage from it, the crafts person can harvest the leaves or even fallen leaves or bark on the ground to be processed and used as natural dye. Keeping this in mind, I am thinking if I should move the accommodations area somewhere that does not disturb the trees at the site. REFLECTION I feel like I am still not 100% with my whole design. I feel like I am still missing a lot and so behind with everything. Getting a week of extension surely messed up my schedule. I wish to refine my concept first and rework on my whole design. And after that, the small design decisions will easily follow.

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W6 | reading To Design Landscape by Catherine Dee (2012)

I wish I had read this book earlier... This book gave me knowledge of landscape architecture and gave me a clear insight into architecture strategy. I have always had this thought in the back of my head, what is actually abstract and what is the borderline of being abstract and being literal. With my concept of carving, I feel like I am stuck in between to actually carve the landscape or give a subtle hint through the design. I’ll leave it at this for now... They said repetition is boring, however, I understand now what makes repetition interesting. You either be good at it or bad at it. It is all about composition. When I was reading the chapter on ‘hardly’, I got confused for a second. Do I actually understand what she is talking about? She mentioned giving a large effect through small intervention. But hardly? it feels more like a subtle gesture... The thing that stood out the most about the reading is when she mentioned how architecture project usually started off with site clearance. Referring back to our site, it feels like such a waste to remove the existing vegetations. It feels like a site inheritance. Maybe I should have conserved them. Maybe I will... WEEK 6 | MID SEMESTER

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19.4 - 25.4

LANDSCAPE PRESENTATION & CONCEPT REFINEMENT = WIP In week 7, we had landscape strategy presentation from eight students with our tech-tutor, Anna. We were given a task for self reflection and concept refinement during desk crit. I did not have desk crit, however, I presented my mid semester after class (I recorded it in W6 Journal entry).

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LANSCAPE STRATEGY PRESENTATION PEER’S LANDSCAPE PRESENTATION NOTES - Consider how the water can be harvested - irrigation. - Timber decks should have gaps for water to penetrate through and deal with expansion and shrinkage. - In landscape, use organic shape rather than straight lines. - When designing, think of what makes it special to the site. - Native plants - look into more specific plants to Daylesford, not Victoria in general. - Consider the size, height, spacing, orientation, wind, and soil tolerance. - Relationship of the building with the landscape. - The landscape could be integrated with the process of the craft. - Consider the use of permeable or non-permeable paving. - Trees, shrubs, groundcover. - Consider having a green corridor - birds attracting. KNOWLEDGE ACQUISITION The feedbacks from Anna, our tech tutor, to our peers’ are very useful. It applies to everyone, not just the students that are presenting. She gave us a general knowledge of landscaping elements I am quite familiar with since I did my bachelor’s in Landscape Architecture. The feedbacks given are very detailed, and I think that is enough to help us move forward. It requires a lot of research since most of the students in the class are not very familiar with the landscape. FUTURE DECISIONS For my presentation next week, I will look into the details of each type of plants used for the dye-making and additional flora that can be a part of my design. During the research week, I focused on the native flora and fauna. Therefore, I am quite familiar with what sort of plants are available on site. The focus that I need to work on is probably the materiality and how I want my landscape to be like, especially the ramps within site.

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IN-CLASS BRAINSTORMING SKETCHES

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IN-CLASS BRAINSTORMING SKETCHES

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W7 STUDIO REFLECTION STUDIO ACTIVITY I had my mid-semester review at the end of the studio session (The midsemester journal entry is in week 6’s entry). We were supposed to have desk critiques; however, I did not have a desk crit with our tutor since I have not presented yet. During the class activity, I tried to do some brainstorming exercises relating to my design and curate some key concepts from the diagram given in class. I think the diagram is a good starting point that makes us think of what we want to achieve and how do we achieve that. I came up with the title Daylesford Sanctuary. I like the name Sanctuary. It feels like a haven, the feeling of being protected and embraced. REFLECTION During the class, we were given a schedule and tasks to do during class and deliverables for next week. The moment I received the deliverables, I feel like I was getting hit by something really heavy like I have not even presented my mid-semester by the time, and more deliverables are coming. It feels so overwhelming, and I lost my motivation to do in class. I was worried and panicking at the same time. It feels like, when you are riding a roller coaster, you’ve just got to keep moving. Getting an extension for the mid-semester was probably not a good idea. I know I had to get one as I was going through a lot by the time; however, everything is just pilling up, and I feel like I can no longer keep up with it.

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PRECEDENT STUDIES UVA El Paraiso by EDU - Empresa de Desarrollo Urbano de Medellín (2015)

7.1. Sketch Plan of UVA El Paraiso by EDU - Empresa de Desarrollo Urbano de Medellín (2015).

KNOWLEDGE ACQUISITION What was interesting about this project was the plan. When I see it, I could imagine my projects being applied to the plan, and I think this is a good precedent that can be implemented underground. I tried sketching over it and imagine the spaces inside. It was like my experience back then during my printmaking class, where the press machine is positioned in the middle of the area. Then, this can be applied as the workshop can be located in the middle as the centrepiece of the building.

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PRECEDENT STUDIES Lighting qualities within the central walkway space.

7.2. Conservatoire d’aubervilliers by FCLP architecte (2013). source:https://www.designboom.com/architecture/ fclp-architecte-deliver-conservatoire-daubervilliers-infrance-11-06-2013/

7.3. Museum Of The History Of Polish Jews by Lahdelma & Mahlamäki + Kuryłowicz & Associates (2013).

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BRAINSTORMING SKETCHES

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WORKSHOP

AIRBNB

BRAINSTORMING SKETCHES

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BRAINSTORMING SKETCHES

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WEEK 7 REFLECTION DESIGN DECISIONS In the past week, I have been refining my landscape presentation and trying to tackle working underground based on Mid-semester feedback. The feedbacks that I was trying to take into account was to have a courtyard and roof garden. In order to move underground, I figured out the best way was to make the driveway going to the right side upon arrival. Then, with the help of the car ramp, the landscape can now be carved deep, allowing access for the visitors into the building easily. ITERATIONS I did some sketches on how I imagined the space to look underground and did some testing on the ramp shape. Taking into account of the slope, I always think that I should always test it in Rhino to be able to know whether it will work or not. It is very challenging to work with ramps. KNOWLEDGE ACQUISITION With the precedent studies, I was able to think faster than I used to be. I was able to test the plan and work around it to see whether it will work or not. Another important thing was working with the ramp. I feel like I am familiar with it; therefore, it is much easier to play around with it and fix it when there are errors. FUTURE DECISIONS While looking through the precedents, I found a couple of lighting qualities precedent that I want to achieve. The skylight is supported in between two large walls that further highlight the material of the supporting wall, especially when using natural materials. I feel like I am slowly getting there. I just need to keep testing and do some more trials on this. This is my first time working on an underground project, which makes it even more challenging. REFLECTION This week I was supposed to work on the residence unit, however, since I just received my Mid-semester feedback, I feel like I have to focus on refining my concept and form first before continuing on the next task.

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W7 | reading The Craftsman by Richard Sennett (2009) There are a few chapters in this book that got me Other than that, I was actually not sure what I was reading about...

flipping

continuously.

In Part 1, Sennett mentioned about modernity and CAD drawings. It made sense to me when he mentions that CAD drawings have a high degree of detail which may be good or bad at the same time. It is the same thing as when you give a render to a client and when the render looks super good, but in reality, it did not turn out that well. Professionals such as Renzo Piano still rely on traditional hand drawing, which allows manipulation and imagination. It kind of feels relatable in this studio. I rely most of the time on my hand drawing because, since the beginning of the studio, I told myself that this is a good opportunity for me to actually go back to the original ways and appreciate its beauty. There is a question about how craft differs from art. It made me question myself. I feel like art is more about the creative side; meanwhile, the craft is kind of both? Art to me feels more like a 2D like painting; meanwhile, the craft is more like origami, pottery. Well, again, I could be wrong. However, I will leave this here...

In Part 2, he mainly focuses on the hand, especially how the fingertips played a major part in music, especially strings instrument such as violin. Like the previous readings from Pallasmaa, the hand is always in collaboration with the mind and the eye.

Though it was an interesting reading, however, it did not really give me an insight to the actual craft as in how it could have relate to my project. p.s. I realised I am obsessed with drawing hands ..

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26.4 - 2.5

LANDSCAPE & LIGHTING PRESENTATION = WIP In week 8, we had the second session of landscape strategy presentation with our tech-tutor, Anna. After the presentation, we had individual desk-crit and Lighting Presentation by Josie, lighting tech-tutor. During the desk-crit session, we were also assigned into groups for peer group crits.

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LANDSCAPE STRATEGY PRESENTATION PEER’S LANDSCAPE PRESENTATION NOTES - Eucalyptus leaves = oil (smell) - Consider fauna - Atlas of Australia - Green wall, vertical landscaping, only when horizontal landscaping is not feasible. - Water harvesting on the roof or pavement. - Example: Glenn Murcutt’s water pipe - as part of decoration (explicit). LANDSCAPE PRESENTATION FEEDBACKS - Consider harvesting water for cleaning in the workshop. - Reconsider using bark for the dye-making - MDF material has VCO FUTURE DECISIONS From the feedback, I realise that it is not really feasible to work with Eucalyptus bark unless sourcing it from the trees will eventually damage the integrity of the trees. For future reference, I will work around the Eucalyptus leaves as it is more feasible and easier to work with. As for rainwater harvesting, I was contemplating a lot as I will have a green roof; therefore, the rain will penetrate through the grass. The only thing I can do is collecting run-off water from the ramps/ driveway.

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LIGHTING PRESENTATION PRESENTATION NOTES - Through lighting, we get emotional response - Cool Tone - Blue Sky - Warm Tone - Sunrise/ Sunset KNOWLEDGE ACQUISITION The lighting presentation by Josie gave us an insight into the importance of lighting in creating a tactile response of a human being. The very interesting part was the purple and black dot. I feel like everyone was very amused by it. It is interesting how our eyes react after looking at the black dot for a certain time. Not only that, the tech tutor gave us a lot of precedence in lighting and how we could apply that to our project. Lighting can help us highlight the material we are using and give certain atmospheres and spatial qualities. I realise that lighting can be a really interesting detail, so long as we can detail it very well. FUTURE DECISIONS For the upcoming weeks, I would like to investigate further into lighting - and how it could be transferred and translated through different form and materiality. I would also like to investigate further in terms of model making to get the light and shadows that I want to create in my project.

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W8 STUDIO REFLECTION DESK-CRIT - Diagram is working well - Look into Yokohama Station - Consider craftsperson to actually do the architecture detail STUDIO ACTIVITY During the desk-crit, we were supposed to do peer group crits, however, no one in the class ended up doing it. Everyone just sort of talk casually with each other during the period. I left with some of my studio friends to grab dinner. I would say that this is probably why I am able to survive in this studio. Everyone in the class is just so friendly and supportive. When each of us have any difficulties with our design, we just talk it out and figure out a solution together. The studio may feel cold with the bright cold lighting, however, the warmth from the people inside the studio is really the best thing I could ever ask for.

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PRECEDENT STUDIES House Between Courtyards by Enrique Browne + Tomás Swett (2015).

8.1. Sketch Plan of House Between Courtyards by Enrique Browne + Tomás Swett (2015).

KNOWLEDGE ACQUISITION After the feedback from week 7, I feel like I should finalise the form of my whole site. Therefore, I started looking into plans. I have always been interested in geometric form, so I am trying to apply it to the building. This project was interesting as the entrance is very clear, and it just breaks into two-part that overlooks the outside. In the context of my project, it can be easily achieved by benefitting from the view of nature. However, the programs need to be wellconsidered and sized according to the size needed for each program.

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PRECEDENT STUDIES Centro Cultural “Le Creste” by AREA PROGETTI + UNA2 + Andrea Michelini + Laura Ceccarelli (unknown).

8.2. Sketch Plan of Centro Cultural “Le Creste” by AREA PROGETTI + UNA2 + Andrea Michelini + Laura Ceccarelli (unknown).

KNOWLEDGE ACQUISITION What was interesting about this project was the plan. it shows how the circulation breaks the geometry of the building, making it very direct pathway. The programs are sort of formed within each divided geometries, making it look very clean and direct. I tried applying a similar into my project, however, I feel like I would prefer a more complex visitor’s journey than just a straight entrance - exit route.

source:https://www.plataformaarquitectura.cl/cl/900140/centro-cultural-50-ejemplos-en-seccion-yplanta?ad_medium=gallery 194

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BRAINSTORMING SKETCHES

WORKSHOP GALLERY

GALLERY

KITCHEN

WORKSHOP

PRIVATE WSHOP

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BRAINSTORMING SKETCHES OF RESIDENCE UNIT

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WORK IN PROGRESS

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SITE PLAN scale 1:500

GALLERY

COURT YARD KITCHEN

WORKSHOP ENTRY

PRIVATE WSHOP

WORKSHOP PLAN scale 1:200

WORKSHOP SECTION *Drawings are sized to fit for the purpose of Journal. Please disregard the scale bar. 198

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LIVING ROOM

KITCHEN

CRAFT

MASTER BEDROOM ENTRY

RESIDENCE PLAN scale 1:100

ENTRY

MINI CRAFT GARDEN

BEDROOM

ACCOMMODATION PLAN scale 1:50

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W8 | reading (talks) Strange Tools: Art and Human Nature by Alva Noë (2015) Talks at Google

Sadly, I could not access this book as someone else has borrowed it first from the library. It was not available online as well. Therefore, this time, I took a different approach. Instead of readings, I decided to go on Youtube and watch his one-hour presentation about his books. I took down a few interesting topics as I listen to his speech. The main idea that I got out of the talk was the “organised activity”. I got really confused when Noe started mentioning the act of breastfeeding. It feels a bit weird at some point. However, after I heard him talk about dancing, it does make a lot more sense. The idea of using tools as if it is an organised activity that helped you convey your intent in an art form. I am really curious as to what the book content might look like. I might go down and borrow it when it becomes available.

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WEEK 8 REFLECTION DESIGN DECISIONS From the Mid-Semester, I was not able to design a coherent architectural language across my buildings as I was running out of time; therefore, this time, I tried to create a programmatic approach by using rectangular boxes that are joined together with a pathway. Although there is room for improvement, I feel like the workshop space is working quite well compared to the rest of the buildings. ITERATIONS With a similar approach from last week, I tried to look into some precedents and started tracing the plans. I spent most of the time working on the workshop as I believe that it is the main focus of the project. Therefore, I wish to design the workshop well, and I believe that the rest of the buildings would follow. It was quite difficult trying to come up with a new idea within such a short amount of time. I feel like it is a bit rushed, and the dwellings could be resolved well. The final iteration of the workshop was influenced a lot by the organisation of my MidSemester design. I have always been interested in visitor’s journey and how they explore the space. FUTURE DECISIONS In the upcoming weeks, I wish to explore the details of the workshop space and the rest of the buildings. I feel like the dwellings are still lacking a lot in terms of the organisation of the space. I would like to spend a bit more time resolving that.

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3.5 - 9.5

interim preparation In week 9, we were supposed to present the key moment, however, I was focusing on refining the building from and programs. We were arranged into groups for Peer Reviews and planning for journal and physical model submission. WEEK 9 | interim preparation

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W9 STUDIO REFLECTION DESK-CRIT FEEDBACK - Focus on the interior space, rather than the overall form. - Carve the interior space to make it consistent - follow the idea from Mid Semester’s accommodation. - Fix the ramps. - The form at the moment looks like additive, not carving. FUTURE DECISION After the feedbacks from today, I feel like I should restart my project all over again. I feel like none is working well even though I quite like the workshop. Well, maybe, it is not working as I thought it would be. REFLECTION We were supposed to do peers group review in class; however, I can see the exhaustion in everyone’s face. Everyone in the class feels so drained from the workload. A lot of people, including me, are not doing well. We are unsure of what we have to do. Week 9, and I have a week to restart my entire project. I feel like I am so disconnected from my project. I do not exactly know what I should do, but the clock is ticking, and I have to keep moving forward. I will try my best and see where the project leads me. At this point, I will just try my best to finish the interim.

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INTERIM

CONCEPT DISCOVERING THE ART OF PRINTMAKING THROUGH THE ACT OF CARVING AND PRESERVING

landscape x architecture

form: simplicity x complexity

MATERIAL RAW X CRAFTED

SANCTUARY TRAILS

WORKSHOP

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RESIDENCE

ACCOMMODATION

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SITE PlAN @1:500 (PROPOSED VEG.) 4

VIE WP

OR Tl ANE

1 2

lEGEND: 1 ENTRy 2 CARPARK 3 WORKSHOP 4 RESIDENCE 5 ACCOMMODATION

SCAlE 1:500 @A3

5 0

30M

SITE SECTION @1:500

3 5

KEy lOCATION:

lEGEND: 3 WORKSHOP 5 ACCOMMODATION

SCAlE 1:500 @A3

5 0

30M

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WORKSHOP PlAN @1:100

lEGEND: 1 ENTRy 2 GAllERy 3 COMMUNAl KITCHEN 4 TEA ROOM 5 BATHROOM 6 COURTyARD 7 lOADING AREA 8 PRIVATE WORKSHOP 9 MAIN WORKSHOP 10 SEMI-OUTDOOR SPACE 11 OUTDOOR SPACE

1 8 6

5 4

KEy lOCATION:

SCAlE 1:100 @A3 1 0

10 2

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CHARENSIA PRICIllA ROMPIS

WORKSHOP SECTION @1:100

1 3

KEy lOCATION:

lEGEND: 1 COURTyARD 2 GAllERy 3 MAIN WORKSHOP 4 SEMI-OUTDOOR SPACE 5 OUTDOOR SPACE

SCAlE 1:100 @A3

1 0

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WORKSHOP KEy MOMENT | PlAN @1:20 SUSPENDED WOODEN TABlE BlACKWOOD

INGROUND UPlIGHTER

TIMBER STOOl BlACKWOOD

PRESS MACHINE

CARVED STONE WAll lIMESTONE

KEy lOCATION:

SCAlE 1:20 @A3 0.25 0

0.5

MAIN WORKSHOP

WORKSHOP KEy MOMENT | SECTION @1:20

KEy lOCATION:

MAIN WORKSHOP SCAlE 1:20 @A3 0.25 0

0.5

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WORKSHOP PERSPECTIVE | COURTyARD

KEy lOCATION:

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RESIDENCE PlAN @1:100

2 1

KEy lOCATION: lEGEND: 1 ENTRy 2 lIVING ROOM 3 CRAFT ROOM 4 SEMI-OUTDOOR SPACE 5 KITCHEN/ DINING ROOM 6 BEDROOM 7 BATHROOM 8 MASTER BEDROOM

SCAlE 1:100 @A3

1 0

RESIDENCE SECTION @1:100

KEy lOCATION:

lEGEND: 1 SEMI-OUTDOOR SPACE 2. DINING AREA 3. KITCHEN 4. BEDROOM

SCAlE 1:100 @A3

1 0

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RESIDENCE KEy MOMENT | PlAN @1:20

SUSPENDED WAll PARTITION INGROUND UPlIGHTER

CARVED lIMESTONE & STEEl

STONE TABlE TOP TIMBER BENCH

TRAVERTINE

BlACKWOOD

KEy lOCATION:

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CRAFT ROOM

RESIDENCE KEy MOMENT | SECTION @1:20

ExTERIOR WAll

RETAINING WAll

RAMMED EARTH

BASAlT & SANDSTONE

1 2

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RESIDENCE PERSPECTIVE | TEA ROOM

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ACCOMMODATION PlAN @1:50

2 3

6 5

1 lEGEND: 1 ENTRy 2 MINI GAllERy 3 CRAFT ROOM 4 KITCHENETTE 5 BEDROOM 6 BATHROOM 7 OUTDOOR SPACE

KEy lOCATION:

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0.5 0

2.5M

ACCOMMODATION SECTION @1:50

lEGEND: 1 OUTDOOR SPACE 2 BEDROOM

KEy lOCATION:

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0.5 0

2.5M

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ACCOMMODATION KEy MOMENT | SECTION @1:20

lEGEND: 1 BATHROOM

KEy lOCATION:

SCAlE 1:20 @A3

0.25 0

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ACCOMMODATION KEy MOMENT | PlAN @1:20

3 1

lEGEND: 1 BEDROOM 2 BATHROOM 3 OUTDOOR SPACE

KEy lOCATION:

SCAlE 1:20 @A3

0.25 0

0.5

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ACCOMMODATION PERSPECTIVE | BEDROOM

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material precedents

Grosvenor House. Koncha-Zaspa, Ukraine

MONA, HOBART, TASMANIA

by YODEZEEN ARCHITECTS

by FENDER KATSALIDIS ARCHITECTS

Material: wood and marble

Material: sandstone.

source: https://www.amazingarchitecture.com/visualization/grosvenor-house-in-koncha-zaspa-ukrainedesigned-by-yodezeen-architects.

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Photograph taken by author.

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MONA, HOBART, TASMANIA

TARRAWARRA MUSEUM OF ART, VICTORIA.

by FENDER KATSALIDIS ARCHITECTS

by KERSTINTHOMPSON ARCHITECTS

Material: sandstone.

Material: rammed earth.

Photograph taken by author.

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physical site model @1:1000

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physical site model @1:1000

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W9 | reading Dark Emu by Bruce Pascoe (2014).

To be honest, I am still quite unfamiliar with the history of Aboriginal people. I first learnt about it when I was taking my Bachelor in Landscape Architecture. In this book, Pascoe tried to explain about the myth of how Aboriginal people did nothing with the land. It was hard to convince that Aboriginal people are farming. He tried to inform a different view of Aboriginal people. He mentioned how some of the histories of Aboriginal people were absent in the present time, such as how they were able to preserve, store, and trade a large number of grains. In summary, he talks about much Aboriginal history in Australia that remains unknown to most Australians. Pascoe wrote about Aboriginal people who farm and harvest the yam and grains and how they used the traditional way of living their everyday lives. It was worth the read. It is always good to learn about history and to be respectful. Some of the places are a part of the settlement and that we should be really mindful about.

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WEEK 9 REFLECTION DESIGN DECISIONS For the interim, I tried going for a simpler form focusing on the internal space and the materiality. I tried to follow the feedback to have a skylight and internal courtyard while having the buildings underground. I tried not to be caught up on the ramping; therefore, I did not change much. With the idea of carving, I sort of tried to limit the form with rectangular boxes and tried to overlap them to create cuts. The landscaping and ramp that I had before works really well, so I just had to focus on the buildings and make it to be more integrated and coherent. I spent around three days figuring out the form and the programs and spent two days on the deliverables. In terms of materiality, I sort of deciding as I went when I was drawing the walls and textures. ITERATIONS Within the week, I did not have much time to really explore different ideas. As soon as I came up with a form that I was happy about, I just started producing drawings. I know I should not have done this to myself; however, I feel like this is not within my control. As much as I want to keep going and refining my work, I just cannot. KNOWLEDGE ACQUISITION From doing this interim project, One thing I learnt the most is managing my time and not being too caught up in small details. When given time constraints, I guess everything just needs to work. From the past few weeks, I believe that my work was not enough; however, for this time, I have a bit more confidence. I feel like the program divisions are working well, and it is pretty straightforward. FUTURE DECISIONS In the upcoming weeks, I really wish that I will not have to redo this again. I feel like I am getting exhausted from having to produce the same set of drawings every week. My motivation is just decreasing week by week and I feel like as it is getting close. I am just hoping that it will get better soon.

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W10

10.5 - 16.5

interim = wip In week 10, we spent half of the studio time on interim presentation and the rest of the class on desk-crit. I spent the rest of the week touching up journals and reflecting on my project. WEEK 10 | interim = wip

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W10 STUDIO REFLECTION INTERIM FEEDBACK Josie - Be more suggestive with going underground and opening up again. - Consider the smell of being underground throgh materiality and the texture. - Dark ceiling makes you feel compressed - then, have a moment of intense light to curate the experience. Yui - Be consistent in what is carved and what is not carved/ refined - Rework on the drawing convention to make it look like it is positioned underground. - Use carving method on the site model. - Create a kit of parts with different types of carving to be used in the space - show it at the beginning of presentation

NOT SUCCESSFUL From the feedback today, I feel like my project is a mess. I thought this time it would be better than the past weeks; however, I was wrong. I have been producing a full set of drawings with new forms every week. I feel like I have reached the point that I am scared to try something new. It feels like, no matter what I do, it just seems wrong. Maybe I have taken all of the feedback without actually filtering them. I am running out of time. It’s week 10, and I have to redo my design. I really should start filtering the feedbacks that I received, not taking all of them in. I think I was to caught up with all the feedbacks from different guest crits. It is becoming quite confusing.

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WORK IN PROGRESS

WORKSHOP PLAN 01

WORKSHOP PLAN 02

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PERMANENT DWELLING PLAN

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WEEK 10 REFLECTION In week 10, I got some cold and flu symptoms. I could not really do much work as I was busy working on my other elective as well. DESIGN DECISIONS I decided to take a day to work in the studio. I re-read through the feedback from the interim and trying to really understand what I needed to do. I decided that maybe the best way was to go back to 0 and start with basic planning. I noted down what programs were necessary and what kind of experiential quality I want to achieve. ITERATIONS I did a couple of iterations for the workshop plan using a rectangular base to start off. I tried to keep it simple and consider which areas will be the “dark” area and which areas will be the “light” areas. Therefore, I oriented the productive space to the open space. On the second plan, I tried locating the workshop space in the middle to highlight the idea of having a press machine as a centrepiece. As for the residential area, I tried doing the same strategy of dark and light. I guess I still have to play around with it to get the best out of it. KNOWLEDGE ACQUISITION This time, I decided to ignore my initial idea and go to a very simple approach. I realised that this is the easiest method of designing. I did not really have to care much about the exterior and all. It is all within a rectangular boundary. FUTURE DECISIONS In the next week, I wish to play around with the programs and see what position suits best for each program and be really careful about the idea of dark and light. I would also like to start thinking about the final deliverables and how to construct my journal.

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W10 | reading Questions of Perception by Steven Holl, et al, (1994).

Finally, a very interesting read. It feels like the continuation of Pallasmaa’s book. The most useful quote I have always taken out of these readings is when they mentioned how the hand grasps a handle or a door, acting like a handshake throughout the generation. It shows how material age throughout the time. Similarly, how our footsteps become a trace of the ground as we walk. For the finals, I want to create detail on handrails and door handles. I really wish to explore this further. In the reading, he mentioned how phenomenology is curated out of fragments - a series of incomplete phenomena that results in an architectural experience. These fragments can be texture, materiality, opacity, transparency, and translucency. Also, the capabilities of natural light to create a dramatic source of light where it is always changing throughout the day and season. Our bodily experience and movement determine space and quality. I would like to further explore this in my project, where light and shadows play a major factor in activating the sensory experience, also, how the texture of materiality creates satisfaction for the eyes and the hands.

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W11

17.5 - 23.5

wip = material samples In week 11, we had a zoom class and deskcrit in our allocated time slots. We focused on refining our project and planning the construction of the physical model and journal. I started working on collecting material samples and made some concrete. WEEK 11 | wip = material samples

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W11 STUDIO REFLECTION DESKCRIT @MIRO

- Locate the kitchen on the “light” area. - Remove the skylight on the “dark” area. - Consider having the corridor as ambulatory like church plan. FUTURE DECISION This week, I would like to refine on my workshop plan and really detail about my design strategy. I think at this point I just have to keep going forward. I feel like I am finally on the right track. If only I had done this a few weeks ago, life would be so much easier and I did not have to waste my time like this. I need to also think about the construction of my models. I feel like I am already so behind. Hopefully, I can recover in the following week so I can be on track with the deliverables.

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WORK IN PROGRESS (WORKSHOP PLAN)

Formwork Inspiration I went to a dinner date with my best friend after interim and took a photo of this delicious basque burnt cheesecake (the best cheesecake I have ever had! It was so memorable that I kept thinking about it. I’ll definitely come back after finals! fyi, it’s from OMNIA, South Yarra. 5 Stars! Worth the try!

Flip to the next page to see what i did!

WEEK 11 | wip = material samples

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CONCRETE IN FORMWORK = DRYING EUCALYPTUS MANNIFERA

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FINAL CONCRETE = EUCALYPTUS MANNIFERA (3 DAYS DRYING TIME)

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DESIGN STRATEGY AND CONCEPT REFINING

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PHYSICAL MODEL CONSTRUCTION

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material precedents

FUENSANTA HOUSE. CIUDAD REAL, SPAIN by MUKA Arquitectura (2014) Material: bush-hammered concrete (ochre) source: https://www.archdaily.com/591227/house-between-party-walls-fuensanta-house-muka-arquitectura

MANTINUM INTERVENTION, BASTIA, FRANCE by BUZZO SPINELLI ARCHITECTURE + ANTOINE DUFOUR ARCHITECTES (2020) Material: rammed earth .

source: https://www.archdaily.com/591227/ house-between-party-walls-fuensanta-house-muka-arquitectura

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WEEK 11 REFLECTION First of all, I am so glad that I finally have something new to say, instead of talking about workshop plan every week. MATERIAL SAMPLES In week 11, I started working on the material samples and construction of the physical models. I started ordering samples from a couple of suppliers. Some suppliers offer free sample; however, some, requires shipping fee. It was not bad at all. I found difficulty in finding rammed earth and concrete. I decided to get some concrete from my friend as he has some laying around his house that he used for exercising during the lockdown. I was walking around at Prahran Square and spotted some Eucalyptus Mannifera. I was unsure if it was legal to pick the leaves, so I had to pretend I was taking a picture and “grabbed” a branch of leaves. Oops. It left some colouring on my fingers. So, I suppose it is approved to be used as a natural dye material. ITERATIONS I started off mixing the concrete with water on a plastic cup and created a formwork using baking paper. I had this inspiration from the basque burnt cheesecake. It was pretty funny. I decided to use a rectangular shape and round shape from a diffuser packaging box that I have kept at my house for a while. I finally put it to good use. With the plastic cup itself, I utilised it as a formwork just out of curiosity, and I did not want to waste the concrete after mixing it. KNOWLEDGE ACQUISITION This is my first time mixing concrete and created a formwork. I thought it was going to be hard; however, it was actually relatively easy. I had fun making it. I left it for three days to dry. I tried touching it when it was wet, and it left a poke mark :( FUTURE DECISIONS I got too excited from using concrete for my models that I wanted to use it for all of my models until I realise that I cannot use it a lot as it is more of moulding than subtracting. I need to focus on my craft and make sure about these small details. However, for the section model, I think concrete will look good.

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W11 | reading The Unknown Craftsman by Soetsu Yanagi (1972).

I first learnt about the Japanese tea ceremony through this book. It was interesting how another country could influence the tradition and craft of a country. I believe that the craft today has lost its sense of tradition. Through rapid globalisation and social media, people get influenced a lot by other people across the globe. He then mentioned how machinery could not be compared to a man’s hand. This statement is completely true. It reminds me of the reading by Richard Sennett, The Craftsman. From my experience in this studio, CAD drawing and hand drawing are completely different. Hand drawing gives me the irregularity that Soetsu Yanagi mentioned in his book. It is about the beauty of roughness and freedom. It is neither perfect nor imperfect. The wobbly lines on hand drawing give a natural human touch and the idea of originality. This same idea is also applied to the art of crafting. When we started to use machinery to create an object, it no longer becomes special. In another sense, unique. The idea of freedom from the duality of a grown man, as mentioned in the chapter, Buddhist Idea of Beauty, is clearly defined in comparison to a children’s innocence. Children drawing is straightforward. Meanwhile, we grown-ups have been influenced by numerous factors from our experience and day-to-day activity. WEEK 11 | wip = material samples

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W12

24.5 - 30.5

final review preparation In week 12, we had a desk crit and test print in studio.I collected a few sample materials and worked on the concept model in fablab. WEEK 12 | final review preparation

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WORK IN PROGRESS (WORKSHOP)

WORKSHOP PLAN

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W12 REFLECTION DESIGN DECISIONS From the feedback last week, I decided to reconfigure the workshop plan. I started by allocating the service area in one linear line. It becomes a blurring space between the “dark” and “light” areas. The workshop is positioned near the entry where the gallery will be along the corridor and translucent glass that exhibits the activity inside the workshop. ITERATIONS I was not quite sure about the retaining wall and a wall that concealed the bathroom space. For my previous workshop plan, I have always explored this idea of compression and release to create tension for the visitors as they walk down the corridor. However, I feel like there needs to be more refinement in that area. Another thing I was not quite sure about was the long section. Throughout the semester, I have always worked on the short section; however, now, I realised that it was sloping a lot to one side. I thought the difference is not big enough that it will become a problem. Therefore, I tried to elevate the private workshop which means, I will need an additional staircase or ramp. KNOWLEDGE ACQUISITION Working on a rectangular plan makes me feel like the spaces are more organised and straightforward. My main concern was how to make the experience valuable despite having straight walls etc. I will be exploring materiality throughout the building; however, I was unsure whether it would be enough to convey my concept. FUTURE DECISIONS I will try multiple options to come up with the best solution for the wall. I would also like to get some feedback from my classmates and my tutor, Yui. As I have been redoing every week, I feel like I did not have much time to do the detailing. I know it is very important to my project. Hopefully, I can tackle it.

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WORK IN PROGRESS

BALLUSTRADE DETAIL (LEFT) AND CABINET (RIGHT)

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W12 STUDIO REFLECTION DESKCRIT - Rework on the retaining wall - Fix the standalone wall - Work on the walls that are extending outwards. - Refine the bathroom area. - Simplify the materiality - Refine the detailing. - Use concrete oxide instead of having true grey colour. - For the concept model, use wood instead of cardboard. - Give texture to the wood for the material palette instead of having it as it is. - Do not worry too much about the construction detail of the roof; focus on the experience. - Use textured solid rather than pure solid. - A few minor details on the aesthetic. FUTURE DECISION After today’s desk crit, I feel like I am finally in the right direction. I feel like I know where to go from now, and that should be sufficient to work on until the final. However, I am still not as confident about the detailing because I have not really focused on that before. I am really excited to see this project coming together.

WORKSHOP PLAN (MARKED FOR REFINEMENT) *Drawings are sized to fit for the purpose of Journal. WEEK 12 | final review preparation

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WORK IN PROGRESS (CARVING)

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12.1. Concrete condition after chiseling.

12.2. WIP for concept model.

12.3. Carved texture for blackwood.

12.4. WIP for carving.

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FINAL PIECE OF CONCEPT MODELS.

12.5: Piece 1. Tactile Experience.

12.6: Piece 2. Carving and Preserving.

12.7.Piece 3: The Beauty of Process.

12.8: Transition and Density.

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concept model

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(1)

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MODEL MAKING REFLECTION DESIGN DECISIONS During the desk crit this week, I was asked to add texture to the Blackwood. I was contemplating whether I should have it continuous or have it mixed with a smooth surface. Therefore, I decided to keep both as I feel like it could become a nice transition. With the concept model, I did not actually plan to get it done today; however, as I was carving, I feel like I got the idea there, and I just went with it. The material is Jelutong, which is quite easy to carve. I made the carving relatively simple to not distract from the point. ITERATIONS I decided to make four iterations of the concept model. I could not decide which one I like best. The last concept model that I carved (12.7) was actually a mistake in carving, and I tried to smoothen it again; however, it went the other way, and as I kept on carving it, it becomes really interesting, as if it felt like a flower that was carved out from the ground. KNOWLEDGE ACQUISITION From this model making exercise, I realised that working with wood is definitely a lot harder than MDF or linoleum. It feels like you are battling with the grain where it always forces you in one direction. One thing that feels special about it is the texture of the wood itself. Even when carved, it still has a rough texture as if the wood was peeled away, which was very interesting and new to me. FUTURE DECISIONS I want to explore wood carving more and see its capabilities. I wish I can use wood for my other model; however, I know that it will take such a long time to make and require professional skills. Maybe I can do that in the future. Overall, I was really happy with the result of the model making today. It was definitely a good experience!

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MATERIAL SAMPLES: initial idea

DIAMOND BLACK STONE WALL PAVING

CALGARY BLACK

BUSH HAMMERED BLUESTONE

LODEN QUARTZ PAVER

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MATERIAL SAMPLES: initial idea`

PLATINUM

PAVLOVA

SOFTSHELL

CARMELITA

WINTERSUN

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MATERIAL SAMPLES

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MATERIAL SAMPLES

List of Material Concrete: Handmade (Bunnings) Plant: Eucalyptus Mannifera from Prahran Square Timber: Waste material from Timber Workshop at MSD Tiles: supplied by National Tiles *Detail on the list of material is provided on the next page. *Material samples above are for personal use only (testing sample), final material sample will be updated according to the final design.

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MATERIAL SAMPLES

Terreno Carved Linen

Concrete

Tasmanian Blackwood

Quarziti Mantle Structured

Travertine Light

Quarziti Mountain Structured

Eucalyptus Mannifera Riverdale Rock Matt Concrete

Nordic Grey Honed

Bricklane Cotto

Terreno Carved Charcoal Tasmanian Blackwood

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MATERIAL SAMPLE REFLECTION DESIGN DECISIONS A week ago, I ordered a few tile samples from multiple suppliers. At first, I was unsure whether I should go for a darker tone or brighter tone as I have not finalised my material sample. Therefore, I just ordered according to what I think would suit my project. My main wall material will be rammed earth and bush-hammered concrete; however, I have been unsuccessful in finding a supplier - I know that it is quite impossible as well. A few suppliers that I contacted never got back to me; therefore, I decided to make my concrete from Bunnings. Even though I could not create the bush-hammered texture, I think the experiment on making concrete was worth the effort. ITERATIONS I ordered a few types of tiles in two tones. One is the bright tone like natural, and one is rocky stone kind of vibe. I still have not received my other samples from other suppliers; I think I will receive them way too late to be posted in this journal. Oh well, this should be sufficient for now. KNOWLEDGE ACQUISITION From collecting sample materials, I learnt a lot about material finishes and textures. The sample tiles that I received were human-made, as the natural stone ones are definitely a lot more expensive to purchase. Two materials that I made myself was the texture of the blackwood and the concrete. It was a very valuable experience that I wish to pursue in the future. FUTURE DECISIONS This is my first time collecting a material sample, and I regret that I have only started doing it in this studio. I wish I had done this before. It was very interesting to see materials in real life. I will definitely try to use this method in my other projects in the future. I will also try if I can create my own kind of bush-hammered concrete and fake rammed earth.

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W12 | reading Experiencing Architecture by Steen Eiler Rasmussen (1964).

I have been trying to avoid this reading in earlier weeks as it feels relatively long; however, it just blew my mind when I read it today. I tried to sketch a hand (as usual); however, I want to do something different this time. I used the carved TAS blackwood for my material sample and took a photo of it. It kind of reminds me of a quote by Johann Wolfgang von Goethe, “The hands want to see, the eyes want to caress”. After learning about phenomenology for the past 12 weeks, I finally understand what it means. I first read this quote when I was doing my Week 3 reading, The Thinking Hand by Juhani Pallasmaa. Going back to the book, Rasmussen covered a few points that are related to my project. Especially when he mentioned church and the niches, it is the vibe I am going for in my project. In one of his chapter, textures, he mentioned how we could give character to a simple boring material such as concrete through mould and formwork. This technique is similar to bush-hammered concrete in my project. Rasmussen helped me summarise my project that architecture is not just about the facade but rather the experience by the observer.

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sanctuary TRAILS woodblock printmaking

Sanctuary trails aim to discover the art of printmaking through the act of carving and preserving that amalgamates a series of programs and journey within the landscape. The main strategy is to create a representation of a bodily movement across the site and to provide a sense of being away from everything without being compromised by a profound level of openness from the site itself.

We always think of architecture as an additive element to the landscape, however, the sanctuary is rather an embodiment within the landscape itself. The sanctuary proposes shifting the focus on dynamic forms of new building towards the internal spaces where we, human, inhabit and experience the space. Transforming “form follows function” into “subtraction follows function”, the sanctuary allows programs such as workshop, residence, and accommodations to be concealed within subtracted voids where each program has its own volumetric experience, lighting quality, and orientation towards the site scenery. The experience is curated with the notion of compression and release, where the journey started from carving the landscape into opening to the natural light and Daylesford scenery. Throughout the project, the curation of material palette and detailing are utilized to strengthens the experiential quality of the project.

INTRODUCTION TO PRINTMAKING Woodblock printmaking is a process of transferring a design to a woodblock piece, then carved and pressed onto a thin piece of paper or fabric.

Large Rubber Bayers

U Gouge X-Acto Knife

Small Rubber Bayers

Small V Gouge Palette Knife

Bamboo Baren

Large V Gouge Pencil

Peg

Hole Punch Straight Chisel

SCALE 1:2 SCALE 1:2

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PRINTMAKING TOOLS

3. “Inking” Zone

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5. “Dry & Soak” Zone 4. “Press” Zone Front Elevation

Side Elevation 1. “Design” Zone

SCALE 1:35

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PRESS MACHINE = TYPICAL WORKSHOP ARRANGEMENT

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Plywood

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MDF Linoleum

GENERAL PRINTMAKING MATERIALS

TIMBER FURNITURE MATERIALS

PRINTMAKING MATERIALS

Daylesford Home Timber & Hardware

The Amazing Mill Markets

Boon Bromley

Pride Furniture

FURNITURE MAKERS IN DAYLESFORD

The young couple used to teach printmaking in RMIT, however, since the teaching has been suspended due to COVID-19, the couple wishes to move into Daylesford and pursue their dream of running a printmaking workshop near their residence.

Daylesford is known for its tourism, especially in mineral bathing, reserve, and chillout festival. Post-COVID19, the condition is slowly getting back to normal where visitors are even getting paid to travel to regional Victoria. The type of visitors could be university students, high school students, couples, craftsperson, elderly or even family.

The Apprentice (25) used to be their student during their teaching period in RMIT. She currently lives in Daylesford, and she is willing to work in the workshop for the young couple. The couple treats her as if she is their daughter.

Accommodations are available for those who wish to stay for a short-term period. YOUNG COUPLE (MASTERS) W(35) & H(38)

APPRENTICE (25)

VISITORS

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PERSPECTIVE VIEW OF THE OVERALL SITING

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WORKSHOP | LONG SECTION

COMMUNAL KITCHEN/ NATURAL DYE WORKSHOP

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CARVED RAMMED EARTH = SHADOW GAP

RAMMED EARTH = SHADOW GAP

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CRAFTPERSON’S RESIDENCE | PLAN

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wheelchair accessible UNIT

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craft space

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key location:

entry

SHORT SECTION

SCALE 1:50 @a3 0.5 0

2.5M

ACCOMMODATIONS | typical unit PLAN

kitchen/ dining

CRAFT SPACE

key location:

SCALE 1:50 @a3 0.5 0

2.5M

ACCOMMODATIONS | typical unit SECTION

bedroom carved rammerd earth = shadow gap

OPENING OVERHEAD

bathroom

entry

timber floor

key location:

SCALE 1:20 @a3 0.25 0

0.5

ACCOMMODATIONS key moment | entrance plan

carved rammerd earth

carved ballustrade

ballustrade detail

key location: entry

SCALE 1:20 @a3 0.25 0

0.5

ACCOMMODATIONS key moment | entrance section

shadow gap

CARVED RAMMED EARTH

key location: shadow gap

SCALE 1:10 @a3 0.1 0

0.3

0.5m

STUDIO 41: create | curate

ACCOMMODATIONS key moment | BALLUSTRADE SECTION DETAIL

TASK LIGHTING

key location:

DRAWER DETAIL

DOOR HANDLE DETAIL

SCALE 1:5 @a3 0.1 0

0.3

0.5m

ACCOMMODATIONS key moment | jOINERY DETAIL ELEVATION

key location:

ACCOMMODATIONS

perspective | exit

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THANK YOU FOR SPENDING THE TIME TO CARVE THROUGH MY JOURNEY IN STUDIO41 :)

- CHARENSIA

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LIST OF READINGS Holl, Steven et al, ‘Questions of perception: Phenomenology of Architecture’ (1994) Noë, Alva; ‘Strange Tools: Art and Human Nature’ (2015) Pallasmaa, Juhani; ‘The Eyes of the Skin’ (1996) Pallasmaa, Juhani; ‘The Thinking Hand’ (2009) Pascoe, Bruce; ‘Landscape as Protagonist in Considering Landscape’ (2020) Pascoe, Bruce; ‘Dark Emu’ (2014) Plummet, Henry; ‘Architecture and Natural Light’ (2009) Rasmussen, Steen Eiler; ‘Experiencing Architecture’ (1964) Dee, Catherine; ‘To Design Landscape’ (2012) Sennett, Richard; ‘The Craftsman’ (2009) Soetsu, Yanagi; ‘The Unknown Craftsman’ (1972) Zumthor, Peter; ‘Atmospheres’ (2006) Zumthor, Peter; ‘Thinking Architecture’ (1998)

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ACKNOWLEDGMENTS Thank you to Yui Uchimura for your time, passion, support, and dedication throughout the semester. To Prof. Donald Bates, Kristen Wang, Fablab team and Machine Workshop team for your guidance and support. To guest-crits and technical tutors for your time and guidance. To my fellow studio friends, Sidney, Lauren, Mike, Nat, Kiara, Hafiz, Bhadra, Ruby, Carol, Sharon, Kalli, Amanda, Karina, Herme and Amelia. I will miss seeing all of you in MSD140. To my family and friends for your warm support.

To my readers, words cannot express how much your support means to me.

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