P
O
Jame s
R
T
F
Fe ng
U Ni v e r s it y
O & of
L
I
MINH
O AU
s y d n e y
fac ult y of ar c h it e c tur e , d e s i g n & pla n n i n g
B DES 2 0 2 6 A r c h i t e c t u r a l S t u d i o 2 A SEMES T E R O N E 2 0 1 5 T u tor s: sa r a h b r een lov e tt e + Z a ina b Z in wa l a
1
2
I
NDE
X
P R E F A CE
p5
r e fl e c ti o n CHAPTER ZERO
0 1 0 1 0 1
p 6 -13
CHAPTER ONE
p14 -3 0
Ex pl o r ati o n & A nALYS I S
C O N tin u it y the b e g innin g
CHAP TER T WO
p 3 1-41
f r a ct u rin g the b r ea k in g p o in t
C H A P T E R T H R EE
p 42-45
ch a o s
S PATIA l r ea r r a n g e me n t
CHAPTER four
r e - e m e r g e nc e
p 4 6 - 67
b r ea k in g o u t
3
4
P R EFA C E r e fl e c ti o n
T h i s s em e s t e r h a s b e e n a w on d e r fully pro ductive, hig hly
The follow pag es o f this p o rtfo lio is split into a to ta l
i n t e n s i ve s e ve ra l m on t h s . H ou r s after hour s were sp ent
of five chapter s, fo llo wing the themes o f, explo ratio n;
i n f ro n t of c om p ut e r s c re e n s ; p r int stores; las er cutting
c ontinuity ; fractures; cha o s a nd f ina lly, re- emergenc e.
mac h i n e s ; 3d p r i n t e r s . T i m e s e e m e d to have flew b y while
We sinc erely hop e yo u enjo y the c o ntents o f this
w e c o n s t a n t ly c om p la i n e d ab out not hav ing sufficient
p or tfolio.
t i me t o g e t ou r p roj e c t s fi n i s h e d in tim e. But the tr uth i s , t h ere w i ll n e ve r b e e n ou g h tim e for us to push our pro je ct s b e yon d our e xp e c t at i ons. You m ay ask why, and
Jam es & Minh
t h e res p on s e w ould b e s i m p ly, one wor d: amb ition.
W e a re t h a n k ful t o h ave ou r tutor s this s em ester, S arah B re e n Love t t a n d Z a i n ab Tinwala, to g uide us in arc h i te c t ura l t h e or y, i n p re s e n tation, in g raphics and i n s pi r i t , t o p us h ou r i d e a s t o the academ ic standar d re qu i re d of us , a n d t ow a r d s ou r a mb itious exp e ctations of o u rs e l ve s . T h e y h ave b e e n e m p athetic and op en-m inde d an d we w ou ld li ke t o e xt e n d t h e m our utm ost g ratitude.
5
CHAPTER ZERO
0 1 0 1 0 1
Ex pl o r ati o n & A nALYS I S W e d e c i d e d t o e xa m i n e t h e s c a le in detail for s everal
of the outer was p a rticu la rly cha llenging to mo del, a s
re as o n s . T h e b at h ro om s c a le i s t h e m o der n day des c endent
it ess entially c onsiste d o f two c o mplex cu rve d shelle d
o f t h e b a la n c e , e volve d from the ancient sy stem of
ob je cts that s eamlessly jo ine d to o ne a no ther. T he
re l at i ve w e i g h t t o n ow ab s olut e weig ht. The m e chanism s
exp er ienc e of m o d elling the s ca le wa s rewa rde d with
t h at m a ke h i s m e a s u r i n g p ossib le utilis es forc es of
photo-realistic renders a chieve d in Ma xo n’s Cinema 4D.
t e n s i on , c om p re s s i on a n d t or qu e, the thre e m ain dr iv ing fo rc e s t h at le d W e s t e r n s o c i e t y throug h the Me chanical
To retain a s ens e of a uthenticity the mea su rement s ca le
Re vo l ut i on
were
she et of the or ig ina l o bje ct wa s s ca nne d a nd u s e d a s a
i n t e re s t e d i n t h i s s e r i e s of a n c i ent te chnolog y that have
and
into
modern
te chnolog y.
We
texture m ap for th e render, s o the render is in pa rt a
l as t e d t h i s lon g . I n t o d ay ’ s d i g ital ag e, the exploration
c om plete replica of the o rigina l.
an d an a ly s i s of a n a log u e s y s t e ms is lacking and s o we d e c i d e d t h at t h i s w ould b e a w or thwhile sub je ct for our
C om prehending the mo re pro fo u nd mea ning o f this
d i s s e c t i on a n d a n a ly s i s .
exp er ienc e par tly c o ntribute d to wa rds the rea s o ning of the final proje ct. T he pro c ess o f ta king a mu nda ne ob je ct, in this cas e wo rn a nd weathere d, a nd diss e cting
O t h e r t h a n i t s h i s t or i c a l a n d m e chanical sig nificanc e,
it, analy sing it, in pa rt destro ying it, then a llo wing its
t h i s pa r t i c u la r s c a le w a s i n t e re s ting in ter m s of its for m
existenc e to b e do cu mente d a nd tra nsf erre d to a digita l
an d s tr u c t ure . S i m i la r t o m a ny mo der nist archite ctures,
m e dium , was quite extra o rdina ry a s it b e ca me mo re
i t c o n s i s t s of a s i m p le s k i n t h at encas es its fundam ental
b eautiful, it was a pro c ess o f rebirth.
me c h a n i s m s w i t h i n , p a r t s t h at app ear chaotic at fir st, b ut t h e y i n d i v i d u a lly c on t r i b ute to this c ontinuous t ran s fe re n c e of e n e r g y from the weig hing plate to t h e n e e d le . T h e s k i n a n d s t r uc tures als o s er ve as g o o d e xe rc is e for m o d e lli n g i n R h i n o c eros, the c om plex nature
6
One of the m ajor pro blems we f a c e d wa s wo rking with line-weig ht, a hiera rchy o f line- weight wa s ess entia l in effe ctively c onveying a line drawing. T his s e ems straig htfor war d, ho wever ho w that hiera rchy is la id o ut is a m ore c om plex matter. Test printing is pa rticu la rly ess ential in m aking su re the line- weights a pp ea r a s desire d
as
s cre en
prev iews
a re
ra rely
a c cu rate
in
display ing them ac cu rately.
< X-ray front elevation ^ birdâ&#x20AC;&#x2122;s eye plan view
7
Therefore, we sp ent a n entire d ay test printing the line drawing s, c or re cting them, then rep eating the pro c ess until the all b lotching is f ixe d by u sing sma ller lineweig hts while reta ining o vera ll hiera rchy. T he dia gra ms should them b e ha rmo nio u s a nd clea r in c o nveying the thre e dim ensional pro je ctio n o nto the print me d iu m. Hop efully we have a chieve d that mu ch.
< side section
8
< exploded axonometric line drawing, final iteration
9
^ + > detailed renders, casing and mechanisms modelled in Rhinoceros, textured and lit in Cinema4D
10
^ lower case texture in glass to reveal enclosed mechanism
11
12
^ front elevation render
^ final submission, composite visualisation of two renders, x-ray effect
^ test render, original render of the composite on left
^ test render of interior mechanisms and all screws, used in composite on left
13
CHAPTER ONE
contin u it y The b e g innin g - vil l a nm I nt ro duc t ion to ‘ hou si n g’
w it h i n
t he
a rc h ite c t u re
you
will
a l mo s t
a lw ays
e x p e r ie nce a v iv id v iew f rom t he outside re ga rd le s s of A f te r c ho o si n g t he Vi l l a N M for ou r pre ce de nt s t udy, we
whe re you s t a nd w it h i n t he bu i ld i n g. T he i nte nt ion of
a n a lys e d comp one nt s of t he a rc h ite c t u re i n t h re e l aye rs
t h is is to v is u a l ly me rge pr iv ate a nd t he publ ic s p ace s .
t h rou gh t he le n s of c ont inuit y, a s prev iously e ncou nte re d
T he opp o site is t he c a s e t he v iew i n g f rom t he outside.
i n a n a lysi n g t he k itc he n s c a le . B y as s e mbl i n g pl a n s , s e c t ion s , e lev at ion s to e xa m i ne t he b asic physic a l it y of
T he
t he hous e, we ne e de d to deve lop a s et of d i a g ra m s a nd
re m i nd s one of t he works of a r t is ts , Ute n Tit te l a nd Da n
re nde rs t h at b e s t e nc ap s u l ate t he not ion of t he hous e i n
G ra h a m . T he re works compr is e of outdo or i ns t a l l at ions
re ga rd s to ou r u nde rs t a nd i n g.
consis t i n g of a s e r ie s of m i r ror, s et w it h i n a n l a nd s c ap e.
us e
of
h i gh ly
re f le c t ive
d rop
dow n
w i ndows
W he n t he aud ie nce v iews t he work, t he re is a de l ib e rate d is con ne c t ion b et we e n s ubj e c t /obj e c t, ob s e r ve r a nd t he For m-work
ob s e r ve d , a concept e x plore by one of ou r mo de ls ( p2 3)
Vi l l a N M , de si g ne d by U N S t ud io’s B e n v a n B e rke l, is a s u m me r hol id ay hous e sit u ate d i n C atsk i l l, up s t ate
I n t he c as e of Vi l l a N M , t he re f le c t ive prop e r t ie s of t he
New York. T he volu met r ic for m of t he de si g n is a n
w i ndows re f le c t a w a r m at mo s phe re of t he e nv i ron me nt,
i nte nt ion a l con s e que nce of t he ge nt le slop e i n wh ic h
a l low i n g t he ble nd i n g of t he for m w it h t he e nv i ron me nt.
t he for m re s t s up on . T he for m is compr is e d of t wo b ox volu me s bi f u rc at i n g i nto t wo. T h is ge ne rate s a s e a m le s s
T h rou gh t he s e not ions , a s e ns e of cont i nu it y is ac h ieve d .
c i rc u l at ion wh ic h e rad ic ate s d isr upt ion .
T he for m-work of t he bu i ld i n g compr is e of pl a n a r volu me s , t w is te d s u r face s , si n gle c u r ve d s u r face s a nd
14
S u r rou nde d by wo o d l a nd , t he hous e of fe rs a p a nora m ic
t he i r conce a le d s t r uc t u ra l f ra me s . T he s e te c h n ique s
v iew of v a s t slop e s a nd ple nt i f u l of ve get at ion . From
a l low t he ge nt le bi f u rc at ion of t he for m preve nt i n g a ny
s udde n d isr upt ion s i n c i rc u l ator y, pro g ra m m at ic a nd e x p e r ie nt i a l cont i nu it y. T he sh i f t i n s p at i a l t ra nsit ions i s s ubt le, ac h ieve d m a i n ly t hou gh t he ge nt le c h a n ge s i n e lev at ion . T he t w i s te d s u r face s a l low t he met a mor pho sis of w a l ls i nto f lo ors a nd v ice ve rs a . T h is cons t r uc ts a cont i nu at ion of w a l l to f lo or, f lo or to w a l l as pl a ne s rot ate 90 de g re e s to o cc upy a d i f fe re nt a x is . I nve s t i gat ion cont i nu it y of t h is t he me consis te d of a pro ce s s d i a g ra m s , f lo or pl a n s show i n g t he p a nora m ic v iew of t he l a nd s c ap e, d i a g ra m m at ic d raw i n gs show i n g t he fou r key s t r uc t u ra l comp one nts a nd re nde rs . T he d i a g ra m s m a i n ly con si s te d of l i ne s wh ic h g raph ic a l ly repre s e nte d a pro ce s s or key fe at u re s w it h i n t he for m . T he m a i n c h a l le n ge w a s to e s t abl ish t he m a i n for m of t he de si g n on R h i no ce ro s .
M a ny ite rat ion s we re c re ate d , t r i a l a nd e r ror w as e s t abl i she d to get to t he f i n a l R h i no for m . T he rot at ion i n a x i s f rom w a l ls to f lo ors i s t he t rade m a rk of t h is v i l l a he nce why one of ou r d i a g ra m s e nde d up consis te nt ly e xa m i n i n g t he m a i n m a n i fe s t. Wit h t he not ion of me d i a rot at ion , t he more d i f f ic u lt p a r t w as t ra nsl at i n g t he
introductory panel >
15
R h i no ce ro s f i le i nto Auto - c ad t he n Adob e I l lus t rator.
t he not ion of cont i nu it y for Vi l l a N M t he re nde rs consis t
T he conve rsion le ad to t he re a l i s at ion of t he re du nd a nc y
of a s e ns e of at mo s phe r ic u n re a l ism .
of Auto - c ad whe n c h a n g i n g l i ne we i ghts . Wit hout a ny pr ior k nowle d ge of a ny ot he r pro g ra m s t he re s u lt w as
A f te r t he pre s e nt at ion , T h rou gh t he com me nts of A le x (
a s et of te d iou s a nd rep et it ive move me nts w it h e rasi n g
a sm a l l me nt ion of h is u nde rs t a nd i n g of U NSt ud io) w a s
s up e r f luous l i ne s . T he l i ne d raw i n gs show t he pro ce s s
t h at t he fo c us of t he f i r m w a s more d i re c te d tow a rd s
of t he ge ne rat ion of t he for m , t he t ra nsl at ion f rom w a l l
ge omet r y rat he r t h a n t he conside rat ion of conte x t. T he
to f lo or a nd t he s et pl a n s for t he bu i ld i n g. C omp o site
repre s e nt at ion of t he pre ce de nt neve r t he le s s a l i g ns w it h
re nde rs fo c us he av i ly i nto t he t h re e concepts t h at d r ive
ou r u nde rs t a nd i n g a nd i nte r pret at ion of Vi l l a N M .
^ implied form generation process, right hand corner diagram shows openings in the architecture longitudinal sections, hinting at spatial continuity >
16
^ simple massing model of Villa NM, showing bifurcating volumes process in Rhinoceros of constructing the villa >
17
^ downscaled floor plans and elevation various sections through the building, conveying a sense of symmetry >
18
^ Detailed analysis of surface curvature types, as these categorisations are repeated throughout Villa NM, originally shown via colour but later changed to parallel hatchings on the three dimensional surfaces under tutors’ suggestions
^ Shaded renders of key junctions through the villa to highlight what van Berkle refers to as the ‘transformative’ and ‘serial geometry’, showing how light interacts with the surface junctions to effectively convey the complex geometry that is so essential to the personality of the building
19
< composite render of Villa NM’s interior spaces and ‘unrolled’ window views The interior space render shows how light penetrates the windows to light the interior spaces. An ambient, diffused light source is used in this analysis of day lighting, the results show well in interior spaces, additionally highlighted by the diagram of flattened window views (as a way to show context), to be open to the outside, effective as an intended holiday house. A challenge in this render was removing the roof and ceiling of the building without allowing light in the scene to enter through what was now an ‘open skylight’, the solution of a composite tag in Cinema was effective is achieving the required result.
20
^ Concept model, twists and turn, birch wood laser cut contour, clear satin varnish
21
22
^ Concept model, in macro
^ Concept model, removal of object/observer relationship
23
^ interior composite render- twisting surfaces connect to form slopes that mimic the organic geometries of a hill
24
^ interior composite render- top floor bedroom
25
^ exterior render- concept render inspired by the works of Dan Graham, a statement on the ephemeral exterior appearance of the villa
26
C H A P T E R O N E ( C ont . )
contin u it y
A b e r c r o mb ie - S i te Ma ppin g Th i s p roj e c t b e g a n w i t h t h e i nvestig ation of the site e n c l o s e d b y A b e rc romb i e S t . a nd Lander St. Dar ling ton. The chos en topics of mapping evolve d from the last c onc ept o f c o n t i n ui t y. E xa m i n i n g t h e n otions of c ontinuity we e x pl o re d mu lt i p le va r i ab le s : a c ou stic qualities of amb ient n o i s e , fa c a d e m at e r i a li t y, p la n e s and vanishing p oints. In i t i ally, our m a p p i n g a p p roa ch was over ly literal, mu c h li ke h ow s c i e n t i fi c re s e a rch would b e. Along with graph ic a l m a p s , v i d e o m a p p i n g s were als o c om p os e d re vo l v i n g a roun d t h e t op i c of c on tinuous facade iterations an d d ep t h of v i e w. T h e g ra p h i c results were unsatisfy ing an d l a c ke d d e p t h . T h e re fore i n the s e c ond we ek a m ore e x pre s s i ve a p p roa c h w a s t a ke n with thes e m aps. We c o mple t e ly re m a p p e d a lm os t a ll of the th em es utilising mo re p rovok i n g g ra p h i c a l s t yle s with the aid of C inem a 4 D pl u g - i n s a n d g ra s s h op p e r t o g enerate g e om etr ies and fo rms us i n g n um e r i c a l a n d g ra p hical data inputs.
27
^ Grasshopper definitions used in mappings, facade & materials using panorama as input
28
^ ambience noise levels of the site, form generated using Cinema4Dâ&#x20AC;&#x2122;s hair effector
^ ambient noise direction and reach
29
30
^ facade materiality, material luminosity composited using Grasshopper.
^ vanishing points, convergent planes & field of view
CHAP TER t wo
f r a ct u r e The breaking point T h e m a p p i n g s le a d t o t h e c on fig uration of the c onc ept
create d a s et of c o ntro lle d, c o nf igu re d iterative s ets
t o f ra c t u r i n g a n d re s t orat i on . The sudden rever sal in
that would later g enerate fo rm. T he no de o f ra ndo mness
c o n c e p t w a s d u e t o t h e la c k of r hy thm and c onsistency
exist with the fractu re sha p e. T his wa s c o ntro lle d by a
o f t h e for m e r. T h e c h a n g e le d to the questioning of
Grasshopp er c o de which help e d to generate a nd c o ntro l
s ys t e m at i c n ot i on s of a fa m i li a r ter rac e hous e and the
the numb er of pie c es create d, the size o f the f ra ctu re d
i mpl e m e n t at i on s of
pie c es and which p ie c es a re f ra ctu re d.
Ja p a n e s e philos ophies emb racing
t h e asy m m e t r i c a l a n d t h e i m p e r f e ct. Due to the nature o f the f ra ctu res, ea ch sha p e fo rm, Re s t o rat i on i s a n i n t e g ra l p a r t of our lives, the fixing
dep e nding on its size determine d the pro gra m within
o f mi s t a ke s ; t h e m e n d i n g of p ast reg rets, our b o dies
that shap e. This re su lte d in them b eing c o nf igu re d to f it
are re p a rat i on p ro c e s s e s , t h e b iolog ical emb o dim ent of
the sp e cific prog ram o f the client.
me t ab oli c g row t h a n d c on s t a n t c ellular reparation. Th e Unbroke n House is designe d fo r the client kno wn W e alw ay s t h i n k of t h e re s u lt of repair as s om ething
as S ai t o. Before b eing inspire d into b e c o ming a c era mic
i n f e ri or t o t h at of t h e or i g i n a l, what if that is not the
ar tist following th e Wab i-s ab i philo s o phy, his pa st lif e
c as e ? W h at i f t h e p ro c e s s of reparation if hig hlig hte d,
c onsiste d of c om p etitio n a ga inst F isc he r’ s c o mpa ny fo r
e mb e lli s h e d , e mb ra c e d , h ow w o uld that influenc e our
total ener g y dom ina nc e. Af ter the events o f I nc ep t ion
p e rc e p t i on of i t ?
(2 0 12 ) , frag m ents o f Sa ito ’s memo ries were lo st du e to the adver s e effe ct s o f a drea m state kno wn a s ‘l imb o’ .
K i n t s u gi i s t h e Ja p a n e s e a r t of repair ing fracture d or
D espite the dam age, memo ries o f Sa ito ’s yo u nger yea rs
b ro ke n e n t i t i e s ( m a i n ly c e ra m i cs) and repair ing it with
crafting c eram ic with his f a mily b ega n to resu rf a c e. T his
a me ta lli c la c que r, h i g h li g h t i n g the b reak. We lo oke d
inspire d him to re u nite with his f a mily a nd fo llo w the
i n t o t h e p ro c e s s of fra c t ur i n g a nd restoration as m etho d
teaching s of Mush in, the pra ctic e o f no n- thinking, f re e
t o ge n e rat e for m . B e g i n n i n g at fractur ing a s quare we
from em otions of anger, f ea r o r ego .
31
Socialising
Dining Space
Eating Sitting
T h e re s ult i n g a rc h i t e c t u re i s a shattere d for m b ut Cooking
u n l i ke t h at of w h at w e p e rc eive b roken. There is a
Dining
s e n s e of b e a ut y t h at c om e s from the re-appropr iation
Kitchen
Providing Dishes
o f t h e b roke n : b re a k a g e re ve a ls g lim ps es of the inter ior, b re ak a g e t h at c re at e s j un c t i on s b etwe en spac es, creating s h i f t s i n e le vat i on t o e ffe c t i ve ly disting uish spac es and Pantry
pro gra m s . T h e f e e d b a c k w e re c e i ve d w a s that this prop osal was
Storing Retrieving
Playing
Living Room
s u p e rfi c i a l, la c k i n g i n s p at i a l exploration, much like
Entertaining Relaxing
a f ac a d e p roj e c t . Fur t h e r m ore , we were plac e d with a d i l e mm a . W e h a d i n t e r p re t e d â&#x20AC;&#x2DC; restorationâ&#x20AC;&#x2122; to involve
Resting
Bedroom
s h u ff l i n g of fra g m e n t s t o c on s tr uct a new archite cture
Sleeping Studying
Ceramic Artist House
Living Showering Bathing
Bathroom
Emptying Washing Preparing Emptying
Toilet
Laundry Being Inspired Working
Studio
Crafting Being Inspired
Firing Ceramics
Crafting
Kiln
Drying Kintsugi Decorating
Storing Ceramics
Storage
^ voronoi fracture patterns attempt at fracturing a typical program into smaller tasks >
32
Collecting Fragments Allocating Materials
^ voronoi form generation, growth from different cell sizes
m ore b eautiful than its o rigina l s elf. Resto ratio n attempts to re-unify it-s elf to its
o rigina l state b efo re brea ka ge
with m inim al loss o f materia l. Co nc eptu a lly, we c o u ld either cho os e the pro c ess o f resto ratio n o r c o ntinu e with the pro c ess of re- c o nf igu ratio n. Rega rdless o f the outc om e, a new c o nc ept wa s develo p e d. Inev itably, we de cide d to push the c o nc ept a nd exp eriment with c o ntro l and chaos.
^ Grasshopper definition for voronoi form generation in 2D and 3D
33
^ voronoi form generation, allocation of different size cells depending on program
34
Ascending
Gathering
Hygienic Refreshment
Creating
Descending
Laundry
Eating
Balcony Ascending
Playing Gathering
Hygienic Refreshment
Creating
Descending Circulation
Food Preparation
Toilet Business
Circulation
Sleeping
Toiletry Business
Laundry Storing
Eating
Balcony
Sleeping
Dishwashing Food Preparation
Toilet Business
Circulation
Sleeping Sleeping
Relaxing
Playing
Restoring Toiletry Business
Circulation
Storing Firing Ceramics
Sleeping
Dishwashing
Sleeping Relaxing Restoring Firing Ceramics
Ascending
Gathering
Hygienic Refreshment
Creating
Descending
Laundry
Eating
Balcony
1. Children
Ascending
Sleeping Playing Gathering
Balcony
Descending Circulation
Circulation
Food Preparation
Toilet Business
Creating
Hygienic Refreshment
Toiletry Business
Laundry Storing
Eating
Sleeping Sleeping Sleeping
2. Partner 1. Children
Circulation
3. Client
Toilet Business
Food Preparation Dishwashing
Relaxing Playing
Restoring Toiletry Business
Circulation
2. Partner
Storing
Firing Ceramics
Sleeping
3. Client
Sleeping
Dishwashing
Relaxing Restoring Firing Ceramics
^ basic spatial layouts, program and circulation (proposal)
35
^ longitudinal sections, elevational form generated from voronoi fracture cells
36
> exploded axonometric
^ fractures offset in the vertical axis to signify different spaces, stepping floor
37
^ interior render, circulation path differentiated using marble cladding, light streaks penetrate the interior through fractured walls, acting to highlight the breakages
38
^ exterior facade render, view from Abercrombie St. ( two layers of materials are visible from the front, tinted, fractal glass covered by a marble skin )
39
^ exterior night facade render, view from Abercrombie St. ( interior lighting acts to highlight fractures )
40
^ concept model, two identical vase models fabricated differently, laser cut contour and 3D printing, the 3d printing was fractured in program and hand re-constructed
41
C H A P T E R thr e e
ch a o s s pa t i a l s h u f f l i n g Imagi n e b e i n g ab le e m p t y a t e r rac e hous e, fill it with
rem ove m om entar ily destro y a ll establish c o nne ctio ns,
pl as t e r, t h e n b re a k a p a r t t h os e p ie c es b efore random is e d
relationships of spac es, we u nplu g a ll pro gra ms emb e dde d
s h u ff l e a n d re or g a n i s at i on . W e achieve d this throug h
within this spac e. To c o mpletely remo ve o u r p erc eptio ns
u s i n g s i mu lat e d p hy s i c s e n g i n e t o c olle ct and shuffle the
and c ontrol of th e a rchite ctu re, we have c o nf igu re d
b ro ke n s p a c e b e fore le t t i n g t h e m fall into a ‘ m ould’ of the
a way to do s o witho ut ma jo r c o mpro mis e – subje cting
s i t e . Th e s p a c e s w e re t h e n i n t e r s e cte d and re or g anis e d
frag m ents into a physics engine, in c o nju nctio n to u sing
t o arri ve at t h e fi n a l for m . Le t t ing g o of hum an c ontrol
an attractor ob je ct.
d u ri n g t h e s h uffli n g p ro c e s s a ll ows for a m ore or g anic an d p e r h a p s i n t e re s t i n g b a s e s p atial ar rang em ent which i s t h e n t o a n e xt e n t m o d i fi e d a n d adjuste d to allow for a d o me s t i c p rog ra m t o t a ke p la c e .
Am idst the chaos, we we re in c o ntro l o f two f a cto rs, site b oundar y and emb e dde d f u nctio na l ta gs fo r the
Th e
at
indiv idual spac es. We dis c o vere d that by do ing s o we
d e c o n st r u c t i n g t h e k n ow n for m and spatial layouts of
p ro c e s s
of
s h uffli n g
s p ac es
is
an
attem pt
have effe ctively c onstru cte d a fo rm generatio n system
a f amili a r t e r ra c e h ous e i n t o s om ething not yet known,
that g ave us a suitable ba s e to b egin the re c o nstru ctio n
s o me t h i n g ye t t o b e re or g a n i s e d . But you m ay ask, the
pro c ess, allowing new, interesting c o nne ctio ns to b e
pro c e ss of re a r ra n g e m e n t d o e s not ne c essar ily re quire
estab lishe d.
c h ao s a n d t ot a l j umb li n g of or d e r, s o why is this pro c ess
p o etically explaine d a s a ba la nc e b etwe en cha o s a nd
necessary?
clar ity, we were hoping to c o nvey this a ntithesis in o u r pro c ess.
Th e ne c e s s i t y c om e s n ot from c onvenienc e, althoug h many p e rc e i ve i t t h i s w ay, i t i s from the re c og nition of t h e h u m a n c on d i t i on . W h e n w e push it a step fur ther, w e s t ay t r u e t o t h e va lu e of de c onstr uctiv ism . We
42
As
a rchite ctu ra l
tra nspa rency
ca n
be
Image source: www.architecturalprojects.net ^ typical Sydney Terrace House plans, used as basis for spatial dimensions
43
^ fracture and shuffle, part I - loose fractures sucks in by attractor object
44
^ fracture and shuffle, part II- attractor object deactivated, loose fractures fall due to gravity
45
CHAPTER four
r e - e m e r g e nc e BREAKING OUT
O ve r t h e p a s t fe w w e e k s w e h ave b e en explor ing the
Ter rac e housing in Sydney ca n b e s e en a s remna nts o f
i d e a o f t h e b e a ut y of re - e m e r g enc e, drawing from the
Australia’ s c olonial pa st, a c o py – pa ste ma nner to ma ss-
ph i l o s op hy of Ja p a n e s e K i n t s u g i – the hig hlig hting
pro duc e liv ing spac es, indiv idu a lism is c o rro de d by the
o f i t s h i s t or y, of i t s d ow n fa ll and destr uction and its
m any, interacting with pa ss ers by a s no n o ther tha n a
s ub s e qu e n t r i s e t o t ra n s c e n d i ts or ig inal s elf. What is
par t of a facade.
b e aut i ful ab out t h i s i s t h at w e a s hum ans can often relate t o t h i s , c re at u re s t h at u n d e r g o a sim ilar pro c ess from
We to ok this as an o pp o rtu nity to reinvent the terra c e
b ut t e r fli e s i n Y e a r - on e s c i e n c e to pho enixes in Har r y
hous e, is the resu lt o f a rather c o mplex a nd rigo ro u s
Po t t e r a re a s s o c i at e d t o m a j e s ty and b eauty. We were
s er ies of steps, fir st we exa mine d the f u nctio na l spa c es o f
i n s pi re d b y t h i s a n d d e c i d e d t o t ranslate this pro c ess into
a ty pical ter rac e hou s e a nd extra cte d a ll the dimensio ns;
an arc h i t e c t ura l d i a log u e .
the spac es were fra ctu re d; then we a pplie d a n attra cto r ob je ct
O n e p re c e d e n t w or k w e foun d quite interesting was t h e f a m i ly h ous e re n ovat i on b y Ko chi archite cts . They
This is a delib erate attempt at remo v ing a ny subje ctiv ity
e s s e n t i a l ove r h a ule d a t y p i c a l two-storey apar tm ent
initial g eneration of fo rm, sinc e we a im to f ra ctu re spatia l
b u i l d in g w i t h t h e u s e of c e n t ra lly p ositione d spac e that
layouts of a ty pical terra c e ho u s e, we did no t wa nt o u r
s e rve s t o c ut i n t o a n d c on n e c t with eig ht inter ior ro om s.
presum ptions to g et in the way o f the design, a nd to
Lo c at e d i n s ub u r b a n Tok yo, the prev iously existing
allow for a random initia l a rra ngement to evo lve b efo re
b u i l d in g w a s t h re at e n e d w i t h d em olition until archite ct
we involve d our design a genda to merge a nd inters e ct
Kaz u y a s u Ko c h i s u g g e s t e d re n ovating the str ucture. This
spac es.
appro a c h t o re s h a p i n g t h e a rc h ite cture estab lishes b oth pri vate a n d c om mu n a l a re a s i n a sm aller area.
As m entione d in the f ra ctu re cha pter, we c o ntinu e d to diss e ct a ty pical domestic pro gra m a nd simila rly f ra ctu re it, not to intentio na lly inc o nvenienc e the client, but
46
t o al l ow for t h e a r i s i n g of n e w and unexp e cte d spatial i n t e rac t i on s a n d e xp e r i e n c e s .
A S ho r t Tou r A s yo u e n t e r t h e h ous e t h rou g h a s et of nar row steps, you are qu i c k ly a p p roa c h e d b y a j u n ction, to pro c ess straig ht fo rw ar d a n d m ove up , or t o t ur n around and walk down t h e o t h e r s e t of s t e p s . Da un t e d by the s et of steps ahead, yo u d e c i d e t h at you â&#x20AC;&#x2122;d t a ke i t e a s y and walk down. At the e n d o f t h e p oli s h e d s t e p s you b e gin to realis e you are in a l i v i n g a re a , Tat a m i m at s , p i c t u re fram es, newspap er s and art ma g a z i n e s s t a c ke d n e at ly on a c offe e tab le. A slender o p e n i n g at t h e e n d of t h e s p a c e i nv ites you to a still p ond w h i c h ab r u p t ly m a r k s t h e n at ure/archite cture junction. A s yo u lo ok for w a r d , t h roug h t h e op ening on the other s i d e , you s e e s h a r d s of li g h t p i ercing throug h the walls o n t o a re a s e n c los e d b y s t ra n g e a sy m m etr ical g e om etr ies. A f t e r t h e d e li g h t ful, ye t s li g h t ly fr ig htening exp er ienc e o f t i pto e i n g on t o t h e ro c k t h at b ridg e the two spac es, you s e e a s m a ll c ave li ke s p a c e t h at is de c orate d with b o oks an d a r u g . T h e s p e c ula r i t y of a s et of vas es catches your
^abstract contouring of the final form of The Unbroken House V2.
47
1. Living Space 2. Pant r y
eyes a s yo u enc o u nter the s e c o nd ju nctio n,
5
a nd de cide to wa lk do wn.
3 10
3. Sleeping Space
13
4 . Living Space 5 . Sleeping Space
7
4
8 . Storage 9. St udio
the vo ic e ca me f ro m, wo nder where the
16
20
11
2
no is e ca me f ro m. Yo u lo o k lef tâ&#x20AC;Ś no , rightâ&#x20AC;Ś no UP ! Stea m ris es a s yo u the na ke d to p
18
6 . Living Space 7. St udy Space
14
8 1 6
22 9
12 15
An o ld ma n
gre ets yo u . Yo u lo o k a ro u nd to f ind where
17
19
ha lf o f a n o ld ma n, a lmo st hidden by the brillia nt sha rds o f light c o ming in thro u gh the c eiling. Co nf u s e d, yo u c o ntinu e to mo ve
21
a lo ng. Appro a che d by a no ther ju nctio n, yo u de cide to wa lk do wn. Intrigu e d by the va s e a mo u nts o f c era mics, yo u ca ref u lly trea d
10. Bathing Area
a s yo u s e e f ra gile o rna ments that have
11. Bath
go ld la c qu er o n the o nc e cra cke d a rea s.
12. St udio
Stu mbling a cro ss yo u no tic e a slight dea d end which yo u a ssu me to b e a very na rro w
13. St udio
to ilet. Yo u wo nder ho w a nyo ne ma na ges to
14 . Toilet
f it in the a rea .
15 . Laundr y 16 . Kitchen
Slo wly wa lking u p the steps, yo u bu mp yo u r hea d o nto the c eiling, the c eiling is a lo t
17. Laundr y 18 . Kitchen 19. Garage Space 20. Pant r y 21. Toilet 22. Dining Space
< general rule of reconfiguration: studio as central space; sleeping spaces on the upper levels; dining/ cooking areas elevated towards South-side
^ intergration and re-organisation process, from the result of gravity(top) to final spatial arrangement (bottom); *bathing space is highlighted
48
ken House
en pottery with lacquer dusted or mixed eats breakage and repair as part of the ider Buddhist philosophy of Mushin, or ce. This approach to restoration invokes bi represents a comprehensive f transience and imperfection. The erfect, impermanent, and incomplete". e marks of existence. Characteristics of gularity), simplicity, economy, ty of natural objects and processes.
lower than you exp e cte d. T his time yo u a re mo re awa re o f yo u r sur rounding s as yo u travers e u p to wa rds the smell o f fo o d. You’ re g re ete d b y two o p enings within the cha o tic f a ça de. All thes e lines dire ct towa rds a dining table. Yo u dis c ern the smell c om ing from the kitchen. Stepping fo rwa rd to wa rds the dining
pplication, three stages, fracturing, standing a typical Sydney terrace and in program. The fracture pattern d by the rearranging of the fractured ate spatial variations, organising
area, you ac cidenta lly stu mble, no ticing the u nstable f lo o ring
aito. Before being inspired into past life consisted of competition the events of Inception (2012), fects of a dream state known as ‘limbo’. ng ceramic with his family began to llow the teachings of Mushin.
Made unc om for table by this yo u wa lk ba ck do wn the steps,
as var ious par ts of the f lo o r slo p e at diff erent a ngles.
pacing your away to wa rds the liv ing spa c e, wa lking pa st the exter ior spac e, hop ing to no t get spla she d by the water that sur rounds the site . Yo u ta ke the sta irs f ro m the liv ing spa c e and c om e at a junctio n. Yo u ’re a ppro a che d by a pa ssa ge do wn which you know lea ds to wa rds a n exit......
< Introductory panel top half Terrace House disintegrating and reworked into the final proposal
49
^ Introductory panel bottom half, night render (right) , stacked exterior interior render (left)
50
Int er s e c t e d Sp ac e s
^ Overlapped fracture pieces, liminal spaces
51
E x i s t ing Plane
Imple m e nt e d Move m e nt Plane
^addition of platforms and circulation paths to connect up program
52
C li e nt â&#x20AC;&#x2122;s P r o gr am
S e c o n d ar y â&#x20AC;&#x2122;s P r o gr am
C hil dr e nâ&#x20AC;&#x2122;s P r o gr am
^ circulation map within the building, navigation in accordance to specific programs
53
^ exploded axonometric, from bottom to top, shelled booleaned form; added stairs & platforms; shelled form (top); outer skin/ fragmented cladding
54
3
5
2 4
7 8
1
Section A
6
1 . Ent ranc e 2 . Liv in g Sp ace 3. Ex ter ior Junc t ion 4. Play in g Sp ace 5. S e c ondar y Junc t ion 6. S t udio 7. L aundr y & S tora ge 8. Toile t r y
55
10
10
13
9
9
12
Section B
12
9. Ent rance Junc t ion 10. Liv in g & S t udy Sp ace 1 1 . B ath-sp ace 1 2 . B atht ub 13. Kitchen Sp ace & Pant r y 14. D inin g Sp ace
56
14
13
11
11
14
15 16 17
Section C
1 5. S e c ondar y Ex ter ior Junc t ion 16. C hildren’s Sp ace 17. Couple’s Sp ace
57
Trench + Rubble + Wat er After
e xt e n s i ve
re s e a rc h
on
Japanes e
gard e n s a n d t h e s y mb oli s m t h at is culturally at t ac h e d
it,
we
decided
t h at
it
would
b e ap p rop r i at e i f w at e r w a s an passive arc h i te c t ura l
e le m e n t
t h at
m ar ks
the
b o u n d a r y b e t w e e n w h at i s i n s i d e and what i s o ut si d e . S i n c e t h e p h i los op hy of K intsug i s t re s s e s
the
i m p or t a n c e
of
not
b eing
af rai d t o s h ow t h e p ro c e s s of d ownfall and c o rro s i on , t h e r ub b le a n d t re n c h sug g ests a s e n s e of h i s t or y a n d e v i d e n c e of past pro c ess o f d e s t r u c t i on a n d d a m a g e , t h e rain water c o l l e c te d i n t h i s t re n c h a lm os t acts as the e mb e li s h m e n t t o h e a l t h i s i m p er fe ction. It s i mu l t a n e ous ly s e r ve s t o s e t an amb ienc e an d
a ls o
an
a rc h i t e c t u ra l
inter vention
between certain spaces.
^ > looking up at ceiling from studio floor ^ (below) in plan view corroded, foundation formed from rubble, water fills in trench overtime
58
^ transverse section, from entrance, through master bed-space and living space > transverse section, through bathing space/ reading space
59
60
^ model photos, massing model 1:100; basswood contour model, plywood site context, clear satin varnish
61
62
^ model photos, sectional model at 1:50
< ^ [ photos ] intersecting masses exploration, concept models 3d printed in white plastic
63
64
^ view from reading space, studio is located downstairs, client walking up to cooking/ dining space
^ stretch of water between primary living area to reading space serves as an architectural intervention, water acts to amplify the breakage
65
66
^ clientâ&#x20AC;&#x2122;s wife in bathing space, ledge on the far side allows the family to sit on and interact with others below
^ dining area looking back at cooking area, studio area is downstairs (concept of fracture and vertical displacement is retained)
67
T h a n k you for you r t i me.
68