COMMUNitecture: Thesis Booklet by Daryl Tan

COMMUNitecture Daryl Tan (516571)

Preface

The following thesis project was completed in fulfillment of Melbourne Universityâ&#x20AC;&#x2122;s Masters of Architecture graduate program. This thesis booklet outlines the research and design stages taken to determine the effectiveness of the role of architecture as being a tool for non-verbal communication, so as to achieve desirability for community engagement. The thesis studio was lead by Dr. Pippa Soccio, with the overarching thesis topic of: Learning Space & Communities. The aim of the thesis subject was to investigate ways in which learning spaces can engage, interact and/or draw communities.

Contents Acknowledgments

Thesis Argument

Project Introduction

Chapter 1: The Problem (a) Understanding The Issues of St. John’s College (b) Stakeholder Engagement - Session 1 - Session 2 - Conclusions To The Stakeholder Engagement Sessions (c) St. John’s College’s Values (d) Post Occupancy Evaluation Tool (e) Summary of Key Issues

06 07

Chapter 2: The Research (a) Finding The Solution (b) What is community? (c) Establishing Community Through Communication (d) The Solution: Architectural Semiotics (e) Thesis Hypothesis (f) The Research Question, Subquestions & Aim (g) The Targeted Community - Darebin Arts Community - Darebin Arts & Entertainment Centre

23 24 25 27 28 30 31 32 33 34

08 14 16 19 20 22

Chapter 3: The Design Outcome (a) Stage 1: Project Parameters - Dissecting The Brief - Site Analysis - The Design Process (b) Stage 2: Form & Function - Building The Experience: Whoâ&#x20AC;&#x2122;s In The Building? - Building Programme - Spatial Zoning - Spatial Relationships - Spatial Massing - Conceptual Massing (c) Stage 3: Addressing The Research Questions - What Should Be Communicated? - Applying The Architectural Codes (d) Stage 4: Sculpting - Design Development (e) Stage 5: The Design Outcome - Design Drawings

37 38 39 41 46 47 48 51 52 53 59 63 69 70 71 87 88 92 93

Chapter 4: Conclusion

105

Bibliography

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Acknowledgments As I complete my studies at Melbourne University, it is a bittersweet moment. Going through years of architectural education (from diploma to masters) has not been easy to say the least, but it has been a journey worthwhile. I would like to take this opportunity to thank everyone who has made an impact in this journey. First and foremost, I would like to thank God for His grace, mercy and strength throughout my education. His relentless and unwavering love has held me through the toughest seasons. I would like to thank my Thesis Studio Leader, Dr. Pippa Soccio. Your time, effort and support has had a great impact on the outcome and the completion of my thesis project. Your desire to teach and avail your time has not gone unseen. Next, I would like to thank my family for their love, support and encouragement through the completion of my undergrad and now my masters program. Thank you Dad and Mom for firstly granting me the opportunity to study in Melbourne; the opportunities, exposure and growth that I have experienced would not have been possible. Your support in my pursuit of Architecture has giving me the backing and foundation to run this journey. I greatly appreciate all that you have done. I would also like to thank my brothers, Andrew and Bryan for their love through the years. Last, but definitely not the least, I would like to appreciate Janice. The awesome woman that God has placed in my life. Your simple, but steadfast love has encouraged me to always look to God in the good and bad. Your presence in my Melbourne journey has made it that much more special, a journey I would not trade. Thank you for being my bestfriend, pillar of support, comfort and my home. For the many others who have made an impact I sincerely am grateful for each and everyone one of you. 03

Thesis Argument

This thesis explores how architectural codes can be used to effectively communicate an organisation’s identify to the broader community. It argues that the process of applying and then sculpting into form the architectural codes representative of St John’s College’s values (Love, Excel, Achieve and Dream) will produce architecture that helps the school to communicate its identity to the wider community. Analysis of St John’s College’s profile amongst the wider Preston community revealed that it lacked identity. Increasing awareness of what St John’s College stands for is considered to be a way for the school to grow its community of learners.

Project Introduction

The client for this thesis project is the school of St. John’s College. The school is located in the area of Preston (just north of Melbourne City). St. John’s College has a strong Greek Orthodox background, which has been intrinsically woven into the school’s culture and values. It’s current school population (consisting of both Primary and Secondary education) is approximately 300. The school has seen a steady drop in enrollment over the past few years and desires to revitalise its campus are in the midst of discussions. Due to its current situation, St. John’s College has decided to redesign their school facilities in order to increase community engagement with its surroundings, and thus increasing enrollments. For this thesis, the focus would be on the development and design of a new Arts Centre, with the intentions of increasing community engagement through this facility.

CHAPTER 1: THE PROBLEM

Understanding The Issues of St. John’s College

This chapter describes the steps and analysis done to understand the complexities of St. John’s College. This is done so that the research applied to the project can be specific to the needs of St. John’s College. A range of tools and activities have been employed to better understand the dynamics of the school in as much detail as possible. A Stakeholder Engagement was conducted. In which different activities were conducted to gather information from the arts students, the arts teacher, alumni and parents. These activities were designed to draw information from the different stakeholders beyond a simple question and answer approach. Additionally, the Post Occupancy Evaluation (POE) tool was used to analysis the existing arts space in St. John’s College, while trying to extract the functional and spatial needs of an Arts Centre.

Stakeholder Engagement: Session 1 Activity 1: Your Ideal Arts Space Targeted Stakeholders: Arts Students & Arts Teacher Goal: To understand the spatial qualities and functions that the stakeholders would desire for an arts space. The Activity: The stakeholders had been split into two groups for easy facilitation. Within their groups, they are given the same images of art spaces (from the internet). Each stakeholder is required to select at least three images that represent their ideal arts space and write in a few words to explain their choices.

Arts Student 1

Images From The Activity Arts Student 2

Arts Student 3

Images From The Activity Arts Student 4

Arts Student 5

Images From The Activity Arts Student 6

Arts Teacher

Conclusion For Activity 1 Below is a summary of what the Art Students and Arts Teacher desired for in an ideal Arts Studio. They have not been arranged in any order, but just a quick overview of what information was extrapolated from the activity. Arts Students 1) Spaces for relaxation and seclusion 2) Inspiring & Fun 3) Elements of nature 4) Separate space for technology 5) Storage spaces 6) Natural lighting 7) Earthly & Neutral tones

Arts Teacher 1) Space for retreat 2) Elements of nature 3) Spacious layouts

Additional Information: She spends lots of time preparing for each class activity, which requires her to either stay back late or stay in during lunch/recess to prepare. The preparation can take up to at least 2 hours of her day.

Stakeholder Engagement: Session 1 Activity 2: Your Priorities In A New Arts Space Targeted Stakeholders: Arts Students Goal: To understand what the arts students perceive as important in the newly proposed Arts Centre The Activity: The arts students had been split into two groups for easy facilitation. Within their groups, they are given a list of statements about what the new Arts Centre would be like. In their groups they are to discuss and rank the list (starting from #1 as the most important), where no two statements can be of the same priority. Results From Activity: High Priority 1) Enough storage 2) Relaxing and secluded areas

Medium Priority 1) Invitation of familiar people for art collaborations 2) Exhibition spaces

Low Priority 1) For people to learn about their religion 2) Open to unfamiliar people for art collaboration 3) Opening up of their learning spaces to the public

Conclusion: The Arts Students do not desire for the Arts Centre to be opened up to the unfamiliar public, especially in areas that are more personal (i.e. learning spaces). This could be because they feel that unfamiliar people would mess and intrude into their spaces, the idea of being territorial. Additionally, the general consensus is that they do not feel that the new Arts Centre should be a place for people to discover their religious background and it is not a priority to them.

Stakeholder Engagement: Session 2 Activity 1: Your Take On The Brief of The New Arts Centre Targeted Stakeholders: Parents, Alumni & Arts Teacher Goal: To understand how the parents, alumni and arts teacher feel that the new Arts Centre should represent or signify. The Activity: A simple Question and Answer session was held, where questions about the new Arts Centre was given to the stakeholders. The stakeholders are given the free space to voice their opinions and ideas on the questions raised. Results From Activity: 1) Innovative 2) A place of belonging 3) Centre for learning 4) To display and show students ability 5) Place of motivation

Stakeholder Engagement: Session 2 Activity 2: What Does Community Mean To You? Targeted Stakeholders: Parents, Alumni & Arts Teacher Goal: To understand how these stakeholders perceive community to be, so as to be more specific and relevant to St. John’s College’s current community when choosing a targeted community. The Activity: Post-It notes were issued to each stakeholder for them to write down their answer. They were asked the question: “What does community mean you? And who are they?, and were given time to reflect and write their answers. After which, they were requested to say out their answers. Results From Activity: Parents’ Perspective 1) There needs to be an important reference to their Greek Orthodox faith 2) Important to have a community culture

Who Is Community? (All) 1) Family 2) School 3) Teachers 4) Alumni 5) Church (maybe)

Arts Teacher’s Perspective 1) Likes the idea of a small and close knit school; being able to know each student by name 2) Religion does not have to relate to the new Arts Centre, they can be separate 3) Having a larger community without loosing the tight and family feel

Alumni’s Perspective 1) Increase enrollment and awareness of school 2) Creating a space of belonging, while welcoming others

Conclusion: The stakeholders have very distinct views in approaching the new Arts Centre. However, despite this there is a common consensus of who they perceive as community, which is a more immediate community (the familiar). 15

Conclusions To The Stakeholder Engagement Sessions Through the Stakeholder Engagement Sessions there were a few key points highlighted by the different stakeholder. Which is basically what they felt good and bad about their school in regards to drawing in new communities.

Negative

Positive

GREEK ORTHODOX BACKGROUND

AWARENESS

LACK OF ARTS FACILITIES

COMMUNITY

GOOD RESULTS

GOOD VALUES

Despite a parent’s strong view of the Greek Orthodox background, most students felt that it is because of it that many do not desire to enroll at St. John’s College. Secondly, the lack of awareness within the community of Preston is agreed across all stakeholders. Lastly, according to a number of Arts Students, they mentioned that many of their friends chose not to go to St. John’s College because of the lack of arts facilities. 16

Conclusions To The Stakeholder Engagement Sessions It can be seen that among the stakeholders there is a consensus on the spatial and functional aspects of the new Arts Centre. However, none can really agree on what should the Arts Centre be promoting. The diagram below shows what each stakeholderâ&#x20AC;&#x2122;s focus is for the new Arts Centre.

ART CENTRE

ART CENTRE COMMUNITY AWARENESS

COMMUNITY AWARENESS

RELIGION COMMUNITY

Conclusions To The Stakeholder Engagement Sessions As mentioned in the previous page, there was not consensus as to what the newly proposed Arts Centre should promote. Therefore a common ground needs to be laid out in order to effectively represent St. John’s College. The diagram below shows the different layers of St. John’s College and to what extent each stakeholder relates and/or feels strongly about these layers.

CHURCH SCHOOL VALUES STAKEHOLDERS ART CENTRE COMMUNITY

Conclusion: Based on the diagram, the school’s values would be a good foundation and common ground that each stakeholder can relate and associate with. The school’s values was also a strong reason for parents sending their children to the school. Therefore, the school’s values that would be promoted through the new Arts Centre. 18

St. John’s College’s Values Based on the conclusion of the Stakeholder Engagement Sessions, the values of St. John’s College would be a good foundation of what the new Arts Centre should express. Therefore the diagram below expounds on what these values are. St. John’s College’s values are Love, Excel, Achieve and Dream (LEAD).

Information taken from St. John’s College’s website: http://www.stjohnspreston.vic.edu.au/about-the-college

Post Occupancy Evaluation (POE) Tool Targeted Stakeholders: Arts Students & Arts teacher Goal: To analyse St. Johnâ&#x20AC;&#x2122;s Collegeâ&#x20AC;&#x2122;s current Arts Studio space, so as to understand what sort of Arts space the students and teacher desire to have. The Activity: Each stakeholder was issued POE survey that was to be filled in from their perspective. The questions for both stakeholders have not been changed, so as to ensure a similar understanding of the question. Similarly, the POE survey was also completed by the studio leader and the students of the student, the reason for this is to see and understand the difference between how our architectural paradigm has affected the way we evaluate a space as compared to an everyday user. All the filled surveys was compiled online through a survey site. Data was generated based on the information, where the perspectives of the Arts Students, Arts Teacher and Architects were all compared side by side in a data sheet. Results From Survey: General Agreement 1) Overall design of the existing Arts Studio is bad 2) Lack of room and storage spaces 3) Limited variety of activities that are able to be carried out 4) Lack of technology 5) Inadequate display space 6) Lack of control of daylight

Post Occupancy Evaluation (POE) Tool Specific Areas of Discontentment Arts Students 1) Unable to move furniture around 2) Glare from natural lighting 3) Space heats up during summer 4) Unable to easily locate the Arts Studio

Arts Teacher 1) Visibility of students at all times (especially in the storage room and when students are facing away from her) 2) Flexibility of space for students to move around 3) Spaces that allow movement for the teacher 4) Limited ability to open and close the Arts Studio

Architects 1) Unable to easily locate the Arts Studio 2) Limited ability to open and close the Arts Studio 3) Noise from the passing trains

Conclusion: The information extrapolated from the survey is not comprehensive, but highlight the key issues with St. Johnâ&#x20AC;&#x2122;s Collegeâ&#x20AC;&#x2122;s existing Arts Studio. Based on the data from the survey, it is clear that the current Arts Studio is inappropriate for the daily activities of an arts class. The negative feedback about the Arts Studio would provide a platform to build upon when designing the new Arts Centre.

Summary of Key Issues In conclusion, below are the key issues derived from the different activities and tools used to understand the complexities of St. John’s College. These key issues would be used to direct and channel the research phase pf this design project, so as to more specifically tackle the issues that are unique to the client. Key Issue 1: Spatial Qualities - Spaces for retreat & relaxation - Inspiring & Fun - Elements of nature - Natural Lighting - Earthly & Neutral tones - Spacious Key Issue 2: Functional Qualities - Ample storage & display spaces - Zoning for technology - Flexibility of learning spaces Key Issue 3: What Should The Art Centre Represent? - St. John’s College’s values (a) Love, Excel, Achieve & Dream Key Issue 4: Creating Awareness - Poor visual connection with the main roads - Main entrance to school is from secondary roads - Lack of strong visual sign 22

CHAPTER 2: THE RESEARCH

Finding The Solution

This chapter outlines the research and process taken for this thesis project. It starts by laying the foundations of what community is, how it can be engaged and what is the role of architecture in engaging community. While at the same time drawing strong connections with the issues raised from the previous chapter. Once that has been established, a hypothesis is generated to determine the overall direction of the thesis project. Which leads to the Key Research Question and Subquestions, followed by the Aim of the design project. Finally, research on the targeted community was done to ensure that the target community was relevant to St. Johnâ&#x20AC;&#x2122;s College, as well as creating focus and effectiveness of the design outcome.

What Is Community?

Mind-Mapping: What Is Community? 25

What Is Community?

“A community is a group of people who acknowledge their interconnectedness, have a sense of their common purpose, respect their differences, share in group decision making as well as in the responsibility for the actions of the group, and support each other’s growth.” Sheldon Berman

Establishing Community Through Communication Upon understanding what community is, the next question is “How do we establish community?”. Which leads to the following statements extrapolated from the book “Conversations on Community Theory”, by George S. Wood & Juan C. Judikis, (Pg.24). Communication… was “one of the tacit threads woven throughout any community.” Communities, … seem to start their development with an act of communication of some sort. If we think of a community as evolving through transaction – verbal or nonverbal, conscious or tacit – among potential members, then the communicating must relate first to the desirability of such a transaction and then to purposes, essential elements, and structuring of the intended community. Based on the above statements, it can be concluded that communities are established and sustained through communication. Therefore, the communication shared beliefs, purposes and interest is essential in creating the desirability for community engagement. These shared ideas are communicated through verbal and non-verbal means. Reason: Communication was chosen due to St. John’s College’s lack of awareness as discovered in the first chapter. By communicating through the new Arts Centre, the hopes is that it would firstly foster the school’s identity and well as bring the awareness of their strong values. Thus creating the desire for community engagement. 27

The Solution: Architectural Semiotics Therefore if communication is so essential in establishing desire for community engagement, can architecture communicate and how so? The first question: Can architecture be a form of communication? Based on the following sources, it can be argued that architecture is a form of communication. “Architecture is a communication phenomenon in its own right.”1 “(Architectural) Form is the communication medium between the concept and the sign.”2 Art and architecture are meant to keep and transmit meanings.3 Architecture doesn’t merely function, but also communicates.4 Architecture derives meaning from the user.5 1. Hollein, H. (2009) Tutto e architettura, in Biraghi, M. and Damiani, G. (eds.) Le parole dell’ architettura - un’antologia di testi teorici e critici: 1945-2000. Milano: Einaudi, pp. 162 – 166. 2. Neidhardt, V. (1997) Covjek u prostoru: Antroposocijalna teorija projektiranja. Zagreb: Školska knjiga, pp. 66. 3. Norberg-Schulz, Christian (1980) Genius Loci: Towards a Phenomenology or Architecture, Minnesota: Academy Editions, pp. 5. 4. Eco, Umberto (1976), Function and Sign: the Semiotics of Architecture, Indiana: Indiana University Press, pp. 176. 5. Clemens M. Plank, DI (2010) The Conscious User of Architecture, Innsbruck, pp. 28.

The Solution: Architectural Semiotics If architecture is a form of communication, how then can it communicate? Umberto Eco explains this phenomenon in his book â&#x20AC;&#x153;Function and Sign: The Semiotics of Architectureâ&#x20AC;?. Eco argues that architecture has a denotative (primary) and connotative (secondary) function. Where the denotative communicates the function of the architectural element, while the connotative communicates a meaning.6 For example, a throne would denotate the function of sitting, while it connotates royalty and power. Secondly, these levels of communication are applied in various means. According to Eco, he suggests three main ways: Technical, Syntactic and Semantic codes. Where Technical codes are expressed through structural logic, elements or conditions. While Syntactic codes are exemplified by typological codes concerning articulation into spatial types. Lastly, Semantic codes are through architectural elements.7 Finally, Eco states that in order for there to be readability of these codes and meanings behind them, there needs to be a contextual reference (visual literacy) for people to have a referencing point in order for them to draw the links of meaning.8 An example would be how an escalator resembles a staircase because it visually reads quite similarly, whereas a lift does not although the function is essentially all the same.

6 Eco, Function and Sign, 176. 7 Eco, Function and Sign, 184-185. 8 Eco, Function and Sign, 198.

Thesis Hypothesis

In order for a community to begin, Wood and Judikis (2002) argue that communication is central, but it first requires desirability for such an engagement. This desire is caused by the discovery of shared beliefs, purposes, interests and others, which is communicated through verbal and nonverbal means. This thesis explores the notion of architecture as a communicative phenomenon9, where form becomes the communicative medium that keeps and transmits meaning. (Stamatovic-Vuckovic, 2013, Norberg-Schulz, 1980) Eco (1976) states three architectural codes of communication: Technical10, Syntactic11 and Semantic12 codes, in which a common code13 is necessary for visual literacy. Through the design of an arts facility (in St. Johnâ&#x20AC;&#x2122;s College), it will apply the three architectural

9 Communicative phenomenon: It is the exchange of information between the giver (of the message) and the receiver that requires the understanding of context. The message is encoded in the means of communication and has to be decoded in order to understand. 10 Technical code: Expressed through structural logic, elements or conditions. 11 Syntactic code: These are exemplified by typological codes concerning articulation into spatial types. 12 Semantic code: Architectural elements that communicate denotative and connotative meanings. 13 Common code: A contextual reference.

The Research Question, Subquestions & Aim

Based on the Thesis Hypothesis, a key research question has been generated to focus and ensure that the design outcome achieves the aims of the design project. Furthermore, subquestions have been formulated as design drivers and focus for the design outcome. Key Research Question: To what extent can architectural codes be used to communicate an organisation’s values to a specific audience, in order to create the desire for community engagement? Subquestions: 1) In order to create desirability, what are the shared beliefs, purposes and Interests that are common to both St. John’s College and Darebin’s Arts Community? 2) How should these shared beliefs, purposes and interest be translated into the three architectural codes to create desirability, while maintaining St. John’s College’s identity? Aim: The research aims to test the effectiveness of non-verbal communication through architectural codes, in order to achieve desirability for community engagement.

The Targeted Community

Now that the research basis has been established for this thesis project, the next issue is who is the target community that the project aims to attract. Considering that the building designed is an Arts Centre, the focus would be on the artists of Darebin’s community. Due to St. John’s College’s proximity with the Darebin Arts & Entertainment Centre, creating a strong connection (visually, functionally and programmatic) would allow the school to tap into an existing community that’s nearby. The next layer of community would be Darebin’s Arts Community. The city of Darebin has a strong and well established Arts Community that ranges from dance, fine arts, music, plays and many other forms. This would strongly tie in with St. John’s College’s desire to develop and expand their

Darebin Arts Community Darebin city has a strong Arts Community, with plans to foster and creating a thriving creative community. The city counsel has set up a 2014 - 2020 plan (http://www.darebinarts.com.au/wp-content/ uploads/2014/03/Darebin-Arts-Strategy-2014-20.pdf), in which it details the counsel’s vision for the Darebin Arts Community and how they intend to grow it. The 5 key focus areas have been extracted from the document. These key focus areas would be compared side by side with St. John’s College’s values to identity any similarities that could create the desirability for Darebin’s Art Community to engage with the school. Darebin Arts Community 1) INCLUSIVE - Increase access and meaningful participation in the arts 2) ENTERPRISING - Make Darebin the home for artists and creative industries 3) REGENERATIVE - Develop Creative Spaces and Places 4) CONNECTED - Create connections across communities and generations 5) VIBRANT & VISIONARY - Lead by example and commit to best practice principles in all our work

St. John’s College 1) LOVE - Love God and others. Be respectful and compassionate to helping others 2) EXCEL - Excel in life and learning with integrity and dignity 3) ACHIEVE - Show resilience and persevere to achieve your personal best 4) DREAM - Dream with faith and optimism

* The same colours indicate similar desires and visions.

Conclusion: Both St. John’s College and Darebin’s Arts Community have similar desires and visions for their organisations. By focusing on Darebin’s Arts Community as the targeted community, it would create a greater desire for community engagement. 33

Darebin Arts & Entertainment Centre The Darebin Arts & Entertainment Centre being located just directly across from St. John’s College, as well as being backed by the Darebin’s City Counsel (having similar desires and visions with St. John’s College), it would only be logical to tap into the current demograph that already uses the facilities. The Interview: In order to understand the centre in depth, a casual interview was conducted with one of the staff at the centre. A variety of questions were asked that would better facilitate understanding and to also see how the new Arts Centre at St. John’s College could relate and/or provide facilities to the centre. Daryl: Hi, my name is Daryl. I’m from the University of Melbourne, and I’m doing an architectural project for my thesis. The project is to design an Arts Centre for St. John’s College, which is just across from you guys. I would like to simply ask a few questions so that I can gain a better understanding of the facilities in this building (Darebin Arts & Entertainment Centre). Emily: Sure! No worries, Daryl. I’m glad to answer any questions. Daryl: Thanks so much! Firstly, what is the general demograph of the facility; in terms of locality? Emily: They come from all over the immediate region, and even up North which is Bundoora. Daryl: Wow! That’s quite a fair reach you guys have. What sort of art related events do you guys hold? Emily: Generally exhibitions and things in the performing arts, but it ranges all across the discipline. Daryl: And how often are these held? 34

Darebin Arts & Entertainment Centre Emily: On average about once a month. Daryl: Oh ok! In regards to these events, do you guys engage with the public a lot to bring in events? Emily: Yes, we do have a lot of public engagement. Daryl: That’s good to hear! So then what is the age range of the artists that use the facilities? Emily: They come in all ages, from the young to the old. Basically everyone! Daryl: That’s amazing! Also, do schools in the immediate region use the facilities? Emily: Yes, we do get a lot of schools coming in to hold exhibition and performances. Daryl: That’s great! On an event day, what would the flow of people within and around the building be like? Emily: During its busier events, people generally gather around the foyer area. But more often than not it spills over to the outdoor sitting located at the back of the building. But on a ‘normal’ day the place is pretty quiet. Daryl: Sounds like a lot of people! Just one last question: What sort of facilities do you guys have? Emily: We have a main auditorium for performing arts, and a multipurpose hall that we hold exhibitions and other general events. The multipurpose hall is able to be divided into two to allow for smaller functions or to cater for more events within a day. 35

Darebin Arts & Entertainment Centre Daryl: Ah ok! So no facilities for preparation or workshop spaces? Emily: Nope, we donâ&#x20AC;&#x2122;t. Daryl: Alright! Thanks so much for your time Emily, we appreciate the help and effort! Have a great day! Emily: My pleasure! See you! Additional Information: Brochures were obtained during the visit to further analyse any areas of the centre that may have been missed out during the interview. 1) Approximately 115,000 people visit the centre each year. Of which about 67,000 attend theatre events and 41,500 attend conferences, meetings, training or information sessions, functions or exhibitions. - This is a huge amount of untapped user groups that St. Johnâ&#x20AC;&#x2122;s College could highly potentially access with their new Arts Centre. Conclusion: The interview further enforced the idea that the Darebin Arts & Entertainment Centre would be a great community to target, with its high rate of occupancy through the year. In which majority are related to the arts discipline. By also adding public facilities, such as studios/workshop spaces and even an arts library, this would generate greater relationship to the centre and create the desire to engage with the new Arts Centre by filling the gap between producing and preparing before the exhibition or performance.

CHAPTER 3: THE DESIGN OUTCOME

STAGE 1: PROJECT PARAMETERS This chapter of the thesis booklet demonstrates and outlines the application of Chapters 1 and 2 into the design outcome. Through architectural techniques, design and sculpting, the final design was achieved through various stages. Ensuring that each stage a key design consideration is addressed in order to give rigor and refinement to the overall outcome of the design project. The first stage is the Project Parameters. This section of the chapter lays the foundations to the project, which is key in any architectural design. This entails Dissecting The Brief, Site Analysis and laying out the Design Process for the other sections. These are basic layers of understanding that has to be laid out first in order to proceed with other forms of design.

Dissecting The Brief The Arts Teacher wrote a brief as to what she desired and envisioned for the new Arts Centre. The brief was analysed and dissected to understand functional and spatial relationships between the spaces, as well as draw some more ideas as to what qualities she desired for the building.

Dissecting The Brief In addition to the spaces required for the Arts Centre, other qualities for the building have been picked out from analysing the brief. Spatial Qualities: 1) Double storey 2) 2 Strong entry points 3) Sustainability Addition of Public Studio/Workshop Spaces, Art Library & Public Gallery: As mentioned in the previous chapter that the targeted community would be Darebin Arts & Entertainment Centre, the addition of spaces would be beneficial. This is because the Darebin Arts & Entertainment Centre does not have any facilities for preparation and doing artwork. By providing these spaces in the new Arts Centre, it would create a stronger draw of the users, as they could prepare and work on their art projects at St. Johnâ&#x20AC;&#x2122;s Collegeâ&#x20AC;&#x2122;s Arts Centre and simply bring it across with little to no hassle of transport.

Site Analysis During the initial stages of the research phases, we were given the opportunity to walk around St. Johnâ&#x20AC;&#x2122;s College. We were given full flexibility with the site, enabling us to choose any part/section that is within the boundaries of the school. Based on the initial walk-through, the highlighted portions were the potential options.

Each potential site was tested for the following main criterias: 1) Strong visual connection with passerbys 2) Gradual and long visual engagement with site 3) Access during school and after school hours 4) High accessibility 41

Site Analysis Pros: 1) Multiple access to site (during and after school hours) 2) Lots of land to work with 3) Direct connection with the park 4) Equal distance from Junior and Senior campus 5) Strong visual connection for users of the park Cons: 1) Minimal visual connection to Darebin Arts & Entertainment Centre and train tracks 2) Medium distance away from train station 3) No visual connection from highway

Site Analysis Pros: 1) Direct connection to the park 2) Lots of land to work with Cons: 1) Public parking after school hours is far from site 2) Far for Senior campus to access 3) No visual connection to Darebin Arts & Entertainment Centre and train tracks 4) Far distance away from train station 5) No visual connection from highway

Site Analysis Pros: 1) Multiple access to site (during and after school hours) 2) Next to train station 3) Located at main entrance of St. Johnâ&#x20AC;&#x2122;s College Cons: 1) Minimal visual connection to Darebin Arts & Entertainment Centre and train tracks 2) Far for Junior campus to access 3) No visual connection from highway 4) Small plot of land 5) No connection to park

Site Analysis Chosen Site: Pros: 1) Medium connection with the park 2) Lots of land to work with 3) Strong visual connection with Darebin Arts & Entertainment Centre and park 4) Multiple access to site (during and after school hours) 5) Near the train station Cons: 1) Far for Junior campus to access 2) Far distance away from train station 3) Minimal visual connection from highway and train tracks

Design Process Because the concept for this thesis project is Semiotics, the manipulation of form, function, space and aesthetics needs to be considered. This process is not as linear as â&#x20AC;&#x153;form follows functionâ&#x20AC;?, but rather a back and forth of tweaking and sculpting as a whole while at the same time in parts. The diagram below outlines the design process taken for the rest of the project.

Step 1: Plan

Step 2: Space

Step 3: Volume

Step 4: Form

Step 5: Sculpting Inside Out

STAGE 2: FORM & FUNCTION This section of the chapter is about injecting the spatial requirements to the Project Parameters. Where two dimensional layouts are transformed into volumes and massing. While at the same time considering the users of these spaces and how they would interact with the spaces and each other, and the spatial experiences as they go through the building.

Building The Experience: Whoâ&#x20AC;&#x2122;s In The Building? In order to better understanding and design the spatial relationships, it is important to know the demograph of users in the building. This enables a stronger narrative through the building and seeing how these users move and flow from space to space, which gives the parameters for each function. The idea was to generate different user groups, while giving them specific backgrounds to give a sense of focus and realism.

Name: Michelle Age: 12 Narrative: Student at St. Johnâ&#x20AC;&#x2122;s College Reason for Being At The Arts Centre: Doing art as one of her subjects. Uses the learning space beyond allocated hours. Relationship To School: Student 48

Name: Tom, Holly, Janice, Anna & Kim Age: 12 Narrative: Take drama classes outside of school Reason for Being At The Arts Centre: Rehearsing for an upcoming play held at Darebin Arts & Entertainment Centre. Relationship To School: Students

Building The Experience: Who’s In The Building?

Name: Michael Age: 20 Narrative: Studies architecture in university Reason for Being At The Arts Centre: Because he rents a place in Preston, he does not have the space nor equipment to do his work at home. Relationship To School: He saw at the Darebin Arts community website of working spaces at St. John’s College.

Name: Jimmy Age: 40 Narrative: Well known painter in Darebin Reason for Being At The Arts Centre: He is preparing for an upcoming exhibit, which is in collaboration with other local artists in the area. Thus he needs a larger working space. Relationship To School: Was aware of St. John’s College’s public facilities after holding an exhibit at the Darebin Arts & Entertainment Centre.

Building The Experience: Who’s In The Building?

Name: Jennifer Name: Gunn Family Age: 25 Age: 50, 42, 11 & 9 Narrative: Local artist from Preston that is involved Narrative: They live in Preston in many local productions Reason for Being At The Arts Centre: Attending art Reason for Being At The Arts Centre: Using the classes offered at the new Arts Centre to foster public studio space to prepare for an upcoming family bonds. play at Darebin Arts & Entertainment Centre Relationship To School: Their children attend St. Relationship To School: She is married and has a John’s College toddler with the potential of sending her child to St. John’s College. 50

Building Programme The spaces have been laid out in the diagram below (with the area indicated), and have been arranged according the four different zones of School, Office, Public and Shared.

2 Learning Spaces + Sink Areas

Lounge Area: Secondary

(125m2)

(15m2)

Fumes Area (16m2)

Drying Racks (8m2)

(25m2)

ICT/Audio Visual Area

Material Storage

(50m2)

(25m2)

Kiln Area (20m2)

Outdoor Learning Space

Art Storage (50m2)

Art Gallery (50m2)

(50m2)

Art Library (150m2)

(20m2)

Public Gallery (100m2)

Public Art Workshop/ Studio

Outdoor Space

(100m2)

Café

(50m2)

Kitchenette

School Office Public Shared

Floor Sitting: Primary

Teacher’s Office (30m2)

(50m2)

Storage (20m2)

Toilets

Spatial Zoning The chosen site was then divided into zones, this would determine where each space would approximately site on the site itself.

School Office Public Shared Circulation

The school and office spaces are located and facing the school compound for easy access. The public zone would face park, main road and Darebin Arts & Entertainment Centre. This would create maximum visual connection and desire for engagement. Lastly, the shared zone would be in the center spine to promote interaction between public and St. Johnâ&#x20AC;&#x2122;s College.

Spatial Relationships The spaces were manipulated through different iterations to achieve the best suited spatial layout that would meet the different requirements.

Spatial Relationships

Spatial Relationships: Finalised Ground Floor

Entry

Floor Sitting

Primary Learning Spaces (Sink Area/ Art Storage)

Cafe

Audio Visual Area

Art Gallery

(Kitchenette)

Outdoor Space

School Office Public Shared Circulation

ICT

Secondary Learning Spaces (Sink Area/ Art Storage)

Art Library

Lounge Area

Outdoor Learning Space (Kiln Area/ Drying Racks Fumes)

Outdoor Space

Public Art Entry Workshop/ Studio

MultiPurpose Art Space

Spatial Relationships: Finalised First Floor

Office

(Storage)

Public Gallery

School Office Public Shared Circulation

Art Library

Outdoor Space

Public Art Workshop/ Studio

MultiPurpose Art Space

Spatial Massing Once the Spatial Relationships have been established, they are applied to the current gymnasium that resides on the chosen site. The gymnasium would serve as the foundational form which the spaces would be injected into. The reason being that, although they requested for a new Arts Centre it is still important to retain the traditions (for this instance parts of their existing building) of St. Johnâ&#x20AC;&#x2122;s College to promote the idea of Love (the first school value). That the old and new are embraced, whether in terms of the age groups in the school or the architecture.

Image 1 - An Isometric View of The Existing Gymnasium 59

Spatial Massing The Spatial Relationship diagrams previously generated were inserted into the existing gymnasium through three dimensional sketching. This enabled a stronger translation and relationship between both plan and form.

Spatial Massing Below is an exploded view of how the Spatial Relationship diagrams have been applied to the existing gymnasium, while still maintaining part of its existing structure and form.

School Office Public Shared Circulation

Spatial Massing The diagram below compares the existing gymnasium and after the Spatial Relationships have been applied to it. The lower portions (the side facing towards the school) have been retained, this creates that strong relationship back to current St. Johnâ&#x20AC;&#x2122;s College. The reason is that this portion of the building is where the learning spaces are, therefore by creating that visual connection it enables that sense of belonging even after the building has been revamped. Furthermore, a portion of the West facade (facing the park) has been kept to tie in with the idea of the new emerging from the old, as a way to pay homage to the traditions of St. Johnâ&#x20AC;&#x2122;s college through the more prominent facade.

Conceptual Massing

After the basic massing of the Arts Centre has been established, a Conceptual Massing was done. This is where the concept, ideas and themes of the design are translated directly into a three dimensional form. Doing this enables a different approach in massing, which may give rise to different ideas that a standard massing exercise would not. Standardised wooden blocks were used to form the basic spatial layouts, while other materials, such as paper, wire, mesh, cardboard and others was used to experiment with. The combination of materials would be put through the rigors of the main driving concepts for the new Arts Centre. Upon completion of this exercise, each generated form was analysed to identify important and interesting ideas that could be applied to the Spatial Massing previously done.

Conceptual Massing Massing 1: The key drivers for this massing design was firstly connectivity across the massing (injecting the language of â&#x20AC;&#x153;Loveâ&#x20AC;?). Secondly bringing readability that the building is an Arts Centre, through the deconstruction of the Melbourne Art Centre (located in Melbourne City). Using the strong triangular geometry of the Melbourne Arts Centre, but in a less obvious manner. The wooden blocks were still placed in a very logical manner, closely resembling the Spatial Relationship diagram previously generated.

Conceptual Massing Massing 2: The key drivers for Massing 2 were still the same as the previous massing. However, this time a more representative form of these concepts was taken. The wooden blocks were arranged such that it appears connected, while at the same time reaching out and beyond. This again ties in with the notion of â&#x20AC;&#x153;Loveâ&#x20AC;?, reaching beyond and remaining connected. The same strong triangular geometry was used, but this time with the addition of the mesh (drawing inspiration from the Melbourne Arts Centre of the yellow net-like structure). This massing was meant to push beyond the constraints of the Spatial Relationship diagram and venture a bit more into the conceptual ideas in a strong visual manner.

STAGE 3: ADDRESSING THE RESEARCH QUESTIONS This section of the chapter takes the subquestions generated from the research as architectural intents for the design of the new Arts Centre. By applying these subquestions, it enables a focused scope of work that would enable a more refine design outcome in hopes of achieving the thesis question.

What Should Be Communicated? The first subquestion tackles a very fundamental question to the thesis project. As established in the research (from the previous chapter), identifying shared beliefs, purposes and interest are crucial factors in creating the desirability for community engagement. If these values do not meet the targeted community, then the communication would be ineffective. The Darebin Arts Community and the Darebin Arts & Entertainment Centre have been identified is secondary and primary targets. Drawing from the conclusion from Page 33, it is clear that both the Darebin Arts Community and St. John’s College hold very similar values and desires, which would also translate to the Darebin Arts & Entertainment Centre as they ultimately fall under Darebin’s Arts Community. Therefore, using the values of St. John’s College (LEAD: Love, Excel, Achieve & Dream) as the basis of communicating is an obvious choice. Darebin Arts Community 1) INCLUSIVE - Increase access and meaningful participation in the arts 2) ENTERPRISING - Make Darebin the home for artists and creative industries 3) REGENERATIVE - Develop Creative Spaces and Places 4) CONNECTED - Create connections across communities and generations 5) VIBRANT & VISIONARY - Lead by example and commit to best practice principles in all our work *The same colours indicate similar desires and values

Applying The Architectural Codes The next question is, how should the values of St. John’s College be translated into architectural codes, so that users of the building are able to read them. But before that can be achieved, where these values are communicated is important. The progress from facade to interior spaces and where the values are placed would also determine the effectiveness of the building’s readability. As this would create the story to the building and how should a user experience and read it. Below is a diagram that outlines where and how the values of St. John’s College are applied to the new Arts Centre, and its purpose at each juncture.

Applying The Architectural Codes Translating the values of St. Johnâ&#x20AC;&#x2122;s College would be done in two parts. First would be addressing the facade of the new Arts Centre. How it would firstly communicate that it is an Arts Centre and secondly the values of Love, Achieve and Dream. This would create the first layer of communicational engagement with the targeted community, to draw them from simply passing by the building to entering and experientially engaging with it.

Applying The Architectural Codes The diagram below demonstrates how and where the chosen values are applied. By using the Melbourne Arts Centre as a foundation for form generating, it would provide readability to Darebin’s Arts Community that the building is also an Arts Centre. While St. Peter’s Piazza’s colonnade is adopted to communicate Love, as the intentions for the colonnade was to illustrate God’s arms embracing and welcoming people. MELBOURNE ARTS CENTRE Communicates: Arts Centre, Achieve & Dream

ST. PETER’S PIAZZA Communicates: Love

Applying The Architectural Codes Stage 1: Basic Application of The Architectural Codes Once how and where the values would be applied to, the form was manipulated to reflect it.

MELBOURNE ARTS CENTRE Communicates: Arts Centre, Achieve & Dream

ST. PETERâ&#x20AC;&#x2122;S PIAZZA Communicates: Love

Applying The Architectural Codes Stage 2: Refinement & Addition of The Architectural Codes Further refinement was done to the form, with the addition of adding the value of Achieve through the embracing arms and the steps leading up to the gallery space. MELBOURNE ARTS CENTRE Communicates: Arts Centre, Achieve & Dream

STEPS LEADING TO GALLERY Communicates: Achieve ST. PETERâ&#x20AC;&#x2122;S PIAZZA Communicates: Love & Achieve

Applying The Architectural Codes Once the facade has been established, the next stage is to apply the all the values of St. Johnâ&#x20AC;&#x2122;s College to the interiors of the building. This is achieve a holistic experience and understanding of the values. These values were allocated to different rooms/parts of the building based on its relevance to the spaces function and user groups. The diagram below outlines where and the intentions of how these spaces may look like.

DREAM

LOVE

DREAM/ ACHIEVE

LOVE LOVE/ ACHIEVE

DREAM

EXCEL â&#x20AC;&#x201C; The quality and innovation of the spaces

ACHIEVE

School Office Public Shared Circulation

Applying The Architectural Codes The Arts Centre has been divided to three main parts, the Main Circulation Space/Foyer, Public Studio/ Workshops, Art Library & Learning Spaces, and Cafe. As each part communicates different values and have different functions and user groups, the approach in applying the architectural codes would have to be tailored to suite the space. Main Circulation Space/Foyer: The Main Circulation Space/Foyer would communicate Love. The notion of openness and connectedness, while welcoming people from all walks of life. These characteristics/aspects of Love have been chosen cause they strongly relate to the type of Love mentioned in St. John’s College and Darebin Arts Community’s values. Because there isn’t much precedence of Architecture communicating Love, those chosen demonstrates/ communicates the notion of openness, connectedness and welcoming.

Applying The Architectural Codes Main Circulation Space/Foyer Precedence: STATOIL REGIONAL AND INTERNATIONAL OFFICES (by A-Lab)

The aluminum cladded staircase was designed to branch out from its core to connect to the different blocks of the office building. In that same way the idea of connectedness can be seen, while at the same time drawing people visually and physically to enter the different blocks of the building. The use of a unifying material also creates a sense that the staircases are one element, rather than many parts. Additionally, glass has always been strongly linked to openness and porosity. The idea that a user can be in one space but having the ability to observe another. By using glass around the circulation area, it creates a connection to other parts of the building and visually invites users.

Applying The Architectural Codes Public Studio/Workshops, Art Library & Learning Spaces: These spaces would communicate Excel and Dream. Excel is to be outstandingly good or proficient in something (from Dictionary.com), which is the idea of being able to do the best we can at something. This value would be communicated through the accordance of the spaces provided. By providing a variety and flexibility of space, it would enable users to perform tasks more proficiently as compared to a standard four-walled room. While Dream is the notion of being in a place that you can dream and a place that inspires or reflects a dream. The idea that when users enter the space, they would be encouraged to dream and be inspired by their workspace, to dream of the unimaginable and do the impossible. This segment explores ways existing architecture/interior designs have accomplished these notions of dream, and by extrapolating key design drivers to use them as generators of the interior spaces.

Applying The Architectural Codes Public Studio/Workshops, Art Library & Learning Spaces: 18.36.54 (by Daniel Libeskind)

The clients for this project was a arts couple that wanted to build a weekend home. Libeskindâ&#x20AC;&#x2122;s idea was to create a sculptural piece that would give a sense of retreat for the couple. By using strong angled planes to shape the houseâ&#x20AC;&#x2122;s form and internal spaces, Libeskind created a cave-like interior with irregular shapes and layouts. This strong idea created a retreat that felt enclosed and safe, while mimicking a cave for contemplation and retreat. The idea of the cave being a space to retreat and dream can be adapted into the studio/workshop spaces to allow users to dream up new ideas and designs. The colour pallet from the house would be adopted, as it creates this enclosed and protected feel, due to its strong earthy colours. 80

Applying The Architectural Codes Public Studio/Workshops, Art Library & Learning Spaces: Chongqing Mountain + City Sales Office (by One Plus Partnership)

Similarly to Daniel Libeskindâ&#x20AC;&#x2122;s house design, the interiors of the building were intentionally designed to mimic caves and mountainous structures. The architects used strong triangular geometry to create the effect, thus resulting in intricate forms that creates intimate and interesting spaces.

Applying The Architectural Codes Public Studio/Workshops, Art Library & Learning Spaces: â&#x20AC;&#x153;In The Paintingâ&#x20AC;? (by Gemelli Design)

This precedent is an interior design, where the spaces take on a three dimensional art form. The concept of the interior spaces is to convert flat surfaces into a three dimensional sculpture, which creates the illusion that the user is living in an art work (painting).

Applying The Architectural Codes Public Studio/Workshops, Art Library & Learning Spaces: â&#x20AC;&#x153;Life In Expressionismâ&#x20AC;? (by Gemelli Design)

The interior design has been derived from the arts movement of expressionism, where colour and forms are used to impact human feelings and perception. The intent of the design was to evoke emotions ranging from feelings of warmth and comfort to feelings of confidence, enjoyment and creativity. These are similar qualities in which the spaces aim to achieve.

Applying The Architectural Codes Public Studio/Workshops, Art Library & Learning Spaces: â&#x20AC;&#x153;Attention! Private Space!â&#x20AC;? (by Gemelli Design)

The client was a daughter of a couple, who wanted to be a graphic designer when she grew up, so the idea of the interior design was to have a place where she could have the freedom to think and dream. The room was divided into several zones depending of their functions. Through the use of colour, to demarcate these zones as well as transforming usual forms into different shapes, in which the main function of the space is to develop imagination. These are characteristics that are needed in the spaces.

Applying The Architectural Codes Public Studio/Workshops, Art Library & Learning Spaces: In conclusion, by adapting the two main ideas of retreat (cave-like spaces) and whimsical interiors, it would enable the spaces to communicate the value of Dream. Where users would be able to find the peace and freedom to be creative, while at the same time allowing the interiors inspire them. However, for the learning spaces, there would be a need for more formal spaces where â&#x20AC;&#x153;standardâ&#x20AC;? classes can be conducted. This is to reduce distractions and restlessness of students that can be caused by the irregular patterns of the interiors spaces.

Applying The Architectural Codes Cafe: The Cafe is a place of gathering and welcoming, therefore the value of Love was chosen for this space. The focus would be more on the openness and welcoming of people. Cafe Melba (by Designphase dba):

The tall window design of the cafe creates an open feel, while at the same time the foldable facade doubles as sunshading. When fully open the interior spaces appear to flow to the external surroundings, thus creating a strong openness. Conclusion: The different values of St. Johnâ&#x20AC;&#x2122;s College have been translated in various means and ways through the architectural codes. Because of its complexity and variety of languages, styles and design, the need to sculpt all these ideas with a unifying element would be essential in ensuring that the new Arts Centre is read as a whole building. 86

STAGE 4: SCULPTING This stage of the chapter is where the thesis subquestions were applied to the massing previously generated, and after which the process of sculpting and fine tuning the design was taken to achieve a fully resolved building. The main challenge was to ensure that the values of St. Johnâ&#x20AC;&#x2122;s College (that had been translated into architectural codes) did not appear as many different elements, but rather have a common design language that would allow the resolved building to be read as a whole.

Design Development Once the architectural codes have been applied to communicate the values of St. Johnâ&#x20AC;&#x2122;s College, a further refinement is needed. Because the language and forms of the precedents are not the similar, there needs to be a design element that ties all these different ideas together. This is in order to achieve a seamless Arts Centre that appears as a whole building rather than a merger of many parts. The facade of the new Arts Centre (at the gallery space) draws strongly on the triangular geometry (to mimic the Melbourne Arts Centre), and thus creates a strong language and form to the building. By taking that similar language (of the triangle) and applying it across the Arts Centre, it would create a common language and element that enables the user to read the building as a whole.

Design Development The triangular language has been applied to the areas that communicate Dream, in which are cavelike interiors and by using triangles it too can mimic the angles of a cave. It also has been applied to the windows and skylights of the building, not only does it create a common language across the Arts Centre, but it also creates beautiful shadows on the surfaces of the interiors.

Interior spaces that communicates Dream

Windows & Skylights 89

Design Development The Triangular Cave: Below are examples of how triangles can be used to mimic caves.

Design Development Materiality: To create further unison across the Arts Centre, three main materials were used for the interiors. These are Timber, Granite and Metal (Black). The materials were chosen because of their earthly tones that gives a strong sense of the natural, as well as give off a welcoming and more contemplative feel. All of which is in line with the Arts Students desires for earthly tones within their arts space.

STAGE 5: THE DESIGN OUTCOME The final stage of this chapter is the design outcome of this thesis project. Which consists of Plans, Elevations, Sections and Renders.

Design Drawings Ground Floor Plan (1:400):

Design Drawings First Floor Plan (1:400):

Design Drawings North Elevation (1:400):

West Elevation (1:400):

Design Drawings Section A-A (1:400):

Section C-C (1:400):

Design Drawings Section B-B (1:400):

Design Drawings Hero Shot (View From The Darebin Arts & Entertainment Centre):

Design Drawings Render 1 (First Floor Public Studio/Workshop):

Design Drawings Render 2 (Secondary Learning Space):

100

Design Drawings Render 3 (Primary Learning Space):

101

Design Drawings Render 4 (Ground Floor Space):

102

Design Drawings Render 5 (Art Library):

103

Design Drawings Render 6 (Ground Floor Public Studio/Workshop):

104

CHAPTER 4: CONCLUSION

105

Conclusion Architecture has a very public presence, where form can redefine or even draw attention to a specific area. Through the understanding of human psychology, it is possible to manipulate and foster certain ideas when observing architecture. Architecture then takes on the role of language, to communicate meaning, purpose, identity and so much more. Communication is such a vital tool in our everyday lives. Without us realising we are actually communicating our identity through verbal or non-verbal means. The way we dress, talk, act, work and so many others plays a part in communicating our identity. In that same way, as St. Johnâ&#x20AC;&#x2122;s College tries to foster its identity to its surrounding communities, it can be done through architecture. Due to its iconic and large proportions, architecture is an ideal medium to communicate where humans are limited. However, there is very limited precedents or even understanding as to how specific values can be applied through architectural semiotics. Most research outlines how it can be read from existing architecture, But how can Love, Excel, Achieve and Dream really be translated into architectural codes? The challenge is to truly understand the human perception in order to derive the communication know how.

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Bibliography Clemens M. Plank, DI (2010) The Conscious User of Architecture, Innsbruck. Eco, U. (1980). Function and sign: the semiotics of architecture. Signs, symbols and architecture. Norberg-Schulz, C. (1980). Genius loci: Towards a phenomenology of architecture. Rizzoli. Hollein, H. (2009) Tutto e architettura, in Biraghi, M. and Damiani, G. (eds.) Le parole dell’ architettura un’antologia di testi teorici e critici: 1945-2000. Milano: Einaudi. Neidhardt, V. (1997) Covjek u prostoru: Antroposocijalna teorija projektiranja. Zagreb: Školska knjiga. Norberg-Schulz, Christian (1980) Genius Loci: Towards a Phenomenology or Architecture, Minnesota: Academy Editions. Sargazi, Mohammad Ali. (2013). Essay on Semiotics and Architecture; Explaining the Meaning of the Symbols in Architectural Semiotics and Discovery. Journal of Social Issues & Humanities, 1(6). Stamatovic-Vuckovic, S. (2013). Architectural communication: Intra and extra activity of architecture. Spatium, (29). Wood, G. S., & Judikis, J. C. (2002). Conversations on community theory. Purdue University Press.

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