design folio architec ture for a move towards
progressive performance in the modern age
James Feng BDES3027 Studio 3b C ATHERINE L A SSEN
Semester TWO 2016 DESIGN IN ARCHITECTURE
I lean over you, your equal, offering you a mirror for your perfect nothingness, for your shadows which are neither light nor absence of light, for this void which contemplates. To all that which you are, and, for our language, are not, I add a consciousness. I make you experience your supreme identity as a relationship, I name you and define you. You become a delicious passivity.
M a u r i c e
B l a n c h o t
A SPONTANEOUS EXPERIENCE OF PERFORMANCE?
J
orn Utzon’s thinking behind the Sydney Opera House is layered: meticulous; ambitious; rigorous in structural exploration; refined in programmatic relationships; celebratory of the human scale. Similar motivations are adapted to the project site east of the Sydney Mint with a focus on the intrinsic, synchronous aspect of public performance. This project is an in-depth investigation into the public yet personal experience of interaction with busking performances. An individual’s accidental, spontaneous interaction with street performances is
unique to the moment of sensory interaction, random yet often meaningful. The evoking of raw emotions by connection at an intrinsic level with such performances are well known amongst busking communities. This is one of the major motivations and drives for many buskers to continue to refine their crafts via this platform. The investigation frames the seemingly formless, random interactions in parametric, architectural terms, aiming to simulate spatial relationships through exploring geometric arrangements in disorder/alignment paradoxes. An intriguing conceptual framework was adapted from Carl Jung’s concept of Synchronicity. Simply put, it deals with an individual’s ‘meaningful’ encounters from a series of seemingly random events. Can a form posses potential to be both ordered and chaotic? How does an individual’s moment of spatial experience of clarity relate to the experiences of a Piranesian labyrith within the same space? In what sequence does this occur? I aim to create a loose narrative, allowing also the public to dictate the emotional art they experience in their lives - allowing both the architecture and the performances to create dialogues with the people.
james
INDEX
1 st
/
verse
_ _ _ _ _ _ _ _ _
pr e l i m i na ry s t u di e s
establishing relationships
2 ND
verse
/
_ _ _ _ _ _ _ _ _
A sy nchronous for est
disorder | alignment paradox
3 rd
verse
/
_ _ _ _ _ _ _ _ _
The progressive performance p l a t f o r m s
i n
t h e
c l o u d
1
st
verse:
g h scriptin g
Establishing relationships _Preliminary studies
CIRCUM. DIVISION: 36.00 10 DEGREE WAVELENGTH A LT E R N AT I N G 2 3 | 1 6 R A D I I D I V I S I O N R E A S S E M B LY O F F R A G M E N T E D PAR AMETRIC GEOMETRY DATA S O R T I N G : F L AT T EN ED L I S T
SOH shell tile tessellation imitation, abstracted to break symmetry
SOH major hall long section, ceiling heights mapped and rate of change analysed
Connecting nodes of performance centres within Sydney CBD and surrounding precincts as an experimental form generation method
Grasshopper script generating forms from a ‘0-1 domain’ bitmap input, forms can then be inversed, manipulated and according to different criteria
CIRCULAR QUAY
MACQUARIE PLACE PARK
WYNARD
MARTIN PLACE
PITT STREET MALL
QUEEN VICTORIA BUILDING
HYDE PARK (NORTH)
DARLING HARBOUR
mapping of licensed busking sites in Sydney CBD, Circular Quay & Darling Harbour
busking site typologies mapped and abstracted
adapting the grasshopper script from the Utzon study, generic forms such as squares can be used to generate cavernous masses with complex three dimensional symmetries
sections sliced from generated forms may help inform intensities centres and/or ways of spatial divisions.
These images depict a process of implementing contextual conditions into complex forms. Firstly, the Z-depth of the context is mapped (height of buildings and terrain), this is then blurred in the direction of architectural gradient, intensity centres are added in white, site map lines then applied on top to add noise to a smooth bitmap. Once again this bitmap image generates forms that opens up in the direction of the domain while also catering to intensity centres, under/around which performances occur.
sky Performance Cloud Structural fog program
2
nd
verse:
A Synchronous Forest _Disorder / alignment paradox
strategy begins by subdividing the available site in 1mx1m grid
every 4th point kept, the rest culled
every 4th point kept
every 5th point culled to create pockets of open spaces (reason outlined later)
1:500 site plan with superimposed grid
1:500 site plan with superimposed grid
1:500 site plan with superimposed grid
1:500 site plan with superimposed grid
cull every 2nd
half row (hr)
cull every 3rd
(2,2 | 2,2)
cull every 4th
(1,1 | hr)
effect of culling patterns on resulting spatial arrangements
cull every 5th
(4,4 | 4,4 )
cull every 6th
(2,2 | hr)
cull every 7th
(6,6 | 6,6)
effect of culling patterns on resulting spatial arrangements
cull every 8th
---
cull every 9th
---
cull every 10th
---
effect of culling patterns on resulting spatial arrangements
cull every 3rd
cull every 4th
effect of culling patterns on resulting space pocket arrangements
cull every 5th, (optimal distance between adjacent and opposing neighbouring space pockets)
cull every 6th
effect of culling patterns on resulting space pocket arrangements
moments of alignment, parallel projection, ground panels (rotating iteration cull no.5, as previosuly chosen). dashed : hospital road
moments of alignment, parallel projection, ground panels (rotating iteration cull no.5, as previously chosen). dashed : hospital road
moments of alignment, parallel projection, ground panels (rotating iteration cull no.5, as previously chosen).
moments of alignment, elevations, ground panels (rotating iteration cull no.5, as previously chosen) - one revolution - part1
moments of alignment, elevations, ground panels (rotating iteration cull no.5, as previously chosen) - one revolution - part2
perspectival revelation, effect of arrangements invokes curiosity, ‘seek and you shall find’
perspectival revelation, effect of arrangements invokes curiosity, ‘seek and you shall find’
material densities of program specific spaces verses ground panels, testing variations
material densities of program specific spaces verses ground panels, testing variations
varying panels’ degrees of transparency achieved desired effects
combined opaque and translucent panels
- opaque -
- translucent -
3
rd
verse:
Progressive Performance_ Test formulating the Cloud
cull every 3rd
cull every 4th
cull every 5th
Culling pattern exploration for secondary hung panels and its relationship to ground panels
cull every 6th (desired degree of density vs openings)
cull every 8th
cull every 7th
cull every 9th
Culling pattern exploration for secondary hung panels and its relationship to ground panels
sculpting individual member lengths using organic surface
4
2
2
2
2
1
1
N
3 5 1 - double height gallery space 2 - office spaces 3 - archive 4 - cafe 5- toilets
1:500 basic ground floor program layout based on path division slice through site
7
9
6 - single height gallery 7 - kitchen 8 - shop 9 - meeting room 9
8 6
6
1:500 first floor program layout
panels’ uni-directional orientation results in open view lines in one direction and moderate obstruction in another
‘cloud’ structural member thickness exploration, subtle differences can have multiplied effects, above thickness at 100mm.
ground interior test render - undefined ceiling
4
th
verse:
Reformulating the Cloud _ Program Integration
5
th
verse:
Refining the Cloud _ Dissolved Ground