Aa visiting school final journal

AA Visiting School CLOUD Emily Thomas Siqi Duan Loke Ee Jay

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1.0 Precedent Study

1.1 Levithan

1.2 Fabric Residences

2.0 Site

2.1 Physical Conditions

2.2 Oasis vs Danger

2.3 Emotional Experience

3.0 Design Method

3.1 Initial Ideation

3.2 Pneumatic Structure

3.3 Spatial Planning

3.4 Digital Generation

3.5 Tectonics

3.6 Physical Testing and Model Making

3.7 Final Design Output

3.8 Narrative Experience

4.0 Reflection 5.0

Appendix

5.1 Biography

5.2 Credit

5.3 Bibliography

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Introduction Laneways are mostly wasted spaces between buildings introduced within the Hoddle grid when Melbourne was initially planned. The thin strips of road mostly darkened by the towering buildings on either side create a sort of oasis which blocks out the busy metropolitan life, but additionally presents a sense of danger.

Activation of the space usually includes a cafe or street art, but what else can be done to make use of these thin sites?

With a major population boom and the number of people living in Melbourne expected to almost double by 2051, the number of people searching for a place to sleep will rise. Homelessness is already a notable issue with 1 in 200 people sleeping rough every night in Australia. Our project does not aim to solve this issue, but it does aim to create a space in which those who are in need of a bed may occupy.

However, there is also the issue of community to be addressed; there is a social stigma surrounding those who are homeless which usually keeps the two separate. We aim to create a place which ensures a sense of community and public space. The shared space will be separate, yet linked to the sleeping quarters, eliminating the exclusivity of a building with one specific purpose.

Our project is an entirely pneumatic structure, created with an inflatable slab and wall system which can be altered for other site conditions. This system is insulative and comfortable, yet also sturdy enough to provide good walking ground. The skin of the system is another pneumatic structure made from translucent material which makes use of the many air conditioners and existing machinery on the site for inflation. The aim of the system is to make use of the restricted spaced of the laneway providing a space for anyone to enjoy.

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1.0 Precedent Study 1.1 Levithan 1.2 Fabric Residences

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Leviathan

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1.1 Leviathan Anish Kapoor A large, bulbous structure made with interconnected balloons, Leviathan had a great influence on our final design. The continuous, sinuous curves eliminate all joints to blur the lines of art and architecture. The material itself encloses the interior events, only presenting shadows of those who brush up against the walls, otherwise the design is secretive, providing only hints of the internal space (Frearson, 2011). We also wanted to do this in our design, providing a structure which was transparent, but layered so only figures could be seen, blurring the details. From inside Leviathan, the walls are coloured red to give the impression of the user being enclosed in a womb like space, which would be instrumental in our final design output. Shadows created on the internal lining would reveal the intricate architecture of the palace within which it sits, ensuring the history of the building remains stagnant throughout the entirely new installation.

The main idea of the installation is to demonstrate the juxtaposition between the structure of the palace and the bulbs themselves (Hudson, 2011). However, similarities exist within the symbolism of the piece; the womb-like installation represents the life and body as a living space, intentionally drawing links between the human and the church which both share these characteristics.

The grandiose project sits within the palace which is cathedral or church like.

This inherent meaning would additionally come to influence our design as the translucent structure seemingly a floating mystery above the passer-by’s head, would similarly represent a living, breathing entity which can bring togetherness into such a thin and small space.

The structure and ribbing utilised in the design ensure the form is contained to that in which the designer desired, however we felt as if achieving the opposite could be potentially rewarding. The form of Leviathan is ostensibly contained whereas leaving the material to form as it may would provide some interesting and unique geometry, something which we considered for the final design.

In Leviathan, the strict ribbing moulds the material into a pre-determined form which we explored in the beginning but could see more design outcomes would be possible by allowing the materials and computation to determine the geometry for us.

Image Sources: Anish Kapoor, Leviathan, 2011. Left: http://anishkapoor. com/684/leviathan. Right: http://www.metalocus.es/en/news/anish-kapoormonumenta-2011-leviathan

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Fabric Residences

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1.2 Fabric Residences Do Ho Suh These houses made entirely from fabric suspend from the ceiling to float above the passer-by’s head. They represent the idea of a home being transient and temporary, as seen from the perspective of a nomadic artist (Laneri, 2012). The solid structures become transitory with the use of materials such as diaphanous silk or polyester in the form of the artist’s past residences. Each sheet is placed under tension and supported by metal framework and the designs are all made from the one material. This became an important part of our design; everything being seen as one thing, even if they were separate elements, creating a sense of coherency within the structure.

There is also an importance placed on the layering of different elements which we also aimed to mimic. Each part of the design was set behind another and due to the translucent properties of the materials, Do Ho Suh’s design also gives the same sense of mystery by providing only hints of the interior rather than full transparency and all the details. These layering and translucent aspects also add to Do Ho Suh’s intention, elucidating the idea that the home is a memory woven into your brain, set to reappear whenever one desires (Cox, 2014). With our structure also providing temporary shelter, the intentions of the designs are analogous, the temporality of the housing shelter reflected in the material.

However, Do Ho Suh’s design is completely uninhabitable. The spaces can be walked through, but the architecture and the features act only as enclosing walls, not floors which the user can walk on or spaces which be interacted with.

This works in the project’s favour as the installations are only supposed to be perceived as art, not architecture but our own design has a specific function to provide meaning this would need to be built upon in the final design.

Image Sources: Do Ho Suh, Fabric Residences, 2012. Left: http://www. huffingtonpost.com/2013/12/01/house-made-of-fabric_n_4368284.html. Right: http://publicdelivery.org/tag/do-ho-suh/.

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2.0 Site 2.1 Physical Conditions 2.2 Oasis vs Danger 2.3 Emotional Experience

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Brien Lane in the context of the CBD

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2.1 Physical Conditions Brien Lane, located perpendicular to Collins and Little Bourke Streets, is a narrow and underused laneway. Being 2.4 meters wide and 96 meters long, the site leaves little free space for anything other than thoroughfare or storage of unsightly and noisy machinery. With its proximity to main roads such as Russel and Exhibition Streets, very few patrons use the lane, preferring the busier routes.

The buildings which line the laneway and create a looming border, the thick walls only home to windows and vents rather than protruding elements. The windows are blocked out and seldom used which makes the walls the perfect blank canvas for a new built environment. The proximity of the walls to one and other also has a great effect on the experiential qualities of the site to be expanded on in the next section.

Finally, the site has a very steep slope, diminishing three meters over the entire site. This adds to the space available on the Little Bourke Street side of the site as the slope creates diversity within the lane. These physical conditions served as the main factor which influenced our choice of site, yet it was also the emotional experience that lead to our final decision.

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Brien Lane

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2.2 Oasis vs Danger Two elements of the site which stand out particularly are the conditions oasis and danger. Although opposites, they are created with the same spatial qualities which make up the site. The high walls against a narrow space almost completely eliminates the sounds of the busy surrounding public spaces, completely obscuring them with loud machinery at the Little Bourke Street end. Here, the calmness of the site enhances the idea that tranquillity can be achieved, yet the silence is also eerie, weaving a sense of danger into the back of your mind.

The walls also block majority of the sunlight and wind, making for quite a dark space at all times of the day. The darkness and warmth additionally add to these elements working to create a space which feels safe and relaxing, yet sinister; that feeling you get when everything seems perfect, yet something is not right.

This emotional experience was what influenced our final choice of the site, as these conditions became inherent themes throughout the project. Without these two major conditions, the site merely exists in the physical sense as a street which repeats throughout Melbourne. Yet Brien Lane stood out with its unique qualities, becoming the site we could manipulate and enhance in the design of our intervention.

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Brien Lane

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2.3 Emotional Experience In order to document the physical and emotional conditions of the site, we composed eight narratives which metaphorically resonate with the experience we had during the site visit.

Towering Reaching up so high, the buildings disappear into the clouds. A seemingly endless creation, tickling the bottom of the Giant’s land one can only reach via a magical beanstalk. Everything else is miniscule in comparison, even a human is an ant in the laneway.

Thunder Pounding on the inside of your skull, the sounds bounce and jerk, running rampant. They dance like imps through a forest, yanking and kicking at your ears until you press your palms against them to muffle the sound. It is so loud, nothing can compare, not even the sounds of the busy city traffic or the piercing screams you release when you fall.

Ascendant It is hope in a physical form, framed by clear glass and carefully placed walls. It is desire that drags your eyes upwards to the wall where you imagine climbing away from the darkness in which you currently stand. But only from here can you catch a glimpse, and it is only a glimpse before disappearing forever.

Lustre Darkness seeps in like smoke, filling up every possible space. And it is here under the blanket that the monsters begin to growl, hungry for prey. With the void filling the cavern, invisible tendrils tug and pull, brushing their fingertips across your shoulders and breathing hot whispers on the back of your neck. Until you step into the spotlight and a warmth rushes in, embracing you from head to toe. It form a barrier to keep the monsters away, to keep you safe from any harm.

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Brien Lane

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2.3 Emotional Experience Remnants Ghosts of the past echo along the halls, altered, but never truly erased. One can almost hear the creak of the door that has been replaced by bricks, or the chatter of the customers who would frequent the store. Now, as faint letters, almost illegible, the meaning is lost, but still clings to with all its might, in hope that it may one day be remembered.

Expression Marked, the walls serve as a tool of communication, yet nobody sees it. The mermaid swishes her tail thoughtfully, desperately trying to say something yet nobody casts a glance down, they stare directly ahead at the light at the end of the tunnel always yearning for a future instead of experiencing the now. But without an audience, is she art, or just a lonely mermaid lost like the rest of us?

Interminable Endless. Ostensibly stretching for an eternity to which the light can be the only saviour. No twists of turns, only predictability and emptiness. The walls blur into one and the details are forever lost. Speed is the only factor of importance as echoing footsteps fill the passage for mere seconds before it plunges into lonely silence once more.

Confined The walls inch slowly inwards, ceasing to pause. You press your palms against the cool bricks but your strength is not enough to halt the movement. Heart beating loudly in your chest, thundering in your ears, you run, but to no avail.

The walls close until the oxygen is sucked from the space and a blanket of nothingness closes over.

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3.0 Design Method 3.1 Initial Ideation 3.2 Pneumatic Structure 3.3 Spatial Planning 3.4 Digital Generation 3.5 Tectonics 3.6 Physical Testing and Model Making 3.7 Final Design Output 3.8 Narrative Experience

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Initial Design Ideas

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3.1 Initial Ideation The original design idea was to input something in the laneway which would combine a sense of danger and fun, creating a sort of new path to replace the original. This idea was based on the work showcased on numen.eu, which presented pieces using tensile structures which were continuous and made from a singular material. However, throughout this design process, we discovered the prevalent issue of homelessness which surrounded the city streets. We decided to use this as a focus for the project, providing more of a social connection, yet we also needed to alter the idea to provide sheltered spaces. Hence, the hanging pods idea evolved, which would be accessed by the existing windows on the faรงade as well as joined by curved and tensile rope bridges connecting the elements together to form one design.

Using materials of a singular entity worked effectively in this iteration and would continue to pulsate through our work until the final outcome. The smooth continuity provided by the design would deliver the effect we desired when describing experience and the complex journey arranged by a set of intricate paths mimicked that of the Hoddle Grid in which it would be placed; full of laneways which created a maze-like experiential path through the CBD. However, this design iteration did not come to achieve all our desired outcomes.

The materiality we chose initially was tensile and perhaps did not communicate our design ideas effectively. The design made from ropes seemed childish and too similar to a playground instead of a serious and complex installation providing shelter and a place for community congregation. The singular pods were also disadvantageous in the design outcome. Each pod was read a separate element of the design, creating something which was not entirely whole, but made up of singular compartments.

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Balloon Testing

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3.2 Pneumatic Intervention Following the interim presentation, our design followed a new direction in terms of materiality and tectonics; pneumatics. Due to the analysis of new precedents (including Leviathan) we decided to create a singular inflatable structural skin, which enclosed a pneumatic built form which supported the living and congregation spaces.

Because we would now find form using inflatable structures, instead of creating a set form and hoping to mimic this in real life, we tested with balloons, squeezing and joining them together to see the diverse outcomes. Utilising the tests, we found that with less air in the balloon, the form could be controlled easier. Using our hands or boxes, we could mould the form we desired and sometimes, the balloon would even hold its shape after the form work was removed. However, with more air, the balloons were more difficult to control. The form was based entirely on what the balloon’s initial capabilities were (round or long) and could only be shaped to a small extent.

These tests resulted in our initial ideation in this area of design, yet the forms we created were still very simplistic and restrained, and at such a small scale restricted by materials we had easy access to. However, they were very useful in terms of discovering the restrains of our project and what elements we would need to consider moving forward in the design. In order to move forward, we would need to utilise computation to extend the complexity of the testing and devise a solution which fit the specific site conditions, rather than ones that we simply moulded with our hands.

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Site Diagramming and planning

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3.3 Spatial Planning Based on the faรงade of the buildings surrounding the laneway, we devised the optimal spatial configuration of the structural elements. To do so, we overlaid the two faรงade elevations and began with line drawings which could be translated into sectional drawings of the design. Based on these, we chose the one which had the most diversity of levels (to create a more complex experience of thoroughfare) and which utilised the given space in order to produce the largest number of sleeping shelters.

From these lines, we created a simple three-dimensional drawing using boxes to represent the space which the skin would need to contain. This would be considered as the space defined by the interior slabs and structure, but the overall heights of the ceilings where the walls appeared when not contained by the building envelope would vary, based on the inflatable skin and how it changed according to air pressure.

The spatial planning also led into the creation of the division of programmatic relationships within the design. The separation of private and public space needed to be defined to ensure the protection and privacy of those seeking shelter, but also could not simply be a wall and door which stopped the public from accessing these areas. Therefore, from the spaces, we separated the programs based on how close each part of the building was to major public streets. Experience of the user and how they moved through the site was a major part of this planning stage but eventually we settled on a solution which allowed everyone to access the building through the same staircase, yet the private areas would lead off through paths with were not so obvious to the public who would be focused on reaching the parts of the site where the roof was made from the translucent skin and not from the structure of the floor above it.

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Initial Attempt

More Air and Errors with Intersection

Final Design Output

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3.4 Digital Generation Utilising computational design, we input the original spatial planning diagram between a site model to specify the solid parameters. Then, using the diagram, we created a solid which contained these elements. The site model served as collision faces which interacted with the design which was manipulated using Kangaroo Physics.

Inflating the structure with different air pressures created designs which were diverse in form and appearance. When using a higher air pressure, the skin grew too big, falling on top of the shorter buildings rooves and impeding on space other than the laneway. Even though this was not what we desired when initially experimenting, we thought this effect worked well and could be explored more.

The spaces on top of the rooves were not being utilised currently and they, like the laneway, held wasted space which could house our new design.

Using the existing buildings as points which would push the bubble between them proved difficult computationally, but once this was achieved, the form of the bubble became more interesting and complex. Each ripple and bump were created by the site buildings pushing into the structure to create a similar effect as our sketch models, but at a higher level of complexity. Computation proved the best way to devise a final design form which respected the space set aside for use as well as interacted with the site buildings and conditions without disturbing them too much.

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Site Tectonics

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3.5 Tectonics The slab design is based on an inflatable structure, made from smaller squares which can fit together when needed. Supported by tensile ropes, each slab system fits within the site and can be adjusted where there are inconsistencies on the faรงade or in the laneway such as protruding windows or machinery.

Because this is a lightweight pneumatic structure, we designed it so the squares could be assembled as needed, added and taken away when required, but could also be used in different sites with similar conditions to Brien Lane.

In designing these slabs, perhaps it would have been more useful to attempt to combine the skin and slab system rather than coming up with separate elements.

However, I think that the separate systems do work as they define certain spatial boundaries and serve different functions, but maybe needed some more development.

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Final Detail Model

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3.6 Physical Testing and Model Making Implementing our design in a 1:50 scale model proved difficult because it was so complex, but we began by documenting and creating the site conditions as this was very important for overall structure of the form. At such a large scale, the sheet and material size became problematic, however, once the overall site was complete, we could create our actual design in a physical form. The best way to do so given advice from our tutors was to create a mould and form acrylic around the foam to create the design. However, given time constraints, we used the CNC cut form which was very detailed as the final model form.

As we utilised foam for the model, we could carve and manipulate the form to mimic what we had created computationally, however, since the model making process was so different from what the actual structure would be, the model could only be representative and did not demonstrate how the form will be different every time. The subtractive process of the model making differed significantly from the pneumatic structure we wanted to form, however, this model would work with the digital one to demonstrate our design idea thoroughly.

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Final Detail Rendering

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3.7 Final Design Output The final design is composed of two elements: the slabs to be inhabited by the users and the outer skin. The two elements are seen as one singular element in that they are constructed from the same translucent material and layered to give the same effect as Do Ho Suh’s Fabric Residences, ensuring shadows can be seen from outside of the design, yet the privacy of the users within remains. However, the skin and the structure are still to be ultimately read as two diverse elements with unrelated functions. The structure is intended to appear more sturdy and safe, providing protection to both the inhabitants and the public as something thick and solid that they can walk across.

However, the skin which bulges in and out, sometimes impeding on the space within and other times leaving a larger space, has the primary function of protecting the users. We decided the skin should be thin and almost completely transparent, protecting without cutting the user off from the environment we are enclosing them from. The bubble-like appearance is representative of the laneway’s inherent qualities itself, enhancing the oasis by shielding the interior, but also augmenting the sense of danger and thrill by dropping away from the slabs, some of which have one side exposed to a two-meter drop.

In terms of experience, the design intent is to provide an arena for community togetherness (through the inclusion of public space available for galleries, street art, picnics, film viewing, etc) which is separate, yet connected to contained private dwellings. The form of the building represents a cloud which floats above the streetscape, something which does not aim to solve the housing crisis issue of Melbourne, but which aims to at least provide some shelter in a space which is not condemning, but a desirable place to visit for all Melbournians, not just those in need of a bed.

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Interior and External Views

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3.8 Design Experience Narrative Below is an allegory based on the experience of the user as they move through the site. The narrative expounds the disparity between the solutions which provide shelter for the homeless currently, and our design which emphasises community and aims to eliminate the condemnation of the public.

Putting one foot slowly in front of the other, your footsteps sound to the beat of your heart, reverberating off the concrete path and is instantly lost in a sea of the uniform other. Darkness wraps itself around you, yanking you closer and closer until you are pulled into the void of countless merciless bodies all reaching for the same tiny square of light. Nails and teeth rip into your skin and you desperately close your fingers around the light you hopelessly desire‌ Until it all stops. Looking around, you now float above the abyss, lighter than air. You take a breath and soar even higher into the clouds which engulf you in a warmth which makes all your worries drain away. A few feet away stands a girl with eyes a pool of blue so deep you could get lost if you stared for too long.

She holds out her hand and you take it, a glow emitting from your skin when your fingers touch. It is only then that you notice the girl is holding hands with another, who again, is holding hands with another. And so on. Linked as one, you continue to soar higher still, freed from the torturous pits below.

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4.0 Reflection

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Final Detail Model

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4.0 Reflection The AA Visiting School Workshop was a challenging intensive which, over the twelve days, enabled my group and I to produce a complex design which has its merits, but also its pitfalls. I learnt what it was like working within a small group of people with tutors who would work closely with us throughout the two weeks rather than simply checking in during presentation which is what I was used to. I usually prefer to work individually, but during the intensive I learnt how to manage and delegate tasks within a group of three students all working towards the same goal with diverse approaches.

The most challenging aspect of the studio was making decisions and completing work within the short time-frame. Towards the beginning, it was difficult to agree on the design since we came from diverse design backgrounds and experiences. However, instead of having these dissimilarities separate us and create an incoherent design, we each decided at the end of the first week what our strengths were and tried to use these to our advantage. Because of the fastpaced nature of the subject, this worked out well for us and we eventually began working as a team rather than three separate individuals working on the same project.

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Detailed drawing and view from underneath

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Another challenging aspect stemmed from our design choices themselves. We chose to focus on a pneumatic structure which none of us were familiar with and attempted to learn the inherent workings of this tectonic within a few days. We overcame this difficulty by testing and working with simplistic sketch models made from balloons and eventually discovered it was more difficult to force the balloon into a pre-determined form. Therefore, we utilised Kangaroo Physics which I think allowed us to create a more complex design.

In terms of our design, I think it worked well in that we created an inflatable skin which has the intended effect of spilling out over the buildings. The experiential and spatial planning also seem to work well and I think enhance the design.

However, I think our tectonic and structure could be designed more thoroughly.

I may be saying this because I was not involved in the structural design aspect of the project based on how we divided the work, but I think to implement the design and make it ostensibly more realistic, a more developed system would need to be devised.

Reflecting on the intensive, I feel as if I have learnt a lot about working with a group of students with more design experience than me. With our tutors reminding us that the design and presentation needed to be “master’s level� work made us push the design to its limits and create something which was not conceived on the first day. Although the final design could be altered to work better as a design system, I think the final design ultimately achieved our goals; creating something that could provide a shelter for those in need while simultaneously encouraging community togetherness in an elegant pneumatic system.

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5.0

Appendix

5.1 Biography 5.2 Credit 5.3 Biography

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Interim Submission

Testing the Heat Gun for Final Model

Laser Cut File

Assembling the Sketch Model

CNC Cutting our Final Model

Carving the Final Model

Sketch Model

Assembly of Model Base

Final Design in Gallery

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Sketch Model using balloons

Laneway Imagery from Gallery

Sketch Model

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Studio Air Design, Digital Design and Fabrication, Studio Earth Conceptacle

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5.1 Biography My name is Emily and I am currently completing my third year of undergraduate studies, majoring in architecture.

I’ve always had a passion for creating things, ever since I was little and was known for my over active imagination. In year six, however, our assignment was to draw a plan view of our backyards that is where my passion for architecture stems from.

You could say my way of designing is a bit quirky and experimental, probably due to my love for writing which is still a huge part of my life. From my first assignment at university, I have thought up wider concepts and narratives to fit with the brief. I love manipulating restrictions and limitations to form something completely different from what was expected from the beginning of the assignment. My designs are often very dramatic and I try to weave complex narratives to denote the human experience within my architecture.

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5.3 Biblography Cox, S 2014, Do Ho Suh’s fabric installations show that home is wherever you sew it, viewed 17th July 2017, http://all-that-is-interesting.com/ho-suh-fabricinstallations Frearson, A 2011, Leviathan by Anish Kapoor, viewed 17th July 2017, https:// www.dezeen.com/2011/06/22/leviathan-by-anish-kapoor/ Hudson, M 2011, Anish Kapoor: Leviathan, monumenta 2011, grand palais, paris, review, viewed 17th July 2017, http://www.telegraph.co.uk/culture/ art/art-reviews/8506594/Anish-Kapoor-Leviathan-Monumenta-2011-GrandPalaisParis-review.html Laneri, R 2012, Welcome to the cloth house: Do Ho Suh’s fabric residences, viewed 17th July 2017, https://architizer.com/blog/welcome-to-the-cloth-housedo-ho-suhs-fabric-residences/

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