Portfolio by DK urbandesign

Contents

Preface • Design Article • Contextualism & Diagram • Contextualism Precedents • Non-Contextuialism Precedents • Mix Mapping • Conclusion Apendix • Category definition • Category diagram • Category: Site/Context/Lineage Method/Technique Ideas Precedent/Influence Theory Construction • Conclusion Chapter I: Environmental Contextualism • Definition • Mapping Diagram • Studios: Digesting Melbourne [LA Thesis Project] Put a Ring on it & Blue Mile [TU Delft Exchange] Pocket Garden [TU Delft Exchange] Catch it… Slow it… Clean it… Discharge it… [LA Studio 7] Resilient Altona [LA Studio 6] • Conclusion Chapter II: Historical Contextualism • Definition • Mapping Diagram • Studios: Yarra Floats? All flippers on deck [AR Studio 6] Forum Superblock [AR Studio 5] Delta Force [LA Studio 5] • Conclusion Chapter III: Social Contextualism • Definition • Mapping diagram • Studios Image of Thoughts [LA Studio 8] Interface between Shadow [LA Studio 5] • Conclusion

Preface: Introduction to Contextualism

â&#x20AC;&#x2DC;Most importantly, each is clearly a site-specific solution; none of them could be replicated anyplace else, nor should they be.â&#x20AC;&#x2122;

Prefix

Beaver

Contents

Contextualism: Introduction Article on Contextualism An architect or any designers firstly need to have a bold

[idea] on every project no matter how dull the brief may be. This idea

[hunch] and finish [outcome] of a design . Idea helps to start and keeps design in line. Only by pursuing and interrogating this until the end observe success or failure. Certain ideas can never be achieved such as [Palmanovia] but it is

is the start

important to have a goal as this is the architect’s identity.

[portraying ideas] as well as a great tool to understanding something from another direction. Besides design theories such as [Urban Metabolism] and [Architecture of the City], [Plato’s] interface between life and death and Roland Barthes’s [Mythology] can [drive] the design forward or be used to [create awareness] of a design. [Expression/Exploration/ Experience] is my focal design theory where each design should be looked through these theories and be [critiqued] on these . These do not all have to be highlighted but it can also be diminished and denied but all should be done with [purpose] that Understanding a broad range of theoretical knowledge can be a great way of

shape the outcome.

[construction] and [building]. Sculptors and other 3D designers may build large objects but architecture requires projects to [mitigate] . Thus the ability to think in construction view is crucial as by honing this skill, I can accurately [deliver] the conceptual design to construction phase instead of compromising the The difference between spatial designer and other designers5 are

design feature due to lack of basic physics knowledge. This skill does not restrict me from exploring abstract forms and ideas. Movements

[Archigrams] experiment with the most abnormal forms and ideas . The key is [communication] with different [audiences] , for instance I would draw accurate and clear line drawings to [builders] where abstract diagrammatic and bold pitch drawings to [clients]. such as

[physical site] makes the ultimate difference between artists and spatial designers . Site context can also be [intangible elements] such as history. It is important to study and

Site may be the most important element in spatial design. Having a 9

understand these before as well as during design as if not analysed thoroughly it will become a restricting fence10 on the other hand, it can

[augment] certain aspect of the design making it special to that location and it can only be achieved because of that location. The [Eiffel Tower] can just as be great in [Las Vegas] compare to the heart of [Paris]. be a great tool to

[tools] to [express] their ideas, theories, analysis of site and precedents. Like precedents, methods are added to your [library] when mastered . Techniques are about the drawing technique, like aforementioned in [construction drawing], as much as it is about the ability to analysis and [portray] the design idea. The greatest idea becomes a lie if not realised in construction, and technique is the [mechanism] that allows this to happen. Design technique is spatial designer’s

[shape] . Precedent is not limited to the structural forms and case studies. It is [everything] that can assist in [decision making] of a project from testing of simple [concrete rundown] to [Dan Hill’s Dark Matter and Trojan Horses]. Architectural precedents can also be objectives to [copy]. By copying or [mimicking] a precedent project from another architect I can understand how that project work and how can I [transform] it to suit my design theory. I am not talking of simple homage but the ability to adapt a technique for an example [Urban Metabolism] and adding something to the lineage of that spectrum.

As evident in this writing, precedents are elements that

This may not be the same from initial hunch and transform as the design progresses Ideal city of the renaissance pursuing utopian culture Paris March magazine cover In every phase of the design from concept to outcome i.e. landscape architects, interior architects, urban planners etc. From people to flora and fauna even automobiles In their own way we can observe how forms are constructed and connected to the site structurally Understand what and how to communicate, ability to portray exactly what we want to who we want A sculpsit may choose to use the site to their design but an architect must negotiate with where the building sits and its surrounding Too big, too small, too shallow, too windy etc. When mastering these, you can start mixing them together to create a new methodology From what kind of designer I am to influential role models that I want to follow

Prefix

1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12.

Contextualis: Introduction ‘Most importantly, each is clearly a site-specific solution; none of them could be replicated anyplace else, nor should they be.’

Beaver Contextualism: Spatial design that responds to its surrounding by respecting what is already there, unlike Constructivism or Deconstructivism which deliverately work against established geometries and fabric.

[Context as natural environment] [Context as social environment] [Context as historical environment] Architecture is more than just a building or structure, individual buildings and infrastructures come together to shape the city we all live in. Buildings and landscape should be special because of the surrounding, tangible and intangible. My agenda is to design by looking at these context and history, and reveal the hidden treasure that a site can provide. Like animals, architecture needs to belong to the surrounding. Foreign living species can destroy the entire ecosystem, i.e. European rabbits (Oryctolagus cuniculus) and European blackberry (Rubus fruticosus). A building that has no relationship with where it stands becomes nothing more than a glorified sculpture, which can be iconic but should be done very limitedly i.e. Eiffel Tower. Spatial designers need to analyse and understand the site not just at the beginning of a design but throughout the whole development, constantly finding these treasures to be augmented. Through my landscape architectural education, I’ve developed this agenda of looking at a site and identifying the problems and potentials. ‘Digesting Melbourne’ analyses the issue of Docklands and how new landmarks and housing prices isn’t the issue but accessibility and connection from CBD is the real problem. ‘Image of Thoughts’ looks at the non-tangible decision making process and how designers need to firstly understand what everyone’s opinions are and be able to create a platform for everyone to communicate. Then use this to design what they need, instead of deluding that we know everything and can design anything. When possible, design forms and methods should be tested and experimented limitlessly. Architecture is within the built environment and designers needs to have variety of tools of technique in their hands. Therefore, whenever possible, architects need to practice non-contextual techniques but ultimately this is to assist contextual design. My architectural education allowed me to experiment and test form generating without the limitation of site condition, or very minimal context to respond to. ‘Forum Superblock’ explored transforming abstract forms into buildings and ‘Yarra Floats’ was about creating a monument and the spaces disconnected from the site. 20th Century gave new technology and techniques of designing and building that architects used to rapidly reshape the cities we know today. Everything was new and experimenting with materials we have made numerous discoveries. But now that we have got these out of our system, we need to design corresponding to the context accordingly by using the knowledge we gained from these experiments. Like such, my design phase is at this point where I have made discoveries by testing different techniques, but from this stage I need to combine these techniques with the understandings of contexts. Influential Precedents Taliesin Fallingwater National Assembly San Cataldo Cemetry St Kilda Foreshore

Non-Influential Precedents Highline Park Serpentine Pavilion H&D Lateral Office Fresh Kills Park Barangaroo Reserve

DDP Heydar Aliyev Centre CCTV Eiffel Tower BIG Architects

Tatlin’s Tower Guggenheim Museum Bilbao Melbourne International Gateway Melbourne Docklands Villa Savoye

LANDSCAPE

PROBLEM

POTENTIAL

CONNECTION

SITE

ENVIRO NM E

CONTEXTUAL SPATIAL DESIGN

GENERATE FORM

THEORY

LINEAGE

AL T N

L CIA SO

CONSTRUCTION

TECHNIQUE

HISTORICAL

FORM

EXPLORE

TEST

TECHNOLOGY

ARCHITECTURE

Prefix

PRECEDENT

NEGOTIATE / RELATE

IDEA

Falling Water and its relationship with nature

Palazzo della Ragione and Aldo Rossiâ&#x20AC;&#x2122;s Urban Artefact

This house known as Fallingwater, has redefined the connection between architecture and nature. Until this project, most architects separated landscape and building thinking nature like a painting and the windows within the house as its picture frame. However, Frank Lloyd Wright changed this perception and merged the house and the landscape by building upon the top rock of the fall.

According to Aldo Rossi, construction is a process that is inseparable in value to time. This insight shows that people are attracted to historically important buildings and landmarks. Overtime, these become urban artefact and in the case of Pallazo della Ragione, regardless of functional multiplicity and is modification overtime, it portrays the atmosphere of its city.

Without this site analysis, it is natural to place the house away from the dangerous water. Also looking at the landscape is the easy answer to not disturb the ecology. However, by understanding the site, Wright capitalised on the hard rock which is strong enough to be the floor and aligning the windows to look in the forest instead of treetops. This allowed the house to physically be in the middle of the landscape and all the views from the house enhanced this atmosphere.

Architecture is the history as structures outlived the era and materials are data of real experiences. By studying these stories, designers can create something new that fits into the larger narrative instead of another glorified box.

This is what I think as environmental contextual design approach. The first thing Wright did at this site was getting site survey of the whole parameter and learnt the physical surrounding to observe what can be capitalised.

Forms do not have to follow function. Forms can be added to fit function and different function can occur in the same form. Thus the building needs to be more than what happens inside, it needs to communicate to the rest of the city ensuring that it belongs there, in order to stay there.

National Assembly and Bangladeshis identity This building is the cornerstone of Bangladesh’s independence from Pakistan. The iconic structure symbolised democracy and pride to the citizens and became more than a place for gathering and communication.

The National Assembly Building follows modernism in form and principles but has evolved as contextualism by firstly understanding what Bangladeshis needed. The geometric shaped on the façade represented marriage of old and new cultural identities and in function, a light wells and natural environmental control system for the interior. The entire complex is fabricated out of poured in place concrete with inlaid white marble. This act shows Kahn’s attitude to design as it shows you can create a cheaper building yet not compromising any key element.

Contextualism Precedents

These are precedent example of each type explaining why I consider them to be contextual architecture and further portray the kind of designer I want to become. Falling Water as Environmental Contextualism Pallazo della Ragione as Historical Contextualism Capital Building of Bangladesh as Social Contextualism

Prefix

Modernist Architects in the 20th Century wanted their work to be an object of their creation which stands alone without context. Such that it can be placed anywhere and still stay true to its aesthetic principles and functional requirement. However, Louis Kahn’s vernacular architecture merged a building with a nation.

Eiffel Tower and its relationship with site

DDP and neglecting historical treasure

The world was astonished by the monumental iron structure at the Expositional Universelle at 1889. It is not only icon of Paris but one of most recognisable structure in human history. However, its purpose as exhibition object shows that it can be placed anywhere in the world and still scream its monumentality and Las Vegas shows this.

The rich history in this area is completely neglected with a fancy curved concrete surfaced building. This site was used as military training office during Joseon Dynasty in the distant history and was Korea’s first modern sports facility under Japanese Colony. Just before this Design Plaza, there were 900 street venders who made their living depending on this culturally important site. These people were driven out for the new structure.

Its monumental size made this structure stood out and from anywhere in Paris you are exposed to the iron peak. The famous story of Gey de Maupassant eating in the Eiffel tower every day just because it’s the only place you can’t see the tower showed how alienated the form was. However, in the larger urban system of Paris, the Beaux art layout gave a place for monuments to stand and the composition of these are done carefully creating beautiful Paris we know today.

During construction, historical archaeological objects were found underneath the site which was part of the old city wall but was neglected and covered up, doing the exact thing the Japanese Imperialists did, becoming hypocrites. Ultimately the building may be too young to critique but mostly empty exhibition spaces, due to cost of renting, made the interior space daunting. Thus unused shed is created instead of using the rich history.

Cheonggye Cheon and its political problem under water

The key points of this project were to demolish the elevated highway, incorporating environmentally friendly urban space, restoring historical and cultural contexts and so on. However, none of the historical structures are placed at the right places, only mimicking what it might have looked like, and most importantly this site became a risk to flooding as the floor was finished with concrete due to rush for precedential election deadline. This giant fish tank has more than 70% impervious floor leading to most of the water to be pumped from the bottom of the creek back up costing astronomical price and people getting trapped during heavy rainfall, including dozen accidents per year.

Non-Contextualism Precedents These are examples of non-contextualism, environmental / historical / social. They may have their own context but in all cases, neglect the site and situation. Revealing their negatives are not the focus but displaying the difference between their context and contextualism is the key point. Eiffel Tower as Non-Environmental Contextualism Dongdaemun Design Plaza as Non-Hisrocial Contextualism Cheongyecheon as Non-Social Contextualism Prefix

Cheonggye Cheon project was a renowned landscape architectural masterpiece in the 21st Century being taught in universities across the globe. However, the political issue lies underneath its perfect appearance. This project was the Segway for Lee Myung-bakâ&#x20AC;&#x2122;s, mayor of Seoul at time, into precedential election.

Preface Conclusion

SITE /CONTEXT /LINEAGE THEORY

Understanding a broad range of theoretical knowledge can be a great way

my focal design theory where each design should be looked through these

Design framework

[critiqued]

on these4. These do not all have to be theories and be highlighted but it can also be diminished and denied but all should be done with

[purpose] that shape the outcome. The difference between spatial designer and other designers5 are

[construction] and [building]. Sculptors and other 3D designers may build large objects but architecture requires projects to [mitigate] . 6

Thus the ability to think in construction view is crucial as by honing this skill,

Architecture is more than just a building or structure, individual buildings and infrastructures come together to shape the city we all live in. Buildings and landscape should be special because of the surrounding, tangible and intangible. My agenda is to design by looking at these context and history, and reveal the hidden treasure that a site can provide. Like animals, architecture needs to belong to the surrounding. Foreign living species can destroy the entire ecosystem, i.e. European rabbits (Oryctolagus cuniculus) and European blackberry (Rubus fruticosus). A building that has no relationship with where it stands becomes nothing more than a glorified sculpture. Spatial designers need to analyse and understand the site not just at the beginning of a design but throughout the whole development, constantly finding these treasures to be augmented. 20th Century gave new technology and techniques of designing and building that architects used to rapidly reshape the cities we know today. Everything was new and experimenting with materials we have made numerous discoveries. But now that we have got these out of our system, we need to design corresponding to the context accordingly by using the knowledge we gained from these experiments.

[deliver]

the conceptual design to construction phase I can accurately instead of compromising the design feature due to lack of basic physics knowledge. This skill does not restrict me from exploring abstract forms and

ideas. Movements such as

CONSTRUCTION

IDEAS/HUNCH Social condition

Appendix: Category Mappings

Site may be the most important element in spatial design. Having a

[physical site] makes the ultimate difference between artists and spatial designers . Site 9

[intangible elements] such as history. It is important to study and understand these before as well as during design as if not analysed thoroughly it will become a restricting fence on the other hand, it can be a great tool to [augment] certain aspect of the design making it special to that location and it can only be achieved because of that location. The [Eiffel Tower] can just as be great in [Las Vegas] compare to the heart of [Paris].

context can also be

Environmental condition

Site analysis

PRECEDENT/ INFLUENCE

Theoretical influence

As evident in this writing, precedents are

[shape]

12 . Precedent is elements that not limited to the structural forms and case studies. It is [everything] that can assist in

[decision making] of a project from testing of simple [concrete rundown] to [Dan Hillâ&#x20AC;&#x2122;s Dark Matter and Trojan Horses]. Architectural precedents can also be

from another architect I can understand how that project work and how can I

[transform] it to suit my design

theory. I am not talking of simple homage but the ability to adapt a technique for an

q ni

[Urban Metabolism]

y ud

METHOD/ TECHNIQUE Design technique is spatial designerâ&#x20AC;&#x2122;s

[express]

Applied form/theory

Form Generation

n wi

[copy]. By copying or [mimicking] a precedent project

objectives to

example and adding something to the lineage of that spectrum.

[tools]

Design driver

their ideas, theories, analysis to of site and precedents. Like precedents, methods

[library]

when mastered11. are added to your Techniques are about the drawing technique, like aforementioned in

[construction

drawing], as much as it is about the ability to analysis and [portray] the design idea. The greatest idea becomes a lie if not realised in construction, and technique is the

[mechanism] that allows this to happen.

Design refinement

Design brief

[idea] on every project no matter how dull the brief may be. This idea is the start [hunch] and finish [outcome] of a design . Idea helps to start and keeps An architect or any designers firstly need to have a bold

IDEAS/OUTCOME

design in line. Only by pursuing and interrogating this until the end observe success or failure. Certain ideas can

Design phenomena

[Palmanovia] but it is important to have a goal as this is the architectâ&#x20AC;&#x2122;s identity. 2

Site history

Appendix

never be achieved such as

URBAN PLANNING

ON TI DI N

N IO IT ND CO

SI TE

SU RR OU ND IN

SI TE

SU RR OU ND IN SI TE CO

SU RR OU ND IN

SU RR OU ND IN SI TE CO

HOUSE

BUILDING

ON ITI ND CO

N IO IT D N

N TIO DI N CO

ON TI I ND

SU RR O U ND IN

SI TE

BUILDING

CONPLEX URBAN PLANNING

HOUSE

N IO IT D N CO

ON ITI ND CO

SI TE

SU RR O U ND IN

SI TE

ON TI I D N

N IO IT ND

ON TI DI N

N IO IT ND CO

SU R R OU ND IN

ON ITI ND CO

ON TI I ND CO

ON TI I D N

SU R R OU N DI N

SI TE G

SU R RO U N DI N

SI TE

SU RR O U ND IN

SI TE N IO IT ND

SU RR O U ND IN

SI TE

T E SU CO RR O U ND IN

URBAN PLANNING

SITE CONDITION

COMPLEX

BUILDING

HOUSE

POCKET GARDEN S U RR OU ND IN

ON TI I ND O C

ON ITI ND CO

N IO IT ND

SU RR OU ND IN

ON ITI ND CO

COMPLEX

N IO IT D N

SU R RO U N DI N

URBAN PLANNING

HOUSE

N IO IT ND

SU RR OU ND IN SI TE CO

ON ITI D N CO

N IO IT ND CO

SI TE

ON TI I ND

N IO IT ND CO

BUILDING

N IO IT D N CO

SI TE

SU RR OU ND IN

ON TI DI N

SU RR OU ND IN

N IO IT ND CO

N IO IT D N CO

COMPLEX

ON TI DI N

N IO T DI N

SU RR OU ND IN SI TE CO

ON TI I ND O C

Site/Context/Lineage

Sites ranges from urban planning to garden design that fits into various contexts. Thus it doesnâ&#x20AC;&#x2122;t matter how big a site is and what the context is alike, what matters is how to analyse a site and context. Infinite types of design can be done in the smallest place but only certain space can be designed by taking a lineage or line of enquiry.

Whatever I do on site should relate to the context which can be restricting on my design pursuit. In architecture, context can be used to highlight my design form and this is my interpretation on the lineage. Iâ&#x20AC;&#x2122;ve always wanted to build something and felt site restricted it and in architecture I tried my best to neglect the condition of the site.

Appendix

Lineage can be chosen in two ways, by analysing the site and history I can choose suitable topic to indulge into or having a strong concept before seeing the site then try to apply and negotiate with the context, merging the concept with the site. Lineage gives me a guideline on starting a project which can go ofVf on a tangent to differentiate and in landscape architecture, the condition of the site is most important (erosion in Bells Beach).

FORM GENERATING

ANALYSIS METHOD

DOG MODELING

MODES OF TECHNIQUE

EXPLORING

TESTING

DEVELOPMENT

LIBRARY

LEARNING

MIXED TECHNIQUE

FUTURE APPLICATION

TRANSFORMATION

Method/Technique

Technique for me is how I am achieving my idea. How am I using the precedents to marry with site that portrays an idea? Method and technique is the design phase where I come into the project. Anyone can have the same idea, site and precedents as me but my how I use these makes the project special and different.

Technique is like precedent where it builds up a library and design studios allow me to explore a certain method and making it into my design tool. However, the formal outcome restricts me to spend more time resolving a certain technique instead of exploring variety of forms.

Appendix

Technique is a design tool that should be evident in all scale (Dog Models testing effects) to (Merging all water bodies together). Techniques can even merge different methods together (superposition). In landscape architecture, technique is more of a connecting tool (making a city more resilient), (barrier/transition/destination/blending a site) reaching to people to react the design. In architecture, technique is more about creating a form that people perceive (combining superblock and roman forum) and (creating two contrasting spaces for people to experience).

IDEAS/HUNCH

DESIGN BRIEF

TEST 01

TEST 02

TEST 03

EXPERIMENT 01

EXPERIMENT 02

EXPERIMENT 03

REFINEMENT

REFLECTION

SITE ANALYSIS

TECHNIQUE EXPLORATION

DEVELOPMENT

DESIGN EXERCISE

IDEAS/OUTCOME

DELIVERABLES

Idea

Idea is the beginning (a hunch) and the end (outcome) of a project. I have an idea of what I want to achieve on this site, this could be before, during or towards the end, and it can change for multiple reasons.

This backfires on me as I set up a system and spend the whole time trying to satisfy the system instead of letting the project grow. Landscape tends to have open ending or open idea to a project (social platform) which I struggle with and in architecture I try to let the form grow and transform ideas (forum superblock).

Appendix

The idea is realised by using the aforementioned techniques and negotiating the idea to the site. The rough idea (how to make Altona more resilient) is done by (relocating residents and planting mangrove). Idea sets up the brief of a project and this is same in landscape as well as architecture. My idea on projects tends to be too complicated and complex which I set up at the early stages of a project because I want to make an interesting design.

THEORETICAL

FORM

FUNCTION

• • • • •

Urban metabolism City for the people Architecture of the City Collage City Composing Landscape

Moskva Pool Roman Planning Superblock Federation Square Triple Bridge

Rotterdam River Maas Fresh Kills Park Planting Design NYC Central Park

CONDITION

ATMOSPHERE

CONTRAST

• • • • •

One Central Park Highline Park Barungaroo Reserve City of the Culture Falling Water

Holocaust Memorial Shadow Study Concrete Rundown Monument to the Third Int Aldo Rossi

DDP by Zaha Hadid Eiffel Tower Ducks and Decorated Sheds Bilbao Villa Savoye

ANALYSIS

HISTORY

CASE STUDY

• • • • •

Storm Serge Resilience Design Swarm Planning Anatomy Constructing Landscape

Yarra River St Kilda Promenade Old Shanghai Shrine of Remembrance Cheon Ghe Cheon

Dark Matter and Trojan Horse Hurricane Katrina 2004 Tsunami India Taliesin West Nabulus City

Precedent/Influence

Precedent is an example project which I look at that deals with similar phenomena of the current project. Majority of the time, I look at a certain visual feature (Moskva Pool) or design technique (Fresh-kills Park) that I think is useful for and by re-drawing and diagraming it, I try to make the precedent into mine. This then gets applied to a project allowing me to obtaining such skill which gets added to my design technique library. In landscape architecture, I use variety of precedents ranging from vegetation (Indian Mangrove planting) to social behaviour ( Jan Gehlâ&#x20AC;&#x2122;s city for the people).

I become too obsessed about using the precedent that my ideas are lost as the precedentâ&#x20AC;&#x2122;s concept is ultimately different to what I am trying to do. Lastly the precedents become simple justification thinking if it works there, it works here.

Appendix

Precedents in architecture are more about spatial form (Moskva Pool) and detailing (OMAâ&#x20AC;&#x2122;s Superblock). Therefore I use the architectural precedent forms to achieve landscape architectural ideology. However, precedents became the first thing that I look for in design project and the last thing to use in a project.

TI N

T E S

I T S

EX PL O R AT

WRITING

N O SI ES PR EX

IO N

TESTING

EXPERIENCE WRITING

WRITING

Theory

Architecture or landscape architecture is not only about ability to build a structure or design a park but it needs to have a vision of the designer and be evident in the work. The three types of design theory can be categorised through my studies; Exploration, Expression and Experience. Exploration is where a certain phenomenon is analysed in depth looking at how these issues became aware and what it can deliver. Expression is about the ability to express certain agenda or a story though a design and what makes this expression important that needed to be portrayed. Experience may differ from the designerâ&#x20AC;&#x2122;s expectation but the designer should be able to allow certain experience to be the audience.

The harmony of these three aspects can make a space special instead of designing an alienated form that does nothing but to look different.

Appendix

Each academic writing education allowed me to think in these types in isolation but beyond writing it cannot just be of one type of theory but a mix. Landscape architecture emphasises on exploration and architecture has a strong expression but both take experience heavily.

SITE ANALYSIS

VEGETATION ANALYSIS

LANDSCAPE TYPOLOGY

URBAN SYSTEMS

PRECEDENT CONSTRUCTION URBAN DESIGN

LANDSCAPE LANDSCAPE CONSTRUCTION

ARCHITECTURE CONSTRUCTION

ARCHITECTURE

Construction

The difference between spatial designer and a graphic designer is that we need to be able to realise our designs, even if the project is undoable due to cost or technology. Archigram does this well where none of their ideas were constructed, we can understand how things are craft-able and how it sits on site. The key skill in this is the drawing technique, not just the level of detail on construction drawing but the idea of thinking about this as a built form instead of anonymous objects on paper. Through landscape architectural education I developed the knowledge of thinking about the construction during design phase. Another key tool for design is natural element, trees and landscape typology, these may not guide the form of the structure but can assist understanding the site as well as tools of bringing in suitable nature to the area.

Therefore by combining the two skills I can design a structure that suits into that area yet be able to express design features and most importantly be safe to be in.

Appendix

In architecture, the level of construction is important as unlike landscape the structures we design needs to be able to stand on its own and be safe for people to use.

Any spatial design projects can be laid out in six categories, Site/ Technique/Idea/Precedent/Theory/Construction. By pulling the project apart and placing into categories, we can observe and analyse them without thinking of its chronological design process and examine what kind of design phenomena it is addressing. By doing this throughout my projects, I found a common link towards ‘Contextualism’. • Site relates to condition within and around the boundary • Technique is about how I am applying design theories into this context • Idea is the beginning hunch of what I want the space to become to end outcome of what should become of the space • Precedents are example projects (form & ideology) which I can learn from and apply to site • Theory is about the designer’s intension of the project, what I want to (explore/express/experience) • Construction shows that architecture is about communicating with our audiences (builders to clients) and the ability to describe to draw for them Through my landscape architectural design method I developed the skill on how to view the site and in architectural design method I have explored different techniques of form generation. Again by pulling each project out of these categories and rearranging them through the lens of ‘Contextualism’, and critically analysing it, I found that not all ‘Contextualisms’ were same and ended up with three types of ‘Contextualisms’.

Appendix Conclusion

Chapter I: Environmental Contextualism

Luis Bassagan

Chapter I: Environmental Contextualism

“I don’t divide architecture, landscape and gardening; to me they are one.”

Contents

Preface • Article & Interview • Contextualism • Contextualism Precedents • Non-Contextuialism Precedents • Mix Mapping • Conclusion Apendix • Category definition • Category diagram • Category: Site/Context/Lineage Method/Technique Ideas Precedent/Influence Theory Construction • Conclusion Chapter I: Environmental Contextualism • Definition • Mapping Diagram • Studios: Digesting Melbourne [LA Thesis Project] Put a Ring on it & Blue Mile [TU Delft Exchange] Pocket Garden [TU Delft Exchange] Catch it… Slow it… Clean it… Discharge it… [LA Studio 7] Resilient Altona [LA Studio 6] • Conclusion Chapter II: Historical Contextualism • Definition • Mapping Diagram • Studios: Yarra Floats? All flippers on deck [AR Studio 6] Forum Superblock [AR Studio 5] Delta Force [LA Studio 5] • Conclusion Chapter III: Social Contextualism • Definition • Mapping diagram • Studios Image of Thoughts [LA Studio 8] Interface between Shadow [LA Studio 5] • Conclusion

EnvironmentalContextualism ENVIRONMENTAL CONTEXTUALISM

SITE ANALYSIS The divided Docklands is known as the Ghost Town and is noted as failed urban developent despite that it has wonderful architecture and facilities with beautiful waterfront. The issue is not the town but the Connection SITE LOCATION ‘West End’ infront of Southern Cross Station above the railyard inbetween CBD and Docklands

THEORY

POTENTIAL The large area can be used as urban open space as the city and Docklands are completly built up ending up with lack of open space for people to congregate. Leading to unsafe dark space which can connect and brighten the area by occupying it.

PRECEDENT

Dirk Sijmon’s theory applied to Rotterdam then Developing the theory to include Digestion and Metabolism

URBAN METABOLISM From the study of people’s ﬂow to Dirk Sijmon’s theory of Urban Metabolism to Digesting Melbourne

BARRIER/DESTINATION BLENDING/TRANSITION Isolating designs into the four lenses

TECHNIQUE

Developing the theory to include Digestion and Metabolism

CONSTUCTION Visualisation of what kinds of design elements create Urban Metabolism atmosphere PROBLEM Connection issue between CBD and Docklands. The government investing into wrong solution

The theory in physical condition mixing with each other and how people use it

SUPERPOSITION

Combining the isolated designs into one unexpected spatial platform

IDEA HUNCH

IDEA OUTCOME

ABSTRACT URBAN METABOLISM

Theory of Urban Metbaolism transforming from site analysis tool to physical forms

SITE IDENTITY This location needs to connect CBD and Docklands and a place to stay at the same time. It also needs to be iconic place for the visitors to remember The space needs to be Barrior, Destination, Blending and Transition space as these are the surrounding context’s identity also it needs to be a new space

An urban square platform standing above railyard

SITE AUDIENCE Residents who live in the area spending majority of time from the afternoon till evening Commuters who travel into and out of CBD and Docklands spending majority of time ifrom morning till afternoon International Visitors where they meet the City of Melbourne straight out of the airport

SITE USAGE A park, place of gather, transitioning and a place dividing locations

Architecture and spatial design is about physical transformation of a site. Despite that we draw on paper and in computer, our ultimate goal is transforming the design into built things. Every project has a physical site and the surrounding context and focusing on this condition is called ‘Environmental Contextualism’ and this gives guidelines as well as driving the design forward. Each sites are different, the locations are different as well as what is inside the site boundary is different i.e. Bells Beach in Great Ocean Road to Quarry in Maastricht. Thus, the ability to understand the atmosphere is vital to design through this concept. Through analysing the site before anything can reveal the inventory of design elements and spatial qualities. By doing this, we can even rethink of the design brief. These can be the manipulated to either augment or deny experiences. Whatever we do as spatial designers should form a relationship with this context. We can even use this concept to critique on design action, whether what we are doing is relating to the site or not. The benefit of this concept is making every brick and trees relating to the site. This allows the design to be special that cannot be replicated anywhere else.

Chapter I: Environmental Contextualism

SITE/CONTEXT

Major Project A + B: Digesting Melbourne City is a body that consumes and digest people through different parts of the city. This concept of Urban Metabolism introduced by Dirk Sijmons is applied on top of the rail yard that disconnects Melbourne CBD and Docklands formed as a park. ‘West End Park’ is presented to both the resident and the council as an urban park for the residents as leisure, a passage connecting CBD and Docklands for the commuters and an introduction for visitors to Melbourne. There are four main themes that collide with each other which make this park, Barrier, Transition, Destination and Blending.

PRO / STRENGTH

CON / WEAKNESS

• Designing a structure • Transforming Urban Metabolism into my understanding • Noticing the area of problem • Large project resolved to details • Unexpected form by superposition • Deep analysis of the site surrounding • Understanding what is needed • Strong identities from afar blending in detail

• Trying to do too much in one project • Quantity of precedents not quality • Lack of structural understanding • Project just became a cover • Over simplifying the concept • Made hast decision • Made a system before doing the work •

Site / Context: Urban platform that connects CBD and Docklands, all space within it relates to surrounding site condition Technique / Method: Urban Metabolism, Holocaust Memorial, Triple Bridge, Central Park, Federation Square, Super Position

Precedent / Influence: The West End Park that is a rail yard currently dividing CBD and Docklands apart. Questioning the government’s response to developing the harbour side of Docklands and neglecting DTF’s former analysis. Theory: Expressing the importance of design over the West End. Experiences are combined to create a new experience. Exploring the theory of Urban Metabolism and developing it. Construction: Mapping of site analysis for framework. Diagrammatic drawings to portray experiences. Perspective drawings for audiences to view the design. Key Words Urban Metabolism, Roman town planning, Melbourne CBD, Docklands, Cities for people, flow, movement, sustainable city, Barrier, Transition, Destination, Blending

Chapter I: Environmental Contextualism

Idea: Analysing the site by using Urban Metabolism theory then designing through each lens separately in order to create unexpected design by super-positioning it together.

Using the developed theory to analyse the site

Site Analysis

Theory: Overview

Site Detail Analysis Construction: Document Package

Identifying problem through site analysis

Analysing Theory

New Theory

Digestion

U t

Metabolism

Developing the existing theory of Urban Metabolism

Site Problem

Idea [Abstract]

Theory: Urban Metabolism

Newspaper article

The Age 2012 Can Docklands be put back together again? IT WAS to be that rare opportunity most cities never have - and it was Melbourne’s. It was the chance ‘’many cities can only dream about’’, declared the Docklands strategic planning framework, ‘’to change its shape and character dramatically … creating a new urban area on the city’s western edge’’.

Researching how Docklands transformed into ‘Ghost Town’

Docklands Task Force being neglected by developers

Blend

Precedent • Parc de la Vilette allowing people to be brought into site seamlessly • Follys that has no specific function as focal points for gathering

Design • Drawing the surrounding landscape into site • Transforming tram stop into a folly where people can gather

Barrier

Precedent • Peter Eisenman’s Holocaust Memorial • Using simple block extrusion to guide people across the design • Getting lost within the design to create certain atmosphere Design • Enhancing the disconnection between CBD and Docklands to attract people • Height of the extrusions to create atmosphere of entering another world

Destination Precedent

• Federation Square built upon rail yard • Variety of buildings with different programs to attract audiences • Urban square where people can gather

Design • Building structures to house programs • Access routes brought in from surrounding road system • Using heights to divide platform and pathways

Transition Precedent

• Jože Plečnik’s Triple Bridge in Slovenia • Adding small bridges on existing historical bridge allowed preservation of the old bridge yet improving the function Design • Designing series of bridges with different concepts across the site • Interesting moments are created when the indiviual bridges meet

Blend as Edge Condition 01 Softening the edges on where people can travel through dividing the space without using walls

Barrier as Edge Condition 02 Strenghening the boundary at some points to divert people, controling their movement

Transition as Passage Journey across the site. Connecting CBD and Docklands in large scale

Chapter I: Environmental Contextualism

Destination as Program Places within the urban square where people gather for different activities

Technique: Superposition

Idea [Outcome]

Digesting Melbourne Conclusion The four types of Metabolisms were conclusion of site analysis, which is why this project belongs to the [Environmental Contextualism]. Theory of Urban Metabolism is nothing completely new to the field of landscape architecture but a new method of looking at the broader site. The main point this project is trying to convey is that Docklands and CBD is fine the way it is currently. Governmentâ&#x20AC;&#x2122;s plan of creating something new in Docklands isnâ&#x20AC;&#x2122;t going to help the situation. The real problem lies on physical boundary of the two spaces and needs revamped design.

Chapter I: Environmental Contextualism

The excess amount of research on this project allowed building a platform where it could be critiqued on every scale, from large pathway to the edge conditions. Super-Positioning the isolated design concept made this design unique and unexpected yet still having relationship with the surrounding site context.

Theatro Urbano: Put a Ring on It & The Blue Mile The heart of Rotterdam, river Rotte, is ignored by the residents as automobile transportation became everyday mode of commuting. In order to bring life back into Rotte, it needs a new identity and by carefully connecting Rotte with the singels and boezems, Rotte will be important to people again. Looking at the every water element key in this project and design as a whole is critical. Thus research and analysis of water system resulted in magnet type of space, where the urban, forest and polder sides are pulling this site into their atmosphere. Ultimately Rotte is divided into the three themes and designed in those retrospect.

PRO / STRENGTH

CON / WEAKNESS

• Looking at the bigger picture • Understanding and analysing the surrounding context and history • Changing the view of water • Blending of boarders • Strong idea in centre • Re-structuring water system • Big idea is achieved by designing small modules • Taking an existing project and emphasising landscape • Resilience design • Trying to marry landscape with architecture

• Lack of detail in planning scheme • Modules ending up just being water storage • Lack of information of site due to access • Trying to tackle many problems but not solving one clearly • Focused too much on the outer ring that the central river became nothing • The sub-subject’s details not implemented into studio design • Lack of exploration of wetland form • Setting up a theme and trying to fit the design into that theme

Site / Context: Creating a new identity to site by enhancing the physical boundary yet blend the edge to make the transition subtle Urban Metabolism, SUET booklet

Precedent / Influence: Rotterdam’s Rotte was the heart of Rotterdam but as the technology advanced, the river became a back waterway used only for sewage purpose. Theory: All waterways are connected and we can use the water/green land to save from inundation and a great park at the same time Construction: Mapping of every water/green land and coordinated kit of parts design of overall site, deep design exercise in major water junction

Key Words River, History of Rotterdam, Flow, Movement, WSUD, Connection, Resilience, Sustainability

Chapter I: Environmental Contextualism

Technique / Method: Reaching out the adjacent environment typology and encircling the site bringing in the Idea: outside atmosphere that becomes a new one when merged

Idea [Outcome]

Method/Technique

Site Context

Idea [Hunch]

Theory

Chapter I: Environmental Contextualism

Precedent

Idea [Outcome]

Site Context

Idea [Outcome]

Method/Technique

Idea [Hunch]

Construction

Put a Ring on It Conclusion Put a ring on it is urban design recalibrating the existing city of Rotterdam, reconnecting the city to the river Rotte and forming a new identity by drawing in the adjacent characteristics. The first action was to analyse in a broader view finding out that river Rotte wasnâ&#x20AC;&#x2122;t just a linear waterway that cuts through the town. Instead singels and boezems are connected to this large water system and if co-ordinated properly, we can use every green and blue zones to work together exposing water and help inundation. This newly framed space has no strong identity thus reaching out to the surrounding context was important. The individual design task which was about taking an existing development of transforming a decommissioned prison into student housing and designing the landscape of it, as it was neglected by the designers.

Chapter I: Environmental Contextualism

The fear of water led to casing and hiding of exposed water, while you can make a city safe by exposing the water and let it work with green and built elements.

Villa Urbana: Pocket Garden Creating a system from excavating to depletion is important as it gives a change for that nature to become something more than abandoned and industrial site becomes a beautiful park allowing it to be another attraction point for visitors. The enclosed garden guides the excavation of the limestone to create different views points for the future park. This systematic design technique can bring multi-disciplines to work together from the start and design a space instead of industrial firms devastate the land then landscape architects try to heal it afterwards with what’s left available.

PRO / STRENGTH

CON / WEAKNESS

• Combining industrial revenue and landscape design • Using trees as tool of design instead of just vegetation • Land typology study • Systematic design over time, designing ahead • Kit of parts that adds up to draw the big picture • Using design elements to manipulate vision and perceive • Minimum act to achieve maximum experience • Creating a journey

• Haste decision on the form • Controlling the tree planting too much • Designing landscape as if its structure • Using easy escape concept of hidden to neglect the site condition • Not realising the theme isn’t the best option yet keep on pushing for it • Only plan drawing is telling more than one story

Site / Context: Co-ordinating the landscape design with limestone quarry, changing the system of quarry aftermath. The walls of limestone become design opportunity instead of boundary of site. This drove the design decision of using hide and seek atmosphere Technique / Method: Composing Landscape, Designing with plants, Vaux le Vicomte, Versailes, Fresh Kills Park Idea: The main design driver is optical illusion as Vaux le Vicomte did. The trees were planted in specific order to control enclosure and exposure constantly confusing the audience’s sense of space.

Theory: The only reason for people to visit this place is to get away from busy city life, yet we can only transform curtain area of the quarry into a park. Thus we can use the concept of optical illusion to increase the perception of the land size at key points yet make the trip perceive closer than what it is. Construction: The usage of tree typologies and the composition changes the atmosphere dramatically. Ranging from Quarcus to Acer, and grouping to single tree the micro-macro climate changes as well. Key Words Contrast, Systematic design, Vegetation, Timeline, Point of view, Composition

Chapter I: Environmental Contextualism

Precedent / Influence: The limestone quarry is located in Maastrict, the landscape typology of this site is one of the highest point in Netherlands meaning foundation is strong rock instead of sand with water running under.

Theroy

Construction

Site

Idea [Hunch]

Chapter I: Environmental Contextualism

Precedent

Technique

Idea [Outcome]

Pocket Garden Conclusion By incorporating designers into quarry project allows for better outcome when the excavating is completed, making this project into [Environmental Contexualism]. First half of the project was about designing how the quarry excavation should take place and designing the pathway into the hidden garden, using trees as design component. The trees can be composed to create permeable wall or open land narrating what the audience should be looking at.

Chapter I: Environmental Contextualism

The hidden garden uses optical illusion as the main design driver, leading to the importance of surrounding context design. Every design element within this zone are made specifically to make the users to lose their sense of depth, at some places the garden perceives larger than what it is and smaller at some points.

(A) Great(er) Ocean Road: Catch it… Slow it… Clean it… Discharge it… Bells beach is in danger of erision due to all the manmade hard surfaces. In order to preserve this part of the GOR, environmentally sustainable carpark and decking are designed. Series of small landscape interventions form into one big design and permeable is the key concept. I have revamped the connection from the carpark to the beach by using elevated decking which transforms into seating at different place so the constructed elements are detached from the landscape yet connected by human views. The water collected on the large carpark surface gets treated with cascading wetlands which discharges at controlled speed to help stabilise the land.

PRO / STRENGTH

CON / WEAKNESS

• Real problem of erosion is tackled with landscape design • Trying to make all modules realistic and buildable • Analysing and understanding who comes here for what reasons and trying to design a space mitigating all types of people • Each design elements doing more than one objective • Each modules are related and rely on others to operate and together tell a story

• Too focused on rainwater and erosion that design form became unpleasant space • Idea of wetlands was too strong where such environment won’t work at this space • Too focused on trying to make something on site that stands out instead of using what’s available on site • Lack of landscape ideology where you can use landscape to highlight the importance instead of creating something new for this • Lack of precedents on how these types of spaces would work together • Relying on my knowledge instead of researching

Site / Context: Global warming and human intervention affects Great Ocean Road and preservation of landscape is vital to the environment. At the same time, Bells beach has wonderful surfing waves which gets capitalised and the surrounding landscape needs to mitigate the weather as well as be an inviting place for users. Technique / Method: Constructing landscape, natural fountain design, preserving landscape

Precedent / Influence: Bells Beach Car Park, protection from erosion, preserving the important landscape for people as well as nature Theory: Exploring how water can be captured and moved in control. Expressing the physical water to become design feature instead of piping under top soil. Experiencing the same landscape with new interaction yet not destroying the natural environment. Construction: Wetland design needs to follow specific planting technique, described in constructing landscape. The decked walkway/seat is modular design that transforms as it moves on Key Words Beach, Erosion, Sustainability, Environment, Constructed Wetlands, Preservation, Connection

Chapter I: Environmental Contextualism

Idea: minimal hard surfaces in design to minimise stormwater erosion. Long car parks divided to audiences that can mitigate tourists and surfers alike

Construction

Technique

Idea [Hunch]

Site

Tec

Idea [Outcome]

Chapter I: Environmental Contextualism

Theroy

Catch it... Slow it... Conclusion The preservation of Victorian Coastline is important as global weather change and manmade infrastructures are constantly damaging the natural environment. Bells Beach already has lost much of the vegetation, having butterfly effect resulting to unstable soil and flooding during heavy rainfall. Also this is a vital point for surfers and visitors thus landscape intervention was needed. This project is more about the physical environmental condition rather than looking at the broader urban context. Therefore, trapping and discharging of collected water was the main driver. We do not have to reduce the amount of cars nor the impermeable surfaces if bio-swale and water system is designed properly. The wetland system manages the water meaning we can increase the car parking area.

Chapter I: Environmental Contextualism

Lastly the timber decked pathway serves as main passage to the beach from car park and also act as design feature where it seamlessly transform into seat and back to a passage.

Studio Swell: Resilient Altona Earth’s ecosystem has been manipulated as we developed. Thus extraordinary disasters occur and we have cases where fresh flooding destroys urban foundation and houses washing away due to storm surges. Leaning from Netherlands and other low-country’s tactics, the resilience design technique, we cannot prevent these disasters from occurring but we can control it and use it to help us. In Altona by allowing storm surges to come in but channelling them into soft permeable landscape and divert and reclaim the land from the sea by using mangroves, we secure our homes and gain more land for future developments.

PRO / STRENGTH

CON / WEAKNESS

• • • •

• Design too speculative and making decisions without thinking about the complexity • Thinking about the outcome too much and not analysing how my inputs can affect the site • Lack of details on design • Using the precedents to justify the design

• •

Urban planning analysis Swarm planning Resilience design Idea of letting disasters to occur but controlling it Looking at the whole town and using the whole site as design feature Simple vegetation planting that can lead to helping the disasters and providing future benefits Analysing how beneficial my design is to site Using what’s on the site to design

Site / Context: Storm surges and natural disasters will happen no matter how prepared we are. The giant sea walls may save our houses from inundation but this disconnects us from the beautiful Australian beaches. Thus by analysing what must be saved and what can be used as water storage, we can have these beaches and safeguard our houses from disasters Technique / Method: Hurricane Katrina and storm surge effects, 2004 Tsunami India and mangrove planting, Dutch resilience design allowing disasters to occur instead of resisting it Idea: Swarm planning is used to analyse large section of Altona, identifying what is needed to be saved and what can be flexible. Then using resilience design technique, controlling disasters to occur shifting the residential area around and planting mangroves for future land gain is achieved.

Theory: Daily experience can still be good connecting with the wide beach and still save the town from inundation. Exploring resilience design allowing the disasters to occur yet controlling it to maximise potential. Expressing the importance of future town design and retrofitting to existing towns Construction: Using council software that analyse the effect of new design against storm surges. Model making for small scaled testing of design proposition. Key Words Resilience vs resistance, Storm surge, WSUD, land reclamation, town planning, city analysis

Chapter I: Environmental Contextualism

Precedent / Influence: Altona and the danger of storm surge. Resilience design compared to resistant design where controlling the disasters so people can still access water without having a giant sea wall

Chapter I: Environmental Contextualism

Resilient Altona Conclusion The main goal for this project was to show if being resilient was better than resistance in landscape design making this project part of [Environmental Contextualism]. The study of swarm planning and resilience planning gave a different insight to the need of urban design. Houses and parks are designed separately without looking at the whole town, which is normal but by coordinating basic functions to each development, we can make a safer town that still can enjoy the nature.

Chapter I: Environmental Contextualism

Allowing storm surge to occur but controlling where it can flood and where to protect was the main job of this project. In order to fully protect the town in current state is by building tall sea wall which results in same safety of the town but losing the beautiful Australian beach, but planting mangroves can allow for same access to the seashore but can gain land in the future.

Evidentially many landscape related projects are within the realm of Environmental Contextualism. The physical condition may look like restrictions but if studied in depth, it becomes a design driver. We do not design buildings and landscape like how painters start drawing on empty canvas on easel, architecture and spatial design sits in a larger earthâ&#x20AC;&#x2122;s fabric where everything is connected like quilt art stitched together weaving into each other. Therefore, in order to design through environmental contextualism lens, identifying the potential is crucial. The built form needs to rely on the environment making it not replicateable creating truly unique design. This concept can also be used as anti-environmental contextualism meaning certain design feature can deny the existing condition. This concept is the most common and easily applied technique but the key is to react to the physical site condition. Every design decision needs to be driven from the site and can be explained by the site. Problems and restrictions can be neglected but this should be done in small scale and thought out very carefully, whenever possible use the problems instead of ignoring.

Chapter I Conclusion

Chapter II: Historical Contextualism

Daniel Libeskind

Chapter II: Historical Contextualism

â&#x20AC;&#x153;Architecture is the biggest unwritten document of history.â&#x20AC;?

Contents

Historical Contextualism HISTORICAL CONTEXTUALISM SITE SITE LOCATION

THEORY

AUDIENCE

SITE ANALYSIS

Exploring the signiﬁcant cities and how to apply it to one building. Experiencing the change from orthogonal forum buildings to irregular. Expressing the diﬀerent types of programs within one big building

Analyse and understand how signiﬁcant cities worked and combine and condense it to an education building.

PRECEDENT Citadel of Lille, Old Shanghai, Superblock, Walled City, Roman Planning Hull of container ship, Plus Pool, Moskva Pool, Cascade del Mulino, Pound Bend, history of lower Yarra

Expressing and manipulating the historical signiﬁcance of the site. Exploring how the two contrasting spaces can come together. Experiencing two opposite type of space detached from the land.

IDEA (HUNCH)

SITE USAGE

IDEA (DEVELOPMENT) Designing a ﬂoating pool at Enterprize Park that houses contrasting rooms, enclosed tranquil and open party.

IDEA (OUTCOME)

Combining the diﬀerent Combining the concept ideas and forming a complex of ﬂoating pool with education centre hull of a ship

Plans and perspectives together contrasting the two pool typologies. Section perspective that shows the two contrasting spaces together. Analysis of cities by re-drawing. Transforming abstract forms/Film/Art into architecture. Collage technique to visualise the identity of design. Colours in perspective renderings to highlight the concept.

CONSTRUCTION

An abstract superblock building that has a forum layout which transforms as further it got from the centre

Applying the Roman Planning technique and translating the forum buildings as common buildings and Islamic adaptation as classrooms.

The ﬂoating pool that has two distinct rooms and re-connecting with the river

TECHNIQUE

Designing form out of context that becomes a landmark to create awareness. Putting the contrasting spaces together to augment the atmospheres. The pool resembles a ship that has docked at Yarra River rediscovering the historical importance

SITE IDENTITY

SITE CONDITION

POTENTIALS

The term history was evolved from Greek word historia meaning ‘inquiry, the act of seeking knowledge and narrative’. Nothing is completely new, every place has a story. It could be about what was there before mankind or simply what stood there before this project and architects can use concept as spatial qualities. History can tell us why the site acts in such way and allows us to question is what we are doing the right thing to do on this site. Examples can be from the important event that took place at the Enterprize Wharf on Yarra River to understanding why the saltmarsh area in Altona needs to be returned to nature. We can even transfer history, bringing what we have learn somewhere else into this site, which needs to be retrofitted and manipulated to relate to the site such as taking the knowledge of Roman planning system and transforming it to education environment, creating the hierarchy between classrooms and common buildings. We can use this concept to reveal and highlight certain event, creating awareness. Also we can honour what existed before preserving the history yet continue to design and develop. It is important for architects to acknowledge the history of site for we can completely alter the perception.

Chapter II: Historical Contextualism

SITE HISTORY

Pool School: Yarra Floats? All flippers on deck The lower Yarra River was the source of life of Melbourne but has been abandoned as a place to live as the city grew and river polluted. My design is to re-connect people to this place by designing a floating pool on the river. In order to show the arrival of European settlement, the pool looks like a ship hull with two main compartments, lower tranquil pool and upper party pool. The two contrasting spaces allow connecting with the Yarra in different aspects, under, on and across the river. By using a single route, I guide people linearly amplifying the contrasting space from outside, into void then to open topside.

PRO / STRENGTH

CON / WEAKNESS

• Designing Pool • Analysing different swimming spots • Learning History of Yarra River • Freedom of form • Contrasting space linked by journey • Using architecture to address ecological issue • Setting up the theme then designing space • Design outcome predicted

• Readings lead to biased view towards lap pool • History of river not implementing into design • Project became more of propaganda image • Few exploration of forms • Few exploration of ideas • Abandoning site condition • Creating landmark • Design outcome predicted

Site / Context: Designing a floating pool at Enterprize Park that houses contrasting rooms, enclosed tranquil and open party. Technique / Method: Hull of container ship, Plus Pool, Moskva Pool, Cascade del Mulino, Pound Bend, history of lower Yarra

Precedent / Influence: The Enterprize Park that was where Europe met with Victoria yet became nothing more than understory of train tracks that city now neglects. Theory: Expressing and manipulating the historical significance of the site. Exploring how the two contrasting spaces can come together. Experiencing two opposite type of space detached from the land. Construction: Plans and perspectives together contrasting the two pool typologies. Section perspective that shows the two contrasting spaces together. Key Words Yarra River, Floating pool, Typology of pools natural & manmade, History of swimming

Chapter II: Historical Contextualism

Idea: Designing an alien form out of context that becomes a landmark to create awareness. Putting the contrasting spaces together to augment the atmospheres. The pool resembles a ship that has docked at Yarra River rediscovering the historical importance of Enterprize Park.

Combining ideas of two similar yet differnt concepts

Plus pool from NYC Maersk Containor ship cross section

Precedents

Theory

Combining the technique of both precedents to create large floating pool house Figurative model making

Throwing big pitch at M-Pavilion

Pool as a ship

Circle as gathering

Idea [Hunch] Watching movie in the river as Big Pitch

Vegetation as celebration

Pound bend

Altona beach

St Kilda Sea Bath

Site Analysis: other parts of Yarra River

Pool Study

Studying the history of Yarra River

2018 Docklands

Site History

Pre-European Colonisation

Abnormal pool form: Circle

Taking circle form

Early-European Settlement

Before and After: from vital dock into background of prime real-estate

Top Pool: Party

Bottom Pool: Tranquil

Chapter II: Historical Contextualism

ng sm

Circle pool out in the river like docked ship

Idea [Outcome]

Top pool as Party-Atmosphere

Bottom pool as Tranquil-Atmosphere

Using the design form to re-connect with site history

Final design incorporating all historical contextualism

Technique

Construction

Concept Design

Connection to river at three points

Floating Yarra? Conclusion

The research on Yarra Riverâ&#x20AC;&#x2122;s history formed the backbone of this project. Floating Yarra allows people to reconnect with the river at different locations creating awareness of reconciliation, which is why this project belongs to [Historical Contextualism]. However, Floating Yarra has its own identity being a structure holding two contrasting pools, which makes this different from a place for memorial. Moskva Pool gave a different perspective to what a pool can be. The rejection of rectangular lap pool and creation of leisure pool allowed the pool to become something more than simple pool where people swim in orderly fashion. The water body act as a platform where people can congregate while viewing the river allowing people to stay for longer period of time.

Chapter II: Historical Contextualism

The structure became a memento to this area, reacting to what it was like when ships docked onto Yarra River and the act of swimming is reflection to how clean Yarra River used to be prior to English Colonisation.

Boethius and His Wheel: Forum Superblock The Roman civilisation practiced democracy and republic by using the urban platform called The Forum. The speculative educational campus was designed with this roman tool and on top of this, to make this campus as whole, I’ve used the technique of Superblock. The Picturesque Artifice, meaning that it is a closed form segregated from the rest of the world, by Rowe in Collage City was the main theme driver for this project. This campus is essentially a theme park, where students as citizens and translating public buildings as Urban Artefact, mentioned by Aldo Rossi. In the contrast, classrooms and faculty buildings become private area flexible for transforming into needed function.

PRO / STRENGTH

CON / WEAKNESS

• Learning ways of form generation • Analysing iconic city planning • Converting 2D into 3D • Hierarchy of spaces • Freedom of structure • Final form’s relevance to initial study • Boolean technique • Contrasting ideas shown through all scales from plan to views • Understanding a technique and applying on design • Form of the design changed drastically from mid semester

• No site • Abstract idea • Tried to mix too many different types of ideas • Lack of program guide • Horizontal idea don’t follow vertical • Trying to make abstract form into architecture • Starting a form without broader picture • Fixed on the idea of contrast too much that not letting mix happen

Site / Context: Analyse and understand how significant cities worked and combine and condense it to an education building. Technique / Method: Citadel of Lille, Old Shanghai, Superblock, Walled City, Roman Planning Idea: Applying the Roman Planning technique and translating the forum buildings as common buildings and Islamic adaptation as classrooms. The entire site forms as one building by designing it through Superblock system.

Theory: Exploring the significant cities and how to apply it to one building. Experiencing the change from orthogonal forum buildings to irregular Islamic adaptation. Expressing the different types of programs within one big building Construction: Analysis of cities by re-drawing. Transforming abstract forms/Film/Art into architecture. Collage technique to visualise the identity of design. Colours in perspective renderings to highlight the concept. Key Words Education campus, Roman Forum, History of cities, transforming 2D city planning into 3D building, Public vs Private, Superblock, Urban Artefact, Picturesque Artifice

Chapter II: Historical Contextualism

Precedent / Influence: Non-site project that applies the Picturesque Artifice from Collage city and Urban Artefact from Architecture of the City.

Technique

Idea [Development]

Construction

Idea [Hunch] Site History

Technique

Construction Precedents

Construction

Chapter II: Historical Contextualism

Idea [Outcome]

Precedents

Theory

Precedents

Forum Superblock Conclusion The nature of this project being a non-site allowed me to create its own context. Bringing in the Roman and Islamic urban planning was the key point in this design, making this project belonging to [Historical Contextualism]. The shape and forms of the education campus may be far from the historical counterpart but the embedded meaning serves as same. The role of enclosure from walled cities was implemented, leading to separated zone for the inhabitants, the students and teachers.

Chapter II: Historical Contextualism

The crafted history was the main design driver, meaning that every design action had to relate to this historical element of forum buildings. Each forum buildings acted as nodes of orthogonal and all space in between as irregularity. Transformation between each nodes were evident like how Islamic adaptation of Roman town did.

Amalgam: Delta Force Altona’s costal park is an abandoned salt marchland where it was used by the military during WW2 but was rarely used and now only a concrete bike path remains. If the site is not suitable for people and buildings, I have designed this area where landscape can flourish by applying how deltas work. River deltas are naturally very nutritious area where silts allow vegetation to grow and salty fresh water allow bio-diversity to thrive. Thus studying different deltas and applying it on site is the key technique.

PRO / STRENGTH

CON / WEAKNESS

• Analysing precedents and applying on site • Timeframe in design and how design is not finished as designers complete their job • Simple change in site to create something new • Combining more than one precedent to create a new system

• Using the wrong part of the precedents • Lack of site analysis and using what is available on site • Using the wrong technique to justify a natural pattern • Design became a land artist instead of landscape architect

Site / Context: The abandoned marshland in Altona is transformed into series of river deltas that help bio-diversity to trive Technique / Method: Concrete rundown by Bob Fiori, 9 different deltas across the world, Aranda Lache’s Cracking Idea: Analysing and understanding river deltas and applying on Altona

Theory: Experiencing the landscape from distance, preserving the landscape yet allow for visual connection. Expressing the land formation of river deltas into Altona and creating bio diverse landscape typology. Exploring how to design for eco system instead of for people, changing the audience to nature. Construction: Model testing of sand and water to observe pattern. Appling the natural delta formation to site condition by trench technique. Key Words Delta, Sustainability, Parkland, WSUD, Resilience

Chapter II: Historical Contextualism

Precedent / Influence: Altona, amalgam where two kinds of elements mixing together in this case water and land that form deltas

Precedent

Theory

Site

Precedent

Chapter II: Historical Contextualism

Idea [Outcome]

Technique

Precedent

Construction

Delta Force Conclusion

This part of the saltmarsh in Altona was unsuitable for human and needed to act as green buffer zone between the urban developments. The act of giving this space back to nature makes this project to be part of [Historical Contextualism]. River deltas give bio-diversity and were implemented into Altona. This technique was not about structural aspect but more of political show. History shows that no matter what we do to site, nature will take it and transform it to its way.

Chapter II: Historical Contextualism

The technique of ‘Cracking’ may have guided how to dig this place up but the decisions made didn’t refer back to the history of site condition, which was what lacked in this project with hindsight.

History is not something we have control over, nothing is new and every place has a history. Most work within the realm of historical contextualism uses this historical form or event as a design driver. As mentioned by Aldo Rossi, if a building stands for many years, there is a reason to it. It can range from historical important building to small park people are attracted to. No matter the reason, spatial design within this region needs to respond to the history. Taking a form of a ship into a pool design is an example of historical contextualism, because you are reacting to the significant place where western culture met with Victoria. Like so, the history can be present on the structure itself. In other case, creating a history within a project is also part of this contextualism. Setting up the history but creating a connection to the outside is crucial. There needs to be a reason why we are entering a constructed history, it can be where historical identity of public buildings relating it to library. Lastly by observing the history, we can see why some space simply doesnâ&#x20AC;&#x2122;t work for that program. In this case it is important to learn why it fails and if canâ&#x20AC;&#x2122;t be fixed, maybe changing the program is better outcome. But this can be done only after thorough analysis.

Chapter II Conclusion

Chapter III: Social Contextualism

Lebbeus Woods

Chapter III: Social Contextualism

â&#x20AC;&#x153;Architecture is a political act, by nature. It has to do with the relationships between people and how they decide to change their conditions of living.â&#x20AC;?

Contents

Social Contextualism SOCIAL CONTEXTUALISM SITE/CONTEXT

THEORY/PRECEDENT

SITE LOCATION Moonee Ponds Creek furthermore the people who are connected to this water stream

PROBLEM Rubbish collection but developing into decision making issue

SITE ANALYSIS Creek shared by 4 councils and no-one wants responsibility

SITE POTENTIAL Creek becoming the platform where people can come together

THEORETICAL INFLUENCE Dan Hill’s Dark Matter and Trojan horse

ROLE OF DESIGNER Identifying the real problem and helping the people

FISHING ROD INSTEAD OF FISH

SCALE METHOD TRUE PROBLEM From small scale operation Residents left out in to large scale open day event decision making process and government dictating

Let the people know what the problem is and assist

SITE CONDITION Neglected commuting zone. Many people know the problem but dont know how to handle it

CONSTRUCTION

TECHNIQUE

Poster design to create awareness

Using small scale experiments and social media to create awareness of communication that builds up to the open day event made to design and make a rubbish trap together with government members.

Site analysis and Diagraming to identifying the problem Documenting and publicating small scaled events so people can use them Preparing the openday by planning the construction of trap platform Blackboard to gather people’s thoughts Setting up social media as a tool for gathering people as well as awareness

Constant update on social media and activating the platform to show the residents as well as government bodies that communication needs to happen Listening to people’s thoughts before acting on it. Using designer’s skill to assist people’s need instead of acting as if we know everything Creating a clear transparent platform that allows diﬀerent people from diﬀerent background to communicate and make future decisions

IDEA (HUNCH)

IDEA (OUTCOME)

Exploring diﬀerent methods to create awareness and techniques on bringing people together. Expressing the need of this platform and importance of communicating with people from all status. Experiencing the ability to work together and planting the seed that better decision can be made together.

Creating a revamped decision making open platform, bringing communities ranging from residents to stakeholders together.

Plans, sections and rendering are the essential tools for architects and spatial designers. However, these are the outcome of more complex non-tangible elements of decision making. We don’t design buildings to suit for only the stakeholders, only private residential housing could be the exception. The spaces that are designed needs to belong to that area and only the people who have a relationship can tell especially public spaces. However, we live in time where people who pay are the only ones who have voice. Designers can become the tool that brings people together. With our design skills, we can create an open platform that is transparent allowing revamped decision making to take place. Social contextualism is also about the non-tangible design elements and the ability to use these by-products as the main driver of a project. For example, the element of shadow can be designed by placing objects in composition. A concrete block is more than a structure of a building. Every material has different atmosphere and as designers we can use these to our advantage. Architecture is ultimately about buildings yet it can be much more than just a building if these non-tangible design elements take part in design process.

Chapter III: Social Contextualism

Getting the attention of mass media and leaving the platform for people to use

Up-Stream: Image of Thoughts Landscape Architecture’s tool is drawing such as plan and section. However, these are outcomes of more complex non-tangible elements of decision making. The questions about how a park look and act like should not only be consulted with the funding client but a mutual agreement with the general public. As a landscape architect, I have designed a platform to bring everyone related to the MPC together and the issue of rubbish collection from the creek became the main driver. In order for a great communal space to be designed in the future, the people and government need to become one party and this mere crafting class can be the first step.

PRO / STRENGTH

CON / WEAKNESS

• Designing a social platform • Understanding a broader problem • Listening to the community • Successful engagement with the community • Bringing people together with small events which leads into big events • Active feedback from the community • Designing beyond designers role • Using designer’s tool to aid community • Reaching out to stakeholders

• Platform abandoned as semester finished • Political difficulty • Always confused about what to design • Words used in studio means more than what it is • Big buzz words to draw attention which are not delivered • Trying to control the outcomes by setting up controlled events • Having a utopian mindset that public would behave as we expect

Site / Context: Creating a revamped decision making open platform, bringing communities ranging from residents to stakeholders together. Technique / Method: Dark Matter and Trojan Horse by Dan Hill Idea: Using small scale experiments and social media to create awareness of communication that builds up to the open day event made to design and make a rubbish trap together with government members.

Theory: Exploring different methods to create awareness and techniques on bringing people together. Expressing the need of this platform and importance of communicating with people from all status. Experiencing the ability to work together and planting the seed that better decision can be made together. Construction: Creating the experiments and designing the open day through architectural methods. Using the social media as design tool. Presentation skills to voice the changes we can make.

Key Words Non-tangible design, Contrast, Social Media, Voice of the people, Open Platform, Creek, Government, Decision making

Chapter III: Social Contextualism

Precedent / Influence: Moonee Ponds Creek’s rubbish collecting problem and using it as the driver to create the platform

Idea [Overview]

Timeline shows the idea from small rubbish collection into mass media involvement of the citizens to continue even after the project.

Precedent

Dan Hillâ&#x20AC;&#x2122;s trojan horse and dark matter emphasise on transparency

Idea [Identity]

The role of designer is to keep balance between users and stakeholers by using design technique

Site Analysis

Analysis of rubbish on Moonee Ponds Creek and identifying how it is currently being handled

Idea [Outcome]

To break the barrier between users and stakeholders, allowing future developing decisions to benefit all sides

Social Analysis

Realising the problem lies in decision negligence behind physical rubbish

The Cup Song

Peek & Seek Box

A day @ the Creek

Facebook: Organize

Twitter: Live Feed

Website: Broadcast

Facebook: Organize

Twitter: Live Feed

Website: Broadcast

Facebook: Organize

Twitter: Live Feed

Website: Broadcast

Chapter III: Social Contextualism

Socail Media as Design Tool

Technique / Construction

Taking from the Theory of coaching and equiping from Dan Hill, three experiments were designed.

The aim is to firstly create awareness by using fun and interactive mechanisms taking feedback constantly.

Then when users are activly involved in the project, bring the council and citizens together to create a bond.

Social media is used as tool to communicate to everyone with transparancy and different tools are used for different purpose

Idea [Hunch]

Design without using conventional technique

Theory

The need to teach users to drive the futre of MPC not the designers

Image of Thoughts Conclusion

The fact that conventional architectural drawing is not used makes this project part of [Social Contextualism]. The brief of this project was simply about solving the rubbish collection issue at Moonee Ponds Creek. However, the more research and analysis we did on site condition, the more communication neglect was found. Thus the project transformed into tackling decision making process. The scaled experiments were crucial as more damage would be made with the social platform if citizens werenâ&#x20AC;&#x2122;t trained. In order to prepare the users, we had to study the social reaction to certain moves and implant awareness into each experiment. The open day with Melbourne Water was just a preview of what this social platform can do, creating a relationship between local council and the users.

Chapter III: Social Contextualism

Designers cannot stay with the project forever, being there whenever a new problem arises. Thus like Prometheus giving fire to people, this project was given to the locals for their use for making a revamped decision in their neighbourhood for them to use.

In the Shadow: Interface between Shadow The small corner park in Collingwood has the potential of becoming intricate part of the residents instead of current abandoned lot. By observing the main users and uses of this area, I have designed a seamless park that everyone can use without creating a landmark. The composition of tree location and subtle manipulation of the topography can be a strong design tool. The curved path exposes the hard edge at some points becoming seats for people to have lunch and the planted trees allow sunlight to come through during morning and provide shade during afternoon for relaxation. The key concept is implementing most by doing least.

PRO / STRENGTH

CON / WEAKNESS

• Using landscape features to create non-tangible effects that people experience • Deep analysis of site documenting shadow • Identifying the site and design the space accordingly • Designing small forms that creates big effects • Testing out different dog models and analysing them • Trying to keep the site seamless so people don’t get distracted by it • Simple space for simple usage

• Trying to show the design form too much instead of telling what it does • Fixated on site condition restricting design outcome • Lack of exploration of what different methods can do • Focused too much on doing something instead of exploring techniques • Lack of details on the design • Design hunch restricted what can be done

Site / Context: Designing a corner park as if it was always there but there are many types of experience people can perceive by mixing shadows and heights. Technique / Method: Folding of tectonic plates, shadows created from tree crowns

Precedent / Influence: Small corner park in Collingwood, invisible design, minimal change to maximise effect Theory: Experiencing the seamless park’s dramatic change of atmosphere. Exploring how physical objects are more than simple structures. Expressing the by-products and its effect on atmosphere. Construction: Dissecting the park in series of sections to view the subtle changes in one sight. Key Words Non-tangible design, Contrast, Social Media, Voice of the people, Open Platform, Creek, Government, Decision making

Chapter III: Social Contextualism

Idea: Analysing the site’s shadow. Testing out what kinds of shadows are made by using different types of materials. Changing the site as little as possible to create seamless park but new type of experience is created.

Technique

Idea [Hunch]

Site

Chapter III: Social Contextualism

Construction

Idea [Outcome]

Precedent

Theroy

Idea [Outcome]

In the Shadow Conclusion The final design was made with both of the shadow casting elements in mind, by creating a berm across the site diagonally. This design brings the concept of interface together where interface is a boundary between two things and my site can be accessed from all corners, which is a development from the initial design. Instead of separating the site and the non-site, I have created a subtle change on the edge of the site which brings the park together with the path outside of the site area.

Chapter III: Social Contextualism

The topography was inspired from the â&#x20AC;&#x2DC;Foldâ&#x20AC;&#x2122; system which was discovered during development stage. Two separate earthquakes happened on the top left side of the site and the bottom right side of the site, thus creating such shaped topography.

Before laying the first brick, spatial designers need to know the identity of a project, whether if itâ&#x20AC;&#x2122;s just about building a warehouse or designing a complex shopping centre. The difference between a builder and an architect is intangible elements. The bigger and more complex a project is, architects need to understand the essence of problem and potentials. Instead of building something for the sake of the program, by understanding the social context, we can design what the people really need. A houseâ&#x20AC;&#x2122;s user is a family thus making the right decision maybe simple. However, in an urban environment where more than one entity uses the space, we need to listen and analyse what people need and are willing to use. Designers are the professionals who help build for the users and we need to be the clear transparent middleman between users and stakeholders acting as a tool. Another important aspect is spatial designers need to use these intangible social structure or intangible design elements as a design driver. Complex and sophistication can be achieved by using the simplest design object. The key is to observe and learn every design tool we have at disposal in order to achieve more than what we promised.

Chapter III Conclusion

It was six men of Indostan, to learning much inclined, who went to see the elephant (Though all of them were blind), that each by observation, might satisfy his mind. The first approached the elephant, and, happening to fall, against his broad and sturdy side, at once began to bawl: ‘God bless me! but the elephant, is nothing but a wall!’ The second feeling of the tusk, cried: ‘Ho! what have we here, so very round and smooth and sharp? To me tis mighty clear, this wonder of an elephant, is very like a spear!’ The third approached the animal, and, happening to take, the squirming trunk within his hands, ‘I see,’ quoth he, the elephant is very like a snake!’ The fourth reached out his eager hand, and felt about the knee: ‘What most this wondrous beast is like, is mighty plain,’ quoth he; ‘Tis clear enough the elephant is very like a tree.’ The fifth, who chanced to touch the ear, Said; ‘E’en the blindest man can tell what this resembles most; Deny the fact who can, This marvel of an elephant, is very like a fan!’ The sixth no sooner had begun, about the beast to grope, than, seizing on the swinging tail, that fell within his scope, ‘I see,’ quothe he, ‘the elephant is very like a rope!’ And so these men of Indostan, disputed loud and long, each in his own opinion, exceeding stiff and strong, Though each was partly in the right, and all were in the wrong! So, oft in theologic wars, the disputants, I ween, tread on in utter ignorance, of what each other mean, and prate about the elephant, not one of them has seen! Hokusai’s The Blind Men and The Elephant & John Godfrey Saxe’s Poem