Studio 39 - Museum of Electronic Waste - Design Journal | Han Wu 1038456

MELBOURNE SCHOOL OF DESIGN

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STUDIO 39 - REMEMBER ARCHITECTURE

studio 39 - remember architecture

Journal

studio leaders:

SHERVIN JABERZADEH, ALISON PEDDER AND GREG GONG HAN WU 1038456

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week 1 introduction

TABLE OF CONTENTS

2 - 6 march

week 2 exercise 1 9 - 13 march

week 3 exercise 2

16 - 20 march

week 5 exercise 3-4

30 march - 3 April

week 6 exercise 5 6 - 17 April

midsem mid-semester review 20 - 24 April

STUDIO 39 - REMEMBER ARCHITECTURE

week 7 building identity + materials 27 APRIL - 1 MAY

functional planning + materials - front of house 4 - 8 MAY

week 9 functional planning + materials - back of house 11 - 15 MAY

exhibition planning + way finding - collections 18 - 22 MAY

week 11 structure + interim reviews 25 - 29 MAY

week 12+ final review preparations 1 - 5 JUNE

TABLE OF CONTENTS

week 8

week 10

WEEK 1

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Summary Analysis For the first week of my engagement to this studio, I actually chose this studio because I’ve never designed a Museum project. I felt like I could learn a lot from this studio because of it being a new typology to me. For week 1, basically we’ve looked into what to expect from the studio and ponder on what museum is. For task 1, we were asked to choose ONE object that can be found anywhere in the city and photograph that object in FIVE different locations. Any object that shows significance and how the significance of that object changes based on the location of where it is found. For task 2, we were asked to choose ONE object from a local museum that can be found here in Melbourne. The first week’s exercises were very successful in a way to grab my attention and in a way a fun approach in choosing the topic of the museum. During the week, basically I’ve explored some of the preliminary case studies and looked into ways to improve the museum experience.

week 1 introduction 2 - 6 march

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I sketched out a diagram about my thoughts on a narrated and tailored spatial journey where different people experience differently during their journey through the museum.

My first idea of an engaging museum experience where visitors can see each other through the exhibits.

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My first attempt to try to analyse the Melbourne Musem as part of a preliminary case study to better understand the spatial organisation of a museum since this would be the first time I’m engaging in a new typology (museum design).

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For the object, at this stage, I had to choose between the Rubbish Bin or Mobile Phone. I chose the former because for most of the time we overlook the significance of it since it is part of that commodity and the latter because I am just so attached to technology.

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TASK 1: Why is this object significant to you?

I chose rubbish bin as the object that is significant to me because without it, the city would be covered in garbage. People usually overlook the significance of proper waste disposal; as such it is often taken for granted. Growing up in the Philippines made me feel how privileged we can be living in a first world country. I remember during my bachelors back in Manila, as part of an outreach program my then organization would often visit the its local slum area. Because the Philippines is under developed and does not have the proper equipment and facilities for waste disposal, the slum areas are often used as dumping grounds. Literally their homes are built either on top of the garbage or submerged below the garbage. These experiences are instilled in my heart and is a constant self-reminder on the importance and significance of proper waste disposals and recycling to lessen waste and help out the environment.

How does the significance of this object change based on the situation in which it’s found?

WEEK 1

Photo 1: The first photo is taken inside my home. I actually have two rubbish bins. One is for general waste and this one is for recycling. I think it’s important to always separate general waste and recycling because as human beings, this is the least we can do to help out the environment. This type of rubbish bins are often found indoors such as homes and offices and is usually smaller in scale. The rubbish inside these bins are usually carried over to the larger bins.

Photo 2: The second photo was taken while I was grocery shopping at Queen Victoria Market. You can see here that the “bin” being used is not actually a typical rubbish bin. It is a large scale metal cart that can contain anything actually but is being used as a recycling rubbish bin for cardboard boxes, since most stalls and shops here need big cardboard boxes to keep their goods.

Photo 3: Photo three was taken by the sidewalk of Bourke Street Mall Station. This kind of rubbish bins can be found throughout Melbourne CBD. However, this rubbish bin can also dispose cigarette buds which adds additional functionality and is quite often used as social areas for smokers.

Photo 4: The funny thing about photo 4 is that it is not actually a rubbish bin but is used as a rubbish bin. This I believe is either an outdoor telecom cabinet or service electrical box that can be found within the city. However because of its design, people often mistaken this as a rubbish bin, thus squeezing trash and garbage inside.

Photo 5: The last photo was taken in York Street, South Melbourne. The design of the bins definitely changed as I got farther away from the CBD. This yellow and red bins are your typical rubbish bins that are portable enough to move around and are often found outdoors on the streets of sub-urban areas.

TASK 2: Why do you think this object was selected for display in a museum?

I think this object was chosen to be displayed in this particular museum because of its historical value and preservation. As it is a dental museum, this dental extracting key is an essential tool during its days as one of the tool for dental extraction.

How does the display of this object reflect its significance?

The dental extracting key was one of the tools before used to extract teeth before the discovery of anesthesia. It was actually a dangerous and barbarous instrument. Often than not, it is being misused and cased more accidents and injuries than other extraction instruments combined. I believe this tool has shown its significance by reflecting how our technology has advanced and progressed throughout the dental practice.

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Everyone else actually all chose very interesting “object� as their focus for the museum. I ended up choosing the rubbish bins because it is very socially relevant.

Comparing to my peers from the studio, everyone chose their object somehow influenced by their own culture or the place/environment they stay in.

For Rui, her choice of object was her own shoes, more specifically her heels. In my case, as I mentioned earlier, rubbish bin was my choice because it was more relevant to me as part of my experience back in the Philippines. (Page 11)

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Summary Analysis For the this week, the whole studio looked into some of the projects done by Denton Corker Marshall (DCM) and used that as part of the analysis and approach to help frame our own approach to site + context and building identity. I’ve also narrowed down my object and chose one photograph of that object, the fourth photograph with the rubbish stuck to the “rubbish bin”. What’s funny was that wasn’t really a rubbish bin but rather a telecom pedestal with rubbish stuck to it.

With that, I used that object’s location to help me inform my site and chose a corner site that sits along the Southbank Promenade and Southbank Blvd. With the site now clear, I’ve then dived into the site + context aspect and sketched out some of the preliminary diagrams. At this stage, my sleeping patterns became a little bit off and I found myself more productive around 11pm - 5 am everyday. I’ve also noticed that once a random idea pops inside my head, I would sketch it out right away to prevent myself from forgetting it.

week 2 exercise 1 9 - 13 march

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WEEK 2 I’ve looked into the Museum built by DCM and how they used the building shape as part of the sense of arrival for the visitors. Basically framing framing the interior as an internal street as well.

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I looked into the Law building by DCM and how the identity of the structure was derived from the arrangement of the programs. This is one of the approaches that DCM does and part of my past projects used this kind of approach as well. Although I find this approach simple but laking in depth.

WEEK 2

While looking at this precedent, I wanted to achieve the same goal of having this singular form drawing from the functional and site requirement but at the same time, combining the previous approach of the law building to address the arrangement of the programs.

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One idea that popped into my head was having this canopy as part of that sense of welcome for the visitors.

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WEEK 2

This is the first attempt I had in approaching the building form relating to how it is influenced by the site + context. At this early stage, I wanted to museum to be an “recycled art� itself.

Relating the focus of the museum back to the object that I chose, the rubbish bin.

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WEEK 2

More iteration of the form finding where I’m exploring the possibility of people weaving and moving through the canopy as part of that “promenade” or “street experience”. From here, I’ve decided to stick to that idea of having a canopy as part of the user experience and site integration.

These are all early stage diagrams exploring that idea of street integration.

Personally, I usually sketch out final “look” of my preliminary ideas as part of my own approach to better visualise it. These are some of the sketches I came up with that goes hand in hand with my overall concept of the museum being a recycled art itself.

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At this stage, I’ve also identified the SWOT of the site I’ve chosen and used this at part of my preliminary approach on how this can inform my design approach.

WEEK 2

In every step, I think I try to always relate back to that main idea and in this case, it is the rubbish bin.

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I’ve decided to map out my site on google maps to help me set up the foundation where I can then sketch over this to produce some site diagrams.

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WEEK 2

I’ve also created this collage to show the relevance of proper rubbish collection and disposal and how our cities (specifically on my own site in Southbank) would look like without those commodities. This image is also inspired by the film Wall-E where the future of our cities are just full of trash. This also helped me inform my conceptual approach towards the project.

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With the site base image earlier, I’ve mapped out some of the site existing networks and features and sketched out all the necessary aspects to consider for my building form approach. What didn’t workout here for me was the clarity of the diagrams as it was too cluttered, had too much information and wasn’t simple enough to understand as a whole.

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WEEK 2

In this diagram, I wanted to show the entry points of the public and museum as well as the service entry. Some of the information like the Yarra River frontage and/or the texts on converging of entry points creating sense of welcome could have been eliminated for a more clear diagram just to show the entry points.

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In this diagram, I wanted to show the movement of people through the museum as they weave through the ground level creating that “canopy” from the idea I’ve established. Again, I think the diagram could have been more clear without the other unnecessary annotations.

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WEEK 2

I sketched this diagram for myself to see it better in 3D where now I can visualise the form compared to just plans. I do think this diagram worked very well to inform the viewers of my intension and approach to my site. I chose this kind of diagrams as I used Bjarke Ingels’ book, Hot and Cold, as a guide to create simple yet understandable architectural diagrams. His diagrams are all easy to understand and simple enough to convey my design.

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Han Wu | 1038456

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OVER-CONSUMPTION

WEEK 2

MANIFESTO/NARRATIVE In our 21st century, commodities such as garbage collection, waste disposals and proper recycling seems has always been a part of our everyday life. But that’s not always the case. During the olden times, human population didn’t really have a proper process of waste disposals which led to a lot of health problems such as cholera. Only until the mid 19th century, through the emergence of public health debate, legislation on proper waste disposal was really introduced.

However, as our population continues to grow drastically, so does the waste we produce. Films such as Wall-E makes me think if our future is slowly developing into that reality portrayed in the film.

In Melbourne, it currently recycles 73% of its waste, but valuable materials are still sent to landfill. Every year, around three million tons of waste is disposed of into metropolitan landfills. Almost half of the total waste going into landfills is from households.

There are so much opportunities to increase recycling of other materials such as paper, metals and plastics that are still ending up in landfill.

Therefore, my museum focuses on creating awareness and educating the next 27 generation through spatial experiences that include but not limited to the teaching of the

metropolitan landfills. Almost half of the total waste going into landfills is from households.

39 - REMEMBER ARCHITECTURE There are so much opportunitiesSTUDIO to increase recycling of other materials such as paper, metals and plastics that are still ending up in landfill.

Therefore, my museum focuses on creating awareness and educating the next generation through spatial experiences that include but not limited to the teaching of the history of waste disposal, showcasing recycled/scrap art piece using recycled materials and speculating on the possible outcome and the future of recycling.

BUILDING IDENTITY

This is my first attempt and draft in creating my manifesto for this project. I wanted this project to be socially relevant (inspired by my personal experience growing up in the Philippines) and environmentally associated to “make a difference” or create an “awareness”. Referencing some of the other manifestos

by Rem Koolhaas on Bigness, I didn’t want my design to be part of that “bigness” but rather have a social impact to its surrounding and to its people.

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The external building shape alludes to an recycled art piece which serves as a sculpture advocating the significance and opportunities of recycled materials.

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Summary Analysis For the this week, I started to enhance the site and context of my museum where I’ve translated sketches into presentable 3D diagrams through computer-aided programs. Based from my past experiences, I usually do this during the last few weeks before submission but I wanted to try out differently this time to actually produce drawings earlier. This is a change in design approach which I found myself to be very productive as part of my personal interest to make diagrams and anything related to graphic design. At this stage, all of these diagrams allowed me to focus on the task more but also kind of stepping into the more practical side of design where site considerations are met. This is also the week where our studio transitioned from physical classes to Online classes. This somehow affected my working schedule as well but in a positive way where I had more time to do work.

week 3 exercise 2

16 - 20 march

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WEEK 3

I changed the scale of the site and its context to allow a more intricate analysis focusing on the addressable parameters as sometimes scale can change the amount of work and deliverables at the end of the semester.

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I’ve simplified the diagrams using the same style as Bjark Ingles

SITE BOUNDRY 31

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YARRA RIVER FRONTAGE 32

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EXHISTING GREENERY 33

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ROAD NETWORK 34

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PEDESTRIAN + BICYCLE PATHWAY 35

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PEDESTRIAN + BICYCLE TRAFFIC FLOW 36

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PUBLIC BACK OF HOUSE + PRIVATE

SITE ACCESS 37

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OFFICE WEEK 3

RESIDENTIAL HOTEL COMMERCIAL PUBLIC INSTALLATION

SURROUNDING BUIDLINGS 38

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COMPLETE SITE ANALYSIS 39

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SITE PERIMETER + AREA

The site has an area of 2160 m2 . It has 4 corners with 47.9m, 36.05m, 51.42m and 53.96m respectively.

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MASSING

Max level of 3 floors in response to project brief of 5000 m2 41

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SETBACK

Setback of 5 meters for front, right (public access) and 2 meters for rear (back of house/private access) 42

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BUILDING FOOTPRINT

Building footprint determined from the analysis 43

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TOPOGRAPHY (CONTOUR MAP)

The site sits on a relatively flat surface with an elevation of +|- RL 2-3 meters.

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SUN PATH DIAGRAM

Sun path indicating sunlight coverage of the site 45

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WEEK 3

I found this diagram irrelevant after i produced it since I don’t have a complete realistic analysis on windrose and therefore won’t be able to achieve or inform my building for based from this and the next diagram.

ANNUAL WINDROSE DIAGRAM (9AM)

Data taken from the Bureau of Meteorology reflecting strong north wind during mornings 46

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ANNUAL WINDROSE DIAGRAM (3PM)

Data taken from the Bureau of Meteorology reflecting stronger southern wind in the afternoon 47

Han Wu | 1038456

STUDIO 39 - REMEMBER ARCHITECTURE

“I AM DESIGNING A MUSEUM OF RECYCLED ART” In our 21st century, commodities such as garbage collection, waste disposals and proper recycling seems has always been a part of our everyday life. But that’s not always the case. During the olden times, human population didn’t really have a proper process of waste disposals which led to a lot of health problem. Only until the mid 19th century, through the emergence of public health debate, legislation on proper waste disposal was really introduced.

However, as our population continues to grow drastically, so does the waste we produce. Films such as Wall-E makes me think if our future is slowly developing into that reality portrayed in the film.

Therefore, my museum mainly focuses on creating awareness and educating the next generation through spatial experiences by exhibiting art pieces, collections and installations made out of recycled materials and teaching the visitors through a walkthrough timeline of Melbourne’s recycling history.

BUILDING IDENTITY

This is my second attempt in formulating my manifesto where I’ve simplified some of the choice of words and the focus of my museum to help me better frame what I wanted to achieve.

The external building shape should too alludes to an recycled art piece which serves as a sculpture advocating the significance and opportunities of recycled materials.

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WEEK 3

In Melbourne alone, it currently recycles 73% of its waste, but valuable materials are still sent to landfill. Every year, around three million tons of waste is disposed of into metropolitan landfills. Almost half of the total waste going into landfills is from households.

There are so much opportunities to increase recycling of other materials such as paper, metals and plastics that are still ending up in landfill.

WEEK 5

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Summary Analysis Our studio had a disruption of schedule due to COVID-19 so we had a 2 week break. But during that 2-week break, I started producing simple exterior renderings on my building identity to help me visualise through a person’s point of view and hand sketched bubble/diagrams on functional design where I explored different arrangements of programs and such. This is also the stage where I tend to sleep around 4-5 am because I constantly find myself more productive around 11pm5am. Based from my past experience in Undergraduate studies, this is coincidentally the same working schedule and sleeping patterns I had before as well. With the brief given to me, I’ve also changed some of the spaces and added my own brief on top of the brief given and researched on different case studies and precedents.

week 5 exercise 3-4

30 march - 3 April

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I placed most of the public spaces below to allow more public interface with the site.

WEEK 5

This is an analysis of the Manchester Civil Justice Centre by DCM where the arrangement of spaces are straightforward but also very effective. In that same way, I wanted my own drawings to achieve this clarity so I’ve used this as an precedent for my own museum.

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WEEK 5

I’ve explored that idea again of the canopy as the sense of welcome but this time taking consideration of the back of house spaces and how the other programs can fit in.

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In the sketch below, I explored the idea of having the museum gallery spaces interconnected to each other through bridges as part of that experience and drawing back to the concept of a recycled art where different individual components come together and attached to each other.

WEEK 5

I found these bubble diagrams very successful where it’s simple enough for me to analyse the relationship of each spaces to another.

In this image, I wanted to show the “framed” perspective of a person overlooking the Melbourne skyline as part of the museum experience. I constantly find myself drawn to these 1-point perspectives as it shows the experience at the eye level which people (myself included) can relate and visualise it more.

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I translated the site into my own drawing and style where topography and site existing context and networks are identified. This image actually motivated me to do more since I was happy with the outcome of the drawing. This is also the first time I’ve used Adobe Illustrator as my tool to create this drawing. For the past, I’ve been only using photoshop for my line drawings and found myself very limited to the interface and capability of the tool.

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Comparing back to the preliminary hand sketches, this and the next sets of site diagrams were more successful and at the same time simple enough to convey my design approach.

SITE

boundary area coverage 54

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MASSING

max level of 3 floors in response to project brief of 5000 m2 55

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Comparing to my previous set back diagram, I’ve decided to set back instead the adjacent buildings rather than the frontage. I think this one worked better to address the site interface with the surrounding buildings.

SET BACK

Setbacks of 5m from adjacent buildings giving clearance for access | rear setback for back of house access 56

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SENSE OF WELCOME

pushing the lower floor inwards creates this sense of arrival into the museum 57

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CANOPY

Taken into the consideration of pedestrian traffic of the site creates this canopy giving the space back to the public and connects the museum into the street 58

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I’ve also translated the drawings into series of rendered perspectives to test out the massing if it’s imposing, how it relates to the site and how it is experienced at the eye level.

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Others

Others

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Public Space

Canopy

I’ve sketched out the simple bubble diagrams on the allocation of programs in both plan and section and postprocessed them for more clarity to my tutors and myself as well. At this stage, I constantly find myself working non-stop as I am also inspired by the quality of images I produced at this point. (Usually these images are produced at the end or near the end of the semester right before final presentation).

BROAD PRINCIPLES (PUBLIC + OTHERS)

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Public Space

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Canopy

Public space

Inner public space

Visitor Center + Shop Cafe + Bar

Admin Fire Stairs Staff core acess hub

Back of house access

Auditorium

These sets diagrams are more successful in terms of clarity as I’ve added colors to address the difference in function and zoning. This approach is actually new to me and online studios somehow directly influenced these image quality as well with all the limitations of Zoom.

BUBBLE SPACE DIAGRAM (GROUND)

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Fire Stairs

Entrance

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Musem space (Exhibit / Gallery)

Fire stairs

Public atrium access

Fire stairs

Staff core acess hub

BUBBLE SPACE DIAGRAM (UPPER LEVELS) 71

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Storage + Services

Fire stairs Staff core acess hub

Back of house / loading facility

BUBBLE SPACE DIAGRAM (LOWER GROUND) 72

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Fire stairs

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Musem space (Exhibit / Gallery)

Public atrium access

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Staff core acess hub

Canopy

Storage + Services

Entrance

Fire stairs

SPACE DIAGRAM SECTION 73

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Level 2

Level 1

Level 2

Ground

Ground

Lower Ground

Lower Ground

OVERALL SPACE DIAGRAM

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Level 1

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M.Arch_CDE Design Studios_2020_SM1 Studio Brief

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Room

Briefed Area (m2)

Proposed Area (m2) Reason for Change

Changes

Public Spaces Visitor Centre Entry Shop Café + Kitchen Bar + Lounge Auditorium Toilets Zone Total

250 175 50 250 175 125 175 1200

Gallery Spaces Artist in Residence Workshop Galleries Special Gallery Zone Total

50 100 1250 300 1700

50 200 1400 300 1950

200

200

Administration

Visitor + Shop

200 200 200 200 150 175 1125

Circulation and calculation of people (hourly)

balance café and bar balance café and bar Increase in number of people

Recycling materials Nature of the exhibits

Storage Preparation + Conservation Collection Storage Crate Storage Workshop Storage Waste Room Loading Facility Management Zone Total

100 450 75 75 30 150 20 900

Sorting of recycling

100 100 450 75 100 30 150 20 1025

Circulation

500

615

Plant + Services

500

500

Total Building Area

5000

5415 75

additional facility For the studio brief, I’ve added and subtracted spaces that are both relevant and non-relevant to help me better frame the spaces that I needed in and out of the museum.

increase in number of people

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Studio 39 - Remember Architecture

MUSEUM ANALYSIS The British Museum | The Louvre Museum | The Mind Museum | Henry Forman Atktinson Dental Museum

As part of the studio exercise and personal precedent studies, I’ve chosen four museums for analysis to see how others have done it and to see how I can use these to help me frame my own design.

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MUSEUM CHOICE

01 The British Museum

02 Figure. 1. Han Wu, The British Museum. 2018.

The Louvre Museum

European / Historic / Large Scale

European / Historic / Large Scale

I have chosen these four museums for research respectively because I’ve personally been there and experienced the space. I chose two museum in Europe, one museum back in my home country, Philippines, and the last museum right here in our Melbourne Campus.

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Figure. 2. Han Wu, The Louvre Museum. 2015.

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The Mind Museum

04 Figure. 3. ABS-CBN News, LOOK: 5 Design breakthroughs to see on your Manila road trip. 2016.

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Figure. 4. Han Wu, Henry Forman Atkinson Dental Museum. 2020.

Henry Forman Atkinson Dental Museum

Asian / Modern / Medium Scale

Australia / Historic / Small Scale

The four museums are ranged from large scale, medium scale and small scale which will aid me to understand the size differences as I approach my own design. At the same time, these museums are all from different locations therefore understanding how it is sited and how the site relates to the context. Most of these museums have diverse functions and exhibits ranging from historic and modern.

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THE BRITISH MUSEUM London, United Kingdom

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Figure. 5. Han Wu, The British Museum. 2018.

I visited the British Museum back in July 2018. I chose British Museum because it is the first national museum in the world as it was established by parliament back in 17531. I was always amazed on how the copper-domed reading room was zoned and created. Using this museum as one of my precedent study will aid me to create that same atmospheric public space for my own design.

1. “Architecture,� The British Museum, published 2020, https://www.britishmuseum.org/about-us/british-museum-story/architecture.

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LOCATION

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Figure. 6. Google Map, The British Museum map. 2020.

The site of the British Museum is located at Great Russell St, Bloomsbury, London WC1B 3DG, United Kingdom. Surrounding this museum are mostly residential buildings and student housing. To the museum’s north sites the University of London. As this museum was lifted back in 1753, the architecture style Greek Revival was used. Most of its surrounding buildings reflect Regency and Victorian style.

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SITE + CONTEXT

Figure. 8. Han Wu, The British Museum Analysis Diagram - Access. 2020.

Figure. 9. Han Wu, The British Museum Analysis Diagram - Road Network. 2020.

Figure. 10. Han Wu, The British Museum Analysis Diagram - Surrounding Context. 2020.

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Figure. 7. Han Wu, The British Museum Analysis Diagram - Massing and Boundary. 2020.

By studying the museum’s site and context diagrams, I was able to identify why its sited and massed the way it is. The iconic dome of the British Museum serves as the main public courtyard and gathering space. There is only one main public entrance being used and its located along the Great Russell St. This way, the access of crowds is controlled giving more security to the museum. The back entrance the back of house entrance is located at the rear of the museum on Montague PI. Beside the museums are mostly residential buildings and student housing as the museum is in near vicinity with London’s universities.

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BUILDING IDENTITY Interior

Figure. 11. Han Wu, The British Museum Exterior. 2018.

Figure. 12. Han Wu, The British Museum Interior. 2018.

The British Museum is inspired by Greek Revival style. It has four wings, 43 Greek temple inspired columns and triangular pediments. The building was completed in 1852 using mainly concrete, stock brick and Portland stones2.

The patterns and colours on the ceiling are inspired from classical Greek buildings as well. The construction of the iconic reading room dome started at 1954. Using cast iron, concrete, glass and the latest heating and ventilation systems, it was a masterpiece of mid-19th century technology3.

WEEK 5

Exterior

2. “Architecture,” The British Museum, published 2020, https://www.britishmuseum.org/about-us/british-museum-story/architecture.

3. “Architecture.”

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NATURE + ZONING

Atrium / Circulation

Middle East

Ancient Egypt

Asia

Upper Level

Ground Level

Main Entrance Great Russell Street

Montague Place Entrance

Lower Level

Educational Facilities

Africa

Themed Exhibits Figure. 13. Han Wu, The British Museum section diagram. 2019.

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NATURE + ZONING Asia

Special Exhibitions Ancient Egypt

Ancient Greece & Rome

Middle East Europe

Special Exhibitions Special Exhibitions

Upper Level

Special Exhibitions

Asia Themed Exhibits

Middle East

Americas

Ancient Egypt

Themed Exhibits

Cafe / Shop

Atrium / Circulation

Ground Level By studying the museums sections and plans, we can see that the vast atrium and circulation space dominates the whole area. The museum is functionally zoned by continents/locations of the world. The nature of its exhibits are mostly artifacts from around the world. However there are pocket themed exhibitions and special exhibition spaces around the museum as well as educational facilities and workshop space located on lower levels.

Special Exhibitions

Africa

Lower Level

Educational Facilities

Figure. 14. Han Wu, The British Museum plan axo diagram. 2019.

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Ancient Greece & Rome

Montague Place Entrance

Middle East

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THE LOUVRE MUSEUM Paris, France

WEEK 5

02

Figure. 15. Han Wu, The Louvre Museum. 2015.

I visited the Louvre Museum back in 2015. During the 16th century, this museum was actually a royal palace for King Louis XIV before he moved to Versailles and the museum opened in 1793 as the world’s largest art museum4. Since my museum will be an art museum as well, I wanted to use the Louvre as my second precedent to study further it’s zoning and how the Pyramid shape renovation designed by I.M. Pei changed its public access drastically.

4. Sarah Dimarco and Lindsey Desimone, “The 35 Best Museums In The World,” Veranda, published May 4, 2019, https://www.veranda.com/travel/g1436/best-museums-in-the-world/?slide=16.

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LOCATION

WEEK 5

Figure. 16. Google Map, The Louvre Museum map. 2020.

The site of the Louvre Museum is located Rue de Rivoli, 75001 Paris, France. The site faces a 17th century Tuileries Garden and has a building footprint of 4 particular structures. To its south is the iconic Seine river and most of its surroundings are within the same architecture style as well since Paris is a historic city.

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SITE + CONTEXT

Figure. 18. Han Wu, The Louvre Museum Analysis Diagram - Access. 2020.

Figure. 19. Han Wu, The Louvre Museum Analysis Diagram - Road Network. 2020.

Figure. 20. Han Wu, The Louvre Museum Analysis Diagram - Surrounding Context. 2020.

WEEK 5

Figure. 17. Han Wu, The Louvre Museum Analysis Diagram - Massing and Boundary. 2020.

The louver museum is massed in the way where it created its own inner courtyard. In the middle of the inner courtyard lies the iconic Pyramid which also serves as the main entrance for the museum. Car parking entrances are located along Avenue du Général Lemonnier, accessible from both Quai François Mitterrand and Rue de Rivoli. Its rear the entrance is located along Rue de l’Amiral de Coligny and serves as the back of house try as well.

Surrounding the site are mostly commercial buildings and hotels.

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BUILDING IDENTITY Interior

Figure. 21. Han Wu, The Louvre Museum Exterior. 2015.

Figure. 22. Han Wu, The Louvre Museum Interior 2015.

The Louvre Museum buildings are designed in French Renaissance style. The iconic pyramid designed by I.M. Pei was meant to mesh with the landscape5. The choice this particular pyramid shape also serves as a reminder of the importance of the Egyptian antiquities collection inside the museum6. The combination of modern and historic makes up the exterior of this museum.

As for the interior, the glass pyramid measures 35 meters wide and 21 meters high. It uses 95 tons of steel and 105 tons of aluminum7. As most of its exhibition spaces are located in other structures designed from French Renaissance style, so does the interior.

WEEK 5

Exterior

5. Rebecca James, “These Secrets About the Louvre Museum Will Surprise You,” Architectural Digest, published April 26, 2017, https://www.architecturaldigest.com/story/secrets-you-never-knew-about-paris-louvre-museum.

6. “The Louvre Pyramid: history, architecture, and legend,” Paris City Vision, published 2019, https://www.pariscityvision.com/en/paris/museums/louvre-museum/the-louvre-pyramid-history-architecture-legend.

7. “The Louvre Pyramid: history, architecture, and legend.”

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NATURE + ZONING

Paintings

Level 2 Level 1

Pavilion

Prints & Drawings Main Entrance

Italian & Etruscan Antiquities

Level 0

Level -1

Level -2 Pavilion

Exhibitions

Group Reception

Tickets

Museum Shop

Metro / Parking Tunnel Figure. 23. Han Wu, The Louvre Museum section diagram. 2020.

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Metro / Parking

Level -2

SULLY BUILDING

Visitor’s Assistance Auditorium Exhibitions Group Reception

PYRAMID ENTRANCE / UNDERGROUND LOBBY

Tickets Museum Shop

Level -1

France Sculptures Prints & Drawings Pavilion Greek Antiquities

DENON BUILDING

Islamic Art

Overall Zonning

Egyptian Art

Figure. 24. Han Wu, The Louvre Museum plan overall zoning diagram. 2020.

European Sculptures

Level 0

France Sculptures Near Eastern Antiquities Greek Antiquities Italian & Etruscan Antiquities Egyptian Art Africa, Asia, Oceania & Americas Arts

Level 1

Decorative Art (Europe) Egyptian Antiquities Pavilion Greek and Roman Antiquities Gallery Paintings

Level 2

The Louvre Museum is zoned in four main areas. The Richeliu, Sully, Denon and the Pyramid.

The exhibitions are mostly art pieces including but not limited to paintings, sculptures and antiquities. These art collections are zoned by locations around the world, similar to the British Museum zoning. By using the pyramid as the main entrance and exit, it created that central underground courtyard similar to the massing of the museum.

Paintings

Figure. 25. Han Wu, The Louvre Museum plan zoning diagram. 2020.

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THE MIND MUSEUM BGC, Taguig, Philippines

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03

Figure. 26. ABS-CBN News, The Mind Museum. 2016.

The third museum for this research is the Mind Museum located in Bonifacio Global City, Metro Manila, Philippines. I have been to this museum several times in the past. As to contrast the first two historic museums, I’ve chosen this example for my precedent study as it is an modern science and technology museum. This museum is also a medium scale museum which will fit perfectly to the brief of my ongoing museum design.

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LOCATION

WEEK 5

Figure. 27. Google Map, The Mind Museum map. 2020.

The site is located at 3rd Ave, Taguig, Metro Manila, Philippines. It is sited along Bonifacio High Street with close proximity to Burgos Circle.

Bonifacio Global City is a pioneer modern city at the heart of the metro and to complement this, a modern style science museum was constructed 2007 and opened its doors on 2012.

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SITE + CONTEXT

Figure. 29. Han Wu, The Mind Museum Analysis Diagram - Access. 2020.

Figure. 30. Han Wu, The Mind Museum Analysis Diagram - Road Network. 2020.

Figure. 31. Han Wu, The Mind Museum Analysis Diagram - Surrounding Context. 2020.

WEEK 5

Figure. 28. Han Wu, The Mind Museum Analysis Diagram - Massing and Boundary. 2020.

The overall massing approach follows the curving of the streets, shade created by adjacent buildings and focused on the deduction (hole) of the main entrance area to allow pedestrian access from each end of the city as the museum is sited along Bonifacio High Street, an urban pedestrian only walkway and landscaping. The back of house entrance is located at 28th St, and the museum has open parking areas on its north and south side.

Surrounding the site are mostly residential buildings, offices and hotels.

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BUILDING IDENTITY Interior

Figure. 32. The Mind Museum, The Mind Museum. 2013.

Figure. 33. The Mind Museum, The Mind Museum. 2013.

The design of the structure is inspired by curving of the streets, shade created by adjacent buildings. The aerodynamic roof allows for efficient rain collection and prevents wind tunneling by diverting gusts upward8.

The interior of the structure has various decorations and design suited for children and younger age group. Its interactive activities and exhibitions are the main goals of the design as most of its installations are “touchable”.

WEEK 5

Exterior

8. Christina Chaey, “The Philippines’ Mind Museum Fuses Modern Architecture, Science, And Art,” Fast Company, published November 21, 2011, https://www.fastcompany.com/1793452/philippines-mind-museum-fuses-modern-architecture-science-and-art.

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Figure. 3

WEEK 5

Support Services / Workshop spaces

“Technology” Exhibit

“Life” Exhibit

Hallway

Entry / Exit Lobby

Public Area

Commercial Space

Upper Level

Ground Level

“Universe” Exhibit

Figure. 34. Han Wu, The Mind Museum section diagram. 2018.

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NATURE + ZONING Support Services / Workshop spaces

Support Services / Workshop spaces “Technology” Exhibit Figure. 35. The Mind Museum Home Space 360, The Mind Museum Map. 2018.

Upper Level “Universe” Exhibit

WEEK 5

Exhibition spaces

“Earth” Exhibit Hallway Circulation + Access

Museum Shop “Life” Exhibit

Overall, the zoning is categorized into 5 main functional areas specifically the Life, Earth, Universe, Atom and Technology Exhibits. The nature of these exhibits are science and technological installations tailored for learning. There are other multinational exhibition spaces beside the main exhibits as well. The workshop and support services are located on upper levels. Most of its exhibits are interactive and allows the visitors to fully immerse into learning. As this is a medium scaled museum, studying this museum gave me a sense of scale as to approach my own design.

Entry / Exit Lobby

“Atom” Exhibit

Ground Level Figure. 36. Han Wu, The Mind Museum zoning diagram. 2020.

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HENRY FORMAN ATKINSON DENTAL MUSEUM Melbourne, Australia

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04

Figure. 37. Han Wu, Henry Forman Atkinson Dental Museum. 2020.

The last museum of choice is the Henry Forman Atkinson Dental Museum. As part of the requirement to choose one museum from University of Melbourne, I’ve chosen this small scaled museum to diversify the scale of my precedent study. Using this museum as an example for study would also allow me to design small and confined spaces, study it’s zoning in a small scale and learn how each artifact can be displayed in a limited space.

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LOCATION

WEEK 5

Figure. 38. Google Map, The Royal Dental Hospital of Melbourne map. 2020.

The museum is located inside the Royal Dental Hospital of Melbourne and is located on 720 Swanston St, Carlton VIC 3053. The site is east of the University of Melbourne Parkville campus. In front of the site sits the University of Melbourne Tram station making the site very accessible to the public transportation.

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SITE + CONTEXT

Figure. 40. Han Wu, Henry Forman Atkinson Dental Museum Analysis Diagram - Access. 2020.

Figure. 41. Han Wu, Henry Forman Atkinson Dental Museum Analysis Diagram - Road Network. 2020.

Figure. 42. Han Wu, Henry Forman Atkinson Dental Museum Analysis Diagram - Surrounding Context. 2020.

WEEK 5

Figure. 39. Han Wu, Henry Forman Atkinson Dental Museum Analysis Diagram - Massing and Boundary. 2020.

Since the museum is part of the dental building, I used the building as a whole for this analysis. The deducted space along Swanston street created a inner courtyard and acts like a sense of welcome for the main entrance. The massing as a whole follows the building footprint of the site. Back of house entry is on the north side of the structure along Lynch street. Since it is part of the University Campus, most of its surrounding context are university buildings with the exception of a residential, library and medical facility at its rear.

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BUILDING IDENTITY Interior

Figure. 43. Dental Health Services Victoria, The Royal Dental Hospital of Melbourne. 2013.

Figure. 44. Han Wu, Henry Forman Atkinson Dental Museum. 2020.

The exterior of the Royal Dental Hospital of Melbourne reflects the identity of an institution with the use of minimal glass white and gray walls and yellow canopy as accent.

As for the museum itself, it is constructed mainly out of glass and aluminum mullions. It uses red orange as accents on the wall.

WEEK 5

Exterior

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Circulation/Access

WEEK 5

Primary Exhibit

Exhibit Cabinets

Figure. 45. Han Wu, Henry Forman Atkinson Dental Museum section diagram. 2020.

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Figure. 46. Han Wu, the Royal Dental Hospital of Melbourne Evacuation Diagram. 2020.

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NATURE + ZONING 1

Figure. 47. Han Wu, Henry Forman Atkinson Dental Museum Interior 1. 2020.

2

3

Figure. 48. Han Wu, Henry Forman Atkinson Dental Museum Interior 1. 2020.

4

Figure. 49. Han Wu, Henry Forman Atkinson Dental Museum Interior 1. 2020.

Figure. 50. Han Wu, Henry Forman Atkinson Dental Museum Interior 1. 2020.

Exhibit Cabinets

WEEK 5

2

1

Circulation/Access

3 Since this is a very small scaled museum. Its main exhibits and displays are dental artifacts and shows the history of dental progress of Melbourne. This museum is zoned functionally in 3 groups, the exhibit cabinets, circulations/access space, and primary exhibit space.

Exhibit cabinet houses the artifacts and tools of dental history and the primary exhibit shows the complete dental clinic facility room from the olden times.

Primary Exhibit

4

Entry/Exit

Figure. 51. Han Wu, Henry Forman Atkinson Dental Museum zoning diagram. 2020.

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COMPARISON CHART + SUMMARY

WEEK 5

The British Museum

The Louvre Museum

The Mind Museum

Henry Forman Atkinson Dental Museum

Description/Function

Historic + Cultural European Large Scale Zoned: Location based

Historic + Cultural European Large Scale Zoned: Location based

Modern+ Science + Tech Asian Medium Scale Zoned: categories

Historic Australian Small Scale Zoned: Historic timeline

Opportunities

Central dome Functional zoning

Inner courtyard

Functional zoning

Specific exhibit

Limitations

Back of house

Adapted zoning Back of house

Nature of exhibit

Scale Back of house

Overall, the four museums was able to give me a wide range of perspective of its zoning and how the building was approached. The British Museum and the Louvre Museum are both functionally zoned by the locations / continents around the world whereas the Mind Museum is zoned by creating categories and Henry Forman Atkinson Dental Museum is zoned by historical timeline. Both British Museum and Louvre Museum came from a historical approach for its siting and massing as both structures reflect its history and culture. The mind museum on the other hand is inspired from modern approaches and materials. The Henry Forman Atkinson Dental Museum is part of the Royal Dental Hospital of Melbourne as a small exhibit space. Each of these museums all reflect their own unique approach to how its sited. As the Louvre Museum was actually adapted and reused from a residential building, so does the zoning had to be adapted. The Mind museum had the best visitors flow among the four as it was well thought out and planned. However, the British Museum had the most atmospheric and welcoming ambiance thanks to its large scaled iconic central dome. The Louvre Museum in my opinion had the best massing approach by creating the central courtyard as a sense of welcoming and adapted that same concept to the interior of the pyramid. The Henry Forman Atkinson Dental Museum was able to deliver the exhibits well despite its confined and limited space.

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LIST OF FIGURES + BIBLIOGRAPHY

FIGURES Figure. 1. Han Wu, The British Museum. 2018.

Figure. 34. Han Wu, The Mind Museum section diagram. 2018.

Figure. 2. Han Wu, The Louvre Museum. 2015.

Figure. 35. The Mind Museum Home Space 360, The Mind Museum Map. 2018, screenshot image. Accessed March 25, 2020. https://www.homespace360.com.ph/live?c=c9459016536

Figure. 3. ABS-CBN News. LOOK: 5 Design breakthroughs to see on your Manila road trip. 2016, still image.

Accessed March 25, 2020. https://news.abs-cbn.com/advertorial/lifestyle/06/30/16/look-5-design-breakthroughs-to-see-on-your-manila-road-trip.

Figure. 4. Han Wu, Henry Forman Atkinson Dental Museum. 2020.

Figure. 5. Han Wu, The British Museum. 2018.

Figure. 6. Google Map, The British Museum map. 2020, screenshot image. Accessed March 25, 2020. https://www.google.com/maps/place/The+British+Museum/@51.5198679,-0.1269494,485m/ data=!3m1!1e3!4m5!3m4!1s0x48761b323093d307:0x2fb199016d5642a7!8m2!3d51.5194133!4d-0.1269566.

Figure. 7. Han Wu, The British Museum Analysis Diagram - Massing and Boundary. 2020.

Figure. 8. Han Wu, The British Museum Analysis Diagram - Access. 2020.

Figure. 36. Han Wu, The Mind Museum zoning diagram. 2020.

Figure. 37. Han Wu, Henry Forman Atkinson Dental Museum. 2020.

Figure. 38. Google Map, The Royal Dental Hospital of Melbourne. 2020, screenshot image. Accessed March 25, 2020. https://www.google.com/maps/place/The+Royal+Dental+Hospital+of+Melbourne/@37.7996151,144.9624423,987m/data=!3m1!1e3!4m5!3m4!1s0x6ad642d3853a10f3:0xb687b20bbc098589!8m2 !3d-37.7996151!4d144.964631.

Figure. 39. Han Wu, Henry Forman Atkinson Dental Museum Analysis Diagram - Massing and Boundary. 2020.

Figure. 40. Han Wu, Henry Forman Atkinson Dental Museum Analysis Diagram - Access. 2020.

Figure. 41. Han Wu, Henry Forman Atkinson Dental Museum Analysis Diagram - Road Network. 2020.

Figure. 9. Han Wu, The British Museum Analysis Diagram - Road Network. 2020.

Figure. 42. Han Wu, Henry Forman Atkinson Dental Museum Analysis Diagram - Surrounding Context. 2020.

Figure. 10. Han Wu, The British Museum Analysis Diagram - Surrounding Context. 2020.

Figure. 11. Han Wu, The British Museum Exterior. 2018.

Figure. 43. Dental Health Services Victoria, The Royal Dental Hospital of Melbourne. 2013, still image. Accessed March 25, 2020. https://www.facebook.com/DentalHealthVic/photos /p.564945150205265/564945150205265/?type=1&theater

Figure. 12. Han Wu, The British Museum Interior. 2018.

Figure. 44. Han Wu, Henry Forman Atkinson Dental Museum. 2020.

Figure. 45. Han Wu, Henry Forman Atkinson Dental Museum section diagram. 2020.

Figure. 14. Han Wu, The British Museum plan axo diagram. 2019.

Figure. 46. Han Wu, the Royal Dental Hospital of Melbourne Evacuation Diagram. 2020.

Figure. 15. Han Wu, The Louvre Museum. 2015.

Figure. 47. Han Wu, Henry Forman Atkinson Dental Museum Interior 1. 2020.

Figure. 16. Google Map, The Louvre Museum map. 2020, screenshot image. Accessed March 25, 2020. https:// www.google.com/maps/place/Louvre+Museum/@48.8606111,2.3354553,823m/data=!3m2!1e3!4b1!4m5!3m4!

1s0x47e671d877937b0f:0xb975fcfa192f84d4!8m2!3d48.8606111!4d2.337644.

Figure. 48. Han Wu, Henry Forman Atkinson Dental Museum Interior 1. 2020.

Figure. 17. Han Wu, The Louvre Museum Analysis Diagram - Massing and Boundary. 2020.

Figure. 50. Han Wu, Henry Forman Atkinson Dental Museum Interior 1. 2020.

Figure. 18. Han Wu, The Louvre Museum Analysis Diagram - Access. 2020.

Figure. 51. Han Wu, Henry Forman Atkinson Dental Museum zoning diagram. 2020.

Figure. 49. Han Wu, Henry Forman Atkinson Dental Museum Interior 1. 2020.

Figure. 19. Han Wu, The Louvre Museum Analysis Diagram - Road Network. 2020.

Figure. 20. Han Wu, The Louvre Museum Analysis Diagram - Surrounding Context. 2020.

Figure. 21. Han Wu, The Louvre Museum Exterior. 2015.

Figure. 22. Han Wu, The Louvre Museum Interior 2015.

Figure. 23. Han Wu, The Louvre Museum section diagram. 2020.

Figure. 24. Han Wu, The Louvre Museum plan overall zoning diagram. 2020.

Figure. 25. Han Wu, The Louvre Museum plan zoning diagram. 2020.

Figure. 26. ABS-CBN News. LOOK: 5 Design breakthroughs to see on your Manila road trip. 2016, still image. Accessed March 25, 2020. https://news.abs-cbn.com/advertorial/lifestyle/06/30/16/look-5-designbreakthroughs-to-see-on-your-manila-road-trip.

Figure. 27. Google Map, The Mind Museum map. 2020, screenshot image. Accessed March 25, 2020. https:// www.google.com/maps/place/The+Mind+Museum/@14.552161,121.0435643,1210m

BIBLIOGRAPHY Chaey, Christina. “The Philippines’ Mind Museum Fuses Modern Architecture, Science, And Art.” Fast Company. Published November 21, 2011. https://www.fastcompany.com/1793452/philippines-mind-museum-fuses-modern-architecture-science-and-art.

Dimarco, Sarah, and Desimone, Lindsey. “The 35 Best Museums In The World.” Veranda. Published May 4, 2019. https://www.veranda. com/travel/g1436/best-museums-in-the-world/?slide=16.

James, Rebecca. “These Secrets About the Louvre Museum Will Surprise You.” Architectural Digest. Published April 26, 2017. https://www. architecturaldigest.com/story/secrets-you-never-knew-about-paris-louvre-museum.

Figure. 29. Han Wu, The Mind Museum Analysis Diagram - Access. 2020.

Paris City Vision. “The Louvre Pyramid: history, architecture, and legend.” Published 2019. https://www.pariscityvision.com/en/paris/muse ums/louvre-museum/the-louvre-pyramid-history-architecture-legend.

Figure. 30. Han Wu, The Mind Museum Analysis Diagram - Road Network. 2020.

The British Museum. “Architecture.” Published 2020. https://www.britishmuseum.org/about-us/british-museum-story/architecture.

Figure. 28. Han Wu, The Mind Museum Analysis Diagram - Massing and Boundary. 2020.

Figure. 31. Han Wu, The Mind Museum Analysis Diagram - Surrounding Context. 2020.

Figure. 32. The Mind Museum, The Mind Museum. 2013, still image. Accessed March 25, 2020. https://www. themindmuseum.org/about-us/ Figure. 33. The Mind Museum, The Mind Museum. 2013, still image. Accessed March 25, 2020. https://www. themindmuseum.org/about-us/

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Figure. 13. Han Wu, The British Museum section diagram. 2019.

WEEK 6

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Summary Analysis For week 6, in preparation for mid-semester, I’ve been constantly preparing my drawings for Online presentation rather than the conventional way of presenting (pin-ups and prints). This week I’ve also worked on improving my idea of the museum being a recycled art. At this stage, everything I do had to link back to that main idea and as for my sleep, it was non-existent but still am motivated. I’ve enhanced the drawings based from the feedback of my tutors and peers where I took out most of the irrelevant diagrams and/or combined them/eliminated them for better clarity. I’ve also presented to my peers and family to get feedback from another perspective to help me improve on my design.

week 6 exercise 5 6 - 17 April

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In this diagram (idea), I sketched out the slides and how I will arrange them for presentation. I tend to do this a lot to help me visualise and understand my own sequence to see if it works or not. Here I wanted to show the journey of the museum through series of images paired with a series of diagrams.

WEEK 6 With the research, just like the British museum, i wanted my design to have that central atrium where everyone can converge as part of a public space.

I’ve also tried to visualise what kind of design approach usually happens during a studio project to help me place where I am at this moment.

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Exploring posibilites of the atrium in axonometric view.

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I’ve listed down all the programs I need to include in the museum and segregated them into 3 main categories, Public, Museum and BOH spaces. This helps me better understand the overall zoning to ease the detailing of specific spaces later; sort of a top down approach.

WEEK 6

Here, I am calculating the ramp inclination and path dimension to inform the spaces I need for the interior.

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I revisited the form finding diagrams through a series of individual exercises and exploration.

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This is the calculated time in seconds and the sequence of my presentation starting from my idea all the way to the identity of my museum. I usually write them down to help me with my train of thoughts and for clarity as well.

WEEK 6

As part of that “producing for online presentation�, at this point most of my drawings are produced and informed by the sequence of how I am going to present.

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WEEK 6 I saw an online article here at this moment about a museum through an unfolded section so I wanted to use produce this drawing as part of my presentation later on.

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These next few pages are the series of drawings I produced in preparation for my mid-semester presentation and review. During this time, all my focus are on studio and since the presentation is going to be online, I really didn’t know what to expect.

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WEEK 6

I’ve enhanced the series of site diagrams with colors and combined the necessary information into a more comprehensive sets of diagrams.

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I’ve translated the hand sketches into 3D diagrams of programs to help the viewers and myself understand all the different programs dissected in the museum.

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All of these diagrams reflect back to Bjark Ingles’ sets of diagrams as inspiration. I found these diagrams to be very successful.

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Summary Analysis As part of my mid-semester preparations, I spent the entire weekend honing my presentation and updating my presentation sequences and drawings. I’ve also constantly rehearsing with my peers, friends and family members to help me improve more. At this stage, there was no more design decisions but rather presentation approach and drawing selection decisions. I’ve also written scripts to help me reflect on the words I need to use and say.

midsem mid-semester review 20 - 24 April

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MIDSEM

I sketched out slide by slide all the drawings, images and diagrams I needed to inform my presentation and help me visualise it before doing it so I save more time.

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Going back to that idea of having that framed view of the melbourne skyline.

MIDSEM

Placing the idea of the unfolded section and designing using section as part of my museum experience to present to the panels.

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Transcript

What spoke to me about this photo was how the trash are squeezed together into this box (which people thought was a rubbish bin). For me, it was both an eyesore and a street art and spoke very strongly about our behavior as people.

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MIDSEM

Transcript

This made me think how our future cities would become if we take commodities such as garbage collection and recycling for granted. Good afternoon everyone, I’m Han and I’ll be sharing my design process for my project the Museum of Recycled Art. 128

ABPL90115 2020 SM1

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MIDSEM

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_SITE & CONTEXT

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SITE PLAN Transcript

The site is located at the heart of Art Precinct, Southbank, Melbourne, with an area of My site is located in the heart of Arts Precinct, Southbank.

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2160m . It has 4 corners with 47.9m, 36.05m, 51.42m and 53.96m respectively and is sited across the Red Stair Amphitheater.

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rsid Rive Scale 1:500 MTS

STUDIO 39 - REMEMBER ARCHITECTURE

_SITE & CONTEXT

PEDESTRIAN + BICYCLE TRAFFIC

ACCESS POINTS

VEHICULAR TRANSPORTATION

The site frontages the southbank promenade and yara river. The north west corner attracts high pedestrian traffic. It is connected by southbank blvd and queens bridge street for public transportation. here are the access points.

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MIDSEM

Transcript

EXISTING NETWORK + FEATURES

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_BUILDING IDENTITY

VOLUME

SETBACK

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BOUNDARY

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SENSE OF ARRIVAL Transcript

SERVICE + ROAD ACCESS

I extruded the boundary; adjusted the setback and created this entry points to show a sense of welcome. I added back of house entry at the rear and designed a staircase that extends the promenade into the museum.

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PUBLIC + PROMENADE

STUDIO 39 - REMEMBER ARCHITECTURE

_FUNCTIONAL ZONING

Museum Spaces

Public Spaces

MIDSEM

Services + Storage

VOLUME

Transcript

BASIC ZONING

With the volume, I divided the zoning into 3 categories; museum spaces, public spaces and services.

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DIVISION

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_FUNCTIONAL ZONING

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SUB-CATEGORY

MUS

EUM

36 %

SPA

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PUB

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Transcript

STO

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These are then divided into sub categories

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_FUNCTIONAL ZONING Artist in Residence

Auditorium

Admin

Cafe + Kitchen & Rooftop Bar

Workshop

Atrium + Circulation

Rooftop Garden

Toilet

Staff core access hub

Gallery Spaces

Entry + Exit

Fire stairs

Visitor center + Shop

Services + Storage

LIST OF PROGRAMS 1% 4%

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4%

4%

3%

23 %

4% 4%

MUS

36 %

EUM

9% SPA

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4% PUB

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% 4%

4.8 24 %

SPA

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4.8 SER VIC

Transcript

and further extracted into its respective sizes.

33.5ES + STORAGE % 134

%

%

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_FUNCTIONAL ZONING

MIDSEM

+

=

=

FORM

Form derived from site & context response

STACKED

Transcript

ZONING 1

ZONING 2

With these, I added the form derived from site to zoning 1 and stacked them all together into a combination of form and function.

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FORM + FUNCTION

STUDIO 39 - REMEMBER ARCHITECTURE

_FUNCTIONAL ZONING

Gallery Spaces

MIDSEM

Atrium + Circulation Rooftop Garden Cafe + Kitchen Visitor center + Shop Delivery + Storage & Services

Transcript

In section, gallery spaces are on the left, public spaces on the right with atrium as bridge.

ZONING SECTION

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_FUNCTIONAL ZONING

Entry + Exit

MIDSEM

Visitor center + Shop Atrium + Circulation Gallery spaces Toilets Delivery + Services Fire stairs Staff core access hub

Scale 1:400 MTS @A3

Transcript

LOWER GROUND LEVEL (LG)

Lower ground are mostly public spaces.

The entry and exit fronts the Southbank Promenade giving a sense of welcome into the museum. The back of house delivery is located on the rear with access to Southbank Blvd.

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_FUNCTIONAL ZONING

MIDSEM

Scale 1:400 MTS @A3

Scale 1:400 MTS @A3

Cafe + Kichen Auditorium

UPPER GROUND LEVEL (UG)

Atrium + Circulation

With the cafe and kitchen located on the upper ground level, the public can access it anytime using the stairs that connects the space into the promenade.

Gallery spaces Administration Toilets Fire stairs

Transcript

Staff core access hub

The stairs from the promenade leads straight into the café and extends to the mezzanine.

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UPPER GROUND LEVEL - MEZZANINE (M) Since the floor to floor height is 6 meters, I’ve added a mezzanine level between upper ground level and level 1 to give more spaces to cafe + kitchen and administration.

ABPL90115 2020 SM1

MIDSEM

_FUNCTIONAL ZONING

Scale 1:400 MTS @A3

Scale 1:400 MTS @A3

Gallery spaces

LEVEL 1 Level 1 showcases the vast gallery space where large installments and installations can be exhibited.

Workshop spaces are interactive spaces where visitors can be hands on and learn the importance and significance of creating art using recycled materials.

Atrium + Circulation Workshop space Artist in Residence Rooftop Bar + Lounge Rooftop Garden Toilets Fire stairs

Transcript

Level 1 are gallery spaces with workshops.

Rooftop includes the bar lounge and rooftop garden.

Staff core access hub

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ROOFTOP (RT) Comprises of rooftop Bar + Lounge and garden, the rooftop space reflects Melbourne’s rooftop bar culture overlooking the Melbourne CBD Skyline.

STUDIO 39 - REMEMBER ARCHITECTURE

_FUNCTIONAL ZONING

MIDSEM

Plant + Services + Storage

Scale 1:400 MTS @A3

Toilets Fire stairs Staff core access hub

Transcript

Basement comprises of services and storage.

BASEMENT (B) Basement level comprises of plant and services, collection storage, preparation and conservation, waste room and recycled sorting and delivery core.

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_CIRCULATION

RT

RT

01

MIDSEM

01

UG

UG

LG

LG B

Transcript

To summarize the zoning, this is the circulation of the 3 categories, museum public and services.

MUSEUM

PUBLIC 141

SERVICES + STAFF

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_CIRCULATION + PHILOSOPHY + CONCEPT

HISTORY

INFORMATION

EXHIBITION

APPLICATION

MIDSEM

Scale 1:1000 MTS @A3

LG

UG

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JOURNEY Transcript

With this, the visitors will be able to physically experience the MUSEUM space through a narrated spatial journey of History, Information, exhibition and application.

The visitors will be able to physically experience the space through a narrated spatial journey.

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RT

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_MATERIAL + BUILDING IDENTITY

SHIPPING CONTAINERS CONTAINERS

HERITAGE TIMBER

MIDSEM

LOCAL RECYCLED BUILDING MATERIALS

DECORATIONS

CONTAINER & FRAMES

STEEL

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= MASSING Transcript

FORM ITERATION

MATERIAL REPRESENTATION

Port Melbourne has recycled shipping containers that I sought as design opportunities. Structurally, they will be supported by frames and added into the massing. Basically, different programs represents different recycled material. The form is yet final, spaces will be further transformed into the right container sizes. For now, here are some recycled building materials in Melbourne.

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_PHILOSOPHY + CONCEPT

MIDSEM

Scale

1:1000

A3

MTS @

SCULPTURE Transcript

I designed the museum to be a sculpture itself in opportunities that we can get out of it.

The museum will be a sculpture itself in the city just like the of thelike telecom not as annot eyesore buteyesore as a theimage city just the pedestal; FIRST image; as an physical manifestation and reminder of the opportunities that we can get out of reusing and recycling.

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but as a physical manifestation of the

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MIDSEM

_PHILOSOPHY + CONCEPT

Rooftop Garden Atrium + Circulation Gallery Spaces Cafe + Kichen Visitor center + Shop Storage & Services

Scale 1:300 MTS @A3

EXPERIENCE Transcript

The narrated spatial experiences is uniquely

With part of the experiences uniquely translated through series of ramps open atriums. translated through series of and ramps

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MIDSEM

ATRIUM

Main stairs and atrium showcases reused metal sheets / slabs as materials for stairs and locally sourced steel mesh as barrier / semi-permeable divider with skylights illuminating the interior giving an unique phenomenological experience to the visitors.

Transcript

and open atriums.

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MIDSEM

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EXHIBITION

Transcript

Most of the museum exhibits will be showcased from both local and international artists with the same manifesto of creating art with the use of recycled materials. Recycled timber frames will be used both aesthetically and structurally with in the interior space.

and the exhibits will showcase from both local and international artists with that same manifesto.

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STUDIO 39 - REMEMBER ARCHITECTURE

MIDSEM

ENTRANCE The entrance of the museum creates this sense of welcome and arrival allowing the visitors to be drawn inside the space.

Transcript

The museum of recycled art is in itself an recycled art;

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IDENTITY

Transcript

The museum of recycled art is a scaled up version of that of an recycled art; and serves and a symbol, sculpture and identity advocating the significance, opportunities and beauty of recycling.

It serves as a sculpture, identity and awareness advocating the significance, opportunities and beauty of recycling.

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MIDSEM

SYMBOLISM Transcript

The museum symbolizes the process making of a real recycled art by putting together different programs and its corresponding recycled materials to create something functional and beautiful.

Metaphorically, the museum symbolize the process making of a real recycled art by stacking different programs and using different materials.

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WEEK 7

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Summary Analysis After the mid semester, my productivity kind of died down a little bit. During this week, I revisited the rubric given to us by our studio leaders to kind of assess myself on the strength and weaknesses of my museum design thus far. I also dug deeper into more research on medias and other artists who has the same manifesto to help me inform the “collections” inside my museum space. During this week, I’ve also tried to apply some of the materials into rendering to help myself visualise it better. Since week 1, it’s been a month since I’ve interacted with another person so it somehow affected my work and my productivity. This translated directly with the amount of work I were able to produce.

week 7 building identity + materials 27 APRIL - 1 MAY

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BUILDING IDENTITY ASSESSMENT External building shape

RUBRIC

STRENGTH

WEAKNESSES

The external building shape has been designed to reflect a philosophical or

In terms of this aspect, the museum of recycled art alludes to process making of a real recycled

At the moment, it lacks the materiality aspect to strengthen the claim which can be unpacked

The external building shape has been designed to create a sense of arrival.

The entrances (Staircase for the public & pocket entry for the museum) does just that.

The pocket entrance for the museum is not too obvious at the moment which can be tweaked.

The external building shape has been designed to create an identity for the museum.

The museum of recycled art is a scaled up version of that of an recycled art; and serves and a symbol, sculpture and identity advocating the significance, opportunities and beauty of recycling.

Using specific materials (permeable, semipermeable, translucency, patterns, colors) to reflect in the facades and external appearances would enhance this aspect.

The materials used in the design responds to the context of the site e.g. physical, historical, cultural etc.

Most of the main materials would be sourced locally in the context of Melbourne. These include heritage timber, steel and others that can be reused.

Improvements can be done to improve this aspect. These include relating to materials that are used in the surrounding context.

The external building shape responds to the historical and / or cultural contexts of the site

As the site sits in the heart of arts precinct and in Southbank, the museum’s form alludes to that of an recycled art that strengthens the site as part of the arts precinct of Melbourne.

Further research on the historical and cultural aspect of the site would help enhance this aspect.

The external building shape responds

The building form was informed by the response

conceptual idea for the project e.g. external building shape alludes to science and technology.

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to the physical context of the site.

through studying artists works that centralises in recycled arts.

WEEK 7

I’ve decided to use this chart to identify my strengths and weaknesses in my design to further improve.

to the physical context of the site e.g. providing setbacks, creating / framing views etc.

art by putting together different programs and its corresponding recycled materials to create something functional and beautiful.

ABPL90115 2020 SM1

Interior spaces

RUBRIC

STRENGTH

Furniture, fixtures (lighting, taps etc.) and equipment have been included in

At the moment, the interior spaces lacks this aspect.

the design in key interior spaces.

The interior spaces of the building

have been designed to reflect a philosophical or conceptual idea for

WEEK 7

the project e.g. every surface is an opportunity for display.

WEAKNESSES

The interior spaces reflects to that concept of

the museum being an art itself as the visitors can see all the exposed recycled materials.

In terms of specific recycled materials, it still lacks

proof at the moment. Choices of these recycled materials in reflection of the interior spaces would greatly enhance this aspect.

The interior spaces of the building have been designed to help people orient themselves, and navigate through the building e.g. creating visual connections between spaces.

Parts of the museum’s interior spaces have pre-determined and designed spaces for the visitors such as the series of ramps that leads to the upper levels.

Creating visual connections such as floor directory or wall directory would enhance this aspect. At the moment it still lacks these visual navigation.

Others include material translucency, patterns and etc that can be designed to improve that visual connection.

The interior spaces of the building have been designed to create a sense of arrival.

The museum entrance (under the stairs) creates this sense of arrival into the museum.

Still lacks drama and emphasis at the moment and can be improved further by adding a narrative and story into the design.

The interior spaces of the building have

In the same way, the interior spaces uses as well

More use of these materials to reflect in the

been designed to create an identity for the museum.

recycled materials such as steel mesh, metal slabs and others to strengthen that recycled art

interior spaces can be added.

identity.

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STUDIO 39 - REMEMBER ARCHITECTURE MEDIA FOR RESEARCH 01 FILM Wall-E (2008)

I’ve also researched on films that portray the same atmosphere as how I want my museum to reflect.

Nik Gentry

Some of the artists that has the same manifesto that I’ve looked into and studies their approach to their art work to help me frame my own approach.

Nick Gentry is a London-based artist whose signature device is to recycle used floppy discs, on which he paints astonishingly futuristic portraits. His work is influenced by the development of consumerism, technology and cyber culture in our society. He also uses used film rolls, VHS disks, and x-rays, which he skillfully integrates into his portraits. The works by Gentry would help me understand different processes of the art creation of through different artist’s and their respective styles.

Sayaka Ganz Sayaka Ganz was born in Japan but grew up in numerous cities all over the world. She was raised under the Japanese philosophy of Shinto where all objects and organisms are believed to have a spirit and a soul. Ganz collects discarded objects and with her talent and enthusiasm she transfigures them into animal forms by simply combining plastic residues. More research on different artists and their respective processes can greatly enhance my design approach to my museum.

In the film Wall-E, the narrative mainly focuses on an apocalyptic world where it is mostly covered by trash and rubbish and how humanity tries to survive in outer space and hopeful to return to earth someday for habitation once again. With this, I hope to use the film’s narrative as a journey and story telling for the visitors when they experience the museum spaces. In the last photo, Wall-E keeps some of the rubbish as part of his collections. I think in the same aspect, this museum does just that.

WEEK 7

02 ARTISTS/WORKS Vik Muniz

Brazilian artist, Vik Muniz, is central to the recycled art movement and specialises in reproducing masterpieces with recycled materials. His materials range from rubbish, to shredded magazines, wires, puzzle pieces and even dust. I want to use this as an example and precedent study to unpack his narrative and process behind his art to help drive and infrom my interior and exterior spaces and use that process too to inform the museum’s materiality and identity.

03 ORGANISATIONS Reverse Garbage - NSW Accodring to Reverse Garbage, every time a product is thrown away, all the materials and energy that went into its initial production go to waste. Their value is wiped out. Forever. Their role is to save materials from going to waste in landfill and to renew their value by making them available for reuse by families, students, artists and community groups. Researching into their organisation would enhance on the WHY of the museum and can even adopt some of their principles into the design.

Tim Noble and Sue Webster Their iconic “shadow sculptures” are made from recycled objects and rubbish, which they then light up in order to cast shadows on the walls and surrounding ground.

At first sight, the piece looks like a pile of rubbish, but once the light is cast, the shadow of the piece reveals an incredibly detailed and realistic image on the wall. In that

Reverse Art Truct Inc. - VIC

same way, I hope to achive in my museum to reflect that aspect where rubbish can transformed into something beautiful and even functional as well.

Reverse Art Truck Inc. is a non profit organisation that has been in operation for over 30 years in Victoria. They collect rejects, seconds and factory offcuts for distribution to schools, early learning centres and the community. Reverse Art Truck is a grass roots artist reuse organization for the purpose of recycling materials that would have otherwise gone into landfills - making them available for the greater community, art educators, artists and crafters of all types.

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WEEK 7

COUNCIL - SUSTAINABILITY VICTORIA

https://www.recycling.vic.gov.au/can-i-recycle-this

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STUDIO 39 - REMEMBER ARCHITECTURE LOCAL BUILDING MATERIALS (PRECEDENTS)

WEEK 7

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WEEK 7

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I’ve decided to apply the principles and materials based from my research into my design but as you can see here, not much has changed since the mid-semester. Only a few material and color changes. At this point I wasn’t too worried because I knew I will find a way to improve on the design.

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WEEK 7

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WEEK 8

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Summary Analysis During this week, I placed the overall design on hold and decided instead to go back to my manifesto and revisit how I can enhance the museum experience and tailor it through a curated narrative (which I should have done since the start of the semester but failed to do so- should be improved in further design process).

This is also the week where I also don’t see much motivation from my studio peers so that affected my motivation towards the project as well. I’ve created a mood boards with materials and concept photos of how I want the visitors to feel and sketched out the storyboard of the experience through one-point perspectives which always help me visualise the experience better.

week 8 functional planning + materials - front of house 4 - 8 MAY

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WEEK 8

This section shows the experience I want to create to let the visitor feel the real impact of wastes in the world where in this space IS the actual living everyday space of most third world countries that are affected by the improper disposal of e-waste. I thought about this atmosphere and was actually inspired by the film Wall-E and drawn from my personal experience of these spaces back in the Philippines where I visited these spaces as part of my outreach program.

From the feedback of my tutors, I’ve decided to shift from general recycled art museum to a more specific museum topic (electronic waste) which was more interesting and very relevant to today’s digital world. I’ve structured the experience at this point starting from History > Impact > future.

Since most people living in the first world countries are not actually aware of these, I drew a section where it is divided with a one-way glass so people on the right (the first space they visit) can’t see whats on the left (the next place they will visit) but once they reach the left side, they can see the right side revealing the real impact of e-waste in our world.

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WEEK 8

I’ve structured the museum experience like watching a film. Starting with History > current > impact > what we can do > to the possible future.

As part of my spatial constraints and limitations, I’ve decided to arrange them vertically instead but still retaining that idea of the one-way glass.

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STUDIO 39 - REMEMBER ARCHITECTURE I’ve sketched out the experience frame per frame just like a storyboard to help me visualise better.

WEEK 8

I’ve also shifted my design concept from “stacking the different spatial programs together by mimicking the process making of an recycled art to form an recycled art” into “using the process building of a PC from different internal components into one functional technology” as it is more related to E-waste and electronics.

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WEEK 8

Once again here I sketched out the “slides” to help me frame my presentation and visualise what drawings I will need to produce.

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SPATIAL JOURNEY (NARRATIVE)

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From here, I’ve then structured the spatial journey like watching a film (exploring different design approaches learned from the subject) where exposition is the history, the present is a set up for the rising action, impact as the climax and plot twist, down through falling action application space and to the possible future of recycling.

HISTORY

PRESENT

IMPA

Exposition

Set-up

Climax | T

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APPLICATION (WHAT YOU CAN DO)

Resolution

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FUTURE

WEEK 8

ACT

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WEEK 8

FUTURE IMPACT

APPLICATION

PRESENT HISTORY

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01 HISTORY (MOOD BOARD)

LOWER GROUND LEVEL

WEEK 8

I’ve identified keywords that would help me frame the overall look and atmosphere of each of these sets of interior spaces

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RETRO NOSTALGIA

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02 PRESENT (MOOD BOARD)

WEEK 8

UPPER GROUND LEVEL

CLEAN PURE

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03 IMPACT (MOOD BOARD) LEVEL 1

WEEK 8

EXTREME BIZARRE

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04 APPLICATION (MOOD BOARD)

WEEK 8

LEVEL 1

CREATIVITY IMAGINATION

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05 FUTURE (MOOD BOARD)

ROOFTOP

WEEK 8

HOPE OPTIMISM

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01 HISTORY (FINISHES BOARD)

LOWER GROUND LEVEL

01

01 General ceiling paint (black) 02 Vintage wood cladding wall 03 Brickwall

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04 General wall paint (light brown)

02

05 Concrete Floor

03

06 Checkered Tiles

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05

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02 PRESENT (FINISHES BOARD) UPPER GROUND LEVEL

01

01 General ceiling paint (white) 02 General wall paint (white) 03 Concrete Floor WEEK 8

02

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03 IMPACT (FINISHES BOARD) LEVEL 1

01

01 Concrete ceiling (dirty) 02 Concrete wall (dirty) 03 Concrete Floor

WEEK 8

04 One-way glass floor

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03

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04 APPLICATION (FINISHES BOARD) LEVEL 1

01

01 Perforated metal ceiling 02 Motherboard wall 03 Phone wall 04 CD wall 06 Concrete Floor

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03

04

05

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05 General wall paint (white)

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05 FUTURE (FINISHES BOARD) ROOFTOP

01 Greenwall 02 General wall paint (white) 03 Timber floor treated WEEK 8

04 Pebbles floor

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03

02

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EXTERIOR (FINISHES)

01 Container Metal Cladding 02 Perforated Metal (customised pattern) 03 Recycled plastic (translucent) 04 Glass

03

05

05 Timber Staircase

02

06 Concrete wall + floor

04

06

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01

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03 IMPACT (FINISHES BOARD) LEVEL 1

01

01 Concrete ceiling (dirty) 02 Concrete wall (dirty) 03 Concrete Floor

WEEK 8

04 One-way glass floor

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03

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04 APPLICATION (FINISHES BOARD) LEVEL 1

01

01 Perforated metal ceiling 02 Motherboard wall 03 Phone wall 04 CD wall 06 Concrete Floor

02

03

04

05

06 180

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05 General wall paint (white)

ABPL90115 2020 SM1

JOURNEY

WEEK 8

I utilised the unfolded section idea back in the earlier weeks and combined them with my sketches to show the sequence of spatial arrangement as a journey for the visitors. I think this was very successful as it enhances the experiences and translates it really well for my tutors and myself to understand my intension for the interior spaces and the experience.

ENTRY

ATRIUM

HISTORY

CURRENT

Welcoming Arrival

Open Accommodating

Nostalgia Retro

Clean Pure

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WEEK 8

IMPACT

TRANSITION

APPLICATION

FUTURE

Bizarre Extreme

Shifting Directing

Creative Imaginative

Optimistic Hopeful

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JOURNEY

WEEK 8

I’ve then also produced sample preliminary renders to enhance it visually.

ENTRY

ATRIUM

HISTORY

CURRENT

Welcoming Arrival

Open Accommodating

Nostalgia Retro

Clean Pure

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WEEK 8

IMPACT

TRANSITION

APPLICATION

FUTURE

Bizarre Extreme

Shifting Directing

Creative Imaginative

Optimistic Hopeful

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INTERIOR

WEEK 8

I kept this idea of having the 2 contrasting gallery space on top of each other.

I found this section image very strong in showing my intension for the 2 spaces.

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EXTERIOR

WEEK 8

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WEEK 9

ABPL90115 2020 SM1

Summary Analysis Week 9 is where my productivity is almost at it’s lowest. While others are struggling as well, I find myself at a point where there is nothing I can do to actually improve my design further. At this point, I was just testing out different renders and somehow just producing the drawings for the sake of completion which I find myself doing most of the time just to finish. I’ve basically just added a few decorative elements to make it more interesting.

week 9 functional planning + materials - back of house 11 - 15 MAY

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LOBBY ATRIUM

I’ve added LED floor lights as part of way-finding. (Honestly, I didn’t know what else to do at this point so I’ve been just adding different decorative elements to try to force my design to fit the new “concept about electronic waste”.

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WEEK 9

ATRIUM LIGHTWELL

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ROOFTOP BAR + LOUNGE

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WEEK 9

EXTERIOR IDENTITY (DAY)

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EXTERIOR IDENTITY (NIGHT)

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WEEK 9

ENTRY FLOOR WAYFINDING

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WEEK 10

ABPL90115 2020 SM1

Summary Analysis Week 10 is where I am completely lost. I’ve also felt mentally and physically ill (maybe caused by the isolation). I had zero motivation to move forward with my design and basically just trying to add or subtract different elements to my “almost finished” design. One idea was using the facade as a LED screen to relate it back to my “electronic waste” concept but personally found it to be a little bit shallow.

week 10 exhibition planning + way finding - collections 18 - 22 MAY

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WEEK 10

I went back to sketching (adding + removing) elements from my design to see if it helps or improves the designed but I think it wasn’t working well.

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WEEK 10

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A Museum of Electronic Waste was chosen to be located at the heart of Art’s Precinct in Southbank, Melbourne in response to the significant rising e-waste in Australia.

WEEK 10

My museum is a Museum of Electronic Waste that will explore the history, impact and possible future of e-waste by showcasing a collection of historical evidences and archives of the timeline of e-waste, to exhibits of art collections and installations of e-waste materials.

The audience for the Museum of Electronic waste will be mostly general public, artists, art enthusiast, technology and electronics enthusiasts, environmentalist, recycling enthusiast and other educational establishments.

The Museum of Electronic Waste will provide a place to showcase the impact of e-waste in our world through a narrated spatial journey such as documentary films, electronic exhibits, detailed physical experience, art collections and touring collections.

The Museum of Electronic Waste will be made up of the following facilities: 1. Museum Shop + Visitor Center 2. E-waste collection drop-off center 3. E-waste Art workshop (Education facility) 4. Interactive exhibits I’ve also narrowed down my manifesto of my museum to try to use this to help me move my design forward.

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LED lights

EXTERIOR (V2) Adding a little informality (reflecting back to the concept of different components together)

LED screen out of different stacking of old TV’s

EXTERIOR (V3) Adding a little informality (reflecting back to the concept of different components together)

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EXTERIOR (V4)

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SOUTHBANK (VIBRANCY)

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PRECEDENT (VIDEO)

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RED AMPHITHEATRE

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PROMENADE STAIRS

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Summary Analysis Week 11 is the turning point of my design project. One of my tutors encouraged me to be brave and not afraid to change my design if I see that it isn’t going anywhere. This personal bias held me back and at first so I didn’t want to change but during the middle of the week, I knew I had to change it because the whole design wasn’t moving forward at all and I cannot see myself ending up with this design as my final design. I scraped the whole thing, revisited back starting with the site, while retaining that concept of e-waste, and came up with a design that once again motivated me. What was positive was that I’ve retained all my previous diagram files and modeling files so I was able to produce and come up with a design much faster. During this week, my productivity was off the charts as I basically didn’t sleep at all to finish all the required drawings as the interim reviews was on this week as well.

week 11 structure + interim reviews 25 - 29 MAY

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EXTERIOR (CURRENT) WEEK 11

Old design where I tried to intervene and hopelessly fix by removing some of the elements and adding different materials.

Rustic e-waste Rustic Metal Facade

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This is where everything turned 180 degrees. I went back to sketching my ideas and with the limited time I have left, I had to make critical decisions. This first sketch goes back to the sketch I had in week one where different modules / programs are enclosed inside a box.

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I’ve retained the stairs as it is part of my design to integrate it from the Southbank Promenade to the museum.

As for the gallery spaces, I went back to the first idea where the gallery spaces are connected through bridges. At this point I thought to myself that sometimes your first design and first ideas are actually the ones that becomes your final ideas.

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This elevation sketch is what struck to me as a final gear for the building identity to move forward with my design.

WEEK 11

Revisiting the train of thought of the whole journey of the museum

Instead of placing the public spaces on upper levels, I extended the promenade into the museum at the ground level to integrate it better to the public realm and the promenade.

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Revisiting the bubble diagrams (with the limited time, only a few sketches were drawn)

Facade study and iteration

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Using the same format of visualising slides to frame the drawings i needed to produce for final presentation.

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Facade identity relating back to the concept of e-waste and technology.

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WEEK 11

The next set of drawings are all part of the 3 days of no sleep where I’ve used some of the old diagrams as substitute at the moment to convey to my tutors on my new design. Here I’ve used my past experiences of working fast and gave all my adrenaline to push forward as fast as I can.

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Transcript

This photo was taken along the southbank promenade which people thought it was a rubbish bin but actually is just a telecom pedestal with rubbish stuck to it.

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Transcript

This made me wonder how our cities would look like if we take commodities such as waste collection and disposal for granted.

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?

What is the fastest growing stream of wastes around the world?

Transcript

One question that struck my mind: what is actually the fastest growing stream of waste in the world?

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E-waste (Electronic Waste) Transcript

It’s actually E-waste.

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Transcript

In 2016, 44.7 million metric tonnes of e-waste were generated. This is an equivalent of almost 4,500 Eiffel towers

In 2016, 44.7 million metric tonnes was generated. In context, it’s around 4,500 Eiffel towers.

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Landlines

Hard Drives

Fax Machines

Mobile Phones

CD/DVD + Players

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Digital Cameras

Transcript

According to insider, these are not just e-waste but would become obsolete in the next few years.

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Transcript

I’ve watched some of the documentaries and was stunned.

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Transcript

Australians are amongst the highest disposers of technology

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“Australians are amongst the highest users and disposers of technology. In fact, in Australia e-waste is growing up to three times faster than general waste.�

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and you can see it in this chart as it is currently ranked 4th globally.

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MUSEUM OF ELECTRONIC WASTE

Transcript

Good evening everyone, I’m Han and I’ll be presenting my museum, the museum of electronic waste.

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MSD STUDIO 39 - Remember Architecture

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Transcript

The concept of my design approach derived from the process making of my own PC, where different components form into one functional piece of electronic.

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Transcript

It aims to create awareness on the impact of e-waste and educate the visitors through a narrated spatial journey.

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My site is located at the heart of art’s precinct in South bank.

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PEDESTRIAN + BICYCLE TRAFFIC

ACCESS POINTS

VEHICULAR TRANSPORTATION

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EXISTING NETWORK + FEATURES

Transcript

These context then informed my approach to the site.

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SETBACK

SO U

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SOU

THB

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+ BIC

YCLE

PAT

ANK

PRO

MEN

ADE

HW

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SANDRIDGE BRIDGE

SENSE OF ARRIVAL Transcript

SERVICE + ROAD ACCESS

PUBLIC + PROMENADE

I extruded the boundary, set back from adjacent buildings, created this sense of arrival, service access at its rear, and a stairs that extends the promenade into the museum.

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Museum Spaces

Public Spaces

WEEK 11

Services + Storage

VOLUME

Transcript

BASIC ZONING

With that volume, the zoning is divided into 3 categories, museum space, public space and services.

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DIVISION

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SUB-CATEGORY

MUS

EUM

SPA

CE

PUB

LIC

SPA

CE

SER VICE S

Transcript

+ ST

ORA

These are then sub-categorised into smaller components

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Artist in Residence

Auditorium

Admin

Cafe + Kitchen & Rooftop Bar

Workshop

Atrium + Circulation

Rooftop Garden

Toilet

Staff core access hub

Gallery Spaces

Entry + Exit

Fire stairs

Visitor center + Shop

Services + Storage

LIST OF PROGRAMS 1% 4%

4%

4%

WEEK 11

3%

23 %

4% 4%

MUS

36 %

EUM

9% SPA

CE

4% PUB

30.5

LIC

2.4

% 4%

4.8 24 %

SPA

%

CE

4.8 SER VIC

33.5ES + STORAGE % Transcript

and into a more specific list of programs.

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=

=

FORM

Form derived from site & context response

STACKED

ZONING 1 Transcript

ZONING 2

These programs are then stacked together into a combination of form and function.

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FORM + FUNCTION

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Gallery Spaces Atrium + Circulation Rooftop Garden Cafe + Kitchen

WEEK 11

Visitor center + Shop Delivery + Storage & Services

ZONING SECTION Transcript

In section, museum spaces on the left, public spaces on the right and services below.

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_CIRCULATION

RT

RT

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UG

LG

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Transcript

MUSEUM

PUBLIC

To summarise, this is the circulation diagram showing these 3 categories.

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MUSEUM SPATIAL EXPERIENCE Transcript

With the physical space identified, the next step was how to curate the museum spatial experience?

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MUSEUM SPATIAL EXPERIENCE (NARRATIVE)

PRESENT

HISTORY

Exposition Transcript

Set-up

I structured the experience just like watching a film. Starting with exposition, to the set up, then builds up to climax then down to resolution.

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IMPA Climax |

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APPLICATION

FUTURE

(WHAT YOU CAN DO)

Resolution

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ACT

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ATRIUM LOBBY

G1 | CURRENT

WEEK 11

ENTRANCE

Transcript

As the visitors enters the museum from promenade, the stairs leads them into the atrium where they can begin their journey of current electronics, through the history of e-waste then up to the impact gallery. As they progresses through the space, it transitions from open and light spaces to darker and enclosed spaces as they slowly discover the dark truth about e- waste.

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G2

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2 | HISTORY

G3 | IMPACT

G4 | APPLICATION WEEK 11

Transcript

This space is one of the main focus of my museum. A lot of the recipient of these e-waste in the 3rd wold countries live in this environment as part of their daily life and I wanted to recreate that atmosphere to let all the visitor feel the real impact of e-waste in the world. In the section, this is a one way glass, where here, everything is normal, but on top this is the reality and impact of what people don’t know or see. From there, down through a transition bridge, it leads into the application space where recycled e-waste such as art sculptures, and other creative collection that can be displayed as a form to create that awareness. There will be a peep hole in the end of the exhibit where the visitors overlooks the Melbourne skyline as if it’s saying that this is our city, together we can do something about it to create a better future.

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Transcript

From the exterior, it almost feels like a book cover, it’s neat and clean, reflecting our innocence and misinformed idea on electronic waste.

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G2 | HISTORY G4 | APPLICATION

ENTRANCE

PROMENADE PLAZA

COLLECTION STORAGE

Transcript

PLANT + SERVICES

But as the visitors get a glimpse inside through the perforation, it’s a bit chaotic like an interior of a computer, as it carefully reveals the different geometries,

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AUDITORIUM

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shapes and colors all connected together to form one functional architecture.

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Transcript

Thank you.

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I produced this axonometric drawing with the intension to show structure and use for circulation diagram.

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Summary Analysis As my new design and approach was approved by my tutors, I then swiftly moved on to detailing the drawings and finalising all the required drawings for my final presentation. I started with detailing the new floor plans, finalising my main gallery spaces, researching on my interior spaces and facade study. I’ve also moved on to revising all the diagrams and worked whole week to produce final drawings ready for submission. While doing so, I’ve also looked into the different medium for presentation and decided to use produce a film for my final presentation. I knew I only had limited time but I was determined to put everything on the line as I know it’s only all in or go home. My train of through at this stage were more about finishing the project, making swift and critical choices rather than amending changes.

week 12+ final review preparations 1 - 5 JUNE

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have re to d he e v mo ere tion es w pac integra s c li Pub enade prom

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tt a be

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PRESENT (Temporary)

HISTORY

I’ve narrowed down to four main gallery spaces and each of these spaces are also the film structures (as part of the spatial experience of the visitors.

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IMPACT

APPLICATION

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Benjamin Von Wong Canada

Benjamin Von Wong’s art works greatly influenced my interiors spaces where I’ve designed the space based on the sizes required to set up exhibitions like this as part of my narrative and spatial experience.

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Rodrigo Alonso Chile

Some of the other artworks as part of my inspiration and research study to help me inform my interior furnishing and etc.

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UTS DCM

WEEK 12+

The facade of my museum is actually inspired by the UTS building by DCM. I’ve used the same idea where perforation played a big role as the semipermeable barrier and frame to somehow allow the visiors to see through without revealing too much.

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DIGITAL BEIJING Pei Zhu

WEEK 12+

I’ve taken the cuts and patterns of this structure as part of my inspiration for my facade as well.

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MUSEUM OF ELECTRONIC WASTE 01001101 01110101 01110011 01100101 01110101 01101101 00100000 01101111 01100110 00100000 01100101 01101100 01100101 01100011 01110100 01110010 01101111 01101110 01101001 01100011 00100000 01110111 01100001 01110011 01110100 01100101 I combined the idea of binary code + the patterns of digital motherboards + idea of a PC case into the final design of my facade.

+

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Everything started with this photograph where I was able to draw my inspiration from.

FINAL PROJECT

Transcript

I took this photo along the southbank promenade; people thought it was a rubbish bin but actually is just a telecom pedestal with rubbish stuck to it.

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Transcript

This made me wonder how our cities would look like if we take commodities such as waste collection and disposal for granted.

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FINAL PROJECT

Transcript

One question that struck my mind: what is actually the fastest growing stream of waste around the world?

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Transcript

It’s actually E-waste, or electronic waste.

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FINAL PROJECT

Transcript

In 2019, 50 million metric tonnes of e-waste were generated.

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Transcript

In context, it’s around 4,500 Eiffel towers.

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FINAL PROJECT

Transcript

According to insider, these are not just e-waste but would become obsolete in the next few years.

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FINAL PROJECT

Transcript

This is a clip from one of the documentaries I’ve watched and after more research,

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I found out that Australians are amongst the highest disposers of technology

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FINAL PROJECT

Transcript

and you can see it in this chart where currently we’re ranked 4th in the world.

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Transcript

Good evening everyone, I’m Han and I’ll be presenting my museum, the museum of electronic waste.

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Using a photograph of my own personal computer (referencing my own experience as part of the design approach)

FINAL PROJECT

Transcript

The concept of my design approach derived from the process making of my own Personal Computer,

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Transcript

where different individual components are assembled and form into one functional piece of technology.

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FINAL PROJECT

Transcript

It aims to create awareness on the impact of e-waste

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Transcript

and educate the visitors through a narrated spatial journey.

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FINAL PROJECT

Transcript

My site is located at the heart of art’s precinct in South bank.

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FINAL PROJECT

I combined all of the site existing networks + features into one diagram for clarity and simplicity.

Transcript

With the existing network and features,

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FINAL PROJECT

Transcript

pedestrian and bicycle traffic,

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vehicular transportation

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FINAL PROJECT

Transcript

and access points, these helped me define my site approach.

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Transcript

Given the boundary

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Transcript

I extruded the volume,

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Transcript

set back from adjacent buildings,

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FINAL PROJECT

Transcript

created this sense of arrival,

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Transcript

service access at its rear,

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FINAL PROJECT

Transcript

and a stairs that extends the promenade into the museum.

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Transcript

With that volume,

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Transcript

the zoning is divided into 3 categories, museum space, public space and services.

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Transcript

The volumes are then sub-categorised into smaller components

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Transcript

and further into a more specific list of programs.

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FINAL PROJECT

Transcript

The programs are then arranged, stacked together and finally enclosed with steel truss and perforated faรงade.

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Transcript

In summary, this is the program distribution

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Transcript

and the circulation of both museum spaces and back of house spaces.

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Transcript

With the physical space identified, I structured the museum experience just like watching a film. Starting with Gallery 1 as the exposition, gallery 2 the set up, gallery 3 as the plot twist and down to gallery 4 as the resolution.

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Transcript

As the visitors arrive at the museum and enters from the southbank promenade, the stairs is designed to lead them into the atrium where they can now begin their journey. The museum atrium space is designed to be open, bringing natural light from above.

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GALLERY 1 - CURRENT

Transcript

As they progress further into the gallery spaces, it transitions from open and light spaces to darker and enclosed gallery spaces as they slowly discover more about e-waste. They begin from the first gallery space where as part of the exposition, old electronics and other temporary exhibits are held here, they will also notice a one way glass on top of them but won’t be able to see what’s behind it.

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Transcript

Through the 2nd gallery which talks about the accumulation, history, recycling process of e-waste through the digital world of LED exhibitions;

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Transcript

it then leads them up to the impact gallery where as part of that curated spatial journey, is also the climax of the narrative as they discover the real truth behind e-waste. This space is one of the main focus of my museum. A lot of the recipient of these e-waste in the 3rd world countries live in this environment as part of their daily life and I wanted to recreate that atmosphere to let all the visitor feel the real impact of e-waste in the world.

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NARRATIVE

Transcript

In section, with that one way glass, down below, everything seems normal, but on top is the painful reality of what people don’t see as they look down to contemplate.

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FINAL PROJECT

Transcript

From there, down through a transition bridge, it leads into the application gallery space, the exposition of the journey where recycled e-waste such as art sculptures, and other creative collection that can be displayed as a form to create that awareness.

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Before the journey ends, visitors have a chance to overlook the Melbourne skyline through the perforation as if it’s saying that this is our city, together we can do something about it to create a better future.

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FINAL PROJECT

Transcript

From the exterior, using a simple perforated façade, it almost feels like a book cover, it’s neat and clean, reflecting our oblivion and misinformed idea on electronic waste.

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But as the visitors get a glimpse inside through the perforation, it’s a bit chaotic like an interior of a computer, as it carefully reveals the different geometries, shapes and colors all connected together to form one functional architecture. Thank you.

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Summary Analysis To summarise everything, I sketched a diagram showing the timeline of my progress in all the 12 weeks with the drawings/submissions I’ve created, to my own productivity line and to my train of through throughout the semester. I think the structure of the studio (it being online) and taught by a design firm greatly affected my design approach and my usual way of approaching design. I’ve able to use different techniques such as using section as a driving tool, designing starting with films, having my own voice and ultimately the end goal of this museum is to make a difference and create an awareness on the impact of e-waste in our world. I think through this presentation (video link below), I was able to achieve it somehow. Although I wished that moment in week 10-11 could have been earlier so I could have had more time to restart and maybe would have done some of the things differently and even better.

Link to the video presentation/animation: https://youtu.be/sLZcvCPSl9c

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HAN WU 1038456