Immersion / Light / Place

Page 1

IMMERSION / LIGHT / PLACE

Isabella Harris, Maria Zegarra, Satria Kurniawan


CONTENTS Design Brief Acknowledgment 3 International House- History 5 Precedent analysis 7 Résidence Simone Veil, AAVP Lucien Cornil Student Residence, A + Architecture Simmon Hall, Steven Holl Architects Site analysis 8 Concept To Massing 9 Statement of Concept Sketches Mapping Massing Model Iterations Planning Volumetric Diagram Bubble Diagram Structural Diagram Design Principles 15 Schematic Design 17 Site Plan Ground Floor Plan and Visualisations Level One Plan and Visualisations Level Two Plan and Visualisations Level Four Plan and Visualisations Level Seven Plan and Visualisations Level Eleven Plan Rooftop Plan Section A Section B North-Western Elevation South-Eastern Elevation Detailed Design 35 Residential Level Plan The Walkway Section The Facade Elevation Design Brief Response 37


DESIGN BRIEF ACKNOWLEDGMENT Vision Statement The vision of The University of Sydney, is to redesign and rebuild International House, prioritising sustainable practices to create a dynamic and innovative space, which functions as student accommodation (for 500) and a community “village’; forging connectedness between learning and with residents, in a safe and engaging environment. Site: Situated within The University of Sydney Campus,the site borders are City Road and Maze Crescent, with close proximity to The Seymour Centre and The Wilkinson Building. The existing building and site has no heritage constraints. The redesign must consider impact for future redevelopment of these buildings, as well as potential redesigning of the eastern entry to Cadigal Green from Cleveland Street. Overall Project Requirements: The project requirements relate to design, function, relationship and stewardship. Excellence in innovative design, which harnesses the development of the whole person through: - Function: a space which enhances knowledge, safety and well being, with stream-lined accessibility within the site and across the university campus. - Relationship: internal and external spaces which support interaction, safety and well being, through engagement strategies, acknowledging culture and history of place. - Stewardship: responsibility to sustainable/environmental design practices in materiality, construction, technology, function and anticipated future planning needs. Functional Requirements: The project’s functional requirements with and within the design, must prioritise security and resident privacy and are relational to diverse spaces which are: - Private: dormitory style accommodation (for 500), with shared bathrooms (80%) and ensuite facilities (20%). - Semi-Private: multiple spaces for teaching & learning (tutorial, informal study,music practice rooms, maker spaces, - Public: a public art space,a large gathering space for events, external gathering spaces on the ground floor (potentially providing food and beverage outlets adjacent) and roof ( activated terraces), green spaces (vegetable gardens and entertaining areas). -public domains to enhance accessibility within and across the campus, with anticipated consideration for connectivity between the Seymour Centre and Wilkinson Building. - Amenity: university signage, back of house facilities, loading docks and end of trip facilities. Design Policies: Consideration of the following policies, must be given during the process and development of design: - Sydney’s Wingara Mura Design Principles (2016) - The Government Architect NSW Better Placed Principles (2017) - University of Sydney’s Art in the Public Realm Strategy (2018)

3


International House USYD Walter Bunning

When I.H. opened, it could house 125 residents, and the following buildings followed: East Wing (1972), Elkin Wing (1979), and Maze Units (1985). The architect was Walter Bunning from Bunning and Madden Firm, who designed the National Library of Australia. The current director is Jessica Carroll. Over 6,000 residents have lived in I.H. since its opening, representing 100 different nationalities. Approximately 60% were international students, and the average age of the residents is the mid-twenties. The space offers catered and self-catered accommodation. It consists of 16 twin share rooms, 145 single rooms and ten ensuite rooms. Self-catered accommodation includes six studio units, seven one-bedroom units and three two-bedroom units. An International House Member’s Association (IHMA) is a volunteer committee of current residents who manage social events and activities. The chair, treasurer and secretary are elected each year, and there are additional volunteer positions in the association such as photographers, social coordinator, sports coordinator, etc. The current I.H. closed from December 31, 2020, and is marked for redevelopment. The future of I.H. is to accommodate more residents from around the world. The I.H. council suspended the operation from January 1, 2021, until the development is completed on the current site. “The council decision recognises the 1962 Trust Deed which sets out several requirements for the operation of I.H. These requirements mean it is not feasible for I.H. to operate until such time as the redevelopment has been completed.”

I.H. is a residential college at The University of Sydney that opened in 1967. The location is 96 City Road, Darlington NSW 2008. It consists of 200 undergraduate and postgraduate students from Australia and different countries around the world. In 1954 Secretary of Overseas Student Bureau (Margaret Briggs) mentioned the need for an International House, and in 1955 the Student Representative Council decided to take responsibility for the fundraising campaign of this new project. I.H. goal was to assist both international and local students for accommodation and academic spaces for: a) Cultural exchange b) Developing international perspectives, c) Global networks and lifelong friendships. In 1959 USYD appointed Mr. W Harold Maze MBE (Deputy Principal) to the planning committee to establish I.H. This is recognised in the W.H. Maze Building 1985. From as early as 1956, Rotary International expressed its commitment in the involvement of I.H.; they were asked to raise $100,000. Fundraising was hard, but Ian Hudson (District Governor) urged clubs in his district to contribute. Clubs assisted I.H. concerning matters of governance through the Council's membership and fundraising and outreach programs.

4


Lucien Cornil Student Residence A+Architecture

The housing units are all generously-sized single bed units with ensuite bathroom and kitchen. The long and narrow floorplan enables every unit to have large windows bringing in daylight and fresh air. The choice of wooden construction made sense in this case, since the site is very heavily developed and tight, timber construction reduced distruptions to surrounding buildings. The use of cross laminated timber (CLT) is found all over the building elements, creating a warm and relaxing atmosphere. The architects also highlights the building’s heat and acoustic efficiency, made possible by the use of CLTs. The facade is a mix of contrasting colors and textures. Colored aluminum shingles mixed with perforated wavy panels reduce the scale and break down the volumes. The play of light is magnified throughout the building, some filtered through the perforated cladding and go through large windows lighting up the interior. At night, artificial light from the inside the building filters through the semi-transparent facade and lights up the Marsellaise night, creating a highly recognizable urban landmark.

Located in Marseille, France, A+Architecture has created one of France’s tallest wooden building. This 8 level, 200 unit student housing’s sensitive urban approach made for a functional and comfortable living space, whilst being open towards the city. Consisted of three interconnected wings, the design incorporates a bright and airy ground floor area, a 2 level single row “attic” units and complemented with numerous indoor and outdoor shared spaces. The gradation of the building height interacts with surrounding buildings and creates recessed open spaces, bringing airiness to the densely built area. The rooms are arranged around a central enclosed garden, and openings are positioned along the quieter alleys, bringing in a more relaxing and calm ambiance. The landscaped garden directly faces a large piazza connected to the main street of Rue Saint Pierre entrance while also preserving the heritage pine trees located along the corridor. 5


Résidence Simone Veil AAVP

Figure 4. Corner Persepctive

Creating an optimum space for living, each apartment has its own entrance with a kitchenette, living room and bathroom within immediate proximity. Apartments sizes range from 20 to 40 square metres. Common rooms for work or leisure facilitate interaction between students; a core design consideration. The material palette answers to the functional, economical, and environmental requirements of the building, whilst remaining elegant and iconic in nature through the combination of finishes. On one side of the site, the building faces the ‘Cite Internationale Universitaire de Paris’, (International University in the City of Paris) facilitating accommodation for its students. It communicates with La Maison des Arts et Métiers, as it blends into a ‘faubourg’ typology by creating a facade made up of multiple horizontal layers. The internal garden designed with empahsis on the Maison des Art's counterpart and a predominetly glass-based ground level, offers a light filled space providing a healthy environment and enhancing wellbeing. Followed by three larchwood clad floors and a drilled aluminium sheet top floor, the windows disect the facade in an effective rhythm as they are individually operated by the residents.

Figure 1. Internal View: Courtyard

Figure 2. Street View

Figure 3. Courtyard

In the south of Paris, located on a corner block, AAVP architecture designed a new social, urban, and architectural transition of student housing; Résidence simone veil. Articulated in two structures, the buildings comprise of 190 apartments. Résidence simone veil’ sympathises, yet remains iconic, to the various architectural styles in which AAVP sought to create a link between. Various built archetypes make up the layers of the region; a conversation is established between the buildings and the surrounding context. The articulation of two structures allows direct perspectives and orientations that relate to different urban environments and atmospheres, creating a diverse and personalised experience for residents. The considered placement of structures optimises the use of the irregular, corner site; a challenge that was appraoched through innovative and smart design.

6 Figure 5. Long Section

Figure 6. Plan


Simmons Hall at MIT Steven Holl

Each room has nine operable windows around 50x50mm and a 3m depth wall that allows low-angle winter sun to warm up the space and to stay shaded during the summer. There is a supplemental cooling (HVAC system) called Puff System during the hot days, which contributes to the 15% of the air-conditioned in the building; however, cooling is primarily passive. The "perfcon" structure allows maximum flexibility and interaction. The colored window jambs are based on a structural diagram used to coordinate the size of reinforcing steel in the Perfcon panels. The colored jambs express the maximum stresses in the structure. The colors reveal the size of the reinforcing steel cast within the Perfcon Panels. Blue=5, Green=6, Yellow=7, Orange=8, Red=9 and 10. Uncolored areas= 5 or smaller. The dormitories consist of 50% single and 50% double rooms with its bath. The dimension from the floor to ceiling is 2.7 m. This number derived from the nine square window pattern found inside each room. To provide a view, the architect determined 660mm window openings. The proportion of the Golden Section was used to create the room's dimensions, which resulted in a generous vertical size. The furniture was designed for the student rooms as interchangeable components that would allow flexibility. There is the option for beds to be elevated or down on the floor, and they would line up correctly with the windows. The idea of porosity is also present in the wood panels of the furniture, creating a pleasant space. Wood was used instead of plastic because of its aging capacity, and it can be refinished periodically.

Single Room

Single Room with atrium wall

Double Room

Double Room with atrium wall

In 1999 Cambridge, Massachusetts, US Massachusetts Institute of Technology allowed Steven Holl to design a student residence. When designing the dormitories for the MIT school, the main goal was that the spaces around and within the building would create and allow interaction among students. Holl wanted the building to act as a sponge, where the porous structure would let light through a series of openings that would cut into different parts and sections of the building. The ten-storey housing balances solids and voids and opaqueness and transparency along Vassar Street. It is a ten-storey tall and 116m long construction. The break-in sections would be the main interactive spaces that provide views into the different levels. These break spaces would bring natural light and help with the circulation of air in the building. On the final design, the breaks are scattered throughout the building and have an organic geometry that juxtaposes with the rigidity of the rectilinear façade. There are five openings along the colored exterior representing the main entry space, viewing corridors and outdoor terraces. The 18,208 square meter program consists of 350 residences, a 125 seat theatre, a night cafe and a house dining on the street level. The interior corridors are like streets (2.4m wide), enhancing indoor conditions like an urban experience. The hallways can act like a public space, a lounge. The windows create a changing light as each room is occupied.

MIT 2001 (Porosity) Sponge Light and air ventilation (air drawn up through main “lungs” via slow RPM fans operated by roof top photovoltaic cells)

7


North 20.08 %

SITE ANALYSIS Wind- Strength & Frequency Gale/Near Gale (74.9-50 km/h): 0.0782 % Strong (50-38.9 km/h): 0.87 % Fresh (38.9-28.8): 4.92 % Moderate (28.8-19.8): 24.7 % Gentle (19.8-12.6): 35.51 % Light (12.6-1.1): 33.03 % Average: 13.6km/h, April Strongest: 66.6km/h W, 11 April, 2021

Victoria Park 12pm

Clevland

Temperature: 2021Average: 21.5 °C Lowest: 9.6 °C, 12 April Highest: 37.1 °C, 26 January 2010-presentAverage: 18.8 °C Average Low: 15.2 °C Average High:23.8 °C Rain: 2021Total Rainfall: 651.2mm Daily Average: 6.3mm Wettest Day: 110.4mm 2010-presentAnnual Average: 1000.4mm Monthly Average: 100mm Daily Average: 3.3mm Wettest Day: 176mm

Street

9am WINTER SOLSTICE 21/6 Sunset 16:54

4pm 12pm

Sunrise 6:59

4pm

J12 School Of Information Technology

9am EQUINOX 20/3

West 37.74 %

G06 International House

Sunset 19:06

d

ty

Ci

a Ro

4pm

East 23.99 %

12pm Sunrise 6:58

G06A W.H Maze Building

9am

SUMMER SOLSTICE 22/12 Sunset 20:06

Sunrise 5:41

A.P. Elkin Wing

G04 Wilkinson Building

J09 Seymour Centre

Urban Nest Student Accommodation t

Blackwattle Cresen

nt

N

0

5

10

20m

ze

Ma

e es Cr

South 20.68 %

Vehicle Movement Circulation 8


IMMERSION / LIGHT / PLACE An Ecosystem of Living and Learning- Our concept hinges on our design as an ecosystem Individuals living together, alongside the natural and built environment, combining elements of independence and interdependence to create communities. The inhabitants and environments coexist with each other, whilst the ecosystem itself is adaptable and forever evolving, based on the needs of all who engage with it, at a micro and macro level. Diverse Cultures. Diverse Learning. Diverse People-One Human Fraternity. Immersion: experienced through the deep cognitive, social and physical engagement of self, with others and with/within the space(s). Multidisciplinary and interdependent relationships forged through community. Light: experienced through nourishment of mind and body. The enlightenment of learning knowledge (disciplinary, social and personal) and design elements which provide clarity through way finding, materiality, relationships, function and plan. Place: experienced through inclusive design which provides experiences of purpose, connectedness and belonging, instilling confidence and security. 9


SITE CONSIDERATIONS The four elemental, initial considerations of the site focused on: 1) Site boundaries. 2) Negative Spaces, 3) Circulation and Connectivity, 4) The Corner. SITE BOUNDARIES: Analysis of the site boundaries allowed for varied initial design iterations in relation to overall form. The edges of the site presented as an opportunity to experiment with shape, density and positive and negative spaces. NEGATIVE SPACES: Through sketching and analysis of light/ shadow, consideration of the development of negative spaces within the overall form, allowed regular light filled, outdoor greenspaces on all floors. Enhancing the relationship between indoor and outdoor spaces, these “cutouts” provide a place for refuge.

SITE BOUNDARIES

NEGATIVE SPACES

CIRCULATION

THE CORNER

FORM EXPLORATION

FORM EXPLORATION

FORM EXPLORATION

FORM EXPLORATION

CIRCULATION: Circulation through and across the site was integral to the massing and planning of the finalised design. Establishing a connection between the site, Cadigal Green and Victoria Park was not only a requirement of the brief, but a design consideration that was essential to the overall schema and function of the building. THE CORNER: The corner of the site presented as an opportunity to design a schema that utilised it as an entry point; compression and tension, filtering and funneling.

10


CONCEPT MODEL MAPPING

Buildings- Reflected in Concept Model One

Contours- Reflected in Concept Model Two

Major Roads- - Reflected in Concept Model Three

OTHER POSSIBLE CONSIDERATIONS

Minor Roads

Paths

Parks

11


CONCEPT MODEL ONE ITERATION ONE

Focusing and studying the site boundaries in relation to significant architecture and place, developed the conceptual forms, (model iterations) where the design engages with the edges and transitional spaces. The variations of openings, protrusions and heights explore the conceptual underpinnings of the overall design schema; immersion (accessibility), light (openings and protrusions/shadow) and place (iconic identity).

two

three: created rectilinear shape (grey)

four: placed rectilinear shape on overall form and subtract

five

ITERATION TWO

two

three: experiment with staggering heights

four: create wings based on staggered heights

five

ITERATION THREE

two

three: continue to extrude evenly

four: manipulate form edges on multiple planes

five

ITERATION 4

two

three: experiment with staggering heights

four: create rectilinear shapes to subtract with

five

ITERATION 5

two

one

three: experiment with staggering heights

four: create rectilinear shape and place on overall form

five

12


CONCEPT MODEL TWO Identifying intersection points between major roadsroads and paths through the university and intoand theinto city the grid.city Thegrid. designed Identifying intersection points between major and paths through the university form incorporates multiple entry points which converges into a single central public space. Various configuration The designed form incorporates multiple entry points which converges into a single central public space. of massings, openings and heights aims to create an architectural form which upholds our design approach; immersion, light and place. For example, iteration 2, Carves out large central allowing multiple circulation points. Two Various configuration of massings, openings andaheights aimscourtyard, to create an architectural form which intersecting rounded maximizes view and sunlight potential. upholds our designtowers approach; light, immersion and place.

ITERATION ONE

A rounded L-shaped main structure with a detached triangular podium, allowing seamless connection between the city and the university. Setbacks creates intimate communal spaces

ITERATION TWO

Carving out a large central courtyard, allowing multiple through points. Two intersecting rounded towers maximizes view and sunlight potential.

ITERATION THREE

Carving a narrower opening on a triangular podium, creating an alley style public passageway. L-shaped tower with varying heights, with cuts and openings for open-air spaces.

ITERATION FOUR

A L-shaped main structure with a public passageway around a detached public podium levels. Numerous cutouts are carved along the towers and podium, forming quality shared spaces.

ITERATION FIVE

Maximizing site area by building around a central courtyard. An interconnected tower is raised on different heights, blending in to the city skyline and creates multiple large rooftop spaces. one

13


CONCEPT MODEL THREE The iteration identifies the contour lines of the city in relation to the site boundaries. The three different curvilinear shapes are designed by the topographical curves that dominate the site and the different heights present in the city terrain. The different heights from building A to C increase as the elevation of the terrain increases from east to west (19m-43m), and this changes through the different iterations. The entry points and prominent central voids (located at the center of each shape) are placed in relation to the site’s main green spaces (Victoria Park and Cadigal Green) and to connect with Seymour Centre and Wilkinson Building. Variation of heights, openings, ground floor circulation and the design creates a space for connectivity that provides private and public spaces to its users.

14


PLANNING, MASSING AND STRUCTURAL DIAGRAMS The massing, planning and structure of the overall design for International House, was centred around extruding the project requirements directly related to function, relationship and stewardship and aligning these with the functional requirements of each of the diverse spaces: private, semi private, public and amenity. The labels in the bubble diagram (diagram 1) correlate in color to spatial planning (diagram 2) and the connecting lines indicate the relationship of the spaces, as experienced through their positional (solid lines) or visual (broken lines) engagement. Diagram 3 shows structural elements, specifically lift cores, bathroom core and columns.

Small Courtyards Reception

Outside Gathering Spaces Cafe

Private Space

Roof Terraces FIP & Fire Hydrants

Loading Dock

Bathroom Facilities

Semi Private Space Public Space

Seminar & Tutorial Rooms Public Domain/ Courtyard

Amenity Diagram 2

Rooms

Kitchen Facilities Study Spaces Teaching and Learning Spaces Music & Maker Spaces Large Gathering Spaces End of Trip Facilities

Exhibition Space

Entertainment Spaces

Physical Connection

Lift Cores

Visual Connection Private Space

Bathroom Cores

Semi Private Space

Levels

Public Space

Diagram 1

Amenity

Diagram 3

Columns 15


DESIGN PRINCIPLES TO UNDERPIN CONCEPTS There are eight design principles which enable the narrative of function, relationship and stewardship of the design concepts: immersion, light and place. These principles are: connectivity, neighbourhoods, the walkway, thresholds, gathering , circulation , greenspace and light filled spaces. Each of these principles is evidenced through the design elements, as authentic relational experiences of immersion, light and place. These relational experiences and design elements are explored in the following plans and visualisations.

1. CONNECTIVITY

2. NEIGHBOURHOODS

3. THE WALKWAY

4. THRESHOLDS

5. GATHER: CUTOUTS & ROOFTOPS

6. CIRCULATION

7. GREENSPACE

8. LIGHT FILLED SPACES

Consideration of the Wingara Mura Design Principles is embedded in each of the above principles as evidenced through acknowledgment of Traditional Custodians of the Land through signage, materiality, landscaping/use of native plants, colour of furnishes and art selection.

16


SCHEMATIC DESIGN

CLEVEL

AND ST

REET

The interdependence of this design ecosystem is envisioned in the layering and connections between the concepts, principles, design elements and relational experiences. In each level of the schema the concepts of immersion, light and place are enabled through the identified principles, actioned in the design elements and experienced relationally, as a collective and individually. “The Walkway” is integral in this schema as it establishes a connection of interdependence between the building wings. At this moment, participants are suspended between forms in a sublime experience, completely immersed in the design schema.

D OA R Y

CIT

THE SEYMOUR CENTRE

WILKINSON BUILDING

NT

E ES

R

Site Plan 1:500

MA

C ZE

17


E

E TI

BI

HI

EX

ON E ON

N

TIO

BI

I XH

E

STUDY SPACE

ON

ITI

IB

H EX

ITI

IB

H EX

N

TIO

BI

I XH

N

TIO

BI

I XH

N

TIO

BI

I XH

KIT

L AL

E

SU

CA

KITCHEN CAFE

G IN ET ME OOM R

COURTYARD CAFE

MAI X

LBO

LIBRARY

UM

RI

TO DI

AU LINEN ROOM

MEETING ROOM

A

GE

ST

B

E

AG

ST

K AC

GARBAGE ROOM

GYM

E

AG

OR

ST

FIP

FIRE HYDRANT BOOSTER

LOADING DOCK

SF: Suggested Feedback from Paolo and Consultant weeks 10 and 11 DR: Design Response

N

TIO

NG

OU

Ground Plan 1:250

EN

CH

CAFE

FIRE PUMPS

N

TIO

EP

C RE

ST

Y UD

E

AC

SP

E

AG

OR

ST

RA ST NI E I M AD FFIC O

Wingara Mura Design Principles Evidenced: vegetation, furniture/ finishes and art DESIGN PRINCIPLES: 1.Connectivity 3.The Walkway 4.Thresholds 6. Circulation 7. Greenspace 8. Light Filled Spaces

Feedback taken from weeks 10 and 11 Week 10- Consideration to design and structural solutions SF: Redesign of entry points and circulation on ground floor - DR: openings and pathways were designed to have direct access between Cadigal Green, the site and Victoria Park. SF: Create relationships between ground floor spaces - DR: designated openings and entry points are defined by materiality and structure, as well as direct orientation towards one another SF: Development of relationship edge to City Road - DR: overall form of the exhibition space adapted in order to accommodate a strengthened connection to City road - DR: seating for the cafe “spills” out onto the walkways and City road to enhance the relationship - DR: seating is now provided Week 11- Consideration for services and facade SF: Space provided for risers and fire systems - DR: risers have been included in all levels - DR: water tanks and hydrants have been included on both ground floor and rooftop SF: Bathroom facilities to be “back to back” and in the same location - DR: Bathrooms placed in the same/similar locations on all floors and facilities are now “back to back” SF: Allow space for delivery dock and FIP - DR: adequate space on the ground floor has been provided for deliveries/ loading and FIP SF: Continue facade language across the northern walls - DR: balconys added to have a consistent facade language across the northern faces of the building 18


GROUND FLOOR VISUALISATIONS These design elements empower immersion through locality of site and proximity to campus facilities, connectivity to environments built and natural, to others through social and academic engagement. Light is experienced through the design elements of the void space, materiality- glass and timber, way finding, motion sensor lighting, and entry points.

City Road Entrance via the cafe

The Entrance from the corner

CONNECTIVITY: IMMERSION in the: cafe, courtyard, theatre, space, the walkway, exhibition space, circulation and the commercial kitchen 19


Wingara Mura Design Principles Evidenced: vegetation, furniture/ finishes and art DESIGN PRINCIPLES: 1.Connectivity 3. The Walkway 4.Thresholds 5. Gathering 7. Greenspace 8. Light Filled Spaces

Level One Plan 1:250

20


LEVEL ONE VISUALISATIONS Level One enables the principles mentioned previously and actions them through semi-private spaces, such as the commercial kitchen, study spaces, multi purpose spaces of gathering, terraces and learning areas. These design elements empower immersion and place through connectivity as experienced in formal and informal interactions across the facilities. Whilst each facility has its own sense of place, these work collectively in function and form. Opportunities for multidisciplinary engagements are fostered and light is experienced through the use of materiality, enhancing views within and outside the building, framing the views beyond and building connectivity on a macro level.

The Walkway: Integral Design Component

Booth seating and relationship to outdoors

Outdoor seating

Commercial Kitchen: Cooking areas and lockers 21


Wingara Mura Design Principles Evidenced: vegetation, furniture/ finishes and art DESIGN PRINCIPLES: 1.Connectivity 2. Neighbourhoods 3. The Walkway 5. Gathering 8. Light Filled Spaces

Level Two Plan 1:250

22


ROOM INTERIOR The rooms are staggered in a pattern that establishes a formal entry point for a small cluster of rooms. It is in this space that neighbourhoods are established creating a sense of belonging, security and community, underpinning the main concepts. The neighbourhoods are identified through their form but also the use of materials and design to transition from public (concrete) to semi private (timber) and private spaces (thresholds). Rooms are fitted with external with operational louvres for each student to create an individualised light filled space. This staggering of the rooms and operation of the louvres creates a dynamic and fluid facade.

23


Wingara Mura Design Principles Evidenced: vegetation, furniture/ finishes and art DESIGN PRINCIPLES: 1.Connectivity 2. Neighbourhoods 3. The Walkway 5. Gathering 8.Light Filled Spaces

Level Four Plan 1:250

24


GATHERING Lounging spaces and kitchenettes are located near circulation and facilitate connectivity between students within the wide hallways and through way finding. Spaces such as media rooms are available to build on connectivity and enhance a sense of place and belonging for residents to engage with friends in an intimate(micro) setting, much like at home. Various cutouts are scattered throughout the building providing semi private outdoor spaces for gathering, promoting personal light and well being and immersion with environments.

25


Wingara Mura Design Principles Evidenced: vegetation, furniture/ finishes and art DESIGN PRINCIPLES: 1.Connectivity 2. Neighbourhoods 5. Gathering 8. Light Filled Spaces

Level Seven Plan 1:250

26


ROOFTOPS Provision of fire-pits and barbecue facilities promotes gathering as a residential community enhancing immersion, light and place. Collective stewardship of facilities unites residents, building community and relationships within the outdoor spaces. Views across the campus and beyond immerse residents with the campus and city of Sydney.

27


Wingara Mura Design Principles Evidenced: vegetation, furniture/ finishes and art

DESIGN PRINCIPLES: 1.Connectivity 2. Neighbourhoods 5. Gathering 8. Light Filled Spaces

Level Eleven Plan 1:250

28


Wingara Mura Design Principles Evidenced: vegetation, furniture/ finishes and art

OP

FT

O RO

WATER TANK 1

DESIGN PRINCIPLES: 1.Connectivity 5. Gathering 8. Light Filled Spaces

MECHANICAL

WATER TANK 2

Roof Plan 1:250

The rooftop is a multipurpose gathering space which may be utilised in a semiprivate or public capacity. This space is the final level of the design and brings together the main concepts of immersion, light and place, through the experiences of connectivity, natural light and secured use. This space is adaptable and may be used for a range of purposes. Fire tanks and mechanical services are housed on this level.

29


level eleven RL 71.86

level ten RL 67.86

level nine RL 64.86

level eight RL 63.86

level seven

level six

level five

future acess between International House and Wilksinson

level four

wilkinson building

level three

level two

level one

RL 55.86

RL 51.86

RL 47.86

RL 43.86

RL 39.86

RL 35.86

RL 30.86

ground RL 25.86

Section A 1:250 30


roof RL 83.86

level thirteen RL 79.86

level twelve RL 75.86

level eleven RL 71.86

level ten RL 67.86

level nine RL 64.86

level eight RL 63.86

level seven

level six

level five

level four

level three

level two

level one

ground

Section B 1:250

RL 55.86

RL 51.86

RL 47.86

RL 43.86

RL 39.86

RL 35.86

RL 30.86

RL 25.86

31


City Road Elevation 1:250

32


Maze Cresent Elevation 1:250

33


13mm SOUNDCHECK GYPROCK PLASTERBOARD 200 x 90 mm TIMBER STUD, FIXED AT 600 mm CENTRES BRADFORD FIRESEAL WALL INSULATION 10 mm PLYWOOD SHEATHING, NAILED TO STUD 90 x 45 mm TIMBER STUD FOR CEMINTEL SHEETS SARKING CEMINTEL “BARESTONE” WHITE FIBRE CEMENT SHEETS

75 mm BULLETHEAD NAILS

CEMINTEL SPECIFIED SCREWS CEMINTEL PVC FLASHING ANGLE 47 x 47 x 4 mm, PVC CORNER ANGLE MOULD, FIXED AT 200 mm CENTRES

Plan Detail 1:50 and 1:10

At 1:50, the structural solutions and technological aspirations of the schema become clear: a regular spaced concrete column (200x200) grid, with structural cores and timber stud walls with acoustic insulation. The principle of neighbourhoods and connectivity, concepts of immersion, light and place are emphasised here also. The 1:10 callout, highlights how the exposed facade walls (those without louvres) are clad in fibre 34 cement sheeting on a counter batten system.


UNIVERSAL BEAM 200MM METAL COMPOSITE CONCRETE DECK

STEEL STIFFENER PLATE (WELDED) BOLT NUT, EACH ANCHOR BOLT STEEL PLATE (WELDED) REINFORCED CONCRETE BEAM EQUAL ANGLE STEEL 50MM

Section 1:10

EQUAL ANGLE STEEL BRACING 50MM

STEEL PLATE (WELDED)

BEHIND BALUSTRADE PLANTER BOX

BOLT NUT

METAL CONCRETE COMPOSITE DECK UNIVERSAL BEAM 200MM

Elevation 1:10

Section Detail 1:50 and 1:10

The Walkway is lightweight steel construction and connects multiple shared spaces throughout the building; creating breaks of outdoor spaces to an otherwise heavily-built environment. The Walkway also allows visual connection towards the city and the courtyard below; macro and micro communities. A metal-concrete composite deck is held up by two I-profile universal beams anchored into the main concrete structure. The bolted v-brace provides additional support and stability.

35


Elevation Detail 1:50 and 1:10

36


DESIGN BRIEF RESPONSE

The realised design created metaphorically through the principle of an ecosystem, centres on the concepts of immersion, light and place, to bring together diverse cultures, diverse learning and diverse people- Our Human Fraternity. Creating a facility centred on safe and interdependent experiences of living and learning drew on research (ethnographic, historical, scientific and evidence based) in order to ensure design planning was informed and innovative, creating an authentic and evolving space for users and the wider community. Collective and individual engagement, nourishing and belonging was achieved through the design elements of: - Materiality, Aesthetics & Technology: - Timber- for its sustainability and qualities of aging and workmanship. It also harmonises lightness - Glass- as it creates light and visual connections to frame views within and outside the building envelope - Concrete- for its structural integrity and thermal mass - Native planting- establishes a connection to the history of the site and Traditional Custodians of the land and creates landscaped areas that speak sympathetically to the surrounding context - Iconic, textured facade which instills a sense of place and belonging for residents, enhanced by digital signage in diverse languages - Swipe cards access for security and confidence building - Plan & Design: - Consideration of the placement of design elements to: - provide balance between private, semi-private and public spaces to enhance community living at a micro and macro level, yet still foster privacy and security - create successful circulation between and within the facilities and surrounding sites, also enhancing connectivity and immersion and fostering positive relationships - Ensuite rooms are prioritised for students with disabilities - Work spaces and furniture,which are adaptable and flexible to cater for diverse learning needs, groups and individual engagement. - Thresholds and passages which create curiosity and clear links between spaces, drawing residents to engage - Neighbourhood concept which facilitates close relationships in proximity, promoting connectedness and wellbeing supports. - Individual, external, operational louvres for each room provides an opportunity for the spaces to be personalised with sun and shading. Externally these louvres present a connection to environment in their materiality and earthy colours - Opportunities to engage in multidisciplinary social and academic endeavours through diverse facility provision eg music spaces, maker spaces, cafes, lounges and media rooms. - Passive security through use of vegetation and lourves In addition, our design elements and principles are inclusive of: - The Wingara Mura Design Principles, as noted but not limited to: - EE 1.1 Imagine a uniquely Australian university- the project firmly grounded in a response to place – climatically and culturally – including opportunities to work with a locally informed vernacular of lan guage, materials and craft - Evidenced in materiality - EE 1.5 Create an environment that deeply resonates with the narratives of the University’s Aboriginal and/ or Torres Strait Islander communities – to create a living language of the land and its peoples the project explore opportunities to use the environment to educate and to reveal the Aboriginal and/or Torres Strait Islander vocabulary of place - Evidenced in landscape, furniture and art. - The Government Architect NSW Better Placed Principles, as noted but not limited to: - 3. Better for community inclusive, connected and diverse: The design of the built environment must seek to address growing economic and social disparity and inequity, by creating inclusive, welcoming and equitable environments. Incorporating diverse uses, housing types and economic frameworks will support engaging places and resilient communities. - Evidenced by inclusive spaces which create connectivity through design and plan of community facilities and personal spaces for all. - Lift access and wide corridors for the circulation of disable residents - 4. Better for people: safe, comfortable and liveable: The built environment must be designed for people with a focus on safety, comfort and the basic requirement of using public space. The many aspects of human comfort which affect the usability of a place must be addressed to support good places for people - Evidenced by design elements of immersion, light and place. - Establishing spaces to support the diverse needs of users whilst creating harmonious and safe communities. - University of Sydney’s Art in the Public Realm Strategy - 2.3 To respond to the layered histories of a proposed site, the Art in the Public Realm strategy will foster partnerships with relevant faculties, local communities and the surrounding neighbourhood. In achieving these multiple aims the Art in the Public Realm strategy will give particular focus to commissioning Indigenous artists and curators in major locations on campus. Appropriate protocols will be adopted when commissioning and displaying Indigenous art. Evidenced through the use of public and semi-private spaces to engage with art across the facility, formally and informally. It is this extensive research and design principle/elements which has forged the architecture presented. An iconic, inclusive social structure acknowledging generations past through design and preparing for generations of students today and tomorrow. “It absorbed me into the light, so I was part of the light. And once I was in the light , I knew everything the light knew. I knew all about the universe.”-Andy Petru 37


38


Turn static files into dynamic content formats.

Create a flipbook
Issuu converts static files into: digital portfolios, online yearbooks, online catalogs, digital photo albums and more. Sign up and create your flipbook.