JAY M U S
C .
L I M
ASTRUM AUSTRALIS
SCHOOL
OF
ARCHITEC T UR E & BUI LT E NVI RONM E NT U NIVERS I T Y OF ADE L AI DE
JAY M U S
C .
L I M
A 1 6 7 1 0 8 8 ID
UNIVERSITY OF ADELAIDE BACHELOR OF ARCHITECTURAL DESIGN
R E PR ES E NTAT I O N
A ST R U M T H E
I I I
AU STR AL I S
S O U T H E R N
STA R
IND EX
PA RT
O N E
PART
T WO
TRANSLATION 2-5
ST R U C T U R E 34-41
FO R M 6-11
I NT E R FAC E 42-49
S PAC E 12-19
M AT E R I A L S 50-57
P RO G R A M 20-25
D O C U M E N TAT I O N 58-67
M OT I O N 26-33
AA 68-71
PA RT
O NE
T R ANS LATION A routined tango performance, an idea for an architecture school.
2 D S K E TC H E S A N D 3 D S U R FA C E S The continuous contraction and expansion of the void between the tango dancers and their movements are captured in 2D sketches and translated into 3D digital surfaces.
It was observed that the tango routine composed mostly of soft, gentle, slow curvy movements, with the occasional sharp, energetic turns as the tampo to the music accelerates and decelerates.
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Combining the 2D sketches of the dancer’s spatial dynamics, the representaion of both sharp and curvy movements were reproduced as surfaces in Rhinoceros 3D.
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FORM From the digital world, came a model to the physical world.
3D RHINOCEROS MODELS The developed surfaces are arranged to produce solids of different forms. The solid with the best aesthetic values is then chosen for the next stage. Solid 1
Solid 2
Solid 3
Various solids were produced by wire-cutting the bounding box that enclose the single-curved surfaces. Initial solids from this exercise resulted in many ‘potato’-forms that are less attractive and seem completely random- like a potato (Solid 1-3). The arrangement style of the surfaces were hence, rethought and further specified to better represent the movements and forms of the dancers.
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Solid 4
Solid 5
Solid 6 The harder, sharper, taller, more masculine male representation. The elegant, soft, flexible, more feminine female representation.
The solid’s body meets and seperates at the middle, like the bodies of the dancers, as they move across the dance floor
A more specified surface arrangement, shown improvements on the general forms of solids. With further practice, the solids subsequently took better forms that represented the tango performance (Solid 4-6). Consequently, with the simplest surface arrangements, Solid 6 was chosen for the next stage for development due to its large elegant curves and sharp edges with strong represents to the dancers’ form and movements. 9
Physical Model
PROCESS
1
Arrange Surfaces
3
2
Bounding Box
4
The chosen model was further modified to enhance its form
Wire-cut Bounding Box
5
Final Form
Further Grooming
6
Print and Assemble
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An additional part was added to the model to counter a shelling issue in Rhinoceros.
S PACE An unworldly atmosphere, by a worldly man.
VOID MODEL 1
Void Model 1 consist of large, open-air spaces that encourages plenty of day-light penetration. The void allows one to look down onto some areas below, as shown in Interior Render 1.
Viewing Deck Interior Render 2
Elevat ion At the center of the model, a viewing deck frames the sceneries beyond. This void space allows the top part of the model to appear floating, producing an effect that is bold and surprising.
Interior Render 1
S ect ion Void Model 1 appears to have a weakness, as not all the void spaces are connected. Instead, the two seperate voids are rather narrow, thus lacking the quality of a grand space.
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INTERIOR RENDER 1
INTERIOR RENDER 2
VOID MODEL 2
Void Model 2 has a large closed area near the top and a small open-air space near the bottom. The top space (Interior Render 3), are mostly shaded, but has an open ceiling at the center of the space that allows sunlight to enter. This space becomes interesting with the play between the sun position, the light and the shadow, creating different patterns throughout the year.
Interior Render 3
Interior Render 4
Elevat ion The concept of a bright lower public space (Interior Render 4) and a more cozy private space at a higher level contradicts most interior spaces today, where the lower ground spaces are often overlapped by top floors and often demands the constant use of energy to light up its interior, while the top floor recieves too much heat and sunlight, thus requiring additional cooling and shading.
S ect ion Due to a more closed-up area at the top, the space may feel like a cave, which may not be suitable for commercial and communal spaces due to the lack of views to the exterior and its minimal sunlight penetration. 16
INTERIOR RENDER 3
INTERIOR RENDER 4
VOID MODEL 3
Of the 3 void models, Void Model 3 was chosen to be further developed into an architecture school due to its large, grand open-air spaces at both the top and bottom parts of the model and its effective,yet uncomplicated curves and edges.
Interior Render 6
Elevat ion The void space stretches continuously across the model, from the bottom to the top, creating a model with large open views to the surrounding and plenty of sunlight penetration throughout the model. At the top (Interior Render 5), the large, clean space is open to the sky, with views to both sides of the model. Yet this space is also partially shaded, leaving only the central area fully expose to the sun in the day.
Interior Render 5
S ect ion Both the sharp edges and the large curves in these void spaces compliments one another, a representation of the model form itself, creating a spatial experience first found in the Tango Performance. 18
INTERIOR RENDER 5
INTERIOR RENDER 6
PROG RA M Space programming.
PROGRAM DISTRIBUTION Printers + Toilets 50m 2 Computer Suites 300m 2
4 Small Tutorial Rooms 100m 2 4 Medium Tutorial Rooms 150m 2
4 Large Tutorial Rooms 200m 2
Masters 6th Year Studios 100m 2 Archive 50m 2 Postgraduate 4th- 5th Year Studios 450m 2
Storage 50m 2 Lecture Theatre 200m 2
Model Making 100m 2 Undergraduate 1st - 3rd Year Studios 650m 2
Multiuse 300m 2
Others 50m 2
8 Professional Staff 100m 2
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2000m 2
S TA F F
1000m2
STUDENTS
FA C I L I T I E S
Galler y 300m 2
20 Academic Staff 200m 2
400m 2
S E R V I C E S PA C E S
Meeting 50m 2
600 m 2
P R O G R A M O R G A N I S AT I O N 1 Site Void Model 3 was enlarged to a suitable size required and then fitted to site. It was decided that the model should remain in longitudinal form, instead of a vertical form, as this ensures large, wide open floor plates are to make up the architecture school, instead of small narrow ones. The longitudinal form was also favored as it will result in lesser floor levels, which is ideal for a education structure as students would not rely on elevators to move between floors.
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Initial Proposal After the orientation of the building is determined, the programs were fitted in, with the view, occupants and sunlight in mind. The first proposal was to have the public facilities at the lower floors for easier access, while the more private student and staff rooms at the top.
South - Rundle Mall
West - Sunset - City skyline Structure’s tip rest upon existing residential tower for structural support.
Minimal impact on existing residential towers. East - Alley
-
North Face North Terrace River Torrens Parklands Adelaide Oval University of Adelaide Maximum sunlight exposure
Preservation on unoccupied heritage listed two-story commercial lots.
Top floor public, social space facing Rundle Mall and the city skyline. Top floor for masters studios with the best views. Staff office sandwiched between student studios and tutorial rooms for more interactions between students and lecturers. Alley facing, thus reserved for service areas and sealed from the general public. Facilities like lecture theatres at the lower floors, facing North Terrace.
The top floor public, social space is reduced to a single floor for accessibility and security purposes. Top floor is recoded to a service attic due to its low ceiling height thoughtout the floor space.
3
Proposal The initial proposal was improved after the floor plates were created, to further maximise the efficiency of the space, movement, flow and security.
The highest usable floor is now the staff office, with a communal space in between the offices for interactions between students and staff. The service areas are pushed back and replaced with student facilities.
The value of the spaces in the heritage structures are recognized and rejuvenated by the conversion into a public plaza accessible to all.
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SECTION
LEVEL Rooftop Service Room
Professional Staff Office
Architecture School Front Office
13 12
Masters Studios
11
Undergrad Studios
Computer Suite
Multiuse Central Hub
Void
10 9
Medium Tute Room
8
Small Tute Room
7
Small Tute Room Computer Suite
6
Meduim Tute Room
Large Tute Room
5
Computer Suite
4 Void
Rooftop Multiuse Space
2
Multiuse Space
1 The Atrium
Cafeteria G
LONGITUDINAL SECTION 1:500
Staff LEVEL Student
Professional Staff Office
12 Masters Studios
11 Others
Services
Undergrad Studios
10 9
Multiuse Central Hub
8 Void
Open Public 6 5
Hallways
4
Hallway Service Rooms
3A
Void
3
Large Tute Room Lecture Theater Underfloor Services
The Atrium G
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1:500 CROSS-SECTION
Most of the student tutorial rooms are located in the midlevel floors as these areas tend to have a smaller floor plates that suit medium to small tutorial spaces. The location of the student spaces within the structure follows a typical architecture student’s daily schedule. Where they first have their lectures early in the day at the lower levels. As the day continues, students move on up to the tute rooms to attend a group tutorial. Finally, they spend the rest of the day at the top floors to either socialize with their friends, or continue working on their projects in the large computer suite and studio spaces.
PLAN 1:500
Computer Suite
Undergrad Studios
LEVEL 10
N
Shown in the sections, the hallways separate the different tutorial rooms in the middle. This layout protects the privacy and security of the tutorial rooms, while allowing accessibility to the top floors for the public and other students.
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Fire & Evacuation routes
MOTION They were amazed by a maze, as they ascended the amazing stairs.
P R O G R A M O R G A N I S AT I O N
Staff
Student
Others
Services
Public Plaza
Each space is specific to its function, each space fulfills the requirements of a student’s daily activities and movements. The spaces are fair and do not discriminate, where everyone is given a place, high or low. It obeys the social hierachy, where the most knowlegeable is respected and look up to. The knowlegeable, then guide the rest to the top.
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VIEWPOINT 1
VIEWPOINT 2
O P E N & P R I VAT E S PA C E S
Open
Private
The private spaces are secure and limited to those who use it, it is a peaceful, non-choatic space for architectural production. Behind these private doors, social activities are held in the open public areas found on most levels. The lower grounds are open to the public, reactivating the heritage buildings that was onces forgotten. At higher level, most spaces are private. Yet open spaces are set aside for the public to enjoy.
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VIEWPOINT 3
VIEWPOINT 4
T H E G R A N D S TA I R C A S E
Path
Stairs
4 3 1
6
5
2
The grand stairs leads to everywhere in the school, it leads to distinct spaces with very distinct characteristics. Yet because of the stairs, these spaces are connected, which in turn, connects its users. At the ground floor, one can look upwards, observing people as they move between the spaces. Or one could look downwards, watching people socialize and interact, later joining them.
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VIEWPOINT 5
VIEWPOINT 6
Complete structural system
PA RT
T WO
STRU C TU RE Space age construction for a spaceship school.
STRUCTURAL SYSTEMS
Horizontal rib structure The horizontal and vertical rib structures protect and form a rigid chamber for the interior floor slabs. This ‘rib cage’ system is made up of long angled individual steel beams, interlocking (welded, bolted) to one another to produce a free standing structure.
Vertical rib structure These ribs are offset at 1.5 meters apart, producing a criss-cross system that explores the effect of structural systems in architectural design, provoking discussions about creating inspirational spatial forms, from structural geometries.
Shell The 0.5-meter thick structural shell is support by the horizontal and vertical rib systems. The skin is semipermeable, thus encourages and regulates sunlight penetration and cross-ventilation. 36
Vertical support To transfer all load from the free standing structure systems to the ground, a vertical support consisting of shear walls and steel scaffolds was included as part of the architecture design. The scaffold system also houses service systems to minimise the service areas within the main building.
Structural core These towering cores also feeds the main building with service systems, hold plant rooms and are the main entry and emergency exit points of the architecture school. The structural core also contributes in transferring vertical loads to the ground. Visually, the cores resembles spaceship launch pads with walkways entering the spaceship school from all sides. The scaffold further adds the visual interpretation of a spaceship under construction. The structural core and vertical support’s structural expression explore the high-tech architecture style of the 1970s, which exposes the strutural and service systems of a building. Like their main functions, these vertical-support systems act as the base of a new architecture style that was derived from the former - the Neo-futurism style from the space age of today, which the free-standing structural system the school adapted. The full structural system from bottom to top, is an interpretation of an architecture evolution. From old fashion shear walls at the base, to steel frames and elevator cores that enabled a whole new skyscraper architecture. At the very top, the free-standing structure celebrates the arrival of neo-futurism. 37
L aser cut section The section cutout consist of 13 surfaces of the East face of the building to show the different interactions between the horizontal and vertical rib structures as they change direction and thickness to suit the different angled surfaces.
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PROCESS
1
Digital 2D drawings from Rhinoceros 3D to Adobe Illustrator for laser cutting.
2
600.0 mm X 900.0 mm X 3.0 mm MDF board, laser cut.
3
Careful assembly
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Str uc t ura l M ode l Looking outwards
Looking inwards
I N TERFACE Skinning
F E N E S T R AT I O N S T R AT E G Y 1
Commonwealth Star
Heptagram
The University of Adelaide is a true Australian university, it is one of the eight oldest and most prestigious national universities of Australia. The Southern Cross, which can only be seen in the southern hemisphere, is thus included in many of the national university logos, including the University of Adelaide, to symbolise the seeking of light (education) under the Southern Stars. The heptagram or the Commonwealth Star represents the states and territories of the Commonwealth of Australia, and when dissected, it was found that a combination of 4 triangles will produce a similar shape.
2
Lower sunlight penetration Maximum air exchange High privacy
Maximum sunlight penetration High visibility outwards Soft, natural interior atmospheres
To produce distinct atmospheres specific to the distinct areas and programs of the architecture school, different fenestration strategies are used. Lecture theatres that requires a dark interior for screen projections during lectures has smaller fenestration. Conversely, tutorial rooms have large fenestration for maximum sunlight penetration and to eliminate the requirement of artificial lighting during the day.
3 Complete openings for optimum sunlight penetration throughout the school.
Staff Offices Com Suites & Studios Multiuse Central Hub Tutorial Rooms Lecture Theatres
The fenestration follows a gradient that accords to the spatial programs of the school, from the bottom, the fenestration density increases as it moves up, from the lecture theatre level to the tutorial rooms, it decreases as it reaches the central hub, increases again on the computer suites, studios and staff offices. The gradient of the fenestration produce an alienated, scaly, scaleless effect on the exterior as well as the interior, blurring the lines between reality and fantasy. 44
Facade Model
INTERIOR
The geometries of the structural grid and fenestration produces hard, aliented interior atmospheres, the likes of a sci-fi spaceship’s interior. The continuous repition of the geometries erase the thresholds between the spaces of the school, forming mysterious, playful spaces for exploration and activating one’s imagination as they move through the spaces.
Professional Staff Office Level
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N.T.S. NORTH ELEVATION
Professional Staff Office Level View within Small Tutorial Room on Level 4
EXTERIOR
The fenestration translates the sun movements and positions into the interior, resulting in an everchanging shadow and light pattern within the school. Large openings also ensures the interior is flooded with adequate sunlight year round, especially the large open areas of the top floors. The fenestration is also the breathing mechanism of the school, it encourages cross ventilation while protecting the interior from the extremes of weather conditions.
View within Small Tutorial Room on Level 4
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N.T.S. EAST ELEVATION
West facing opening East and North facing openings
MATERIA LS Architectural make-up.
STYLE ONE
Perforated aluminum sheet facade
Alucobond panel facade for cores
Poxy flooring
Light weight material Inexpensive Easy to drill into
Unrestricted design Large variety of colours Recyclable
Ex tremely durable Striking spatial effect Low maintenance
Less durable Lower tensile strenght
Prone to dents Expensive
Slipper y when wet Tedious preparation work
Kandinsky’s Colors According to empirical observations and scientific studies, the human-environmentreaction in the architectural environment was proven to be largely influnced by the sensory preception of color. Artist Wassily Kandinsky’s color theory explores the relationship between color and its viewers. His theory aims to capture human emotions using the shades and hues, like capturing music in a plastic medium. The De Stijl movement was the reintepretation of Kandinsky’s color theory into industrial design and architecture.
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The exploration with bright reflective colored materials for the school aims to create an active and emotion-full atmosphere. As an architecture school, the different colors at different areas not only help distinguish the different programs and areas of the school, it also encourages different creativity and mood of a student. For instance, a public area will be coated green, results in a still and peaceful environment to calm one’s mind. Contrarily, the blue-fill studio rooms energizes one’s brain and body activity, and prevents tiredness. However, although striking at first, the design attraction might be ephemeral as one might grow bored or even annoyed with the large amount of different artificial bright colors.
STYLE TWO
Solid seasoned hardwood facade
Marble cladding facade for cores and floor
Steel framing
Customisable Sustainable Timeless
Spectacular beauty Biodegradable Polished look
Quick construction Rust resistant Low maintenance
High maintenance Pest damage
Porous Unsustainable mining
Galvanic corrosion Expensive
Agustus’ Marble Timber construction was the main construction technique and was even used as the finishing of a building in ancient greek architecture before the introduction of stones. Following the conversion to stone construction from timber, came marble which was highly preferred as a finishing material in both the ancient greek and roman empires. And hence, the many public buildings in the period was constructed of stones cladded in marble. The Augustan period saw a surge in architectural use of marble in overscaled, impressive public buildings- an architectural expression of the Roman Empire’s cultural superiority. Both timber and marble are naturally aquired materials, they are harvested from forest and quarries. These materials, including steel frames are recyclable and thus the use of these materials not only forms a spatial atmosphere which is natural in character, it also promotes the construction of recyclable buildings that could be dismantled and reassembled at a different location in a different form. 54
Interior wise, the combination of the marble and the timber materials reveals a classical luxury atmosphere. The expensive marble columns, core and tiled interior is a reintepretation of the extravagant public buildings of Rome. Together with modern day steel and timber, this hybrid material combination is a statement, of an architecture school that encourages the production of high-art, innovative designs using influencial techniques. Like all natural materials, timber and marble tend to require high maintenance as they are generally weaker structurally and is more easily damaged by external forces compared to artificial materials. Furthermore, the mining process of marble is often deemed unsustainable and causes irrecoverable loss to the biodiversity. Thus, although impressive, this materiality choice proves to be too expensive to maintain and construct.
STYLE THREE
Perforated stainless steel sheet facade
Polycarbonated panels for cores
Raw concrete flooring
High durability Aesthetically pleasing Recyclable
Virtually unbreakable Translucent material Light weight
Ex tremely resilient Thermal Mass Low cost, maintenance
Heavier Harder to drill into
Unsustainable manufacturing Expensive
Appears cold Hard and rough
The Spaceship School The architectural form of the school undoubtedly consist traces of neo-futurism architecture. An evolved form of the futurist architecture, the neo-architecture style focuses on the implementation of new materials and technologies into the architecture design that improves the human motions, ethical values and the natural environment. The relaunch of the neo-futurist architecture in the 21st century was inspired by the architecture style of Santiago Calatrava, Vito Dibari and late Zaha Hadid.
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Style three aims to extract the best qualities of style one and two to produce the perfect architecture school in the style of neofuturism. The interior color is limited to one at any given moment to produce a softer interior atmosphere with less choas and more calm and order. Polycarbonated panels are used for the cores of the buildings, in darker conditions, the LED lightings installed behind these panels illuminate the cores to produce soft glows that lights up the surrounding. The perforated stainless steel sheet facade and raw concrete flooring both has its individual aesthetical values. Together, the three materials chosen produces a monotonous interior atmosphere which is pure, soft, gentle and futuristic.
D O C UM ENTATION Made real.
Eme rge n cy Stai r way 3
E m e rge nc y Sta ir way 4
GROUND LEVEL PLAN 1:250
60
N
S tora ge Male W/C Sm a l l L e c t ure Theatre L a rge L e c t ure T he at re Fe ma l e W / C
M ezzani ne be l ow
Grand S ta i rca se
E l evato r C o re
Aca de m i c Staff Ro om M e et i ng
Ar Eme rge n cy S ta i r way 3
Vo i d
E m e rge nc y Stair way 4
LEVEL 9 PLAN 1:250
62
N
C ross S e cti on Eme rge n cy S ta i r way 2
Uni s ex Toilet
S taff Kitchen & Printing
Profe ssi ona l S taff Room s ch ite ct ure Sc h ool Front Offic e
L o ng i dut in al Sec .
Ea st Entr y
S tora ge a nd S e r vi ce s
E l evato r C o re
Eme rge n cy S ta i r way 3
Level 9 P l a n
Computer Suite
Mutiuse Central
LONGITUDINAL SECTION 1:250
64
Eme rge n cy S ta i r way 2 Elevator Core
LEVEL Professional Staff Office
Level 9 52850.0 mm
Masters Studios
Level 8 49350.0 mm
Undergrad Studios
l Hub
Level 7 45850.0 mm
Mutiuse Central Hub
Level 6 42350.0 mm
Small Tute Room Level 5 38850.0 mm Small Tute Room Level 4 35350.0 mm Medium Tute Room
Plant Room
Computer Suite
Level 3 31850.0 mm
Maintenance Room
Level 2 28350.0 mm
Level 1A 24850.0 mm
Level 1 21350.0 mm Grand Stairs suspended by hanging rods
Ground Level 17850.0 mm Mezzanine L2
Mezzanine L1
Mezzanine L2 13825.0 mm
Mezzanine L1 10325.0 mm
The At r i um
Atrium Level 0.0 mm
Emergency S tai r way 2
Elevator Core
Architecture School Front Office
Masters Lounge
Masters Studios
Undergrad Studios
Multiuse Central Hub
Wa l kway
M e di um Tute Ro o m
Plant Room
C om p ute r S ui te
Storage
Leve l 1A M ez za ni ne Grand Stairs suspended by hanging rods
Mezzanine L2
Mezzanine L1
T he At r i um
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LEVEL
Level 9 52850.0 mm
Level 8 49350.0 mm
Level 7 45850.0 mm
Level 6 42350.0 mm
Level 5 38850.0 mm
Level 4 35350.0 mm Level 3 31850.0 mm
Level 2 28350.0 mm
Level 1A 24850.0 mm
Level 1 21350.0 mm
Groun d Level Plan
Ground Level 17850.0 mm
Mezzanine L2 13825.0 mm
Mezzanine L1 10325.0 mm
CROSS-SECTION 1:250
Atrium Level 0.0 mm
A STR U M
AU STRA LIS
An architect’s school.
EPILOGUE
Astrum Australis means the southern star in Latin, the name was first derived from the University of Adelaide’s logo, which has a phrase “sub cruce lumen”, which translates to the light (of learning) under the (Southern) Cross. Thus, since the early stages of the design process, I wanted an architecture school that relates to something beyond our skies- outer space and the stars. The exploration on odd spaceship-like architecture has led me to a better understanding of the neo-futurism architecture, its history, characteristic, aesthetics and qualities. And I realized that although it would be impossible to have my architecture school rocketing to space, I can incorporate the characteristic and forms of what I think would resembles a spaceship school into the form of the tango performance. The aims of creating a neo-futurism building was always in mind on every step of the design process. For each decision made, it was to create a minimalistic yet effective atmoshphere within and outside the architecture school. The building itself, is rotated and positioned in such a way that it sits directly on top of the entire block of existing building, with entry, exit and structures going within the voids of the existing buildings. The treating of the whole block as one project encourages the participation of the surrounding context, diffusing the alien building into the neighbourhood. The irregular, narrow and lenghty floor plates of the architecture school are like the corridors found in a sci-fi spaceship, the corridors are asymmetric and views onto the level are obstructed, thus one have to actually walkthrough the building to discover the mysterious spaces and the different atmospheric quality they offers, especially after the fenestration layer was applied. The structural scaffold is purely of high-tech architecture, and the choice of materiality reflects upon a spatial quality that direct all the attention not to itself, but to its occupants. It provides a fantasy space for the creativity of the people, their imagination, their colors, their emotion, which fill the space. As the night fall, Astrum Australis starts to glow, it glows, like the stars in they sky, the perforated steel sheet facade is the dark sky, while the fenestration allows the interior light to pierce through the facade, like the stars. The brilliant students in the architecture school are no longer seeking ‘light’ under the stars, they are now among the stars.
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Thank you