Final Reflective Journal, Studio 13 - Embody by Dylan Markovski

THE POSSIBILITY of

CONFLUENCE

TUDIO EMBOD STUDIO13: 13: EMBODY DYLAN MARKOVSKI. 912887.

“_CONTENTS, A JOURNAL”. SOUNDTRACK: (B)

“Heart Storm”

xxxxx

serpentwithfeet.

CONTENTS. _Prologue p03. _Part_01 p04. _Part_02 p14. _Part_03 p30. _Part_04 p48. _Part_05 p68. _Part_06 p76. _Part_07 p84. _Part_08 p100. _Part_09 p112. _Part_10 p124. _Part_11 p134. _Part_12 p150.

“_PROLOGUE, A JOURNAL”.

A journal that has been granted permission for your eyes to gaze over. Your senses to experience an un-worldly piece of architectural appreciation, development and critique. Within this Journal, you will encounter what it is to embody architecture and design. However, before any concrete design, you will delve into the explorations and knowledge development of the Embodiment & Architetcural relationship that is encountered by the author of this Journal. It is realised throughout this Journal that the connections between all The Senses is the primary initiator into creating a successful Architectural outcome. Through various investigations it is learned that Tactile Spaces are quintessential to our designs (subjective to the author’s thoughts). To outline this importance of Tactility in the understanding of spaces, Juhani Pallasmaa in “The Eyes of the Skin: Architecture and the Senses”, argues “the very essence of the lived experience is moulded by hapticity and peripheral unfocused vision...All these senses, including vision, are extensions of the tactile sense”. Hence, a statement for this journal - Sensory architecture and design should not only provide ocular pleasure but also stimulate human senses from diverse aspects, such as sound, smell and touch. - Activation It is stressed in this particular Journal that sensorality within the designs created by the author is ultimately created for the stimulation of the senses, which is manifested through bodily responses. Bodily participation is crucial to architecture, activating ‘sense organs’ that obtain ‘sense data’. Deciphering Bernard Tschumi, for architecture to be ‘complete’, it is stressed to have the ideal of events in architecture that requires human engagment. Hence, Emodiment.....

- D.M

“_WEEK 01, A JOURNAL”.

Left handed sketching, entailing a rather stressful yet scarily sort of “fun” with nervous laughter scattered around the room.....

_The room was fulfilled with silent judgement._

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IMAGES. (1)

“Left-hand Sketches - Atmospheres”

02/03/21

Markovski D, Richardson J, Biffanti C.

(2)

“Improvements Mind Map”

05/03/21

Markovski D.

No one banded together, a couple peers had their “i know you, but don’t know you” moments and seemed to have struck a small connection.

“_WEEK 01, A JOURNAL”.

A media skilling session that uplifted the atmosphere & mood within the studio. It seemed to have bonded us closer together; sharing materials, tools and laughter. I felt more comfortable to express my design opinions to others and share my modality ideas. I tend to thrive off of this human interaction when im more comfortable. It helps to digest my ideas and concepts. Thus, always evolving my project and concepts.

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IMAGES. (3)

“Media Skilling 01”

05/03/21

Markovski D.

(4)

“Media Skilling 02”

05/03/21

Markovski D.

This was a moment to cherish. A key moment that saw the studio gaining potential in comradery.

“_WEEK 01, A JOURNAL”.

“time stamp”.

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IMAGES. (5)

“Inspired Sketch - Curvilinear Design” 05/03/21

Markovski D.

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“Inspired Sketch - Moulded Design”

Markovski D.

05/03/21

inspirational inspirational sket 06

“_WEEK 01, A JOURNAL”.

Sketch Dump; an inspired set of sketches that depict various conceptual thoughts. I begin to create a library of concepts. Testing. Testing what could potentially thrive in this Studio form. Can two or more, or all of these be combined?

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IMAGES. (7)

“Inspired Sketch - Intrusion”

05/03/21

Markovski D.

(8)

“Inspired Sketch - Ingrown”

05/03/21

Markovski D.

ltching. sketching. 07

“_WEEK 01, A JOURNAL”.

reflections, reflectio ctions, reflections.

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IMAGES. (9)

“1971 NYC Fabrege Interior Stariwell Office”

07/03/21

N/A.

“_REFLECTION 01, A JOURNAL”.

ons.

Left-hand sketching, what a surprise it brings to everyone on the first day of Studio. One might say “a classic Hella teaching technique” to motorise the mind and get it into motion for an intense semester that is to come. To be quite honest, upon entering the studio on the first day, i did highly anticipate such a task and was steadily readying my weakling left hand for another round of “fine” sketching. Surprisingly, i actually found that my left hand sketching had somewhat improved in comparison to the last time i encountered this task. Perhaps it is a sort of muscle memory that was remembered by my left hand. Perhaps upon hearing “you will be sketching only with your non-dominant hand”, it was then my left hand had woken up and the past event had triggered this muscle memory into producing a rather surprising yet satisfying outcome. The idea of touch comes to mind

here, especially after some holiday reading of Juhani Pallasmaa’s “The Eyes of the Skin: Architecture and the Senses. From this, after diving deeper, it prompted me to question.... Why do we do this task? And how important is “touch” in all aspects of life? It became clear from this point, to critique rather, that touch is an essential element of “memory” - how can the relationship between touch and architecture become so crucial into evoking muscle memory? Mentioned in the prologue of this Journal “Sensory architecture and design should not only provide ocular pleasure but also stimulate human senses from diverse aspects, such as sound, smell and touch”. This statement is crucial into what will delved into as this Journal progresses. Moreover, during this initial design task, what i found consistent with doing the task now in 2021 and the first time in 2019, is that i need some form of human interaction to prompt a “design flow” - a form of sound: whether laughing and/or talking; Or something more physcial: eye contact or a shared smirk. I tend to thrive off of this human interaction - silence is a horror-like scenario for myself to be in. Having had some “practice” in the past of this design task, my memory was re-jogged to ensure i elicit a slick, quick and swift motion to my left handed sketches - “to let go, relax and go with the flow of my hand”..... [continued below]

“_WEEK 01, A JOURNAL”.

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IMAGES. (10)

“Piazza d’Italia in New Orleans”

07/03/21

Charles Moore.

reflections, re reflections, reflecti 10

“_REFLECTION 01, A JOURNAL”.

In doing so, what i gauged from freely letting my non-dominant hand move with a fineliner, was that it produced a rather simplistic yet complex abstract piece of work, that not only myself, but others around me could understand. Maybe, due to this simple complexity of singular continuous lines, it allowed others to imagine and picture something, not exact, but along the lines of what my brain was producing and thinking of. Upon observation in the studio, i found many fellow students stressing over such a simple task - perhaps being “challenged” with something unusual and peculiar to them, had frightened them and this stress led them to either not finishing all five sketches or produce heavily procastinated and rushed works. From this observation, it made me come to the conclusion that this task also helps for students to somewhat relax, go with the flow and let the body just do its thing - EMBRACE THE IDEA OF NO CONTROL. An important point that was missed earlier, was that of a “time limit”. Having this time limit forced my brain to think that little bit faster, but also trying to imagine a piece of work that my left hand was able to do. There was always that lingering thought in the back of my mind “i have this idea, but my left hand cannot do it”. What i found myself doing was thinking and conjuring up ideas and solutions in my brain into how my left hand can produce such images and it wasn’t until the last minute or so where all 5 sketches were produced. Reflecting on this, i think the “thinking time” that i had was crucial into producing sketches that were somewhat legible and hitting the brief of “atmospheres”. However, in contrast, maybe if i did think less and do more, the outcomes could have been completely different (& possibly more evocative). Dated, 07/03/2021 | 19:30 AET.

eflections, reflection ions, reflections. 11

“_WEEK 01, A JOURNAL”.

“a tease. a taste of what is to come”.

“a

zing “earth modulations”

utilizing “earth

“a

zing “earth modulations”

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IMAGES. (11)

“Contoured Playground, 1941”

07/03/21

Isamu Noguchi.

“_WEEK 01, A JOURNAL”.

compact landscape for freeform play”

“a compact landscape for freeform modulations”

compact landscape for freeform play”

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IMAGES. (12)

“Contoured Playground, 1941”

07/03/21

Isamu Noguchi.

SOUNDTRACK: (B)

“Sex is Good”

09/03/21

Donna Missal.

PART 2 / Analog Media Skilling 2.0, Big Ideas initial development, Sketch Models & Photography.

“_WEEK 02, A JOURNAL”.

“coffee experience”

(13)

“oceanic swim” (14)

IMAGES. (13)

“Media Skilling | Oil Paint”

09/03/21

Markovski D.

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“Media Skilling | Oil Paint”

09/03/21

Markovski D.

“_WEEK 02, A JOURNAL”. Expressionistic. Week 02, a week where the studio began to ramp up. There felt to be a slight sense of “competition” within the studio - not the healthy kind. When things seemed to be going up in comradery, this task brought a slight turn when peers began to treat tasks as a way to assert their dominance within the studio. The affects on my production were slight, i tend to stick to my guns and own personal beliefs in design. But it allowed for a ‘fire in my belly’ to manifest. Creating this bodily extension spiritually and mentally to ensure i assert this power within myself - Believing in Myself. I was fearful, though excited for this task. For myself personally, i treated this as a way to express who i am and my beliefs - embrace that ideal of “no control” and let my hand just flow with expressing the modality at hand.

...Perhaps this is why skateboarding and fashion appeal to me. The notion of “flow”, “freedom” and “fluidity” are core components of these modalities.

“salsa”

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IMAGES. Fo

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“Media Skilling | Watercolour Paint” 09/03/21

so fd Ho an w ce. da .. nce can w ? ec ap Lis tur et mo tenin he d g ess me alit an enc an ies d u t to eo enc nd fv be ap erst Th ari enc sul an is i ou a d om dea ted ing s fo p ass wa th Th of rm e t e so e s h db eb cru rhy ele stro f th y t g o c n h a d i s ea g m a A c nt uch l yb mo rt o i fl o n f e an to of in t a p ntr uid vem h ga em exp e so ow ast mo en r b u erf to t v v e s o n s e em die d o s c sse ul d m ing w s th sen ome ents f sal lo e sa tog f se o o vem hat se Po f c e of i we t em ther Balle ombi ent r. bod pe n t. . im rha A co ed wi ent ps, ntr th . cre ast the ati . ng

Markovski D.

“_WEEK 02, A JOURNAL”. Watercolour pencils (16) are not exactly my favourite media to use, with my lacking skills it seemed to provide a rather sketchy, rough and textured outcome, in comparison to watercolour paints (15 & 17) which produces a softness, more fluid aesthetic.

“ballet”

(16)

The watercolour paint, thus, fits in within my notions of fluid and flowy movements. Perhaps an interesting media to be used to capture abstracted skating movements.

“ballet” (17)

IMAGES. (16)

“Media Skilling | Watercolour Pencil & Charcoal” 09/03/21

Markovski D.

(17)

“Media Skilling | Watercolour Paint & Charcoal” 09/03/21

Markovski D.

“_WEEK 02, A JOURNAL”.

reflections, reflectio ctions, reflections. IMAGES.

(18)

“Media Skilling | White Pastel & White Posca”

09/03/21

Markovski D.

(19)

“Girl smoking on skateboard”

09/03/21

N/A.

“bathing experience”

“essence of smoke, mist & steam?”

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“_REFLECTION 02a, A JOURNAL”.

ons.

For me, i knew coming into this particular studio would be a shock to the system for myself, as i wasn’t a proactive hand-drawer to speak. However, i really wanted to challenege myself and enhance my skills in the area. Whenever i have done hand drawings in the past, usually it consisted of monochrome sketches - no further media was explored. Compared to the art of hand drawing, i did prefer digitalised 3D models as i classified myself as a ‘selfish on the go designer’ - in the sense all the magic happened when i rapdily designed in 3D with an idea that exploded once i started. I also caught myself typically 3D modelling in a rather monochrome palette so i can gauge and understand the shadowing and light effects with my composition of spaces and geometry. Quite to my surprise and delight, the black paper experiment with white pastel pencil was extremely ‘moody’ and atmospheric in the sense that it was an easy tool to strongly communicate and embody various lighting techniques, and this sense of mystery (with the ‘mist’ effect of the pastel) in a dark place. Essentially black paper allows for greater effects of illumination. It was fascinating as well the use of colours in these various media experiments. When brainstorming, the first thing that came to mind was colour. The colour associations each modality represented/symbolised. For example, whenever i thought of ballet, i straight away picture cooler tones such as blues and purples. In contrast to salsa where i envision bright and vibrant pops of red, orange and yellow to communicate that punchy movement. Hence, the importance of colour - Why are colours so instrumental into the communication of architecture and atmospheres? [Let’s touch on the importance of colours within the use of Post-modernist architecture - namely Charles Moore & Aldo Rossi amongst many. Within the Piazza d’Italia in New Orleans, designed by Moore - he pursues a rather pictorial approach into the composition of his Urban Plaza. The way he composes his structures is prevolent and key through using bright colours that contain trimmed neons & metallics with various ornamentations. Through this dramatic use of colour, Moore wanted to initiate joy and happiness - he wanted his buildings to inspire and connect to everyday people. The Urban Plaza atmosphere contains excitement and symbolises a ‘joy for life, for all to enjoy’ mentality. Whilst Rossi elected to create structures and buildings that resonated with memory - in which colour becomes a crucial element for this to be successful. Which prompts my own thinking into how colour is crucial for an architectural form to be successful in this manner. Down the track, my colour studies will be an essential component in my project.]

“_WEEK 02, A JOURNAL”.

reflec reflections

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IMAGES. (20)

“Skatepark Collage”

09/03/21

N/A.

“_REFLECTION 02a, A JOURNAL”.

ctions, reflections, r s, reflections, reflec Taking on a more collage style with layering transparent paper with printed images on them to enhance the depth in her modality abstractions. From this, it actually struck a bit of a chord within me and switched my mentality back to what i was used to in undergrad. The year off from university was prevolent, with a more matured and careful approach in this task. However, upon the glowing inspiration of the depth Jess’ work encapsulated - my unique, bizarre and weird architectural mind started to come back, flooding with ideas. Perhaps, this is the idea of ‘growth’ - combining this maturity with a strong sense of creativity, A Balance. An exciting time ahead for me in my own personal development en route to a designer and architect. From doing this particular exercise, i found myself slowly falling in love with the art of analog drawing. I felt as if the balance i had was quite substantial - in the sense of combining this newly found maturity with my design flair. Though always room to improve, amongst being inspired by a couple of peers. Atmospherically, the strongest piece of work would be image (18), that of a bathing experience - with the mysterious affects of mist through the subtle use of white pastels enhanced with the layering of dotted posca. I particularly found that particular piece to showcase an illuminance and beauty which most (not all) peers struggled to capture. In turn, i found my portrayals of dance in salsa and ballet to be somewhat hitting the ideal of embodiment & capturing the essence of movement each possesses. I just felt as if it was lacking some depth to it. In future, i may invest in the art of overlays to capture a full bodied movement of dance, blurring the images together. I strongly feel that this task was crucial into the development of getting to think of our chosen modality to see how we can abstractly represent it. How do we feel when we are in a particular moment in time and space - how do we think about our body within our modality? It provokes this thought of Architecture as a sort of choreography. This portrayal, to me, as a fluid movement. The ability to glide through a space. Architecture as an extension of our body, our modality being enhanced by this architectural form. Dated, 10/03/2021 | 22:21 AET. (This collage..... i get a sense of marbling - perhaps an interesting material to portray the essence of fluidity)

“_WEEK 02, A JOURNAL”.

33 big big ideas. ideas. (22)

“The Supression of Vision - The Fusion of Vision and Tactility”. - (Darkness). - “In heightened emotional states and deep thought, vision is usually supressed”. The creation of environments/architecture that responds critically to an individuals state of mind. - “Brightly lit spaces” usually equals mental stress. - Limiting Vision to capitalise and advance the use of “Touch”. - We know what something feels like by looking at it - creating the idea of vision and tactile senses being fused in lived experiences. - What will happen when light is limited and we are unconciously forced to use our less dominant senses.

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IMAGES. (21)

“Marbling Collection”

10/03/21

N/A.

(22)

“Supression of Vision”

10/03/21

Pallasmaa

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“Spaces of Scent”

10/03/21

Diller Scofidio & Renfro

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“Materiality & Time”

10/03/21

N/A

“_WEEK 02, A JOURNAL”.

POST THOUGHT - 17/03/2021. [Initially i was fascinated with these concepts. However, upon further investigation. There are more relevant and crucial standpoints to convey my architecture through my chosen modality.] But i guess that’s design. We keep evolving.

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“Spaces of Scent & Memory”. - (Imagination). - “The most persistent memory of any space is often its smell”. - Upon questioning family members & friends, each one said they usually associate a place with its scent that leaves a lingering impression in their memories. - These “scents” of place, usually, never fade away. Your brain will be activated upon entering a space. Often recalling a specific memory. - It is then, what do we do when this memory is recalled due to the scent? Daydream? Are we transported to a “happy” mental state? - The nose makes the eyes remember. Memory & Imagination remain associated. “Close your eyes”.

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“Materiality & Time”. - (Connection). - Allowing a deep connection with the space and materials that encapsulates the user. - Using natural materials such as stone, brick and wood allows us to visually penetrate their surfaces and enables us to connect. - Natural materials tend to tell stories. We see them visually age over time. - Modern buildings today in our technological era always strive for a “perfection”, often lifeless, not incorporating the dimension of time and rejecting the process of “aging”. - Using such natural materials provides the ideal of “participation in process”. It can potentially be architecture that facilitates an experience of the “man-made”, we are rooted in the continuity of time with materials that are made by us. We become a time stamp with these materials.

“_WEEK 02, A JOURNAL”.

ections, reflections, ns, reflections, refle

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“_REFLECTION 02b, A JOURNAL”.

,ections. reflections. “Evocative” “Wow” “What paper is this?” “This is so eye capturing”

Comments that were heavily directed towards my photography pinned up on the studio walls. Fulfilling me with pride, a strong sense of belief. That reassurance that what i’m doing is considered “good”. However, though evocative, i always think there is room to dramatically improve. For a first iteration i think these are quite a successful set of unique atmospheric and tektonic models. The images that were pondering around my head when brainstorming model ideas came to life quite well in communicating my concept of “INTERRUPTION”, “DISRUPTION” & “DYNAMISM”. My main thought that was at the forefront of my mind was to create a set of UNIQUE models that captured a different sense of dynamism through lighting techniques and enhance it with form operations that were BOLD and UNEXPECTED. I have always been one of a perfectionist nature, one to think through things quite thoroughly and “hit the mark” each time. However, these models weren’t a one hit wonder at all. There were few iterations (not photographed) that were made as test dummies to test which lighting techniques works best through the use of slits (then deciding the width of them, the length, the angles and how best it suited the formal qualities of each individual model). I feel this best suits me as a designer in curating a rather strong set of models that are well thought out and i know wasn’t just pure luck that something turned out good. Though these sets of models explored the tektonic of Planar elements quite well, it was all too rectilinear for a modality so curvilinear and fluid. Here, i found myself constricted with time, skill and belief. I stuck to the basics, what i found was a safe space. I was playing music that i listened to on the daily. The environment of being in my claustrophobic room at night, no one else around aside from myself and my spiralling thoughts amongst the treacherous mountains of balsa and ivory card scattered around, seemed to have limited my creative flow. Hence, the phenomenology of my “comfort” at home, in my own 25

“_WEEK 02, A JOURNAL”.

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mode models, m 26

“_WEEK 02, A JOURNAL”. “_REFLECTION 02b, A JOURNAL”.

room becomes vital into the production of tasks at hand. From this, it became apparent that i needed to change up my environment, my music, everything, to possibly produce different and more evocative outcomes for the second iterations of models. I will need to keep this thought in my mind for future. It also just accentuates the point of experiencing static modalities at home and how your body responds to such simple tasks in its environment. We need to remember that our body is a vessel of power - there is always a two-way interaction between the body and the environment. ______________________________________ Within these set of models, a strong sense of rigid, planar and sharp elements were used to reconfigure and imagine the ideals set by paper Architect, Lebbeus Woods. Through the first model, second and fourth i had this literal idea of “piercing” through forms and hence the notion of interruption came about from my target audience. I take a lot of inspiration for whom i am designing for. Here, my target audience is that of the disadvantaged youths in Carlton & the broader context of Melbourne. The idea of interruption and disruption stems from disadvantaged youths typically interuppting society and struggling to find their feet in the norms of community. However, in the architecture that i aim to convey, that sense of uniqueness and collision into society is what i am to exaggerate - to be able to create a space where they’re apart of their own family, slowly integrating themselves into Melbourne culture, finding like-minded people and thriving.

els. models, models models, models, mo 27

“_WEEK 02, A JOURNAL”.

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mode models, m 28

“_REFLECTION 02b, A JOURNAL”.

Skateboarding is a modern and trendy form of expression that people will find “cool” - an architectural form that is designed for this. I want to be able to ensure my target audience is SEEN and HEARD. Hence, why my set of models tend to be quite dominant. This is exacerbated through the dramatised lighting and enhancement of shadows, black point and contrast when editing. Which seemed to be quite effective. Plus, it really doesn’t take that much time to edit. Two minutes on an iPhone XS Max *the class laughs*. Through models three and five, i wanted to imply a sense of materiality with foil (to represent metal/steel) as a potential reflecting mechanism and using angled slits to create various light interactions in a space. The last model is that of a euphoric feeling, a curved model *yay* - to represent a finish line of sorts, light at the end of a tunnel. However, i need to explore more tektonics aside from planar elements. I neglected thickness. This highlights my lack of trying to escape my bubble of comfort and also not thinking more vividly when it comes to potential construction methods. A building won’t hold up with thin 1mm walls. Dated, 14/03/2021 | 11:05 AET.

els. models, models models, models, mo 29

“_WEEK 03, A JOURNAL”. SOUNDTRACK: (C)

“Find my Way”

20/03/21

Paul McCartney & Beck.

PART 3 / Brief, Precedents, Site Research, Sketch Models & Photography.

“_WEEK 03, A JOURNAL”.

brief, brief, brief, brief, brief, brief, b

craft of skateboards. spaces of skating that flows throughout the architecture (romanticising the act of a skater - a skater’s body is an assertive act).

art studios - learning the way of graffiti, apprenticeship opportunties for the barbershop (homelessness disadvantged youths initiative)

different

fashion WATER? BATHING? STEAM? SAUNA? SKATING THROUGH A house - MISTY CORRIDOR. environments fashion shows, a walkable of skating FLUIDITY. architecture used for the through EXPRESSION. gaze for the public onlighting GRUNGE. slaught of eyes peneDISRUPT. internalised trating the architectural hierarchies of form.

objects. a

variation of experience.

Corridor of Eavesdropping (listening in to the sounds of the skateboard that vibrate throughout the architecture).

Outdoor cigarette zone (potential of a sunken space)

MODEL SPACE (HUMANS ON DISPLAY FOR THE PUBLIC TO GAZE) 31

“_WEEK 03, A JOURNAL”.

“motion”

“blur”

“motion”

“blur”

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Practicing the Art of Skate. “A rush of blood” “A sense of flying” There’s this fantastical element and essence to the act of skateboarding. It can transport you to a place where your body is free. Your body connecting with the board, there’s this trust with the board to glide and take you to another place. Then the connection between the board and the ground plane. What does each surface feel like? There is this process of becoming and freedom. The act of skating depicts this essence of choreography. 32

“_WEEK 03, A JOURNAL”.

“motion”

“blur”

“motion”

“blur”

IMAGES. (31)

“Blur Photography | Skateboarding Embodiment” 20/03/21

Markovski D.

“_WEEK 03, A JOURNAL”. The Thrill of it All. To me, i find the act and art of skating one to provide an adrenaline rush. Having that sense of Danger, lingering in the back of your mind is what makes this act so much more addictive. People know the act of Skating is dangerous, hence why bystanders are always in a sort of awe. STARING. Perhaps this is what my target audience needs. That feeling of being seen and noticed but feeling protected and safe in an architectural form where like-minded people will come together - creating this unity of the creative’s, A Family.

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llt all, of itthe all,thrill the thrill of it a 34

“_WEEK 03, A JOURNAL”.

IMAGES. (32)

“What is skating? The Feeling of Floating”

20/03/21

Jan Ebbert.

of it all. all. 35

“_WEEK 03, A JOURNAL”.

IMAGES. (33)

“What is skating? The Feeling of Floating, Scene 0:36”

the t the thrill

20/03/21

Jan Ebbert.

(33)

“_WEEK 03, A JOURNAL”.

thrill of it all, the th l of it all, the thrill o

The Inspection and Capturing of a Skater’s Make-up. Here, we highlight and capture Subject X and the clothes that contort around his body whilst he is in motion of pursuing the act of Skate. We notice crease, folds & the tuck in. The shirt, assuming was initially tucked into Subject X has appeared to distort and come apart when the subject begins to contort his body. The shirt cannot seem to remain structured and rigid in such a fluid motion and environment. The architecture, in turn, can perhaps have a similar language that Romantisices this ideal of an extreame “crease”, structures and forms that distort when the assumed fluidity and speed of a space increases/changes. What parts will come undone/untucked in the architecture when it contorts?

“_WEEK 03, A JOURNAL”.

earch, research, re eacrh, research, res ELGIN STRE

It’s quite odd now looking back. My particular project in the semester mentioned was encapsulated by these varying forms that were exaggerated by light and shadows within and the use of a fake sun of sorts to create natural lighting that didn’t really exist due to the surrounding context. I wasn’t criticised at the time for this by my studio leader, however, looking back i never really considered such external factors in any of my past undergraduate projects. Those physcial factors were considered to an extent, however, i chose to just generalise a building. I never posed the questions to myself of “What does this building do that others don’t already do? Who am i designing for? My epiphany came through my final studio in the undergraduate degree. I seemed to have fallen in love with the idea of actually having a purpose for my design other than just physical or hitting a brief. I had put a strong focus on my demographic and to whom i am catering my design for. Ultimately, it became my driver for the project. My target audience was strongly symbolic in the forms i developed. For that reason i found my site research of views to be more in-depth this time around with implementing a more poetic format to it and thinking more abstractly with how we view the site in all aspects (speed, angles, heights, street).

IMAGES. (33)

“View Analysis”

17/03/21

Markovski, D.

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Remembering back to a past studio in my third year in semester one, i never really took Site Research that seriously to the point where it would structure my entire project. I always just found it quite boring and felt i was wasting my time. This was because i just wanted to create. I just wanted to start designing the most weird and exciting form driven architecture. I was immature. I didn’t really appreciate what it meant to embody and occupy a certain site. Each site has its own unique characteristics that make it special (now Dylan says with a more matured mind).

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“_WEEK 03, A JOURNAL”.

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ent gaze |

spying”

“_WEEK 03, A JOURNAL”.

earch, research, re eacrh, research, res Victorian Children’s (aged 5-14) Participation in recreational, cultural and leisure activities.

Annual visitation and user typologies at Riverslide Skate Park 2013-14.

IMAGES. (page 40)

“Skating Stats, Skate Framework”

17/03/21

City of Melbourne.

“_WEEK 03, A JOURNAL”.

esearch. search. “Skateboarding can have a positive impact on social connectedness, mental and physical health and general wellbeing. Skateboarding also fosters values of personal freedom, self-expression and cooperation”. In all honestly, i have not done this much research before entering a Studio with Hella.... I feel like i am supercharged with solidity in my ideas and modality. I have this sense of fulfilment and belief in myself that hasn’t been so apparent in the past. I have come to the conclusion that confidence does come with research because you know what you’re designing is backed up by evidence and you can stem from it as a base and further exacerbate it. No matter what, that factual evidence will always be there once you have hit the points you want really want to delve into. Why wasn’t research more drilled into students back in the early days of the undergraduate program??? I can’t seem to fathom why....

An infographic displaying the different benefits to individuals participating in skate activity.

“_WEEK 03, A JOURNAL”.

earch, research, re ss architektur, glas

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IMAGES. (35)

“Alpine Architektur | Glass Architektur”

21/03/21

Paul Scheerbart & Bruno Taut.

“_WEEK 03, A JOURNAL”.

esearch, research. ss architektur. Extracted from Paul Scheerbart’s “Glass Architektur” - he initiates his stance on the evolution of our society and culture in architectural tektonics through the use of glass. What adheres to my personal interests the most is that of the ability to “raise our culture to a higher level” we must transcend our current ideals of enclosed spaces - utilise the grandeur of openness and push the limits of glass in our architecture to create this new, uplifting and EVOLVED CULTURE of architectural form & tektonics. _______________________________________________ In the past, i had never dedicated as much time to conducting in depth research around theoretical elements. Which was significantly noticeable when i struggled to convey this in-depth poetic and story telling essence to my projects. Luckily, in the past i had somehow conjured up projects which were highly evocative and told a story on their own, maybe due to being exposed to other crits in the past (listening in and watching other students present in higher up studios i.e masters) provided me with this unconcious knowledge to design poetically. However, i struggled to verbally enhance this. When i began to delve into these texts, i not only read, but posed questions to myself, jotting down ideas and at times debating with what the author was trying to convey. I was developing my own stance. Creating my own theoretical portrayal of what it is to embody architecture. Critical thinking as some may call it, but deeper. Philosophy and theory is quintessential to achieving a well put together collection of drawings and depictions within this studio. We need to be able to grasp what it is to embody architecture with our chosen modalities, but also in general, and i feel this is somewhat typically forgotten in university - usually the bold and whacky but brainless designs get praise - i used to be one of those..... It showed immaturity in my design thinking. I designed for an aesthetic rather than a feeling or embodiment. My reading continues weekly, daily at times. Evolving my ideals all the time. I have gained mass insights within 3 weeks. It is evident through my prologue...As a designer, i feel more equipped. And my architectural weapons keep levelling up so to speak.

“_WEEK 03, A JOURNAL”.

eflections, reflection ons, reflections, refl

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IMAGES. (36)

“Planar X Frame X Shadow”

19/03/21

Markovski, D.

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“Planar X Frame X Shadow”

19/03/21

Markovski, D.

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“Planar X Frame X Shadow”

19/03/21

Markovski, D.

dels. models, model s, models, models. (39)

“Planar X Frame X Illumination”

19/03/21

Markovski, D.

“_REFLECTION 03, A JOURNAL”.

ns, reflections. flections. MEMORIES OF ITERATION 1 Having been complimented heavily for my output on my photography and editing abilities when it came to the models, i stuck with this mode of adding a light transparent blue filter and printing on offwhite parchment paper. This was well received, adding a much needed depth and atmospheric quality to the photographs and getting such comments that replicated Carlo Scarpa’s work. Though, these four models are still quite heavily planar i wanted to play more with different shaped openings and various materials such as bamboo sheets, translucent paper and card. To see how light would affect these materials. In my head, i had a different outcome of the use of translucent paper in creating this illuminous effect. However, light didn’t penetrate enough through it, much to my disappointment. Contrastingly, i was very pleased with the bamboo sheet providing

ls.

“_WEEK 03, A JOURNAL”.

eflections, reflection ons, reflections, refl

IMAGES. (40)

“Rue Leon Claden, in Melun, Paris”

21/03/21

N/A.

“_REFLECTION 03, A JOURNAL”.

ns, reflections. flections.

this beautiful fluidity and euphoric atmosphere. However, though evocative and atmospheric images, i feel i am a bit stuck here. I am confident in creating this fluid, dynamic and depth in my models. But, i don’t know to push these strategies further in terms of skating due to my limited model making skills and time restrictions. But also, i seem to be slightly lacking in terms of creating this relationship between skating and a form driven atmospheric quality that encapsulates a strong fluidity and motion. With this set of models i was trying to get a grasp on how different lighting techniques still work - pairing different apertures/openings together and seeing how they combine (if its effective or a complete contrast that doesn’t mesh). And i guess i really am missing that idea of haptics and touch in my models - again my focus was lost due to trying to produce an evocative form to my model, instead of keeping to the idea of haptics. (i really need to have my Hojicha latte, my inspo juice). I was slightly disjointed. Maybe because i hadn’t delved deep enough into materiality for skating. This is something i really need to begin pursuing. How skaters will react to different textures and surfaces and physically testing out different surfaces myself when practising the modality. Because the speed, feeling, and embodiment of committing such an act will dramatically change with the ever so slightest of surface manipulation. The smallest changes are the biggest for skaters. I think i need to reduce the amount of rigid forms i produce. Yes, they are easy to make but it does not quite embody the modality of skating. Three out of the fours models produced communicate more seemingly transitional and circulation spaces, perhaps due to this openness which was influenced by Scheerbart to reduce the idea of enclosed spaces to produce a crosspollinated architectural language that is constantly evolving with suggested use and rapid movements. We cannot limit skating to a certain zone, otherwise the embodiment of this modality is completely lost. The essence will be gone and will become static. So perhaps the idea of a Piazza or Plaza is quite crucial here. I don’t want to replicate another students’ idea of using constructivist or post-modernist architectural styles completely, but perhaps there is a way to abstract this. For example, at State Library of Victoria (Melbourne Central Tram Stop), there is a monumental piece of the library colliding with the ground plane. And skaters are always dramatically drawn to this space, because it wasn’t intentional to be a space of skating. It’s a space that wasn’t utilised and skater’s have claimed it as theirs - an under-utilised and rather non-obvious sculputural element to the everyday person. But skater’s find this is a sort of third space that they can change of the use of every single day. Wow... I just went on a bit of a spiel..... I feel like i have found some kind inspiration here. I am just imagining the endless possibilities of combining such sculptural forms that symbolises the context with curvilinear forms! WHOAH! The disruption, collide and fluidity is a strong force of a trio. Dated, 21/03/2021 | 15:22 AET. 47

SOUNDTRACK: (D)

“Streets, Disclosure Remix”

28/03/21

Doja Cat.

PART 4 / Collage, Precedents, Sketching, Sketch Models & Photography.

inspirational sketching, sketchi

IMAGES. (41)

“Sketch - My Coping Mechanism Dumps LOL”

26/03/21

Markovski D.

Once a task i absolutely used to despise and effectively not participate in was the Collage. To me, it typically is a task that is quite time consuming to find the right images, collate them and actually have a solidified idea in your mind. It was just daunting.... But why? I ask myself this now, because this time around in this Studio, i absolutely loved doing this collage and the time flew by when collating it and composing it. So, to the “why?” - Because in the past i seemed to not have a strong grasp on what the project at hand was all about. I typically had all these ideas that were running a millions miles an hour inside of my head. I always did projects late at night, in my lonely and dark bedroom with little inspiration to motivate me to get so involved in a task at hand. Further, i never seemed to really care that much about the process of a design, which to me now is very absurd. How i used to design was selfish and immature. I went straight from receiving a brief to designing in Rhino. Perhaps not an awful thing, but i had no reasoning for certain design decisions. I never used to read material that i was interested in, because quite simply, i never knew what truly interested me in architecture and design. In contrast to now, it’s a complete 360 turn around. My room is fulfilled with piles and piles and piles of books that cover many aspects of architecture and design that have basically become my personality trait. For myself now, it is always “What’s the next thing? “What book next to inspire me?” I always find myself waking up in the middle of the night with a desperation to sketch down what i was dreaming about. A design dream journal as what i like to call it. This is where this particular collage arose from. I had this envisionment of an early 2000’s aesthetic where there was a collide of worlds with fashion, skating and the post-modernist architectural language and having an evocative 3 piece (in progress) collage that will essentially capture the body of what my project encapsulates. In the making of this collage, once i started, i didn’t stop. I don’t like to stop or step backwards and restart. In the past, when i really haven’t liked something i restarted and i found myself getting fruastrated to just try and better what i had at the beginning, but i could never... Now i believe in my process. If i choose to do it, i believe why. The process is most valued. 51

“_WEEK 04, A JOURNAL”.

the thrill of it all, finer details, the fin

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“What is skating? The Feeling of Floating”

26/03/21

Jan Ebbert.

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“What is skating? The Feeling of Floating”

26/03/21

Jan Ebbert.

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“What is skating? The Feeling of Floating”

26/03/21

Jan Ebbert.

refle 52

“_WEEK 04, A JOURNAL”.

the thrill of it all. ner detals. Something that allows me to thoroughly and criticially engage with in this studio is that of watching the modality at hand. Watching the movement of Skating. In turn, i then find myself responding to the ideas in the video/film. I was able to generate ideas from just being drawn into the acts of skate through a simple two-minute video. It expanded my mind to be allowed into someone else’s perspective of what it is to embody skate. Maybe i need to conduct some sort of interviews or watch my friends skate (if i ever get that time). From the begginning of week 2 i was invested in the modality of skate. I find myself to make good decisions when it’s done then and there. Skate popped up and i took it. So from enabling myself to invest in this film it was a matter of how do certain aspects from here relate to my own design beliefs and what i want to create for my own project. Because the film wasn’t about the architecture, it was about the feeling. I needed to breakdown the feelings within the film and utilise the one’s that would be most relateable to who i am as a designer. Additionally, through watching a film, my brain wasn’t so switched on. I was in a relaxed setting. I casted the short film to my TV, sat down in the evening with my iced hojicha latte in hand and began to delve into what was an easy watch. Which brings me to the fact that the idea of small focus is rather successful. When i focus too hard at the task at hand i get nowhere because it is all forced outcomes (which is an old habit of mine). It’s all about the process. Remember, it is the most valuable piece in a project. It’s how we get to the end, everything in between is beautiful and unique. Getting to watch a film for a process is something that typically gets unnoticed but more immature and rash designers, but i know that i used different medias to elicit a design response. It was through the film where i knew no matter what pieces of information i chose to develop further, i just had to. It’s how i develop a certain choice, rather than strictly ensuring you make the “right” choice. Because, essentially at the end of the day you have to develop the choice either way....How i develop that choice is more important that anything, and just lessening that stress of ensuring i make the right choice allows myself to have a better design flow. It’s all about drawing strong connections together no matter what i decide. And i feel this film, a new way of research for me, helped me to embody that notion. A film puts you in a relaxed state of mind and thus, your mind will choose to remember things automatically it takes a liking to, all unconciously. Which is why here, the screen captures to the left highlight the choices of details to develop further.....

reflections, reflect ections, reflections, 53

“_WEEK 04, A JOURNAL”.

the thr the thrill of

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“What is skating? The Feeling of Floating”

26/03/21

Jan Ebbert.

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“What is skating? The Feeling of Floating”

26/03/21

Jan Ebbert.

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“What is skating? The Feeling of Floating”

26/03/21

Jan Ebbert.

“_WEEK 04, A JOURNAL”.

rill of it all, the thri f it all, the thrill of i The workload for this week has been a bit overwhelming which is why i invested in the opportunity to watch a film to keep my process flowing - an easy going task. However, in the past i could never handle stress very well. I found myself getting fruastrated when i seemed to never make the “right choice” from the begginning of a project and start regretting decisions. But, during this studio process i find myself to be coping a lot better. Perhaps having a bit more of a structured daily life with work and gym thrown into the mix it allows my mind to just calm itself down because all the processes i have done to date are more than sufficient and i have developed choices that i have made no matter what to the grand extent i want to. I find the more experimental process of this studio to be beneficial not only to the design process but also to my daily life. It’s an embodiment in itself. To just kind of let go and do what the mind and body wants to. I need to keep reminding myself that embodiment comes through this idea of freedom and power. My body cannot produce anything if i don’t give it the freedom to empower itself. If i force myself to do a task, it will never get done because that freedom of mind is not there. From this, i realise that i used to overthink, over worry, over EVERYTHING, in the past. I was always pacing around the house and asking my sister, my mum, dad; everyone for their opinions when they had no architectural knowledge whatsoever. I had no belief back then, because i never cared about the process. I never invested in the process, so everything i did i second guessed which often produced negative connotations....However, in saying that, sometimes it is good to ask someone with no architectural training or knowledge for their opinions - because they could potentially be the person who uses and occupies your design. It is crucial for nonarchitectural background minds to understand and feel the spaces because essentially, they’re the ones who will use the building over anyone else.

“_WEEK 04, A JOURNAL”.

recedent, precedent ent, precedent, prec

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IMAGES. (48)

“Skatepark Léon Cladel” 26/03/21

N/A.

“_WEEK 04, A JOURNAL”.

t,cedent. precedent. Week 4, was definitely a week of breakthroughs yet limited time due to external factors of work deadlines (cries internally....). However, when strapped for time i use it quite effectively doing heavy precedent studies and research. It’s the most accessible task to do when i find myself having no time to even make a coffee. And all i can say i thank the lord i came across such a precedent after diving very, very deep into the world wide web. Here, we have the Rue Leon Claden, in Melun, Paris. And it is an example of an urban skate design being seamlessly integrated into the central city (which is quite traditional with heavy ornamented context - similar to that of Melbourne). This design takes advantage of repurposing an underutilised street and still manages to allow for pedestrian and emergency or service vehicle access. This is where i start to think of an earlier idea and sketch of the creation of a laneway through the site we have been given. Through this precedent we can dissect elements that make it successful and can implement similar techniques to my site. There’s a strong essence of a street skate element within this urban fabric design. We notice there are permanent structures which consist of small to medium objects/infrastructure that seamlessly mould into the context and aesthetic of the surrounding urban design. It is often referred to as “street furniture”. These pieces are designed for skaters. Designed to withstand and accommodate for the act of skate. Additionally, the use of colour is quite interesting. To me, it is almost seeming to symbolise greenery (grass) but in a more dense urban environment. I think this will be a great implementation on my site for a potential connection with Macarthur Place North across the road to extend the greenery to Elgin, but greenery in a different form. Just from re-reading my own reflection here, i notice the language of my architecture developing before my eyes. The use of a precedent is essential into getting a clearer idea of what it is i want to achieve. Because having this concrete architectural form that exists it just lends credibility but also it elicits a great confidence in myself. However, what i find bizarre about myself when doing more research based tasks is that i need to be in a bustling environment. For example, i found this precedent on my lunch break at sushi train during work. I tend to find these hidden gems when im not really looking for them.

recedent, precedent ent, precedent, prec

IMAGES. (49)

“IEd Benedict Skate Plaza in Portland, OR”

26/03/21

N/A.

t,cedent. precedent.

“_WEEK 04, A JOURNAL”.

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“Inspired Sketch - Isometric Concept, Industrial”

22/03/21

Markovski D.

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“Inspired Sketch - Isometric Concept, Industrial”

22/03/21

Markovski D.

“sketches @ 00:21”.

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It’s quite funny, the task for the studio was to develop programmatic isometrics and my typical “coping” mechanism for handling procastination is 3D sketching. I kind of just blurt out whatever is conjured up in my mind and the concepts developed are usually very useful and quite evocative as can be seen above in the images.

inspirational inspirational sket 60

“_WEEK 04, A JOURNAL”.

I prefer to use my 0.38 Japanese fineliner that i bought in Japan to conduct such sketches as this lightness to the pen allows me to create fluid motions through my drawings, which is calming to my mind. Seeing that beautiful stroke of a pen glide across the page is soothing. Often i unconciously sketch certain things and objects that end up being a crucial piece of my project. It was through these motions that i realised i had sketched something quite unique, a ramp that kisses the boundary of the site and seemlessly glides up into the building form. The forms sketched are heavily fluid, yet contain a certain industrial typology which coheres to the historical nature of the context. The sketches here, allowed my mind to expand and really embrace that ideal of fluidity, something which was needing some love and attention. Impressionistic in a sense, i was envisioning, somewhat, a skateboarder gliding through my spaces. It was at this point i knew i was focused. I knew i was on track. I was embodying the act of skate.

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“Inspired Sketch - Industrial Exploded Isometric”

22/03/21

Markovski D.

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“Inspired Sketch - Diagrammatic Formal Study”

22/03/21

Markovski D.

ltching. sketching. 61

ections, reflections, ns, reflections, refle

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“_REFLECTION 04, A JOURNAL”.

,ections. reflections. “Evocative” “Wow” “What paper is this?” “This is so eye capturing”

*These comments applied again* (Ego booster) - Why did i receive such comments though? Why did these outcomes feel more solid and successful in comparison to the last iterations/batch of models? What i noticed in the past versions of my models was that i never sketched out what i wanted to achieve, or even just list down what it was i wanted to capture in my collection of models. Perhaps this was me not being a productive designer? For this set of models i had set out what i wanted to do through dot pointing and pin pointing what it was i wanted to achieve, as well as through sketching 3D’s of some. Even delving further into books to see what could inspire me and what was relateable to my project. I learnt after doing this, i need to sketch out my ideas for models!!! What i found was a common problem in the past in relation to model making was that i never planned anything and tended to get stuck in my own thoughts, overcomplicating every little thing. I didn’t go through any sort of process aside from cutting random bits of card or balsa. But that’s in the past now. However, though i was jotting down my ideas i found that at times i would go overboard.....For a couple of the models i just wrote too many things down. And from this strong concentration on writing down ideas i was fulfilled with TOO MANY IDEAS!!! And that’s when i became a bit too fuzzy and it’s notable in model three (to a slight extent of having elements that aren’t needed at all). I just give myself too much to talk about and then it’s highly evident in my verbal presentations because for that particular aspect i just have too much to say for it - i learnt to just stick to the strong points. Short, sharp and simple is all we need because the drawings/images should speak for themselves as it is very so evident in the other photographs, especially the one to the left. Overthinking can be the downfall of me at times, and it is why i find myself sticking true to going through the process. It helps finds clarity in the end. Because completely ignoring it, leaves missed opportunity.

“_WEEK 04, A JOURNAL”.

eflections, reflection ons, reflections, refl

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“Planar X Frame X Shadow”

23/03/21

Markovski, D.

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“Planar X Frame X Shadow”

23/03/21

Markovski, D.

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“Planar X Frame X Shadow”

23/03/21

Markovski, D.

dels. models, model s, models, models. 64

“_REFLECTION 04, A JOURNAL”.

ns, reflections. flections. MEMORIES OF ITERATION 3 With this iteration of models i didn’t change too much of the stylisation of the photographs as it seemed to be quite evocative and effective in the last iteration - again it proved to work, But personally, i feel it’s getting old and i need to spice it up somewhat. I will begin new tests of using other colour tones instead of only blue (perhaps red, blue and yellow) - to somehow convey a different atmosphere or feeling with each colour. For example, more active could be red and blue symbolising a rather timid, relaxed and calming environment the body is placed in.

ls.

“_WEEK 04, A JOURNAL”.

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“Planar X Frame X Shadow”

23/03/21

Markovski, D.

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“Planar X Frame X Shadow”

23/03/21

Markovski, D.

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“Planar X Frame X Shadow”

23/03/21

Markovski, D.

dels. models, model s, models, models. 66

“_REFLECTION 04, A JOURNAL”.

ns, reflections. flections. I strongly think this set of tektonic and atmospheric models gave me a lot more insight in formulating what it is i want to design physically now. I really tried to capture the essence of a sculptural aspect through a couple of the models to really depict strong shadowing onto the forms that are within the model to strongly enhance that sense of dynamisn. I find that my tektonic of intersecting surfaces to be quite strong in communicating my ideal of disruption and in turn, they have developed a rather evocatively defined space where i can picture the act of skating place. Using objects/sculpture as a means to skate upon, to create new challenges to overcome (obstacle initiative) and conquer it. What was most useful from this studio was that of the comments of my peers. Their feedback along with Hella’s is quite vital. As mentioned early in this journal i thrive off of a human interaction and communication into developing my ideas further - it is a key component to my process, because other architecturally trained minds may see something in a different light that i didn’t as everyone has their own interests, eyes and mind. A comment that stuck with me, was that from Harry. The way he perceived the last photograph was imagining a person whom of which is in the act of skating will/can glide their hand along the curtain. Which to me, was pure genius on such a simple level but my mind was a bit fuzzy that i didn’t think of it. And from that comment it truly sparked this manifestion of ideas that i had to jot down so quickly (yet to be transformed into sketches....stay tuned.) Dated, 27/03/2021 | 06:20 AET.

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SOUNDTRACK: (E)

“Where do I fit in”

29/03/21

Justin Bieber.

PART 5 / Refined Collages, Philosophy, Explorations & Materiality

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“Demographic Collage”

04/04/21

Markovski D.

“_WEEK 05, A JOURNAL”.

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“_WEEK 05, A JOURNAL”.

ollage, collage, colla e, collage, collage, c

A material palette to consist of a luxe minimalist: /Light Concrete, Polished Concrete, Marble, Stone & Metallic Surfaces/

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“_REFLECTION 05, A JOURNAL”.

age, collage. collage.

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“Brief, Modality & Progression of Skate Collage”

04/04/21

Markovski, D.

ge. 71

“_WEEK 05, A JOURNAL”.

mobodying skate, e ying skate, embody

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“Fluid Representation”

05/04/21

emobo embodying Markovski D.

“_WEEK 05, A JOURNAL”.

embodying skate. ying skate. What is it to Embody the act of Skateboarding? There’s a stereotypical route that can be entered when designing for skate, with that literal design idea of a “skatepark” - that of a half-pipe, a skate ramp and routes. However, i need to dissect and investigate the means and motions that make up the act of skate. We already have the conceptual ideas of using the ideals of clothing and how it tends to contort, unravel and change shape when a user is in this motion of skate. And thus, develop architectural forms from this with the use of flowing and contorting forms. However, there’s more. I am not designing a skate park so to speak. Rather, a place, a plaza, a retail store, an opportunity that romanticises the act of skateboarding. From this, I have to think of the ways a “normal” non-skating human being can perform the act of skating without physically partaking in skateboarding itself. How does one human with no skills or knowledge or even feeling in relation to skateboarding still get that thrill, that precision of movement and embodiment of skating? I have investigated through personal experiences and observation on what the motions a skateboarder delves into. It is that of precision. The precision of a turn. The speed at which a skateboarder has to weave themselves in out of traffic - traffic that is/are obstacles of people, objects. A skateboarder’s turns in conjunction with their speed. Thinking of it as a dance through the architecture. Moreover, I observed the body language of a skateboarder when they want to accelerate or slow down their speed. It is from practice and observations I note that speed increases when the body is lower to the ground, maintaining that strong centre of gravity. To reduce one’s speed, the body stands tall, one foot appling pressure to the back of the skateboard, eventually coming to a halt. People as obstacles is interesting to note. As we see skateboarders weaving in out of people on a footpath their speed seems rapid, when in fact it isn’t. To the average human eye, their speed is blurred. This is due to the person being static when observing a skateboarder glide past. The notion of blur is fascinating. We think of skateboarders gliding at high speeds in people traffic, but to come back to my earlier point - they aren’t, (in comparison to that of an open space). Within obstacles of people on a footpath, skateboarder’s are slowed, the movement becomes precise, the skateboard is the extension of one’s body and it is controlled by the position of one’s body on a board.

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“WIP of 3D Model, Sculptural Furniture”

11/04/21

Markovski D.

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“WIP of 3D Model”

11/04/21

Markovski D.

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“WIP of 3D Model”

11/04/21

Markovski D.

“_WEEK 05, A JOURNAL”.

ns, reflections. flections.

A week that was rather interrupted and posed a number of challenges to stay a top of my project and mental sanity. Personal issues arose, but it’s all apart of the story in being an architectural designer at the end of the day. When faced with such difficulties in life, how does this prove to change our ways of thinking in terms of design? Do we perhaps find some sort of newly found inspiration? Or do we tend to suffer so much so your mind is drowning with an encapsulation of thoughts? Maybe it’s a configuration of both questions posed. For myself, it was mainly a mixture of both - however more so dominant in the fuzziness of thoughts. I was able to find a glimmer of inspiration two days before the submission when my mind was slightly at rest and this just proved to show that detrimental issues outside of university committments drastically impact you as a designer. It highly affects the output of the project at hand. Stress is one thing that will motivate one’s self, this was not the issue - when i really was hoping and wishing it would be my only issue. And when i say difficulties/issues outside of university affecting the output, i don’t mean time pressure. It’s your mind. The mind is always dictated on what the situation at hand is. And it’s obvious! When my mind tends to be in another place that’s more important due to a difficult circumstance, it will show in the work - i.e. when feeling somewhat depressed, the project tended to take a turn that was rather dark - whether in the colour palette or the configuration of spaces itself was rather supressed, crammed, elongated and overall dark. I was imagining spaces subconciously where it would be nice to wander down a dark rabbit hole of sorts until i could find that light again. I was designing spaces that were coherent with my mind - walkways that were tight & narrow, and rooms/spaces that were open yet highly clustered. I was aware of this the whole time, but i couldn’t bring myself out of this train of thought. No matter how much you try to relax, the issue at hand was always towering over me and gaining intensity and height. I guess it somewhat shows as well in my work to the left. A cluster of ideas formed from a clustered mind. Some are promising and will continue to use in future. Some are useless - mainly in the fact the spaces are not adequately planned out. But I was happy to blurt this out of nothing. It shows to me, that my creative architectural mind is still there albeit in this personal mess. I just need to keep digging. A semester that is well interrupted, one i need to finish and be happy that i was able to complete with a project that holds exceptional conceptual value. But to slowly overcome this, i would write out checklists and try to achieve a set of drawings in time for submission that would see myself over the line. I knew i had a collage that was well and truly on it’s way to achieving great things (i would say even the best in class), so i focused my energy towards that as i knew where it was going and the overall graphic representation of it, due to being planned out a couple of weeks prior. However, if you stare at the collage, you will notice a slightly dark hue to the colour scheme which is reminiscent of my current state of mind. Thus, again, proving the mind does put out it’s feelings subconciously into a designer’s work. Hopefully it is upwards from here. The exhaustion is real.

SOUNDTRACK: (F)

“Saltwater Sweetness”

16/03/21

Kolohe Kai.

aphy, photography, , photography, pho

PART 6 / Interim 01.

IMAGES. (67)

“Motion Photography”

10/04/21

Markovski D.

, photography. otography.

(67)

“_WEEK 06, A JOURNAL”.

nterim, interim, inte ntation, presentatio

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(69)

“elgin street”

“pinkys lane

“galleria”

eflections, reflection ons, reflections, refl 0

SCALE - 1:100

IMAGES. (68)

“WIP Ground Floor Plan”

16/04/21

Markovski D.

(69)

“Hand-drawn Section”

16/04/21

Markovski D.

“_WEEK 06, A JOURNAL”.

erim, interim, inter on, presentation. When i cast my vivid memory back to the past, in previous studios in the undergraduate phase, i can confidently say i always had strong concepts and a core of what my project embodied. The ideas were clear, succinct and explained in detail where needed (or conversed later on with the critics). However, with being rushed and stricken for time my verbal presentation was, well, the best i can say is, undercooked and it was obvious to everyone how much i was affected with issues behind the scenes. Though being super into the concept itself and having it all downpat with a lot of thorough research and investigations (as can be seen within this journal), my brain was exhausted. No matter how much research i went into to nail my concept, i was unprepared for the verbal presentation itself. It takes time to list out what is important and what isn’t in my project as there is so much to cover. I got up to present, and it was like a whirlwind. Well overtime and what i spoke about was all over the shop, but i think i was somewhat lucky enough to have such great guest critics who picked up the crucial aspects of my verbal presentation and connected it to my drawings - which ended up being my saviour. Thus, their feedback being valuable - however, i knew the comments that were coming as i knew i was changing this design completely either way. It was unfortunate for myself, to have all these conceptual ideas inspected and investigated to a tee, but no time to translate this into an architectural form. And it was something i could sense from the guests and Hella that was rather disappointing to myself. Because i know in myself that this is nowhere near my best piece of work. It didn’t add up essentially. The concepts and the drawings weren’t connecting in that “presentation quality” sense. However, we move on. To the positives.... I feel as though the research process to this point was exceptional into helping myself attain a clear understanding of what my project and concept was about. Perhaps, not designing from the get go in week 1 worked in favour here to nail the concept of the project. {continued}

ns, reflections. flections. 79

“_WEEK 06, A JOURNAL”.

nterim, interim, inte r moments, interior

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IMAGES. (70)

“Interior Moments”

16/04/21

Markovski D.

eflections, reflection ons, reflections, refl 80

“_WEEK 06, A JOURNAL”.

erim, interim, inter r moments. What is visibly my downfall in my project is the planning of space. The reason for this is because i tend to design straight away in 3D without planning out the space in 2D at all - which tends to result in floor plans being quite underwhelming in the sense of atmospheric spaces. Speaking to my project directly, i did give perhaps too much respect to the external elements (i.e. the back corner for a water feature) - though pleasant, it takes up a lot of space which could be utilised for built form. I guess the all round designer in me wants to give a sense of outdoor spaces that is grand and luxurious. Thus, programmatically in this interim, it was slightly lacking even though it was heavily investigated in my research phase. So, it’s clear that i focused more on the 3D components instead of producing a logical set of programmes that intertwined effectively. In my case, upon finishing this interim, i realised that there a several factors i need to consider for the programme. As it encapsualtes notions of a retail store, a plaza, a “safe space”, an opportunity space for skaters and a creative crafts space. My challenge is to successfully interweave these programmes to create a convincing project. Since the start of the semester, i think what i have strived for the most up until this first interim is really developing my concept and subconcepts. My core initiator of my set of concepts was based around what it meant to me to embody the act of skateboarding, that wasn’t obvious to everyone else. I always had the thought in the back of my head that if it was too obvious then it was and i needed to scope deeper into that particular area. This is mainly because the modality of skating can take quite a literal and stereotypical route - which is fine, but for myself as a critical thinking designer i wanted to delve further into what an embodied skateboarder is. In the design process and even through research in literary texts, i caught myself evaluating the space as a user in that 3-Dimensional form. I had to keep asking myself the question, “what would it really feel like to be in this space whilst skating” - but then that’s when i realised - THAT IS THE OBVIOUS! So i transformed my question.... “how would a non-skaterboarder feel like in this space, yet still embody what it is to be connected to the act of skating”. I needed to design to bring about this experience which is slightly lacking in my current design, aside from custom-made furnitures. However, i think this ongoing discussion with myself on the non-skaterboarder/ skaterboarder experience has prompted myself to make design decisions. However, i had focused too much on concepts, so much so, i slightly neglected my building’s overall form. And too many concepts lead to me jumbling around a lot in the verbal aspect of the presentation.

ns, reflections. flections.

“_WEEK 06, A JOURNAL”.

nterim, interim, inte e, collage, collage, c

eflections, reflection ons, reflections, refl IMAGES. (71)

“Demographic Collage”

16/04/21

Markovski D.

“_WEEK 06, A JOURNAL”.

erim, interim, inter collage, collage. In this interim one review, i think the strengths of my project include the minor details that romanticise and respect the act of skateboarding & also designing skate-able elements through the furniture and joinery. Additionally, i think my ability to capture a sense of motion was quite successful in my section representation. In fact, i think the section as a a whole was fantastical in that sense which captured this whimsical and energetic character - but the colours were slightly overdone. This ideal of “motion” was also successfully captured in my photography which explained the notions of speed through a space and the skateboard being an extension of the body. However, from my section it was also quite evident i had taken too literal of a “skate” approach, and not enough “luxe” or 21st century skateboarding. Thus, also leading to my current form not taking into consideration (to a lesser extent) the vertical relationships in my scheme. Which proves a difficult task, as skateboarding in general is mainly upon the horizontal plane! Overall this interim presentation was a crazy whirlwind. But from my chaotic verbal presentation of trying to squeeze in all my ideas/ concepts, it also showed my great passion for the project at hand. What i need to improve for future is: - overall building form - a non-skateboarder’s experience in the space and being the driver of the design - size of spaces to suggest a skating opportunity but also to accommodate for both skate and walking - representation of drawings that is “luxe” - simple yet complex, i tend to over complicate my designs, thus putting more pressure on myself

Dated, 17/04/2021 | 10:43 AET.

ns, reflections. flections. 83

SOUNDTRACK: (G)

“It makes you forget”

19/04/21

Peggy Gou.

PART 7 / Further Investigations into Skateboarding and Architectural Relationships & Further Design Development (minor)

“_WEEK 07, A JOURNAL”.

IMAGES. Conceptual Collage

19/04/2021

Markovski D.

“_WEEK 07, A JOURNAL”.

IMAGES. (72)

“L: Geezer stares in a trance… moving unit in a more conventional use. R: Movig Units in Meanwhile”

19/04/21

N/A.

the t the thrill

objects in spac objects in space, ob (72)

“_WEEK 07, A JOURNAL”.

thrill of it all, the th l of it all, the thrill o

ce, objects in space bjects in space. The use of everyday objects to glorify acts of skateboarding. Once a bench to sit upon for a morning coffee or a quick break to take a phone call, becomes a skateboarder’s dream obstacle to conquer 20 minutes later. The object, a concrete bench, whethers due to the wear of a skateboarder - producing this beautiful sculpture claimed by skateboarder’s.

“_WEEK 07, A JOURNAL”. Upon futher investigation, i take note the importance of everyday objects in space that are widely used & afforded in our city society. What is more, is this relationship between domesticity, sculpture & skate. The end result generating a form of “art” as opposed to a literal element that can be found in a typical skatepark. Here, we think of forms, in conjunction with angles & edges to create an affording architecture in the form of objects. How can one seat be a skate-able form as well as a display for smaller objects?

glor glorifyin

(73)

objects in spac objects in space, ob IMAGES. (73)

“Rich Holland hand sketch for Moving Units Cons Project in Berlin”

19/04/21

N/A.

(74)

“Moving Units Cons Project Berlin overview”

19/04/21

N/A.

“_WEEK 07, A JOURNAL”.

rifying objects, glor ng objects, glorifyin (74)

ce, objects in space bjects in space. I guess something i need to take note of here, is not to fall into the trap of being an architect for this project at hand. What i mean is that architects do not think like skateboarder’s - in the sense of being a “go with the flow” persona. Skateboarder’s love to linger, talk, empathise and really capture the essence of spaces through social connections - not just the physical bounds of architecture. Architects tend to somewhat forget to humanise themselves and put one’s self in the other person’s shoes. What i take here, is to create humanised forms that allow for random social interactions within a space. A space that is open yet contorted enough to create the experience of bumping into someone to gauge in social interactions.

“_WEEK 07, A JOURNAL”.

bject affordances, o affordances, object

I think what we have to realise when designing for skateboarding, it is a lot more simple when you dive into what a skateboarder truly needs. We take these concrete objects above for example, simple configurations of forms moulded together to create one piece of architecture that affords for so many programmes. The main idea for this object is that of a skateboarder to grind on the edges of the object more so than glide along it. Further, it becomes an object of social interaction. An object to sit upon, to smoke and to meet.

IMAGES. (75)

“L: “Interstices” installation. R: Moving Units building shed”

19/04/21

N/A.

“_WEEK 07, A JOURNAL”.

object affordances. affordances.

(75)

The city is crammed, clustered and over-bearing at times. Skateboarder’s embody this notion of

socialism and free expression.

An architectural format is needed to cater this. A multifunctional space that promotes a physical activity (which is good for someone mentally) and is expressionistic through the interconnectivity of affording spaces & objects.

“_WEEK 07, A JOURNAL”.

IMAGES. (76)

“One of the original Moving Units at Southbank gets front blunted by L Clarke.”

22/04/21

N/A.

(77)

“Nick Jensen front blunting up the next gen moving units: Units Moved”

22/04/21

N/A.

min mini self

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objects in spac sculptural minima 92

“_WEEK 07, A REFLECTION”.

nif reflection, self reflection, mi mini se

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ce, objects in space al skate objects. Perhaps to reflect on the week thus far, i look forward to what is needing to be investigated further. It is clear that architectural objects that respect and romanticise acts of skate is essential to creating a successful project. A project that is rather different to my usual constructs. This project requires a stepped back approach in the sense of not going over the top with whimsical features everywhere. A more minimalistic yet affluent approach to design is needed. Reason being, space is key for a skateboarder. A distance to ride and gain motion to conquer an obstacle (object). Yet also retain the idea of fashion through retail elements and creating this flow nature of an abstracted maze of sorts to discover what’s around the corner (implying a slight clustering). Next to investigate is retail and how forms in a retail store can correlate with skateboarding.

Dated, 22/04/2021 | 16:12 AET.

“_WEEK 07, A JOURNAL”.

skating styles skating styles, ska Within Skateboarding it embodies a vast range of styles, with each adopting different environments.

Street skating needs urban skate-able places such as public squares, plazas and other urban environments that can be reinterpreted for skating.

Park skating needs skateparks with both “street” and “transition” elements.

Pool skating needs concrete bowls/pools

Vert skating requires huge wooden half-pipes. (will not be dealing directly with this - too literal and does not fit scheme).

Freestyle requires flat surfaces

Crusing is generally used a mode of transportation and requires smooth ground materials.

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IMAGES. (78)

“Styles of Skating Sketches”

22/04/21

Markovski D.

(79)

“Skater doing a trick on ledges”

22/04/21

N/A.

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“Where some sees benches a skater see perfect kerbs/ledges”

22/04/21

N/A.

(81)

“Skater gaining speed to face ramp”

22/04/21

Markovski D.

“_WEEK 07, A JOURNAL”.

s, skating styles. ating styles. (79)

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Here, in the architectural project at hand, i tend to cater for “found space” instead of a “constructed space”- meaning, NOT designing for the direct purpose of skateboarding but is reinterpreted to fit skating.

“_WEEK 07, A JOURNAL”.

IMAGES. (82)

“Sketches of multi-functional skate-able spaces”

22/04/21

Markovski D.

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“Skater reinterpreting a found “bank”

22/04/21

N/A.

(84) “Urban bank in London” 22/04/21 N/A.

bject affordances, o affordances, object

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bject affordances, o affordances, object 96

“_WEEK 07, A REFLECTION”.

object affordances. affordances.

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object affordances. affordances. 97

“_WEEK 07, A JOURNAL”.

objects in spac objects in space, ob Fronstage : For people who want to put on a spectacle for all to see. Typically the advanced skaters and who are not afraid to fall. Also for people who want to actively socialise more, the extroverts.

(85)

Backstage : For beginners, un-confident people. Also for people who want to skate in peace and show off their skills and motions in a flat open space.

IMAGES. (85)

“Sketches of Front Stage & Back Stage ideals

22/04/21

Markovski D.

(86)

“Skater in the Front Stage; Centre of Attention”

22/04/21

N/A.

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“Skater grinding along stairs putting on a spectacle”

22/04/21

N/A.

“_WEEK 07, A JOURNAL”.

ce, objects in space bjects in space.

(86)

(87)

SOUNDTRACK: (H)

“peace”

27/04/21 Chromonicci.

PART 8 / Investigations into Retail Store Architecture

100

“_WEEK 08, A JOURNAL”.

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(89)

(90)

IMAGES. (88)

“Nomad House. T. Makoto, A. Yoshida.”

22/04/21

Archdaily.

(89)

“Culture Convenience Club × Hara Design Institute. Shinya Nakajima”

22/04/21

Archdaily.

(90)

“Between Furniture and a Room. TOTO · YKK AP × Atsushi Igarashi Taiji Fujimori”

22/04/21

Archdaily.

101

“_WEEK 08, A JOURNAL”.

IMAGES. (91)

“Iced Coffee Stand. Go Hasegawa”

23/04/21

Designboom.

bject affordances, o affordances, object

nspiration cafe, insp ation cafe, inspirati In figure 91 (above), we take a brief look at Go Hasegawa’s “Iced Coffee Stand” which acts as a pavilion. What i gather here is the freedom of the design inherently from it’s open form but also through the use of thin, light linen fabrics that gently breeze through the air - possessing this almost euphoric feeling when sat under (presumably). [Thinking in facade ideas, it would almost re-create this euphoric feeling to breeze through a light curtain of sorts to enter a cafe zone within the architecture - having the sliding doors wide open and letting these light fabrics flow through the air, enticing passersby to enter.]

102

“_WEEK 08, A JOURNAL”.

object affordances. affordances.

piration cafe. ion cafe.

(91)

Investigating the structure and overall design of the iced coffee stand, i take note of the affordances within. I picture a vast extent using this pavilion to loiter on and around, sitting on the bench provided, but the width gives it this opportunity to stand upon (which will create this interesting visual perception of only seeing someone’s legs whilst their upper body is in silhoutte). The key to this design’s success is its simplicity - it’s something i need to keep reminding myself of.

When investigating retail, i want to embrace all notions of it. From restaurant/cafe architecture to typical streetwear clothing stores and to the high end fashion stores. All enveloping their own unique experiences through “must-have” components to create a successful outcome, that all will recognise. 103

“_WEEK 08, A JOURNAL”.

programme inspi programme inspir

(92)

ve incentive, creativ ve incentive, creativ IMAGES. (92)

“Vans Exhibition Space, Boutique Store”

23/04/21

Dezeen.

104

“_WEEK 08, A JOURNAL”.

iration, programm ration, programme When embodying the act of skateboarding, under the cloud of ‘Skateboarding’ itself are a variety of sub-categories. Perhaps sub-cultures that have made skateboarding what it is today, and why it is so sought after in this modern era we live in. One of those, most importantly, is the notion of expression (through artistic values). Through this ‘boutique’ Vans Store, it allows for pockets of spaces for emerging artists to showcase their talents - known as the ‘creative spaces’. These spaces are not defined by anything other than a typical sized workstation which has been tiled to replicate the idea of a London subway underground (as this set of spaces is located underground). These workstations of creativity are scattered around, each one holding a unique artist where people can loiter, socialise and appreciate the artwork being created right in front of their eyes (whilst they catch up with coffee in hand). Much of this ideal in London is reminiscent in the city of Melbourne, so contextually it would be essential to include such pockets of programmes within my architecture. Again, as mention numerous times - the key is the simplicity providing a workstation that is suitable for the artist to express themselves and showcase their talent on a simple tiled bench. The architectural make-up of this Vans store is really quite simple. Retail on the street level and this creative space below. Jamie Hearn (brand manager) stated that “The idea behind the space downstairs is really about a community platform for creative people” - which resonates quite highly with my project at hand.

“The store gives a rare platform to up-and-coming artists in central London”. - Hearn.

ve incentive. ve incentive. 105

“_WEEK 08, A JOURNAL”.

IMAGES. (93)

“Photography. Skater’s socialising on object”

25/04/21

Markovski D.

(94)

“Photography. Skater Gliding up Ramp Wall”

25/04/21

Markovski D.

(95)

“Photography. Skater grinding on railing”

25/04/21

Markovski D.

objects as affordan hrough skate, unit 106

“_WEEK 08, A JOURNAL”.

(94)

(95)

nces, objects ty through skate. (93)

107

“_WEEK 08, A JOURNAL”.

recedent study, pre ent study, preceden

(94)

A fascinating and eye-capturing piece of architecture with a glowing-like chamber of a shoe display. When thinking of this potentially being used in my building - it would be amazing to

pair this chamber with a water feature of sorts from above.Instead of the use of a bright over-bearing artificial light. Imagine the reflections, the glow, the atmosphere - a Euphoric feeling.

IMAGES. (94 & 95)

“KITH Store, Los Angeles”

24/04/21

Dezeen.

(96)

“Sketch of Glass x Water Concept”

24/04/21

Markovski D.

108

“_WEEK 08, A JOURNAL”.

ecedent study. nt study. As luxurious the chamber to the left is, there is a stereotypical nature to this supposed high-end fashion store. That being the clothes left hanging to the perimeter, quite literally just hanging there.. It seems all the thought was tailored to the chamber of shoes and the clothes were seemingly brushed off.

(95)

(96)

Though, what is enticing and elicits a “sexy” nature to the design is the use of brass on the trims of the chamber and also the hangers for clothes. Further, the polished concrete flooring is a beautiful surface that reflects the glass providing a dynamic lighting display. Also creating a perfect surface for a skateboarder to glide along, if one were to skate here.

109

“_WEEK 08, A JOURNAL”.

recedent study, pre ent study, preceden Observing this high-end, luxe streetwear store, it encapsulates the whole idea of an “Instragrammable moment”. Through its mix of luxe and brutalist material palette it gives off this core sense of “street” that has been evolved through highend touches with gold and metallic surfaces. The polycarbonate screens posses this luxury quality whilst giving space to the object on display highlighting it is perhaps an exlcusive product. Being a viewer from infront of the polycarbonate screen you get this distortion of an image of the product behind. You can gain a sense of the colours and very abstracted shape enticing you to seek what is behind the screen. When i think of this in terms of skate, it will be an interesting sight to observe a skateboarder behind a polycarbonate screen and seeing abstracted movements and colours. However, it comes off as somewhat sterile with the highly lit areas and bright surfaces. The main counter pops out with its textural and colour contrast in comparison to the rest of the palette - giving a sense of brutality and a sense of a warmer surface, however it still lacks. Perhaps it is just the lighting arrangement, highlighting to myself as a designer that lighting and its overall position and type is crucial into creating beautiful moments in the architecture.

etail investigations, nvestigations, reta IMAGES. (97)

“Fools Gold Store. Brooklyn”

24/04/21

Dezeen.

110

“_WEEK 08, A JOURNAL”.

ecedent study. nt study.

(97)

, retail investigatio ail investigations. 111

SOUNDTRACK: (I)

“Ganja Burn”

04/05/21

Nicki Minaj.

PART 9 / Further Investigations into Skateboarding & Architectural Relationships. Sketches, Material Palette and Precedents.

IMAGES. (98)

“Skateboard Motion Sketch”

04/05/21

Markovski D.

112

“_WEEK 09, A JOURNAL”.

(98)

113

“_WEEK 09, A JOURNAL”.

aneway proposal, la ay proposal, lanew

(99)

IMAGES. (99)

“Laneway Sketch through the Site”

05/05/21

Markovski D.

(100)

“Laneway Sketch”

05/05/21

Markovski D.

114

“_WEEK 09, A JOURNAL”.

aneway proposal. way proposal.

(100)

A Laneway Proposal. Something ambitious, perhaps too ambitious for the size of the site - it definitely is not the largest site ever. However, the idea was started back in week 4 actually, an idea noted in my sketchbook but never brought to fruition. Which now leads me to say, it is always IMPORTANT to note down every single idea that pops up into my head, because you never know when it may come to use. Now, the Laneway comes with the idea of lingering, loitering, gathering and a creation of a small extent of a plaza. The embodiment of skateboarder’s come through the idea of shortcuts and the whole idealisation of socialism - being able to interact with complete strangers in this laneway, creating new connections. From these initial sketches it proves difficult to create a suitable width of path for people to actually stop and socialise. I do not want to have the site being dominated with this laneway, so i need to somehow weave this idea of Plaza, Building and Laneway together. Perhaps the laneway is not a laneway but perhaps a public catwalk? Not too sure yet...

115

“_WEEK 09, A JOURNAL”.

IMAGES. (101)

“Laneway Sketch 2.0”

06/05/21

min mini self

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aneway proposal, la ay proposal, lanew 116

“_WEEK 09, A JOURNAL”.

nif reflection, self reflection, mi mini se Thought Bubble:

Precedents are so hard to find for this as well.... It’s a struggle to find architectural inspiration right now. This modality proves to be more challenging than initially expected. I’m developing an entirely new typology that has not really ever been designed for through my extensive research. Architectural objects are the only precedent i have to inspire me in this project and give myself somewhat of a start. I definitely want to explore skateboarding in future projects though. Definitely on a larger scale haha, being restricted to this small site is hard to cater for.

Through further sketching, i started to develop this potential idea of a stepped down laneway to create an amphitheatre space. However, i soon realised that this was not a solution nor a viable option to continue. Only due to the fact that skateboarder’s thrive in a flat open space/surface that allows themselves to express who they are. The notion of embodying skate is dominant in the fact of giving them this blank canvas to explore and bring along people & objects to create their own quality of space. Having this forced stepped laneway would drastically prevent them from doing this... Perhaps this laneway idea is too farfetched in relation to the site. It’s a difficult scenario i feel right now. Myself as a designer is being dramatically challenged through this modality. In the state of un-motivation through this time i am currently enduring, inspiration and ideas are hard to come by. My days are predominantly spent away from my home - having to attend to family issues. Something i found that was quite toxic in my design journey is that of PINTEREST!! I find it a very detrimental source of inspiration - reason being is that you can get trapped in this rabbit hole of finding ideas, only to put more stress on myself and worry myself even more. Changing ideas, thinking my current work is not good enough and always thinking that this Pinterest idea is better than what i have, even though the context of that design from someone else is on a completely different scale, site and just not viable for my project. This is why i have found a strong passion for reading architectural texts. Less imagery, some is good. And just to read the way the author depicts architecture and developing my own stance.

Dated, 06/05/2021 | 13:40 AET.

aneway proposal. way proposal. 117

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recedent study, pre ent study, preceden

(102)

etail investigations, nvestigations, reta IMAGES. (102)

“Shanghai Fashion Store. Réel”

05/05/21

Dezeen.

118

“_WEEK 09, A JOURNAL”.

ecedent study. nt study. From this precedent study of a “display” in a retail store, i found this form quite captivating when thinking about the idea of “reinterpreted skateable architectural forms”. This has a strong formal quality through it’s replication of street steps and the extra layer of the mirrored cube objects that sit on some of the steps adds an unintentional affordance of seating - a place to linger within a retail store as well as being a luxury display suite for shoes. I guess what makes this a luxury display suite is through its simplistic forms and the highly stylised materials through a terrazzo (steps) and metallic & mirror surfaces (display which some shoes sit upon). Further, having such metallic and reflective surfaces increases that underlying definition of being “ON-DISPLAY” which is quite prevolent in all high-end fashion stores. You are getting a vast extent of these reflections and cannot escape your own reflection. On top of that, the lighting qualities are quite brilliant and create this almost kaleidescope effect on the walls when the light strikes these surfaces. I think such a form in my architecture will be quite successful, perhaps in a similar position as in this precedent, being against a wall in a corner on the ground floor to make it quite accessible to all. However, i need to keep in mind that this specific form is not for direct skateboarding, the first few steps most definitely, as a skateboarder can grind on the edges whilst people above watch. As i kind of begin to unravel this project, it seems to me the floor planes will be quite flat and then an added layer of architectural objects to be placed on top to create these re-interpreted skateable forms. It’s interesting..... The obvious and most un-realistic route would be to create this wavy monstrosity and is something i want to avoid. The creation of architectural skate objects is far more intriguing for myself and quite luxurious in the sesne of being sculptural.

, retail investigatio ail investigations. 119

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recedent study, pre ent study, preceden At first glance this precedent doesn’t stand out as much to the regular viewer. However, when you take a closer look at the elements of the architecture you see the deliberate formal qualities produced - again, re-interpreting skateable forms and embodying the acts of skate. This is seen in the metallic seating/ displays to the right. The edges of this object have been blended/ bevelled to symbolise a respect to the act of a skateboarder as if one where to grind upon such an object in a horizontal manner. Further, the slight use of a curve adds “class” and luxe” to this rather street design. Further, the respect to space is quite generous, which suggests a skater could well and truly skate in this area. And please note that not all forms of skateboarding are wild tricks in a half pipe going a million miles an hour.

(103)

etail investigations, nvestigations, reta IMAGES. (103 & 104) “Supreme Store, Paris”

06/05/21

Dezeen.

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ecedent study. nt study. (104)

, retail investigatio ail investigations. What i want to take-away from this precedent of a streetweare clothing store is that of the attention to detail in reinterpreting skate forms through its architectural elements. Here, being the clothes railing. The form replicates a rail in which a skateboarder would typically grind down upon to perform a stunt of sorts. For myself, being a skateboarder, i highly appreciate this attention to detail when embodying the act of skateboarding. This is what i need to produce through my architecture. These details will help to show to skateboarders, and even the general public that this building respects and embodies skateboarding.

121

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recedent study, pre ent study, preceden (105)

The railing of clothes becomes an extension of the curved wall. Use of a gold-like metallic surface encapsulates a strong notion of modern luxury. The curve wall is simple, yet fascinating to depict a skateboarder’s movement that is slick and sweet. Getting the right curve is crucial to elicit this sweet and satisfying movement.

IMAGES. (105 & 106) “Andersson Bell Flagship Store”

08/05/21

Studio Unravel.

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ecedent study. nt study.

(106)

Utilising all aspects of the architecture to create fascinating & whimsical moments in a retail store. The ability to hang stock from the ceiling creating this spectacle, a true display of modern fashion. Metallic surfaces prevolent. Softened with a white carpet. Creating this abstracted forest of sorts. Imagine skating through, in and around this sculpture. The positioning of the objects/clothes replicate the contortions a skateboarder possesses.

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“Seaside_Demo”

10/05/21 SEB.

PART 10 / Interim 02.

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“Skateboard Sketch”

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exhibition suite 4 & galleria of expression

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“Ground Floor Plan, 1:!00”

10/05/21

Markovski D.

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“Short Section, 1:!00”

10/05/21

Markovski D.

(110 & 111) “Isometrics, 1:!00”

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Markovski D.

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“Isometric, 1:!00”

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“Isometric, 1:!00”

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Markovski D.

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eflections, reflection ons, reflections, refl 130

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n 2.0, interim, pres m presentation 2.0. From my most recent development of my project at hand, it was clear that were was a substantial step forward from interim 1.0. That being with a clearer idea of what skateboarding truly embodied and was somewhat translated into an architectural form that depicted this - still not to a full grasp, but it gave a taste. Reflecting on this tough period at the moment in my personal life in conjunction with this interim presentation - i was overall quite satisfied mainly with the fact i designed this building in 3.5 days (including all drawings) - to me, now, it seems clear that although i am heavily constricted with personal family issues, the adrenaline pumps through my body whenever i had a spare minute to complete some design work. Though something that was prevolent was the feeling of being rushed, it may not directly show in the work itself but i know it is rushed. I feel all these interruptions to my semester has severely impacted my studio progression which is rather annoying. In all honesty, i do not see myself achieving the project i want/really hoped to strive for this studio - however, i think the conceptual ideas hold such a strong value to this project and is seeing me develop architectural forms that may not be so developed, but the thought behind every curve, every step, every corner is calculated to a tee and for that, i know i can be proud of the work i have done. This is purely due to the fact i have such an interest in skateboarding and all the extensive research that i undertook early on in the semester. So, i commend not only myself for doing so, but also Hella for pushing the research and investigations into developing a concept. And what is more, being so time poor this semester, when that adrenaline does kick in 3 days before due date, my entire persona would change. By this, i mean that procastination does not exist - i tend to hyperfocus on the task at hand. But this is only successful when it is daytime, i have my special Japanese coffee or tea and i play my favourite music. So when i found that 3.5 days to do this design i ensured i had set all of this up to achieve the best possible outcome. Now, design wise. What i attempted to explore was the whole notion of the cross-pollination of a plaza and building which was translated through forms that embodied skateboard (body) movements (contortions) and fabric makeup’s. I think overall this was the most successful part of my current scheme and it will definitely be evolving in future. However, it does seem a bit random at the moment - i mean, random is relevant for an embodiment of skate, but right now my plan comes off too random. I need to hone this in, simplify it and make it elegant & luxe.

ns, reflections. flections.

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terim presentation tation 2.0, interim

(115)

eflections, reflection ons, reflections, refl IMAGES. (115)

“Skate: Super Architectural Spaces”

12/05/21

Markovski D.

132

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2.0, interim, pres presentation 2.0. With the laneway, i knew it would somewhat be problematic and in the feedback from the guests and Hella, it was noted that perhaps it was too narrow to house any kind of lingering and flow activity - which i totally agree with. It just seems a bit jarring and perhaps i need to reconsider the idea of this laneway. I think for this project it is just a bit too difficult to justify and create a building around a laneway yet maintain appropriate proportions to maintain my programmes. Speaking of programmes now...I need to reduce the amount that is going on in my scheme. I think this is where the idea of creating my own brief and programme showed issues. Usually in studios a brief and list of programmes is given - however here it is all up to myself. And in this interim i may have gone off on a tangent with this and need to hone in what is important and what isn’t. It made me think, when i look at my current design, “why is it so clustered?” 1. It clusters to architecturally highlight the intricate movements of a skateboarder in high volume traffic spaces. 2. It clusters in order to provide an experience for non-skateboarders to embody the movements a skater typically encapsulates. This is now where i realise, i need to reduce the programme and just open up these clusters and curves a bit more to maintain some breathing space. I think overall, the design itself just needs to be consolidated into what is really crucial. I know that i just spend too much time worrying about ensuring i don’t produce a pancake building - which isn’t good... Here, i need to mature and understand that i am not a visual artist in creating a pretty thing that will never stand. I need to architecturally mature and consolidate my ideas and evolve them. Skateboarding is a very planar modality, especially when it’s tied in with high-end fashion (runway shows etc...). However, i am very pleased with the isometric graphic representation. The colour scheme.... i am so unsure with it. I think i need to resort back to white backgrounds and nail the detailed elements of my project to showcase the luxe of detailing.

ns, reflections. flections. Dated, 12/05/2021 | 10:23 AET.

133

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“4422”

17/05/21

Drake (feat. Sampha).

PART 11 / 21st Century Retail Store which embodies the notion of Skateboarding through minimalist components. + Readings, Precedents & Sketching of Objects

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“Skateboard Objects”

17/05/21

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“Super Matcha”

17/05/21

Studio Unravel.

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“Super Matcha”

17/05/21

Studio Unravel.

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ecedent study. nt study.

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A pleasant spot to sit. Natural and wethered material palette makes the architecture more inviting. Sculptural in its configuration. A pleasant spot to skate, as if it were a ledge.

137

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A cold space, warmed with an ‘earthy’ palette.

The sunlight glistening down the elegant concrete staircase.

....A spot to enjoy a nice warm cup of tea.

[contrast]

A superspace for a skateboarder to perform a stunt down the stairs. Grind along the edges.

(119)

[a similarity] A space of socialism. To gather. To meet. To linger.

IMAGES. (119)

“Super Matcha”

17/05/21

Studio Unravel.

(120)

“Monoha: Cafe”

17/05/21

Studio Unravel.

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A cafe, embracing the nature of planar elements and affordances. What makes this cafe design successful is that of its simplistic nature and beautiful arrangement of materials in a rather industrial palette. This could be a match made in heaven for my scheme to symbolise the strong sense of Industrialism in Melbourne - a homage to be paid.

(120)

What strikes me here is the architectural language of the table & chair setting. I notice along the back wall that the seats become an extension of the wall to create this seamless form. Then the table widens up dramatically to convey this large social setting towards the front of the cafe (highlighting this deliberate design to create an active front zone). Further, when thinking in terms of my modality - i can’t help but think of this extended and dramatic table as more of a possible stage or catwalk.

139

“_WEEK 11, A JOURNAL”.

inspirational inspirational sket

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inspirational inspirational sket IMAGES. (121)

“Sectional Sketch”

19/05/21

Markovski D.

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“Inspired Sketch of Forms”

19/05/21

Markovski D.

140

“_WEEK 11, A JOURNAL”.

ltching. sketching. Another sketch dump as i am trying to piece together all the components that were successful in past into one solidified design. I try a section; to arrange a beautiful set of cold spaces that weave in greenery to warm up the architecture. An interesting curvilinear form. Need to keep in mind the movement of a skateboarder and not get too out of hand. An interrupted week it was. Finding time to draw proved difficult. But it was therapeutic to quickly sketch a section whilst in the passenger seat of a car, music blaring and the night lights penetrating through the windows and onto my page. I needed this slight escape.

(122)

A confluence of forms. A whimsical combination. The beam, the ramp & the arch.

Beam as structure. Ramp as skate. Arch as threshold.

ltching. sketching. 141

“_WEEK 11, A JOURNAL”. IMAGES. (123)

“Super Architectural Skate Object”

19/05/21

N/A.

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“Set of Skate Photography. Typical Forms”

19/05/21

Markovski D.

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“Set of Skate Photography. Typical Forms”

19/05/21

Markovski D.

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“Set of Skate Photography. Typical Forms”

19/05/21

Markovski D.

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In the figure above, i take inspiration with the creation of a super architectural space through the reinterpretation in a skate obstacle. When you gaze upon this figure above, and those on page 143, you can take note of the abstracted skate object above. Not only does this space act as an area for a skateboarder to glide along and perform tricks in the vast space, it allows for the act of lingering and could also accommodate for a performance of sorts. Note the detail to the edge treatment of the object to be skate friendly. This is where i fully see my project being crucial in the details rather than this whimsical paper architectural form. I have a new appreciation for architects when it comes to this level of detailing.

reinterpreted skate reinterpreted ska 142

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(124)

(125)

(126)

objects, reinterpret ate objects, reinterp 143

“_WEEK 11, A JOURNAL”.

reinterpreted skate reinterpreted s With the Architecture, i began to briefly test out highly affording walls that will form the basis of my architectural language.

(127)

Figure 127 is highly successful in accommodating this guided path with its elegant curve that elicits that ‘sweet’ movement. Layered with reinterpreted skate forms with the ‘bank’ placed on the left of the wall - acting as a display for retail objects (shoes) and also suggesting the act of grinding on the ledge or going up the ramped bank. Two gaps in the wall. One at eye level to see the head of a human. One at “skate level”, to see the skateboard, the shoes.

t affordances, objec ordances, object aff IMAGES. (127)

“Wall Formation; Affordance”

19/05/21

Markovski D.

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“Wall Formation; Affordance”

19/05/21

Markovski D.

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“_WEEK 11, A JOURNAL”.

eskate objects, reinterpr objects, reint

(128)

Figure 128, a wall form that is more sculptural - to accommodate as a seat, a literal sculpture, a niche for smaller retail objects to sit within (sunglasses, jewellery). The formal makeup of the wall itself romanticises a skate ramp, an abstraction. This wall formation has been carefully drawn out to elicit these various programmes within only ONE WALL. One wall with a variety of purpose. Perhaps a clothes railing is needed to be added to the top of the wall, another layer of retail. Perhaps a mirror paired with a small niche so the person on the other side of the wall can peek and see that person testing sunglasses. Hm, interesting.

ct affordances. ffordances. 145

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reinterpreted skate reinterpreted s The testing and creation of super architectural objects - an extension to architecture is the furniture within it. To maintain this language of ‘reinterpretation’ of skateable objects.

(129)

A sculpture to symbolise and suggest the act of skateboarding. An object that seems all too enticing for a skateboarder to not attempt. A display for retail objects to be placed upon. One side is ramped; suggestion it is multi-use at one time - that being a display with the flat form atop of the ramped form where a skater can go up briefly. Or perhaps is it a seat? A place to linger.

t affordances, objec ordances, object aff IMAGES. (129)

“Super Architectural Object”

19/05/21

Markovski D.

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“Super Architectural Object”

19/05/21

Markovski D.

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eskate objects, reinterpr objects, reint

(130)

I take another step forward. I see skateboarding in a domestic setting now. The creation of a ‘super ledge’. A reinterpreted skateboard ledge acting also as a seat or display. The concrete blocks underneath the plate atop provide stability and another interesting skate moment & another display. Casting back to my ideals about Socialism in skateboarding. Music is a core component. Enabling the ability to have a plug in speaker is one that is humorous but all so relevant in a typical skateboarder’s life. To play music aloud. Expressing themselves. Music to go in conjunction with their skate stunts. To put on a spectacle. A social gathering.

ct affordances. ffordances.

147

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ections, reflections, ns, reflections, refle

(131)

(132)

ections, reflections, ns, reflections, refle IMAGES. (131)

“A ledge. An affordance in the City”

19/05/21

N/A.

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“A ledge. An affordance in the City”

19/05/21

N/A.

148

“_WEEK 11, A REFLECTION”.

,ections. reflections. Design Decisions: When it came to my design decisions for this week, i thought they were very considered and precise. This was due to the fact (much like every other week) by heavily investigating and researching specific components i need for this project at hand. Layered with quick sketches, whether on paper or on my iphone notes - these provide a sort of safety net to always ensure the idea that popped into my mind was noted down somewhere. I believe this process has worked wonders for me not only this semester but just in my general development as an architect. Albeit being in week 11, these components (precedent investigations and sketching) provide that safe guard into ensuring my design decisions are well considered and have evidence to back each move up. When it comes to the refinement of my design(s), i think perhaps the best mode for myself is that of super rough sketches and then (when time and opportunity presents itself), i will model it up in Rhino all of which have derived from a precedent to come up with a solution that accommodates for my scheme. Once it is sketched and/or modelled this is where i begin to manipulate and test various alternatives (for example with the wall designs and super architectural objects). However, i can’t help but think is there a time where precedents become redundant? Does it perhaps begin to just confuse me and begin to warp my design decisions where i essentially keep going around in circles (i’m thinking i’m making the design better upon finding more and more precedents, but in fact im just keeping the same idea but different, never “improves” it). Iterations: Many many many iterations have been made this semester. From Interim 02 til now, i have had to discard essentially everything from that design when i was reflecting and looking at the possibilities i can take my design from a 6 to a 10/10. The ideas that were discarded were mainly around the formal qualities of my design (too much clustering) and also the laneway. These were just too overly complex for such a small site and in this context. It just wasted too much of my time. Successes: The biggest success for me this week has been the development of my super architectural objects ideals and their formal qualities encapsulating so much depth when it comes to affordances and the core notion of “reinterpreting” skate objects. This is also in conjunction with the architectural language i have began to create with the walls. I think as a whole now, my project captures all aspects of design - a “total design” in architecture - the language of walls/floors, objects, furnishings (interior). I think the value it holds is really amazing now.

,ections. reflections. 149

SOUNDTRACK: (L)

“Ocean Drive”

24/05/21

Duke Dumont.

PART 12 / The End... Final Explorations & Development.

IMAGES. (116) (133)

“Skateboard Objects” 17/05/21 “A photographic board of the modality” Markovski D.24/05/21

Markovski D.

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“_WEEK 12, A JOURNAL”.

151

“_WEEK 12, A JOURNAL”.

skate moveme skate movement in

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skate moveme skate movement in IMAGES. (134)

“Movement of 2 different skateboarders and architects”

26/05/21

ArchiNinja.

152

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ent investigations. nvestigations. Figure 134 “maps the movement of 2 different skateboarders and architects as they were asked to critique an area of the city. The site is Martin Place bounded by Elizabeth and Castlereagh Street. The diagram represents their movement (in plan view) within the site over a 10-minute period. Crosses mark the beginning and end of their critique, time is shown in minutes and the circles represent a physical interaction with a particular object (touching a wall, sitting on a bench etc). The path of the skateboarder is shown solid, while that of the architect is shown dotted” [archininja].

What is super interesting to note from this investigation that took place in Sydney, was that of the movement of the Architect vs. The Skateboarder(s). We can see that the architect only touches two objects in total with no repetition in their movement whatsoever - showing quite a pragmatic flow of movement. The architect only stays within the boundary of the sites and does not DARE to go beyond. In a great contrast we note that the skateboarder is touching objects all over, discovering their purposes, what they feel like to possibly skate upon - their movement is quite nearly impossible to track due its randomness. The skateboarder does not at all stay within the boundary of the site, exploring every possibility. [When i think of my design now, i need to think of an openness that contains various objects for the skateboarder to interact with]. Additionally, the skateboarder’s movement is so active and is asserted through TOUCH, sounds and balance. I think the idea of balance is an interesting one. I can’t make a building so complex in its spatial qualities that a skateboarder cannot interact with it - perhaps if my modality was parkwhore, then yes. But skating is a very different modality that needs an open plane to discover what is around the corner. Having so many plane changes is a skater’s nightmare. Horizontality is key. “The repetition in the skateboarder’s path and physical interaction with architecture in fact indicates a deep understanding of those particular objects that the architect would not be able to describe accurately”. [archininja].

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A precedent that caters for the wall structure i most definitely want to use within my architectural language. And what is even greater is that it derives from a modern high-fashion store - implying this is an industrial luxe calibre of architecture. Perhaps i would use a sort of polycarbonate material instead of plasterboard however. The silhouttes of people moving will be far more fascinating, especially in a static vs. active scenario.

(135)

The curve wall is crucial in the language of my design. I need to ensure the curves are slick in the form. Yet maintain this contortion reminiscent of a skateboarder and clothes unravelling. This week is all about generating and refining these wall forms (if the time allows - unfortunately still in a hard situation).

IMAGES. (135)

“Retail Wall Structure. Fashion Store”

26/05/21

Studio Unravel.

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“Material Combination”

27/05/21

Markovski D.

154

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An elegant composition of materials discovered at a boutique store in Geelong. This could be translated into a material board of my own. Perhaps i need to invest a day or two into developing one. Upon getting a gift for a loved one in hospital, i stumbled upon this great inspiration. Ah, the things you find when you least expect it. The materials here consist of those warm earthy tones which i need to balance out the cold metallic surfaces that will dominate my architecture along with a light concrete. I don’t want to get too carried here and start using boulders and rocks in my architecture - perhaps for a project in future. But i just find this confluence of materials to be captivating. If the steel was thicker it would prove to be quite an amazing ledge to grind upon for a skater. Just the entire formal quality is brilliant. Perhaps there is a way i could weave using a rock as a structural element for a ledge. Just to push that boundary more of the unexpected.

(136)

155

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This change in level is quite interesting. Placing the objects higher. But this width is so inviting to stand upon, house some sort of catwalk or performance stage. These similar precedents keep popping up, i think i need to come to some reasoning for this architectural form. Perhaps the raised flooring is general circulation and the sunken areas cater for other programmes. Hm, something to develop and think about. Additionally, the sounds a skateboard would make on this metallic surface would be amazing!!!

(137)

IMAGES. (137)

“Fashion Store”

28/05/21

Studio Unravel.

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“Geijoeng store”

28/05/21

Studio 10.

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(138)

A daring space to skate. A space the presents a beautiful ledge covered in marble. Imagine the sounds of a skateboard gliding and grinding along it. The Terrazzo tiling on the floor exuberate this essence of high fashion and luxury. This would be a fascinating material to place in spaces of high importance. I need to think about distinguishing spaces other than just thresholds and forms. Flooring and tactile surface changes are needed. The curve wall is fascinating. Appears to be some kind of plastic or glass brick. It distorts the object behind it. I can picture a skater gliding past and seeing this abstracted and distorted figure.

157

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ections, reflections, ns, reflections, refle

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ections, reflections, ns, reflections, refle IMAGES. (139)

“Development of Architecture; A luxe design”

29/05/21

Markovski D.

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“_WEEK 12, A JOURNAL”.

,ections. reflections. Design Decisions: For the last week of this crazy semester, i think what got me through was the fun of experimentation that derived from my final investigations into a skateboarder’s movement. My design at the moment is developing, if i can say that... Due to all these interruptions this semester i have not been able to cleanly or smoothly develop one piece of architecture/design. However, i think i have settled on a set of formal qualities that will see myself over the line. I think overall my decisions have exacerbated from my precedent studies and all that remains is to finish the design and assert that final material palette which will be another key device into distinguising spaces. Iterations: When it comes to iterations this week, it was mainly about further developing my wall structures and this new ideal of a sunken space vs. a raised space on a ground plane. This could be the solution into creating a space accessible for skateboarder’s without going overboard. I think this set of iterations has developed quite nicely and is the strongest architectural qualities i have created this semester which is nice to finally see. Further, i am beginning to re-visit a previous architectural element in the lattice to add some needed excitement to the design. Through some iterating i need to use it just enough to have it peek on the facade and gradually within the building but not to have it overpower. I tend to use it as more of a ‘guiding’ device. Successes: The biggest success for me this week has been the development of my programme overall. I noted down the final list of programmes and now developing relevant zones to cater. I think the forms i’m starting to create are definitely promising. Especially with the use of these calculated curved wall forms and now the addition of a zone the pertains to the varying floor level changes (figure 139). I think a space like this is quite dynamic and highlights the multifunctionality i NEED to possess. I can imagine skater’s coming in here and giving these different zones a purpose every day. It does not remain the same programmatically here, which is why this will be placed on the ground floor to maintain this active environment.

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“_WEEK 12, A JOURNAL”.

ections, reflections, ns, reflections, refle A Thank you... Well firstly, what more can i say about Hella - nothing but praise. I’ve had Hella in the past as a studio leader for Studio Epsilon in the Bachelor’s program, and it was truly in that semester where i was pushed to my absolute limits. Her teaching techniques, guidance and overall persona was one that completely resonated with me and my design thinking. I hope to be under the guidance of Hella again in the near future if any opportunity presents itself. I hope to be involved more with her when it comes to University, whether as a guest and to just keep as a dear friend now. I always have the best of times in studio & even though a very difficult semester for myself personally, you stuck by me the entire time and i cannot say how much i appreciate it enough. So for that, thank you Hella. _____________________________________________________________________________ A summary on the Semester gone.... When reflecting on the entire semester as a whole, i strongly think my main driving force was that of participating in the modality of skateboarding itself and already having this underlying passion for it. It endured myself to explore new techniques of representation through photography and collaging which were quite under-utilised in the past, and it is a technique i will definitely be pursuing well into the future. When i discovered the freedom of the studio right in week 1, my mind was going a million miles an hour on how i can represent my project - i had these initial ideas of bringing in a metal fence of sorts and stringing my layout onto it, then had this idea of a giant mural along with concrete models. I am very saddened, actually very disappointed i could not achieve this for this semester..... Sometimes, it is just the way the world works and you cannot control the difficulties that lie upon yourself & unfortunately i endured a semester of interruptions that hindered myself from completing tasks to my usual high standards. However, through hardships i found this new fire in my belly. When faced with 2 or 3 days to complete a project or design task i was fired up whenever i found 10 minutes to work on it. This new fire that removed procastination. Through finding a new passion for Japanese based tea and sitting in the sun, I was able to design quickly. Like very quickly. I’m talking a whole building in one night and drawings to an average standard in one day. To me, it reassured me of my talents and i think Hella saw this, and though not the marks neither of us would’ve liked to have seen for myself, we were both somewhat proud. I developed this new respect for myself.

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“_WEEK 12, A JOURNAL”.

,ections. reflections. It’s quite amusing actually when i think about skateboarding now. I never used to view it in such an architectural light. For myself, it was just a hobby to meet up with friends and enjoy the freedom. A peer of mine said to me the epitomy of Freedom is Skateboarding. The skateboard, a symbol of Freedom. And through this project, now coming to an end, I strongly see this architecturally and spiritually. Now, when i cast my eyes on a skatepark, for a quick glance whilst driving, i will analyse the architectural components of the forms and see the true values it possesses. Skateboarding being that icon of Freedom.

I love that saying. It holds so much emotional value to me. Through everything i have encountered in life, skateboarding was an outlet for myself and it truly was this Freedom. The ability to just glide along a smooth concrete surface. No bumps. No gaps. No obstacles. Just a plain open space. That space symbolised My Freedom. That vast space which was empty to everyone else in their eyes, was my chance to express myself through the acts of Skateboarding.

What i realised through this project was the core values such a modality possessed. And seeing all these detrimental “designs” for skateboarding was fruastrating. Most architects do not cater for such a beautiful skill. It really drove me to ensure i developed an architectural response that respected a skateboarder. A response that embodied the mindset of a skateboarder. I did not want to design a skatepark fulfilled with typical obstacles. I wanted to design architecture that resembled a skateboarder and their values. I analysed, and analysed and analysed skateparks and public spaces, dissecting elements that were favourable for a skateboarder. I don’t think I have done so much research in my life for a project. And it pays off. Especially when you are so passionate about the modality, it feels rewarding. I paid such close attention to the arrangements and visibly observed skateboarder’s and what surfaces they gravitated towards and others they didn’t. I quickly realised this project entailed an insurmountable amount of detail elements. Every ledge, every curve, every ramp, corner and floor surface was crucial into depicting an architecture that embodied skateboarding. So from that point, i knew i was not just designing a ‘building’, i was designing everything - from customised walls all the way to the furniture (which i have discovered a true passion for now). I would love for this studio to take a route more towards this element of sculpture, furniture and interior dominance - it’s a beautiful studio that is still finding its feet. This studios stylisation of detailing, line drawings with subtle texture and shadows/light is perfect. The lesser focus on renders and exterior junk is what is needed at this university. Even though this project has ended for this studio. I will be continuing my investigations and developing this design. I really want to satisfy my personal desire for this project.

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FUTURE PROJECT IDEAS: - japanese architectural qualities, utilising natural materials and the physical environment within the architecture. for example a boulder in the middle of the building being embraced and designed around - the relationship between tattoo and architecture (a poetic project) designing for a specific body part, the architecture is simplified yet complex in its spatial configuration - somehow involving space, like actual space - the moon, comets, planets etc. using these ideas to communicate an exciting project from formal qualities to the core of the story

TO IMPROVE, LEARN, EXPLORE: - I REALLY WANT TO HAND DRAW AN ENTIRE SECTION!!!!! - i want to further my collaging skills- kinda fell in love with it in this studio now.

TOOLS TO USE IN FUTURE PROJECTS:

- i really need and want to improve my story telling within a project, i feel i have everything quite on point drawing wise and talking, but i need to learn that true essence of story telling, philosophical values.

- This defs isnt the last you will see me investing in the art of hand drawings, hand making models etc. i really have found a new respect and passion for it - i think using more means of abstract conceptual photography to convey my proposal - using other elements such as music, film etc to help tell the story of my projects

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