ACKNOWLEDGEMENTS Thank you to those whom have given all of themselves to help me through my first year of University: my parents, my friends, family and others. Thank you to my tutors for their patience and willingness to answer my neverending questions, and assist me in becoming a better student, architect and creative soul.
CONT ENTS 1.
METHODS 2
3. SUZUKI HOUSE - ARCHITECTURAL DRAWINGS
35.
DESIGN 2
36.
ASSESSMENT 1: URBAN ANALYSIS
8.
ELEVATIONS + DIAGRAMS
38.
CASE STUDY - URBAN ACUPUNCTURE + SITE SKETCHING
14.
SECTIONS + DIAGRAMS
40.
MATERIAL STUDY
20.
COLLAGE - EXTERIOR
42.
LOCATION PLAN
22. AXONOMETRIC/PROCESS
44.
ITERATIVE DESIGN
26.
COLLAGE - INTERIOR
46.
KEY ITERATIONS
28.
ATMOSPHERIC SECTIONS
52.
FINAL DESIGN ITERATION + MODEL
32.
COLLAGE - SECTIONAL
56.
COLLAGE - EXTERIOR
58.
ARCHITECTURAL DIAGRAMS
60.
ARCHITECTURAL DRAWINGS
64.
COLLAGE - INTERIOR
66.
ATMOSPHERIC DRAWINGS
72.
COLLAGE - SECTIONAL
74. REFERENCES
METHODS SEM 2 2021
“One should listen to the stated intentions of the architect with the same scepticism that a psychoanalyst reserves for a patient’s explanation of his own behaviour.” - Peter Wilson
1
Bolles + Wilson’s Suzuki House was constructed in 1993, is a compact, five-storey corner house in suburban Tokyo. It was built for chemist Akira Suzuki and his family. The house is depicted here in its different eras. Its initial presence is captured beautifully by bold, colourful 1990s film cameras. Today, its vibrant colours are sapped, with only a grey, overgrown mass left behind.
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3
GROUND PLAN
The urban fabric of Tokyo encases the house, shown watching over a one lane intersection.
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5
LIVING PLAN
“A house glanced by a passing ninja.” - Peter Wilson
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Bolles + Wilson’s Suzuki House speaks for itself, using a collage of forms to fully realise its condensed urbanised context in a highly digital era; 1990s Tokyo Japan. The iconography of the ninja reflects the surface level views of Japan during this period. Images of the house surrounded by a web of powerlines and similarly harsh objects inspired me to depict it in a comic book style, primarily driven by the rawness of ink brushes, pens and faded markers.
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The house shape is a product
The house’s shapecondensed is a product of its context: of its context: Tokyo urbanism. condensed Tokyo urbanism.
The house shape is a product of its context: condensed Tokyo urbanism.
Design elements of the house allude to the cluster of digital information swarming Japan in the 1990s.
Design elements of the house allude to the cluster of digital information swarming Japan in the 1990s.
Design elements of the house allude to the cluster of digital information swarming Japan in the 1990s.
A dynamic form moves over the facade, “a house glanced by a passing ninja”. (AA School of Architecture 2015, 35:03.
A dynamic form moves over the facade, “a house glanced by a passing ninja”. (AA School of Architecture 2015, 35:03.
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Spatial exciti
Spatial restrictio exciting, multip innovatio
A sing unites th
A single set of unites the house’s floors
Flourishes of red the house, emb contextu
Flourishes of red integrat the house, embracing d contextual restric
4m
0
9
WEST ELEVATION
the pan
exciting, multipurpose innovations.
Design elements of the house allude to the cluster of digital information swarming Japan in the 1990s.
A single set of cabinetry unites the house’s many small floors.
Spatial restrictions result in exciting, multipurpose innovations.
Spatial divide, moments of pa condensed u A dynamic form moves over the facade, “a house glanced by a passing ninja”. (AA School of Architecture 2015, 35:03.
A dynamic form moves over the facade, “a house glanced by a passing ninja.”
Flourishes of red integrate the car into the house, embracing design within contextual restrictions.
A single set of cabinetry unites the house’s many small floors.
Flourishes of red integrate the car into the house, embracing design within Flourishes of red integrate the contextual restrictions.
car into the house, embracing design within restrictions.
10
Living area windows frame magical moments
0
4m
0
4m
11
SOUTH ELEVATION
Photographs of the house depict the strong lighting and material contrasts within it. Its small widows allow light to peer in harshly, creating glare which can form strong moments throughout the architecture. Additiionally, these photos highlight the efficient use of space, and how the homogenous concrete is offset by small art installations.
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The Suzuki House can be easily broken down into a series of distinct forms, each seemingly drawn from computers, televisions, or other digital age iconography.
13
use shape is a product context: condensed okyo urbanism.
ents of the house allude to the al information swarming Japan in the 1990s.
over the facade, “a house ninja”. (AA School of 2015, 35:03.
Spatial restrictions result in exciting, multipurpose innovations.
Spatial restrictions result in exciting, multipurpose innovations.
Spatial divide, with focused moments of pause opposite condensed urban living.
Spatial restrictions result in exciting, multipurpose A single set of cabinetry innovations. unites the house’s many small floors.
Spatial divide moments of p condensed
Flourishes of red integrate the car into the house, embracing design within restrictions. Acontextual single set of cabinetry
Living area windows frame distinct views, and allow magical moments of flooding light.
unites the house’s many small floors.
A single set of cabinetry unites three of the house’s many floors.
14
Bolles+W Peter P
0
4m
SECTION A
estrictions result in g, multipurpose nnovations.
Spatial divide, with focused
Spatial restrictions result in exciting, multipurpose innovations.
moments pause opposite Spatial divide, withoffocused moments of pause condensed urban living. opposite condensed urban living.
Spatial divide, with focused moments of pause opposite condensed urban living.
e set of cabinetry house’s many small floors.
A single set of cabinetry unites the house’s many small floors.
Flourishes of red integrate the car into the house, embracing design within contextual restrictions.
integrate the car into acing design within al restrictions.
Living area windows frame distinct views, and allow magical moments of flooding light.
Living area windows frame distinct views, and allow moments of flooding Livingmagical area windows frame distinct views, andlight. allow
Bolles+Wilson: ‘Suzuki House’ magical moments of flooding light. Peter Pupovac | 20554257
Bolles+Wilson: ‘Suzuki House’ Peter Pupovac | 20554257
16
0
4m
SECTION B
The interior “living salon”, as Peter Wilson puts it, negotiates a balance within the space, incorporating furtniture at eastern and western sitting heights to best adapt to the limited space available. From the piano in the house’s back corner, the central staricase frames the room gracefully, and the interaction between light and the cast wall art can be observed. The interior of the building does not have the luxury of being wide open, rather its five stories negotiate between wonderous cavern and something far more claustrophobic. The house delicately allows the entrance of light into its ‘living salon’, as Peter Wilson puts it.
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Bolles + Wilson Architects have a distinctly geometric style, which manifests across their previous projects. Their “Beach Watcher House” is pictured left. Pictured right is a sketch of the house’s back where utilities are placed. The sliced car port leaves the house hanging on a pair of ‘legs’, similarly to the Beach Watcher house.
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“ O P E N ”
POP CACOPHANY
This pop art post-digital collage is the result of a wide range of inspirations. The visuals of anime and manga such as Akira, comic book artists such as Jock, and street artists like Felipe Pantone have inspired my personal style through the years, and I have paid tribute to their art here.
The busy rawness of the collage represents how I see the building itself, being a collage of shapes and materials rooted in the digital age movement, something deeply engrained into its context.
AXONOMETRIC PROCESS
22
23
AXONOMETRIC
“ O P E N ”
COLD ILLUMINANCE
The imagery of the second collage reflects the house’s position within an interconnected society, pulling from the cold, gritty visual style of popular worldwide cinema. The cold, high-contrast photos of the house were a key reference, influencing the heavy timber and concrete textures laid throughout the actual and collaged space.
The wide collage reflects the house’s innovative qualities, relating to the emerging of digital cameras and the15:9 aspect ratio in worldwide cinema at the time. The idea of the ninja ties heavily to Japan’s identity in popular culture and media at the time, with a presence in American cinema, comics and video games. Japan capitalised upon this interest with Hollywood-esque action cinema of its own, often featuring a cold, high-contrast colour paette and occasionally ninjas too.
atmospheric section 1
The house’s urban context has led to the revelation of “architectural potentialities from necessities”, as Wilson calls it. The house is bound by a mountain of cupboards and wardrobes, its central skeleton if you will, sculpted from beautiful timber A concrete lined stairwell, concealing bathing and washing areas.
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atmospheric section 2
A suspended bedroom, a meticulously crafted sanctuary for a child’s mind.
A constricted family space, warmly bathed in soothing light, and expanding in its illuminance.
The lower reception, dark and efficient, a place to dismount before engaging the remainder of the house
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“ O P E N ”
WARM EMBRACE | ATELIER BOW WOW
The childlike innicence of Atelier Bow-Wow’s storybook-like section renderings utilise a cartoonish, simple, and comforting visual language which easily balances detail, beauty, and practicality. In the centre, I used a more standard collage style, emphasising a pleasant and warm orange and teal colour scheme, to not distract from more crucial stylistic choices.
Narratively, this collage demonstrates the final phase of the house as it stands today. While colourless and worn on the exterior, the interior is the warm home of a happy family. Through adding material to the interior, I can represent spatial hierarchy, rather than a web of intersecting shapes and items
“ E N D “
34
DESIGN | SEMESTER 2 2021
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Through investigation in assignment one, I concluded that the city fails to appropirately facilitate everyday people in key areas. Rather, it caters for office workers, and emphasises the practical, providing limited spaces that are natural and fluid. Located next to the David Malcolm Justice Centre is the bustling Hay Street Mall. Whilst this area facilitates families, students, seniors and everyone inbetween, there is a lack of nearby cachment for these people when in need of rest, perhaps after shopping or traversing the city for long hours. The courtyard of the David Malcolm Justice Centre is a clear missed oportunity. Despite having some shade, the imposing concrete and colonial buildings discourage people without suits and briefcases from entering.
Flow of pedestrians dispersing after exiting Hay St
Occupancy of the Town Hall underpassage adjacent to my chosen site
36
Day-time occupancy
Night-time occupancy
37
Upon commencing my urban design, I yet again investigated the work of Peter Wilson. I was intrigued by a lecture where he discusses a series of urban acupuncture and interventions he developed in Korca, Albania. He states that architecture...
“... is something one does with a social purpose. It enhances the everyday life of the user.”
Clearing the site for softscape and intervention
The current site contains superficial seating which actively pushes occupants away
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The works are intense, immediate and geometric, balancing rectilinear and curvilinear shapes elegantly and fitting into context appropriately. These interventions inspired a desire to create architcture for ‘the people’, one that offsets the current imposing environment which inspires little joy or freedom. Wilson’s drawing implies a warmness that was of utmost importance to my design thinking.
Symbols of balance, unity, and strength
Experimentation, using symbols to generate non-literal forms
Initially intended for Stirling Gardens, this design centres around a whimsical experience of nature and hopes to mend the lack of green space within Perth City
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Perforated metal sheets come in all shapes and sizes, and are an effective screening material. In particular, corten steel’s golden brown colour feels authentically Australian, thus downto-earth and for the people. Perth’s Optus Stadium and Yagan Square both use or evoke corten steel to acheieve this look, intended to attract ordinary people.
Rammed earth is understandably becoming increasingly popular today, with its fascinating natural patterns and colours. It can mimic some of concrete’s behaviour whilst appearing less jarring. I have taken its lack of tensile strength into account when designing the structure.
For seating and more delicate parts of the pavilion a raw golden timber is used. This helps to craft the natural tactile environment I wish to create.
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Museum of Science and Industry
Unknown
Grand Central Station Whispering Gallery
Musterer’s Quarters Chapel
41
ST
GE
OR
GE
'S T
CE
500 250
2000 1000
42
HAY
ST
The site sits in the heart of the city, between the City of Perth Library and Hay Street Mall, and north of Elizabeth Quay and the Stirling Gardens.
43
iterations
44
During the conceptual stage, I toyed with the idea of sound, and how this intersects with the experience: not only what one does literally in or with the architecture, but related to the experience as a full narrative.
How could the architecture create sound? Could I structure the expeience like a song? Thresholds and approaches may act as the intro and verses to a song, with the crucial experiential areas representing a main chorus. Could I create spatial hierarchy this way? Perhaps key areas of the architecture were delineated by their size, or a particularly stunning lighting and material scheme, while song elements were a way of smoothly transitioning occupants from one area to another. Differentiating materials does occur between spaces in my final design, with different combinations signalling different spaces.
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This early iteration is based around triangular forms: a signifier of balance and strength, intended to grant occupants a sense of power. The architecture uses the language of its surroundings, such as stairs and grand arches, to empower the ordinary people within. The openings of these designs took inspiration from Le Corbusier’s Ronchamp Chapel, where small openings in a brooding dark interior gave a sense of sacrednes and holiness, a perfect place to feel at ease.
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This iterative model simplifies the previous ideas into a single, streamlined form. The model depicts an auditorium staircase with double height stairs for seating, and walls with vertical translucent windows, which allow a gentle natural light into the space.
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49
Inspired by the potential of concrete to craft beautfiul light frames, I conceptualised an experience which occurs in sections, and plays with sound and light. The intensely lit resting corridor is followed by a room with an interactive string wall, capable of prooducing music. Similarly, Zumthor’s “Therme Vals” uses light to create distinct areas and moments within his architecture.
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51
Sketches of the final intervention design detail its material and composition. The peeling roof emulates sails, appearing flowing, and was created by ‘peeling’ the roof from the adjacent Town Hall tower.
52
The interior serves the needs of tired shoppers, with lockers and shelves of used books to read while you rest in the soothing light.
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The model uses balsa and tracing paper to simulate the soft lighting intended throughout the architecture. Gaps in the stairs also create the desired effect, and there is a soothing quality to the upper and lower floor.
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Seeing a physical object placed into a photo, as opposed to a digtal render, gives a far more tactile feeling because real light can be observed.
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O P E N
O P E N
URBAN ATTRACTION
This collage does not emulate any particular style, rather it is the result of my understanding of the post digital collage art form. Perhaps the closest resemblance is surrealist collage, thanks to the colours, and the exaggeration of important objets or ideas, for instance the intense brutalist works used in place of colonial architecture to heighten the notion of the surrounding architecture being exclusionary and imposing.
The environment surrounding the architecture is just as important as the architeccture here. Covered in brutalist buildings and eternal glass facades, the site demands a piece of architecture that acts against these surroundings.
oppers floor.
crete pillars of the Justice or the common person.
stairs seduce Hay Street shoppers Angled stairs seduce Hay StreetAngled shoppers into the translucent, into the translucent, curvilinear top floor. curvilinear top floor.
Upper floor circulation leads occupants into a community space with ethereal light.
The pavilion translates the imposing concrete pillars of the Justice Centre into a design which provides for the common person.
Upper floor circulation leads occupants into a community space with light. Upper floor ethereal circulation leads occupants
Angled stairs seduce Hay Street shoppers into the translucent, curvilinear top floor.
Upper floor circulation leads occupants into a community space with ethereal light.
into a community space with ethereal light.
The spatial experience is divided into downstairs darkness and a bright, gently-lit upstairs.
The spatial experience is divided into downstairs darkness and a bright, gently-lit upstairs.
The architectural form, initially inspired by justice scales, combines symbols of community and balance; circles and triangles respectively.
Features of surrounding colonial power are deconstructed and adapted into a fragmented roof and repeating polycarbonate windows.
The pavilion translates the imposing concrete pillars of the Justice Centre into a design which provides for the common person.
Features of surrounding colonial power are
deconstructed and adapted into a fragmented Features of surrounding colonial architecture are deconstructed and roof and repeating polycarbonate windows. adapted into a fragmented roof and repeating polycarbonate windows. The architectural form, initially inspired by justice scales, combines symbols of community and balance; circles and triangles respectively.
Diagrams | Peter Pupovac |20
The architectural form, initially inspired by justice scales, combines symbols of community and balance; circles and triangles respectively.
58
Diagrams | Peter Pupovac |20554257
Upper floor circulation leads occupants into a community space with ethereal light.
The spatialis experience is divided downstairs The spatial experience divided intointo downstairs darkness and a darkness and a bright, gently-lit upstairs. bright, gently-lit upstairs.
Angled stairs seduce Hay Street shoppers into the translucent, curvilinear top floor.
d stairs seduce Hay Street shoppers he translucent, curvilinear top floor.
Upper floor circulation leads occupants into a community space with ethereal light.
Upper floor circulation leads occupants into a community space with ethereal light.
The spatial experience is divided into darkness and a bright, gently-lit up
Features of surrounding colonial power are deconstructed and adapted into a fragmented roof and repeating polycarbonate windows.
stice on.
The pavilion translates the imposing concrete pillars of the Justice The pavilion translates the imposingfor concrete pillars of the Justice Centre into a design which provides the common person.
Features of surrou deconstructed and roof and repeatin
Centre into a design which provides for the common person.
The architectural form, initially inspired by justice scales, combines symbols of community and balance; circles and triangles respectively. Diagrams | Peter Pupovac |20554257
Features of surrounding colonial power are deconstructed and adapted into a fragmented roof and repeating polycarbonate windows.
n translates the imposing concrete pillars of the Justice to a design which provides for the common person.
The architectural form, initially inspired by justice scales, combines symbols of community and balance; circles and triangles respectively.
The architectural initially inspiredbybyjustice justice scales, The architectural form,form, initially inspired scales, combines symbols of community and balance; circles circles and combines symbols of community and balance; and triangles respectively. triangles respectively.
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SITE PLAN
BARRACK ST 5m
10m
20m
GROUND FLOOR PLAN
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WEST SECTION
63
SOUTH SECTION
O P E N
O P E N
UBIQUITOUS SANCTUARY
The interior collage uses photoreal occupants and textures to portray an authentic vision of the space. The photoreal collage elements evoke surrealist collages, which themselves give a heightened impression of reality.
My intention was to exaggerate how the light interacts with the vertical fibreglass, spreading ambient light through the space. The warm colours communicate a feeling of sanctity and safety. The brutalist building in the rear of the collage represents the harsh modernist architecture encircling the site. As occupants enter the intervention, they gain colour, symbolising the positive and alleviating feelings they experience within the architecture.
GROUND FLOOR PLAN
SOUTH SECTION
WEST SECTION
O P E N
O P E N
DYSTOPIAN ADAPTATION
Similar to my work on the Suzuki House, the sectional perspective leans further into the abstract and into popular culture. I have used a piece from digital artist Mark “Beeple” Winkelmann, who specialises in topical, satirical and dystopian artwork. The use of a desert to frame the architecture emphasises the sameness of its surroundings, that its surroundings are homogenous.
The Beeple artwork represents a symbol of power, perhaps Perth’s outdated concrete jungle staring down over the intervention. In the spirit of playflness, I have portrayed the roofing of the architecture as a ship sail, inspired by its staggered roof segments.
REFERENCES
AA School of Architecture. 2015. Peter Wilson – Not To Underestimate Commodity. YouTube video, 1:33:46. https://youtu. be/uK_5FhgJgoA. Arkitekter. n.d. “Tokyo Metropolis.” Pinterest. Accessed September 15, 2021. https://www.pinterest.com.au/ pin/492088696763992134/. Architizer. n.d. “[Chapel In Western Australia].” Pinterest. Accessed September 20, 2021. https://www.pinterest.com.au/ pin/161496336616786138/. Atelier Bow-Wow. 2017. “House and Atelier.” ArchDaily. https://www.archdaily.com/873261/a-selection-of-impressive-perspective-sections. Beeple. 2020. “ELONGATE”. Twitter. https://twitter.com/beeple/status/1375296270114373632. Binet, Helene. 2017. “Peter Zumthor, Hélène Binet · Therme Vals.” Divisare. https://divisare.com/projects/273885-peterzumthor-helene-binet-therme-vals. Cassidy, Kate. 2019. “Nora House, Atelier Bow-Wow.” Medium. https://medium.com/@katecas.kc/sections-232806e02c7c. Development WA. n.d. “[Yagan Square Ampitheatre].” Development WA. Accessed September 22, 2021. https://yagansquare.com.au/ys/about. Divisare. 2020. “BOLLES+WILSON · Suzuki House.” Divisare. https://divisare.com/projects/333083-bolles-wilson-suzuki-house. Dreamstime. “[Timber Texture].” Dreamstime. Accessed October 1, 2021. https://www.dreamstime.com/stock-photography-wood-grain-timber-texture-image3147782. Ghosh, Swarnabh. 2018. “Post-Digital” Drawing Valorizes the Ordinary.” ArchDaily. https://www.archdaily.com/tag/ post-digital. Jock, 2010. “[Batman Contemplative Leap].” Inside the Rock Poster Frame. https://insidetherockposterframe.blogspot. com/2014/04/jock-batman-black-mirror-prints-release.html Jock, 2013. “[Batman New 52 #21].” Sideshow Art Prints. https://art.sideshow.com/art-prints/dc-comics-batman-zero-year21-sideshow-collectibles-501658U. Jung, Mathias. 2015. “[Floating House collage].” ArchDaily. https://www.archdaily.com/612699/surreal-architectural-collages-by-matthias-jung. Leavemethewhite. n.d. “[‘The Matrix’ screencap]”. Pinterest. Accessed September 15, 2021. https://www.pinterest.co¬-m.au/ pin/602286150150049641/.
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Lido Cinemas. 2021. “[Akira screencap].” Lido Cinemas. https://www.lidocinemas.com.au/movies/akira-1988-4k-remastered. Lukas Schlatter. 2017. “[Suzuki House elevated facade].” Flickr. https://www.flickr.com/photos/157598112@ N02/37821385035. Lukas Schlatter. 2017. “[Suzuki House site context].” Flickr. https://www.flickr.com/photos/157598112@N02/38676881372. Melbourne School of Design. 2019. Dulux BE—150 Dean’s Lecture - Peter Wilson. YouTube video, 1:13:15. https://youtu.be/ TFjLLtSoDnM. Moria. 1999. “[‘Virus’ screencap]”. Moria. Accessed September 15, 2021. https://www.moriareviews.com/sciencefiction/ virus-1999.htm QIUSUO. n.d. “Perforated Corten Sunshade Panels.” Archro. Accessed October 1, 2021. https://www.archro.com/products/perforated/special-material.html.
Ravenscroft, Tom. 2021. “[Carmody Groarke Science and Industry Museum]”. Dezeen. https://www.dezeen. com/2021/04/08/carmody-groarke-science-industry-museum-manchester/. Republica Portatil. 2017. “Student Housing.” ArchDaily. https://www.archdaily.com/873261/a-selection-of-impressive-perspective-sections. Roriz, Cassia. 2020. “Architecture Illustrations | Vol. 1.” Behance. https://www.behance.net/gallery/101675793/Architecture-Illustrations-l-Vol1. SireWall. n.d. “[Rammed Earth Texture].” SireWall. Accessed September 30, 2021. https://sirewall.com/ texture-maps-for-architects-designers/. Surrealism Today. 2016. “Trash Riot Collage Art.” Surrealism Today. https://surrealismtoday.com/collage/. The Wood House. “The Chapel at Ronchamp.” The Wood House. https://www.thewoodhouseny.com/journal/2018/6/20/the-chapel-at-ronchamp. Wallpaper House. n.d. “[‘Spawn’ screencap]”. Wallpaper House. Accessed September 15, 2021. https:// wallpaper-house.com/group/spawn-movie-wallpaper/index.php. Young, Michelle. n.d. “[Grand Central Whispering Gallery].” Untapped New York. https://untappedcities. com/2019/03/20/10-hidden-places-in-nycs-grand-central-terminal/10/. Accessed September 20, 2021. Zumthor, Peter. 2015. Atmospheres : Architectural Environments, Surrounding Objects. Basel ; Boston ; Berlin: Birkhäuser, Cop. (Access via Blackboard).
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CONTACT: email: ppupovac@hotmail.com
