Fire catherine mei min woo 562729

ARCHITECTURE

DESIGN STUDIO F I R E J O U R N A L

Catherine Mei Min Woo 562729 Studio a: University of Melbourne archives studio 9 Peta Carlin Tuesday 9.00am - 12.00pm Room 508 Studio B: University of Melbourne archives studio 10 Luis Zapata Friday 14.15pm - 17.15pm Room 607 Architecture Design Studio: Fire ABPL30037 2014 SM2 Bachelor of Environments The University of Melbourne

Contents

ii

Part A. Conceptualisation

01

A01. Design Brief A02. Site Analysis A03. Precedents

03 07 15

Part B. Criteria Design

25

B01. Research Field - Framing B02. Research Field - Light

27 33

Part C. Detailed Design

35

C01. Design Proposal A C02. Design Proposal B

37 67

Part A.

Conceptualisation

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DEsign Brief Site A: buildings numbered 278, 282, 284, 290 & 296 Albert Street. Commute conducted via Yarra Trams from the city through route 19, along the intersection of Albert Street and Sydney Road. Site Visit conducted on foot and in groups of three.

In Studio A this semester we will be designing a new building for the University of Melbourne Archives. Currently the archives are housed in a rather uninspiring-looking warehouse at 120 Dawson Street, Brunswick West. An archive is an intriguing hybrid of a library, a museum and a warehouse. The objects housed in archives sometimes have unique associations , such as the typewriter owned by a famous author , rather than, say, just any old typewriter. While the works on paper housed in archives are usually unique, i.e. drawings, d aries, letters, manuscripts, original photographs etc.

The building will require specialized services, such as air conditioning, humidity control, fire protection, etc.

Allow ample space for such services within ducts running throughout the building, in false ceilings, etc.

Following are three ideas that you should seriously consider exploring when you design your archives building: 1.A cabinets of curiosities Today’s modern museums have their origins in the cabinets of curiosities of the 1600s.

A higly eclectic,often very eccentric, collection of things, which for various reasons—the main one often being simple delight—had taken the fancy of an individual collector, who stored his or her treasures in a purpose-built display cabinet. As people’s collections outgrew cabinets, they were housed in rooms and then in buildings, but the name “cabinet of curiosities” stuck. A feature of cabinets of curiosities is the surprising juxtaposition of objects. Another is the mixing of art, science and artifice (fakes & trickery).

2. Graffiti Graffiti is a noted feature of Brunswick. The existing buildings on the site are covered in graffiti, as is also the rail corridor to the west of the site.

Nowadays graffiti is very common on buildings. Some graffiti is artistic and some isn’t. Graffiti reflects politics, popular culture, social issues, etc.

However, graffiti is often a matter of happenchance rather than design, which is seldom a managed and integrated element of the architecture.

Furthermore, graffiti is usually painted or pasted on a wall. But can graffiti take another form and be something else?

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3. A palimpsest A palimpsest is the recycled page from a book or other document. The page might be cleaned before it is reused, or the new text might be simply overlaid on top of the old, but in either case usually some trace of the old text is still evident. Thus the page is an unwitting record of change(s) over time. The idea of a palimpsest has been extended to other things, including buildings. For example, a wall covered with successive layers of graffiti is a palimpsest. A wall that contains the “ghost” of its demolished neighbour is also a palimpsest.

Palimpsests will be discussed in the lectures.

The Outré Gallery is described on its own website (http://www.outregallery.com/) as “Australia’s original alternative gallery dealing in contemporary international pop, lowbrow, pop surrealism and underground art”.

I would also add “hipster art” to that list. The Outré Gallery principally sells artworks, but it also publishes books on various related quirky topics. Currently, the company has galleries in Melbourne, Sydney and Perth.

deas that you will be exploring through the Archives—cabinets of curiosities, graffiti, palimpsests, etc.— equally apply to this project, but, of course, at a smaller scale and perhaps a finer level of detail.

“Outré Gallery specialises in contemporary international pop, lowbrow, pop surrealism, tiki, modern folk, and underground art. We dig art that crosses over with design, pop and counterculture.

Our approach is one that breaks out of the typical gallery mood, by showcasing a fresh and ever changing salon selection of original artworks, limited edition prints and posters, hard-to-get books, magazines, curios, mid-century inspired ceramics and collectible vinyl toys.

With galleries in Melbourne, Sydney and Perth (Australia), Outré features exhibitions by international artists, alongside specialising in publishing, mail order worldwide, and personalised service for new and experienced collectors.“ - Outre

In Studio B this semester we will be designing a new gallery/showroom/ offices for the Outré Gallery to be located on the corner of Sydney Road and Albert Street in Brunswick, which will be adjacent to the new University of Melbourne Archives that you will be designing in Studio A. The same

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SITE Analysis Site A: buildings numbered 278, 282, 284, 290 & 296 Albert Street. Commute conducted via Yarra Trams from the city through route 19, along the intersection of Albert Street and Sydney Road. Site Visit conducted on foot and in groups of three.

Site Plan

Scale 1:750 Footpath Car TRAM Graffiti

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CONTEXT

SCALE 1:5000 Travel path Via Tram Route 19 and Walking Site location

Population : 21, 874 Age: 18-34 at 43.4% Transport: 30.5% - Public transport

11.6% - Bicycle Demographic: Couples w/o children ( 24.7%

Australian 60.9%

Land Use: Residential, Commercial and Industrial Existing use: automobile Workshop, living quarters and storage Surroundings: banks, Restaurants and cafEs, Retail, Educational

institutions, Supermarket, apartments, and Galleries

Source: Moreland City Council at http://www.moreland.vic.gov.au/about-moreland/demographics-statistics/suburb-profiles/brunswick.html

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Site Plan 3 2 4

1

Not to scale Footpath Car TRAM Parking spaces Graffiti Proposed public space Proposed Private space

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CONTEXT

SCALE 1:5000 Travel path Via Tram Route 19 and Walking Site location

Population : 21, 874 Age: 18-34 at 43.4% Transport: 30.5% - Public transport

11.6% - Bicycle Demographic: Couples w/o children ( 24.7%

Australian 60.9%

Land Use: Residential, Commercial and Industrial Existing use: automobile Workshop, living quarters and storage Surroundings: banks, Restaurants and cafEs, Retail, Educational

institutions, Supermarket, apartments, and Galleries

Source: Moreland City Council at http://www.moreland.vic.gov.au/about-moreland/demographics-statistics/suburb-profiles/brunswick.html

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Precedents Drawing inspiration of sign of architecture

built and through

paper architects, theoretical and

whom explore the deexperimental applications.

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Bienecke Library The Beinecke Rare Book and Manuscript Library is the rare book library and literary archive of the Yale University Library in New Haven, Connecticut. at 121 Wall St, New Haven, CT 06511, United States. Opened: October 14, 1963

The Beinecke Rare Book and Manuscript Library is the rare book library and literary archive of the Yale University Library in New Haven, Connecticut. Situated on Yale University’s Hewitt Quadrangle, the building was designed by Gordon Bunshaft of Skidmore, Owings & Merrill and completed in 1963. Established by a gift of the Beinecke family and given its own endowment, the library is financially independent from the university and is co-governed by the University Library and Yale Corporation.

A six-story above-ground glass-enclosed tower of book stacks is surrounded by a windowless rectangular outer shell, supported only on four massive piers at the corners of the building, which descend 50 feet to bedrock. The outer walls are made of translucent veined marble panels quarried from Danby, Vermont, which transmit subdued lighting from outside, while providing protection from direct sunlight. At night, the stone panels transmit light from the interior, giving the exterior of the building an amber glow. The outside dimensions have “Platonic” mathematical proportions of 1:2:3 (height: width: length). The building has been called a

precious “jewel box”, and also a “laboratory for the humanities”.

A public exhibition hall surrounds the glass stack tower, and displays among other things one of the 48 extant copies of the Gutenberg Bible.

Two basement floors extend under much of Hewitt Quadrangle. The first level down, the “Court” level, centers on a sunken courtyard in front of the Beinecke, which features The Garden (Pyramid, Sun, and Cube). These are abstract allegorical sculptures by Isamu Noguchi that are said to represent time (the pyramid), sun (the disc), and chance (the cube). This level also features a secure reading room for visiting researchers, administrative offices, and book storage areas.

The level of the building two floors below ground has movable-aisle compact shelving for books and archives.

The elegance of the Beinecke later inspired the glass-walled structure that protects and displays the original core collection (the books gifted

by King George III and referred to as the King’s Library) within the British Library building in Euston, London.

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CHURCH OF LIGHT The Church of the Light is the main chapel of the Ibaraki Kasugaoka Church, a member church of the United Church of Christ in Japan. It was built in 1989, in the city of Ibaraki, Osaka Prefecture. This building is one of the most famous designs of Japanese architect Tadao Ando.

Tadao Ando often uses Zen philosophies when conceptualizing his structures. One theme he expresses in this work is the dual nature of existence.

The space of the chapel is defined by light, the strong contrast between light and solid. In the chapel light enters from behind the altar from a cross cut in the concrete wall that extends vertically from floor to ceiling and horizontally from wall to wall, aligning perfectly with the joints in the concrete. At this intersection of light and solid the occupant is meant to become aware of the deep division between the spiritual and the secular within himself or herself.

departure from Modernist architecture. They are usually made of ‘in-situ’ poured in place concrete. Considerable care is taken to see that the walls are as perfect as technique will allow. These walls are thick, solid, massive, and permanent . The main reinforced concrete shell of the Church of the Light is 15 inches thick.

One feature of the interior is its profound emptiness. Many who enter the church say they find it disturbing.

The distinct void space and absolute quiet amounts to a sense of serenity. For Ando the idea of ‘emptiness’ means something different. It is meant to transfer someone into the realm of the spiritual. The emptiness is meant to invade the occupant so there is room for the spiritual to fill them.

“In all my works, light is an important controlling factor,” says Ando. “I create enclosed spaces mainly by means of thick concrete walls. The primary reason is to create a place for the individual, a zone for oneself within society. When the external factors of a city’s environment require the wall to be without openings, the interior must be especially full and satisfying.”

And further on the subject of walls, Ando writes, “At times walls manifest a power that borders on the violent. They have the power to divide space, transfigure place, and create new domains. Walls are the most basic elements of architecture, but they can also be the most enriching.”

The one element carried through Tadao Ando’s structures is his idolization of the reinforced concrete wall. The importance given to walls is a distinct

Because Ando’s precisely wrought, and reflective, it lusion of a taut,

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concrete is so and so smooth produces an iltextile surfaces.

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Part B.

Criteria Design

RESEARCH FIELD - FRAMING Conceptualization of patterns and the logic of the layout of storefronts along Sydney Road to derive a pattern, logic, and possibly adapt an aesthetic that pays tribute or extends the emergence of the pattern found in framing the streetscape.

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RESEARCH FIELD - FRAMING Conceptualization of form using Rhino modeling software to get a better grasp of the structure and circulation of spaces through layouting exercises and testing

3D MODEL PERSPECTIVES

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EXPLODED VIEW

Layout breakdown ROOF

GROUND/FIRST Meeting Room

OPEN PLAN OFFICE

Directors Office

Conference Room

SCHOLARS OFFICE

SCHOLARS APARTMENT

Classroom

Mens toilet

Gallery

Ladies Toilet

Reception & Cloakroom

Locker Room

UNDERGROUND Archival storage

Digital Processing and storage

Loading Bay

Reading room

Archive processing area Quarantine Area Digital curatorial and research

RESEARCH FIELD - Lighting

SunPATH

SUMMER SOLSTICE

WINTER SOLSTICE

On the day of Summer Solstice, the Earth’s south pole is tilted towards the Sun. The Sun rises south of east, sets south of west and reaches 75 1/2° above the horizon at noon.

This is, usually, the longest day of the year.

On the day of Winter Solstice, Earth’s south pole is tilted away from the Sun. The Sun rises north of east, sets north of west and reaches 28 1/2° above the horizon at noon.

This is, usually, the shortest day of the year.

Summer 2012 2013 2014

Winter 2012 2013 2014

December December December

Solstice 21, 22, 22,

10:11 4:11 10:03

(AEDT) pm am am

June June June

Solstice 21, 21, 21,

9:09 3:04 8:51

(AEST) am pm pm

http://museumvictoria.com.au/discoverycentre/infosheets/planets/the-sun-and-the-seasons/ FIRE 33

Sun The Church of the Light is the main chapel of the Ibaraki Kasugaoka Church, a member church of the United Church of Christ in Japan. It was built in 1989, in the city of Ibaraki, Osaka Prefecture. This building is one of the most famous designs of Japanese architect Tadao Ando.

The seasons are governed by the tilt of the Earth’s axis in space as it journeys around the Sun in a year.

When the South Pole of the Earth is tilted towards the Sun, this is our Summer. Six months later, when the South Pole is tilted away from the Sun, it’s our Winter. In between these we have Autumn and Spring.

Temperatures on our planet are not determined by the distance of the Earth from the Sun. Rather it is the angle of the Sun’s rays striking the Earth. In Summer, the Sun is high in the Sky and the rays hit the Earth at a steep angle. In winter, the Sun is low in the Sky and the rays strike the Earth at a shallow angle.

The seasons don’t begin on one day and finish on another. That’s because our orbit around the Sun is continuous.

It actually takes quite some time for the Earth to heat up or cool down, and that’s why the seasons change gradually.

In some parts of the world, such as Australia, seasons begin on the first day of a particular calendar month - in March for Autumn, June for Winter, September for Spring and December for Summer. In other countries such as Britain, it’s accepted that the seasons begin

on the dates that the Earth passes four special points in its orbit about the Sun. On the day of the Spring Equinox, the Earth’s poles are the same distance from the Sun. In Melbourne, the Sun rises due east, sets due west and gets to 52° above the horizon at noon. On this day there are roughly 12 hrs of day and 12 hrs of night.

On the day of Summer Solstice, the Earth’s south pole is tilted towards the Sun. The Sun rises south of east, sets south of west and reaches 75 1/2° above the horizon at noon. This is, usually, the longest day of the year.

On the day of the Autumn Equinox, the Earth’s poles are the same distance from the Sun. The Sun rises due east, sets due west and reaches 52° above the horizon at noon. There are roughly 12 hrs of day and 12 hrs of night.

On the day of Winter Solstice, Earth’s south pole is tilted away from the Sun. The Sun rises north of east, sets north of west and reaches 28 1/2° above the horizon at noon. This is, usually, the shortest day of the year.

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Part C.

Detailed design

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Design Proposal A Framing: protecting, bringing out and displaying the full potential and value of a picture or manuscript. This design hopes to successfuly serve as a contemporary archive that is not only institutional, but also engages with community at large and encouraging their participation.

Thinking of the archive brought up imagery of a frame, a frame that brings out and protects and shows off the full potential of a painting or manuscript.

Which is what a contemporary archive could do, while engaging with the community at large. What this design aims to do is to create a connection between the community and the archives.

I looked at the bernekle library for it’s layout, and use of solid materials. And Tadao Andos church of light for his use of wall penetrations and materiality Laid out in an octagonal shape to fully utilize the site and distinctly segregate the private and public spaces in a way that frames the central courtyard and reading room skylight.

Octagon directs the people to congregate in the center, literally bringing the community into the central courtyard over looking the reading room, which is sunken and is surrounded by the archives

building upon approach to and from Sydney road along Albert street The windows facing the courtyard mirror the different store fronts along Sydney road, as does the glass walls along the reading room The sawtooth roof used to diffuse the light introduced into the building while referencing existing buildings and the industrial history of the site As an extension to that, the use of bricks is a reference to that history, while retaining a solid institutional aesthetic that can be seen to be strong and capable building for the archives The cleanness of the facade is for the sake of flexibility and is to be utilized as a tool for community engagement, through art installations as an extension from the gallery, educational murals, and community participation.

Streamlined, rectangular penetrations at eye level to continue the line of sight and direct the users into the

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SYDNEY RO AD

ALBERT ST REET

Scale 1:500

ROOF LEVEL in context

N

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ALBERT STREET

B

ROOF LEVEL

A

B

N

Plans at SCALE 1:250 on A0

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ALBERT STREET A 9.

8.

1.

2.

10.

3.

B

4.

5.

B 6.

1.

2.

3.

4.

5.

6.

7.

8.

9.

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12.

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Meeting room reception SERVICE ROOM Conference Room Classroom Toilet M Toilet F Concierge CloakRoom Gallery Staff Toilet M Staff Toilet F Loading Bay Locker Room Office Lounge Scholars Office Directors Office Scholar’s apartment ACCESS PATHWAYS

16.

7.

18.

11.

12.

17.

13.

14.

GROUND LEVEL

15.

N

16.

19.

Plans at SCALE 1:250 on A0

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ALBERT STREET

A

20.

21.

22.

23.

24.

25.

26.

2o.

Archives Reading Room Processing Quarantine Digital Processing Digital Storage Isolated Photo Storage

ACCESS PATHWAYS

B B 21.

13.

22.

UNDERGROUND

N

23.

24.

A

25.

26.

Plans at SCALE 1:250 on A0

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SECTIONS

26.

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24.

SECTION A

2o.

21.

SECTION B

2o.

21.

Sections at SCALE 1:250 on A0

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ELEVATIONS

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NORTH ELEVATION

SOUTH ELEVATION

EAST ELEVATION

WEST ELEVATION

Elevations at SCALE 1:250 on A0

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APPROACH Approaching bert street,

the perspective

site view

of

from the

Sydney North East

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Road facade

of

along the

Aldesign.

APPROACH Approaching bert street,

the site perspective view

towards of the

Sydney North West

Road facade

of

along Althe design.

ENTRY Main sign

Entrance and the

along Albert street, introducing the mystery centerpiece, the octagonal skylight of the

of the dereading room.

OBSERVING Looking out from the main circulation areas into the courtyard, observing the activity through the windows designed and inspired by the framing study conducted along Sydney Road, Literally framing and controlling the views.

READING ROOM The abstracted view or vision fo the reading room, strecthing 8m in height below ground and surrounded by the archival sotrage space and being overlooked by the courtyard above.

FACADE Interraction wiht the facade will be encouraged as one of the primary factors of the brief involve the engagement with the community, hence the integration of graffitti commissioned by the client will be included and observed over time.

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Fin.

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Design Proposal B Framing: protecting, bringing out and displaying the full potential and value of a picture or art piece.

This design hopes to successfuly serve as a contemporary gallery and cafe that engages with community at large , while appropriately showcasing art pieces by talented artists of all mediums.

Thinking of the gallery brought up imagery of a frame, a frame that brings out and protects and shows off the full potential of a painting or art piece. Which is what a contemporary gallery could do, while engaging with the community at large. What this design aims to do is to create a cohesive and flexible space for the client as their clientele.

The facades and walls are maintained as plain and steamlined for multiuse.

The chairs,

I looked at the bernekle library for it’s use of solid materials, and it’s layout through using the reading area for exhibitions as well as events. And Tadao Andos church of light for his use of wall penetrations and materiality.

The aesthetic was heavily influenced by the linearity of the streetscape and challenges it’s linearity through the subtraction of the overall form, driven by two primary factors: the sawtooth roof, and breaking the linearity.

The facade is influenced by the sawtooth roof, which is also inspired by the sites ‘s industrial history. Also selected for it’s practicallity of introducing diffused light into the space.

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shelving, and display

cabinets, cabinets

SYDNEY

ROAD

ALBERT ST REET ALBE RT STREET

N

N SCALE 1:200 at A0

SITE CONTEXT WITH ROOF

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FLOOR PLANS 1. OWners apartment A. MAster bedroom and ensuite b. Laundry c. Outdoor balcony d. dining area e. lounge F. kitchen g. bedroom H. Walk in WaRDRobe I. Toilet with bath J. Toilet

Albert Street

S1

ACCESS PATHWAYS

B. SKYLIGHT

A.

C.

SA

SA

SYDNEY ROAD

D. 1.

E. F.

H.

G.

I.

J.

N

S1

N

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SECOND FLOOR PLAN SCALE 1:100 at A0

2. unisex/disabled toilet 3. office space 4. gallery 5. bookshop

ALBERT STREET

S1

2.

ACCESS PATHWAYS 3.

Display cabinet

SA SYDNEY ROAD

SA

4.

VOID

Display cabinet

5.

N

S1

N

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FIRST FLOOR PLAN SCALE 1:100 at A0

6. unisex/disabled toilet 7. Private/staff dining 8. cafe - indoor 9. Cafe kitchen 10.Outdoor cafe and gallery 11. Gallery 12.Bookshop

ALBERT STREET

S1

7.

ACCESS PATHWAYS

9.

8.

6.

10.

Display cabinet

SA SYDNEY ROAD

SA

11.

12.

S1

Display cabinet

N N

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GROUND FLOOR PLAN SCALE 1:100 at A0

13.Store room

ALBERT STREET

S1

ACCESS PATHWAYS

SA SYDNEY ROAD

SA

13.

N

S1

N

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UNDERGROUND FLOOR PLAN SCALE 1:100 at A0

ELEVATIONS NORTH ELEVATION

SOUTH ELEVATION

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EAST ELEVATION

WEST ELEVATION

Ou tr e‘ Gallery & Café

Opening hours MON - THU 10:30 – 5.30 FRI 10:30 – 7 SAT 10:30 – 5 SUN 12 – 4

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ELEVATIONS Section 1

S1

Section A

SA

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Ou tr e‘ Gallery & Café

APPROACH

Opening hours MON - THU 10:30 – 5.30 FRI 10:30 – 7 SAT 10:30 – 5 SUN 12 – 4

Approaching ney Road,

the site perspective view

from of the

Sydney North East

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Road facade

of

along the

Syddesign.

Ou tr e‘ Gallery & Café

Opening hours MON - THU 10:30 – 5.30 FRI 10:30 – 7 SAT 10:30 – 5 SUN 12 – 4

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Outdoor Balcony at the Owners Apartment

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Shared Retail Space, Gallery and bookshop

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Shared Retail Space

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Movement - with feature stairs

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Integrating Grafitti

Artists Ryan Heshka Mattee Stephens Audrey Kawasaki

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FURNITURE - Display cabinet

Multipurpose display TRinket Display Case

Poster/Filing space DISPLAY CABINET PERSPECTIVE 1

710mm

Open Display Case

m

0m

300

m

0m

70 DISPLAY CABINET PERSPECTIVE 2

710mm

700mm

PLan

Section/Elevation

3000mm

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FURNITURE - Display cabinet

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FURNITURE - Display cabinet

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Fin.