Studio 16 - Inner House Student Work - Part 1

university of melbourne -Master Studio C,D,E semester 1 -2020

part 01 Studio leader: Joel Benichou Students: Arthur Wibisono David Geoghegan Demetri Gnafakis Duanyi Li Fatimah Al-Ameen Gordon Hon Joseph Cheng Justeen Tsai Lucy Jenkins Panphila Pau Pris Kwok Rayyan Roslan Sharleen Wonorahardjo Sidney Sim Yiran Tao

‘INNER HOUSE’ STUDIO 16

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Studio Leader Joel Benichou

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STUDIO THEME: Inner House In the age of instant media, volatile trends and effortless global interaction, designers are exposed to a deluge of architectural imagery and content. Shallow adoption of ideas based on this content is widespread, often leading to stylistic imitation and the home ogenisation of design output. The pressure on architects to produce innovative and popular schemes has created a new mode of rapid cultural appropriation and promoted a scenographic approach to building design.

Increasingly, contemporary residential projects are required to present the public with an amplified brand and be presented as a marketing object.

Clients are looking for the viral ‘Insta’ shot or gimmick that will sell real estate and architects are obliging in an effort to sedate the client and grow their practices.

As designers, we should strive for an architecture that pushes back on shallow façadeism and objectification. The most important elements of architecture do not translate into imagery and a projects architectural identity should not be found online. Buildings need to be rooted in their geographical and cultural context and highlight the uniqueness of the region and the users. The experience, sensation and feeling of space is what remains once the pornography of airbrushed architecture fades.

Studio 16 will provide students with an opportunity to develop a housing project that counters the superficial aesthetics and objectification of contemporary architecture.

The studio will explore alternative design drivers such as time, place, experience, ritual, tectonics and culture. Inner House will focus the design attention to the inner workings of the dwelling with the ambition to uncover a practical and refined

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architecture that is beautiful in its simplicity.

Throughout the first part of the semester, students will be exposed to some of the conceptual and technical foundations required in residential design through a series of curated exercises.

Working from a human scale and expanding outwards, a humanistic approach to design will be promoted. The work of masters such as Alvaro Siza, Peter Zumthor, Louis Kahn and Carlo Scarpa, among others, will be investigated and will form a part of the initial research component of the semester. This will provide a solid conceptual framework moving into the second phase where students will develop their proposal for Inner House.

CONTENT

JUSTEEN TSAI ‘ mid semester ’

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re kindle - subterranean room

‘ final project ’

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re kindle - inner house

‘ mid semester ’

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passage - subterranean room

‘ final project ’

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entry via the ally - inner house

‘ mid semester ’

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subterranean unity hall - subterranean room

‘ final project ’

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home is where the heart is - inner house

‘ mid semester ’

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remember where - subterranean room

‘ final project ’

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over exposed - inner house

P.06 - P.35 P.36 - P.79

ARTHUR WIBISONO P.80 - P.107 P.108 - P.155

RAY YA N R O S L A N P.156 - P.193 P.194 - P.237

D E M E T R I G NA FA K I S

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P.238 - P.267 P.268 - P.309

JOSEPH CHENG ‘ mid semester ’

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in search of inner child - subterranean room

‘ final project ’

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wonder - inner house

‘ mid semester ’

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the ephemeral - subterranean room

‘ final project ’

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the ephemeral - inner house

‘ mid semester ’

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convention wanderlust - subterranean room

‘ final project ’

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hippy hoppy home - inner house

P.310 - P.333 P.335 - P.365

PRIS KWOK P.366 - P.387 P.388 - P.423

PA N P H I L A PAU

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P.424 - P.455 P.456 - P.481

re | kindle inner house | studio 16

justeen tsai

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Mid Semester

It is common for us as human being to experience a sudden surge of ideas, imageries, and messages that often grant us with abundant of excitement or more susceptible to fear. The inner house will allow the user to embrace the moment by instilling emotions such as calmness and stability yet still allowing for element of excitement to occur.

As humans, we often find ourselves in pursuit of perfection. We are often overwhelmed; hence we often struggle with mental clarity.

This utopia thinking of ours is usually deemed unrealistic – if not impossible. Human desires for more, whether it is information, materials, or wealth. We often find ourselves embedded in a hoarder state of mind. By encompassing mental clarity as the driver of the design, it allows for the elimination of disarrangement.

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The Inner House aims to captures a moment – a philoshopy that embraces the notion of imperfection, impermanent, and incompletion. The main concept nurtures all that is authentic by acknowledging three simple realities; that nothing last, nothing is finished, and nothing is perfect.

Life is not linear. We often find ourselves in an upward trajectory for a while, however, it is not always the case. In life, we often celebrate a certain milestone of our life with an particular object – whether it is a watch being passed down from your father, or your very first car toy.

It can be argued that our memories are often stored in these objects.

Objects that are not permanent, complete and imperfect. In essence, our memories make up who we are today. We often take for granted these objects, believing that it does not hold an importance on us now. However, the opportunity to reconnect with these objects may help us in rearranging our life and drives us out from burning out.

The subterranean room is a metaphor of the natural progression of life. It is for us to reflect on our lives and what we have achieved so far. A space that hold a collection of items that define who you are today. A room that allows us to rekindle our motivation to go forward and break the that downward trajectory that we are facing.

A platform for us to contemplate and rearrange our lives during our lowest point in life.

It understands us – our habits and our desires. It understands nature and life through its representation of memories. The pathway down to the room is a representation of our life is not always moving forward, or upwards. The stairs leading out of the room represent the notion of us embracing the adversities after being rearranged and reminded on how far we have gotten. The emotions in the room is personified by the material, lighting, atmosphere, and tactility through the space.

The room is the relationship of time and life – a lancing act that will lead the us to a sense of peace through understanding our memories and our life.

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Church of the Three Crosses 1958 Alvar Aalto

The Church of the Three Crosses in Vuoksenniska is one of Imatra’s parish churches. Alvar Aalto was commissioned to create a master plan for Imatra, which merged three of the old rural villages: Imatrankoski, Vuoksenniska and Tainionkoski.

The industrial community required church amenities, and thus Aalto was commissioned in 1955 to design a new church.

Aalto designed the church for the Vuoksenniska industrial community to combine sacral and social activities. The church was completed in 1958 on the high, pine-forested ridge that divides the two main-lake; Lake Saimaa and Lake Immala.

Alvar Aalto, together with his office collaborators, designed the church interior, complete with its lamps, church collection baskets and candle holders, in the spirit of a total work of art, or “Gesamtkunstwerk�.The basic design of the sculptural white church consists of a series of consecutive sections. The main church space can be subdivided into three spaces using movable partition walls.

The most intriguing part about this building is the internal volume space that Aalto created. A unique underground mass atmosphere is created above the ground with the heavyweight feeling roof. However, the double layer glaze and white finishes of the internal space helps lighten the space and bring in the pure and holy atmosphere.

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Church of the Three Crosses | Alvar Aalto Box Model

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Church of the Three Crosses | Alvar Aalto Box Model

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ARRANGE MENT

As humans, we often find ourselves in pursuit of perfection. However, this utopia thinking of ours is often deemed unrealistic. By encompassing obsessive-compulsive disorder as the driver of the design allows for the elimination of disarrangement. A table or a wall installation, Arrangement allows users to organize daily items by category, size, or their personal preference.

Instead of trying to achieve perfection, Arrangment caters to the design philosophy embraces the notion of imperfection, impermanent, and incompletion.

The object is imperfect – being not aligned with each other, diagonal supports is placed randomly, the object is not a perfect square, the depth of each compartment is not the aligned.

A playful attempt to break the boundary between quirkiness and perfection. That the design help you to embrace the notion of imperfection while still let you live clutter free.

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ARRANGE MENT

Arrangement - Table Organizer

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Arrangement - Wall Organizer

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re | kindle subterranean room

The room is a metaphor for the natural progression of life. A space for us to reflect on our lives and what we have achieved so far. The journey of the space mimics the essence of our lives. We enter a rocky pathway down to the room represents our downfall in life. You will be then greeted by a space that hold a collection of items that define who you are today – a room that allows us to rekindle our motivation to go forward and to break the downward trajectory we are facing. It is a space for us to contemplate and rearrange our lives during our lowest point. The journey ends with a long wavy ramp that leads you out of the subterranean room. A journey that represent our experience of getting our lives back in our hand – a slow process but hopefully a smooth one.

The light on the edges will hopefully leads you to a better space – a symbol of hope wrapping around you.

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the reflection space

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Subterranean Room Plan

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Subterranean Room Journey Diagram

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PRODUCED BY AN AUTODESK STUDENT VERSION

Scale 1:75 @ A3

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Subterranean Room Section A

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PRODUCED BY AN AUTODESK STUDENT VERSION

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Subterranean Room Section B

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PRODUCED BY AN AUTODESK STUDENT VERSION

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pathway to the subterranean room

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dead end

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the reflection space

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the reflection space

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the reflection space

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path way out

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re | kindle inner house | studio 16

final project

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re | kindle

re | kindle v. to make someone have a feeling that they had in the past

For many people, their earliest memories often take place in a domestic setting. Places embody our memories, even when those memories are contested or controversial. A house is a vessel for memories to take place – whether it is an individual memory, or a collective memory shared within the household.

Memories takes roots in building fabric, spaces, gestures, images, and objects. A house encapsulates all the aspects of a memory and how it occurs in our life.

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For many people, we often feel that life has taken a toll on us. The monotonous aspect of everyday life has led us to feel uninspired most of the time. Places such as a gallery allows for the stimulation of interest leading us to feel inspired, emotional, or motivated. Gallery is one of the place that build a community, a social network, a collective memories and identity. Aspects of community that has been lacking since the inception of the internet.

The inner house is an exploration on combining the typologies of a house, and a gallery. It symbolizes the progression of life and the production of memory in a household, and a community setting. As humans we have different memories – one that we might want to keep within ourselves or one that we might want to share to others. The inner house is a platform to celebrate your memories regardless whether it is personal, or not. It is true that memory can survive if the place disappear, but memory will not be as durable or flexible when the place is gone. The Inner House is a vessel to encapsulates not only past memories, however, acts also as a platform for creating new memories.

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Objects are a physical manifestation of a memory. Despite the uncertain nature of a memory, there is no denying that certain objects can help us remember events that we have not thought in years.

An object usually belongs to a person, however, the memory of the event that is encapsulated within the object itself is usually shared. Memories are often intertwined between different party; however, the significance of the particular event or memory varies between each of them

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site plan

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A3

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site planing

native victoria botanical garden pedestrian entrance

gallery garden vineyard

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entrance

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circulation

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gallery experience | rekindle house

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detail section

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Ground floor hallway

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Study room

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Dining space

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Indoor courtyard

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Main ramp display

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Individual path (kids section)

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Kids room

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grandparents’ bedroom

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passage. mid semester arthur wibisono

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ritual.

human.

/ the act of trying to listen to the hum of living / / a feeling of being alive, breath to breath /

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Return Brief mid semester

The act of ritual, today, has seen its rapid decline. An act that once define humanity is now losing its importance. Ritual plays a central role in what defines us as human. Ritual is an act of effective displaying, transmitting, and honestly committing to our shared values.

While some may dismiss the practice as old fashion, the act of ritual is an essential part of the human condition that remains with us today, simply, because it seems to work. Unlike habit which are often mindless, ritual is generally mindful – a series of actions carried out for a specific purpose.

The age of information has brought us with it an abundance of media, recording, and resources for our collective fears, ambitions, desires, and habits. We are often far too distracted with the overwhelming amount of information present today, and often we forgot about what makes us human.

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Inner house is an medium to allow participate actively in our own lives – a step toward on taking back for how we choose to live with, with who we choose to share our experiences and for how we choose to define ourselves in our world. It is a house that encapsulates the user everyday ritual, their key to success. It allows us to perform at our best when we need to, stay calm when we’re under intense pressure, and create a sense of balance in our lives.

Architecture is a reification of the way we have come to terms with the space we dwell in. Reification describes the process through which objects, places, and human relationship become objectified into ‘things’ or in other words, commeasurable entities. Focusing on its user and its participant – be it through the architecture, objects placed in the house, or shared practices between them.

To capture the philosophy, it is important to underline the idea of time – that life is a journey of building relationship. The house will act as an entity that the user will develop a sense of kinship over time. ‘Honesty’ is important – in relation to its material, its finishes. Light will act as an expression of silence that gives the space a universal character.

The house is an expression of ritual in everyday basis. Ritual that all of us have that we often take for granted or look upon, is celebrated here. A house that acts more than a dwelling but as an entity that you develop relationship with it.

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IBM Traveling Pavilion 1986 Renzo Piano

In 1983, IBM commissioned Renzo Piano to create a pavilion that serves a traveling exhibition to promote IBM advancement in computer technology. The underlying idea of workstations could be located anywhere. The structure was designed to be assembled, exhibited for a month, then dismantled at 20 European destination The pavilion is a transparent tunnel, sitting on a raised platform.

The enclosure is made of repetitive elements of wood and polycarbonate. This traveling exhibition, brought a vison of future of the technology form city to city.

In the pavilion Renzo pushed the boundary of semi-permanent structure – a modular structure that was built for efficiency, and ease of assembly; however also achieving a dramatic internal volume.

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exterior.

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IBM travelling pavilion.

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interior shot.

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structural ribs.

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paneling.

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Rite. “an everyday ceremony of life’’

The age of information has brought us with it an abundance of media, recording, and resources for our collective fears, ambitions, desires, and habits. The act of ritual, today, has seen its rapid decline. An act that once define humanity is now losing its importance. Ritual plays a central role in what defines us as human. Ritual is an act of effective displaying, transmitting, and honestly committing to our shared values.

Inspired by Japanese tea ceremony. Rite is an medium to allow participate actively in our own lives – a step toward on taking back for how we choose to live with, who we choose to share our experiences and for how we choose to define ourselves in our world.

The object is developed based on our shared custom of making and serving coffee. It is a everyday ceremony of life – a ceremony of making. The collection comprises of a coffee table, a communal bench, a stool, and a coat hanger – with each piece serving a different stage of the ritual. The chair and bench are intended to denote a hierarchy for people taking part in the ritual. While the person serving coffee is confined to the stool, the participants are invited to take a seat on the bench.

Rite is a medium for us to reconnect to the tradition of rituals – a fundamental part of what makes us human and have as much relevance today as they ever did.

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Rite. “an everyday ceremony of life’’

detail 01. coat hanger.

detail 02. cup holder

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coffee table.

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solo.

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entertaining.

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full configuration.

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passage. subterranean room

The room is a metaphor of the process of ‘rite of passage,’ popularized by Victor Turner. A space that allows us to progress from one state to another.

When you enter the room, you will be greeted by a staircase, that leads you down. The staircase is divided into two parts, one exposed to light and another exposed to no light, representing the amount of information that we are often being overwhelmed with.

As you walk through the staircase, the host and the guest will then be seperated.

The guest will exit the staircase first, and the host will exit later. The different exit allows for a spatial hierarchy – mimicking the idea that in every ritual or activities; there will be the guest and the server. The different pathway is also spatially different from its height and its materiality finish, the guest will be greeted with a grand and smooth path. While, the host pathway is more fluid and complicated. On the pathway to the main room, there is a play of light.

Creating a sense of silence.

The final destination is the coffee ritual space, where the host and the guest interact over coffee. However, before entering the ritual space – the entry is different for each of them. The guest will enter from a circular pathway leading into the space. Whereby, the host will enter through a backdoor – creating a sense of formality inspired by the Japanese Tea Ceremony.

The main space is a circular space, that hugs you. Like a Greek temple, the coffee table is placed on a raised platform to create a sense of focus and importance. The space has a skylight that is directly over the raised platform.

Once the ritual is done, both the guest and the host will exit through the same exit – where the guest enter previously.

The whole journey is designed to be in a loop, to create a sense of ‘ichi-go ichi-e’ – a philosophy that each meeting should be treasured, for it can never be reproduced. A focus on the idea of one time, one moment.

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ritual space.

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pass

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Subterranean room plan.

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entry.

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hierarchy.

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guest experience.

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host pathway to ritual.

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entry via the alley final project arthur wibisono

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ritual.

human.

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Return Brief final project

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The act of ritual today, has seen its rapid decline. An act that once define humanity is now losing its importance. Ritual plays a central role in what defines us as human. Ritual is an act of effectively displaying, transmitting, and honestly committing to our shared values.

While some may dismiss the practice as old fashion, the act of ritual is an essential part of the human condition that remains with us today, simply, because it seems to work.

The age of information has brought us with it an abundance of media, recording, and resources for our collective fears, ambitions, desires, and habits. We are often far too distracted with the overwhelming amount of information present today, and often we forgot about what makes us human.

Over the last 100 years, humanity has advanced so much that most of the time we cannot keep up with. Despite that it only takes 7 hours to fly from New York to London, causing mass movement within people from all over the world – the one thing that we always bring with us is the ritual of food and drink. The act of ‘breaking bread’.

A ritual that has been since the beginning of humanity, despite the rapid changes that occurs daily in the modern era. It is still relevant till this date.

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Eating and drinking are essential for survival – because of its centrality in our lives, it is the perfect vehicle for a ritual. Almost every culture has rituals around food; from fasting and feasting during Ramadan to tea ceremony in Japan. However, the ritual of food has gone missing from our modern meal.

This inner house in an exploration of the typology of a private dining in a home setting. A home where the focal point surrounds the act of consuming food and drinks. The house is about sharing food, drinks, stories, and company in an intimate environment.

An experimentation based on the belief that an entire community can begin around a table; by sharing not only food and drinks but also stories.

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dining + cooking fly

campfire

sleeping area

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A campsite is a prime example on how architecture can facilitate the act of ritual. For many youth going to a camp, the highlight of the event would be the act of preparing, consuming, and the campfire sessions.

The arrangement of a campsite focuses on the campfire as the heart of the site. On the horizontal axis, the dining and the food preparation areas will be located. Surrounding the dining and food preparation side are the sleeping areas.

The Inner House drew inspiration from architecture planning principles of a campsite to help guide the experimentation on placing the importance on food and drinks into a domestic setting.

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site plan

Yarra R i

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race access to

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Remember When..

Demetri Gnafakis

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Inner House ‘A Return to Reality’

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I remember a time where I was wholly present within the home I inhabited. The dampened noise of rain hitting against the window beside me as I read. The shadow of the blinds protecting my body, while the cloudy leakage of light was just enough to make out a page.

The warmth of the timber floor beneath me as I would lay for what felt like hours on end.

That sense of intimacy has vanished as rain has become music from my phone, shadow has become my headphones, and the screen of the computer glares towards my eyes.

As technology has become such an integral component of life, we are required to digitally inhabit a space for hours on end throughout our lives, whether it be morning, afternoon, or night. Our eyes are locked towards a fixed frame, and our hands are used to control rather than to feel. Time passes by at breakneck speed, where we are detached from the space we inhabit and absorbed into our thoughts.

Over the course of my life, I feel as if I have increasingly become desensitised to the spaces that I inhabit each day. My mind is not where my body is, and my body is not where my mind is.

My tangible interaction of space has become lost at home, where everything that I interact with is either artificial or imagined. Inner House may provide a gateway back to reality, where we are able to reconnect with our natural senses that have diminished over time, and fully absorb the space we inhabit.

A house that reunites the body with the tactile elements of our past, where we can follow our everyday needs, whilst living in balance with nature.

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Ecole D’Architecture de Lyon Jourda & Perraudin

The transparent workshops across the first floor embody an ethereal frame of glass and timber to form an open exchange between students’ thoughts and ideas within a space of creation.

The floor articulates an approach to discovery and research in fabrication as elements such as metal molded parts from the air vents had been applied to support the beams of the workshops.

The monolithic volumes of the ground floor hosts theoretical teaching across multiple classrooms to enclose the foundation of knowledge. This impenetrable space of rigorous concrete creates a contrasting composition between both floors, which is brought to unity via a central axis of light cut into the form.

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Rain-screen

A vessel of tranquility, where I am freed from daily interference.

From the outside, an enclosed entity heightens the sense of sound as water runs along a screen, creating a veil of liquid. As the warmth of the earth becomes apparent beneath me, I follow the leakage of both water and light. The ceiling begins to open up as I am welcomed into an intimate, contemplative space constructed of light, water, and rammed earth. Various light experiences shimmer from an oculus above, as I am taken back to a rainy day, where the sensation of water against my window is penetrated by light, soothing my mind as I continue reading my favourite book. My mind is at ease, as I become present.

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Isometric 1:50

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Forgotten Light

As my eyes remain strained, and my mind begins to ache, I urge to find a space to detach myself from such blurred vision. I descend a flight of stairs, absorbed by the echoeing labyrinth of my footsteps as the walls become lost in the shadows. As I walk, I hear the sound of metal underneath me, as I run my hand along the ridges of what seems to be a wall. My eyes become relaxed, and my mind begins to search for an opening. The gentle push of water becomes audible as I approach a faint light. An open sanctuary welcomes me. I slowly move along the rippling flow of water as a glow of light draws me to the centre, attempting to revive me of my senses that have been long forgotten.

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Shrouded by artificial, seperated from our senses

Abstinence from the screen, becoming present

Regaining (natural) light, a space to regain memory

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The Act of Circumambulation ‘Moving around a sacred object’

Interaction with Memories ‘My experience of space re-established’ 256

Void

Object Path

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Over-exposed Forgotten Rituals

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I remember a time where I was wholly present within the home I inhabited. The dampened noise of rain hitting against the window beside me as I read. The shadow of the blinds protecting my body, while the cloudy leakage of light was just enough to make out a page.

The warmth of the timber floor beneath me as I would lay for what felt like hours on end.

That sense of intimacy has vanished as rain has become music from my phone, shadow has become my headphones, and the screen of the computer glares towards my eyes. As technology has become such an integral component of life, we are required to digitally inhabit a space for hours on end whether it be morning, afternoon, or night. Our eyes are locked towards a fixed frame, and our hands are used to control rather than to feel. Time passes by at breakneck speed, where we are detached from the space we inhabit and absorbed into our screens.

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Client A Retreat from the Screen

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Jim spent his childhood within the open fields of the Yarra Valley.

Underneath the belly of the sun, he would spend hours outside, exploring the many paths of the vineyard with his brother. He remembered the journey down the hill as it unravelled toward the plains. Resting at the apex of an unprecedented field, was the winery, built by his grandparents in the 20th century. Jim would venture the field, and retreat within the vines, hidden, yet feeling a sense of security, knowing his grandfather was watching from the top of the hill.

Twenty years later, with his grandparents passing away, Jim had inherited the land with his brother, but forced to move to the inner city, to pursue working in IT. Life had transformed from the exploration of the field to the confinement of the walls in his apartment.

With work consuming his life, Jim had missed out on time spent with his family, and found himself further disconnecting from others once his wife had passed away.

Many years had passed until Jim had finally had enough, and decided to reconnect with his only family left, it was time for him to leave his screen behind.

He reaches out to his brother, who is now married with a child, and suggests they return to their roots as winemakers.

Outline

- Jim, 55 years old.

- To live with his brother on the new site - Brother’s wife and child to live with them - Both of them working as winemaker and assistant winemaker

271

Rediscover

Rejoice

Buried Rituals After living a life over exposed to the screen, a house has been designed to reunite the body with the core rituals of our past, where we can follow our own needs, whilst living in harmony with our body and nature. Subterranean sanctuary focuses on the core rituals that embody a home, bringing ‘rooms’ back to their fundamentals to create raw, sacred spaces that transport people back to a time where the notions of living were impacted by how we felt in a space, not what we held.

“Spaces that cannot be seperated from it’s duration due to a transitional excess of movement” - Brian Massumi

Reflect

Rest

272

Enclosure and Exposure

Enclosure opened on either side

Isolated volumes created

Thresholds embedded in negative space

Volumes embedded as positive space

273

Parti Diagrams

Volumes exploded across site

Four zones interlinked

Rift opens up the site

Compression and expansion in space

274

Enclosure and Exposure

Volumes emerging from the earth

Landscape intertwined

House as an extension of the vineyard

275

Yarra Trail

Site Plan 1:500 276

Entry

Yarra River N

277

Ya r

ra Tr ail

Site Isometric 1:500 278

En

try

r

ve

Ri rra

Ya

N

279

Secondary Entrance

A

Ground Floor Plan 1:200 280

Basement Entrance

To Yarra River

B N 0

281

1m

5m

Rediscover

Visitors Entrance

A

Reflect

Basement Plan 1:200

282

Rejoice

B Rest

N

283

0

1m

5m

Family Living

Study Harvesting Workshop

Storage

Single Bedroom Laundry

Exploded Ground Floor Isometric 1:250 284

Shared Kitchen Dining

Ensuite

Master Bedroom

Kitchen

Laundry

Bathroom

Kitchen

Master Bedroom

285

Paint Workshop Fabrication Space

Private Dining Wine Tasting

Wine Cellar

Meditation

Exploded Basement Isometric 1:250 286

Lounge

Steam Room

Sauna Bathing

Library Gallery

Lounge

287

Sectional Perspective 1:50 288

289

Section A 1:200 290

0

291

1m

5m

Section B 1:200 292

0

293

1m

5m

North Elevation 1:150 294

295

Arrival

296

297

Basement

298

299

Rejoice

300

301

Rest

302

303

Bathe

304

305

Reflect

306

307

Rediscover

308

309

In Search of Inner Child Joseph Cheng

310

311

Brief

312

Inner House “We are never real historians, but always near poets, and our emotions is perhaps nothing but an expression of a poetry that was lost.”

Gaston Bachelard Architectural experience is not merely a physical activity, but also involves psychological activity which could alter our emotions and state of consciousness. As Martin Heidegger had succinctly put it in a sentence, “as we enter a space, the space enters us.”

In the Poetics of Space, Gaston Bachelard deliberates on the essence of the oneiric house, the house of the mind. A house, to Bachelard, is a tool for analyzing the human soul and a rampart which protects the dreamer, allowing one to dream in peace. He also described our tendency to retain and recreate pleasant memories of former days, “…after we are in the new house, when memories of the other places we have lived in come back to us, we travel to the land of Motionless Childhood, motionless the way immemorial things are. We live fixations, fixation of happiness…”.

According to Juhani Pallasma, home is a staging of personal memory. It functions as a two-way mediator-personal space expresses the personality to the outside world, but equally important, it strengthens the dweller’s self-image and concretizes his world order. To me, the word home recalls the memories of warmth, protection and love of my entire childhood. Perhaps, my home of adulthood is only an unconscious search for the lost home of childhood.

Most of my pleasant memories from my childhood were related to play ¬– playing hide and seek at the park, sitting on the floor playing Xbox with my brother, etc. Play is where I experience joy and learn that the world is not so depressing after all. Play is where I learn to solve our own problem and have the chance to learn how to control our own life.

Play is where I learn to get along with peers and see from other’s point of view, and practice empathy. It is the self-directed and self-controlled aspect that makes play fun and important. Moreover, play satisfy our primal needs for exploration and thrill.

Therefore, creating a playful space is not only an approach to satisfy our primal desires, but also a mediator between our adult side and inner child.

And the question here is how to create space that induce certain emotions and feelings?

According to Pallasma, emotions deriving from built form and space arise from distinct confrontations between man and space. The emotional impacts are related to an act, not an object or a visual or figural element. The phenomenology of architecture is founded on verbs rather than nouns. The approaching of the house, not the façade, the act of entering, not the door; the act of looking out of the window, not the window itself. In other words, objects within the house are charged with certain energy and our emotion is trigger when we interact with them. Therefore, to induce certain emotions and feelings, space and place must invite and suggest distinct acts.

“Architecture must produce place where desire can recognize itself, where it can live.”

Jacques Derrida

313

Oculus Station Designed by Santiago Calatrava

New York, NY 10007, United States

314

Material: MDF/ White perspex / Spray paint

Box Model

315

316

317

318

320

520

300

1000

800 2500

2000

0

120

00

12

Fiber: Wool / Filling: Polyurethane foam

module

319

320

Material: Clay / Fleece

321

322

In Search of Inner Child a sequence of spaces that satisfy our primal needs for exploration and thrill. It also acts as a mediator between our adult side and inner child.

323

UP

Y AD RE

D R E A M

D

R

E

A

M

GO

WOO HOO !

CLIMB

SLI DE

CLIMB

SLID E

CLIMB

D R E A M

324

PLAN 1:75

SECTION 1:75

325

326

Exploratory Play Using senses of smell, touch, and even taste to explore and discover the texture and function of things around us

327

328

Exploratory Play This is the make-believe world of children.

This type of play is where the child’s imagination gets to run wild

329

330

Deep Play Play which allows us to encounter risky experiences and conquer fears, like heights, snakes, and creepy crawlies

331

Inner House

“In Search of Inner Child”

332

In search of inner child A house, to Gaston Bachelard, is a tool for analysing the human soul. A house is a rampart which protects the dreamer, allowing one to dream in peace.

A significant part of our soul was taken by our inner child.

However, most of the house we live in satisfy only the utilitarian needs for shelter and efficiency, neglecting our primal needs to explore and play.

Inner House is a place that will restore occupants’ sense of wonder and house their desires‌

333

WONDER

Wonder implies a shift in perspective that is particularly manifest when something ‘ordinary’ is suddenly seen as extraordinary.

Wonder is Suggestive. It shows us something, reveal something, if only partially, that it points towards to deeper meaning.

Wonder is the experience of contemplating how the various part relates to a greater whole.

334

335

336

Client Our client is a retired couple who decided to build a family house that can be passed down generation to generation. It is a house that will fulfill their childhood dreams.

Sam is a guy that has an eclective range of interets. He likes cooking, collecting jade, reading history books, and red wines. His childhood dream was to have a castle‌ Rachel is a pianist. She likes to travel and appreciates different cultures. She loves collecting exotic artworks and gardening.

Her childhood dream was rather simple when comparing to Sam. All she wants is to play the piano in a beautiful place.

337

338

Programme Private wine tasting room Master Bedroom x2 Guestroom Dining room Grand piano room Library and secret reading room Kitchen & herb garden Living room with fireplace Place for art collection Amenity

339

garage

living

No rt

ail Tr a rr Ya

amenity

piano

h

secret

kitchen

dining library

her

bg ar de

n

guest rm

wine tasting

pa

master bedrooms

tio

n

o tati

an d pl eyar

Vin

340

341

Yarra T rail

1

6

342 5

7

9

10

A

2

3

4

Vineyard Plantation

8

11

1 garage 2 living 3 patio 4 dining 5 kitchen 6 laundry 7 herb garden 8 wine tasting 9 bathroom 10 guest room 11 deck

A

GROUND FLOOR PLAN 0

1

2

5m

343

3

2

344

Yarra T rail

A

1 VOID

VOID

SKYLIGHT

4

5

SKYLIGHT

A

1 2 3 4 5

piano room library secret room master bedrooms ensuite

FIRST FLOOR PLAN 0

1

2

345

5m

346

0

1

2

5m SECTION AA

347

East Elevation

348

West Elevation

349

B

Yarra T rail

B

Vineyard Plantation

GROUND FLOOR PLAN 0

350

1

2

5m

351

Vineyard Plantation

352

Yarra Trail

0

1

2

5m

SECTION BB

353

Yarra T rail

C

VOID

SKYLIGHT

VOID

SKYLIGHT

C

FIRST FLOOR PLAN 0

354

1

2

5m

355

356

0

1

2

5m

SECTION CC

357

0 358

1

2m DETAIL SECTION

359

Yarra T rail

VOID

SKYLIGHT

VOID

SKYLIGHT

FIRST FLOOR PLAN 0

360

1

2

5m

361

Inner House

“In Search of Inner Child”

362

363

364

“The voyage of discovery lies not in seeking new vistas, but in having new eyes.�

Marcel Proust

365

THE EPHEMERAL HOI MAN KWOK (PRISCILLA)

366

367

INDIGO SLAM HOUSE Box model

FIG.1 - Stairs - Ground level

368

FIG.2 - Stairs - Second level

369

FIG.3 - First level

FIG.5 - Overall box

FIG.6 - Balastrade detail

370

FIG.4 - Second level

FIG.7 - Stair detail

FIG.8 - Beam detail

371

THE LAPSE Waiting couch

FIG.9 - Trajectaries of data points

Trajectaries

FIG.10 - Sequence of movement - stand & sit

Loft surface

Bone

Structure

FIG.11 - Trajectaries of data points

FIG.12 - Steam bending timber connected by metal rod

372

FIG.13 - Curved ends to allow back and forth movement

FIG.14 - Render - The Lapse in use 373

THE LAPSE Waiting couch

FIG. 15 - Sequence of human movement

FIG. 15 - Sequence of human movement

FIG. 16 - Prototype - the Lapse

374

FIG. 16 - Prototype - the Lapse

FIG. 16 - Prototype - the Lapse

375

SUBTERRANEAN ROOM Sequence of experience

Home is an individualised space that hosts the personal and private dimension of life. The Subterranean room is a retreat for escape from the reality. It is a personalized space that offers a private and intimate space for contemplation and relaxation.

It hosts both myself and my cat which is an essential part of my refuge.

The form speaks to the sequence of movements as one moves through space and time in order to illustrate an intimate relationship between the space and its dweller.

376

CONCEPT DEVELOPMENT Sequence of experience

access through stairs

sitting (reading)

lying (relaxing)

FIG. 17 - Form of space in response to activities taken place in the subterranean room

section at stairs

70mm

notion of instability through motion

FIG. 18 - Rhythm of light in response to sequence of movement 377

vertical movement

378

FIG. 19 - Render - Staircase leading to the subterranean room

379

EXPLODED ISMETRIC / PLAN (1:50) Subterranean room

380

0

1

2

381

3

4m

SECTION (1:50) Subterranean room

B A

382

Section A

Section B

383

384

FIG. 20 - Render - Corner of room with skylights

385

386

FIG. 21 - Render - The Lapse / area for solitude 387

THE EPHEMERAL HOI MAN KWOK (PRISCILLA)

388

Home is not a building but a diffuse and complex condition that integrates desires and dears, the past and the present. It hosts the personal and private dimension of life where we hide and rest in safety. The quality of the space within is not merely a visual perceptual quality but multi-sensory; Motion and durations are beyond the five senses that speak to our consciousness. They are expressed in the change of perception of time and movement in architecture which are often neglected as it’s presented as a static form that is timeless.

Movement of human are responsive, so should the space around it.

It is a medium that generates architectural form that responds to the narrative as it captures the ephemeral of change in the space.

“A rchi tecture i s g re at disc ipline ‘only wh e n it is an exp re ssion of it s t ime .’”M ie s Va n de r R oh e

389

Studio 16_Inner House

The Ephemeral Priscilla Kwok

390

391

MAIN YAR RA TRAIL

Concept Diagram

YARRA RIVE 392

GARDEN T ERRACE

N

0

ER 393

5

10

20

40m

MAIN YAR RA TRAIL

Site Diagram

N

YARRA RIVE 394

GARDEN T ERRACE

NURSERY FARM

DRY FLOWER SHED

N

0

ER 395

5

10

20

40m

Isometric

north

0

elevation

2

4

8

16m 396

397

Living

space

398

399

7am

400

TIME:

7AM

401

ACTIVITIES:

KAYAK

9AM

AWAKE

12PM

LUNCH

3PM

WORK/STUDY

5PM

ARRIVE HOME

9am

402

TIME: 7AM

9AM 12PM

403

ACTIVITIES: KAYAK

AWAKE LUNCH

3PM

WORK/STUDY

5PM

ARRIVE HOME

12pm

404

TIME: 7AM

KAYAK

9AM

AWAKE

12PM

405

ACTIVITIES:

LUNCH

3PM

WORK/STUDY

5PM

ARRIVE HOME

3pm

406

TIME: 7AM

KAYAK

9AM

AWAKE

12PM

LUNCH

3PM 5PM

407

ACTIVITIES:

WORK/STUDY ARRIVE HOME

5pm

408

TIME: 7AM

KAYAK

9AM

AWAKE

12PM

LUNCH

3PM

5PM

409

ACTIVITIES:

WORK/STUDY

ARRIVE HOME

First Floor Plan

A

B

410

B

A 411

Ground Floor Plan

A

B

412

TIME:

B

A

413

ACTIVITIES:

7AM

KAYAK

9AM

AWAKE

12PM

LUNCH

3PM

WORK/STUDY

6PM

ARRIVE HOME

Section

A-A

Winter

0

1

2

5m

2

5m

Summer

0

1

414

A A

415

Rumpus/pool

416

417

Section

0

0.5

B-B

1

2

4m

418

B B

419

Skylight

420

421

GARDEN TE RRACE MAIN YARR A TRAIL

N

0

5

YARRA RIVER

0

2

4

0

1

8

2

16m

5m

422

10

20

40m

423

Convention Wanderlust PANPHILA PAU

424

425

Inner House

Inner House is beyond a residence for people in a fixed location, it is a home where embraces the life of all forms of imaginary: poetic, visual, psychological and elemental.

House is a physically built dwelling; Home is where memories are created, stored and bred.

House is a liminal space for generations; Home is a domestic space traveller across cultures and disciplines.

Inner House is an experience of insidesness and outsideness in thinking of being and non-being. An intimate value of inside space which comforts you with the illusion of protection from outside world.

Perhaps a thicker wall, a gigantic tall screen or an extremely quiet yet comfort space?

An insular where this intimate value cannot be experienced out where.

The changing of space and time renews our being, transforms our mind and soul, refine the key difference between harmonic values and empirical facts.

Inner House is a body of receptive and active – an acoustic of listening and an art of participation. It passively collects imaginary dialectics, fragmentary dialectics which makes Inner House very intimate and unique.

You will never find place like Inner House – Home.

Kimbell Art Gallery

Louis Kahn| 1972 | Fort Worth, Texas, U.S. The element of natural light is the main focus of the design, and creates elegant spaces that are perfectly suited for the art that it houses. The distinct form of the Kimbell Museum’s cycloid barrel vaults are rimmed with narrow plexiglass skylights, providing room for natural light to penetrate into the spaces. To diffuse this light, pierced-aluminum reflectors shaped like wings hang below, illuminating the smooth surfaces of the concrete vault while providing elegant and enchanting light conditions for the works of art.

Trolley Morning you!

What is your plan today?

Those brightly saturated vegetables Have sat in my bottom basket by mummy.

Those silvery-grey plasticised cutlery Have set on my top tray by granny.

A plate of vibrant promising hue Can taste of plastic and glue.

Wheel me to the stove.

Morning beautiful!

Are you ready for your big day?

A smoothing-silky cloth Has wrapped around me.

A three-layered white sponge Has put weight on me.

A clinking sound of two champagne glasses Can hear of laughter and applause.

Wheel me to the stage.

Morning you!

How you feeling today?

Non-sweet porridge Has got soggy.

Non-caffeine tea Has got cold.

Wake up!

Wake up…

Wake up…

Wheel me back to you…

Trolley is a hide-and-seek object of Inner House. It is hidden and paralysed at the corner of the house that symbolises solitude and loneliness. It is a petrified silence, sits there quietly and observes. Our mind can hide from things and do nothing – means everything, give our soul a pause in silence and meditate.

Trolley can also be interpreted to a commencing space of Inner House, a beginning of something. We do not see it starts, and yet it always starts the same way. It is an inception of seeking and creating new imaginations, new memories. Perhaps a cozy gathering? A small celebration? A big ceremony? Or a consumable logic of ritual?

It grows and spreads, in order to live in greater elasticity of daydreaming.

Stainless steel finish trolley top

Stainless steel finish sliding ice tray

TROLLEY // FRONT

TROLLEY // SIDE

TROLLEY // REAR

TROLLEY // FRONT

Flinging Hourglass

Hourglass, a flinging of receptive and active media. Trolley symbolizes sand in hourglass, a commencement or a beginning of an event. Trolley wheels around a half-cycled track and the location of it marks the start of something.

The movement of trolley resembles an inter-media of two programs: quite meditation and giggling gathering.

The quote, “We do not see it starts, and yet it always starts the same.� connects the whole design: trolley tracking movement and human circulation.

FLINGING HOURGLASS // UNDERGROUND COURTYARD

A

C

FLINGING HOURGLASS / scale: 1

// GROUND FLOOR PLAN 1:50

B

0

1

2

3

4

5

SILENCE CONTEMPLATION MEDITATION

FLINGING HOURGLASS // UN scale: 1

LAUGHTERS GATHERING IMAGINATION

0

1

2

DERGROUND FLOOR PLAN 1:50 449

3

4

5

FLINGING HOURGLASS // SECTION A-A scale: 1:100

0

5

FLINGING HOURGLASS // SECTION B-B scale: 1:100

10

FLINGING HOURGLA scale: 1

ASS // SECTION C-C 1:50

0

1

2

3

4

5

FLINGING HOURGLASS// COMTEMPLATION

FLINGING HOURGLASS // EXISTING

Hippy Hoppy Home Panphila Pau

Studio 16 // Inner House //Joel Benichou

456

457

Inner House Return Brief

Inner House is beyond a residence for people in a fixed location, it is a home where embraces the life of all forms of imaginary: poetic, visual, psychological and elemental.

House is a physically built dwelling; Home is where memories are created, stored and bred.

House is a liminal space for generations; Home is a domestic space traveller across cultures and disciplines.

Inner House is an experience of insidesness and outsideness in thinking of being and non-being. An intimate value of inside space which comforts you with the illusion of protection from outside world.

Perhaps a thicker wall, a gigantic tall screen or an extremely quiet yet comfort space?

An insular where this intimate value cannot be experienced out where.

The changing of space and time renews our being, transforms our mind and soul, refine the key difference between harmonic values and empirical facts.

Inner House is a body of receptive and active – an acoustic of listening and an art of participation. It passively collects imaginary dialectics, fragmentary dialectics which makes Inner House very intimate and unique.

You will never find place like Inner House – Home.

458

Hippy Hoppy Home

Hippy Hoppy Home is a house for three generations. Grandparents produced local wine from Studley Park Vineyard back in old days. The son and wife, Jason and Sophie reconceptualised family business from wine making to hoptea making, PG Beer! PG Beer is an alternative booze to the established brewery and drinking cultures found in across Yarra River. PG beer takes advantage of Kew’s wholistic character; its family-to-family relationships, friendly neighbourhoods and finds itself well-positioned to provide a new PG destination for families, leisurely weekend walkers, Instagrammers and the like. It brings Kew closer to the action.

459

DESIGN ILLUSTRATION ISOMETRIC VIEW scale: n.t.s.

460

461

OVERALL ISOMETRIC VIEW scale: n.t.s.

462

463

B

bench bathroom

bathroom

lav. a

A

study area

playing area outdoor bench kids bedroom

kids bedroom home office

living room

garden

garden terrace

B

GROUND FLOOR PLAN

0

1

2

4

10m scale: 11.150

464

laundry

lav.

hoptea experiment room

backlane kitchen

kitchen

A

wet area

garage

b

465

walk-in-robe bath room

void

FIRST FLOOR PLAN

0

1

2

4

void

10m scale: 11.150

466

en-suite (parents)

outdoor terrace

void

walk-in-robe outdoor seating area en-suite (grandparents)

void

void

outdoor terrace

467

bath room

first: en-suite (grandparents) to young street

hoptea: hoptea tasting

hoptea: visitor promenade ground: garage

SECTION A-A

0

1

2

4

first: ou

10m scale: 11.150

468

ground: wetarea

ground: kitchen + b

first: en-suite (parents)

utdoor seating area

backlane kitchen

ground: garden

ground: living room

469

ground: study area

ground: kids playing area + bedroom

to yarra river

first: outdoor seating area

main yarra trail

ground: bench

SECTION B-B

0

1

2

4

10m scale: 11.150

470

g

ground: garden

hoptea tasting

grapes extraction grind 1.0

hoptea shop

471

flavouring + packaging

grapes extraction grind 2.0

ELEVATION A

0

1

2

4

10m scale: 11.150

472

visitor promenade

473

grapes extraction grind 2.0

hippy hoppy home

ELEVATION B

0

1

2

4

garden terrace

10m scale: 11.150

474

475

1/f outdoor seating parapet timber batten finish = 15mm thk. playwood frame = 15mm

outdoor deck finish timber cladding = 19mm rigid insulation = 75mm concrete slab = 150mm

ceiling timber venner finish = 3mm thk. plywood structure = 15mm

sliding door aluminium door concealed frame = 75mm timber batten = 25mm thk.

floating deck str timber venner fin plywood frame = rhs steel = 75mm frame with 3mm

outdoor deck finish timber cladding = 19mm structural plywood = 15mm mortar = 50mm concrete = 250mm mortar = 50mm rigid insulation = 75mm

concrete footing

GARDEN DETAIL

0

500mm

1m

scale: 1:20

476

floating deck

stair

tiles finish = 5mm steel frame support underneath

perforated steel mash finish = 5mm steel frame structure = 25mm thk. bolt to concrete slab

arch brick wall double brick facade = 240 x 112 x 70

ructure nish = 5mm = 15mm m hollow m thk.

477

a

RENDER A: HIPPY KIDDIE ZONE

478

479

b

RENDER B: HOPPY PG GARDEN

480

481

482