SITE
Site Thresholds Movement was busiest at the top of every hour (e.g 1pm, 2pm, 3pm). This is no doubt due to the fact that classes finish at every hour; causing an influx of movement in and out of the main building into the concrete lawn. It is important to observe that a large amount of human movement occurred in particular areas outside the site boundary. These areas included the southwest and the southeast entrance to the site. Even though they are outside the site lines, many individuals were constantly passing in and out of these areas.
The site is located upon ‘concrete lawn’ in Melbourne University. It is surrounded by Melbourne School of Design, Union House, Baldwin Spencer and Raymond Priestley. Building Heights: MSD – 25 M Raymond Priestley - 30 M Union House - 15 M Baldwin Spencer - 10M
A significant amount of the traffic movement throughout the concrete lawn, occurred throughout the central section (in particularly individuals moving between Union House and MSD). This is because the central section is a somewhat “short cut” between most buildings. Rather then walking around the outside section of the concrete lawn, people preferred to cut through the middle to get to their destination. The main entrances of the buildings were always absorbing the most human traffic.
9am Movement Analysis
Both 9am and 3pm were equal in business. Whilst 9pm was significantly quieter. An extremely busy exit was the southeast exit of the site. I would presume this is due to the fact that the exit heads towards the Swanston Street tram stop, a very popular place for students. The quietest building on the site was Baldwin Spencer Building (very few people entered and exited this building).
SITE
Site Map of the Shade Shadow distances at 5pm
Panoramas of Site
Site Map showing the variation of Site temperatures
SPACIAL COMPOSITION It is said that frame is the idea of partially enclosing 3 dimensional forms. I wanted to push the idea of having ordered, vertical and horizontal elements. By  randomly layering simple, thin, horizontal elements, I found that the frame system appeared naturally. By stacking similar elements in non conventional ways, it creates a frame system that. Thin members protrude at different directions, with the gaps creating a sense of transparency, coming together to create a conceptual frame system. I wanted to push the idea that a frame had to be ordered, geometric shapes. I believe the frame system can appear naturally my layering similar elements and creating protruding dimensions.Â
A FRAME: key building block of orthodox modernist design. At its simplest a FRAME is a partially enclosing 3 dimensional form usually comprised of vertical and horizontal elements that connect at junctions.
By combining thin long members in a random manner, beautiful shadows were created when a source of light falls upon the model. The unmethodical shadows the balsa wood members create adds depth to the piece.
LANDFORMING
The ground is not a static surface but rather an active part of any design. EXTRUSIONS: which suggest the active process of mountains folding skyward, SUBTRACTION: is closer to rifts, slippages or canyons – negatives, a displacement of matter for void and so on.
Beautiful Shadow Work
Working with subtraction and extrusion, I automatically relate to mountains and valleys. In my model this is the aesthetic I intended to achieve. The model mimics long mountain ranges, with the heights of mountains constantly changing, and the valleys/canyons varying in depth. The shadows created through the variation in height are beautiful elements of the model. It is a very geometric interpretation, a constant theme throughout all my pieces. n I experimented with colour (grey) on balsa wood, and quite liked the effect.
LANDFORMING: Subtraction and Extrusion
I created the piece so that I is able to be viewed from both top and bottom . Both sides of the model emulate the properties of subtraction and extrusion. Whilst this side is much more sharp and geometric, at its most basic form it still echoes the characteristics of a mountain range (elongated horizontals which vary in height)
ASSEMBLAGE GRAFTING: Grafting begins with the random and artificial conjunction of two distinct characteristics, which are in their initial form are very unstable. It is this instability which provides the motivation (the attempt to return to stability) and also allows modification to take place. By the splicing of two characteristics a third condition grows from this juncture or stress.
I applied the technique of grafting to both my spacial composition and landforming model. I combined the thin, long members from my spacial composition model on top of a platform that varied in height. The shadows created through the top members are lovely.
NARRATIVE Conflict: a serious disagreement or argument, typically a protracted one. be incompatible or at variance; clash. Â To me, conflict is such a broad term encompassing a variety of extremes. On one hand there is the extreme conflict of war and military division. On the other hand, there is less extreme conflict, such as the conflict between different friendship groups. Or perhaps various groups of old women, discussing personal annoyances of other people. Conflict occurs when at least two people disagree/ clash on a certain subject.
Different groups of people (women in particular) discussing things between one another.
COLLAGE
Dark color palate as a base- sense of mystery.
SUPERIMPOSITION
Conflicts between different parties
FINAL PROJECT
FINAL PROJECT Following on from my narrative of conflict between different groups of people, whether it be conflict as extreme as war or as subtle as an argument between groups of children, I found that the one common thread between all the forms of conflict was that the groups would each need a place to congregate. I created this model with that concept in mind. Each pod like structure would naturally become a meeting place for groups to convene, creating a division between groups of people. I chose to use the elongated timber members on my roof structure (present in in both my Assemblage and Spacial Composition Model) to allow the beautiful shadows to be created on the site. As all the pods have 3 of the 4 walls enclosed, I chose to keep the roof glass to allow natural light to grace the space. Having 3 out of the 4 walls clad in timber enhances the privacy of the space for each group to meet. By painting each pods internal timber walls a different colour, I intended to create a completely different feeling within each pod, intending to emulate the different characteristics each group would process. No two groups in conflict are the same.