Volumes of Air, Light & Life

V o l um e s o f a i r , l i ght & l i f e three movements of a modern concerto

J a m e s

f e n g

p o r t f o l i o u n i v e r s i t y o f s y d n e y bachelor of design in architecture architecture studio + history & theory b d e s 2 0 2 7 s e m e s t e r II 2 0 1 5 t u to r : T h o m a s s t r o m b e r g

4

4

0

2

8

4

4

0

8

1

2

For My Grandpa

3

f o r e w o r d I t h a s b e e n q uite an ex hil aratin g s e m e s te r, p r i o r to s t ar tin g thi s c o ur s e I h a d gre atl y un d e re s tim ate d th e am o unt o f c ro s s - di s c ip lin ar y re s e arc h an d k n o w le d g e invo l ve d in th e d e s i gn p ro c e s s . T h e f i e ld s o f b i o lo g y an d ex hib iti o n h ave lo n g b e e n a p ar t o f my inte re s ts s o I ap p ro a c h e d thi s a s a g ateway fo r ex p lo rati o n an d di s c ove r y.

o f key c o n c e p t s . A lo t o f my think in g thi s s e m e s te r h a s al s o h e av ily b e e n in s p ire d by B j ar ke I n g e l s an d hi s ‘H e d o n i s ti c S u s ta i n a b i li t y ’ le c ture s .

F in all y, I ’d like to th an k my S tu di o p ar tn e r K are n fo r h e lp in g m e c o n s o li d ate a p ar ti c ul ar grap hi c s t y le in th e gro up p ro j e c t , w hi c h I f ur th e r re f in e d fo r th e m u s e um ex te n s i o n p ro p o s al .

M any th an ks to T h o m a s S tro m b e rg , my tuto r, fo r th e c o n s t ant re min d e r of c o ntex tu al im p o r t an c e in arc hite c tural d e s i gn , an d fo r hi s s u c c in c t an d fo r thr i ght ex p l an ati o n s

M any w e e ks o f r i g o ro u s w o r k are c o ll ate d h e re , an d s o I s in c e re ly h o p e yo u e nj oy th e c o nte nt s o f thi s p o r t fo li o .

JA M E S

4

P h o to C o u r te s y : K a re n L I n

I N D E X

f i r s t

MOVEMENT B L U E

a

c l i n i c

f o r

t he

p4-p19

H A U S

s c h i z o p h r e n i a

s e c o n d

/ /

&

a n x i e t y

MOVEMENT b i lba o

/ /

d i s o r d e r s

p 20 - p41

e f f e c t

e f f e c t o f t h e c o n t a i n e r a n d t h e c o n t a i n e d a c r i t i c a l s t u d y o f t h e G u g g e n h e i m B i l b a o

t h i r d a

MOVEMENT

m useu m

M a c l e a y

o f

M u s e u m

/ /

p42-p75

r ele v a n c e

e x t e n s i o n

p r o p o s a l

effect of spatial conditions and site response on the experience of exhibition to educate modern generations

5

6

f i r s t

MOVEMENT

B L U E a

c l i n i c

f o r

H A U S

s c h i z o p h r e n i a

&

a n x i e t y

d i s o r d e r s

DESI G N O B J ECTI V ES SITE M A P P I N G P RECEDE N T S TUDY C L I N IC AS THE M ACHI N E C L I N IC AS THE D O M ESTIC SCHIS M S | / | G RID

7

SITE

m a p p i n g

I n i ti a l s i te m a p p i n g a r o u n d th e S yd n e y U n i ve r s i t y C a m p u s o f th e p r o p o s e d s i te .

S tr o n g f o c u s w a s p l a c e d p a r ti c u l a r l y o n th e e x p e r i e nti a l a s p e c t s o f s i te q u a l i ti e s . T h e s e a re m a p p e d o u t i n a s e q u e nti a l m a n n e r d u r i n g th e s i te v i s i t s th e n c o l l ate d a n d o r i e nte d u s i n g g r a p h i c re f e re n c e s .

< Faรงades: Materiality + Surface Qualities Drawings and tracings of building facade materials and their respective surface qualities as seen on site; yellow band is representative of sunlight source with smaller scale graphical recording laid out in reference to the band.

8

FAร ADES: MATERIALITY + SURFACE QUALITIES

+

< Inertia of Space : Accessibility + Relative Scales Rotationally offset, gridded graphics shows the accessibility map of the site, superimposed onto multiple points of interests and the scale moments that occur at those points.

INERTIA OF SPACE: ACCESSIBILITY + RELATIVE SCALES

9

< Verticality of the Masses: Scale + Depth Analytical mapping of the apparent height of site artefacts. These were then lofted to generate geometries.

10

VERTICALITY OF THE MASSES: SCALE + DEPTH

SUPERIMPOSED MAPPING TRACES

^ Generative process from superimposing of the three previous maps

11

SUPERIMPOSED MAPPING TRACES

SUPERIMPOSED MAPPING TRACES - MASSING GENERATIONS

<^ Generative process from superimposing of the three previous maps, masses, zones and potential circulations begin to form

12

clover form of

extended platform

New North Zealand Hospital

spaces begin to

private green spaces of

invade and converge

Lady Cliento’s Children’s Hospital

P r e c e d e n t R e s e a r c h H e r zo g & d e M e u ro n c o l l a b o r ati o n w i th a l o c a l

L a d y C l i e nto ’s C h i l d re n ’s H o s p i t a l i n B r i s b a n e

f i r m V i l h e l m L a u r i t ze n A rc h i te c t s : N e w N o r th

w a s d e s i g n e d to s i t i nto a n d c o m p l e m e nt

Zealand Hospital in Copenhagen.

i t s u r b a n l a n d s c a p e s b y i nte g r ati n g u s a b l e l a n d s c a p e o n l eve l u p o n l eve l , a ro u n d a n d o ve r

‘ T h e h o s p i t a l o rg a n i c a l l y re a c h e s o u t i nto

th e ex te r i o r o f th e b u i l d i n g . G re at a m o u nt s

th e w i d e l a n d s c a p e . S i m u lt a n e o u s l y i t s s o f t ,

o f e f f o r t w e re exe r te d to b e t te r i nte g r ate th i s

f l o w i n g f o r m b i n d s th e m a ny c o m p o n e nt s o f

m a s s i ve d e ve l o p m e nt i nto a d i ve r s e u r b a n

th e h o s p i t a l . I t i s a l o w b u i l d i n g th at f o s te r s

s e t ti n g . D e s i g n i s b o l d a n d a s s e nt s a s e n s e

e xc h a n g e b e t w e e n s t a f f a n d p ati e nt s , a n d i t h a s

o f c o n f i d e n c e a n d e n e rg y. I nti m ate , p r i vate

a h u m a n s c a l e .”

p o c ke t s o f g re e n s p a c e s w e re i n c lu d e d i n th e

W h at w a s m o s t i nte re s ti n g a b o u t th i s d e s i g n

d e s i g n s o m e w h at d i s c o n n e c te d to th e m a i n

w a s n o t m e re l y th e u s e o f c o u r t ya rd s a n d

m a s s o f th e b u i l d i n g .

c l o i s te r s , b u t th e ‘ f o u r- l e ave d c l o ve r ’ f o r m w h i c h s h o w a b e g i n n i n g o f th e c o nve rg e n c e o f h o s p i t a l s p a c e a n d g re e n s p a c e , a n d th e s u b tl e e x te n s i o n p l at f o r m s b u i lt to p e n e tr ate i nto th e g a rd e n a re a s .

13

< Initial draft plan layout

14

S c h i s m s & t h e G r i d M y i nte re s t i n th i s p r o j e c t w a s to at te m p t to re s o l ve th e i s s u e o f tr a d i ti o n a l i d e a s o f th e h o s p i t a l a s a h e a l i n g p l a c e , ve r s u s th e t w e nti e th c e ntu r y c o n c e p t l o o k i n g at th e h o s p i t a l a s a â&#x20AC;&#x2DC;m a c h i n e â&#x20AC;&#x2122;. I w a nte d to at te m p t to av o i d th e s e n s e o f s t a n d a rd i z ati o n a n d c o n s ti tu ti o n n o t b y h i d i n g th e a p p a re ntn e s s o f th e â&#x20AC;&#x2DC;g r i d â&#x20AC;&#x2122; o r o r th o g o n a l re p e ti ti o n , b u t b y a l l o w i n g th e p ati e nt s to b e aw a re th at th e y a re i n a n i n s ti tu ti o n i m p o s i n g u p o n th e m th e i d e a o f i m p r i s o n m e nt , o b l i v i o n a n d d i s o r i e nt ati o n w i th ti m e , w h i c h i s a c o m m o n f e a r i n m e nt a l i n s ti tu ti o n s . I a m a l s o i nte re s te d i n th e e f f e c t s o f e nv i ro n m e nt a l c o n d i ti o n s , m i n i m a l m e d i c ati o n tre atm e nt th at b e n e f i t s s c h i zo p h re n i a s u f f e re r s . < Final plans

15

A clinic for schizophrenia & anxiety disorders S y m p to m s o f s c h i zo p h re n i a i s a re f l e c ti o n o f a d i s o rd e re d s t ate i n b o th c o g n i ti ve a n d e m o ti o n a l f u n c ti o n s . T h re e c ate g o r i e s o f syndromes can occur : P o s i ti ve s y m p to m s a re m a i n l y d e lu s i o n s a n d h a l l u c i n ati o n s .

N e g ati ve s y m p to m s i n c lu d e l o s s o f m o ti vati o n , d r a s ti c d e c re a s e i n s o c i a l o r p e r s o n a l i nte re s t s , b lu nte d s p e e c h o r i n a p p r o p r i ate e m o ti o n s .

N e g ati ve s y m p to m s a re o f te n a c c o m p a n i e d b y o th e r a n x i e t y d i s o rd e r s s u c h a s d e p re s s i o n .

D i s o rg a n i z ati o n o c c u r s a s a re s u lt o f d i s o r i e nt ati o n , d i s o rg a n i s e d s p e e c h , th o u g ht a n d b e h av i o u r. M o r b i d m o o d , s u b s t a n c e a b u s e , v i o l e n c e a n d a n x i e t y a re c o m m o n a n d re q u i re th e r a p e u ti c re s p o n s e .

16

T h e re f o re , > a n a rc h i te c tu re th at i s a p p ro p r i ate n e e d s to a i n c o r p o r ate a s e n s e o f d o m e s ti c i t y ; > i t n e e d s to a c ti ve l y re s p o n d to p ati e nt s ex p e r i e n c i n g p s yc h o s i s a n d m i n i m i s e i m p a c t o n o th e r s ; >i t n e e d s to e f f i c i e ntl y a l l o w s t a f f to c i rc u l ate th e p re m i s e ; >i t n e e d s to avo i d i m p o s i n g th e s e n s e o f i m p r i s o n m e nt a n d h o p e l e s s n e s s ; >i t n e e d s to p ro m o te ro u ti n e a n d s o c i a l e n c o u nte r s ; >s p a c e s n e e d to avo i d a m b i g u i t y, p ati e nt s h o u l d re c o g n i s e a n d a c c e p t b o u n d a r i e s a n d n o t fe e l l o s t o r d i s o r i e nte d .

17

18

Exterior Render, view from oval no.1

Interior Render - Entertainment / Reading Room

19

20

Interior Render - ‘Cloisters’

A1 presentation Panel

21

22

s e c o n d

t he

MOVEMENT

b i lba o

e f f e c t

e f f e c t o f t h e c o n t a i n e r a n d t h e c o n t a i n e d a c r i t i c a l s t u d y o f t h e G u g g e n h e i m B i l b a o p r o j e c t pa r t n e r : k a r e n l i n

G HERY ’ S O B J ECTI V ES SITE M A P P I N G F ACADE I N TERACTIO N SUR F ACE A N A L YSIS P ERI P HERA L S ITE RES P O N SE CIRCU L ATIO N B REA K DO W N U N W RA P P ED , D ECO N STRUCTED

render- looking up at Guggenheim Bilbao’s Atrium

23

24

25

26

27

28

29

30

31

32

33

34

35

36

37

38

39

40

41

42

43

44

t h i r d

A

m useu m

M a c l e a y

M u s e u m

MOVEMENT

o f

r ele v a n c e

e x t e n s i o n

p r o p o s a l

effect of spatial conditions and site response on the experience of exhibition to educate modern generations

RELE VANCE IN THE 21ST CENTURY SITE M A P P I N G S P ATIA L E X P L ORATIO N VOLUMETRIC RECONTEXTUALISATION G U G G E N HEI M B I L B AO I N S YD N EY O L D / N E W J U N CTIO N VERTICALITY AND THE HUMAN SCALE

45

46

<looking at site as a museum, tracking the origins of delivery vehicles and possible pathways from their origins

47

<private, public and institutionalised spaces, a map of how they interact with one another.

48

<grid partitioning of typologies on either side of Parramatta Road.

49

A Museum of Relevance Macleay Museum Extension Proposal James Feng What exactly is a m useum supposed to do? A ‘bad’ m useum m ay be defined by uninteresting exhibitions and unthoughtful curation, while a ‘pleasant’ m useum m ay be defined by the coffee it serves during weekends. Are m useum s m eant to educate? Are m useum s m eant to provide an additional fabric to experiencing and accessing knowledge bey ond Google, F acebook and Youtube?

Even m ore so, have m useum s of the present becom e alm ost irrelevant? Do they im pact us in a direct way and inform us of t rend, social politics and current affairs?

Using these qu estions as prem ise, this is an attem pt to explore architectural typologies involved in experiential, em otionally infectious spaces to house a collection of works that allows visitors to experience geo-political news around A ustralia and the world in a spatial m anner. This extension offers a journey, a volum etric orchestral piece. Evidently there are influences from the Guggenheim B ilbao precedent in this proposal and m any ideological aspects were adopted from Ghery’s building. S ite context is respected and the bridge between the new and the old is carefully established with m inim ised disturbance to the im m ediate surrounds.

stacking of ramp systems to allow for vertical circulation to building

A M U SE U M OF RELEVANCE W h at e x a c tl y i s a m u s e u m s u p p o s e d to d o? A ‘ b a d ’ m u s e u m m ay b e d e f i n e d b y u n i nte re s ti n g e x h i b i ti o n s a n d u nth o u g ht f u l c u r ato r i a l w o r k , w h i l e a ‘p l e a s a nt ’ m u s e u m m ay b e d e f i n e d b y th e c o f f e e i t s e r ve s d u r i n g w e e ke n d s . A re m u s e u m s s u p p o s e d to e d u c ate? A re m u s e u m s s u p p o s e d to p r o v i d e a n a d d i ti o n a l f a b r i c to e x p e r i e n c i n g a n d a c c e s s i n g k n o w l e d g e b e f o re G o o g l e , F a c e b o o k a n d Yo u tu b e?

Eve n m o re s o , h ave m u s e u m s o f th e m o d e r n a g e b e c o m e i r re l e va nt ? D o th e y i m p a c t u s d i re c tl y stylised sectioning to reveal in 3 dimensions to reveal architecture interior elements

a n d i n f o r m u s o f tre n d , s o c i a l p o l i ti c s a n d c u r re nt a f f a i r s ?

iterative process of form working

50

mapping excercise looking at site as exhibition space and tracking the origins of delivery vehicles

51

U s i n g th e s e q u e s ti o n s a s p re m i s e s , th i s i s a n at te m p t to e x p l o re a rc h i te c tu r a l t y p o l o g i e s i nvo l ve d i n e x p e r i e nti a l , e m o ti o n a l l y i n f e c ti o u s s p a c e s to h o u s e a c o l l e c ti o n o f w o r k s th at a l l o w v i s i to r s to e x p e r i e n c e g e o p o l i ti c a l n e w s a r o u n d A u s tr a l i a a n d th e w i d e r w o r l d i n a s p ati a l s e t ti n g .

T h e e x te n s i o n o f f e r s a j o u r n e y, a v o lu m e tr i c o rc h e s tr a l p i e c e . Ev i d e ntl y th e re a re i n f lu e n c e s f r o m th e G u g g e n h e i m B i l b a o i n th i s p r o p o s a l a n d m a ny i d e a l o g i c a l a s p e c t s w e re a d o p te d f r o m G h e r y ’s b u i l d i n g . S i te c o nte x t i s re s p e c te d a n d th e b r i d g e b e t w e e n th e o l d a n d th e n e w i s c a re f u l l y c r a f te d w i th m i n i m i s e d d i s tu r b a n c e to th e i m m e d i ate s u r ro u n d s . break down of building components

Guggenheim Bilbao- ‘unwrapped spaces’

Guggenheim Bilbao Roof/Spaces relationship

Interior Render from Entrance

< p l at f o r m s , l i g ht f u n n e l s , r a m p s ; c o m p o s i ti o n a l diagram

52

53

Guggenheim Bilbao deconstructed circulation

First floor Visualisation

< d e - c o n s tr u c te d c i rc u l ati o n f r o m B i l b a o u s e d to i n s p i re s p a c e p a r ti ti o n i n g s tr u c tu re s a l s o u s e d a s e x h i b i ti o n f u r n i tu re s . To p f l o o r i s f i l l e d w i th d i f f u s e d d ay l i g hti n g , w h i l e th e g r o u n d f l o o r i s m u c h d a r ke r, to b e u s e d f o r p r o j e c ti o n a n d d e l i c ate d i s p l ay i te m s

54 ground floor visualisation

First floor Visualisation

ground floor visualisation

55

1:500 Northern Elevation

1:500 Longitudinal Section

1:250 Transverse Sections

< s e c ti o n s a n d e l e vati o n s

56

57

58

59

1:100 Rendered Section

1:1000 first floor

7

1:1000 ground floor

5

5 4 6

1:1000 Rendered Roof Plan

60

1. AV Control Room 2. Toilets 3. Cleaning/ Storage 4. Exhibition Piece Storage 5. Exterior Gallery 6. Auditorium 7. Fire Escape

1

2

2

3

1:500 underground floor plan

61

62

63

64

< liminal space, bridge between th e o l d a n d th e n e w

Pheripheral interation analysis of Guggenheim Bilbao Museum

Interstitial Spaces - Alley way formed from slight separation of extension to the exisiting

65

66

< o u td o o r e x h i b i ti o n a re a , th e human scale and its effects on s p ati a l e x p e r i e n c e

67 Exterior Exhibition Space

68

p re s e nt ati o n p a n e l l ay o u t

69

s e c t i o n a l

1 : 2 0 0

m o d e l

m o d e l

p h o t o g r a p h s

laser-cut cork , laser-cut ply, 3d pla print

70

m o d e l s i t ti n g o n s i te b a s e

71

p o s i ti o n i n g o f o p e n i n g s a n d th e i r re l ati o n s h i p to c i rc u l ato r y s p a c e s

72

l i g ht f u n n e l s + p l at f o r m s

73

74

< re l ati o n s h i p o f w h at i s a b o ve g r o u n d a n d w h at i s b e l o w, o p e n i n g u p o f th e s i te m o d e l

75

76

T h e

E n d

Thank you for your time.

77