Studio 41_Create Curate_Final Journal_Hermione Hines by Hermione

Create | Curate : Sensory (Re)treat Hermione Hines

Contents

Week 2 Week 3 Week 4 Week 5 Week 6 Week 7 Week 8 Week 9 Week 10 Week 11 Week 12 Final Reflection References

Project 01: Craft + Concept Project 02: Planet Glass Blowing Project 03: Rooting Craft and Concept in Site Project 04: Curating Spaces and Landscapes Mid Semester Presentation Curating | Rooting in Landscape Curating Spaces and Landscapes - Key Moments Curating Spaces and Landscapes - Key Moments Interim Presentation Design Development Design Development

Page 04 Page 22 Page 28 Page 46 Page 54 Page 62 Page 68 Page 74 Page 76 Page 86 Page 92 Page 96 Page 98

Project 01: Craft + Concept

Week 2

Tutorial 01 Exercise Reflection on in class task

This first round of model making made me starkly aware of the lack of tactility that I have experienced throughout the past year of my masters. The diagrams I created of myself I feel were superficial. While the ideas behind each of the concept models had integrity ie. the notions reflected me, the outcome of the diagrams and their meaning was blurred. As the purpose of a diagram is to explain an idea, without the use of words. These diagrams failed to do this. My design decisions of my lookout, were informed by my client. Her want for a place of expression, of seeing and feeling the texture of materials in the space, of connecting the body with the mind, her need for an experience of a journey, visual pleasures, the need for quiet space. The design of the lookout was the first one I considered, time being of the essence. She liked the place; the quiet ease of Birrung Marr, yet needed more of a journey through this space, and a roof the top should not be open. The learnings are clear; when designing for someone else, the architect cannot impose her own wants. The design might be guided by her expertise and creative thought, but ultimately this is a space for another. It takes time to understand these nuances. Learning for the future that will impact upon my design decisions and processes; - Concept models do not have to be so large, in fact the smaller they are, the easier to manage, create and store. - When the designer has not had experience with the design, keep asking questions, keep working through a deep understanding of the necessities of the space. You cannot simply impose your own ideas to fill the gaps. Integrity comes when the solution is in and of its place as well as its users. - When presenting to a group, do not overly explain the ideas. Sometimes leaving room to breathe allows the listeners imaginations to fill in the gaps

Project 01: Craft + Concept

Week 2

Project 01 - Craft and Concept Graphic Craft Research

Craft Process

Furnace to Pipe

Colour

Shape

Detail

Final Object

Pictured

Pictured 1. Glass is placed in a furnace, making it malleable. 2. Glass is rolled over the marver to control the shape and temperature of glass. 3. Glass is taken back and forth from the marver to the glory hole, to retain malleability. 4. Ground up coloured glass called frit is added. 5. Colour bars are added, and must be heated before being added to hot glass. 6. Techniques such as Murrine create coloured patterns. 7. Glass is blown with a blowpipe for its final shape and size. 8. Wet wooden blocks and wet folded newspaper are used to shape glass. The blow pipe is constantly turning when riding on this layer of steam.

and used to further inflate it. 10. Mezza filigrana technique can be used to fuse clear glass rods to coloured glass. 11. Other small pieces of glass can be fused to the main piece. 12. Larger pieces of glass can be adjoined if reheated. 13. Glass is removed from the glass pipe using steel jacks. 14. Glass is cooled slowly in an annealing oven. 15. Glass will shatter if this process is not complete or if glass object is too large.

1. Reaching into the crucible for a gather of molten glass. 2. An assistant opens the door to the furnace as artist heats up glass on a punty. 3. Molten glass is rolled on a cold steel surface to create a general shape. 4. Molten glass is blown create a general shape. 5. Artist turns and shapes the piece while one assistant puffs into the pipe and another holds a cherry wood paddle to shape glass and deflect heat. 6. Artist checks the shape of a piece just before he breaks it off from the punty.

9. A soffietta can be used to shape glass; the cone is placed into the opening

Project 01: Craft + Concept

Week 2

Graphic Craft Inventory

Subjects in Process Tools, Objects and Products

1:20 @ A3

0.2

0.5

Space (Subjects and Objects in Context)

Pictured 1. Furnace/Glory Holes 2. Pick-up Kilns 3. Annealer 4. Benches 5. Marver 6. Yokes 7. Block 8. Blowpipe 9. Torch 10. Jacks 11. Shears 12. Paddles 13. Moulds 14. Crimps 15. Parchoffi 16. Punty 17. Pyrometer 18. Safety Glasses 19. Soffietta 20. Taglia 21. Tweezers

1:10 @ A3

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Project 01: Craft + Concept

Week 2

Historical Research

Roots of Glass Blowing

1 Sidon

Pictured

1. Roman Sidonian Glass Miniature Vessel, 1st Century AD.

1. Glass shards in the courtyards at Effetre Murano furnace. 2. Laura de Santillana, ’Untitled’ (2015).

2. Cup, Ennion, Syria, Northern Italy, Palestine, 1-50. 66.1.36

3. Map showing Murano in relation to Venice

3. Sidon Geographical Location proximity to coastal line. 2

Origins possibly in the city of Sidon (in modern-day Lebanon), which is often cited by ancient writers as a city famous for its glass production. His high quality mold-blown glass products are distinguished by the exquisite detail and precision of their relief decoration.

Sometime around 50 B.C., in the region around Jerusalem, glassworkers made the discovery that hot glass could be inflated into a bubble at the end of a hollow tube. Sometime around A.D. 25 and within the same region of the eastern Mediterranean, glass vessels were manufactured by blowing hot glass into a mold, allowing vessels of the same design and size to be made. Later Syrian gaffers (blowers) executed spherical forms, without the use of molds.

Production of glass was Sidon’s most important enterprise in the Phoenician era. The beach extends for not more than half a mile, but for many years this area was the sole producer of glass. Source: https://blog.cmog.org/2015/06/04/who-was-ennion/

Glass Blowing in Munaro

Glassblowing was invented by Syrian craftsmen in the areas of Sidon, Aleppo, Hama, and Palmyra in the 1st century BC, where blown vessels were produced commercially and exported to all parts of the Roman Empire. Source: https://www.britannica.com/technology/glassblowing

Among glass craftsman in the 1st century A.D., the most gifted was Ennion. His workshop was located near Jerusalem,

Pictured

Glassblowers came to be located on Murano for two reasons. The first was to minimize fire risk in Venice. The fire hazard must have become onerous because by the 1270s, city officials had begun to transfer glass workshops from the center of Venice to Murano, a process completed by 1291. The second reason to relocate glassmakers to Murano was probably political. Trade secrets of Murano glassmaking were already being leaked across Europe during the Middle Ages, and sequestering glassmakers on Murano allowed the Republic to control glass production and exportation, ensuring that these secrets remained in Venice. Regardless, the effect was a tremendous cross-fertilisation of ideas which led to the leading role of Venetian glass within Europe. Source: https://lauramorelli.com/murano-glass-a-briefhistory/

Laura de Santillana (born Venezia, 1955) is part of the Venini family (leading figures in the production of Murano glass during the twentieth-century). During the 1970’s and 1980’s she worked for the family factory, which was led by her father Ludovico De Santillana. As a free-lance artist today, she collaborates with the main glass-masters in Murano. Source: https://www.muranonet.com/unfold-venice/laurasantillana

Project 01: Craft + Concept

Week 2

Materials Research

Glass Makeup

Glass Properties

Batch Soda–lime glass is relatively inexpensive, chemically stable, reasonably hard, and extremely workable. Because it can be resoftened and remelted numerous times, it is ideal for glass blowing.

Pictured 1. Simone Slee. Rock #2, Happy to Help 2017. Obe granite, glass. 27 x 26.5 x 19 cm 2. Simone Slee. Rocks Holding Up. #3, 2019. Harcourt granite, glass. 65kg; 30 x 142 x 50 cm.

Former This is the main component of glass, which has to be heated to a very high temperature (1700˚ C ) to become viscous. Silicon dioxide (contained in sand) is the most common former.

Further Elements

Colouring Glass

Lead When added to glass, lead makes glass brilliant, resonant, and heavy. Glasses containing a large percentage of lead are known as crystal, lead crystal, and lead glass.

The color of glass may be changed by adding metallic oxides to the batch Common colourants include:

Boron Boron aids in the production of borosilicate glass, a glass known for its resistance to thermal shock. Glass cookware and labware are the most well-known applications of this glass

Iron - Colors glass green. Copper - Colors glass light blue. Cobalt - Colors glass dark blue. Manganese dioxide - Can decolorize colored glasses. However, in higher amounts, this element can create purple and, in even higher amounts, glass that appears black. Gold - Colors glass deep red.

Flux Helps formers melt at lower temperatures, which helps reduce the overall energy—and cost—needed to melt it. This is usually soda ash or potash, which was traditionally made from marine plant ashes, or by burning bracken or trees, respectively.

Stabaliser Keeps the finished glass from dissolving, crumbling, or forming unwanted crystals. Calcium oxide in the form of limestone, a mineral, is a common stabilizer.

Annealing Immediately after glasses are formed, they are most often annealed, or slowly and evenly cooled, in order to reduce internal stresses. If one area of a piece of glass is thick (staying hotter longer) and another area is thin (cooling down quickly), and that piece of glass is not properly annealed, the steep temperature gradient between those areas causes stress and the piece will most likely crack apart.

Glass Properties Mechanically Strong - Glass has great inherent strength. Weakened only by surface imperfections, which give everyday glass its fragile reputation. Special tempering can minimize surface flaws. Hard - Surface resists scratches and abrasions. Elastic - Gives under stress up to a breaking point but rebounds exactly to its original shape. Chemical Corrosion - Resistant. Affected by few chemicals. Thermal Shock-Resistant - Withstands intense heat or cold as well as sudden temperature changes. Heat-Absorbent - Retains heat, rather than conducts it. Absorbs heat better than metal. Optical Properties - Reflects, bends, transmits, and absorbs light with great accuracy.

Project 01: Craft + Concept

Week 2

Material Research

Precedents

Roni Horn

“Light Blowing” Exhibition at the Venice Glass Week - Munaro Gallery Murano Gallery LUab 4.0 is a place for research and experimentation where Murano glass converses with international glass, stimulating cultural and generational exchanges, making comparisons between the most disparate creative languages and investigating new production techniques. The location has recently undergone an extensive and careful renovation, including the exhibition halls, ovens, colour rooms and living areas and has come to life based on research of the needs of the local community. All Pictured

Light Blowing presents as a multi-voiced conversation that presents the complexity and richness of glass production today Source: https://www.yellowtrace.com.au/lightblowing-exhibition-venice-glass-week/

Images from the “Light Blowing” exhibition, taking place within the Murano Gallery LUab 4.0, 2017.

Konstantin Grcic designed an ethereal, hand-blown glass light, ‘Noctambule,’ for FLOS Showroom, as part of the Milan Furniture Fair 2017. Named after the French word for ‘night owl,’ Noctambule appears invisible during the day, and it magically illuminates at nighttime thanks to LED technology that is carefully hidden within the connecting rings. Configurable as a floor or pendant lamp, different height and shaped modules can be joined together up to six elements to create an impressive column of light. All Pictured Konstantin Grcic Designs Noctambule for FLOS, Milan Furniture Fair 2017

Horn understands water as “a thing whose identity is based on its relation to other things. Most of what you’re looking at when you look at water is light reflection”. Some of Horn’s cast glass sculptures appear as pools of water; all of them dramatise mutability. The sides of these works are translucent and rough-edged, having been in contact with the surface of the mould. By contrast their top surfaces are highly reflective, since here the glass has been in contact with air during the casting process. Source: https://www.tate.org.uk/whatson/tate-modern/exhibition/roni-hornaka-roni-horn/roni-horn-aka-ronihorn-explore-exhibition-7

Konstantin Grcic

Source: https://www.dexigner.com/ news/32130

The artist Roni Horn is preoccupied with time: its effect on how we see a work of art, and how we see each other. Horn’s “Library of Water” (2007) captures time on a grand scale: Its grove of 24 ten-foot-high hollow glass columns installed in Stykkishólmur, Iceland, preserves samples of water from the country’s glaciers that may outlive their source (one of the glaciers was already declared dead in 2014). Source: https://www.nytimes. com/2021/02/19/t-magazine/roni-hornart.html

The lowness of this room and the semicircular windows reflect both the light of the sky and its reflection on the water of the sea. The round forms change colour during the day in harmony with these external elements. These images fascinate me; the effect of a glossy surface vs a rough edge. The way in which the pure material that is glass influences a space when the essence of its beauty is distilled.

Pictured

1. Water, Selected, 2003/07 24 glass columns, each holding approximately 53 gallons of water taken from unique glacial sources in Iceland 120 inches high x 12 inch diameter each Courtesy the artist and Hauser & Wirth. Photo: Roni Horn.

2. Roni Horn, Well and Truly, 2009-2010. Solid cast glass with as-cast surfaces on all sides, 10 parts each 45.5 x91.5 cm. This work was part of an exhibition ’In Praise of Doubt’ in 2011. 3. Untitled (”She died without knowing it.”), 2013 - 2017. Sculpture. Solid cast glass with as-cast surfaces, with oculus 15.0 x 42.0 x 4.2 (inch) Roni Horn. 4. Water Double, v. 1 2013 – 2015 Solid cast glass with as-cast surfaces, with oculus Height: 132.1 cm / 52 in Diameter: 134 – 142 cm / 53 – 56 in (tapered) each, two parts.

Project 01: Craft + Concept

Week 2

Material Research

Parti as Artefact

Precedents

Philosophy (+ Aesthetics) Artefactural Parti-Diagrams Essence of Craft

Yhonnie Scarce Yhonnie Scarce is a Kokatha and Nukunu artist employs the medium of blown glass, weighing in on the colonial trauma and displacement of Aboriginal peoples. In Scarce’s practice, glass becomes a political and aesthetic lens through which to filter the truths of Australian history in socially engaged art practices. “When you are learning how to blow glass, you look around to things that inspire you...I couldn’t see my creations as functional objects – they had to be real.” Source: https://www.artistprofile.com.au/ yhonnie-scarce/ Yhonnie’s considers the scientific research and concepts that have impacted and have ongoing effects on Aboriginal people. In this installation Scare employs small glass yams, which she feels represent people, to create a vast, wind-swept form that refers to the poisonous clouds that rained across Maralinga, SA as the British and Australian governments undertook nuclear testing there in the 1950s and 1960. Source: https://www.artgallery.nsw.gov.au/ collection/works/14.2017.a-c/

Pictured 1. Weak in Colour but Strong in Blood (Installation view), 2014. Blown glass and found components. Yhonnie Scarce. 2. Death Zephyr, 2017. Blown glass. Yhonnie Scarce.

Essence of Craft

Embodied Experience (Output) Glass is articulated when light is present (as a medium of subjective experience).

Material Manifestations Dual properties of glass being strong/hard but brittle/often seen as a non-structural material.

Geographical Relationship Group of like-minded people together on the isolated island of Murano, pushing the creative potential of the craft.

Historical Roots The discovery of the technique of inflation.

Core Concept

Embodied Experience (Process/ technique) The transition from a malleable to a solid state.

Transparency + Solidity Glass as structure.

Colour + Finish Rough or smooth finish.

Projection of Mind to Form Ability to be used as a social commentary.

Project 01: Craft + Concept

Week 2

Contemplations on Creativity

What drove or informed your design decisions?

Productive and Creative Environments

My research and deep thinking about the scope of ideas around glass blowing informed my de-sign decisions, which consisted of the Parti as Artefact models. Through my precedent research in particular, I gained a strong understanding of the ways in which glass can be used to manip-ulate light, how natural vs artificial light travels through glass, and how light might im-pact atmospheres of space. Glass, like water, is a form of perpetual relation; meaning that if it is refracting light for example, it is creating a new product from its surrounding environ-ment; a way to experience space in a way that holds integrity as the thing is now of its place.

The physical environment I work in has a drastic effect on my creativity, my ability to concentrate and the quality of my output. I produce my best work in solitude - I can hone in and become lost in the work. I feel a clarity and calm in what I need to achieve in the time I have allocated. I especially felt this with the model making. The models I produced for Project 01 are more successful than those I created in class, as my attention was focussed, while in class I did not feel as centered. The environment that best cultivates a productive work-flow for me is usually one where I am indoors, can see some sort of natural environment, alone, with a window open. Fresh air and a feeling that there is no pressure from others around me (external pressures arise when I am producing work with others in close proximity). I love discussing and sketching ideas with others, however I find I get distracted by what people are talking about easily which moves me off my own trains of thought. When I am working alone however, I do tend to have less breaks which is when I become unproductive. This is when I need to get out and go for a walk or surf or just be content with not producing work for an hour; allowing myself to consolidate my ideas. In this way the creative and productive spaces overlap because I often produce the non-formed idea in the space of work (aka quiet light-filled room), then spend time away from the desk resolving the idea, and return to then sketch or further discuss and critique with others. Creativity for me also comes when I submit to the process. Model making for me is not necessarily a go-to form of design in the initial phases, thus it has been a challenge to model make this early in the process. However this week I realised that something will come of the process. It has to. It is a worthwhile method of understanding and exploration and pushed me to distill my ideas.

Week 2 Reflection

Pictured 1. Moggs Creek - Family Beach Home - Where I work best. 2. Design Process

What did you learn from the exercises/tasks/your experiences/research? I learnt that the raw materials of a craft are important to consider; it has been extremely help-ful to consider the medium scale of glass, but it will be equally important to consider the micro scale; glass is the final form but sand is where it comes from for example. On a more technical note, I learnt through my research that fire is the heart of this craft, therefore there is the notion of intense heat to consider and that glass blowing is a potential fire risk due to the equipment required. I also learnt that glass is much more structural that it is usually made out to be and has phenomenal compressive strength.

Where there other iterations of your design that you disregarded?

How might the above points might inform your decisions in the future?

This time around there were no other iterations of my parti diagrams. As I entered the process of creating the parti diagrams, I realised from the model making activity in class that I feel out of touch with how to create diagrams. This is why I ended up using perspex blocks to articulate my ideas in a simple but effective way. I also found that planning out my diagrams before I created them helped me to condense my ideas such that the actual creation of the models was a relatively fast process. I did however consider other iterations of the workshop; I considered doubling up on equipment such as kilns until I realise this would not be necessary as the glass blowers could take turns using the equipment available (more cost effective in final design)

Perhaps there is a way for me to express the raw materials of glass, such as sand, in a differ-ent architectural form. I also am interested in the historical narrative around the island and secrecy and how it has travelled from place to place; this understanding that the craft is deeply rooted in secrets says to me that this is a craft of intense focus; the artist dedicates their life to it – I need to honour this notion in my final designs.

What was successful/unsuccessful? I feel that the success of my parti diagrams lay in their ability to show how glass-like materials manipulate light. I think that my understanding that glass blown objects have the ability create powerful atmospheres spatially, visually but also politically and socially in terms of us-ing them as a vessel to educate people and bring to light certain relevant topics, is a successful insight to have moving forward. I feel that perhaps what was not so successful was my understanding of glass blowing in an Australian context; I need to consider more thoroughly where for example sand is extracted in Australia. Yet because glass blowing is not local to Australia, it could be about how to use it in a way that acknowledges something of the locality or local knowledge in Daylesford.

In terms of challenges to do with the site and glass blowing, the fact that Daylesford is in a bushfire risk zone will be integral to consider in my design decisions; I might con-sider how I could manipulate the landscape to help mitigate fire risk in a poetic way, or consider ways to conceptually and experientially incorporate water or regenerate soil moisture content so it is less dry for example. As the workshop will get incredibly hot, I will need to consider if there is a way to ventilate and make an elegant feature from this; natural ventilation as well as mechanical ventilation will be important. In terms of final design, I would like to consider how glass can be used in a more sculptural and structural sense, instead of just glass blown window elements. Glass blown elements used as architectural components; ceilings, furniture, joinery and par-titions that are more of an intermediate scale. I also realise that in terms of form; glass blowing creates mostly curvilinear forms which does not necessarily mean my design needs to be curvilinear, but perhaps there is some way that I can pay respect to this aspect of the craft in a subtle way.

Project 01: Craft + Concept

Week 2

Glass Blowing Workshop #1 With Ruth Allen

Process and Outcome

Material Qualities

Pictured High fire refractory brick burnt Timber with molten glass burnt smears Burnt beeswax

Pictured High fire refractory brick Refractory brick rendered Polished stainless steel Renderd brick

Project 02: Planet Glass Blowing

Week 3

Project 02 - Planet Glass Blowing 52

510

500

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520

Rev – Issued Tuesday, 9 March 2021

Site 0

178°11’

66.53

Key 1. place of worship

178°11’

5’20” 346°0

66.53

’20” 346°05

540

56.67

view to entry

77.64

97°00’20”

2. gallery

4.5

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view to south 02

2°5 60 1’40 .50 ”

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61 0”

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5°1

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295° 12 42.7 ’20” 5 540

” ’20 21 3° 32 23 46.

20M

278°24 ’ 14.33

4. pools

.93

61 ’20

”

° 35

view to north 01

20M

540

view to north 02

295 °12 42.7 ’20” 5

view to east

i h

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° 53

” ’20 °48 159

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view to south 01 ” ’20

view to west g

3. dwelling for head craftsperson

2 52.7

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°2

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Option 1, 2 and 3 Site Plan Drawings 1:1000 @ A3

entry view 02

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entry view 01 d

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Rev – Issued Tuesday, 9 March 2021

Site Plans

Sketch Ideas/Spatial Progression

Site Model 1:1000

Option 2 1:50

Concept Model

Option 3 1:500

Concept Model

Site Plan and Section 1:1000 @ A3

Project 02: Planet Glass Blowing

Week 3

Place of Worship and Gallery

Concept Exploration

.5 34

0”

”

0 1’2

°2

Conceptual Research

Diagrammatic Sketches of Elements

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’2 21

Fire as Heart of Craft Viewing Platform

Natural Ventilation Sculptural Glass Ceiling Solid Walls Water and Fire

2 1

0” 2 ’ 21 2 ° 3 3 23 46.

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Key

Relationship to slope

1. place of worship 2. gallery 3. dwelling for head craftsperson 4. pools

20m

Project 02: Planet Glass Blowing

Week 3

Week 3 Reflection

What drove or informed your design decisions? Spatial progression was a large driving factor of my designs. In my site plan sketches, I tried to consider the experience of walking through the lass workshop first, then coming in the gallery, might differ from walking into the gallery first then coming into the workshop. There also the option of walking into either first/having non-prescribed circulation. My research into types of hot shops also drove the design for the workshop; ideas around raised seats for a hot shop viewing area were an important component. I also considered how the slope might affect the experience of the design, that using the technique of embedding into the landscape would form part of the experience of the ritual in the gallery space. Further the interaction between pool and fire was considered. The experience of my actual glass blowing workshop was also considered; it gave me much more of an understanding about what the craft of glassblowing entails/what equipment is needed and how much space is required for one person. Where there other iterations of your design that you disregarded? I considered having low lying walls as organising and wayfinding mechanisms for around the accommodation pods as they will be separate. I haven’t necessarily disregarded this idea, however felt that it’s something I can explore further when we do more in depth site analysis. The diagrammatic sketches of elements explored many of the ideas that I was thinking about; some that I disregarded included exploiting the experience of smoke from the fires by extending the notion of a chimney and putting the smoke on display somehow as an exaggeration of the need for fire in this craft. It was disregarded for its impractical nature, however I may re-consider this notion of a ‘veil of smoke’ in the future. What was successful/unsuccessful? I feel that week I certainly gained a greater understanding of the scale of the site through my site sketches and physical models. Using my hands to physically mould the clay for the concept models, which involved pushing down on it to create the topography, allowed me to gain an understanding of the impact of the steep slope. These were successful because they allowed me to test out field ideas of an agglomeration of buildings on the site and how they might re-late to one another across the terrain.

I felt that my overall design in terms of my plan and section were unsuccessful however, and that I was not bold or radical enough with my ideas; unfortunately I think that I became distracted by the real world constraints of the site and did not let the extreme ideas around embodiment of the craft of glass blowing take over. What did you learn from the exercises/tasks/your experiences/research? While I felt that my overall design was unsuccessful, I still learnt a lot from the task. I tried to explore the fact that fire is the heart of this craft, so questioning how do one celebrates that and also seek reprieve from it is important. This is both in an environmental and physical/human scale context, and I feel that the pools and water is an interesting and relevant (due to surrounding water bodies) possible solution to pursue further. I learnt that there are numerous approaches that could be implemented for this site; there is the approach from the road as well as from doctors gully and the public reserve below. I learnt that burnt items are a way to fireproof and make materials more resistant to fire. How might the above points might inform your decisions in the future? I think that my plan and section were unsuccessful in part due to the fact that they lacked depth and texture as they were computer drawn; in future I will endeavour to use hand drawing as a mechanism to communicate the intended aesthetic of spaces and provide the rich textural qualities I am thinking about. The experiential and sensorial qualities that come with considerations about materials and craft process, such as the smell of burnt beeswax, of burnt fruit wood, of the unbridled heat of fire and the notion of gravity as a key component to the act of glass making will be important to consider.

Project 03: Rooting Craft and Concept in Site

Week 4

Adam Markowitz

Talk Precedent

Haystack Mountain Schools of Craft Architect: Edward Larrabee Barnes

Adam discussed the ‘studio furniture movement’, whereby there were ideas of traditional furniture not as a traditional trade but as an artform. What came out of the 60s and 70s were artists who would make 3 cabnets a year and sell for a lot; each would have high level of precision. This brought about a notion that I am highly interested in; the idea of craft as an art practice, which has that relationship with the identity of the work. The fact that the designer and the maker are the same person gives it more wealth compared to standard production. This means that respecting the crafted object in the same way that you might respect a painting. Or how a painting that an artist has painted has a value beyond a photocopy of that painting; thus what the maker has made with his hands is different to a factory chair. Its a different relationship to the object. Adam’s experience of the furniture school in Maine, was its highly intense environment; a different type of life that created an intense focus. This made me think of the glassblowers on the island of Murano who were remained isolated for years. In a space, area or region of avid craftspeople where there is an unbridled passion around the craft (unbridled passion for the heart glassblowing which is fire?), true innovation is at the fore and workshops are a hive of production. Complexity of the craft occurrs as individuals come together in highly productive resolution. Adam also spoke a lot about architecture as a top down process where one thinks about what that thing will be, and then create it. Craft on the other hand, might encourage one to experiment and then work out what their experiments will be. Its a way to find form through materials and process.

Project 03: Rooting Craft and Concept in Site

Week 4 Retreats vs Residencies

Spring Creek

cker Tu

Creek Bund

3. Wombat Hill, Daylesford.

Gully

2. Daylesford Panoramic Looking East. Very little development shown here. 1.

lly Gu lers Cobb

1. Daylesford, Victoria, 1925

HEPBURN REGIONAL PARK

Site Analysis

sG ully

Doctors

Sailors Creek

ly Gul

Daylesford Region

W elsh man

HEPBURN MINERAL SPRINGS RESERVE

PROJECT III | SITE ANALYSIS

Nature Landmarks + Reserves

WOMBAT HILL BOTANIC GARDENS 1:10 000

500m

Retreats and religious

Religious

4. Daylesford

Health Health PROJECT III | SITE ANALYSIS

5. Bushlands, Hepburn Springs, 1959 6. Daylesford, Engraver- J. Carr Date- [ca. 1873] 4.

PROJECT III | SITE ANALYSIS

Project 03 - Rooting Craft and Concept in Site

Shops Shops Retreats - hotels and accom

Retreats - Hotels and Accomodation

Retreats - Public (Camps_Library_po-

lice station_community centres) Public/Community (camps, libraries, police stations etc)

Residences Residences Site Site Roads 17

1:101:10 000 000

500m 500m

Environmental overlay

PROJECT III | SITE ANALYSIS

Craft and Worshops - Daylesford

ES02 ES04

500m

1:10 000

PROJECT III | SITE ANALYSIS

Lake Daylesford 1. The old swimming pool, taken sometime between 1920 and 1954. 2. Enjoying the Lake Daylesford, Early Image of swimming at the Lake at Daylesford. 1.

4. Early photo of the bridge on the lake looking north to the old coach buildings on the far bank. Titled Looking across Lake Daylesford showing Conulla flats. 4.

Galleries 1. Convent Gallery Daylesford, 7 Daly Street 2. Clayfire Gallery Daylesford, 63 Vincent St 3. Thirteen 05, 31 Vincent St 4. Sister George Productions, 10 Duke St 5. The Empress & Wolf, 35 Vincent St 6. Black Gallery, 1 Hospital St 7. Michael Parker Gallery, 52 Vincent St

3. Daylesford lake with old Man looking out over the lake. Very few houses on the hills in the distance compared to the growth in Daylesford.

5. The lake, shown here in early 1900’s. The lake was the centre for many swimming activities, shown here is the swimming pool.

Artists and Craftspeople 8. Sewing and Alterations: Samantha Menzies, 13 Camp St 9. studio sø, 58a Albert St 10. Portraits Daylesford by Kristeena, Frazer St

11 9

Workshops 11. Floral Workshops & Masterclasses – wreaths Bushfire overlay

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Entrtainment 12. Daylesford Town Hall, 76 Vincent St

BMO - Bushfire Management Overlay

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BPA - Bushfire Prone Areas

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500m

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PROJECT III | SITE ANALYSIS

Craft and Worshops - Surrounding Areas

6. The Lake Daylesford

Daylesford Residential and Retreat Buildings 1. Hepburn Springs Brick Pavillion, constructed in 1908 and photo taken in 1945 1.

2. Bandstand / pavilion located on the southern side of Wombat Creek Central Springs Reserve

Galleries 1. Overwrought Sculpture Garden and Gallery, 3409 Midland Highway, Blampied 2. KATSUI STUDIO, 3851 Midland Hwy, Eganstown 3. Stony Creek Gallery, 10 Stony Creek Rd 4. Bullarto Gallery, 962 Daylesford-Trentham Rd, Bullarto 5. Bromley & Co, 45a Vincent St 6. Ozkiva Vision Gallery, 34/39 East St

Heritage overlay Heritage Register Heritage Inventory 14 500m

1:10 000

PROJECT III | SITE ANALYSIS

3. The Deep Creek Mineral Spring building many years ago at Eganstown, near Daylesford. 4. Granny’s Cottage (part of Old Stone House), homestead in Yandoit,1865

2500m

6. Rolleri’s Parma House on the main road (accommodation), Hepburn Springs, between 1920 and 1950

Neighbourhood overlay NCO - Neighbourhood Character Overlay 15 500m

1:10 000

Daylesford Township PROJECT III | SITE ANALYSIS

1. Post Office, Daylesford 2. The Daylesford Post Office with a blacksmith/ironmonger next door and the Fire Station nearby, and The Daylesford primary School shown 1.

7 9

8 5

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Entertainment 13. Palais-Hepburn, 111 Main Rd, Hepburn Springs

5. The Old Stone House, homestead in Yandoit, 1901 4.

Workshops 7. Cooking School @ Vegan Cooking & Yoga Retreats, 9 Lone Pine Ave, Hepburn Springs 8. Cooking School @ Village Dreaming - Orto Farm, 100 Allisons Rd, Blampied 9. Instrument Making @ Wildwood Instruments Phillips Road, Mount Franklin 10. Painting @ Daylesford Art, 2891 Ballan-Daylesford Rd 11. Painting @ The New School of Classical Painting, 18 Stanley St, Daylesford 12. Glass art/Painting/Basketry @ Stone & Straw Retreat, 5401 Midland Hwy, Daylesford

3. Post Office, Daylesford 4. Railway Station, Daylesford, 1907

1:50 000

I am interested in making my project relevant across scales by linking it in with the fact that there are many surrounding water bodies in this region as well as the site existing in the fire zone. I also want to know more about the Indigeous Significance of the site. In terms of surrounding retreats, I am interested to tap into some of the crafts in the area to create a complex where many local artists can gather at certain times (despite it being primarily a glass blowing workshop place)

5. Railway Station, Daylesford, 1907 6. The Convent, Daylesford, 1988.

All site images pictures completed by various members of the tutorial group.

Aboriginal Cultural Heritage Sensitivity

ACHS - Aboriginal Heritage

500m

1:10 000

Project 03: Rooting Craft and Concept in Site

Week 4

Site Analysis

I want to understand more about the geology of this place. The significance of the springs and how I can bring this into my project. I am also interested in the native flora and how this can be used to cultivate the site, which at the moment is grass covered. Understanding the amount of rain fall each year will be important for my project as well as understanding how I can harvest this water.

S I T E I N F O R M AT I O N 530

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500

77.64m

540

55.67

66.53m

12663m²

4.5

550

52.7

.50

.32

46 14.33m

.93

42.7

ADDRESS: 2A VIEWPOINT LANE, DAYLESFORD VIC, 3460 BUILDINGS PROPERTY BOUNDARY TITLE BOUNDARY

510

EXISTING ROAD GREEN SPACE WATER PATH WATER BODIES 550

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S T R E E T A N D R OA D I N T E R FAC E 1.

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INT

CANDLEBARK CT

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All site images pictures completed by various members of the tutorial group.

ASPHALT GRAVEL

S I T E I N F O R M AT I O N

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VIEWS

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A SITE USE 2A Viewpoint Lane, Daylesford, Vic 3460 is a Residential Land.

530

540 540

It contains anutstanding opportunity for approx. 3.4 acres of largely cleared land with sweeping views of Hepburn Regional Park yet ideally situated between Daylesford and Hepburn Springs.

530

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The buildings nearby are also used for residential purpose.

550

C G 550

NOSIE FROM NEIGHBOURHOOD

VIEW AND FRESH AIR FROM GREEN SPACE

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VIEW SIGHT FROM WATER BODY

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BUILDINGS PROPERTY BOUNDARY SITE BOUNDARY

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EXISTING ROAD GREEN SPACE WATER PATH WATER BODIES 550

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All site images pictures completed by various members of the tutorial group.

SCALE 1:1000 @ A1

Project 03: Rooting Craft and Concept in Site

Week 4

Precedents

Precedent Plans

Cranbrook School Wolgan Valley Architect: Andrew Burns Architecture

Glass Blowing Workshop Spaces

Pictured 1. Andrew Jackson Pollack Glass Studio, New Orleans 2.

Chrysler Museum of Art Hot Shop, Virginia

3. Morris County School of Glass, New Jersey 4. Provided by Vetro Art Glass, Located in a former Farmers Market building at the south end of downtown Grapevine Texas. 5. SiNaCa Studios School of Glass and Gallery, North Texas 4

Project 03: Rooting Craft and Concept in Site

Week 4

Return Brief

Spatial Requirements

Workshop

Dwelling

Accomodation

1. Tools

Less Compact

More Compact

2. Hose for wet cleanup, brooms, fire extinguisher, first aid kit

11. Bedrooms

18. Bedrooms

3. Equipment under exhasut hood (for ventilation) - Glory hole, small marver, marver, garage, pipe warmer, glass furnace, pipe cooler, optic molds, powder booth

12. Kitchen

19. Kitchen

13. Lounge Room

20. Lounge Room

14. Bathroom and Shower

21. Bathroom and Shower

15. Laundry

22. Laundry

4. Other equipment - 2 annealers, one annealer controller, kugler oven, gaffers bench, torches, pipe buckets, pipe storage, assistant bench,

16. Outdoor and indoor relaxation and individual work areas

23. Outdoor and indoor relaxation and individual work areas

5. Other spaces - cold shop, area for tools

17. Store

24. Store

7. Exhibition and client space/ permanent collection 8. Communal Kitchen 9. Cafe 10. Pool 1 Permanent glass blower - Priorities; to create artwork for clients and for herself, to enjoy living where she is located (the landscape, the surrounds, the water, the bush) 1 Permanent glass blower - Priorities; to create artwork for clients, to raise children in a safe, secure, beautiful, exciting environment Partners of above artists - Priorities; to be able to conduct their own work, and support their families Assistant - learn about glass blowing and site in depth

Artist Residence Aspects that I want to explore further include the residency that grants access to all of the resources in the gallery; from its vast collection of research materials, to the state-of-theart glassmaking facility at the workshop, to the inspiring collection of glass art and history. The Studio’s Artist-inResidence program brings local artists to spend a month at the studio exploring new directions in glass art or expanding on their current bodies of work while using the resources of the glass gallery. At the end of the residency, each artist gives a presentation about their work during a free public event. The facility will be made available whenever workshops/ classes are not in session. The workshop will be the only space to create actual glass blown art for all.

Income sources Spaces that other artists can rent; other studios. 4 studio spaces of 10m2 each - $100 a week rent. Perhaps using the accommodation reflective spaces. Selling veggies at market in Daylesford / set up garden to prosper in winter. Allows dwellers to grow food on site and create a self sustaining complex. Cafe - viewing platform so that people can see into the workshop - public space. Tourist destination of Daylesford - cafe (fed from grown veggies)/gallery to buy work/workshops

Water With the dam or pool, the eater needs to be running so that mosquitoes are deterred (water feature that circulates - run a pump from solar?). Don’t have to use chorine in a the pools, use natural mineral springs. Swimming is a gentle way to balance muscles as glass blowing one sided and glass blowers often need to align their bodies.

6. Other areas - bins area, cleaner’s store, loading, parking, bathroom, changeroom, showers, lockers

Users of Space

Special Features

Glass Blowers and Partners Children - Priorities; to play, work, shelter Nanny - to look after children

Resident glass blower - Priorities as emerging artists to have the opportunity to immerse themselves fully in their work without the distractions of everyday life. Students/Friends/ Families/Partners to superficially learn about glass blowing

Client - understand glass and objects Workshop class participant - to superficially learn about glass blowing Cleaners Maintenance people for equipment Cafe employees

Hotshop Layout for 2 Crafspeople

Project 03: Rooting Craft and Concept in Site

Week 4

Areas and Preliminary Sketches

Week 4 Reflection

What drove or informed your design decisions? In terms of the overall master plan, the Haystack mountain school of craft precedent was integral in my ideas around a family or cluster of buildings on site that speak to each other architecturally. For the workshop layout, plans of other workshops were important when considering all of the public spaces required, and also the layout of Ruth Allen’s workshop was a helpful reference to understand approximate sizing of spaces and equipment. For the accommodation and dwelling spaces, I found other reference plans helpful, especially when considering compact accommodation. Where there other iterations of your design that you disregarded? I did consider exploring a floorplan that more explicitly separates the client buying space from the workshop/ generation of ideas area, however will need to consider this in further detail. I also thought about exploring different floor plans for different sizes of groups in the accommodation and dwelling spaces; eg. accommodation pod for families as well as partners and how these would differ. What was successful/unsuccessful? The diagrams I drew helped me to look at aspects of the craft of glass blowing and under-stand how they relate back to the buildings as well as the broader environment. They were helpful when trying to consolidate my ideas that feel somewhat disparate at the moment; for example notions around fire and how this might affect the overall master plan as well as on a smaller scale level (eg. reclaimed heat) were easily explored. It was also helpful to map out the glass blowing workshop with the equipment and stationary. Perhaps an unsuccessful component was the accommodation plan whereby I initially thought about having kilns in the dwelling/accommodation individual work areas so that artists could blow glass in their own space. After the workshop with Ruth and also feedback from Yui, I realise this is not feasible. Kilns need ventilation and safety equipment shrouded around them, so they would not be appropriate for a domestic setting (floorboards and plaster on the ceiling for example would be a fire hazard). Whatever space the glass-blowing equipment is in also must be treated in an industrial nature. I need to think further about the kind of spaces the individual workspaces attached to the residence and accommodation are, as they currently are too big and non-prescribed in my drawings.

Further, each individual accommodation pod will need their own bathroom and shower such that the spaces are more flexible when being used for other purposes. What did you learn from the exercises/tasks/your experiences/research? In the glass blowing workshop with Ruth, I learnt about the expenses of equipment. While she in fact built her own kilns/annealers/glory holes, it would not be practical to have numerous kilns in the workshop because it would be too expensive. Furthermore, because it’s not conducive to work for more than 4-5 hours glass blowing at a time (due to the intensive nature of the craft), it would be easy to create a schedule and for the equipment to be shared amongst everyone. Furthermore, glass blowing is more often than not a communal team sport which gives all the more reason to share large equipment. On this note about community, I have come to learn that a large part of my concept rides on the notion of community; in my plans I showed areas where the apprentices staying in accommodation could meet up together and exchange ideas (like on the island of Murano). I will need to consider how these shared spaces are balanced with individual/quiet zones. How might the above points inform your decisions in the future? It will be helpful to consider what parts, if any, of the main workshop are also present in the individual workspaces attached to the dwellings and accommodation. The scale of the individual workshop operation is important; I will need to consider to what extent I separate and over-lap the workshop and studio spaces. This is because I do want privacy for the dwellers and therefore to separate the permanence of the workshop from the temporary dwellings. Thus perhaps it will be important to keep the workshop as the main studio space, and leave the dwellings/accommodation for sleeping and reviving. It will also be important to consider this overlap in terms of financial and spatial economy; for example where there is a low season of the craft, there should be flexibility to potentially open up the accommodation to people interested in glass blowing or rent it out to other artists who have different interests. This may mean that the attached individual work space needs to be more neutral.

Project 03: Rooting Craft and Concept in Site

Week 4

Glass Blowing Workshop #2

With Ruth Allen

During this second workshop Ruth and I talked and created. We created upcycled glasses; two types of glasses called ‘poisin cups’ and campari glasses, that we reheated and reshaped for new life. We talked through the process of the task at hand, but we also talked about other things. On a personal level, I told her about how I feel that masters differs from undergrad because its really about finding ones voice before being locked into the workforce. These workshops are allowing me to do something with my hands, something that has not been a driving force in studios up until now due to Covid. Adam’s ideas about the trades came to mind; partaking in these glass blowing workshops are giving me direct respect for crafts in a new light. Glass blowing is incredibly strenuous. I believe it is one of the most exhausting, albeit rewarding, crafts. For such poignantly beautiful final

objects, the pain is just as poignant. My role was to first open the door of the Annealher for Ruth as she pulled the glass out on her punty. She reheated them to then work them into her desired shape, to finally crack the glass of the punty at the ‘crack off table’. I would then flame torch the top of the glass, where the crack-off had left an uneven surface to be remelted. I then had to place the final glass into the annealer. The annealher is at around 500 degrees celcius; I had to reach in and place the glasses right in the very back. I was wearing a cow hide jacket, protective mittens, a face shield, a beanie underneith to ensure my hair didn’t get singed and safety glasses. After a while of being around this extreme heat, I really feel the toll on my body. I had a headache from the gas, heat, and lack of oxygen as the relentless flames sucked it from the room. There was one time where I forgot to put my face covering down, and as I opened the annealer I heard my hair around my face and eyebrows getting singed. My brain was foggy and my forehead and eyes sore from heat.

Aspects of glass blowing that will affect the design of the dwellings and accommodation: Lack of oxygen - intense flame from the equipment consumes oxygen from the room leading to dizziness and headaches. It is important to have ventilation (natural and mechanical during the workshops. Also ideas to have a living garden inside shared spaces; dwellings that are linked by walkway and roof but have open walls to provide a natural cooling and oxygen rich environment during recuperation time.

On another note, i experienced exposure to how colour is incorporated into glass blown objects. Perhaps I can consider how colour theory, might be applicable in my design. That certain colours are conducive to atmospheres and moods.

In the actual workshop there cannot be too much natural wind because the glass will cool down and will therefore shorten the working time of the glass. It helps to have air circulating around via fan, however you need to be able to control it such that the wind doesn’t affect the glass blowing process. I need to think about what I want the architectural expression of the workshop to be - should it find reverence in the industrial nature of most glass blowing workshops or seek to redefine this?

Project 03: Rooting Craft and Concept in Site

Week 4

The Thinking Hand

The Eyes of the Skin

Juhani Palaasma

I love Palaasma’s notion of the inextricably linked hand and mind - thought as coming from the hand rather than purely from the mind. The thinking hand. We are sensual beings so we experience the world physically not just mentally - relationship to object and world is to understand the world sensually not just intellectually - to understand the world sensually is not a lesser way of experiencing the world.

This is such an important aspect of glass blowing because as much as you can sketch your idea, nature of glass is that it is impossible to create something that is accurate to a drawing, due to its liquid nature. This is part of the charm of a glass blown object; its dependence on gravity as opposed to a planned drawing. I would like this notion to inform aspects of my design and really push this idea of gravity as the grounding force but also that which renders the thing unique. Perhaps I can consider this through water, as water is a ‘thing’ that renders gravity palpable. Is the water in my design constantly moving as a natural result of the slope? Is it resting still, to then move at certain elements? The Hand of the Craftsman: “whenever I see the total correspondence and unexplainable affinity of a craftsman’s persona, his/her hands and his/her workshop environment, I am deeply moved...this unity reflect dedication, determination and hope.”

Ruth called herself a ‘maker’; “I do stuff with your hands”. Its evident - her fingers are flattened by rolling the pipe back and fourth over the bench day after day. The hands of the glass blower indeed reflect the uncompromising, relentless and ambitious pursuit of the craft . Perhaps I can pay homage to this by creating an incredibly beautiful joinery piece as part of the bathroom sink in one of the spaces. I think this will also speak to the beautiful shower space I am creating in the accommodation.

“In traditional cultures, the entire life world is the product of human hands, and the daily sphere of work and life means an endless passing of the hand skills and their products on to others, a traditional life world is a continuous meeting and joining of the hands of successive generations”.

I feel that this quote largely reflects my want to create a strong sense of community in my glass blowing complex. Indeed, the product of the glass blower is many hands coming together. It is a craft where the assistants are just as essential as the artist themselves, and this is also how the craft gets taught and carried on. Ruth mentioned to me her want to continue to do workshops with young people, such that the craft will be passed on. This has largely informed my thinking around the brief and the creation of safe learning spaces and workshops where students can come. “The craftsman need to embody the tool or instrument, internalise the nature of the materials, and eventually turn him/herself into his/her own product, either material or immaterial. The physical likeness or resonance between the artist/maker and his/her work is often surprising.”

This was an incredible insight for me to consider. I do think that it is true; as people we absorb what is around us and use it to continually shape ourselves. Each aspect of my design will be a further confirmation of the processes of glass blowing, bringing the craftspeople closer and closer to the object, until they find themselves inside it or a part of it in some way. Even if this means the formulation of the most beautiful workshop space, that the crafts person will not want to be anywhere aside from here; a place to become utterly absorbed in the craft. I wish to challenge and re-frame the often industrial architectural quality of glass blowing workshops and give it new poetic feeling that pays homage to the glass blower.

Juhani Palaasma

Multi Sensory Experience “The eye collaborates with the body and other senses. One’s sense of reality is strengthened and articulated by this constant interaction...[architecture] is not an isolated and self sufficient artefact; it directs our attention and existential experience to wider horizons.”

The fact that Palaasma suggests that senses extend beyond the regular understanding of them is important here. There is not only connection between the 5 senses, but also between our senses and our memory, consciousness, spatial cognition, emotion and imagination. All of these different phenomenological conditions are activated as one sense triggers the others. This provides new perception on how space can be experienced, especially since architecture “concretises the cycles of the year...”. “All the senses, including vision, can be regarded as extensions of the sense of touch - as specialisations of the skin. They define the interface between the skin and the environment...in Berkeley’s view, vision needs the help of touch, which provides sensations of solidity, resistance and protrusion...vision reveals what touch already knows”.

I like this notion that you, the subject, are separate from that, the “opaque” environment, and that there is a bridge (the sense of touch) which creates this link between the two. If “vision reveals what touch already knows”, then does vision without touch leave the imagination at a loose end? And does touch render a feeling of being grounded because one can relate their body with the stuff around them in direct feedback from how it feels to the skin?

is created more around olfactory sensations, would this leave a sense of unease? Excitement? I want to explore these notions in my design, particularly with the smells that come with fresh rain on a landscape, smells from the communal kitchen, burnt beeswax and fruit wood from the workshop, the mineral spring. “Good architecture offers shapes and surfaces moulded for the pleasurable touch of the eye. ‘Contour and profile (modenature) are the touchstone for the architect,’ as Le Corbusier put it, revealing a tactile ingredient in his otherwise ocular understanding of architecture”.

I love this quote because there are so many architectural possibilities that are ‘pleasurable’ to the ‘touch’ of the eye. One of the reasons for why I think glass blowing is so seductive, is the nature of the material in not only its liquid state but also in its final shape and look. I feel that glass, like the elements (water, fire), can act as the transitional element between reality and dream. It holds light in a serene and diaphanous manner, but when the sun shines directly on it reminds us of the world outside seen from the threshold between. Further the juxtaposition when glass is placed next to a solid element allows for both of their essences to shine.

“The body is not a mere physical entity; it is enriched by both memory and dream, past and future. Edward S Casey even argues that our capacity of memory would be impossible without a body memory”

While touch might provide a solid sense of being in the world, the olfactory sense for example brings to life memories, nostalgia and surprise. In my architecture I want to consider the poetics of balance between these literal and ephemeral ways of experiencing. What happens if one sense is more overcome than the other? If the sense of touch is at the fore of an aspect of the design, does this create a feeling of being grounded? If the space

Project 03: Rooting Craft and Concept in Site

Week 4

Thinking Architecture

Peter Zumthor

The presence of certain buildings has something secret about it. They seem simply to be there. We do not pay any special attention to them. And yet it is virtually impossible to image the place where they stand without them. To me, this means that the essence of the building must exist in its purest form and feel quiet in a place; they must feel that they are completely in and of the place. These buildings appear to be anchored firmly in the ground. The make the impression of being a self evident part of their surroundings and they seem to be saying "I am as you see me and I belong here”. If the building and architecture in itself seems to emulate this, then the person experiencing the architecture can fall into a sense that their reason for being there, and their need to occupy, is as valid as any. Unexpected truths If a work of architecture consists of forms and contents which combine to create a strong fundamental mood that is powerful enough to affect us, if may possess the qualities of a work of art… concerned with truth. Poetry is unexpected truth. It lives in stillness. The building itself is never poetic. It may possess subtle qualities which permit us to understand something that we were never able to understand in quite this way before. Powerful architecture does not have to be complicated - in fact it is when the architecture is perhaps ingrained in simplicity (a term that Glenn Murcutt differentiates from ‘simplistic’), that its potency is strengthened.

The hard Core of Beauty If the building is conceived accurately enough for its place, it will develop its own strength, with no need for artistic additions. Good architecture perhaps is one that is stripped back to the essence of its concept - this is not to say it is simple or one dimensional, but that its intention is clear. “At the point in time when concrete materials are assembled and erected, the architecture we have been looking for becomes part of the real world. I am impressed by the knowledge of how to make things, which lies at the bottom of human skill. I try to design buildings that are worthy of this knowledge and merit the challenge to this skill”.

Something else that Adam discussed with us encouraged me to consider these ideas in parallel with his idea. That there is a split that exists in the world today between white collar (office worker/computers) and blue collar (carpenter or someone who works in a factory). As an architect, you discover that these people are skilled, know a lot and you need them to make anything happen. These notions helped to inform my thinking about how the architecture will be primarily designed for the crafts people, and thus understanding the importance of creating an architecture that is specifically tailored towards them; a place where they will actually WANT to be. This is also why I have been involved in numerous glass blowing workshops; because I believe that I will only gain this respect if I immerse myself in the workshops, not just attend one.

Architectural drawings try to express as accurately as possible the aura of the building in its intended place. This for me reflects the purpose of building - that it must improve a place through sensibility rather than taking away from it.

Project 04: Curating Spaces and Landscapes

Week 5

Project 04 - Curating Spaces and Landscapes Diagrams and Atmospheres

Spatial Design

Plans and Sections

1:50 @ A3

Approach/Revelation

Entry/Arrival

Prepare/Eat

Rest/Sleep

Cleanse/Bathe

1:10 @ A3

Think/Reflect/Read/Draw

Project 04: Curating Spaces and Landscapes

Week 5

Landscape as Protagonist

Bruce Pascoe

Pascoe’s point about “the first Europeans had expectations of what they might find but more importantly what they wanted to find, neither of which was evidence of Aboriginal agriculture”.

We need to reconsider what we know from first accounts of settlers. There is an ongoing theme that during colonisation, Europeans tended to measure intelligence by the complexity of tools on face value, but not necessarily how they are used. Pascoe’s noting of the evident land management techniques conducted by Indigenous Australians that were integral to their survival show this. The Europeans plastered an idea of simplification over these processes due to the fact that they couldn’t figure out how to understand them themselves. But, this simplification process removed the complexity that’s inherent in Aboriginal ideas. In my design, I wish to understand why our site is a ‘culturally sensitive’ area. What did Indigenous people do here? We assume it is something to do with the water bodies, but again this is an assumption. Perhaps they dealt with the land in a certain way and used tools to manipulate it for agricultural and liveable reasons. I am not suggesting that the glassblowers tools be paralleled with the tools that Indigenous people used, but understanding how they managed, manipulated and cultivated the landscape (eg. notion of terracing on a slope), as a craftsperson deals with their material, is something I want to understand and could be relevant in my design. “Landscapes should not be thought of as simply a nature strip. Make and foresake. Aboriginal people dedicated an enormous amount of labour to the burning and nurturing of their gardens, as well as cultivating away unwanted species like wattle and eucalypts. They were horticulturists...Learning the science of care is vital for Australia: not in an aesthetic sense but in terms for pure science that may help our repose to climate change.”

It would be interesting to consider in my design how to cultivate the landscape considering fire is

an integral aspect of the complex. Furthermore, because I am hoping that the complex to be ingrained in sustainability. I am hoping to make it be as close to carbon neutral as possible as well as self sustaining, thus I would want to consider what native plants would best suit the micro climate. I have been considering having a veggie garden on the roof of hot shop. The reason for this location is that I could run hot water pipes (from reclaiming the heat of the furnaces) through the soil of the garden to heat the ground so that the veggies would grow even in the cold months of winter; if the soil is warm the roots are happy. Recuperating heat gives it a good use and also would teach people how to grow their own food as a life skill and learn how to harvest water. Furthermore, part of understanding the landscape is about understanding the seasons; ie. the garden on the roof potentially also would act as a natural insulator for keeping the workshop cool in summer. I am ultimately interested in using local Indigenous knowledge as a way to finesse the design of the landscapes around the architecture. “In my wildest dreams I imagine room being made for an Aboriginal craft room where artists use plants and materials from the site in an airy and comfortable room that can open onto a bush setting. This room is not just a craft room and gubbatea place but a room that might host school award ceremonies, Koorie sport awards, evening barbecues, history research and more.”

Reading this was interesting for me to consider what some of the spaces have potential to be and how they could engage other local crafts people. In my own design, I believe that there will be a fine line between making this a place for glass blowers, and including other artists and people. This interaction and crossover between neutral artistic spaces and spaces for glass blowers will be important to consider. Perhaps having areas, outside of the workshop, that can be rented

out for other crafts people to come together could be considered. “As a residence for art practice, get the kids involved. Encourage the local businesses to see the place as somewhere the nurtures their intersection with the local public.”

It will be important to consider how safety in the design is balanced with the inherently dangerous nature of glass blowing. While I want this to be a child friendly and inclusive complex, not necessarily every single area of the complex will be able to allow children to roam free. This separation will be integral to my design brief, especially considering that there will be families living on site. “The task of the architect and designer is not going to be easy, but at the same time it must not be tokenistic. The buildings and gardens must be welcoming and look usable. There should be as few signs as possible telling people what they are not allowed to do and how to wash their hands. The gardens should have usable paths and be friendly for the disabled without institutionalising them...We can’t ask the plants to do everything; the people of the place will have to embrace that egalitarian purpose.”

I like this notion of usability without prescribed way of use. I think that for a person to feel at home in a place, they must prescribe the uses for themselves and feel a sense of autonomy with this. This is also why I would want there to be gardens, fire and water for people to engage with on a basic instinct level; fro survival such that they feel they are part of this place. “The garden is full of art objects and idiosyncrasies and every kid can see a bit of themselves in the garden.”

People leaving behind a small piece of themselves; whether it is in the permanent exhibition space leaving a glass blown object, or an object in one of the gardens, over time the complex will become a collective of the cultures and people who made this place.

Project 04: Curating Spaces and Landscapes

Week 5

‘Strange Tools: Art and Human Nature’

Week 5 Reflection

Alvar Noe What drove or informed your design decisions?

We shouldn’t think of experience as something that happens inside us, we should think of consciousness as something we enact or perform, while it depends on what’s going on inside us (our brains), it can’t be reduced to this. The environment and other people make consciousness happen. Its like looking for dance in the dancers body.

experience. What makes art special; a visit to the gallery is one in which you get the opportunity to understand that you’re going through the transition. The encounter with art is an insight into what consciousness is. The work creates a setting in which boredom is a stage through which you have to go to make discovery.

It’s interesting to consider this idea of consciousness being something that we enact - that it is an active participation in the world around us. How can I design an architecture that enables people to be actively involved with it? To make them starkly aware of what is around them and why it is there. To bring consciousness to the fore.

In my architecture, is there a way to allow for people to actively reflect on what they are doing; self disclosure. Setting of lives and experience is to look, feel and see. What is required for this reflection, is a disruption and a moment when you couldn’t see it, but a situation that arises where the person stops and thinks.

Art as itself a field of research inquiry in which explanations are sought. Forms of research. What kinds of research is it? Art is a research practice, specifically a philosophical practice. Philosophy is an aesthetic or artistic practice. Art and philosophy are not the same, but as species they are of a common genus; reorganizational practice (they give us resources to change ourselves).

This notion that art, and therefore the creation of art is a philosophical practice suggests that craftspeople are seeking to find something through their craft. That their craft renders them whole in some way. Or that it helps them find answers in life that they cannot get elsewhere. It satisfies a part of their being. It IS a part of their being. In my brief, I want to further specify how this glass blowing complex seeks to do more than just create glass. It is also about a lived human experience, connection with surroundings and the cross pollination of artistic and philosophical ideas. Transformation from seeing to seeing differently. Its not just a change in what you think or believe, it’s a change that you could have seen all along but you couldn’t see before. It’s a change that enables you to bring what is there into focus for your conscious

Rejuvenation after glass blowing was the notion that informed my design decisions as a result of the workshop that I did on Wednesday last week. It was here that also realised the potential of us-ing upcycled glass. The talks that Ruth and I had were also incredibly important in the design out-come. I ended up asking if she would act as my client which she agreed to. She spoke a lot about the importance of the place speaking to the landscape in terms of views, eastern light in the morn-ing and the moon rising to the east in the evenings which informed my window and layout place-ments. The readings I did were also informative for the poetic aspects of the design. Where there other iterations of your design that you disregarded? I had other iterations of floor plans that included different layouts, for example having the shower on the bottom level, and having the study on the top level of the accommodation which I thought might render the shower space even more special. This was disregarded however be-cause I did not think it would be convenient for people to have to go downstairs to use the bathroom every time when living and sleeping spaces are on the top level. Also the notion of separating the work space was more important to me such that it could be used for slightly more public purposes perhaps. I had also experimented with ideas around having a fire place in the living room but disregarded this initially because I felt it would be at odds with the notion of rejuvenation, however after speaking with Yui this is not the case. What was successful/unsuccessful? Certain aspects of the design were successful including the times where the craft of glass blowing was acknowledged, such as through use of the recycled glass bottles as glass bricks and sand on the floor of the study space. Also the double height garden was a successful way to implement oxygen rich spaces into the living and study areas, while also including the notion of water. I feel that the idea of water will need to be pushed further in my future designs to be successful as a driving element throughout the project. A large part that was unsuccessful about the design of the accommodation was the missing fire place; the fire acting as the hearth and the water as rejuvenation creating a balance and contrast. The fire will be especially important due to the

cold climate of Daylesford. Further-more, there needs to be more bespoke furniture and joinery that speak to glass blowing and to ground the living space, as at the moment some of the spaces feel arbitrary. Another part to work on will be ensuring elements of my drawings are accurate such as properly showing that the façade is brick and working through the planning of the bathroom and living areas, as well as context such as the bush beyond. What did you learn from the exercises/tasks/your experiences/research? What I learnt from my assisting Ruth a second time is that the flames from all the equipment suck the oxygen from the room, plus there is the gas and heat from the equipment, which leaves the person feeling hot, dizzy and headachy. In the accommodation I'm interested in this idea of creat-ing oxygen rich spaces by having a living garden in the place to create a space of revival. The glass blower gets very hot and sweaty and really the only way to revive is through water, which was why the shower/cleansing area was important as a sanctuary. I also learnt more about the nature of the topography and enhance it through the multi-level form traversed by ramps. How might the above points inform your decisions in the future? I will be making decisions around the nature of the contrast between the fire and double height garden; possibly emphasising the fire place as a vertical element that contrasts with everything else at ground level and a human sight level. In terms of paying homage to glass blowing, I will need to think about how a fixed table with blown glass light elements or gutter/glass rain chain as a way to collect, drain and move water from the roof into the garden for example will be designed in the space. While I gave thought to the indoor garden, I will need to think more carefully also about native bush and ground cover that sits at the edge between the building face and slope, and how to use this in a way that the landscape and architectural proposals speak to one another as well as the surrounding context.

Mid Semester Break

Non-Teaching Period

Mid Semester Break Design Process Initial Concept Sketches

Mid Semester Break Reflection

What drove or informed your design decisions? The concepts that informed my design decisions for this particular plan were discriminate and I did not yet have in mind my overarching conceptual strategy that was driving each of these design decisions. At this stage I was trying to experientially incorporate landscape into the design by inserting little landscapes ‘courtyards’ into the spaces. I neglected to incorporate water to mitigate bushfire risk and regenerate soil moisture content, which is something I need to do for the next iteration of my workshop plan. I was also thinking about how light travels through glass an impacts atmospheres of space. Where there other iterations of your design that you disregarded?

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Glass Blowing Workshop, Gallery and Pool Ground Floor Plan

This was the first iteration of my workshop plan that I attempted towards the start of the mid sem break, that was immediately discarded. The first issue was that I was drawing straight into cad without having first hand sketched the plan. I had spent a lot of time looking at precedents and believed that I had the notions of what I wanted to do in my mind – which was not the case. As I was drawing in CAD, I was feeling frustrated with the plan and I then remembered Palaasma’s ‘The Thinking Hand’ and that the hand is an instrument to reveal and express what is inside the mind. My second iteration of the plan (the one shown in my mid semester presentation) was a much more successful variant, probably because I spent time hand sketching it first.

notions of fire/water/landscape through writing/sketching, as well as ensuring that the actual form was articulating with the contours the plan was much stronger. I ended up spending a few hours hand sketching and then the plan and section came together much more smoothly and the underlying concepts were evident, unlike my first iteration. I also learnt that precedents are a fantastic learning source, but looking at too many can be overwhelming and confusing. It’s important to understand what you want to take from each precedent, and also keep the integrity/simplicity of your own ideas. Too many ideas can compromise the integrity of a design. How might the above points inform your decisions in the future? In terms of design process, I will always hand sketch first to ensure that I have designed from my mind, not the computer. I also learnt that I seem to have an initial tendency to overcomplicate the plan on the first go. This time I think I overcomplicated it by trying to create connections between spaces first before actually laying out the spaces in a progression that makes sense, which sounds counter intuitive but I don’t think I knew I was doing it at the time. What I have realised is that by taking a step back and honing in on the fundamentals such as the sizes of spaces, how they sit on the land, how they sit in relation to one another, and what makes your project strong (eg. for me it is that fire is the heart), then the complex parts (eg. bringing landscape/water in) will fit in naturally around those fundamentals.

What was successful/unsuccessful? This iteration was unsuccessful but was a good learning experience. As a plan it did not articulate with the contours because I was so absorbed in trying to lay out the functions within the workshop. The actual layout of the plan was also disjointed – I was enamoured by the idea of letting the landscape in but hadn’t figured out the strongest way to do this yet. The little courtyards that ended up punctuating spaces were not a strong outcome and ended up breaking up the spaces in an awkward way. What did you learn from the exercises/tasks/your experiences/research?

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Glass Blowing Workshop, Gallery and Pool Level 1 Plan

I had too many ideas in my mind which had not yet been distilled and this was coming through in the messiness of the plan. By spending some time condensing my ideas into those

Mid Semester Presentation

Week 6

Mid Semester Presentation Design Process

Accomodation

Brief Workshop Gallery Pool Accomodation Cabins Permanent Dwelling

Site Section AA 1: 500 @ A3

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30m

Physical Site Model 1:1000

Workshop Dwellings

Site Plan 1: 500 @ A3

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Key Proposed Buildings Existing Buildings Site Boundary Pathways

Glass Blowing Workshop, Gallery and Pool Concept Sketches and Diagrams Material Qualities

Process

Outcome

Key Site Plan 1: 2000 @ A3

Proposed Buildings 0 20 40

80m

Existing Buildings

Site Boundary 6

Water Bodies and Creeks Nature Reserves

1 High fire refractory brick; burnt 2 Timber with molten glass burn smears 3 Burnt beezwax 4 Glass blowing workshop 5 Glass blowing workshop 6 Glass blown objects

Glass Blowing Workshop, Gallery and Pool Further Influence

Mid Semester Presentation

Week 6

Pictured 1. Rock #2, Happy to Help 2017. Obe granite, glass. 27 x 26.5 x 19 cm. Simone Slee. 2. Water, Selected, 2003/07 24 glass columns, each holding approximately 53 gallons of water taken from unique glacial sources in Iceland 120 inches high x 12 inch diameter each Courtesy the artist and Hauser & Wirth. Roni Horn. 3. Noctambule for FLOS, Milan Furniture Fair, Konstantin Grcic, 2017 4. In Absence, Yhonnie Scarce and Edition Office 2019 5. Les Cols Restaurant, RCR Arquitectes 6. Muraba Residences, RCR Arquitectes 7. Smooth Boundary, Jin Hongo, 2018 1

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Glass Blowing Workshop, Gallery and Pool Section BB 1: 100 @ A2

Glass Blowing Workshop, Gallery and Pool Plan 1: 100 @ A2

Glass Blowing Workshop, Gallery and Pool Precedents

Glass Blowing Workshop; Hydration Station Section and Plan 1: 20 @ A3

Glass Blowing Workshop, Gallery and Pool Concept Sketches

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Glass Blowing Workshop, Gallery and Pool 1:200 Massing Model

Mid Semester Presentation

Week 6

Accommodation

1:50 @ A3

Approach/Revelation

Entry/Arrival

Prepare/Eat

Rest/Sleep

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1:10 @ A3

Think/Reflect/Read/Draw

Mid Semester Presentation

Week 6

Accommodation Precedents

Mid Semester Presentation Reflection

What drove or informed your design decisions? The main concept that informed my design decisions was the notion of fire as the heart of the craft, juxtaposed against water and landscape as the rejuvenation after the intensive experience of glass blowing. I also tried to distil the essences of the craft and create a design that articulates with the landscape, in particular working with the slope as a key factor in the design process. Where there other iterations of your design that you disregarded? My initial iteration of the workshop plan completed over mid semester (discussed in previous refelction). 1

Pictured 1. Eyrie Houses, Cheshire Architects 2. Krakani Lumi, Taylor and Hinds Architects 3. Project Unknown (charred timber detail) 4. Peninsular House, Sean Godsell 5. Cranbrook School Wolgan Valley, Andrew Burns Architecture 4

What was successful/unsuccessful? I think that in this version of my plan, the feedback I received from the crits gave me a very clear idea of what was strong and what wasn’t. My building was very enclosed in the plan, so I need to think about how to open the building up to the landscape in a way that works with my ideas around water and vegetation mitigating bushfire risk. Further because I am dealing with glass (due to the nature of my craft) I need to consider how this will make the building vulnerable in the face of bushfire. Further, it is important for me to consider how the thresholds between the vegetation/water and building will integrate with one another, and act as affordances that allow for the architecture to be inhabited in different ways. Thinking about how water can be more thoroughly integrated into the design and landscape is important. Even thinking about the word integration and understanding what this means of my project; it may not necessarily mean literally putting vegetation into my workshop as this is not possible with the heat, but creating some other connection through my design such as a gap that allows for the that vegetation to still have presence. Finally that the strength of the design is around this notion of fire as the heart of the craft and thinking of ways to push this further in my designs.

elements in the design (in my case due to time constraints), in particular for me windows, circulation and progression through spaces, and connection with context was a major issue for the design. How might the above points inform your decisions in the future? I think a challenge for me will be to work through the aspects of the design that were least refined (as mentioned above) as a way to move forward with the workshop. The beauty of the water making its way into spaces in a subtle way that perhaps also connects with circulation, versus the strength of the fire as a the heart, is an interesting concept to me. In terms of a formal framework and materiality, Yui’s suggestion that integrating the brick fireplace into the form of the building and really interrogating how the curves are celebrated is a wonderful concept that I think will allow me to have more intention behind the formal gestures of my designs.

What did you learn from the exercises/tasks/your experiences/research? The experience of my mid semester presentation was overall positive and the feedback I received was invaluable. I think what was reinforced for me was the simple fact that that having a strong overarching concept leads to a strong design outcome. However I also learnt that neglection of other

Curating | Rooting in Landscape

Week 7

Curating | Rooting in Landscape Site

Site

Natural Grasses and Rock

The Bush Dwellings

Workshop

Accommodation Surrounding Gardens and Manicured Landscapes

Curating | Rooting in Landscape

Week 7

Landscape Precedents Bush Landscapes, Bio Filter Pools, Fire

Pictured

Greenhouse Interior Living Gardens

In reference to the precedents on the opposite page, I am interested in how bushland backdrop with native planting create a sense of place. Basalt rocks that open up to pathways with low planted areas, and how biofiltered natural pool provides reflection, habitat, sound and movement. I am also interested in hard and soft landscapes and how boundary planting evokes a strong connection with bushland beyond the garden. Outdoor brick fireplaces are a beautiful feature within these landscapes.

1. Wattle Glen House, Sam Cox Landscape 2. Northcote House, Sam Cox Landscape 3. Portsea House, Sam Cox Landscape 4. Sorrento House, Sam Cox Landscape 5. Fairfield House, Kennedy Nolan and Sam Cox Landscape 6. Erskine House, Kennedy Nolan 7. Cranbrook School Wolgan Valley, Andrew Burns Architecture 3

In reference to the precedents on this page, I looked at green-houses with non-native/tropical plants. As suggested in my feedback from mid semester in dealing with bush fires, water could be sprayed onto plants to deal with heat from the workshop, which also cools the overall temperature through the mist systems.

Pictured 1. Pirque Greenhouse, Max Núñez Arquitectos, Chile 2. Peninsular House, Sean Godsell 3. Daylesford Longhouse, Partners Hill 6

Curating | Rooting in Landscape

Week 7

Precedents Abstracted Qualities of Water

Week 7 Reflection

What drove or informed your design decisions? In the landscape presentation to Anna Hooper, I was interested in showing images of the beautiful pattern of eucalypt light and shadow already on site, the native grasses that also catch the light and the basalt rocks. What is also interesting are garden scapes adjacent to the site some of which are more successful than others. In my sketch landscape masterplan, I explored how water bodies could flow into the landscape and integrate into building, surrounded by soft native vegetation that guides the circulation. Where there other iterations of your design that you disregarded? I did not have any other iterations of design for this week. What was successful/unsuccessful? The feedback that I got from Anna was incredibly helpful with progressing forward in my decisions around landscape. She confirmed that it would not be feasible to have plants indoors in the presence of the furnace, which would mitigate mist automatically and the leaves would disintegrate. She also suggested that there is a lack of connection between a greenhouse and the other aspects of the design; it feels superfluous with the introduction of exotic species. The notion of oxygen and fire is a lovely idea, but I need to bring it into my design in other ways. She discussed how biofilters are useful in design to help remove toxins that are produced from the processes we are using in the building. A great example she used was grey water; the natural processes of the microbes on the reed bed roots cleans the water as it passes through to reuse it in certain applications (keep waste on site and not discharge into creek below). These kinds of bioswales and retention ponds would allow me to give back to site and attracting fauna to live on site.

Pictured

What did you learn from the exercises/tasks/your experiences/research? I ultimately learnt that it will be ultimately impossible to bring vegetation directly into my workshop, so thinking about where the most appropriate places to put it is integral. In terms of purification of air quality and creating oxygen rich spaces, Anna suggests that stands of trees will do it externally. Ultimately the proximity of vegetated area to the furnace is going to be the issue for my project. How might the above points inform your decisions in the future? The paces that have the vegetation and plants integrated into them, will act as places of respite from the dark glow and heat of furnace; the dwellings, accommodation and perhaps public areas separate from the workshop. Further, I cannot put flammable grasses (the dry long sparse ones) in close proximity to the building. Also the proximity between edge of building and bushland is integral. I need to think about transitions as functional, beautiful and not flammable – this is where water will be critical in the design. Water is also interested because it holds similar qualities to glass – this is something I could take advantage of conceptually and experientially. Passive cooling through water instead of bringing plants inside; for example according to major wind direction on site, wind could move across the top of water adjacent to the building and therefore be cooled before it moves through the building, helping to cool down the hot spaces further. Anna also suggested there is the potential for using glass to frame views outside. Further, depending on the heating and cooling process, can the doors be opened when furnaces are not in use? Perhaps this is a way to incorporate natural ventilation strategies that are controlled by operability of openings in certain locations.

In relation to glass blowing, she said that using glass in different modes across site could be interesting such as gabion seating with glass slag as the infill. I like this idea of reusing the leftover glass from the glass blowing process.

1. Barcelona Pavillion, Mies Van der Rohe, shallow ponds 2. Tadao Ando sketch; church of light moat

Curating Spaces and Landscapes - Key Moments

Week 8

Dwelling Design Initial Sketch Designs

Precedents

Pictured 1. Garden House Baracco and Wright Architects 2. Hanging Rock House, Kirsten Thompson Architects 3. Atelier Barda Architecture Maison Gauthier 4. Graux Baeyens Architects, Dujardin House 5. Le Corbusier, Flippopoli Quartiers

6. Louis Kahn Cemal Emden, Korman House 7. Villa Platan, Adept 8. Rose House, Baracco+Wright Architects

Curating Spaces and Landscapes - Key Moments

Week 8

Sketch Designs

Curating Spaces and Landscapes - Key Moments

Week 8

Week 8 Reflection

What drove or informed your design decisions? For my dwelling design this week, I was thinking deeply about the relationship of this house with the landscape it is sitting in. A major aspect was the notion of retaining walls that follow the contours, extending out beyond the edges of the building to retain the terrain and create a gentle transition between the landscape and the building.

terrain and become curved elements, as the heavy masonry tectonic, while the timber tectonic may be brought into the short, straight, perpendicular walls on each of the ends. This way they read as a separate element rendering each tectonic more powerful. The charred timber may also be separated from the brick with glazing between the two and slightly recessed to amplify this difference further by being read as the infill element.

Where there other iterations of your design that you disregarded?

I also need to consider the entry in relation to both of the houses as well as to the communal fire pit.

Yes in my initial sketch designs that were unsuccessful, I was did not have in mind the relationship to landscape but just an idea of form. Once I had done a few sketches, I realised that I was over complicating the design process by simply looking at form rather than actually sketching over contours and understanding how the dwelling could relate intimately to its surroundings. I was trying to bring the landscape in by having a deck that continued from the outside of the house to the interior. I realised that perhaps more importantly was to set out the internal spaces in a way that made sense, to then continue on with the landscape design.

What did you learn from the exercises/tasks/your experiences/research?

What was successful/unsuccessful? The way in which the plan is split to not only follow the gradual sloping terrain, but also how it shifts across the three volumes to allow for more side of the spaces to be exposed to the landscape and views. This connection to the landscape is successful with the clients that I currently have and their children – as a child it would be a fantastic place to grow up. What is currently unsuccessful is the breakup of the lounge room space around the fire. The kitchen and dining areas are under-developed. They are significant spaces that should be celebrated as part of the central living areas. Further the circulation space is currently underused, and could double up as a study area with bookshelves, ledges or storage etc. This corridor space could integrate functions so that it can be better enjoyed in relation to the site. In terms of implementing operable windows and louvres, I need to work through where these will be best placed for cross ventilation and breezes.

Pictured Bynya House by Peter Muller

I learnt a lot from the precedents I was looking at. In particular Kirst Thompson’s plan of hanging rock house was of particular inspiration for me. I immediately saw how splitting the volumes could deal with the slope and varying thresholds within the dwelling. I also was looking at many precedents with sculptural fire places, trying to understand how mine might be more incorporated as a sculptural form into the walls. It was interesting to see that all of fireplaces were feature elements also in the living zone. How might the above points inform your decisions in the future? I was also looking at how I might be able to bring the landscape in particularly in the Baynya House by Peter Muller - the external entry staircase/approach and lounge area opposite the entrance, where the very sculptural sandstone formations are celebrated and becomes a significant part of the space.

I discussed with Yui notions around the compatibility of my main building materials – brick and charred timber, and how these might come together in this form. She suggested that I keep the longitudinal walls of the house, those that follow the

Curating Spaces and Landscapes - Key Moments

Week 9

Key Moments Details

Week 9 Reflection

What drove or informed your design decisions? Unfortunately I did not have a design this week. However I was thinking about how to incorporate different kinds of glass into my design, in particular glass blockwork and how this might contrast against my other materials and provide varying levels of privacy/the framed views of the landscape. Where there other iterations of your design that you disregarded? No there were not this week. What was successful/unsuccessful? The fireplace detail section I tried to draw was unsuccessful, however I am determined to work it up for finals because I believe its an important part of my dwelling - fire is the heart of the craft as well as the home. I will need to consider what it looks like formally (how it is read in the space as a key element) and also how it could function as a seating element. I was thinking about how the glass blocks might be juxtaposed against water in my scheme, and also further considering how landscape might be incorporated to start breaking down some of the orthogonal lines. I have been taking inspiration from at Alvaro Siza’s Leca Pools where there is a great balance between the orthogonal lines and raw forms of the stones, almost like the pools dissolve into the landscape – a very successful way of using solid elements in juxtaposing ways (natural rock vs man made concrete). I will try to incorporate some of these ideas into my own design as essential key detail moments.

Pictured 1. Optical Glass House by Hiroshi Nakamura & NAP 2. Alvaro Siza, Leca Swimming Pools

overwhelmed by its scale. In particular the workshop where I am struggling to design its spaces. When I discussed this with Yui she suggested that I consider what actually helps me get over these creative blocks, and use this as inspiration in my design. She asked me about the special spots in my family home in Moggs Creek – the way the downstairs spaces are directly within the trees. Then how this contracts with the upper levels how the deck acts as a second living space and provides two types of spaces as half I is semi sheltered from the wind by the house while the other protrudes out and overlooks the sea – a humbling experience. I realised that it is these contrasting spaces, the intimate downstairs spaces and then the open upper spaces with the view of the expansive ocean, that provide different atmospheres and embodied experiences within the one place; that of an insular comfort and that which is open wide and humbling. What are these moments in my workshop? Perhaps the intimate moment could be the reprieve from the heat which is the water – the cool soft feeling of the water on the skin as you sink into it, and the humbling moment is that of the fire – powerful, roaring and that which gives life to the craft of glass blowing.

What did you learn from the exercises/tasks/your experiences/research? I enjoyed the exercise of tracing the precedent I had selected as an intro into detailing. The precedent I chose was the Optical Glass House by Hiroshi Nakamura & NAP and its shimmering glass brick façade, because I wanted to further understand how this type of glass blockwork facade might be constructed. How might the above points inform your decisions in the future? This week felt incredibly challenging for me. I feel that I have in some ways lot touch with the project and become

Interim Presentation

Week 10

Interim Presentation Concept Sketches Dwellings

Concept Sketches that explore how I’m thinking about flow through the spaces of the workshop and the kiln an a special element. Further how the walls of the dwellings might extend into the landscape

Clients Client 01 Ruth makes many types of glass blown objects. She primarily works with glass, light, kinetics and the poetics of experience. Her professional practice spans a brad repertoire of creative projects including large scale installations, domestic and commercial lighting, bespoke commissions, jewellery, domestic-ware and hot formed sculptures. She has two daughters, one who is 7 years old and the other who is 4. She is periodically facilitates public workshops with beginners through at advanced glass blowers. The type of work she does is rigorous. The way she cools down is through water. She wants to bring up children who are aware of the landscape around them and who can self sustain.

Client 02

Workshop

Accommodation

Site Plan 1: 500 @ A3

30m

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Judy is an artist who discovered glass as material that synthesized and expanded the concepts she’d explored for almost 50 years as a visual artist and writer. “The materiality of glass, its relationship to geologic time, light and transformation, its nuances of color, opens a door into a landscape filled with endless possibility,” she said. In her current residency she is interested in the concept of bringing together the concrete and the ephemeral. This work is about transformation, about standing inside the fleeting moment, the amorphous present, as we work with an amorphous solid.

Interim Presentation

Week 10 Dwelling Plan 1: 100 @ A3

Glass Blowing Workshop, Gallery and Pools Plan 1: 100 @ A2 FFL. 532.785

FFL. 531.551 FFL. 529.810 FFL. 527.284

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FFL. 530.810

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Key 1. Toilets 2. Packing Room

3. Gallery

4. Viewing Platform 5. Glass Blowing Workshop

FFL. 531.410

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6. Kitchen and Communal Relaxation Area

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Glass Blowing Workshop, Gallery and Pools Section BB 1: 100 @ A2

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Dwellings Plan 1: 200 @ A3 0 1 2

Glass Blowing Workshop; Viewing Platform Key Moment 1: 20 @ A3

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Interim Presentation

Week 10 Accommodation First Floor Plan 1: 50 @ A3

Accommodation Ground Plan 1: 50 @ A3

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What drove or informed your design decisions? Looking back in this design, it was much more about water than it was about fire. While I sculpted the kiln to sit proud of the wall, intending to highlight its importance, it still did not centre the fire in the design. The landscape another driving factor in this plan; the use of retaining walls at the back of each space that extend beyond the building into the landscape were intended to be used as directional cues, and to hold pools around the workshop. The roofs and pools are positioned and slanted in a way that the water from the roof flows straight into the pools. The detail in the intermediate connecting spaces also informed the design. They were intended to amplify the notion of reprieve through their separation from the hot zones, slanted skylight elements and connection to the water around. through being encased in glass blockwork, which I was thinking would reflect light into the space in a beautiful way.

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Accomodation Section CC 1: 50 @ A3

The use of fire in my dwellings is working more successfully as a mechanism to bring people together, particularly as the connecting element between the two dwellings. Where there other iterations of your design that you disregarded? This week the drawings I showed were the only iteration of the design. What was successful/unsuccessful?

Accomodation; Shower Detail Section 1: 20 @ A3

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Accomodation; Detail of Fireplace Plan 1: 20 @ A3

I think that I wanted to believe that what informed my design decisions was the fire as the heart of the craft, as I have always thought, however, the design is still not centered enough around the fire. The plan doesn’t have the hierarchy it needs to show that the fire is the most important element of this craft and that the entire plan should be informed by this. While the plan indeed touches on the notion of water as rejuvenation as it is coming into the spaces. It seems that while the design makes good use of the slope by having spaces that step down and using retaining walls, they still feel too separated and disconnected with each other. How these retaining walls in my workshop work in section is also not clear, which is perhaps a graphical representation issue. What did you learn from the exercises/tasks/your experiences/research? From the feedback I received after the interim presentation, it was agreed that the kiln is lost in the space at the moment and the viewer of the plan is left wanting to know more.

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I also learnt a lot from Josie regarding the lighting of glass blockwork which will be important in my design. If I have a double brick wall, I can have a light placed in the ground between them and then sand blast the internal sides of the

Interim Presentation Reflection glass blockwork such that it then glows from inside. If it is however a single block wall, the light would have to be placed under the blockwork (difficult to detail) and the mortar would be enough for the light to diffuse through the blockwork. Both of these options would create a beautiful gradation of light at bottom of the wall to then be darker at top. I can also think about how it might look during the day compared to night time. A lantern and overall soft glow. How might the above points inform your decisions in the future? I’ve realised that I think I need to drastically change my plan such that it reflects the essence of my craft much more. The The curvilinear geometries of my dwellings feel like they are well grounded in the topography and integrated well with the landscape scheme. I need to consider how I might achieve a similar effect and create more refined geometries of the walls in my workshop. I also need to consider how the interior layout and joinery can be integrated more with these curvilinear geometries, particularly in the workshop but also in my accommodation. I also need to consider how the visitor and glass blowers’ experience differ and how each circulate around the spaces. How do I tell a story about glass blowing? How is every element that surrounds you telling you as a visitor that this is a special, unique experience to be witnessing an artesian at work? Perhaps it’s that as one get closer to the kiln, the architect melts/breaks down/becomes more circular, reflecting the liquidity of the craft. I might have floor textures that designate different flows from one area to another (perhaps I can incorporate sand, basalt stone, brick…etc). I also discussed with Josie the importance of drawing the light and shadow and materials which will help to clarify the intentions in my design; I will also show light through the perspectives. I therefore need to consider what is contained in this circular space, in particular the chimney/kiln form. I may consider the theatrics and hierarchy of light/dark to emphasise the key moments and investigate whether certain colours can be integrated as a lighting scheme or perhaps even in the glass bricks themselves, to emphasise the fire in the workshop. Maybe it’s not solid like a chimney, but a more like a designed exaggerated flue that has an additional layer of mesh around for ventilation. Perhaps the wrap around the flue reflects the smoke travelling through it; a semi perforated skin and is then lit it up from inside to emphasise the fire element. Perhaps when fire is off it changes so that the light is a neutral colour – more calming and soothing.

Interim Presentation

Week 10

Lighing With Josie White Adesign Studio Alex FitzPatrick Crackle Wall Light

James Turrell Within Without 2010

Lighting installation, concrete and basalt stupa, water, earth, landscaping

Interim Presentation

Week 10

Concept Diagram Ideas Interim Reflection 2.0

What drove or informed your design decisions? See previous reflection on page 79. Where there other iterations of your design that you disregarded? I think that this current design needs to be seriously rethought and perhaps even disregarded. 1. Glass block object against rock.

2. Glass block object with a streak of ash.

Simone Slee Rock #2, Happy to Help

Judy Tuwaletstiwa Trinity - Ashes

What was successful/unsuccessful? As my concept is all about fire, I need to be celebrating these aspects more. In the current plan from this interim it was lost in the space. The curves in my design also need to be celebrated more, reflect more of the organic forms of the craft and have a more functional purpose. This is also relevant to how a glass blower would move around the use the space of the workshop. The circulation and repetitive path of the glass blower is still not defined or shown in the architecture – going from glory hole to bench to marver to glory hole again in the shaping, remelting and reshaping of the glass etc. Yui suggested that perhaps working my plan to be more circular might aid in the layout of the equipment to reflect this circular path, as well as aid in the creation of viewing terraces that give more aspect into the workshop. The notion that the fire is truly at the heart could be addressed here, with the kiln at the centre of the circle and the other elements happening on the periphery. This would also give way to the notion of the theatre which is the making of the glass blown object, and the backstage where all of the finessed work happens in the cool shop.

my design. With the lighting help we have received from Josie, I learn that the deep amber light of the fire giving a warm glow to the brick could be amplified by letting the surrounds be dark for example. When the glass comes out of the glory hole it glows in the most mesmeric way that draws your attention towards it – perhaps this is the kind of light and theatrics I would want to radiate from my building, bringing people towards it like a beautiful lantern in the night time (eg. effect of warm glow against glass bricks). I am also learning about the nuances of the spaces required for glass blowing including individual areas for work and communal areas. How might the above points inform your decisions in the future? For my concept diagrams, I am thinking about how to show the effects of my elements water and fire on the glass. The precedent Josie suggested, that when glass has imperfections it reflects light, to intentionally break glass by shocking it, indeed displays the nature of glass and the importance of water in relation to it. I then would want another concept image that is relating to fire, possibly through the use of ash, and another that reflects landscape (the acknowledgement and use of site).

Furthermore thinking about the journey from the experience of the gallery which is showcasing the finished product, into the workshop where the products are made. It was suggested to me that perhaps as one gets closer to the kiln, the heart of the workshop, the architecture itself begins to melt or break down further – for example glass in its purest form could be displayed here by sand on the floor etc. The idea of water juxtaposed against the fire is a successful notion, however in order to render it successful in the physical form, I need the fire element to be much more present. What did you learn from the exercises/tasks/your experiences/research? I am learning that drawing more attention to fire is critical in 2. Glass block object cracked by being shocked in water. 84

Alex FitzPatrick Crackle Wall Light 85

Design Development

Week 11

Design Development

Glass Blowing Workshop Inspirational Concept Images

Single Family House, Zurich,Switzerland by Eduard Neuenschwander

Simone Slee

Concept Sketches Workshop Plan

Fluidity of Glass

Venetian Glass Blowing Factories Kiln as a vast sculptural form Connection back to Murano through the Glass Blowers Guild

Design Development

Week 11

Concept Sketches Workshop Plan

Concept Images Workshop Viewing Platform

Glass Blowing Workshop, Gallery and Pools Level 2 Plan 1: 100 @ A2

Glass Blowing Workshop, Gallery and Pools Level 1 Plan 1: 100 @ A2

Pictured 1. Tadao Ando, UCCA Dune Art Museum 2. Peter Zumthor, Saint Benedict Chapel

Design Development

Week 11

Atmospheres

Peter Zumthor

“The Body of Architecture. The material presence of things in a piece of architecture…That kind of thing has a sensual effect on me…that it collects different things in the world. Different materials, and combines them to create a space like this. It’s like our own bodies with their anatomy and things we can’t see and skin covering us - that’s what architecture means to me and that’s how I try to think about it as a bodily mass, a membrane, a fabric. a kind of covering, cloth, velvet, silk, all around me. The body itself. To me this reminds me that the materials used in architecture have a tactility and sensoral effect on individuals. Also how does the combination of different materials create a certain atmosphere. For example the use of charred timber vs brick - perhaps the effect of the timber is amplified as it is only used in special areas and its darness is juxtaposed against the lightness of the brick. Architecture as the body itself - layers and substance. “Take a stone: you can saw it, grind it, drill into it, split it, or polish it - it will become a different thing each time. Then take tiny amounts of the same stone, or huge amounts, and it will turn into something else again Then hold it up to the light different again. There are a thousand different possibilities in one material alone.” This really spoke to me because its so integral to think about how a different material can be used in many ways. For my palette this time, I used brick and glass, glass in different ways - glass panes and glass bricks to create varying levels of transparency and atmosphere. The glass bricks change in colour depending on where they are placed in the building - as they get closer to walls where fire is for example, amber blocks start to become more frequent. The effeect of the amber block between the clear class is incredible. Surrounding objects “I’m impressed by the things that people keep around them, in their flats or where they work…things come together in a very caring, loving way, and that there’s this deep relationship. And I got to wondering whether the job the architecture had set itself here was to create these receptacles to house objects. The idea of things that have nothing to do with me as an architect taking their place in a building, their rightful place - it’s a thought that gives me an insight into the future of my buildings a future that happens without me.”

This quote allowed me to think about providing laces for glass blown objects to sit. Both in the residences and in the workshop. How will they be viewed? Against what kind of material? How will they be treasured? I loved this aspect of the design.

What drove or informed your design decisions? I spent a lot of time considering how my workshop could reflect more strongly the craft of glassblowing. The sketching I did on page 85 were incredibly helpful. I was largely inspired by thinking about the fluidity of glass and how it moves from the concept images. Also looking at the Neuenschwander plan was helpful as I was able to understand the kind of spatial tension about the hand drawn curve that I am looking to achieve (instead of fillets). Where there other iterations of your design that you disregarded? I disregarded keeping the stairs as the sitting viewing platform and decided a standing one would work better for movement through the space. This was because it was not working with my new plan in terms of changes in levels and was awkward in the circular space. What was successful/unsuccessful? Tension between the straight and organic curves, which reflects the nature of how glass moves. The spatial logic is expressed across scales from small scale objects, to the object of the house to the object of the hill. The brick walls find their way from the landscape towards the heat and ferocity of the fire. They form themselves around its hearth, constructing surrounding spaces of the build-ing. I need to think more carefully about the ability for the kitchen space to open up to the outside using lots of big openings and windows – also extending water further to the left so that you’re not just stepping out onto sand but experiencing that moment of reprieve. I also need to better con-sider the stair and where it is placed – currently it breaks up the space awkwardly. I will also need a goods lift to allow for artisans to move their objects from the workshop to the gallery upstairs. What did you learn from the exercises/tasks/your experiences/research? I am connecting back to the murano glass blowers through the notion of guild. "By the late 1200s, the production of glass objects of the finest quality was the city’s major industry as confirmed by the establishment of the Glassmakers Guild that laid out rules and regulations for the craftsmen. The purpose of the guild was to safeguard the secrets of the trade and ensure the profitability of the industry. In line with these objectives, a 1271 law prohibited the importation of foreign glass or the employment of foreign glassworkers". Looking at the images of the oversized kilns and understanding how vast they were allowed me to think about differentiating the experi-ences of

Week 11 Reflection

the artesian and the viewer through space; this acknowledges the artisan and the guild and celebration of that as an ancient practice. This translates into a differentiation between observer and artisan through separated levels. I am thus able to insight through the separated viewing and workshop spaces a position of curiosity in the observer, and the notion that the skill of the ar-tisan is not easily obtainable. It is acquired through time, training and guild of the craft. Thus the observer is not on the same level as the glass blowers. The movement of the people becomes fluid around the workshop like the movement of glass. How might the above points inform your decisions in the future? The circulation of the glass blower: You walk into studio. You pick up your piece. You look at it for a while. You pick it up and move towards the heat, the flame, the ferocity. You move to continuously turn your punty so that the viscous molten glass keeps its centre of gravity around the rod. The circulation of the glass visitor: Starting with a curated viewing of the glass object. This is the room of glass object viewing. These objects you see are the final product, the curated version. What we want you to see. In plain view with solid brick wall behind - textured but creamy col-oured. Some have glass blockwork behind that glows like fire. The walkway becomes smaller in width as you move through. Water below, like the surface of the glass, liquid, subject to gravity, moving, refracting light. It is overwhelming. You come into darkness to then be hit with the glow from the kiln. The activity of the glass blowing and the heat in this space. You watch the glass blowers at work. You can see everything each move they make and the way in which they treat the glass shaping and reheating. The recess in the walls with galss objects on it makes you realise that you are slowing down and making you look and think. The humbling moment is that of the fire at the centre of the workshop – powerful, roaring and that which gives life to the craft of glass blowing. The precedents from Tadao Ando and Zumthor encouraged me to consider how I might place windows in the workshop space and how beautiful natural light would contrast with the glow from the kiln.

Design Development

Week 12

Design Development Cont. Accommodation plan as an integrated part of the overall scheme.

Concept Sketches Dwelling Plans 0

0.5

1.5

2.5 m

1:50

Glass Blowing Workshop, Gallery and Pools Ground Floor 1: 100 @ A2

Glass Blowing Workshop, Gallery and Pools Level 1 Plan 1: 100 @ A2

Figuring out the shape of the walls of the dwellings and understanding what kind of form works best. In the drawings below one can see the difference that the window gaps adjacent to the fireplace makes in centralising it as the heart of the home and rendering it a separate, special element.

Interim Presentation

Week 10

Site Sketches

Week 12 Reflection

What drove or informed your design decisions? The geometries of the retaining walls in my workshop are governed by how the form works with the slope. With the circular form of the workshop, I really tried to allow for the interior layout and joinery to be integrated more with these curvilinear geometries, to make them more considered in the context of the craft. I felt that the walls of the workshop were too enclosed in my first itera-tion of the plan on page 87, and so I worked to incorporate windows where the spline wall geome-try comes to meet the circular form which I feel allows the building to breath a lot more and let beautiful light in.

Detail Sketches

I then used this same logic and applied it to the dwellings to create gaps/windows adjacent to the fireplace (see page 90). This allowed for the fireplace to become much more central and more spe-cial in the space. I then worked to massage the design of the apartment plan by using the dwelling design as a base but making it more compact such that it is now a part of the scheme and not so separate.

that, as many are retaining walls, they would need to be made up of pre-cast concrete that is then clad in the brick making the wall very thick but allowing for the curves to be implemented. How might the above points inform your decisions in the future? Ultimately all of the above points aided in allowing for my overall design to be more cohesive. I believe that this design reflects the craft of glass blowing much better than my mid semester design, and I’m proud of how it has developed in the last few weeks. I think that my main concept, being that the craft is centred around the notion of fire, is much stronger and more pre-sent in this design and I feel that I’m truly celebrating the craft in this way.

Where there other iterations of your design that you disregarded? The iteration of the apartment plan I did (see page 90) works well as it is now reading as a part of the scheme, however it is too large so I need to work to make it more compact. What was successful/unsuccessful?

Workshop Detail Section through platform

Workshop Detail Plan through platform

In my site plans on page 92, I was thinking about the approach and the process of how people move through the landscape towards the building. I also think that considering where the prominent winds are coming from, mostly north and some from the south east helped to inform where my water can be placed. I think that the solid walls that respond to the topography and retain the earth juxtaposed against the light glassy walls that are on the edges of the scheme is working well. What did you learn from the exercises/tasks/your experiences/research? I spent a lot of time thinking through and researching the details I wanted to show. This helped me distil my scheme more and really interrogate how materials fit and work together such as the charred timber and brick of the dwelling. Understanding how a structural brick wall might work was also a challenge – after my research I came to the conclusion

Dwelling Detail Section through fireplace

Accommodation Detail Plan through shower/planter

Interim Presentation

Week 10

Final Reflection

I want to acknowledge what I have learnt this semester about design process and the process of making architecture. I have sketched more, written more and physically created more than I have in any other studio. This production of models, drawings, discussion, precedents and expe-rience of actual glass blowing through the workshops I have attended have all been key in-formants in my design. Critique and testing have been essential for the development of my de-sign – that I feel has come far from where it was even 3 weeks ago. Its as if the concept devel-oped its own life and a result that was unexpected. But there was also a lot of rigour that went into the design – discipline of practice and the aim to continuously distil the design, which was hard work. I think that ultimately, the search for anything worthwhile, often especially in a cre-ative discipline, must include a readiness to fail and to return to the beginning over and over. This is where the true rigour lies.

References Websites https://www.hothaus.com.au/post/adding-the-fire https://www.hothaus.com.au/post/it-s-a-diamond-life https://workingtheflame.com/glassblowing-tools-guide/ https://www.cmog.org/article/origins-glassmaking https://dmgschoolproject.org/the-glass-blowing-process/#:~:text=Before%20starting%20the%20glass%20 blowing,of%20glass%20attaches%20to%20it. https://www.monash.edu/muma/collection/100-works-of-the-monash-university-collection/100-works/simoneslee https://www.artsy.net/article/artsy-editorial-venetians-reinvigorating-rich-traditions-murano-glass https://thecreativeindependent.com/people/roni-horn-on-politics-in-art/ https://www.muranonet.com/unfold-venice/laura-santillana http://www.sacramentoartglass.com/the-process-of-blowing-glass.html https://www.1stdibs.com/introspective-magazine/donald-judd/ https://lauramorelli.com/murano-glass-a-brief-history/ https://www.yellowtrace.com.au/light-blowing-exhibition-venice-glass-week/#gallery-7 https://www.artbasel.com/catalog/artwork/14924/Yhonnie-Scarce-Weak-in-Colour-but-Strong-in-BloodInstallation-view https://dmgschoolproject.org/the-glass-blowing-process/ https://www.gilliesjonesglass.co.uk/about/?utm_campaign=later-linkinbio-gilliesjonesglass&utm_content=later14530945&utm_medium=social&utm_source=instagram file:///Users/hermionehines/Downloads/perspective-5617.pdf https://awards.re-thinkingthefuture.com/commercial/blow-your-glass-of-wine-by-sirapa-supakalin/ http://www.andrewjacksonpollack.com/news/2017/1/25/classes-at-the-new-studio https://www.glassofvenice.com/murano_glass_history.php Books Pallasmaa, Juhani; ‘The Eyes of the Skin’ Pallasmaa, Juhani; ‘The Thinking Hand’ Pascoe, Bruce; ‘Dark Emu’ Zumthor, Peter; ‘Atmospheres’ Zumthor, Peter; ‘Thinking Architecture’ Noë, Alvar; ‘Strange Tools: Art and Human Nature’ Various; ‘Landscape as Protagonist’