MELBOURNE SCHOOL OF DESIGN
ABPL90115 2020 SM1
STUDIO 39 - REMEMBER ARCHITECTURE
studio 39 - remember architecture
Journal
studio leaders:
SHERVIN JABERZADEH, ALISON PEDDER AND GREG GONG HAN WU 1038456
ABPL90115 2020 SM1
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
ABPL90115 2020 SM1
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
01
STUDIO 39 - REMEMBER ARCHITECTURE
WEEK 1
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. 02
WEEK 1
ABPL90115 2020 SM1
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).
03
STUDIO 39 - REMEMBER ARCHITECTURE
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.
WEEK 1
04
WEEK 1
ABPL90115 2020 SM1
05
STUDIO 39 - REMEMBER ARCHITECTURE
WEEK 1
06
WEEK 1
ABPL90115 2020 SM1
07
STUDIO 39 - REMEMBER ARCHITECTURE
WEEK 1
08
WEEK 1
ABPL90115 2020 SM1
09
STUDIO 39 - REMEMBER ARCHITECTURE
WEEK 1
10
ABPL90115 2020 SM1
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. 11
STUDIO 39 - REMEMBER ARCHITECTURE
WEEK 1
12
WEEK 1
ABPL90115 2020 SM1
13
STUDIO 39 - REMEMBER ARCHITECTURE
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)
WEEK 1
14
WEEK 2
ABPL90115 2020 SM1
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
15
STUDIO 39 - REMEMBER ARCHITECTURE
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.
16
ABPL90115 2020 SM1
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.
17
STUDIO 39 - REMEMBER ARCHITECTURE
One idea that popped into my head was having this canopy as part of that sense of welcome for the visitors.
18
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.
ABPL90115 2020 SM1
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. 19
STUDIO 39 - REMEMBER ARCHITECTURE
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. 20
WEEK 2
ABPL90115 2020 SM1
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.
21
STUDIO 39 - REMEMBER ARCHITECTURE
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.
22
WEEK 2
ABPL90115 2020 SM1
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.
23
STUDIO 39 - REMEMBER ARCHITECTURE
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.
24
WEEK 2
ABPL90115 2020 SM1
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.
25
STUDIO 39 - REMEMBER ARCHITECTURE
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.
26
Han Wu | 1038456
ABPL90115 2020 SM1
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.
28
WEEK 2
The external building shape alludes to an recycled art piece which serves as a sculpture advocating the significance and opportunities of recycled materials.
WEEK 3
ABPL90115 2020 SM1
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
29
STUDIO 39 - REMEMBER ARCHITECTURE
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.
30
WEEK 3
ABPL90115 2020 SM1
I’ve simplified the diagrams using the same style as Bjark Ingles
SITE BOUNDRY 31
STUDIO 39 - REMEMBER ARCHITECTURE
WEEK 3
YARRA RIVER FRONTAGE 32
WEEK 3
ABPL90115 2020 SM1
EXHISTING GREENERY 33
STUDIO 39 - REMEMBER ARCHITECTURE
WEEK 3
ROAD NETWORK 34
WEEK 3
ABPL90115 2020 SM1
PEDESTRIAN + BICYCLE PATHWAY 35
STUDIO 39 - REMEMBER ARCHITECTURE
WEEK 3
PEDESTRIAN + BICYCLE TRAFFIC FLOW 36
WEEK 3
ABPL90115 2020 SM1
PUBLIC BACK OF HOUSE + PRIVATE
SITE ACCESS 37
STUDIO 39 - REMEMBER ARCHITECTURE
OFFICE WEEK 3
RESIDENTIAL HOTEL COMMERCIAL PUBLIC INSTALLATION
SURROUNDING BUIDLINGS 38
WEEK 3
ABPL90115 2020 SM1
COMPLETE SITE ANALYSIS 39
STUDIO 39 - REMEMBER ARCHITECTURE
WEEK 3
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. 40
WEEK 3
ABPL90115 2020 SM1
MASSING
Max level of 3 floors in response to project brief of 5000 m2 41
STUDIO 39 - REMEMBER ARCHITECTURE
WEEK 3
SETBACK
Setback of 5 meters for front, right (public access) and 2 meters for rear (back of house/private access) 42
WEEK 3
ABPL90115 2020 SM1
BUILDING FOOTPRINT
Building footprint determined from the analysis 43
STUDIO 39 - REMEMBER ARCHITECTURE
WEEK 3
TOPOGRAPHY (CONTOUR MAP)
The site sits on a relatively flat surface with an elevation of +|- RL 2-3 meters. 44
WEEK 3
ABPL90115 2020 SM1
SUN PATH DIAGRAM
Sun path indicating sunlight coverage of the site 45
STUDIO 39 - REMEMBER ARCHITECTURE
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
WEEK 3
ABPL90115 2020 SM1
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. 48
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
ABPL90115 2020 SM1
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
49
STUDIO 39 - REMEMBER ARCHITECTURE
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.
50
ABPL90115 2020 SM1
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.
51
STUDIO 39 - REMEMBER ARCHITECTURE
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. 52
ABPL90115 2020 SM1
Sa
River
Queens Bridge St.
Yara
nd rid ge
Br id ge
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.
ank
WEEK 5
thb Sou
de
ena
Prom
SITE
ing
Build
t
prin
Foot
ary
und
Bo Site
So lvd
kB
an
hb
ut
Scale 1:500 MTS 0
5
10
20
40
53
uay
eQ
rsid
Rive
STUDIO 39 - REMEMBER ARCHITECTURE
WEEK 5
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
WEEK 5
ABPL90115 2020 SM1
MASSING
max level of 3 floors in response to project brief of 5000 m2 55
STUDIO 39 - REMEMBER ARCHITECTURE
WEEK 5
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
WEEK 5
ABPL90115 2020 SM1
SENSE OF WELCOME
pushing the lower floor inwards creates this sense of arrival into the museum 57
STUDIO 39 - REMEMBER ARCHITECTURE
WEEK 5
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
WEEK 5
ABPL90115 2020 SM1
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. 59
STUDIO 39 - REMEMBER ARCHITECTURE
WEEK 5
60
WEEK 5
ABPL90115 2020 SM1
61
STUDIO 39 - REMEMBER ARCHITECTURE
WEEK 5
62
WEEK 5
ABPL90115 2020 SM1
63
STUDIO 39 - REMEMBER ARCHITECTURE
WEEK 5
64
WEEK 5
ABPL90115 2020 SM1
65
STUDIO 39 - REMEMBER ARCHITECTURE
WEEK 5
66
WEEK 5
ABPL90115 2020 SM1
67
STUDIO 39 - REMEMBER ARCHITECTURE
WEEK 5
68
ABPL90115 2020 SM1
Others
Others
WEEK 5
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)
69
Public Space
STUDIO 39 - REMEMBER ARCHITECTURE
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)
70
WEEK 5
Fire Stairs
Entrance
ABPL90115 2020 SM1
WEEK 5
Musem space (Exhibit / Gallery)
Fire stairs
Public atrium access
Fire stairs
Staff core acess hub
BUBBLE SPACE DIAGRAM (UPPER LEVELS) 71
STUDIO 39 - REMEMBER ARCHITECTURE
Storage + Services
Fire stairs Staff core acess hub
Back of house / loading facility
BUBBLE SPACE DIAGRAM (LOWER GROUND) 72
WEEK 5
Fire stairs
ABPL90115 2020 SM1
Musem space (Exhibit / Gallery)
Public atrium access
WEEK 5
Staff core acess hub
Canopy
Storage + Services
Entrance
Fire stairs
SPACE DIAGRAM SECTION 73
STUDIO 39 - REMEMBER ARCHITECTURE
Level 2
Level 1
Level 2
Ground
Ground
Lower Ground
Lower Ground
OVERALL SPACE DIAGRAM
74
WEEK 5
Level 1
ABPL90115 2020 SM1
M.Arch_CDE Design Studios_2020_SM1 Studio Brief
WEEK 5
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
STUDIO 39 - REMEMBER ARCHITECTURE
WEEK 5
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.
76
ABPL90115 2020 SM1
WEEK 5
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.
-01-
77
Figure. 2. Han Wu, The Louvre Museum. 2015.
STUDIO 39 - REMEMBER ARCHITECTURE
The Mind Museum
04 Figure. 3. ABS-CBN News, LOOK: 5 Design breakthroughs to see on your Manila road trip. 2016.
WEEK 5
03
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. -02-
78
ABPL90115 2020 SM1
THE BRITISH MUSEUM London, United Kingdom
WEEK 5
01
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. -03-
79
STUDIO 39 - REMEMBER ARCHITECTURE
LOCATION
WEEK 5
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.
-04-
80
ABPL90115 2020 SM1
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.
WEEK 5
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. -05-
81
STUDIO 39 - REMEMBER ARCHITECTURE
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.” -06-
82
ABPL90115 2020 SM1
WEEK 5
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.
-07-
83
STUDIO 39 - REMEMBER ARCHITECTURE
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.
-08-
84
WEEK 5
Ancient Greece & Rome
Montague Place Entrance
Middle East
ABPL90115 2020 SM1
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. -09-
85
STUDIO 39 - REMEMBER ARCHITECTURE
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.
-10-
86
ABPL90115 2020 SM1
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. -11-
87
STUDIO 39 - REMEMBER ARCHITECTURE
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.” -12-
88
ABPL90115 2020 SM1
WEEK 5
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.
-13-
89
vel -2
NATURE + ZONING RICHELIEU
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.
-14-
90
WEEK 5
vel 0
STUDIO 39 - REMEMBER ARCHITECTURE
ABPL90115 2020 SM1
THE MIND MUSEUM BGC, Taguig, Philippines
WEEK 5
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.
-15-
91
STUDIO 39 - REMEMBER ARCHITECTURE
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.
-16-
92
ABPL90115 2020 SM1
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. -17-
93
STUDIO 39 - REMEMBER ARCHITECTURE
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. -18-
94
ABPL90115 2020 SM1
NATURE + ZONING
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.
“Earth” Exhibit -19-
95
STUDIO 39 - REMEMBER ARCHITECTURE
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.
-20-
96
ABPL90115 2020 SM1
HENRY FORMAN ATKINSON DENTAL MUSEUM Melbourne, Australia
WEEK 5
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.
-21-
97
STUDIO 39 - REMEMBER ARCHITECTURE
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.
-22-
98
ABPL90115 2020 SM1
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. -23-
99
STUDIO 39 - REMEMBER ARCHITECTURE
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
-24-
100
ABPL90115 2020 SM1
NATURE + ZONING
Circulation/Access
WEEK 5
Primary Exhibit
Exhibit Cabinets
Figure. 45. Han Wu, Henry Forman Atkinson Dental Museum section diagram. 2020.
-25-
101
Figure. 46. Han Wu, the Royal Dental Hospital of Melbourne Evacuation Diagram. 2020.
STUDIO 39 - REMEMBER ARCHITECTURE
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.
-26-
102
ABPL90115 2020 SM1
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.
-27-
103
STUDIO 39 - REMEMBER ARCHITECTURE
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/
-28-
104
WEEK 5
Figure. 13. Han Wu, The British Museum section diagram. 2019.
WEEK 6
ABPL90115 2020 SM1
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
105
STUDIO 39 - REMEMBER ARCHITECTURE
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.
106
ABPL90115 2020 SM1
WEEK 6
Exploring posibilites of the atrium in axonometric view.
107
STUDIO 39 - REMEMBER ARCHITECTURE
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.
108
WEEK 6
ABPL90115 2020 SM1
I revisited the form finding diagrams through a series of individual exercises and exploration.
109
STUDIO 39 - REMEMBER ARCHITECTURE
WEEK 6
110
ABPL90115 2020 SM1
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.
111
STUDIO 39 - REMEMBER ARCHITECTURE
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. 112
WEEK 6
ABPL90115 2020 SM1
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.
113
STUDIO 39 - REMEMBER ARCHITECTURE
WEEK 6
I’ve enhanced the series of site diagrams with colors and combined the necessary information into a more comprehensive sets of diagrams. 114
WEEK 6
ABPL90115 2020 SM1
115
STUDIO 39 - REMEMBER ARCHITECTURE
WEEK 6
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. 116
WEEK 6
ABPL90115 2020 SM1
All of these diagrams reflect back to Bjark Ingles’ sets of diagrams as inspiration. I found these diagrams to be very successful.
117
STUDIO 39 - REMEMBER ARCHITECTURE
WEEK 6
118
WEEK 6
ABPL90115 2020 SM1
119
STUDIO 39 - REMEMBER ARCHITECTURE
WEEK 6
120
WEEK 6
ABPL90115 2020 SM1
121
STUDIO 39 - REMEMBER ARCHITECTURE
WEEK 6
122
MIDSEM
ABPL90115 2020 SM1
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
123
STUDIO 39 - REMEMBER ARCHITECTURE
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. 124
MIDSEM
ABPL90115 2020 SM1
125
STUDIO 39 - REMEMBER ARCHITECTURE
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.
126
MIDSEM
ABPL90115 2020 SM1
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. 127
mid-semester review PRESENTATION SLIDES
23 April
STUDIO 39 - REMEMBER ARCHITECTURE
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
Sa
River
MIDSEM
Queens Bridge St.
Yara
nd r
id g
e
Br
id g
e
_SITE & CONTEXT
de
ena
rom
nk P
thba
Sou
SITE
Site
dary
Boun
lvd
kB
an
hb
ut
So
0
5
10
20
40
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. 2
2160m . It has 4 corners with 47.9m, 36.05m, 51.42m and 53.96m respectively and is sited across the Red Stair Amphitheater.
129
uay
eQ
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. 130
MIDSEM
Transcript
EXISTING NETWORK + FEATURES
ABPL90115 2020 SM1
_BUILDING IDENTITY
VOLUME
SETBACK
SO
UT
HB
AN K
BL
VD
MIDSEM
BOUNDARY
SOU
THBA
PED
ESTR
IAN
+ BIC
YCLE
PATH
NK
PRO
MEN
ADE
WA
Y
SANDRIDGE BRIDG
E
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. 131
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.
132
DIVISION
ABPL90115 2020 SM1
_FUNCTIONAL ZONING
MIDSEM
SUB-CATEGORY
MUS
EUM
36 %
SPA
CE
PUB
LIC
SPA
CE
SER VICE S+
Transcript
STO
RAG
These are then divided into sub categories
133
E
STUDIO 39 - REMEMBER ARCHITECTURE
_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%
MIDSEM
4%
4%
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
Transcript
and further extracted into its respective sizes.
33.5ES + STORAGE % 134
%
%
ABPL90115 2020 SM1
_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.
135
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
136
ABPL90115 2020 SM1
_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.
137
STUDIO 39 - REMEMBER ARCHITECTURE
_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.
138
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
139
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.
140
ABPL90115 2020 SM1
_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
STUDIO 39 - REMEMBER ARCHITECTURE
_CIRCULATION + PHILOSOPHY + CONCEPT
HISTORY
INFORMATION
EXHIBITION
APPLICATION
MIDSEM
Scale 1:1000 MTS @A3
LG
UG
01
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.
142
RT
ABPL90115 2020 SM1
_MATERIAL + BUILDING IDENTITY
SHIPPING CONTAINERS CONTAINERS
HERITAGE TIMBER
MIDSEM
LOCAL RECYCLED BUILDING MATERIALS
DECORATIONS
CONTAINER & FRAMES
STEEL
+
= 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. 143
STUDIO 39 - REMEMBER ARCHITECTURE
_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.
144
but as a physical manifestation of the
ABPL90115 2020 SM1
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
145
STUDIO 39 - REMEMBER ARCHITECTURE
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.
146
MIDSEM
ABPL90115 2020 SM1
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.
147
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;
148
MIDSEM
ABPL90115 2020 SM1
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.
149
STUDIO 39 - REMEMBER ARCHITECTURE
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.
150
WEEK 7
ABPL90115 2020 SM1
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
151
STUDIO 39 - REMEMBER ARCHITECTURE
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.
152
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.
153
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.
154
ABPL90115 2020 SM1 ANALYSIS
WEEK 7
COUNCIL - SUSTAINABILITY VICTORIA
https://www.recycling.vic.gov.au/can-i-recycle-this
155
STUDIO 39 - REMEMBER ARCHITECTURE LOCAL BUILDING MATERIALS (PRECEDENTS)
WEEK 7
156
WEEK 7
ABPL90115 2020 SM1
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. 157
STUDIO 39 - REMEMBER ARCHITECTURE
WEEK 7
158
WEEK 8
ABPL90115 2020 SM1
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
159
STUDIO 39 - REMEMBER ARCHITECTURE
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. 160
ABPL90115 2020 SM1
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.
161
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.
162
WEEK 8
ABPL90115 2020 SM1
163
STUDIO 39 - REMEMBER ARCHITECTURE
164
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.
ABPL90115 2020 SM1
SPATIAL JOURNEY (NARRATIVE)
Ri
WEEK 8
sin
g
ac
tio
n
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
165
Twist
Fallin
g act ion
APPLICATION (WHAT YOU CAN DO)
Resolution
166
? FUTURE
WEEK 8
ACT
STUDIO 39 - REMEMBER ARCHITECTURE
ABPL90115 2020 SM1
WEEK 8
FUTURE IMPACT
APPLICATION
PRESENT HISTORY
167
STUDIO 39 - REMEMBER ARCHITECTURE
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
168
RETRO NOSTALGIA
ABPL90115 2020 SM1
02 PRESENT (MOOD BOARD)
WEEK 8
UPPER GROUND LEVEL
CLEAN PURE
169
STUDIO 39 - REMEMBER ARCHITECTURE
03 IMPACT (MOOD BOARD) LEVEL 1
WEEK 8
EXTREME BIZARRE
170
ABPL90115 2020 SM1
04 APPLICATION (MOOD BOARD)
WEEK 8
LEVEL 1
CREATIVITY IMAGINATION
171
STUDIO 39 - REMEMBER ARCHITECTURE
05 FUTURE (MOOD BOARD)
ROOFTOP
WEEK 8
HOPE OPTIMISM
172
ABPL90115 2020 SM1
01 HISTORY (FINISHES BOARD)
LOWER GROUND LEVEL
01
01 General ceiling paint (black) 02 Vintage wood cladding wall 03 Brickwall
WEEK 8
04 General wall paint (light brown)
02
05 Concrete Floor
03
06 Checkered Tiles
04
05
06 173
STUDIO 39 - REMEMBER ARCHITECTURE
02 PRESENT (FINISHES BOARD) UPPER GROUND LEVEL
01
01 General ceiling paint (white) 02 General wall paint (white) 03 Concrete Floor WEEK 8
02
03 174
ABPL90115 2020 SM1
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
02
03
04 175
STUDIO 39 - REMEMBER ARCHITECTURE
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
06 176
WEEK 8
05 General wall paint (white)
ABPL90115 2020 SM1
05 FUTURE (FINISHES BOARD) ROOFTOP
01 Greenwall 02 General wall paint (white) 03 Timber floor treated WEEK 8
04 Pebbles floor
01
03
02
04 177
STUDIO 39 - REMEMBER ARCHITECTURE
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
178
WEEK 8
01
ABPL90115 2020 SM1
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
02
03
04 179
STUDIO 39 - REMEMBER ARCHITECTURE
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
WEEK 8
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
181
STUDIO 39 - REMEMBER ARCHITECTURE
WEEK 8
IMPACT
TRANSITION
APPLICATION
FUTURE
Bizarre Extreme
Shifting Directing
Creative Imaginative
Optimistic Hopeful
182
ABPL90115 2020 SM1
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
183
STUDIO 39 - REMEMBER ARCHITECTURE
WEEK 8
IMPACT
TRANSITION
APPLICATION
FUTURE
Bizarre Extreme
Shifting Directing
Creative Imaginative
Optimistic Hopeful
184
ABPL90115 2020 SM1
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. 185
STUDIO 39 - REMEMBER ARCHITECTURE
EXTERIOR
WEEK 8
186
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
187
STUDIO 39 - REMEMBER ARCHITECTURE
WEEK 9
188
WEEK 9
ABPL90115 2020 SM1
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”. 189
STUDIO 39 - REMEMBER ARCHITECTURE
WEEK 9
ATRIUM LIGHTWELL
190
WEEK 9
ABPL90115 2020 SM1
ROOFTOP BAR + LOUNGE
191
STUDIO 39 - REMEMBER ARCHITECTURE
WEEK 9
EXTERIOR IDENTITY (DAY)
192
WEEK 9
ABPL90115 2020 SM1
EXTERIOR IDENTITY (NIGHT)
193
STUDIO 39 - REMEMBER ARCHITECTURE
WEEK 9
ENTRY FLOOR WAYFINDING
194
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
195
STUDIO 39 - REMEMBER ARCHITECTURE
WEEK 10
196
ABPL90115 2020 SM1
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.
197
STUDIO 39 - REMEMBER ARCHITECTURE
WEEK 10
198
ABPL90115 2020 SM1
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.
199
STUDIO 39 - REMEMBER ARCHITECTURE
WEEK 10
CONCEPT IMAGES (INSPIRATIONS) 200
ABPL90115 2020 SM1
EXTERIOR (CURRENT)
WEEK 10
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)
201
STUDIO 39 - REMEMBER ARCHITECTURE
WEEK 10
EXTERIOR (V4)
202
WEEK 10
ABPL90115 2020 SM1
SOUTHBANK (VIBRANCY)
203
STUDIO 39 - REMEMBER ARCHITECTURE
WEEK 10
PRECEDENT (VIDEO)
204
WEEK 10
ABPL90115 2020 SM1
RED AMPHITHEATRE
205
STUDIO 39 - REMEMBER ARCHITECTURE
WEEK 10
PROMENADE STAIRS
206
WEEK 10
ABPL90115 2020 SM1
VIDEO
207
STUDIO 39 - REMEMBER ARCHITECTURE
WEEK 10
208
WEEK 11
ABPL90115 2020 SM1
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
209
STUDIO 39 - REMEMBER ARCHITECTURE
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
EXTERIOR (V5) 210
WEEK 11
ABPL90115 2020 SM1
211
STUDIO 39 - REMEMBER ARCHITECTURE
WEEK 11
212
WEEK 11
ABPL90115 2020 SM1
213
STUDIO 39 - REMEMBER ARCHITECTURE
WEEK 11
214
WEEK 11
ABPL90115 2020 SM1
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.
215
STUDIO 39 - REMEMBER ARCHITECTURE
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.
WEEK 11
216
ABPL90115 2020 SM1
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. 217
STUDIO 39 - REMEMBER ARCHITECTURE
WEEK 11
Revisiting the bubble diagrams (with the limited time, only a few sketches were drawn)
Facade study and iteration
218
ABPL90115 2020 SM1
Using the same format of visualising slides to frame the drawings i needed to produce for final presentation.
WEEK 11
Facade identity relating back to the concept of e-waste and technology.
219
STUDIO 39 - REMEMBER ARCHITECTURE
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.
220
WEEK 11
ABPL90115 2020 SM1
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.
221
STUDIO 39 - REMEMBER ARCHITECTURE
WEEK 11
Transcript
This made me wonder how our cities would look like if we take commodities such as waste collection and disposal for granted.
222
ABPL90115 2020 SM1
WEEK 11
?
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?
223
STUDIO 39 - REMEMBER ARCHITECTURE
WEEK 11
E-waste (Electronic Waste) Transcript
It’s actually E-waste.
224
WEEK 11
ABPL90115 2020 SM1
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.
225
STUDIO 39 - REMEMBER ARCHITECTURE
Landlines
Hard Drives
Fax Machines
Mobile Phones
CD/DVD + Players
WEEK 11
Digital Cameras
Transcript
According to insider, these are not just e-waste but would become obsolete in the next few years.
226
WEEK 11
ABPL90115 2020 SM1
Transcript
I’ve watched some of the documentaries and was stunned.
227
STUDIO 39 - REMEMBER ARCHITECTURE
Transcript
Australians are amongst the highest disposers of technology
228
WEEK 11
“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.�
WEEK 11
ABPL90115 2020 SM1
Transcript
and you can see it in this chart as it is currently ranked 4th globally.
229
STUDIO 39 - REMEMBER ARCHITECTURE
MUSEUM OF ELECTRONIC WASTE
Transcript
Good evening everyone, I’m Han and I’ll be presenting my museum, the museum of electronic waste.
230
WEEK 11
MSD STUDIO 39 - Remember Architecture
WEEK 11
ABPL90115 2020 SM1
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.
231
STUDIO 39 - REMEMBER ARCHITECTURE
WEEK 11
Transcript
It aims to create awareness on the impact of e-waste and educate the visitors through a narrated spatial journey.
232
Sa nd
River
Queens Bridge St.
Yara
rid g
e
Br id g
e
ABPL90115 2020 SM1
de
ena
rom
nk P
thba
WEEK 11
Sou
SITE
Site
dary
Boun
h ut
So nk
ba vd Bl
Scale 1:500 MTS 0
Transcript
5
10
20
40
My site is located at the heart of art’s precinct in South bank.
SITE PLAN 233
uay
eQ
rsid Rive
STUDIO 39 - REMEMBER ARCHITECTURE
PEDESTRIAN + BICYCLE TRAFFIC
ACCESS POINTS
VEHICULAR TRANSPORTATION
WEEK 11
EXISTING NETWORK + FEATURES
Transcript
These context then informed my approach to the site.
234
ABPL90115 2020 SM1
VOLUME
SETBACK
SO U
TH
BA
NK B
LV D
WEEK 11
BOUNDARY
SOU
THB
PED
EST
RIAN
+ BIC
YCLE
PAT
ANK
PRO
MEN
ADE
HW
AY
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.
235
STUDIO 39 - REMEMBER ARCHITECTURE
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.
236
DIVISION
ABPL90115 2020 SM1
WEEK 11
SUB-CATEGORY
MUS
EUM
SPA
CE
PUB
LIC
SPA
CE
SER VICE S
Transcript
+ ST
ORA
These are then sub-categorised into smaller components
237
GE
STUDIO 39 - REMEMBER ARCHITECTURE
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.
238
%
%
ABPL90115 2020 SM1
WEEK 11
+
=
=
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.
239
FORM + FUNCTION
STUDIO 39 - REMEMBER ARCHITECTURE
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.
240
ABPL90115 2020 SM1
_CIRCULATION
RT
RT
01
WEEK 11
01
UG
UG
LG
LG B
Transcript
MUSEUM
PUBLIC
To summarise, this is the circulation diagram showing these 3 categories.
241
SERVICES + STAFF
STUDIO 39 - REMEMBER ARCHITECTURE
MUSEUM SPATIAL EXPERIENCE Transcript
With the physical space identified, the next step was how to curate the museum spatial experience?
242
WEEK 11
?
ABPL90115 2020 SM1
Ri
WEEK 11
sin
g
ac
tio
n
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.
243
IMPA Climax |
STUDIO 39 - REMEMBER ARCHITECTURE
Fallin
g act ion
Twist
APPLICATION
FUTURE
(WHAT YOU CAN DO)
Resolution
244
WEEK 11
ACT
?
ABPL90115 2020 SM1
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. 245
G2
STUDIO 39 - REMEMBER ARCHITECTURE
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. 246
WEEK 11
ABPL90115 2020 SM1
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.
247
STUDIO 39 - REMEMBER ARCHITECTURE
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,
248
WEEK 11
AUDITORIUM
WEEK 11
ABPL90115 2020 SM1
Transcript
shapes and colors all connected together to form one functional architecture.
249
STUDIO 39 - REMEMBER ARCHITECTURE
WEEK 11
Transcript
Thank you.
250
WEEK 11
ABPL90115 2020 SM1
I produced this axonometric drawing with the intension to show structure and use for circulation diagram.
251
STUDIO 39 - REMEMBER ARCHITECTURE
WEEK 11
252
WEEK 12+
ABPL90115 2020 SM1
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
253
STUDIO 39 - REMEMBER ARCHITECTURE
have re to d he e v mo ere tion es w pac integra s c li Pub enade prom
er
tt a be
WEEK 12+
254
WEEK 12+
ABPL90115 2020 SM1
255
STUDIO 39 - REMEMBER ARCHITECTURE
WEEK 12+
256
WEEK 12+
ABPL90115 2020 SM1
257
STUDIO 39 - REMEMBER ARCHITECTURE
WEEK 12+
258
WEEK 12+
ABPL90115 2020 SM1
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.
259
STUDIO 39 - REMEMBER ARCHITECTURE
WEEK 12+
IMPACT
APPLICATION
260
ABPL90115 2020 SM1
WEEK 12+
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. 261
STUDIO 39 - REMEMBER ARCHITECTURE
WEEK 12+
262
ABPL90115 2020 SM1
WEEK 12+
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.
263
STUDIO 39 - REMEMBER ARCHITECTURE
WEEK 12+
264
ABPL90115 2020 SM1
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.
265
STUDIO 39 - REMEMBER ARCHITECTURE
WEEK 12+
266
ABPL90115 2020 SM1
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.
267
STUDIO 39 - REMEMBER ARCHITECTURE
WEEK 12+
268
WEEK 12+
ABPL90115 2020 SM1
269
STUDIO 39 - REMEMBER ARCHITECTURE
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.
+
WEEK 12+
+
270
FINAL PROJECT
ABPL90115 2020 SM1
final project 271
STUDIO 39 - REMEMBER ARCHITECTURE
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.
272
FINAL PROJECT
ABPL90115 2020 SM1
Transcript
This made me wonder how our cities would look like if we take commodities such as waste collection and disposal for granted.
273
STUDIO 39 - REMEMBER ARCHITECTURE
FINAL PROJECT
Transcript
One question that struck my mind: what is actually the fastest growing stream of waste around the world?
274
FINAL PROJECT
ABPL90115 2020 SM1
Transcript
It’s actually E-waste, or electronic waste.
275
STUDIO 39 - REMEMBER ARCHITECTURE
FINAL PROJECT
Transcript
In 2019, 50 million metric tonnes of e-waste were generated.
276
FINAL PROJECT
ABPL90115 2020 SM1
Transcript
In context, it’s around 4,500 Eiffel towers.
277
STUDIO 39 - REMEMBER ARCHITECTURE
FINAL PROJECT
Transcript
According to insider, these are not just e-waste but would become obsolete in the next few years.
278
FINAL PROJECT
ABPL90115 2020 SM1
279
STUDIO 39 - REMEMBER ARCHITECTURE
FINAL PROJECT
Transcript
This is a clip from one of the documentaries I’ve watched and after more research,
280
FINAL PROJECT
ABPL90115 2020 SM1
Transcript
I found out that Australians are amongst the highest disposers of technology
281
STUDIO 39 - REMEMBER ARCHITECTURE
FINAL PROJECT
Transcript
and you can see it in this chart where currently we’re ranked 4th in the world.
282
FINAL PROJECT
ABPL90115 2020 SM1
Transcript
Good evening everyone, I’m Han and I’ll be presenting my museum, the museum of electronic waste.
283
STUDIO 39 - REMEMBER ARCHITECTURE
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,
284
FINAL PROJECT
ABPL90115 2020 SM1
Transcript
where different individual components are assembled and form into one functional piece of technology.
285
STUDIO 39 - REMEMBER ARCHITECTURE
FINAL PROJECT
Transcript
It aims to create awareness on the impact of e-waste
286
FINAL PROJECT
ABPL90115 2020 SM1
Transcript
and educate the visitors through a narrated spatial journey.
287
STUDIO 39 - REMEMBER ARCHITECTURE
FINAL PROJECT
Transcript
My site is located at the heart of art’s precinct in South bank.
288
ABPL90115 2020 SM1
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,
289
STUDIO 39 - REMEMBER ARCHITECTURE
FINAL PROJECT
Transcript
pedestrian and bicycle traffic,
290
FINAL PROJECT
ABPL90115 2020 SM1
Transcript
vehicular transportation
291
STUDIO 39 - REMEMBER ARCHITECTURE
FINAL PROJECT
Transcript
and access points, these helped me define my site approach.
292
FINAL PROJECT
ABPL90115 2020 SM1
Transcript
Given the boundary
293
STUDIO 39 - REMEMBER ARCHITECTURE
FINAL PROJECT
Transcript
I extruded the volume,
294
FINAL PROJECT
ABPL90115 2020 SM1
Transcript
set back from adjacent buildings,
295
STUDIO 39 - REMEMBER ARCHITECTURE
FINAL PROJECT
Transcript
created this sense of arrival,
296
FINAL PROJECT
ABPL90115 2020 SM1
Transcript
service access at its rear,
297
STUDIO 39 - REMEMBER ARCHITECTURE
FINAL PROJECT
Transcript
and a stairs that extends the promenade into the museum.
298
FINAL PROJECT
ABPL90115 2020 SM1
Transcript
With that volume,
299
STUDIO 39 - REMEMBER ARCHITECTURE
FINAL PROJECT
Transcript
the zoning is divided into 3 categories, museum space, public space and services.
300
FINAL PROJECT
ABPL90115 2020 SM1
301
STUDIO 39 - REMEMBER ARCHITECTURE
FINAL PROJECT
Transcript
The volumes are then sub-categorised into smaller components
302
FINAL PROJECT
ABPL90115 2020 SM1
Transcript
and further into a more specific list of programs.
303
STUDIO 39 - REMEMBER ARCHITECTURE
FINAL PROJECT
Transcript
The programs are then arranged, stacked together and finally enclosed with steel truss and perforated faรงade.
304
FINAL PROJECT
ABPL90115 2020 SM1
Transcript
In summary, this is the program distribution
305
STUDIO 39 - REMEMBER ARCHITECTURE
FINAL PROJECT
Transcript
and the circulation of both museum spaces and back of house spaces.
306
FINAL PROJECT
ABPL90115 2020 SM1
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.
307
STUDIO 39 - REMEMBER ARCHITECTURE
FINAL PROJECT
308
FINAL PROJECT
ABPL90115 2020 SM1
309
STUDIO 39 - REMEMBER ARCHITECTURE
FINAL PROJECT
310
FINAL PROJECT
ABPL90115 2020 SM1
311
STUDIO 39 - REMEMBER ARCHITECTURE
FINAL PROJECT
312
FINAL PROJECT
ABPL90115 2020 SM1
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.
313
STUDIO 39 - REMEMBER ARCHITECTURE
FINAL PROJECT
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. 314
FINAL PROJECT
ABPL90115 2020 SM1
Transcript
Through the 2nd gallery which talks about the accumulation, history, recycling process of e-waste through the digital world of LED exhibitions;
315
STUDIO 39 - REMEMBER ARCHITECTURE
FINAL PROJECT
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. 316
FINAL PROJECT
ABPL90115 2020 SM1
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.
317
STUDIO 39 - REMEMBER ARCHITECTURE
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.
318
FINAL PROJECT
ABPL90115 2020 SM1
Transcript
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.
319
STUDIO 39 - REMEMBER ARCHITECTURE
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.
320
FINAL PROJECT
ABPL90115 2020 SM1
Transcript
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.
321
STUDIO 39 - REMEMBER ARCHITECTURE
FINAL PROJECT
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
322
MELBOURNE SCHOOL OF DESIGN
ABPL90115 2020 SM1
STUDIO 39 - REMEMBER ARCHITECTURE
HAN WU 1038456