MSD Studio 41 Create | Curate - Ethereal Essence (Journal) by Aurelia Tasha Handoko

JOURNAL

Eth ereal Essen c e Aurelia Tasha Handoko Semester 1, 2022

Architecture is the will of an epoch translated into space.

- Mies van der Rohe

CONTENTS

Week 01

Week 02

Week 03

Week 04

Week 05

Week 06

01.1 01.2 01.3 01.4

Reconnecting the Hand & Mind Creative Critical Reflection Craft Selection Reading - Atmospheres by Peter Zumthor

02.1 02.2 02.3

Craft : Beeswax Candles Guest : Adam Markowitz Reading - The Eyes of The Skin by Juhani Pallasmaa

03.1 03.2 03.3

Site - Environment & Ecology Creed of Craft Reading - Considering Landscape by Bruce Pascoe

04.1 04.2 04.3 04.4

Landscape Review Artefacts in Landscape Celebration of Craft Reading - In Praise of Shadows by Jun’ichiro Tanizaki

05.1 05.2

Curating Spaces & Landscapes Reading - Thinking Architecture by Peter Zumthor

06.1 06.2 06.3

Mid-semester Review Reading - Experiencing Architecture by Steen Eiler Rasmussen With Your Hands I

Week 07

Week 08

Week 09

Week 10

Week 11

Week 12

07.1 07.2 07.3 07.4 07.5 07.6

Lighting Lecture Solidifying Concept - Ethereal Essence Reading - An Architecture of The Seven Senses by Juhani Pallasmaa With Your Hands II Plant Inventory Research: SANAA

08.1 08.2 08.3 08.4 08.5

Site Visit - 2610 Ballan-Daylesford Rd, Muskvale Design Refinement I - Craft Reading - How Small? HowVast? How Architecture Grows by Ishigami Design Refinement I - Creative Living Research: Precedents

09.1 09.2 09.3 09.4

Design Details Key Moments Reading - Revisiting In Praise of Shadows by Jun’ichiro Tanizaki Research - Precedents

10.1 10.2 10.3

Interim Review Physical Work Ideas Reading - Matter in FloatingWorld : Leading Japanese Architects

11.1 11.2

Design Crit I Lighting Crit

12.1 12.2 12.3 12.4

Design Crit I I Perspectives Physical Pinup Layout Test Print / Paper

WEEK 01

01.1 01.2 01.3 01.4

Reconnecting the Hand & Mind Creative Critical Reflection Craft Selection Reading - Atmospheres by Peter Zumthor

“Our bodies and movements are in constant interaction with the environment; the world and the self inform and redefine each other constantly. The percept of the body and the image of the world turn into one single continuous existential experience; there is no body separate from its domicile in space, and there is no space unrelated to the unconscious image of the perceiving self.” -Juhani Pallasmaa

01.1 Reconnecting the Hand & Mind

Abstract Diagrams

in class

at home

personality : external forces

architecture : mies van der rohe

selected craft : tea

Productivity Creativity Productivity Creativity

Johnson’s Lookout

craft personality architecture requirements

: cat’s toy-making : organization & guidelines : tadao ando : indoor, quiet, 2 levels, simplicity

Week 01.1

in class i constantly internally remind myself to stay calm; at home i constantly internally whip myself to produce work.

“Productivity is how you run away from yourself Creativity is how you become yourself ” - BriannaWiest

01.2 Creative Critical Reflection

A House on A Rural Lot plasticity, rural, domestication

Reflection -Past Projectimprovement(s) successful

: human occupation & details : complexity in simplicity

-Architectural Designweakness : lack of design opinions strength : undefined creative strategy : seek inspiration (read?)

Week 01.2

The most challenging thing for me was to be firm in my opinions. We all can agree that as designers, we always doubt our decisions.The lack of definitive ‘rules’ or ‘right answers’ in the design realms makes it even more challenging to make bold and creative decisions, for me at least. I think I have always been too cautious and fearful at a point where it was difficult to be in the flow of a creative process because I kept on cutting it with my own pessimistic fears. So then, I think to break this bad habit, I need to start exposing myself to more design discourse and medias that perhaps will help guide me shape my solid design opinions.

01.3 Craft Selection

Tea

strength & opportunity - import Camelia Sinensis to site / plant native herbal infusions - seasonal teas and variations weakness & threat - viability to import camelia sinensis

Beeswax Candle

strength & opportunity - compliments the calming atmosphere of Daylesford - biodiversity + ecology (both flora & fauna - essential oil origins and bees) weakness & threat - defining scope (candle only/ candle and bees)

Week 01.3

Deciding on a craft to pursue the entire project was not easy- both projects are meaningful to me and bring value to the neighborhood of Daylesford and the surrounding ecology. Working at a tea shop, I admire the complexity and subtlety of the tea craft. Firstly, it has a long and rich history, with many poetic aspects. It also requires masterful skills that have been passed on for generations.The main drawback, a major one, is the viability of importing the tea species and locating it at Daylesford. Candles, on the other hand, have a stronger connection to Daylesford. Aside from its calming qualities that resonate with the atmosphere of the area, beeswax candles have the potential to connect craft with not only flora but also fauna (bees), especially considering the history of imported European Honeybees toVitoria as well as the importance of bees in human food production.

01.4 Reading Atmospheres, Peter Zumthor

- architecture becomes part of its surroundings - atmosphere “quality architecture = a building that manages to move me.” “a beautiful, natural presence,...” “we perceive atmosphere through our emotional sensibility- a form of perception that works quickly, ...” “So what moved me? Everything.The things themselves, the people, the air, the noises, sound, colours, material presence, textures, forms too -” “Beauty is in the eye of the beholder.” “... the idea that the task of the creating arcitectural atmosphere also comes down to craft and graft. Processes and interests, instrutments and tools are all part and parcel of my work.” - body of architecture “The Body of Architecture: material presence of things in a piece of architecture; as abodily mass: membrane, fabric, a kind of covering, cloth, velvet, silk,...” - material compatibility “Materials reach with one another and have their radiance.” “... sense the presence and weight of materials” - surrounding objects the interaction of people and things - between composure and seduction “architecture: involves movement, a temporal art - direction, seduction, letting go, granting freedom,-” “guidance, preparation, stimulation, the pleasant surprise, relaxation,-” - tension between interior and exterior “thresholds, crossings, ...” “life in a window observed from without,-” - levels of intimacy proximity, distance size, dimension, scale, masses and gravity of things spaces ignite different emotion inside us- forgotten, exalted and liberated, intermediate, extremes. - light on things where and how the light fell, nature of shadow, depth reflection of light from surfaces planning light in a space as a medium of hollowing out the darkness from a mass

Week 01.4

A preconception of architecture being cold and linear was broken. I was again reminded that architecture should have some kind of effects on the occupier. It should be felt (intangibly), through all the subconscious senses that architecture can stimulate. But perhaps those gestures were subtle, that only when we pay attention we feel it, only when we focus we can grasp the full atmospheric experience of the space. At the beginnning and end of the text, architecture is grounded to its context and its ultimate purpose. Recognizing this is key, especially in architecture pedagogy where extreme creativity is encouraged, almost forgetting the main intent of the matter.

WEEK 02

02.1 02.2 02.3

Craft : Beeswax Candles Guest : Adam Markowitz Reading - The Eyes of The Skin by Juhani Pallasmaa

“.. the idea of things coming into their own, of finding themselves, because they have become the thing that they actually set out to be. Architecture, after all, is made for use. It is not a free art in that sense. Architecture attans its highest quality as an applied art. “ - Peter Zumthor

02.1 Craft : Beeswax Candles I. Graphical Craft Research

wax-rendering from raw honeycomb

1. all contents

2. add water

3. boil

4. stir

5. dissolved

6. filter x2

7. cooled

8. filter

9. pour to mould

10. ready for use

1. container + wick

2. mould type A

3. mould type B

4. release spray

5. filtered wax

6. pour to mould

7. trim wick

8. remove mould

9. fix flaws

10. surface treatment

candle-making

candle-making (summarised)

1. prep

2. melt

3. fragrance

4. pour

5. trim

Additional Info: *melt *at 65C *pour method *essential oils *cleanup

: using double-boiler system : add essential oils + pour to jars : one pour, quick, centred wick :affect the overall color of the candles (e.g. patchouli gives darker color) : double-boiler in freezer, wax become brittle and pop out

Mass-Produced vs Handmade Quality Assurance Hand poured candles are individually created and checked, a focused eye on the product being made. Safe & Traceable Higher guarantee on the absence of toxic chemicals to make the products. Personal Touch Custom crafted candles, connection to the craftsmen and origin.

02.1 Craft : Beeswax Candles II. Graphical Craft Inventory - Objects

container

strainer

filtering pot

boiler

blowtorch

weigh scale

double-boiler

hot pan

essential oil

mould A

spray

clean beeswax

mould B

mould C

pouring jug

0.5m

02.1 Craft : Beeswax Candles

II. Graphical Craft Inventory - Tools & Products

scissors

popsicle stick

pliers

rubber band

thermometer

clips

wick holder

spatula

wick sticker

0.25m

02.1 Craft : Beeswax Candles

II. Graphical Craft Inventory - Subjects

1. preparation of mould

2. beeswax into melter

3. melted wax collection

4. fragrance s

ance selection

5. fragrance mixing

6. pouring & curing

02.1 Craft : Beeswax Candles

III. Historical, Geograpical, Environmental Research

Candles 3000 BC - 1500 AD ~ candles were the most popular artificial lighting 3000BC Egyptians wax - tallow

wick - reeds

500BC Romans wax - beeswax

wick - papyrus

500-1500AD allows banned, beeswax expensive 1870s light bulb invented and commercialised 1980s candle : for decoration / gifts / mood enhancer

Asia (date unspecified) Chinese wax - spermaceti

Japanese wax - wax tree nuts

Indians

wax - cinnamon fruits

02.1 Craft : Beeswax Candles

III. Historical, Geograpical, Environmental Research

Beeswax multi-function in all parts of the world

Neolithic farmers using beeswax as far back as 9,000 years to the 7000BCE. Ancient Egyptians: - embalming process of mummification, preserve writings on papyrus and cave walls, medical use, jewelry, perfume Ancient Greek - “encaustic art”: melting beeswax, adding pigments, and then shaping hot wax on wood or canvas. Greek mythology: - Icarus & Daedalus’ wings to escape from King Minos’ prison tower. Ancient Romans: - statues, tax payments, bows, musical instruments, cosmetics Middle ages: - sealing wax for letters - shoe polish (18th century) - dental tooth filling - Javanese batik Modern ages: - candlemaking - lip / heel balm - bug bite relief stick - furniture polish - crayons

IV. Material Research

- W a x T y p e sMineral Oils

Natural

gel wax

soy wax

palm wax

paraffin

coconut wax

beeswax

-BeeswaxHow it’s made: Hypopharyngeal Glands on bees converts honey to flaky substance ; chewed by other bees = beeswax Reason of choice: - natural, renewable source - highest melting point = slow burn - no soot & drip less - emit a bright, warm light (the same spectrum as the sun) - emit negative ions (clean the air and invigorate the body) - subtle, natural scent of earthy + sweet aroma of honey.

02.1 Craft : Beeswax Candles IV. Material Research

Architectural Precedents - Wax

Apian Screen - Penelope Stewart (2010) - A series of high relief beeswax tiles - Individually the tiles reflect the scale model; collectively transform the walls into imaginary landscapes - Apian Screen creates a somatic negotiation between spectator and space, inviting multi-sensory (touch) - It fuses architecture and ornament, nature and culture, the real and the imaginary in a somatic reciprocity, a boundless disruption between expectations, the spectator and the site.

Wax Facade Modelling - Kieran Timberlake (2017) - digital models & sensors - relationship between facade materials, textures, and climate - textures react to emperature, solar exposure, wind speed and direction, and relative humidity - automated

Architectural Precedents - Threads

Marrakech’s Installation - Barkow Leibinger (2012) - local handcraft techniques – yarn woven through wood frame - material acquired locally – Egyptian cotton - materials brought it to the site in carts drawn by donkeys - local craftmenship, quick installation (2 weeks) - once finished after 5 months, the yarn could easily be reused

Still Light - Kristin Jones 1981 - sharpen awareness of place and augment emotional relationship with light - embraces intangibility of changing light and the fragility of our constantly mutable, fluctuating perception - the delicacy and precision of thread was contrasted with the boldness of its geometry

02.1 Craft : Beeswax Candles

V. Parti as Artefact: Philosophy (+Aesthetic)

Essence of Craft

embodied experience (process)

embodied experience (output)

material manifestations

historical / geographical roots

adaptability through heating

tension and control

subtle yet embodying a potent impact

reliance to nature

Craft as Architectural Aesthetic

tension & relaxation

marvel / luminous / radiance

patterns & repetition

Week 02.1

REFLEC TION Experience (+) I enjoyed learning a lot about candle-making, the different techniques, materials, tools, and products. It was also fascinating to learn about the richness of each, candle and beeswax history. (-) Too much focus was put on the production of candles, and little on its trail (from the bees to the comb to the wax to the community) Successful/Unsuccessful - clear diagram of productivity/creativity reflection (to be applied to other sections) - graphical representation: orthogonal inventory drawings and history needs refining Main Takeaway - there are many architectural gestures that can be explored, adopting qualities of beeswax candles: atmospheric natural ambient light, candle illumination & translucency, lighting control, scenting - there is a potential to look at the functional/formal qualities in architectural precedents as currently they are leaning more into its abstract qualities. For the Future - perhaps extending the craft process, not just focusing on candles, but also considering where the wax is coming from, and the by-products. - improve orthogonal drawing skills as I am feeling rusty after the break

02.1 Craft : Beeswax Candles Consolidating Craft

*contribution to nature

*contribution to Daylesford

Benefits of Candles morning

meditation and prayer helps to keep focus, intention, presence

afternoon

ambiance / atmosphere improve mood, alleviate stress

evening

relax, rest, and sleep maintains natural sleep rhythms

honor those who were lost memory lives on and burns bright

|facilitates remembrance |scent, emotion, and memory

scope of work

02.1 Craft : Beeswax Candles Testing Craft

materials

process

a little DIY candle makin

making at home to start getting the sense of the craft, texture, and scale.

02.2 Guest: Adam Markowitz

an award-winning Designer/Maker of furniture & lighting, a practising architect and educator. He has trained in furniture design in Hobart and at the Royal Danish Academy of Fine Art and undertook further craft studies at the Center for Furniture Craftsmanship in Maine USA

@ markowitzdesign

In his presentation, Adam talked about his journey as a designer, including his travels, followed by his collective work until today. inspirations: - peter stutchbury - james krenov - george nakashima - wendell castle - sam maloof - juhani pallasmaa - bern chandley

02.3 Reading The Eyes of The Skin, Juhani Palasmaa

- works of art “the ultimate meaning of any building is beyond architecture, it directs our consciousness back to the world and towards our own sense of self and being” “the world is reflected in the body and the body is projected onto the world” “experiencing a work of art, a curious exchange takes place: work projects aura, we project our own emotions and perception on the work; … enigmatically, we encounter ourselves in the work.” “architecture is essentially an extension of nature into the man-made realm, providing the ground for perception and the horizon of experiencing and understanding the world. It is not an isolated and self-sufficient artifact; it directs out attention and existential experience to wider horizons.“ - perception “peripheral vision has a higher priority in our perceptual and mental system” “deep shadows and darkness are essential, because they dim the sharpness of vision, make depth, and distance ambiguous, and invite unconscious peripheral and tactile fantasy “ “regardless of our prioritisation of the eye, visual observation is often confirmed by touch” “touch is the sensory mode that integrates our experience of the world with that of ourselves” - temporality “architecture emancipates us from the embrace of the present and allows us to experience the slow, healing flow of time” “art projects an unattainable ideal – the ideal of beauty that momentarily touches the eternal” - memory & reflection “images of presence give rise to images of memory, imagination, and dream;” “all experience implies the acts of recollecting, remembering, and comparing” “the most persistent memory of any space is often its smell; a particular smell makes us unknowingly re-enter a space completely forgotten by the retinal memory”

Week 02.3

It is a wonderful manifesto introducing many intriguing and important ideas of the contemporary architecture discourse. It unravels the things unrealized: - both the spiritual and physical presence of architecture - connection of senses and they way we think and react - both consciousness and unconsciousness in experiencing space - shadow and light; silencing light (perception) to heighten other senses - sensory realism in functional architecture and how it is experienced by individuals.

WEEK 03

03.1 03.2 03.3

Site - Environment & Ecology Creed of Craft Reading - Considering Landscape by Bruce Pascoe

“Were it not for shadows, there would be no beauty.” - Jun’ichiro Tanizaki

03.1 Site - Environment & Ecology

Native Flora - Endangered Species > yr 2000

Critically Endangered

Wombat Bossiaea

Rough Hovea

Yarra Gum

Wiry Bossiaea

Spotted Hyacinth-orchid

Brock Knawel

TinyViolet

River Leafless Bossiaea

Creeping Grevillea

Brooker’s Gum

Hairy Correa

Endangered

Vulnerarable

Wombat Bush-pea

Golden Bush-pea

03.1 Site - Environment & Ecology Native Flora - BioRegion

Goldfields - Dissected uplands: Lower Palaeozoic deposits - Metamorphic rocks formed steeply sloped peaks and ridges. - relatively poor soils are dominant with yellow, grey and brown texture contrast soils & minor occurrences of friable earths - Box Ironbark Forest, Heathy Dry Forest, Grassy Dry Forest ecosystems, Grassy Woodlands - Occassional alluvial valleys between the uplands : Low Rises Grassy Woodland and Alluvial Terraces Herb-rich Woodland ecosystems.

Central Victorian Uplands - Granitic and sedimentary terrain with metamorphic and old volcanic rocks - steeply sloped peaks and ridges - Grassy Dry Forest, Heathy Dry Forest, Herb-rich Foothill Forest, Shrubby Foothill Forest, Grassy Woodlands - Lower lying valleys and plains are dominated by Valley Grassy Forest and Plains Grassy Woodland ecosystems.

Victorian Volcanic Plain - Soils are generally brown or reddish brown, well-structured and fertile - Long pastoral and agricultural history (late 1830s and early 1840s) - native plants have been completely replaced by alien pasture grasses and clovers, crop plants, and weeds; - rich in fern species, mosses, hepatics, and lichens - trees: Eucalyptus, Acacia; - shrub-layers: Cassinia aculeata, Ozothamnus ferrugineus - ground-layer: Pteridium esculentum, Senecio lautus

03.1 Site - Environment & Ecology

Native Flora - EVC (EcologicalVegetation Class)

Dry Forest - EVC 22

Dry Forest - EVC 45

Damp Forest - EVC 29

Creekline Herb-richWoodland - EVC 164

Riparian Scrubs - EVC 53

RiparianWoodlands - EVC 198

Stream-Bank Shrubland EVC 851

GrassyWoodlands - EVC 175

HeathyWoodland - EVC 48

03.1 Site - Environment & Ecology Ecology Mapping

Week 03.1

REFLEC TION Experience I learnt about all the wonderful landscape resources online, such as: NatureKit, ARCGIS Forest, Wombat Forest Care, heritage/history report, CFA & DELWP datas, etc. Never being exposed to landscape materials before, it was quite a challenge, even just to find the resources and learn how to read them. Successful/Unsuccessful - having EVC was great, but it needs further analysis and digging to be relevant to the site itself - The research was too broad in scope and missing details and intimacy to the actual site, for example, instead of having a broad overview of the 10-25km radius of plants, more focus can be put towards the flora around the site, including: grass, shrubs, ferns, and endangered species Main Takeaway Research can be tricky as sometimes getting bogged down by datas distract me from the intention of the research itself. For the Future - be mindful of the intention of any research and ensure that all the datas gathered have a purpose in developing a project - start to think about the aesthetic qualities of different floras, as well as some environmental effects and strategies to deal with/ work with invasive species.

Week 03.1

G R O U P P R E S E NT AT I O N N OT E S Broader Context - history - significant buildings - social heritage: inclusive, diverse (Italian, Swiss, Scottish) - heritage: dja dja wurrung, mirrin’yong mounds; ellen’s walk reconciliation - art galleries, museums, festivals, market, general vernacular trend: bluestone - north-south: commercial – site – lookout - mapping: general, water, expansion protection, land use, points of crafts Immediate context - low density, farming context - +/- 4000 sqm - existing = residential 4 beds + 1 studio; masonry; located at the highest point of the site, covered with dense vegetation for privacy - visual privacy, noise, speed (1-way road, 80kMh, no fence) - entrance analysis (dirty & dusty gravelly path) - the gully at the center of the site à potential for a bridge; pond with ducks - bus stop down the main road - timeline: how will the landscape develop with time Environment & Ecology - General climate conditions: sun, wind, - Microclimate analysis (water & biodiversity) - ESD Strategies (climate responsive designs) - soil types around the site - Native & Invasive Fauna - Native & Invasive Flora

03.2 Creed of Craft Reflection & Recollection

bee + garden subconcious memory linked to universe/ creation outwards connection

garden = scent personal (living) memories inwards connection

candle-making honor memories of those passing human interconnections

“who looks outside dreams ; who looks inside, awakes”

burning candle = (consumes itself to light)

reliving memory (consumes time to recollect)

ritual = to reflect ;

therefore journey: product process origin

-Carl Jung

03.2 Creed of Craft

Spatial Sequence & Planning

public

Siting, Circulation, Organisation

workshop dwelling gallery flora; shrine; sanctuary

private

Form & Massing

swarming bees - clusters

divinity & generosity vertical & horizontal

Tectonics

candle - solid/liquid transparency lattice / weave / material

honeycomb - structure efficiency truss / frame systems

03.2 Creed of Craft Materiality

Landscape

Temporality

seasonal garden

Lighting

gallery

multi-sensory

Week 03.2

REFLEC TION Experience - brainstorming a concept for such a rich craft was quite an experience. It took a long sitting of reading, researching, and pondering, to come up with the idea of memory and reflection that combined the qualities of beeswax and candles. - getting feedbacks from peers is quite helpful with not much pressure; learning about each other’s projects and having the courage to comment on their work helped me to reflect on my project even more. Successful/Unsuccessful - the translation of craft into concept was quite poetic, but its graphical representation can be further developed. - tectonics strategies and materiality can be infused with atmospheric qualities, i.e. considering transparency and illumination translated in the architecture; artificial vs natural lighting - intimate spaces in the gallery for personal and sensorial experience and interaction with the craft. Main Takeaway - consolidating a concept takes time but incorporating it into architecture takes even more time. This reminds me of our brains’ constant ‘hunger’ for new ideas / inspiration. For the Future - incorporating the concept further into the architecture, from intangible qualities and intent to a tangible and physical form.

03.3 Reading Considering Landscape, Bruce Pascoe

- “landscape should not be thought of as simply a nature strip. Make and forsake.” - “a place of reflection on mutual humanity” - “let the greennes soften; let the arch of a golden wattle bower the spirit.” - “gardens should not be tokenistic; ... should have usable paths and be friendly to the disabled without institutionalising them.”

Week 03.3

when designing nature, it is vital to consider and reflect on: 1. indigenous influences (history, origin, functions) 2. the user 3. how each element (flora / fauna) planted on site will affect the ecology / ecosystem of the broader context 4. drawing on past horticulture to response to climate, context, and brief 5. softening

*although it can be challenging to pull the strings to the past,to recollect and redraw, landscape needs to not be tokenistic : it should be inclusive and useful for any occupier. *drawing connections to the indigenous influences: again that reflection & recollection

WEEK 04

04.1 04.2 04.3 04.4

Landscape Review Artefacts in Landscape Celebration of Craft Reading - In Praise of Shadows by Jun’ichiro Tanizaki

“ferns, cherries, wattles. Let mosses grow, let sedges sedge and let wattles weep. Let it all grow and soothe the soulds who come there. - Bruce Pascoe

04.1 Landscape Review Site Model & Landscape

landscape rough sketch

spatial sequence, siting, circulation, form, tectonics

Concept

- Reflection & Recollection

edge conditions

native & indigenous species

Function

- Honey Bee Nourishment seasonal garden

90-150 radius from beehives

water bodies

04.1 Landscape Review edge conditions

stone steps

gravel

layering

timber platform

timber deck

timber bridge

work with, not against nature - Gilles Clement

native species

04.1 Landscape Review indigenous species

seasonal garden - plants

indigenous species

Week 04.1

REFLEC TION Experience again, it was quite intimidating to tackle landscape and how it is applied on site. there was so much new information to be digested and then used in the scheme. Successful/Unsuccessful - interesting concept /craft ideas and scheme of how it is translated into architecture and landscape - the matrix of plants intended for bees are great but ensure that they are native Australian species (a hard no to imported species!) Main Takeaway 3 (extremely) important notes on landscape strategies: - prioritizing native species, - layering/ overlapping of plants to achieve biodiversity/ ecology, and - edge condition (manipulation and control) For the Future - look into indigenous calendar to plan for the seasonal garden - explore different edge conditions, the push and pulls of nature and how to stabilize it

Week 04.1

L A N D S C A P E R EV I EW N OT E S Broader Context - use botanic names - prioritize endemic species - EVC Victoria: trees, shrubs, grass, flora - green corridor: stepping stones for animals to migrate from one ‘forest’ to another - indigenous seasonal calendar (cyclical as opposed to linear) - water:

- seasonal pond feature + manage plants to aerate the water to minimize mosquitos - swales - water-pumping systems (ancient Greek and indigenous methods – eel traps)

- sun-study analysis; the canopy of trees; pathways/corridors; passive cooling - buffer strategies: trees/mounds - Resources: - Living Atlas of Australia - Indigenous design charter - NGV Indigenous Art Exhibition

04.2 Artefacts in Landscape Reworking Concept

DIVINITY “Love the Lord your God with all your heart and with all your soul and with all your mind.” - matthew 22:37

bees & candles are believed to carry message to the Gods/passing candles candles: - consumes itself to give light to others - it can light 1000 candles without shortening its own life bees: - always on service to the greater good (foundation to support life on earth)

GENEROSITY “Love your neighbor as you love yourself ” -matthew 22:39

wax : flesh wick : soul light : divinity = flesh will eventually die, but soul tranforms into divinity

Scaled Programs

temporary dwelling [72sqm]

permanent dwellings

resting 12sqm

living; cooking/ dining

bathing 12sqm

24sqm

garden 24sqm

reflective journey

[132sqm x 2] resting 12sqm

living; cooking/ dining

bathing 12sqm

48sqm

workshop 1

garden 36sqm

wax rendering & storage [50sqm]

resting 12sqm

plant collection

bathing 12sqm

[30sqm]

reflective journey

distillation [20sqm]

candle-making [40sqm]

workshop 2

gallery (outdoor) [180sqm]

gallery (indoor) [300sqm]

reflective journey

bee-keeping

10m

04.2 Artefacts in Landscape Conceptual Massing

Option 1

swarming bees; organic- divine; transparencies

Option 2

honeycomb; wick - anchored to ground; instability

Option 3

efficiency of form; light construction; transparencies

04.2 Artefacts in Landscape

west view (main road)

south view (secondary road)

site model @ 1:1000

Week 04.2

REFLEC TION Experience - after the session last week, I started second-guessing my approach and my concepts and reworked some of the basic bones of the project. Although this dragged me a little, I thought it was useful to test the main ‘guiding force’ of the project to ensure that I was moving in the right direction - Although sounds terrifying, the quick presentation marathon was quite liberating!With the pressure of time, there was less overthinking and less stress, and more efficiency. Looking at my classmates’ works is also motivating (although can also be overwhelming seeing what I lacked) Successful/Unsuccessful - good to see the concept being developed and retouched, however, ensure that it is inclusive to all believers/ non-believers - good exploration of forms but need a decision on which to pursue Main Takeaway - embrace the idea of a reflective journey using slow guided movement For the Future - consolidate site spatial organization and circulation to get a grasp of the overall gesture of the project and what it is aiming to achieve - decide on the formal qualities of the project and the reasoning behind it

04.3 Celebration of Craft Spatial Curation

Material Precedent

Kengo Kuma, In Exchange

04.3 Celebration of Craft Workshop Plan

Legend 1. Entry 2. Hygene 3. Melting 4. Molding 5. Display __________ 6. Patio 7. Distillation 8. Scenting

Scale 1:50 0

04.3 Celebration of Craft Workshop Plan

Melting

Folding

Molding

Workshop Section

Week 04.3

REFLEC TION Experience moving out of my comfort zone to explore curvilinear plans Successful/Unsuccessful - presentation drawings have improved - plans and sections look too rigid, losing the richness it had in the physical model Main Takeaway - bees’ movement can be translated into humans’ movement throughout the site - the idea of ramping and softening level transitions For the Future - rethink formal qualities of architecture while implementing ramping for the slow movement of the user.

04.4 Reading In Praise of Shadows, Jun’ichiro Tanizaki

- mindfulness - sheen of antiquity : the glow of grime “polish that comes of being touched over and over again, a sheen produced by the oils that naturally permeate an object over long years of handling” “carefully preserve and idealize the marks of grime, soot, weather, sheen that call to mind the past that made them.” - no impression of brilliance = imperfection of forms; looseness - dark= beauty that had not been seen “gleams forth from out of the darkness” “push back into shadows the things that come forward too clearly; turn off the electric lights and see what it is like without them” “room suffused with light that provides rare tranquillity not found in ordinary light” - materials : transluscencywashi paper, lacquer, yokan (dessert), shoji transluscency hinting presence- showing depth - derives its splendor from smallness and subtlety distilling centuries of wisdom and bridging thousands of miles of cultural divide

“seek satisfaction in whatever surroundings we happen to find ourselves, to content ourselves with things as they are, and so darkness causes us no discontent, we resign ourselves to it as inevitable”

Week 04.4

It strikes me the humility of the physical manifestations of such a powerful idea of mindfulness, reflection, presence, and wisdom. interpretation of architecture is no longer literal, but nuanced and personal, depending on how one reflects on it. Weathering was interpreted as a connection / reflection to the past; see the power of architecture in both acknowledging the linearity of time but at the same time facilitating a turn to the past. (recollection) Dim lights are embraced, even celebrated, a visual quietness that enhance focus and instrospection. the ambiguity in transluscent materials; almost knowing what’s happening - igniting wonder and reflection. Now the job of the architecture is to create a persuasive nuances to induce realizations / revelation / reflection / recollection.

WEEK 05

05.1 05.2 05.3 05.4

Curating Spaces & Landscapes Reading - Thinking Architecture by Peter Zumthor Research - Precedents Sketches - Residential

“When an architectural design draws solely from tradition and only repeats the dictates of its site, I sense a lack of a genuine concern with the world and the emanations of contemporary life. If a work of architecture speaks only of contemporary trends and sophisticated visions without triggering vibrations in its place, this work is not anchored in its site and I miss the specific gravity of the ground it stands on.” -Peter Zumthor

05.1 Curating Spaces & Landscapes Site Plan

Workshop Plan

GF Ramp up to L1

Week 05.1

REFLEC TION Experience moving out of my comfort zone to explore curvilinear plans Successful/Unsuccessful plan is working well with the organic nature of it, but section needs to be more considered to keep that the variety of formal qualities Main Takeaway - implement circulation of occupants – driven by flora to create a reflective journey (spatial journey / progression; revealing and unrevealing; contrasts) - consolidate sectional drawings: threshold ambiguity instead of vertical extrusion For the future start moving quickly to production mode for midsem !

05.2 Reading Thinking Architecture, Peter Zumthor

“details when they are successful are not mere decoration, they lead to an understanding of the whole of which they are an inherent part.” “see something which we cannot focus our consciousness; in this perceptual vacuum, a memory may resurface” “there is a power in the ordinary things of everyday life.;we only have to look long enough to see it” “Architecture has its own realm. It has a special physical relationship with life; ... as an envelope and background for life which goes on in and around it,” “a good building must be capable of absorbing the traces of human life and thus of taking on a specific richness.” “buildings can have a beautiful silence that I associate with attributes such as composure, selfevidence, durability, presence, and integrity, and with warmth and sensuousness as well, a building that is being itself, being a building, not representing anything, just being.” “beauty is at its most intense when it is born of absence.” ~missing - empathy - beauty experienced ~contrast of pain and pure bliss “lights at night is not an attempt to eliminate darkness but an intimate illuminated clearings that we carve out of the darkness.” “the poetics of light illumination: its softness and distance; a longing that it cannot be touched.”

Week 05.2

perceptual silence of a building that just bebuilding that belongs do not dominate its site; it has an inherent presence, being a self-evident part of their surroundings. aseach architecture occupies a unique part of the universe, it grows naturally into being a part of the form and history of the place. since our feelings and understanding are rooted in the past, our sensuous connections with a building must respect the process of remembering: using perceptual vaccuum to disperse focus of our consciousness; leading to a mindfulness, adding richness that absorbs traces of human life.

05.3 Research

Victorian Native Bees

*solitary *solitary *solitary *solitary

*solitary *solitary

Resources: - https://www.aussiebee.com.au/beesinyourarea.html - bee types per region - description of bees - https://www.aussiebee.com.au/faq.html - native bee bible

05.3 Research

Bee-farming around site

* all farms: European honey bee (Apis mellifera) European honey bees have been present in Australia for about 190 years, but their distribution and abundance has increased dramatically over the last 80 years.The actual number of feral colonies is unknown but they are patchily distributed being least abundant, if not absent, from alpine areas and inland areas away from water. European honey bees visit the flowers of at least 200 Australian plant genera and interact with a wide diversity of native flower-visiting animals. Feral European honey bees can outcompete native fauna for floral resources, disrupt natural pollination processes and displace endemic wildlife from tree hollows. However, there is insufficient research about interactions between European honey bees and Australian biota to fully describe their impacts. Managed hives of European honey bees form the basis of an industry that provides significant crop pollination services around Australia. Pollination services and the production of honey and associated bee products were estimated by the House of Representatives Inquiry into the Future Development of the Australian Honey Bee Industry as between $4 and $6 billion in 2008.

05.3 Research

Types of Bees on Site Regional Bees - Exoneura (reed bees) - Amegilla cingulata (blue- banded bees) - Amegilla bombiformis (teddy bear bees) - Megachilidae (leaf cutter bees) - Megachilidae sculpturalis (resin bees) - Homalictus blackburni

Endangerd &Vulnerable (E) - Leioproctus nigrofulvus - Leioproctus carinatifrons (V) - Leioproctus filamentosis - Trichocolletes burnsi - Trichocolletes serotinus - Callohesma geminata - Euryglossina cockerelli - Euryglossina globuliceps - Euryglossina healesvillensis - Euryglossina intermedia - Euryglossina procotottyrpoides - Lipotririches gracilipes

Native Wax-Producing Bees Tetragonula carbonaria (stingless bee) - 3-5 mm length, dark-coloured - produce sugarbag honey & propolis wax - endemic to North East Coast - av. max. lifespan: 160 days

Imported Wax-Producing Bees Apis mellifera (commercial honey bee) - 15mm length, light-brown-colored - produce honey & wax - introduced from Europe - av. max. lifespan: 60 days

05.3 Research

Dja DjaWurrung Calendar : Seasons + Bee Activity

Late Spring - “Wirrap and Giranul time”

Summer - “Milakuk and Barramul time ”

- fish lay eggs , harvest kangaroo grass seed - wildflower season starts foraging starts

mber Dece

Januar y

Fe br u

mber Septe

Dja Dja Wurrung Indigenous Calendar

Autumn - “Ngaari time”

st gu

April

- mallee fowl makes nests and lay eggs - collecting seeds from yam daisy - golden wattle blaze swarming, laying eggs, brood rearing

h Marc

“Lawan and Murnong time”

Octob er

No v

ary

r be em

Early Spring -

- emus pair and lay eggs - brown butterflies, hyacinth orchids vigorous foraging

ay M

June

July

Late Winter - “Wanyarra time”

- ducks mate and build nests - yam daisy’s roots harvested winter prep: food storage

Early Winter - “Wai-kalk time”

- wattles starts to bloom - wooden tools are made (bowl, boomerang, etc) ensure hive security for winter

- abundant water with creeks and streams overflowing - mammals breeding, greenhood orchids, mosses, lichens forms winter cluster to retain heat

informing: seasonal garden - native & indigenous species

Plants for Native bees https://www.aussiebee.com.au/flowerslovedbybees.html

05.3 Research Precedent

Neri Oxman’s Synthetic Apiary II shows how beehive construction “is a responsive and dynamic process” - Nov 2021 “like silkworms, honey bees, including Apis mellifera, are incredibly interesting model organisms because of the historical interplay between their communities and their role in human culture. As agents of pollination, bees are integral to roughly 70 per cent of our edible flowering crops; without them, we would not have the fruits and the vegetables that nourish our lives on Earth. They may even be key to supporting the regenerative food systems necessary for long-term space missions (for related work, see Smith et al. 2021).The cultivation of bees, education about their health, and advancement of non-standard bee environments has become increasingly important for their survival, and for ours. When offered wax augmented with synthetic biomarkers, bees appear to readily incorporate it into their construction process, likely due to the high energy cost of producing fresh wax.This suggests that comb construction is a responsive and dynamic process involving complex adaptations to perturbations from environmental stimuli, not merely a set of predefined behaviors building toward specific constructed forms. Each environment therefore acts as a signal that can be sent to the colony to initiate a process of co-fabrication. source: https://www.dezeen.com/2021/11/19/neri-oxman-synthetic-apiary-two-honey-bees/

Synthetic Apiary

- poses the possibility of artifical environment of controlled conditions to nurture bees (especailly to sustain those coming from other regions)

05.3 Research Precedent

Krakani Lumi by Taylor and Hinds Architects - community, intimacy,‘giant’ candle, drawing to indigenous history. https://wp.architecture.com.au/tasawards/2018-awards/2018-commercial-architecture/krakani-lumi/

Precedent

Rolex Learning Centre by SANAA

- daylight: integral part of design - free circulation: no beginning and no end, non-hierarchical & non-linear, forming ONE continuous space (as if can be approached form any direction) ;“equivalence of spaces” - there is always something else beyond the “hill” - large space: creating potential for people to meet and interact, - open, no border, inviting people to come in - “physical reality of curved planes and cylindrical walls create relational opportunities; the disintegration of physical relations in social society poses a spatial effect on built form” - “continuous fluid space” - undulation of planes subtly suggests thresholds (divided spaces into zones; but maintain visual connection) - gradual sectional division = gradual change of relative floor

* undulations affect human’s movement (from linear direction to a more organic & curved path; so then, how can we incorporate nature in this movement? e.g. bees / plants

05.3 Research Precedent

Garden House by Ryue Nishizawa

- lack of walls = lightness & immateriality - sinuous stairs - interlacing programs and nature

Precedent

Biotop Waterbody by Junya Ishigami

- using existing elements on site,“rearranging element of natural world” - light, shadow, reflection of water - blurring border between ground and water ; high density - acknowledging the passing of time: seasonal changes (summer- shadow, autumn-leaves, winter- mountain view) - taking account history into the design (used to be a rice paddy--> design = combining forest and rice paddy) - relocate existing: stones, moss, trees, water --> creating an artificial landscape that is as close as possible to a natural one.

05.3 Research Precedent

Extreme Nature: Landscape Of Ambiguous Spaces by Junya Ishigami Out There: Architecture Beyond Building, 2008, Japan Pavilion curator(s): Taro Igarashi It is impossible to show actual buildings at the biennale, ishigami has found an alternative format to showing architectural forms by creating an installation which has a parasitical relationship to the pavilion’s existing structure. he has constructed ‘buildings’ at a 1:1 scale, which have been designed with precise structural calculations, just barely able to stand. the installation suggests the future possibilities of architecture, which for ishigami is comprised of delicate greenhouses which have ephemeral physical presence that blends into their surrounding environment. ishigami’s greenhouses are not equipped with air control systems, nor are they sealed off from the outside by a barrier, reducing the feel of an artificial environment. the weakness of the plant barriers result in an ambiguous mixing of elements from the internal and external environment. with the help of botanist hideaki ohba, ishigami aims to present a selection of plant life which creates a slight disturbance in the landscape of the park. at first the landscape seems quite ordinary, but it is this belief that this is an extremely progressive approach to an environment. upon entering the interior, the japanese pavilion appears almost empty thus revealing the beauty of the original space. the greenhouses which ishigami have constructed are dispersed amongst the pavilion’s exterior using furniture and plants to create the atmosphere of an interior landscape. the overall architecture of the space is not given any definite qualities of a physical object, blurring the boundaries between the interior and exterior, making the japanese pavilion appear as if it is an artificial environment or an element of topography. it was ishigami’s goal to consider both architecture and landscape on the same level, using plants to create an environment which is comparable in scale to that of the built environment. he has tried to marry nature and architecture with each other to the point that the two seem almost indistinguishable so that everything internally and externally exists simultaneously.

“The formula architecture + landscape generally makes people think of a building which is located within specific surroundings. I have deliberately decided that I wish to treat both as equally important,”

In “Mountain City” buildings and hills have equal significance and determine the landscape on an alternating basis, while in the imaginary settlement of “SmallValleys” every house is placed in a small crater of its own.The theme of “Pond City” and “Garden City” is the relationships between areas of land, areas of water and areas of vegetation. In “Pond City” the buildings are not, as would be logical, placed on the land area among the lakes but right in the middle of the lake, like small moated castles which can only be accessed by bridges.

05.3 Research Precedent

House Unconventional by Hideyuki Nakayama, 2004 - vertical layering, objects becoming architecture elements

Precedent

Casa CM by Ooda: Fusion and Extension of Nature -continuation of ground (nature to architecture)

05.3 Research Precedent

House of Remembrance by Neri&Hu - encasing nature; diffused edge

Precedent

House in Plum Grove by Kazuyo Sejima & Associates - edge condition

05.3 Research Precedent

House in Basthal by Pascal Flammer - lowering eye-height for a connection to nature

Precedent

Studio Renovation by MAIO - lowering eye-height for a connection to nature

05.4 Sketches Brainstorming

Residential

05.4 Sketches Design in Section

Residential - General

Residential - Key Moment

05.4 Sketches Design in Plan

Residential - General

~the weekend before midsem

REFLEC TION

on self

Experience - the past five weeks have been intense, both in terms of brainstorming and producing work. Always so much to do, and so little time. - The initiation of a project is always the messiest part of the design. At this stage, there are so many unknowns, uncertainties, potentials, and everything is quite blurry.With the fast-paced nature of the first half of the studio, I think the intention was to not over-think things and to keep moving and iterating and fixing. Although I don’t think I excelled at it this time, it gave me the experience of embracing that messiness and of less being precious of the ideas generated / things produced. Indentified Strengths & Weaknesses - Strengths - diagramming & communicating concepts - models & photography - moving carefully in developing concepts/ideas -Weaknesses - resourcefulness & selectiveness in research - moving quickly in implementing the concepts into physical architectural gestures - integrating reading materials into the project - communicating my ideas (sometimes, getting too invested and too nervous to present that nothing came out right) Main Takeaway / For the Future - find the balance between repairing previous work and keep moving forward - more reflection time to think of ways in incorporating theories, ideas, concepts into the project - consolidating intention and trying to do as much as possible, as careful as possible

REFLEC TION

on contemporary architecture

The contemporary shifts away from alien architecture; always trying to tie back to the more personal and unique voice of a patch of land in this big world. Grounded. It tries to be humble but impactful. Being subtle with details, materiality, finishes, joints, suggesting interaction with the occupier. Inherent silence of perception is celebrated. It strives to facilitate mindfulness in everyday life, to trigger thoughts and realizations of existential experiences. It acknowledges the inevitable temporality over time and tries to embrace it instead of fighting it as done in the past.The focus is no longer I, but us, and not humans alone, but also the non-humans. More respect and attention were brought to considering the history, culture, and nature.

WEEK 06

06.1 06.2 06.3

Mid-semester Review Reading - Experiencing Architecture by Steen Eiler Rasmussen With Your Hands I

We were born from waves and falters We were designed to be terrified of what we want most These forces touch Even unconscious beams of light in the sky

- BriannaWiest

06.1 Midsem

“You will put the wind in win some, lose some. You will put the star in starting over, and over.”

- Sarah Kay

Craft & Concept seasonal garden - native & indigenous species

Late Spring - “Wirrap and Giranul time”

Summer - “Milakuk and Barramul time ”

- fish lay eggs , harvest kangaroo grass seed - wildflower season starts foraging starts

mber Dece

Januar y

Fe br u

mber Septe

Dja Dja Wurrung Indigenous Calendar

Autumn - “Ngaari time”

st gu

April

- mallee fowl makes nests and lay eggs - collecting seeds from yam daisy - golden wattle blaze swarming, laying eggs, brood rearing

h Marc

“Lawan and Murnong time”

Octob er

No v

ary

r be em

Early Spring -

- emus pair and lay eggs - brown butterflies, hyacinth orchids vigorous foraging

ay M

Early Winter - “Wai-kalk time”

June

July

Late Winter - “Wanyarra time”

- ducks mate and build nests - yam daisy’s roots harvested winter prep: food storage

- wattles starts to bloom - wooden tools are made (bowl, boomerang, etc) ensure hive security for winter

- abundant water with creeks and streams overflowing - mammals breeding, greenhood orchids, mosses, lichens forms winter cluster to retain heat

Craft & Concept on Site types of bees

Regional Bees

Endangered & Vulnerable Bees

- Exoneura (reed bees) - Amegilla cingulata (blue- banded bees) - Amegilla bombiformis (teddy bear bees) - Megachilidae (leaf cutter bees) - Megachilidae sculpturalis (resin bees) - Homalictus blackburni

(E) - Leioproctus nigrofulvus - Leioproctus carinatifrons

(V) - Leioproctus filamentosis - Trichocolletes burnsi - Trichocolletes serotinus - Callohesma geminata - Euryglossina cockerelli - Euryglossina globuliceps - Euryglossina healesvillensis - Euryglossina intermedia - Euryglossina procotottyrpoides - Lipotririches gracilipes

Native Wax-Producing Bee

Imported Wax-Producing Bee

Tetragonula carbonaria (stingless bee) - 3-5 mm length, dark-coloured - produce sugarbag honey & propolis wax - endemic to North East Coast - av. max. lifespan: 160 days

Apis mellifera (commercial honey bee) - 15mm length, light-brown-colored - produce honey & wax - introduced from Europe - av. max. lifespan: 60 days

Craft & Concept Reflection & Recollection Craft & Concept Reflection & Recollection

Craft & Concept guided circulation

Craft & Concept spatial requirements

temporary dwelling [72sqm]

permanent dwellings

resting 12sqm

living; cooking/ dining

bathing 12sqm

24sqm

garden 24sqm

reflective journey

[132sqm x 2] resting 12sqm

living; cooking/ dining

bathing 12sqm

48sqm

workshop 1

garden 36sqm

wax rendering & storage [50sqm]

resting 12sqm

plant collection

bathing 12sqm

[30sqm]

reflective journey

distillation [20sqm]

candle-making [40sqm]

workshop 2

gallery (outdoor) [180sqm]

gallery (indoor) [300sqm]

reflective journey

bee-keeping

10m

Site Plan 1:500

5. 5.

1. 3.

1. Gallery & Bee Farming 2. Workshop I 3. Workshop II 4. Temporary Residency 5. Craftmen’s abode 6. Private Parking 7. Public Parking

SCALE 1:500 @A3 0

Site Circulation Plan 1:500

SCALE 1:500 @A3 0

20m

Site Section 1:500

SCALE 1:500 @A3 0

Site Model 1:1000

20m

Workshop ambition - function & reflection

Workshop II - circulation 1:125 Plan - GF

Workshop II - circulation 1:125 Plan - L1

SCALE 1:125 @A3 0

Workshop 1:125 Section

exhibition wax rendering / distillation teaching

scenting

Workshop II

Workshop I

SCALE 1:125 @A3 0

Workshop II - circulation 1:50 Section

SCALE 1:50 @A3 0

Workshop 1:20 Key Plan

SCALE 1:20 @A3 0

0.5

Workshop 1:20 Key Section

SCALE 1:20 @A3 0

0.5

Gallery Plan 1:125

SCALE 1:125 @A3 0

Workshop massing model

Temporary Residency ambition

Temporary Residency 1:50 Section

SCALE 1:50 @A3 0

Temporary Residency 1:50 Plan - GF

SCALE 1:50 @A3 0

Temporary Residency 1:50 Plan - L1

SCALE 1:50 @A3 0

Temporary Residency 1:20 Key Plan

SCALE 1:20 @A3 0

0.5

Temporary Residency 1:20 Key Section

SCALE 1:20 @A3 0

0.5

Craftman’s Abode 1:50 Section - GF

SCALE 1:50 @A3 0

Residency massing model

REFLEC TION

on Midsem Review

06.2 Reading Experiencing Architecture, Steen Eiler Rasmussen

- “On the whole, art should not be explained; it must be experienced.” - “ The architect is forced to seek a form which is more explicit and finished than a sketch or personal study.“Architecture is a colder, more abstract form but at the same time no other art is so intimately connected with man’s daily life from the cradle to the grave.“ - Conception of hard and soft forms / heaviness and lightness - connotation and impressions - “But details tell nothing essential about architecture, simply because the object of all good architecture is to create integrated wholes.” - “The activity of such spectator is creative; he recreates the phenomena e observes in his effort to form a complete image of what he has seen.” - impression of something is formed by a series of observations: “Ordinarily we do not see a picture of a thing but receive an impression of the thing itself, of the entire form including the sides we cannot see, and of all the space surrounding it.” - Venice: celebration of decoration - rugs, windows, buildings, city - Music demonstrates clear Mathematical ratios - Golden ratio: (a+b)/a = a/b - Le Corbusier - Rhythm : Frank LloydWright, Alvar Aalto - Textures :West vs East - Daylight - Symbolism of colors in different cultures - Architecture reflects and absorbs sound :“Can architecture be heard? Most people would probably say that as architecture does not produce sound, it cannot be heard. But neither does it radiate light and yet it can be seen.We see the light it reflects and thereby gain an impression of form and material. In the same way we hear the sounds it reflects and they, too, give us an impression of form and material.”

Week 06.2

basic building blocks of architecture: - elements / qualities - precedents and origins - nature of the creator and perceiver this is a good reminder of how architecture has developed from the classical era to modern, and now to contemporary. An importance of creating an intergated whole is still emphasized here - the role of arcitecture to organize forms, proportions, garden, light, textures, colors, noise.

06.3 With Your Hands I models of intended architectural qualities

- temporality (flexibility / operability / seasonality) - fluidity (circulation, occupation, transition) - subtlety (edge conditions, potentials)

REFLEC TION Experience discovered a new way of thinking – experiencing “thinking with your hands” as discussed by Juhani Pallasmaa Successful/Unsuccessful ideas start to appear more vividly, ready to be plucked and planted – only the good ones of course; certainly helps solidifying the ambition of the project architecturally in response to the craft. Main Takeaway When feeling stuck, we just got to do something, anything – to get more of the creative juice going! For the Future Another quick model-making exercise is to be conducted: form-finding by implementing the qualities in this model ; time limit is to be put into the next exercise to encourage intuition

WEEK 07

07.1 07.2 07.3 07.4 07.5 07.6

Lighting Lecture Solidifying Concept - Ethereal Essence Reading - An Architecture of The Seven Senses by Juhani Pallasmaa With Your Hands II Plant Inventory Research: SANAA

“Light is integral to architecture; it reveals beauty, function and form. It defines image, colour and landscapes. It determines visual boundaries and our understanding of scale. The built environment is designed not only to provide light but also to be experienced in light.” - Anthony Tischhauser

07.1 Lighting Lecture Josie White

Week 07.1

This lecture is particularly essential to my scheme due to its connection to candles.The lecture not explore tranlucency and glowing effects in the depth I expected to support my design, however I learnt a lot in terms of the basic principles of lighting. Never did I realize that lighting has so much power in amplifying architecture. Learning about the different types of lights and how they are applied is exciting. Now the challenge is to implement them all in my scheme and ensure that they are in harmony with each other.

07.2 Solidifying Concept

Ethereal Essence ethereal (adj) extremely delicate and light in a way that seems not to be of this world. essence (n) the intrinsic nature or indispensable quality of something, especially something abstract, which determines its character / (adj) critically important

Positioning statement (craft) celebrating the ethereal atmosphere of candlelight as a means to refocus, to enter another ‘state’; and celebrating candle’s historical use in the religious & spiritual context. (land) grounding it back to the land, reinstating the ‘Eden’ it once was, inviting back former dwellers. (people) facilitating intimate interspecies co-habitation and providing the experience to reflect upon / interrogate the inter-relationship of beings.

Strategies & Implementation siting, form, tectonics, materiality, landscaping, detailing, circulation, spatial sequence, lighting, atmospheres solid melting into air – lightness & fluidity ~ airiness & delicacy of the architecture o free circulation: continuous, non-hierarchical; no beginning & no end o loose programming (zones instead of hard partitioned walls) o collapsing of architecture elements o form & landscaping: undulations & bends diaphanous & luminous ~ celebrating the essence of candles, its glow, radiating, an expectation of something beyond o material: polycarbonate envelope & metal mesh o lighting: ambient luminescent & focal glow (contrast light/dark) o display of temporality in a day – lantern (display of occupation) o central to site, radiating ‘life’ at night simultaneous existence of built /unbuilt ~providing the connection between people and others o interlacing program and nature; layering o celebration of indoor ‘growth’ o timber as a buffer between inside and outside o lightweight tectonics, providing allowances for the natural to grow multi-sensorial arousal ~ scents ≈ essence o dimming lights to allow other senses to dominate (smell, touch) o neutral zones as buffer zones to the sensorial spaces (scentless / smooth) o sensorial spaces are intimate, human-scale

Week 07.2

REFLEC TION Experience being one of the most crucial processes of the design journey, a lot of effort has been put into this exercise;“work hard, be hopeful, but expect nothing.” Presenting it toYui and the class, there are much helpful feedbacks that will later be used as the basis of my design decisions. Successful/Unsuccessful - ambitions and strategies are rich and clear showing value both to the craft and the land (bees + - humans) - beautiful collage; can be made less abstract with discreet hierarchy to show physical components Main Takeaway - A simple yet powerful exercise if given the right awareness and attention will help tremendously. - Communication is key in any idea proposals - both graphical and verbal For the future - Consider how ‘melting’ can be applied to the roofs - Consider materiality: e.g. metal types and scale, corrugation, perforation

07.3 Reading

An Architecture of The Seven Senses, Juhani Pallasmaa

- Architectural elements as verbs not nouns; alluding to its interaction with occupiers - The door handle is the handscake of the building. The tactile sense connects us with time and tradition; through marks of touch we shake the hands of countless generations. - Great architecture offers shapes and surfaces molded for the pleasurable touch of the eye. - The eye is the sense of separation and distance, whereas touch is the sense of nearness, intimacy and affection. - A building is not an end to itself; it frames, articulates, restructures, gives significance, relates, separates, and unites, facilitates and prohibits. - The timeless task of archietcture is to create embodied existential metaphors that concretize and structure man’s being in the world.; architecture materializes our image of ideal life. -We identify ourselves with this space, this place, this moment, and these dimensions as they become ingredients of our very existence.

Week 07.3

Yet again, I am reminded of the importance of sensual experiences of architecture.To let one feel. Architecture should be considered holistically in terms of senses, stimulating : sound, scent, touch, sight, and tatse; discovered in silence - creating solitude, intimacy, interaction, and memory. “Architecture is the art of mediation and reconciliation.”

07.4 With Your Hands II

conservatory form exploration

REFLEC TION Experience Focusing on only several qualities and iterating them isi more intuitive for me. This exercise shows the melting on planes as well as the interlacing of built and unbuilt. Successful/Unsuccessful Circular bases are more successful because it is less arbritrary as it shows the connection to candle forms. Main Takeaway As far as melting goes, there are still some rules to abode to make justify an architecture. For the Future start translating this concept model into an architecture structure with assigned programs and intentions.

07.5 Plants EVC & Inventory

Weeping Grass (Microlaena stipoides) perennial / annual : rhizomatous perennial height & width : 1m high, 2-20cm long flowering month : mainly Oct – Mar) soil : wide range

Slender Tussock Grass (Poa tenera) perennial / annual : perennial height & width : 2m long stems flowering month : Oct – Jan soil : moist, fringing watercourses

Kangaroo Grass (Themeda triandra) perennial / annual : glaucuous perennial height & width : 1m high, 50cm long flowering month : Oct – Mar soil : wide range

Thin-leaf Wattle (Acacia aculeatissima) perennial / annual : perennial height & width : 0.5m high, 20mm long flowering month : Aug - Oct soil : widespread

flowering month soil

: Oct – Mar : wide range

Thin-leaf Wattle (Acacia aculeatissima) perennial / annual : perennial height & width : 0.5m high, 20mm long flowering month : Aug - Oct soil : widespread

Butterfly Bush (Buddleja davidii) perennial / annual : naturalised height & width : 1.5-3m height flowering month : Sep - Feb

Early Nancy (Wurmbea dioica) perennial / annual : endemic height & width : 5-25cm height flowering month : Jul - Sep

Hyacinth Orchid (Dipodium roseum) perennial / annual : endemic height & width : 30-90cm height flowering month : Dec - Apr soil : sandy / rocky soils

Tiger Orchid (Diuris suphurea) perennial / annual : endemic

flowering month soil

: Dec - Apr : sandy / rocky soils

Tiger Orchid (Diuris suphurea) perennial / annual : endemic height & width : 20-50cm height flowering month : Sep - Dec soil : heathy

Rosemary Grevillea (Grevillea rosmarinifolia) perennial / annual : endemic height & width : 0.3-2m height flowering month : Sep - Dec soil : sandy / basaltic soils

Verbenaca (Salvia verbenaca) perennial / annual height & width flowering month soil

: naturalized : 30-70cm height : Jun - Nov : fertile ground

Rosemary Everlasting (Ozothamnus rosmarinifolius) perennial / annual : endemic height & width : 3-4.5m height flowering month : Nov - Feb soil : swampy heathland/ shrubland

Narrow-leaf Peppermint (Eucalyptus radiata ssp. radiata) perennial / annual : evergreen

flowering month soil

: Nov - Feb : swampy heathland/ shrubland

Narrow-leaf Peppermint (Eucalyptus radiata ssp. radiata) perennial / annual : evergreen height & width : up to 4m height flowering month : Oct - Jan soil : granite soils

Messmate Stringybark (Eucalyptus obliqua) perennial / annual : evergreen height & width : up to 90m height flowering month : most months soil : hilly, cool mountainous

07.6 Research SANAA: figuration / configuration

The absence of form might be more elegant than its presence; however, this absence is by no means a mere physical fact, but the expression of a studied series of effects and nuances. Similarly, with the use of hierarchy, SANAA is not just concerned with its suppression, but with the creation of a different field condition: “We are not interested in creating a non-hierarchy but in making a new one, which is different from the existent hierarchy.We think that hierarchy is limited, a kind of ready-made product, and that sort of ready-made response is neither creative nor useful. If you do something new, you can do different things and new ways to approach them. Layers of translucency: permeable space defined by two plains of glass, revealing the contradiction between information and experience without resolving it. Transparency also expresses the dichotomy between the visual interconnection and the isolation of the individuals in modern society. Architecture is condemned to the mediation between conception and materialization. The objective is neither the subversion of the program, nor the interaction with the site, instead creating a certain atmosphere contained by a physical reality, a frame that defines the sensorial expression of seeing.

Week 07.6

immateriality and translucency is not to be use as merely physical qualities, but to create effects and nuances that contribute to the overall and / or intimate atmosphere of the project

07.6 Research Precedent

Material Research Dior Building Omotesando - SANAA An outside double skin of thin and flat glass panels wraps the facade landmarks the building’s sharp edges while, behind this skin, a second displaced layer of softly curved / thermoformed translucent acrylic panels. White stripes are printed on the thermoformed acrylic panels, creating a moiré effect that generates different degrees of transparency. During the day a milky light enters the building whereas at nighttime the facade is illuminated.

Louvre-Lens Museum - SANAA

low, easily accessible structure that integrates into the site without imposing on it by its presence.The facades are in polished aluminum, in which the park is reflected, ensuring continuity between the museum and the surrounding landscape. The roofs are partially in glass, reflecting a particular advantage to bringing in light, The internal partitions are clear glass giving the visual deception of presence & access. You can see it but not approach it; Is it there or is it not?

WEEK 08

08.1 08.2 08.3 08.4 08.5

Site Visit - 2610 Ballan-Daylesford Rd, Muskvale Design Refinement I - Craft Reading - How Small? HowVast? How Architecture Grows by Junya Ishigami Design Refinement I - Creative Living Research: Precedents

I wish to think about architecture freely; to expand my perspective on architecture as flexibly, broadly, and subtly as possible, beyond the sterreotypes of what architecture is considered to be. - Junya Ishigami

08.1 Site Visit

2610 Ballan-Daylesford Rd, Muskvale

sniplets of site

Week 08.1

Experiencing the site physically have given me so much more understanding of the site - especially in terms of views, contours, and neighboring properties. To experience it is different from analysing it from a computer screen. During our trip to Daylesford, we also visited some other places which spark some more inspiration for the project.

08.2 Design Refinement I Craft - spatial brief

Apiary / Conservatory

Atelier

Site Plan 1:500

5. 5.

1. Conservatory 2. Atelier I 3. Atelier II 4. Apprentice Abode 5. Chandler’s Chamber 6. Private Parking 7. Loading Area 8. Public Parking

SCALE 1:500 @A3 0

20m

Conservatory 1:200 Plan

SCALE 1:200 @A3

Conservatory 1:200 Section

10m

Conservatory 1:200 Section

SCALE 1:200 @A3 0

10m

Atelier I & II 1:200 Plan - GF

SCALE 1:200 @A3

Atelier I & II 1:200 Section

10m

Atelier I & II 1:200 Section

SCALE 1:200 @A3 0

10m

SCALE 1:200 @A3 0

10m

Apprentice Abode & Chandler’s Chamber 1:200 Plan

SCALE 1:200 @A3 0

Apprentice Abode & Chandler’s Chamber 1:200 Plan Apprentice Abode & Chandler’s Chamber

1:200Plan Plan 1:100

10m

n Detail torming

Section Detail Brainstorming

prentice Abode tch Sections

Week 08.2

REFLEC TION Experience After the site visit and further interrogation of craft requirement, the architecture scope has become clearer.The design shifts between plans and sections, ensuring legibility both horizontally and vertically, Successful/Unsuccessful - sections are convincing by showing how craft is engaged and celebrated - drivers of organization in open plan needs to be defined (e.g. smells / activities / etc) - as the gap in between two workshops is a central point/ gravitation point of the two, it needs a program to celebrate the craft - too much space for vehicular access - more consideration needed on workshop I Main Takeaway The ideas / ambitions are there but needs to be more celebrated in the architecture to convince audience of the scheme For the future - tightening open-planning for workshop - applying ‘melting’ in the architecture elements

08.3 Reading How Small? How Vast? How Architecture Grows by Junya Ishigami

flowing roof

bath studies

Week 08.3

A compilation of Ishigami’s imagination: of strategic move or occasion for transforming spaces, rather than objects with material qualities. Connection of elements and architecture is vital and carried throughout the projects. All elements are considered, including: wind, water, light, ground, sky.The projects are not only celebrate and embrace nature, but on some it is as if they are trying to contain the surrounds - from a small scale to a large one (ground to flora to city / rain to lake to ocean). On some, they are as if wanting to become one with the landscape. All projects are done with as little manoevre as possible, taking it back to the simplest form of architecture - ground manipulation to create any kind of shelter; and stripping it back from any architecture ornamentations There are a myriad of boundless imaginative thoughts and designs, with minimum attention to the limiting technical and practical aspects. It shows the organic ‘growth’ or progression of architecture that spreads or that are contained. The ambition of marrying the earth with elegant and stripped back nature are to be implemented to my project, especially considering its importance to native floras and bees.

08.4 Design Refinement II Creative Living - brainstorming

08.4 Design Refinement II Creative Living Spatial Curation Spatial Diagram Spatial Curation Spatial Diagram

community - bonfire interaction

cook, eat, work transition zone (garden) community - bonfire interaction

semi-private private

cook, eat, work transition zone rest & cleanse (garden) transition zone (garden) interaction

semi-private private

rest & cleanse transition zone (garden) interaction

Spatial Curation Atmosphere Spatial Curation Atmosphere

Spatial Features: - solid melting into air : continuous zoning, layering, softening edges - simultaneous existence of built & unbuilt : interlacing programs, layering - sensorial arousal : spaces & scales Spatial Features: - solid melting into air : continuous zoning, layering, softening edges - simultaneous existence of built & unbuilt : interlacing programs, layering - sensorial arousal : spaces & scales

Tectonics & Materiality: - transluscent - polycarb, fabric, glass - transition spaces - timber, gravel, garden - private spaces - concrete Tectonics & Materiality: - transluscent - polycarb, fabric, glass - transition spaces - timber, gravel, garden - private spaces - concrete

Landscape: - a mix of existing & introduced species: garden are of allowance rather than literal placements - focusing on edge conditions Landscape: - a mix of existing & introduced species: garden are of allowance rather than literal placements - focusing on edge conditions

Chandler’s Chambers 1:200 Plan

SCALE 1:200 @A3 0

10m

Chandler’s Chambers 1:100 Plan

SCALE 1:100 @A3 0

Detailed Client Craftpeople Couple Levi & Eli Eli and Levi have just graduated with Entomology degrees. Their passions have always been about bees. This is how they met.

Values peace, healing, freedom

Family Single Mother (Mia) 2 daughters (teenagers: Cara & Lana) After Mia’s husband passed, she started producing candles to commemorate him (soy candles). She also started to change her lifestyle and practice the art of mindfulness to help improve her mental health. With this awareness, she wants to push the craft to bring values to the community. She was not sure how until she contacted her brother, Eli.

Project intention : architecture that encourages awareness and presence – in relation to the craft process and - having freedom and options to reveal new things during the repetitive process; acknowledges the presence of potentials - a place to retreat & reflect, through the journey / process / products

Craftpeople’s clients - candle enthusiast - bulk buy: honey

Visitors candles: all demograpics (children to elderly/ retiring) bees/garden: entomophiles / botanist, students, families, elderly

Chandler’s Chambers 1:25 Section

SCALE 1:25 @A3 0

0.5

Chandler’s Chambers 1:50 Section

general section

SCALE 1:50 @A3 0

Chandler’s Chambers 1:25 Section

general section

SCALE 1:25 @A3 0

0.5

Week 08.4

REFLEC TION Experience It is very helpful to have a sprint-crit with classmates as it gives me multiple views of the scheme and how I can refine it. Successful/Unsuccessful - spatial diagrams and client profile are convincing, however needs to be tied back to the architecture - curvilinear language is to be carried to the residential plans by manipulating straight walls Main Takeaway The ideas / ambitions are there but needs to be more celebrated in the architecture to convince audience of the scheme - especially here in the residential section. For the future - implement language in the plans and sections - implement materials in the design

08.5 Research Precedent

Cape Schanck House - Paul Morgan Architects

The internal skin of the living area flows continuously from the external eaves to the ceiling, and is gathered into the bulb tank. The tank cools the ambient air temperature during summer, collects and stores rain water, and structurally carries the roof load

Precedent

Rose House - Baracco & Wright

The smaller house plan is open on the first floor – connecting the user to both the east and west views at once. In the larger house, the hit and miss brick work of the curved point creates a screened study, the undercroft space to the east creates a flexible outdoor yet sheltered space that mediates the ground floor living space to the reserve. The use of a planning technique of spatial displacement rather than division (using the bathroom, or an internal core, to define space rather than division through partition walls and hallways), one is in touch with the perimeter as they move around. In this design, there is no ‘back’ or rear. A roof deck sits discreetly within the roof line, taking advantage of an adjacent tree and adding to the varied type of outdoor spaces on offer. The garden has now grown up continuing the gardens of the side street with a layer of purple flowering plants that nod to the Jacaranda Trees of Edinburgh Gardens, a collaboration with the landscape architect Amanda O.

08.5 Research Precedent

Daylesford Long House - Partners Hill

interlacing vegetation

House - André Guiraud translucency

Daylight is filtered by a silk and polyester sheer curtain suspended from a rail between the beam and the joinery, a changing and dynamic element bringing softness to the room. The slab, painted in satin white, diffuses the light from the garden inside and lightly reflects the objects placed on the ground.

WEEK 09

09.1 09.2 09.3 09.4

Design Details Key Moments Reading - Revisiting In Praise of Shadows by Jun’ichiro Tanizaki Research - Precedents

Question your design but be confident in your decision. - Chasing the Sky: 20 Stories of Women in Architecture

09.1 Design Details

Spatial Brief / Flow Craft : apiary/conservatory, atelier, garden Beeswax Extraction 2

separation (beehive - beeswax, honey, propolis)

storage I (tools & equipments)

cleaning

3 rendering (beeswax)

packaging (raw honey & propolis)

storage II (packed candles)

loading dock

storage II (packed candles)

loading dock

Bee-keeping over-wintering hot room

4 apiary

grafting Candle Production

storage (beehive boxes / frames) storage I (clean beeswax)

melting

lab

cleaning teaching meeting beehive collection

1:100 Plan

scenting 6 molding 7 packaging

display

Atelier I & II 1:200 Plan - GF

Atelier I & II 1:200 Section

SCALE 1:200 @A3 0

10m

Atelier I & II 1:200 Section

SCALE 1:200 @A3 0

10m

SCALE 1:200 @A3 0

10m

Conservatory 1:200 Section

SCALE 1:200 @A3 0

10m

SCALE 1:200 @A3

Conservatory 1:200 Section

10m

Conservatory 1:200 Section

SCALE 1:200 @A3 0

10m

SCALE 1:200 @A3 0

10m

Atelier I & II 1:200 Plan - GF

Atelier I & II 1:200 Section

SCALE 1:200 @A3 0

10m

Atelier I & II 1:200 Section

SCALE 1:200 @A3 0

10m

SCALE 1:200 @A3 0

10m

Week 09.1

REFLEC TION Successful/Unsuccessful - roof structure is convincing and in-line with the idea of melting - toilets at the centre to celebrate all the beeswax products - some softening to be done in the plans, to follow the circumference of the envelope (i.e. radial) - importance of flora and bees in the conservatory - to be displayed Main Takeaway design refinement is key in this point of the semester as we are moving to interim review! For the future - continue refining how architecture elements meet each other - refine toilet design to celebrate the design - implement circulation of occupants – driven by craft processes

09.2 Key Moments

Abode 1:100 Plan - GF

SCALE 1:100 @A3 0

Apiary Section 1:20

SCALE 1:20 @A3 0

0.5

Atelier 1:20 Section

Atalier 1:20 Section

SCALE 1:20 @A3 0

0.5

Abode Abode Section 1:201:20 Section

SCALE 1:20 @A3 0

0.5

Toilet Section Skecth

Week 09.2

REFLEC TION Successful/Unsuccessful - good moments selection, however still needs definition and details, and interaction with the users - a night view of things lit up will be a great way to communicate the design intents Main Takeaway - speed crits are always beneifcial in getting multiple and varying inputs and feedbacks. Although not all are particularly impactful, some are very insightful. Seeing other’s schemes as well, give me an idea of what is successful/unsuccessful. For the future consider degree of translucency & glowing effectsfor each moment

09.3 Reading (revisiting) In Praise of Shadows by Jun’ichiro Tanizaki

...with focus on toilets, intimacy, and shadows

Japanese toilet is in a separate building away from the main building A place of spiritual repose: solitude and silence are celebrated in the toilet Materiality: warm, dark wood that does not cast the room in a harsh light Lighting: dim, basking in the faint glow Journeys to the toilet can be “uncomfortable” at night, during rain, and in winter, therefore needs a pragmatic resolution to shelter users. Fragrance of the journey and the space is memorable and needs to be celebrated

09.4 Research Precedent

Altherr Weis Honey Experience

70cm x 200cm wax sheets - warm, self-adhesive, strong, malleable the smell of honey and difused candlelight accompany the culinary experience of beer or honey tastings the structures are fitted with neon tubes of candle light color multi-sensory installation reminiscent of the natural beehive with just a simple set of tools – a craft knife, a hairdryer and a block of wood wrapped in baking paper – the designers shaped the wax sheets to create the installation.

to be implemented in a closed and intimate spaces that can benefit from a honey-scented instalation, i.e. toilets

Precedent

Unimelb Insect Hotel

The hotel draws attention to the role insects and bees play in pollinating native plant species. Having more native bees and insects around increases the opportunities for local plants to be pollinated, and therefore the overall biodiversity of the campus. Materials: ends of logs, bamboo, bricks and smaller branches *all reused / found materials on University grounds

WEEK 10

10.1 10.2 10.3

Interim Review Physical Work Ideas Reading - Matter in FloatingWorld : Leading Japanese Architects

We are nothingness Bearing witness to magnificence And that is our freedom

- BriannaWiest

10.1 Interim Review

Ethereal Essence -

ethereal: (adj) extremely delicate and light in a way that seems not to be of this world. essence: (n) the intrinsic nature or indispensable quality of something / (adj) critically important

solid melting into air

diaphanous & luminosu

coexistence of built & unbuilt

Craft Processs conservatory, atelier 1, atalier 2

Conservatory

honeycomb collection

Atalier 1 beeswax-processing

honeycomb transfer

spinner extraction

wax

honey

beeswax cleaning

Atalier 2 candle-making

melting

scenting

molding

packaging

Conservatory Plan

1. Beesboxes 2. Grafting 3. Overwintering / Hot room 4. Storage 5. Honeycomb collection

SCALE 1:100 @A3 0

Conservatory Section Conservatory Section

Conservatory Section

SCALE 1:200 @A3 SCALE 1:200 @A3 0

10m

SCALE 1:200 @A3 0

10m

AtalierPlan Plan Atelier

Beeswax Processing 1. Beeswax & honey separation 2. Beeswax rendering 3. Cleaning 4. Honey packaging 5. Storage

9. 8.

Transition 6. Toilet Candle-making 7. melting & scenting 8. molding 9. folding 10. packaging 11. storage 12. teaching 13. shop

2. 12.

10.

6. 3. 11.

13.

SCALE 1:200 @A3 0

10m

Atelier Section Atalier Section

SCALE 1:200 @A3 0

10m

AtalierPlan Plan Atelier Gallery Gallery

SCALE 1:25 @A3 0

0.5

Atelier Section Atalier Section Gallery Gallery

SCALE 1:25 @A3 0

0.5

Atalier Section

Lavatory Atelier Plan Lavatory

SCALE 1:20 @A3 0

0.5

Atelier Section Atalier Section Lavatory Lavatory

SCALE 1:20 @A3 0

0.5

DwellingPlan Plan Dwelling Chandler’s Chamber Chandlers’ Chamber

SCALE 1:100 @A3 0

Dwelling Section Dwelling Section Chandlers’ Chamber Chandler’s Chamber

SCALE 1:100 @A3 0

Dwelling Plan Fireplace

SCALE 1:25 @A3 0

0.5

Dwelling Section Fireplace

SCALE 1:25 @A3 0

0.5

Week 10.1

REFLEC TION

on Interim Review

Experience Starting to feel burnt-out, pushing forward is rather challenging. However after the insightful feedback at interim, hopefully I can get back on track with my design journey. Successful & Unsuccessful - Successful - more cohesive resolution of both plans and section -Weaknesses - dwelling contrasts between permanent and temporary - representation of light Main Takeaway / For the Future - explore forms as flowing elements that sit within the landscape with different levels of translucency - refine workshop plan and overall connection to landscape (e.g. water bodies) - presentation : - draw people & occupation to inform the program of the space - label adjacent to objects - (potential) physical model casting

10.2 Physical Work Ideas Materials .. and application Materials .. and application

ETFE / PTFE - roof membranes

timber - flooring, seating, wall

beeswax sheet - light fixture / shelving

ETFE / PTFE - roof membranes

timber - flooring, seating, wall

beeswax sheet - light fixture / shelving

steel (CHS / RHS) : roof structure

semi-shear linen bone-white - curtains

steel mesh - gallery - bronze/ champagne

steel (CHS / RHS) : roof structure

semi-shear linen bone-white - curtains

steel mesh - gallery - bronze/ champagne

polycarb (translucency & textures) - enclosure

corian - surfaces

resin - surfaces & display

polycarb (translucency & textures) - enclosure

corian - surfaces

resin - surfaces & display

CamScanner

10.3 Reading Matter in Floating World : Conversations with Leading Japanese Architects

Eriko Horiki : glowing washi-paper walls (Kaikan Museum)

fire hazards if applied in Daylesford

TokujinYoshioka : straw installation (Maison Hermes)

layers of translucent materials create light effects

Week 09.3

Reading about architects’ projects and interviews spark some inspiration. There are many relevant topics (lightness, weightless surface, fluidity, invisible architecture) that can be indirectly implemented to the project in terms of materiality and detailing, such as Kazuyo Sejima’s Glass Pavilion, Eriko Horiki’s washi paper walls, and TokujinYoshioka’s cloud-like Remembrance window installation.

Parti Diagrams Parti Diagrams

solid melting into air solid melting into ofairarchitecture elements) (continuous collapsing (continuous collapsing of architecture elements)

Site Model Site Model

base : balsa 20mm thick base :: balsa thick model white20mm ivory card model : white ivory card

Base Base Buildings Buildings Trees Trees

diaphanous & luminous diaphanous & luminous (materiality & lighting effects) (materiality & lighting effects)

Sectional Models Sectional Models Massing Models Massing Models

base : balsa 20mm thick base :: balsa 20mm thick model tracing paper, cloth, baking paper, thin wax model : tracing paper, cloth, baking paper, thin wax

- sectional model: Ataliers sectionalmodel: model: Ataliers -- massing - massing model: - conservatory -- conservatory chandler’s chamber chandler’s - sectional model chamber detail: toilet - sectional model detail: toilet

coexistence of people and others coexistence and others (push & pull of of the people built & unbuilt) (push & pull of the built & unbuilt)

: CNC timber CNC timber :: 3d print - translucent PLA 3d print - translucent PLA :: candle-wicks : candle-wicks

Base : balsa / plywood block Base balsa / plywood block Roof :: powder-print Roof : powder-print Enclosure Enclosure - solid : white mountboard solid white mountboard -- translucent :: polypopolene translucent :: shear polypopolene -- loose linen - loose : shear linen

base : balsa 20mm thick base :: balsa thick white boxboard, ivory card model white20mm mountboard, model : white mountboard, white boxboard, ivory card

Journal

Journal Size A5 cover

: fabric + beeswax borders

binding

: thread ; coptic stitch binding?

: fabric + beeswax borders

binding

: thread ; coptic stitch binding?

content papers : mix of matt paper & trace paper + scented

case

: timber (resembling bee-keeping box)

content papers : mix of matt paper & trace paper + scented

case

: timber (resembling bee-keeping box)

Size A5 cover

timber hung journal

timber

backing

: beeswax sheet

backing

: beeswax sheet

hung journal

Week 10.2

REFLEC TION Experience It was the first time for me to order materials samples. Surprisingly suppliers are generous in giving out their products for us to try out. In terms of physical models, with the design not yet resolved and my out of touch of the model-making tools after lockdown, it has been intimidating to me. I hope they turn out okay. Successful/Unsuccessful - material samples are good, however some materials do not help elevate the design scheme rethink - base plan of models are solid, however if possible, use native timber for base Main Takeaway - focus on the important parts first before doing the less important ones. For the future start modelling for lasercut and 3dprint

WEEK 11

11.1 11.2

Design Crit I Lighting Crit

The right time for anything to happen is now.

- BriannaWiest

11.1 Design Crit I Site Plan 1:500

1. Conservatory 2. Atelier I 3. Atelier II 4. Apprentice Abode 5. Chandler’s Chamber 6. Private Parking 7. Loading Area 8. Public Parking

SCALE 1:500 @A3 0

20m

Conservatory Plan

3. 4. 1. 1.

Ground Floor

Level 1

1. Beesboxes 2. Grafting 3. Overwintering / Hot room 4. Storage 5. Honeycomb collection

SCALE 1:200 @A3 0

10m

Atalier Plan

Beeswax Processing 1. Beeswax & honey separation 2. Beeswax rendering 3. Cleaning 4. Honey packaging 5. Storage

8. 12.

Transition 6. Toilet

1. 8.

Candle-making 7. melting & scenting 8. molding 9. folding 10. packaging 11. storage 12. teaching 13. shop

2. 6. 3.

10.

11.

13.

5. 6.

SCALE 1:200 @A3 0

10m

Atalier II Plan

12.

9. 7. 14.

10. 11.

13. Candle-making 7. melting & scenting 8. molding 9. folding 10. packaging 11. storage 12. teaching 13. shop

Ground Floor

Level 1

SCALE 1:100 @A3 0

Roof Configuration Apiary

Iteration 1

Roof Configuration Atalier (wip)

Iteration 2

Week 11.1

REFLEC TION Experience This week focuses on tightening all the looses ends from interim presentation: 3d forms and level one plans. I encountered challenges in modeeling the 3D forms in rhino to actualise my vision. Successful/Unsuccessful - 3d forms look interesting, responding to the idea of melting - level one plans language can respond more to the floor plans below (radial) - consider water catchment on curvilinear roofs Main Takeaway looks like the design is moving to the right direction, it just needs more refining at several points. For the future - resolve modeling problems

11.2 Lighting Crit

Site Plan 1:500

Conservatory Chandler’s Chambers

Atalier II Atalier I

Apprentice Abode

Public Parking Loading Area Private Parking SCALE 1:500 @A3 0

20m

Atalier Plan

Beeswax Processing 1. Beeswax & honey separation 2. Beeswax rendering 3. Cleaning 4. Honey packaging 5. Storage

8. 12.

Transition 6. Toilet

1. 8.

Candle-making 7. melting & scenting 8. molding 9. folding 10. packaging 11. storage 12. teaching 13. shop

2. 6. 3.

10. 13.

11.

5. 6.

SCALE 1:200 @A3 0

10m

Atalier Section Lavatory

SCALE 1:25 @A3 0

0.5

Atalier II Plan

mo ldi ng

teaching

molding

sce

n t in

fold ing cle an ing

me lti ng packaging 11.

gallery

shop storage

SCALE 1:100 @A3 0

Atalier Section Gallery

SCALE 1:25 @A3 0

0.5

Dwelling Section Fireplace

SCALE 1:25 @A3 0

0.5

11.2 Lighting Crit markups

Week 11.2

REFLEC TION Experience Talking with Josie about my lighting scheme gives me a clearer idea of the technical aspects of lighting.This definitely helps me to envision how the lighting works in the design. Successful/Unsuccessful Josie seemed to like all the proposed lighting idea, and how they are implemented in the architecture. Some representation and detailing needs to be fixed. Main Takeaway When done correctly and carefully, lighting can elevate the design intent potently. Even the subtlest gesture, if considered, is impactful. It also can be playful and fun! For the future detail all the lighting properly with the correct symbols and arrows.

WEEK 12

12.1 12.2 12.3 12.4

Design Crit I I Perspectives Physical Pinup Layout Test Print / Paper

You’re a fighter. Look at everything you’ve overcome. Don’t give up now. - Olivia Benson

12.1 Design Crit II Site Plan

Chandler’s Chambers Conservatory

Atalier II Atalier I

Apprentice Abode

Public Parking Loading Area Private Parking SCALE 1:500 @A3 0

20m

Conservatory Plan

grafting overwintering / hot room storage plantations

honeycomb collection

beesboxes

plantations

Ground Floor

Level 1

SCALE 1:200 @A3 0

10m

Chandlers’ Chambers Plan

SCALE 1:100 @A3 0

Apprentice’s Abode Plan

SCALE 1:100 @A3 0

12.2 Perspectives

Perspective Stylistic Precedents

etherealism : -

lighting transparencies fogs orange/yellow tints

Site Plan

Chandler’s Chambers

1 Conservatory

2 8

Atalier II 3

Atalier I

4 *roof 7 Apprentice Abode

Public Parking Loading Area Private Parking SCALE 1:500 @A3 0

20m

grafting overwintering / hot room storage plantations

honeycomb collection

beesboxes

plantations 1

Ground Floor

Level 1

SCALE 1:200 @A3 0

Conservatory Perspectives

10m

Atelier Perspectives

interior view - bee storage

interior view - Atelier II

exterior view - roof articulation

external view - roof garden

Atalier II Plan

mo ldi ng

teaching

molding

sce

n t in

fold ing cle an ing

me lti ng packaging 11.

gallery

shop storage

Ground Floor

Level 1

SCALE 1:100 @A3 0

Atelier Perspectives

interior view - Atelier II

external view - roof garden

Chandlers’ Chambers Plan

SCALE 1:100 @A3 0

Chandlers’ Chambers Perspectives

Apprentice’s Abode Perspectives

interior view - kitchen & fireplace

interior view - wash area

exterior view

interior view - wash area

Week 12.1-12.2

REFLEC TION Experience Changing and re-changing designs while simultaneously modeling them is no easy task. It takes time. The aim this session is to lock the design and to move forward to production. With the final presentation coming in two weeks, crippling anxiety starts to visit more frequently. Fingers crossed I can get everything done with quality. Successful/Unsuccessful - hierarchy of permanent and temporary dwelling is clearer now - dwelling proportions can be refined: e.g. how does it accommodate the change of a family overtime? are there any screens / partitions - bees boxes positions in the conservatory and how people interact with them Main Takeaway Stop worrying as there are only minor edits! Focus on the end goal and walk towards it. For the future fix and finalize designs, particularly the dwelling and start moving quickly to production mode for final presentation !

12.3 Physical Pinup Layout

Vertical orientation - reminiscent to the melting of candles

Iteration I

2640

SITE

CONSERVATORY

1:1000 PLAN

1:200 PLAN

ATELIER

DWELLING

1:200 PLAN

1:100 PLAN PERMANENT

CRAFT PROCESS DIAGRAM CONCEPT

1:200 SECTION

1:500 PLAN

PERSPECTIVE

1:200 SECTION

1188

BEES+ PLANTS PERSPECTIVE

1:500 SECTION

PERSPECTIVE

PLAN KEY MOMENT GALLERY

PLAN KEY MOMENT TOILET

1:100 SECTION PERMANENT

SECTION KEY MOMENT TOILET

PERSPECTIVE

1:100 PLAN TEMPORARY

KEY MOMENT

1:100 SECTION TEMPORARY

KEY MOMENT

DWELLING

DETAIL SECTION

PERSPECTIVE

1988

CANDLES SECTION KEY MOMENT GALLERY

PERSPECTIVE

CONCEPT

SITE

CONSERVATORY

PERSPECTIVE

ATELIER SECTION

800 450

Iteration I

2568 CONCEPT

SITE

CONSERVATORY & ATELIER

DWELLING

PERSPECTIVE 1:100 PLAN PERMANENT CONCEPT

CRAFT PROCESS DIAGRAM

CONCEPT DIAGRAM

1:100 PLAN

PLAN KEY MOMENT GALLERY

1:500 PLAN

1567 SECTION KEY MOMENT GALLERY

LANDSCAPE

1:500 SECTION

PERSPECTIVE

1:100 SECTION CONSERVATORY

2000

PLAN KEY MOMENT TOILET

PERSPECTIVE 1:100 SECTION ATELIER

500

SITE

CONSERVATORY

PERSPECTIVE

1:100 PLAN TEMPORARY KEY MOMENT FIREPLACE 1:100 SECTION TEMPORARY KEY MOMENT FIREPLACE

SECTION KEY MOMENT TOILET

PERSPECTIVE

CONCEPT

1:100 SECTION PERMANENT

300

ATELIER SECTION

JOURNAL

DWELLING

DETAIL SECTION

BEES

12.4 Test Print / Paper beeswax-ironed paper

Week 12.2

REFLEC TION Experience - it is amazing to see the works pinned up. Everything is getting real! Especially after years without physical pinup, this exercise feels special. - Anxiety and excitement start to dawn upon me - with so many things to do and not a lot of time to do it, I really hope I can finish everything on time. Successful/Unsuccessful - Layout is working, however needs the actual mock panels - Test print & paper is great but is a bit distracting in terms of drawing legibility - use this for secondary materials - Some minor edits of the drawing layout to ensure 1:100 plans and sections. Main Takeaway - Presentation is as important as the design itself. Every detail matters: where models are locate, panels, paper quality, mode of presentation, etc. For the future -production mode: start fixing models and prepare for laser cut / 3d painting, then drawings

Final Presentation Physical Presentation

~ 2400 CONCEPT

SITE

CONSERVATORY & ATELIER

1567 2000 500

CONCEPT

300

BEES BOOKLET

SITE

CONSERVATORY

ATELIER SECTION

IER ION

DWELLING

JOURNAL

DWELLING

DETAIL SECTION

Physical Models

OV E R A L L R E F L E C T I O N

on self at studio

Being the first fully offline studio and the first project in masters that I worked individually on, this has been a special experience to me.There are so many grounds covered in the studio, from conceptual to technical design, from craft to landscape, from drawings to physical models. Not only from the extensive studio materials, and the tutors’ feedbacks, peer-learning in this class has been tremendous as everyone is keen to learn and help each other. At the begining of the semester I mentioned my design weakness which is indecisiveness. With the fast-paced nature of the studio, I learnt to find resources, read books, and consult, to make quicker and informed decisions. Although overwhelming at times, surrounded by empathetic and brilliant people, I found myself enjoying the learning process.Never did I enjoy a studio as much as I did. For that I am grateful. Exploring a craft and designing an architecture that is special to me has been a pleasure. I poured my heart into this project and learnt a lot throughout the process. I hope it is enough.

Architecture is the will of an epoch translated into space.

- Mies van der Rohe

References Blaine E. Brownell. Matter in the Floating World: Conversations with Leading Japanese Architects and Designers. Bruce Pascoe. Considering Landscape. Juhani Pallasmaa. An Architecture of The Seven Senses. Juhani Pallasmaa. Eyes OfThe Skin. Jun’ichiro Tanizaki. In Praise of Shadows. Junya Ishigami. How Small? How Vast? How Architecture Grows. Peter Zumthor. Atmospheres. Peter Zumthor. Thinking Architecture. Steen Eiler Rasmussen. Experiencing Architecture.

THAN

Aurelia Tash Semester

ANK YOU

a Tasha Handoko ester 1, 2022