fraser carroll s3715883 level 9
studio: Defying the Ideal ARM
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Site Sec�on
Ground Floor Plan 1:200
An Imminent Infatuation - Manifesto The path of remnant obsession is a heterotopia littered with relics and artefacts. To the left of our site we see the old library and town hall. The repositories of knowledge and law. We see a community garden and childcare centre where children grow analogous to the food they consume. Of the two which is the ideal? Of the two, what do they have in common?
The journey in front of us plays out the dichotomy between obsessive cleaning and devotion to maintenance. The building to the south orbits the broomcloset, dictating the optimal outcome for cleaning. Square form for ease of preservation, robotic service for automated care and attention. Dust has nowhere to rest and nothing is out of place. ` The museum to the north
represents a culture that worshipped the tool and praised the repair, designing entire cultural centres to navigate the exhibitions of maintenance. Have we reached insanity? Can we save ourselves? Or is this the new ideal?
week 1
Ornament a n d a Fo r k
Heidelberg To w n H a l l x MC Escher
Fitzroy Town Hall
Heidelberg Museum of Local Government
Fiztroy Public Housing
week 2
Museum of Local Government
Plan
Auditorium For Planning Application
Debating Chamber
week 3
Fi t z ro y Pu b l i c H o u s i n g Ornament as Cloaking Device
the judgement of fitzroy
Precedent Study - Felice Varini
Precedent Study - Ernest Sidney Philpot
Yardmasters, MCR
Fitzroy Public Library
Liquid Light 500 Years of Venetian Glass
liquid light The ornamentation within the Venetian glass exhibit Liquid Light was quite diverse for a glassware collection. Understandably they were created by artists however I was surprised by the forms created through glass work from the time periods noted. Many of the objects had traditional ornamentation with stem work and 3D features unnecessary to the function of the vessel. Many of the objects had utilised the process of cloaking with ornamentation which while beautiful did little to compare to the pieces that utilised ornamentation through form. Some of the more modern pieces towards the end of the exhibit were in a way much more elaborate, expanding
from the traditional styles of glassware into abstract and impressive creations that included colourful elements and material inlays worked in by collaborative artists. My favourite pieces, however, were the Oil & Vinegar Cruets, while their ornamentation was exceptionally minimal, almost non-existent, something about these pieces seemed to attract me. Their unpretentiousness, the lack of effort almost while still remaining beautiful, their formal similarity to a human heart and their ability for a simple object to perform two separate tasks without sacrificing themselves.
“And every facade is a different colour, differently ornamented, and within its two-dimensional limitations a different shape.� (Boyd, n.d.)
Perspective Origins Isometric
Site Plan
the subordination of fitzroy
“The Featurist, on the contrary, deliberately and proudly destroys any unified entity which comes into his hands by isolating parts, breaking up simple planes, interrupting straight lines, and applying gratuitous extra items wherever he fears the eye may be tempted to rest.� (Boyd, n.d.)
elevation
Piranesi Detail
“It may be defined as the subordination of the essential whole and the accentuation of selected separate features” (Boyd, n.d.)
“...anyone without the technical, economic, or artistic means of achieving a desired quality in any article of use or of art naturally and inevitably resorts to the application of symbolic features: a bas:relief high up in the right-hand corner injects culture into a spiritless masonry facade; a single feature of Japanese wallpaper imparts an air of luxury to an otherwise economical waiting room.” (Boyd, n.d.)
Boyd, R. (n.d.). The Australian ugliness. Melbourne: Cheshire, l, pp.19-67.
Projection Perspective
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20 1. Melbourne Terrace; 2. Felice Varini, Arc de Elipses; 3. Felice Varini, Anamorphosis; 4. Felice Varini, La Villette ensuites; 5. Twentieth Century Art Glass, NGV; 6. Ernest Sidney Philpot, Unknown; 7. Ernest Sidney Philpot, Homage To Sibelius; 8. Ernest Sidney Philpot, Tileworks; 9. Ernest Sidney Philpot, The Judgment of Paris; 10. McBride Charles Ryan: 11. Tom Hutton, Bargoonga Nganjin; 12. Vinegar & Oil Cruet; 13. Ornamentation at Liquid Light; 14. Apartment Plan; 15. Floor Plans; 16. Site Plan; 17. Perspective Origins Isometric; 18. Elevation; 19. Perspective; 20. Robin Boyd, The Australian Ugliness; 21. Piranesi Detail.
New Classicism Panel Key
week 4
Fi t z ro y Pu b l i c H o u s i n g Ornament as Cloaking Device x Museum of Local Government
O r n a m e n t a s Fo r m
Manifesto Melbourne’s identity to me, as a city, as a culture, as a place, is one of an inviting nature. The prosperity, encouraging and acceptive attitudes that exist here are rewarding and offer a sense of potential. An example of a contrasting personality could be taken from the city of Perth. To strive for a goal in Perth is to invite criticism, even to accomplish a milestone will undoubtedly be met with negative sentiment, “you think you’re special? You not going to make it”. Melbourne, on the contrary, fosters a sense positivity and aspiration. Of course, there are pockets and people that dissolve this image but they are far and few. My ornament does not attempt to be “beautiful”, it does not attempt to be “perfect” if such a thing
exists. Architecturally speaking the elements and buildings I have chosen aren’t even what I’d describe as the most “beautiful” buildings, but they manifest an ideology in the architecture that I believe can be extended to the culture of Melbourne. Unique, inviting, accepting, the very nature that their works were finished reveals how enveloping this attitude is within Melbourne. Reaching all the way to councils, planning boards and governments. Elsewhere might advertise an open mind and attitudes of inclusivity however when the time comes for the bold to be embraced, the outcome is always watered down to please the most conservative of societies ideals.
Architecturally speaking, the elements of my ornament are bold and some might say press the boundaries of traditional sensibilities, simultaneously with the open-minded nature of Melbourne’s attitude, they provide the built environment with vitality and feature. This is how I view the idea of ornament. Although buildings can be designed without them, they provide something of an extra to society. They can create culture or represent cultures, emboss memory and initiate dialogue. My ornament pays homage to the aspects of Melbourne architecture that I believe reflect the inherent identity of the city.
Eurika Tower, FKA
Melbourne Museum, DCM
Barak Building, ARM
VCA, Edmond and Corrigan
Federation Square, Bates Smart
Building 8, Edmond and Corrigan
New Academic Street, Lyons
SAB, Lyons
VCCC, MCR
Precedent Study
Ornament in Matthew Barney Blue
Conceptually, the hybrid describes various architectural manifestations which appear to embody a recognisable origin that has been transformed and remodelled to create a new proposition. historically, the ‘hybrid’ has been considered to be a dilution of an imperfection, grotesque, and freakish. (Bruns et al., 1993)
Our hybrids could represent a residual recollection, a reconnection with the centre, that could be sustained in the selfmemory of our culture and reprojected offshore... It was not an imperfect reject of “the centre”, but a rediscovery of the strength of the original. (Bruns et al., 1993)
By considering our culture as an assembly of Hybrids, one could perhaps reap particular architectural strategies to wrestle with the notion of the authentic. (Bruns et al., 1993) Ornament in True Colour Representation... can encompass multiple identities, unlike the singularity and fixity of essentialism, The representational, rather than being without the promised transcendentalism of abstraction, has the capacity for a deeper individual contemplation while including potential speculations from the collective meaning. (Bruns et al., 1993)
Bruns, A., Schaik, L., Lyon, C., McBride, R., McDougall, I. and Murray, S. (1993). Transfiguring the Ordinary: 38 South/Royal Melbourne Institute of Technology.
Precedent Study Proposed State Library Extension, Edmond and Corrigan
patchwork yellow
Public Housing
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1. lobby; 2. bike storage; 3. storage/back of house; 4. elevators; 5. communal relaxation room
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6. bedroom; 7. bathroom; 8. lounge/living room; 9. balcony/sun room
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10. Building 8, Edmond and Corrigan; 11. Rubix Cube, DCM; 12. Eureka Skydeck, FKA; 13. New Academic St, Lyons
East Elevation
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museo del gobierno local
Museum of Local Government
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1. hard rubbish collection theatre; 2. toilet; 3. elevator; 4. storage; 5. reception; 6. cafe; 7. public entry
1st floor plan 1:200
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8. gallery for overdue parking fines
2nd floor plan 1:200
1st floor plan 1:200
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9. offices; 10. debating chambers
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2nd floor plan 1:200
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11. auditorium for planning applications
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1. Barak Building, ARM; 2. Building 80, Lyons; 3. VCA, Edmond and Corrigan
East elevation
South elevation
week 5
Fi t z ro y Pu b l i c H o u s i n g Ornament as Cloaking Device x Museum of Local Government
O r n a m e n t a s Fo r m
our egotism is now surpreme (Manifesto 4, 2019)
Manifesto Melbourne is Melbourne, Melbourne is creativity, Melbourne is eccentricity, Melbourne is accepting, Melbourne is design, Melbourne is adventurous, Melbourne is international, Melbourne is centre, Melbourne is atmospheric, Melbourne is critical, Melbourne is constructive, Melbourne is political, Melbourne is form, Melbourne is meaning, Melbourne is function, Melbourne is dimensional, Melbourne is abstract, Melbourne is heterotopic, Melbourne is hybrid, Melbourne is contemporary, Melbourne is collage, Melbourne is compositive, Melbourne is spatial,
Melbourne is ancient, Melbourne is new, Melbourne is unique, Melbourne is predetermined, Melbourne is inevitable. Melbourne is the living city, the ever growing, ever evolving nature of humankind’s forward foot, the promenade on which any medium can be expressed, critiqued and refined with intense enthusiasm. The corner store with a packed gallery upstairs on a Tuesday. The architectural landscape of Melbourne manifests its attitudes to inclusivity, abstraction and meaning. The colours, forms and programs impregnate the subconscious with desire and aspiration.
Significance is ejected through its fabric and absorbed both knowingly and unknowingly. It is to the base of this significance that we delve. We must understand and acknowledge its existence and its message. We must take from this and evolve. Engender our city within the world, absorb mediums from all aspects of the globe and beyond. The fabric of nature dictates our next move, we must align ourselves to be the front of the motion. The loco-motion that offers inherent value and true expression. Synthesise the next definition.
Eurika Tower, FKA
Melbourne Museum, DCM
Barak Building, ARM
VCA, Edmond and Corrigan
Southern Cross Station, Grimshaw + Jackson architecture
Building 8, Edmond and Corrigan
Athan House, Edomnd and Corrigan
New Academic Street, Lyons
QV, NH
SAB, Lyons
Storey Hall, ARM Precedent Study
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Ornament
tor his oa int 993) ed 1 ert l., ins s et a ct bje run t o (B nis ld. der e o Mo th th the wi s: new rge me and ee w typ d ne rid an hyb f old o ew A n de up ma
By considering our culture as an assembly of Hybrids, one could perhaps reap particular architectural strategies to wrestle with the notion of the authentic. (Bruns et al., 1993)
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Our hybrids could represent a residual recollection, a reconnection with the centre, that could be sustained in the self-memory of our culture and reprojected offshore... It was not an imperfect reject of “the centre�, but a rediscovery of the strength of the original. (Bruns et al., 1993)
Technical Drawing of Ornament
Plan of Ornament
Overlay of Laneway Map
Representation... can encompass multiple identities, unlike the singularity and fixity of essentialism, The representational, rather than being without the promised transcendentalism of abstraction, has the capacity for a deeper individual contemplation while including potential speculations from the collective meaning. (Bruns et al., 1993)
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Spatial continuity between rooms was created not by omitting walls but by piercing them with wide openings so that views were always framed‌Often the connection between rooms was only visual, as through a proscenium. At their interface, these spaces had a theatrical quality. (Colquhoun, 2002). 7
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Lobby Back of House Cafe Reception Storage Hard Rubbish Collection Theatre Auditorium of Planning Applications
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Offices Gallery for Overdue Parking Fines Debating Chambers Public Balcony
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The two modes of transparency can be combined, fused and integrated to achieve a doubling of transparency, a simultaneity of modes of transparent operations. Hence, both the Layering of Space and the Layering of Surface, both the Layering of Volume and the Layering of Faรงade, resulting in a spatial-surface ambiguity, an ambiguous fluctuation and oscillation of depth of space and surface. (ALO, 2019)
Conceptually, the hybrid describes various architectural manifestations which appear to embody a recognisable origin that has been transformed and remodelled to create a new proposition. historically, the ‘hybrid’ has been considered to be a dilution of an imperfection, grotesque, and freakish. (Bruns et al., 1993)
Precedent Strudy - Heide Museum of Modern Art
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1. QV, NH; 2. Barak Building , ARM; 3. Southern Cross Station, Jackson Architecture; 4. Rubix Cube, DCM; 5. VCA, Edmond and Corrigan; 6. Storey Hall, ARM; 7. Building 80, Lyons; 8. Building 8, Edmond and Corrigan; 9. New Academic Street, Lyons; 10. Athen House Plan, Edmond and Corrigan; 11. State Library Extension, Edmond and Corrigan; 12. Cities of hope, Hamann et al., 2012; 13. Transfiguring the Ordinary, Bruns et al., 1993; 14. Ornament ; 15. Ornament Section; 16. Ornament Section; 17. Plan on site with Laneway Overlay; 18. Personal Manifesto; 19. References; 20. Section A 1:200; 21. Ground Plan, 1:200; 22. Section B 1:200; 23. Persepctive; 24. Second Perspective; 25. Second Floor Plan, 1:200; 26. Transparency | Architecturality, ALO 2019; 27. Third Floor Plan, 1:200; 28. Fourth Floor Plan, 1:200; 29. Isometric Render
week 6
Pre c e d e n t S t u d y Fo r Mid-Semester
William Barak Building, ARM
Building 8, Edmond and Corrigan
Heide Museum Of Modern Art
Heide Museum Of Modern Art
Myer Emporium, NH
QV, NH
Swanston Academic Building, Lyons
Swanston Academic Building, Lyons
Swanston Academic Building, Lyons
VCA, Edmond and Corrigan
VCA, Edmond and Corrigan
VCA, Edmond and Corrigan
week 7
Mid-Semester Pre s e n t a t i o n
I am the Janitor - Manifesto I am the janitor, the caretaker, the custodian, the concierge. I maintain, preserve and prolong. Maintenance, cleaning and maintenance. Architecture is maintenance, maintenance of the built environment, the reparation of broken or outdated space, the cycle of time, continuous and infinite. It is specific to each space and specific to each intention. I have specific intentions, and I have specific spaces. The spaces I maintain have similarities, forms, ornaments, iconography. I can see their inherent meaning, I understand their nuance as I exist in their space,
as I concentrate on my tasks and as I slowly remake the buildings piece by piece. Architecture relies on maintenance. Architecture is never the same after its inception, constant repairs can be equated to minute renovations. After what percentage of maintenance does the building belong more to me than to the architect? After I remake the building do I get to call it mine? After I repair the building, is it the same building? “Is (it) a more real version of itself by virtue of having gone through its daily upkeep and cleaning?” Exposed, the exhibition of post
occupancy maintenance composes a routined symphony of team work, formal organisation and skilled labour for the buildings inhabitants to witness and be a part of. Is my work any less significant in the architecture than the colour of the wall? Or the form of the façade? Is my part of the buildings upkeep not an exhibition of art just the same as the architecture itself? These buildings that I maintain, their plans, their forms, their façades, the inherent meaning in their iconography represent Melbourne but can they also represent me?
Meta-Referential Ornament of Melbourne Architecture
Ornamnet Plan, application to site
Geometricised ornamentation of Fitzroy Town Hall,
Applied with projectival perspective Myer Emporium, NH reference
Wurundjeri Seasons
Landscape Inspired by the Six Seasons
Cultural Acknowledgement inspired by Barak Building
Local Indigenous Artists Sculptural Place Making
Activation of landscape site with place-making and extrusion of internal walls and building lines to blur the boundary of the building Heide Museum of Modern Art reference
Prioritisation of Views from Site SAB, Lyons reference
Massing intersection and balcony views QV, NH / SAB, Lyons reference
Melbourne Museum Adjacent Cultural Reference Inspired by VCA
MID
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Site Plan
Ground Floor Plan
First Floor Plan
Submission Panel - The Janitors Closet
Maquette of CCTV Building, OMA created through the lens of a janitor
week 8
Maintenance Ornament as Cloaking Device
Ornament Manifest - Manifesto Ornament is iconography. It provides architecture and daily life with a richer vitality. The nature of its actuality tells us of the importance to its design and narrative. I am the janitor, the maintenance, the custodian of this medium. Architecture relies on maintenance. Ornaments break. That doesn’t void their necessity but it does offer the opportunity to amend, update, upgrade and evolve the object.
A broken inanimate ornament now has the ability to automate. A mechanical ornament exists in a new reality when the mechanisms fail. The metaphor evolves into something new. but this doesn’t subtract from its effect. Altering metaphor doesn’t obliterate meaning, it simply changes the dialogue. There is still ornament, and there is still vitality. Only now it is now refreshed. After I repair the building, is it the
same building? After what percentage of maintenance does the building belong more to me than to the architect? Is my part of the building’s upkeep not an exhibition of art just the same as the ornament? These buildings that I maintain, their iconography represent me but can they represent Melbourne?
Architecture relies on a never-ending regime of labor called maintenance . 1 The purpose of maintenance is to restore the built environment by offsetting the effects of climate, nature, and time— it is an ongoing, continuous act. (Sample, 2018)
Cleaning is neither the pure, individual creation of the architect nor the pleasurable consumption of the user; as a result, architectural culture undervalues it. Maintenance, however, is essential to the functioning of society and should be understood as critical to the life of architecture. Cleaners are the mediators between architects, buildings, and their users. (Sample, 2018)
Maintenance performed on a building before it becomes a monument is fundamentally different from when it is performed afterward. (Sample, 2018)
Maintenance
Pro c e s s t o Fi n a l
An Imminent Infatuation - Manifesto The path of remnant obsession is a heterotopia littered with relics and artefacts. To the left of our site we see the old library and town hall. The repositories of knowledge and law. We see a community garden and childcare centre where children grow analogous to the food they consume. Of the two which is the ideal? Of the two, what do they have in common?
The journey in front of us plays out the dichotomy between obsessive cleaning and devotion to maintenance. The building to the south orbits the broomcloset, dictating the optimal outcome for cleaning. Square form for ease of preservation, robotic service for automated care and attention. Dust has nowhere to rest and nothing is out of place. The museum to the north
represents a culture that worshipped the tool and praised the repair, designing entire cultural centres to navigate the exhibitions of maintenance. Have we reached insanity? Can we save ourselves? Or is this the new ideal?
Museum of Local Government Ornament as Form Process
CPU
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Fitzroy Public Housing Ornament as Cloaking Device Process
Context Site Map
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Ground Floor Plan First Floor1:200 Plan
Site Sec�on Site Section
Site Sec�on
Public Housing Elevation
Site Iso
Submission Panel - The Janitors Locker
Massing Model of Fitzory Public Housing and Museum of Local Government