Studio 16 - Inner House Student Work - Part 2 by jbenichou

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

part 02 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

Studio Leader Joel Benichou

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 â&#x20AC;&#x2DC;Instaâ&#x20AC;&#x2122; 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 faĂ§adeism 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

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

GORDON HON ‘ mid semester ’

mindfullness - subterranean room

‘ final project ’

inner house

‘ mid semester ’

sensibility . sense - subterranean room

‘ final project ’

rhythm & battens - inner house

‘ mid semester ’

elemental - subterranean room

‘ final project ’

actuated ground - inner house

‘ mid semester ’

the introvertive - subterranean room

‘ final project ’

the introvertive - inner house

P.06 - P. 17 P. 18 - P. 49

SIDNEY SIM P.50 - P.75 P.76 - P.91

DAVID GEOGHEGAN P.92 - P.113 P.114 - P.135

SHARLEEN WONORAHARDJO

P.136 - P.153 P.154 - P.171

FAT I M A H A L - A M E E N ‘ mid semester ’

the interpersonal transition - subterranean room

‘ final project ’

the reflective house - inner house

‘ mid semester ’

subterranean room

‘ final project ’

inner house

‘ mid semester ’

endless repeated - subterranean room

‘ final project ’

endless repeated - inner house

‘ mid semester ’

rite house subterranean room

‘ final project ’

rite house inner house

P.172 - P.193 P.194 - P.225

Y I RA N TA O P.226 - P.255 P.256 - P.285

DUANYI LI P.286- P.299 P.300 - P.345

LUCY JENKINS

P.346 - P.371 P.372 - P.443

MINDFULNESS Inner House

“Mindfulness is both a destination and a process.” Jared Levenson.

Gordon Hon Chun Hin 6

In the age of social media, the 24-hour news cycle, and an overwhelming pressure in the society, people in city often contain a constant state of stress and overwork. This constant state of stress then builds into anxiety, as there are few resources for mental reprieve, which will greatly impact one's mental wellness. Considering the status of societal stress, I see architecture as the retreat and medicine of the mental anxiety. Architecture has the power to promote a sense of presence, forcing users to pay attention to the immediate environment, in which place influences emotions, which control our lives and could also be impact behaviour. Physical environments should be challenged to be part of a solution to mental health problems as they have the power to influence the emotional state of the people within them. Architecture should serve a role in promoting mental wellness through mindful experiences. An architecture of mindfulness would not only fulfil the needs of mindfulness meditation, but also go further in establishing physical attributes that can form an ideal environment to be present in. By embracing the natural factors surrounding the space, it will develop an aesthetically pleasing and soothing space with an experience of calmness and stillness by accessing with nature, light and air. It can provides an opportunity of a peaceful retreat for reflection and contemplation to oneself.

CONGRESS AND EXHIBITION PALACE OF CASTILLA Y LEĂ&#x201C;N Box Model Exercise

The spacious theatre is built by architect Juan Navarro Baldeweg in University of Salamanca, Spain in 1985. This spacious hall is crowned by a magnificent dome that floats upon this main auditorium. The negative form is giving the hierarchy of the level from bottom to the top, and negative space is very spacious given by the purpose of a theatre. Dome on top is the main feature of the space. Its geometry is very interesting spreading from inner circle to an overall square shape. And the layer is descending at four corners is like covering the whole space. Lights are penetrating from the center skylight and the edge of the square. This is giving a feeling of sacred and serious atmosphere for the theatre.

BOX MODEL Model 1:20

FRONT PERSPECTIVE

REAR PERSPECTIVE

FRONT RIGHT PERSPECTIVE

FRONT LEFT PERSPECTIVE

CEILING DETAIL

1. BOX Starting at a plain box

3. ORGANIC CONTOUR Form contouring into organic natural gesture

2. NEGATIVE SPACE Corporating human scale to create negative space

4. SKYLIGHT Introducing skylight for meditation effectiveness

MAN CAVE Design an Object

In the age of anxiety, the man cave is designed to be a peaceful retreat for reflection and contemplation for oneself. It allows user to experience calmness, peace and harmony, while he/she could be fully present in the moment. The pods offer a carved out spot for people to experience individually, quiet and privacy. Through materiality, texture, lightness, mass and form, it gives the feeling of accessing nature, disconnecting oneself from mobile phone and all others messy stuffs, but to just fully present in the moment, experience the â&#x20AC;&#x153;beautiful silenceâ&#x20AC;?. In this isolated and mindful meditation, one can feel relax and have my sense of feeling activated and be awareness of part of our body, and eventually find the inner calm.

PERSPECTIVE 1

FRONT

RIGHT

BACK

LEFT

TOP

AXO

PERSPECTIVE 2

LYING

SITTING

LOTUS

FREESTYLE

2500 2250 2100

550 150 100 0

Various positions has been studied and introduced into the pod, in order to achieve oneâ&#x20AC;&#x2122;s most comfortable position. It can be lying, sitting, lotus or freestyle for the perfect experience oneâ&#x20AC;&#x2122;s aim to achieve.

Godlight Hole Design of the top opening to bring in natural light which helps reflection and comtemplation. White Plasterboard - Exterior Selection of artificial white plasterboard sets boundary to the pod and giaves a strong contradiction to interior.

Timber texture - Interior Timber texture with organic design curvature inspires user to the natural geological formation.

OVERALL PERSPECTIVE

MAN CAVE Model 1:20

NEGATIVE SPACE

FRONT PERSPECTIVE

SITTING

OVERALL PERSPECTIVE

LAYING

INTERNAL PERSPECTIVE FREESTYLE

A MINDFUL JOURNEY OF HEALING Subterranean Room

â&#x20AC;&#x153;Mindfulness is both a destination and a process.â&#x20AC;? Jared Levenson. Destination is when you get to the top of mountain peak after a long hike and deeply breathe in the fresh air. Process is the period you trekking up the mountain, taking the journey one slow step at a time. Getting to the top of the mountain is a destination example of mindfulness that when you reach the peak of the mountain you feel energized, calm, present and connected. A mindful architectural space shares the similar idea, but instead of getting to the top, we are going deep down to our mind, and at last reach the destination of inner peace at the subterranean room. Someone says meditation is an intangible process, it is all about the mind thinking, but what if we make it tangible as a physical journey. Meanwhile, space is not necessarily tangible. It can also be an intangible notion, a place that you can turn to in order to escape from people and things in some form or other. The ambiguity between them create the architecture of mindfulness, a journey of meditation, where I will explore three stages, from stress and anxiety, to calming and relief, and finally self-realisation.

DESIGN DEVELOPMENT

1. CENTER OF MIND Center of circle symbolise our mind of body

2. ORGANIC GEOMETRY Imitation of golden spiral form as a cohering of nature

3. LEVEL OF DEPTH Level as a vertical experience to explore depth of mind

4. LIGHTNESS

Playing of lightness from the gap enhance atmosphere from anxiety to calmness

EXPERIENCE STAGES OF MINDFULNESS & STRESS RELIEF

Stage 1 - Anxiety & Stress At the beginning of the journey, path is crowded, rusty iron is the dominant encountered material by the surrounding & dimness of light is introduced from the tiny gap of partitions. The circular curvature of pathway blocks the front view of the corridor, which provokes matter of unknown. The metal floor causes heavy and echoed acoustic. These introduce sensation of anxiety, fear and overwhelming. Causing an emotional response to real or perceived threats. Sentimental judgements are occurred in head. Dark Rusty Iron Light Rusty Iron

STAGE 1

Stage 2 - Calming & Relief Materiality has changed following the boarder pathway. Natural elements of timber, plants and water are introduced. Relatively wider partition gap allows larger amount of luminance enter the corridor when the level goes deeper, which provides a clarity of sight to the unknown. The natural elements cause visual and textural comfort and ambient sounds from the edge of mini-waterfall. The access of nature calms oneâ&#x20AC;&#x2122;s emotion from recognise and acknowledge the presence of anxiety. Look back the situation again without the judgement or the story you are telling yourself. Feel the difference. Drop down the level of anxiety. Timber Creeper Plants on Timebr

STAGE 2

Mini-waterfall Plants

Stage 3 - Self-Realisation Reaching the full extent of nature, feeling an environment composed of natural elements with plants and mini-waterfall. Godlight shining on the internal hub as a clarity to the mind - destination of heart and mindfulness. I can go into the hub and pay attention at the present moment, free from distraction or judgement, aware of our thoughts and feelings without getting caught up in them. And eventually into the inner calm Mini-waterfall Plants Creeper Plants on Timber

STAGE 3

Godlight

PERSPECTIVE 1 - STAGE 1 - ANXIETY & STRESS

PERSPECTIVE 2 - STAGE 2 - CALMING & RELIEF

PERSPECTIVE 3 - STAGE 3 - SELF-REALISATION

PROJECT BACKGROUND

The client is a family of four, born and raised in Australia. They see international style housing is gradually invading into Australia, they seek to find the local language to counter the placelessness and lack of identity. They want a home that can redefines how a domestic building look like.

BRIEF

CLIENTS BACKGROUND -

2 Adults, husband (41) and wife (37), married with a daughter (10) and a son (4)

Husband is a office worker who is stressed about work. He see the house as a retreat and sanctuary as an escape from urban. He loves connected to natural environment, he is excited to go the Yarra Trail to exercise and be closed with environment. Thus, he sees the vineyard as the significant element of the site. He wants Inner House to preserve and corporate with it instead of dominate and destroy it. He also belief spatial environment has the power to compel users to truly be present, activating home space to become a designed sensory experience rather than just a passive infrastructure.

Single storey dwelling

One master bedroom for parents, 2 bedrooms for 2 kids

Open kitchen, living room, dining room A garage with two cars parking space Work space and entertaining space need to be separated clearly to avoid disruption A more sensory experience of house Some green space provided, front and back courtyard To maximise view towards Yarra River

Wife is a retired chef. Now is a full time mother to take care two kids at home. She wants the home can be self-sustainable for her family, so she part of the vineyard to be kitchen garden, so as to provide local food to themselves, or even to the neighbours.

Part of vineyard is re-designed to be kitchen garden

A swimming pool

A wine cellar

Both of them are minimalism, they want the interior details to be kept at a minimum while showing the simplicity of natural material.

Kids are active and energetic, love to play in outdoor area, daughter is passionate about swimming and wants to have a swimming pool.

DESIGN CONCEPT

As a precious green space and vineyard, the site is one of Melbourneâ&#x20AC;&#x2122;s best-kept secrets that perfectly hid in urban area. It is seen as a retreat and sanctuary to escape from the urban stressful life. The vineyard is the central idea in the inner house. The Inner House seeks to find the local language through the vineyard. The design strives to counter the placelessness and lack of identity of the International Style. The Inner House is to provide an architecture rooted in the modern tradition, but providing a close connection and response to the site context in a geographical and historical context.

HISTORICAL CONTEXT With regard to the response to vineyard, it has a strong historical connection to the agricultural context. It was used for market gardening for last century, then replanted with cabernet sauvignon for vineyard purpose. With urbanization takes place, the surrounding site has developed into buildings and urban residential housing. The vineyard becomes the last straw of the old local language. Therefore, my design intention is to brings the nostalgia agricultural language into Inner House. The design takes reference from the old Australian farmhouse and machinery. In order to reassemble vibe of agricultural building, steel is the main elements for the building envelope to provide a rusty sense of the times, meanwhile gives a sensory experience to user. Old farmhouse often shaped in boxes with gable or shred roof, the boxes works in different function programs such as storage, machinery, livestock barns and shelters, etc. The singularity of farmhouse provides individual usage of different programs.

FINAL DESIGN

“Form follow function” is the idea provide simplicity to Inner House, the shape and layout is designed by required programs specified by clients.

- DESIGN DEVELOPMENT -

MASTER BEDROOM

GUEST BEDROOMS

OFFICE

GYM

DINING ROOM & OPEN KITCHEN

MUSIC ROOM

LIVING ROOM

FOYER

PROGRAMS LINEAR ORGANISATION The main building programs are organised in a level of noise / public & private level with main access on the right.

GARAGE

daylight

DINING ROOM & OPEN KITCHEN

public

private

LIVING ROOM FOYER

GUEST BEDROOMS

MASTER BEDROOM

OFFICE

GARAGE

GYM

view to Yarra River

PROGRAMS LINEAR ORGANISATION The functions are seperated into two levels of public on top and private in bottom along the main axis, allowing the building to merge with its surrounding - creating views to Yarra River and access to daylight.

DINING ROOM & OPEN KITCHEN

public

transition

private

CLOSET

TOILET

MASTER BEDROOM

STORAGE

SWIMMING DECK

OUTDOOR DINING AREA

CELLAR

GUEST BEDROOM

LAUNDRY

GUEST BEDROOM

LIVING ROOM

TOILET

SWIMMING DECK

OUTDOOR LIVING AREA

STORAGE

OFFICE

GARAGE

MUSIC

GYM

PROGRAMS LINEAR ORGANISATION Upper and bottom part is shif ted slightly to create a more dynamic form and interstitial places for outdoor area. Transitional zone is placed in-between public and private areas.

FOYER

ç&#x161;Ž- MASS DEVELOPMENT -

1.0 SITE RESPONSE

2.0 HISTORICAL RESPONSE

Follow by the linear organisation of programs, the form started by a rectangular shape, which length facing north and south, in order to receive maximise view, sunlight and ventilation, optimizing energy performance.

Building takes reference from Australian farmhouse, creating individual pods that programs are fitted into according to the level of public / private extent.

3.0 DYNAMIC MOVE

4.0 LEVELLING

Podsâ&#x20AC;&#x2122; heads and ends are swifted slightly to create a dynamic form. The middle axis is enlarged to be the transitional zone that placed in-between public and private parts.

Base on the slope of the local landscape edge, recession is made for lower private part to fit and have a stronger response to the site landscape. Levelling also highlights the public / private idea.

5.0 LIFTED

6.0 INTERSTITIAL SPACE

The edge of of pods on each side are lifted, provide a larger extent of view and sunlight receiving, also as a stronger connection to the site.

Interstitial space between pods are utilised as outdoor living / dining area and swimming deck. Pool is placed on the south side to provide a visual connection to Yarra River.

7.0 ACCESS Vehicular access is extend from first pod of garage to Garden Terrace. There are two pedestrian access, the main one is on right side while back access is on the left connected to the Main Yarra Trail.

BLOW UP PLAN 0

10 m

7 10

6 9

BLOW UP PLAN - UPPER LEVEL

Upper part are all relatvely public area. There are glasses facade in living and dining area to provide transparency, openness and connection with outdoor. Visitors are mostly spend their visit in upper level.

1. garage 2. entrance / foyer 3. storage 4. guest toilet 5. outdoor swimming pool 6. living room 7. veranda 8. kitchen garden 9. outdoor barbecue area 10. dining room with open kitchen 11. kitchen storage 12. wine cellar 13. kitchen storage

BLOW UP PLAN - UPPER LEVEL 0

10 m

BLOW UP PLAN - BOTTOM LEVEL Lower part are all relatively private area. Three individual pods separate master bedroom, guest bedrooms and working area, which embrace singularity with no disturbance to each others. Swimming pool is place on south side, creating visual connection to Yarra River.

14. master bedroom 15. closet 16. master bedroom toilet 17. guest bedroom 1 (son) 18. guest bedroom 2 (daughter) 19. laundry 20. toilet 21. office 22. gym 23. storage 24. music room 25. swimming deck 26. swimming pool

BLOW UP PLAN - BOTTOM LEVEL 0

10 m

A KEY PLAN

PUBLIC SECTOR

SECTION A-A 0 31

PRIVATE SECTOR

B KEY PLAN

SECTION B-B 0 33

MASTER BEDROOM

GUEST BEDROOM

GUEST BEDROO

T OM

KEY PLAN

OFFICE

GYM

SECTION C-C 0

10 m

GARAGE

OUTDOOR LIVING AREA

LIVING ROOM

KEY PLAN

OUTDOOR DINING & BARBECUE AREA

å±&#x17D;DINING ROOM & OPEN KITCHEN

SECTION D-D 0

10 m

KEY PLAN

SOUTH ELEVATION 39

KEY PLAN

NORTH ELEVATION 41

OVERALL PERSPECTIVE 43

A. LIVING AREA VIEW 1

B. LIVING AREA VIEW 2

KEY PLAN

LIVING AREA - CONNECTION TO EXTERNAL As the first reached major function area from main entrance, living area is positioned on the upper middle pod, symbolising center of the inner house. Glass wall is specifically designed for three side of the pod where outdoor living and dining areas are on two sides with partly covered veranda extended from the edge of pods. The design approach here is to blur the internal and external concept through provide openness, transparency and ambiguity to embrace the outdoor space, so as a respond to the northern vineyard. The lifted edge design with glass wall not only provide larger natural light access but also maximise the view to vineyard. Veranda creates an indoor cover feeling externally; sliding glass wall allows an extended version of living room to the outdoor one; and trees shading is reflected into the internal from the north east angle in the morning also contributes an idea of ambiguity of internal and external. On the oother side looking back to the South, glazing allows an penetrated view through the southern swimming pool to the Yarra River, creates a magnificent visual view connection.

C. DINING AREA WITH OPEN KITCHEN

D. START OF CORRIDOR / MAIN ENTRANCE / FOYER 46

E. END OF CORRIDOR / REAR ENTRA

ANCE

KEY PLAN

DINING AREA - CONNECTION TO EXTERNAL Dining area is in the last pod from the main entrance. It shares the same concept to living area where sliding glass wall allows connection to outdoor dining area on the right. The only difference is the left wall is a steel facade to block irritating sunset from the west.

MAIN TO REAR ENTRANCE - SENSORY CORRIDOR The elongated corridor is one of the main sensory experience of Inner House from main entrance to the rear end. Collaborated with the rusty steel texture of facade, it aims to provide a sense of mysteriousness through materials and play of light and shadow. Living and dining area run through middle of corridor, provide intermittent brightness to the pathway, while the corridor area contributes a dim and dark atmosphere. The contrast of light and shadow provokes a sensory experience to occupants. One interesting feature is they can see the glazing at the end from the start, but they know nothing about the middle sectors. By not showing all in the layout design, it incorporates art of unknown to trigger further imagination and a mindful experience, as a result, to relieve from the stress.

F. MASTER BEDROOM

G. OFFICE

KEY PLAN

MASTER BEDROOM & OFFICE - INDIVIDUALITY & PRIVACY Going down to the lower part of the house through the middle transitional zone, the bottom part focus on level of privacy. The bottom three pods are master bedroom, guest bedrooms and office & gym from left to right. They are individually separated from each other to allow private space, where parents and children can spend their self-quality time without any disturbance. For materiality of room, the combination of warm tone steel facade with desaturated tone timber flooring and ceiling creates a comfort atmosphere for the rooms, as a sense of mindful and natural raw feeling. For the view, the orientation of pods provide views to Yarra River through out swimming pool, creates a visual connection responding to site.

Sensibility | Sense Sidney Sim 820899

*alarm rings* I wake. Wait, not yet. Okay fine, I got up. Where’s my cup? *gulps* Ooh breakfast! “same thing again?” Why not? “don’t you get bored of it?” How can I when the sunshine is always different?

We are creatures of habit. We seek comfort and solace in the familiar. It suits us, and we mould ourselves to it. It becomes repetitive, we do not need to think about it. Our senses recognize the task we are performing unconsciously and because of that, our minds are able to wonder. By repeating a series of arches, he creates a steady rhythm [Moneo]. Repetition is not mundane, it makes me feel safe. But I also need room for encounters, a subtle element of change. It does not impose itself and simply appears in an organic manner which then takes me on a journey of wonder. Alas, he shows me the curve [Niemeyer]. Repetition gives me a sense of familiarity. From the steady rhythm it creates, I am then able to allow my consciousness and imagination to weave through the voids in between freely like the curve. Neither repetition nor chance can be absent. They have to coexist in order for my mind to work. The reassurance of rhythm and the liberty of the curve, my sensibility and sense.

National Museum of Roman Art by Rafael Moneo

From this exercise, I learned to appreciate the simplicity of the buildingâ&#x20AC;&#x2122;s internal form and choice of material. Borrowing the ancient motif of the roman arch, Moneo manages to create a spirit within the building that is not ancient at all. It has the rigor and precision of any modern building yet it also complements the context as well as the exhibited objects. The architecture is at peace. I also realized just how impactful the use of natural light is within this space. It allows the walls to have a warm wash of light but also creates an emotive atmosphere which allows people to be ever present in this building.

C(h)air

Cair is my interpretation on the relationship between a table and a chair. When reduced to the most basic elements, what makes a chair or what makes a table is essentially a planar surface adjusted to varying heights. But why is it that we naturally assume that a lower surface is meant for seating and a higher surface is meant to be a table? Hence, Cair is my attempt at blurring the classifications of a table of a chair. Rather, Cair melts together all the varying levels of a surface to cater for a range of activities. The activities that I have included are: -

Working

sitting

standing

Dining position Drafting

450 300 250

From the modular person exercise, I utilized the dimensions that were collected for a regular table, chair and standing table. I then tried to set out different sitting positions based on using the level of a table as a chair or the level of a chair as a table.

Chair Table

Standing Desk

Table Chair

The two projects below acted as my precedence for Cair as it shared a similar idea which I was trying to convey with my design. The idea of a surface with varying heights which would act as a visual cue for different activities or sitting positions.

OBJECT PANEL

Root Bench by Yong Ju Lee Architecture [South Korea]

Growth Table by Tim Durfee and Iris Anna Regn [Los Angeles]

OBJECT PHYSICAL MODEL

Habitual Refuge

Habitual Refuge is a space where I relate my concept with dancing ballet. Ballet is a dance form whereby dance moves and exercises are repeated over and over again so that the movement almost becomes second nature to the dancer. On one hand, as I mastered each dance technique through the act of practice and repetition, the routine started to feel mundane. However, because the dance moves have become second nature to me, my consciousness drifts. It is then able to wonder. There is a level of safety that one can feel when carrying out a routine. It becomes something predictable that even your physical body would know what to do even if your conscience was not fully present at that moment. Hence, Habitual Refuge acts as a reminder that even in the most mundane things, our minds will always try to weave through the steady rhythm of repetition to wonder and find moments of delight.

Dance Space DanceSpace Space Dance

P WaitingAA Waiting

Prep Space Area Area

Changeroom A Space to Wonder

Section 1:100

Interior Perspective from Entrance into Subterranean Room

Interior Perspective of A Space to Wonder

Interior Perspective Looking from the Dance Space

Exploded Axonometric of Subterranean Room

R B

RHYTHM & BATTENS SIDNEY SIM

Rhythm: regular | repeated | pattern of movement | daily routines of home life

A family and a home are seen as a unit, but within this unit are individuals that make up a family. Whilst living under the same roof, each family member still maintains their own personal rhythms and routines of daily life. Hence, R+B is my interpretation of creating a home that highlights the intersection of personal rhythms of each family member. The dining area is the communal activity centre where family members come together to dine and bond by sharing how their day went over a meal. This effect of the intersection of personal rhythms is enhanced when every family member is involved. The use of battens are placed at particular thresholds to highlight where the different spaces of the house overlap. At these thresholds, the same battens are arranged differently to represent a difference in perception. For instance, one might find their personal routine to be mundane but for the other person it is not mundane at all.

Internal Perspective from First Floor

Sectional Pesepctive A-A 81

A B

Terrace

Laundry

Store Room

Home Office Powder Room Living Room

Foyer Breakfast Table

Wine Cellar Kitchen Reading Nook Pantry

Ground Floor Plan 1:200

B Daughter’s

Son’s Bedroom

Bedroom

Dining Master Bedroom

First Floor Plan 1:200

North Elevation 1:200

East Elevation 1:200

South Elevation 1:200

Internal Perspective of Dining Area.

View of Vineyard from Dining Area.

Ground Floor Interior Perspective.

Sectional Pesepctive B-B 91

ELEMENTAL DAVID GEOGHEGAN

COLLAGE SHOWING CONNECTION BETWEEN NATURAL ELEMENTS AND ARCHITECTURE AND THE SUBSEQUENT HUMAN ACTS DERIVED FROM THESE FORCES

Elements-Fire-Hearth-Act-Emotion- Connection-Warmth -Dwelling As I sit gazing upon the cold empty metropolis, rain colliding with the tin roofs of chapel lane below, wind howling through the irregularities of the marketplaces form. I take a break from my minds frantic search of a developmental path for the Innerhouse, being fully aware of Joelâ&#x20AC;&#x2122;s impending wrath if the goods are not delivered at mid semester, and recall a time when the sound of mother natureâ&#x20AC;&#x2122;s intervention with built form would create a spark. Not the literal spark of a blazing fire, but the spark created by the human interactions around the fireplace, ignited by the exterior climatic conditions. With this in mind, as I pick up the split system remote inside my white walled Hickory built apartment, trying to avoid any new defects that will catch my eye. Joy! By a single push of a button, heat is created. However, this time there is something different. The heat is dry and devoid of any spark or emotion, producing nothing more than feelings of imitation as the temperature rises and the mind detaches from any associated memories or connections derived from the primitive essence it is attempting to replicate. Innerhouse seeks to investigate the relationship between people and place through cultural and climatic conditions, focusing on how acts and processes can evoke our strongest emotions in time and space.

SYDNEY OPERA HOUSE NORTHERN FOYER

NORTHEN FOYER PHOTOGRAPH

A visual discovery of light and shadow in the Northern Foyer of the Sydney Opera House

300x300x300 BOX MODEL UTILISING KEY REGIONALIST STRATEGIES SUCH AS RESISTING GLOBALISATION BY USING LOCAL CONSTRUCTION TECHNIQUES AND MATERIALS TO CREATE A CONNECTION BETWEEN PERSON AND OBJECT CONSTRUCTION TECHNIQUES: SHARP BLADE + DOS BLOCKOS MATERIAL: WHITE CARD

NORTHERN FOYER MODEL

hydroactive INTERACTIVE HYDRONIC HEATING

PERSPECTIVE REPRESENTING THERMAL REACTION OF MATERIAL COMPOSITION WITHIN PROGRAMMED FORM

A flexible hydronic heating system that utilises a range of raw materials for their inherent tactile and thermal properties. Once the consumer has programmed Hydroactiveâ&#x20AC;&#x2122;s rotating panels and activated the heating system. The object will draw interaction from the creation of thermal comfort in an immediate and extended context. Through the act of programming the user can make decisions on how the object is perceived within its surrounding environment. In effect creating stimuli for the operator through their decisions of aesthetics and/or functionality.

100

TIMBER

CONCRETE

Concrete is at the heart of the system emitting heat to the extended scale through its thermal mass while a tubular radiator charges the rotating steel and timber panels for the immediate context. Once heated, the panels will provide a range of varying thermal qualities which create experiences on a tactile, thermal and physical level based on programming.

MILD STEEL

HEATING SYSTEM

101

SCALE

Rotating panels compose the form which can be set in six unique positions. Dimensions of Hydroactiveâ&#x20AC;&#x2122;s form is modeled upon tests of human interaction and scale.

SIT

LEAN

THERMAL CONTROL warm

warmer

Temperature within the immediate context can be controlled by utilising the varying thermal properties of rotating the panels. When timber is interacted with it will create a cozier sustained experience, while interaction with steel will produce a focused immediate heat.

REST

flexible intera 102

ELEVATION REPRESENTING THERMAL RESPONSE OF MATERIALS WITHIN IMMEDIATE AND EXTENDED CONTEXT

active social 103

104

MODEL PHOTOS DISPLAYING HYDROACTIVES MATERIALITY

105

Subterranean Room ACT-CONNECTION-LINK-MEMORIES

106

107

CONCEPT

FUEL

BATH

HEAT

SPA

PROGRAM

CONNECTION

108

GROUND FLOOR PLAN 1:50@A3

XTERNAL LINK

FORMWORK

109

110

SECTION AA 1:50@A3

111

112

PERSPECTIVE OF EVENING EXPERIENCE

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ACTUATED GROUNDS DAVID GEOGHEGAN

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In the age of globalisation, the way we perceive and experience architectural environments has shifted from an engaging cultural experience depicting place, into an aesthetic venture selling the idea of place. The by-product of modernityâ&#x20AC;&#x2122;s attempt to solve complex architectural issues through standardized language and mass production has inadvertently created a disconnect between people and the essence of place. While the artificial attempts of historicism within post-modern architecture has further alienated architecture from its ability to express authentic cultural connections. Constituents of locality have dissolved within our environments and standardized forms through mass consumer culture are creating standardized emotions, divorcing us from any true experience. In the case of the suburban house, developer driven projects propose the idea of a family-oriented experience through images of an aesthetic dwelling shell that blends into the neighboring built form context. The white walled gyprock interiors, devoid of any emotion, bearing no relationship to site or regional aspects are disconnecting the inhabitants from their surroundings. Memories and human connections are lost and the only materiality expressed is on the external walls providing nothing more than a moment of stimuli for the onlooker as they walk down the street. The product, a shed resembling and house that is designed to look like a home. Actuated grounds is an investigation into the conceptual framework behind linking people to place through regionalist methodology, focusing on how acts and essences can build the foundations for a home.

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CLIENT

MULTIGENERATIONAL FAMILY

Family of four that after living in the metropolis for 15 years, is fed up with the fast-paced lifestyle and lack of genuine connections made in this environment. The male adult has just retired after a long lustrous career working for David enterprises and comes from 4th generation wine makers. The client, reminiscing on his own personal experiences when working and playing on his parentâ&#x20AC;&#x2122;s vineyard at young age, sees retirement as the perfect opportunity to produce his own bespoke wine as a hobby while also reconnecting with his family. The female adult is a lawyer and is supporting her husbandâ&#x20AC;&#x2122;s venture so is equally excited for the change in lifestyle. Grandparents of father are moving in because they are getting old and family traditions forbid placing them into aged care. While the kids are not too happy about shifting their lives, they do reminisce the positive experiences and connections made while running through the vineyard collecting firewood for the family fireplace . The parents are also hopeful the kids will decide to stay on the premises to raise their own families. Pinot noir is the drop of choice.

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IDENTIFYING ISSUES MULTIGENERATIONAL FAMILY

Ownership

Multiple age groups living together

SITE/REGION

Connecting people to place

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Main Yarra Trail Dicksons Reserve

Yarra Trail Connection

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Yarra River

Site Plan 123

FIRE STORE

YARRA TRAIL CONNECTION A

BBQ FIRE STORE

FIRE STORE

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FIRE PIT

Ground floor Plan 1:200 @ a4

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126

FIRE STORE

First floor Plan 1:200 @ a4

127

128

Section A 1:200 @ a4

129

130

Courtyard Perspective

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North West External Perspective

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134

By subconsciously connecting the family to the architecture through active participation of site and dwelling. The emotional impact derived will create a sense of place and belonging for the family. The dwelling and site will participate in the forming of new memories through time and space, creating a home for current and future generations through these connections.

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The Introvertive Sharleen Wonorahardjo

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sh arleen won orah ardjo/784100

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Return Brief

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Lack of times, not every part of a person space could appreciate and felt the comfort architecture. It might because a part of their met in the agenda or their existence are

as occupant of of a designed needs was not simply ignored.

It’s the architecture for the introvert. They might be insignificant, but they are still a part of us. The idea to design for human is to create an overall balance. Balance in amount of light, amount of space and amount of enclosed/ open space. As much as an introvert needs a small space to allow safety, there is also a need of having an open space for them to breath but it would just be for a person and to not be shared. Taking the philosophy from Zumthor “building must be experienced in human”, Inner House will be the medium to put a human perspective to actively participate with their introverted-ness. The aim is to focus on creating spaces with different vertical distances that would allow various experience and mental condition of a person while being in the different spaces. This spaces would then create the safe space for the introverted to express themselves to themselves. The use of ‘honest’ material and different textures will take part in creating a tactical experience to uplift the phenomenon. Inner House will use a human-centric approach of moulding the spaces with the focus of phenomenology. It will reflect on repetitions of daily life in an introvert perspective. The house will serve the user all that is needed throughout the day without the feeling of lost but complete, through the sequence of programs within the spaces. That is why the balance is needed.

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Guggenheim Museum

by Frank Lloyd Wright

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S(H)ELFLESS

its not for everyone, its particular selfless is about everyone, everything, with no exclusions one or the other selfless is a place for everyone but mostly one SELFLESS is a place for the anxiety loneliness introvertedness within a space for the introvert to express themselves in an enapsulated space or secluded openness that provides safety to have privacy with no restriction in freedom of view alone

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145

crawl entrance

shelves

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platform/cave

ladder

standing space

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exposed/enclosed

Subterranean room is a device in exploring between the two spaces of exposed/enclosed in fulfilling the needs of an introvert, and the threshold between - the ambiguous. Hierarchies of spaces are arranged based on the level of light in each room reflects the needs of light for each occupancy of space. The height of spaces builds the atmospheric emotions that support the activities of spaces.

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SUBTERRANEAN ROOM

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SECTION A-A

1:50

3. A

PLAN

1:50

150

2. A

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PERSPECTIVE 01

PERSPECTIVE 02

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PERSPECTIVE 01 - ramp entry An anticipating gateway will lead a person into the underground through the self-directed dark ramp coming from an exposed space into a the covered threshold - the amibiguous space PERSPECTIVE 02 - prayer space Is it public? Is it private? The in-between of the two key spaces, the prayer space is where the ramp leads to. Mainly lit by the candles, the dimmed space occupies a person that would want to be alone but also together in putting forward their beliefs. PERSPECTIVE 03 - cave space This would be the enclosed area of the space. It is mostly directed for a person who are bothered with the existence of other person. As much as an introvert wants to feel embraced and protected, the existence of bright direct light is an essential to remind their needs of positivity. S(h)elfless is there to be a place for them to hide and express themselves behind the historic religious items which is a source of information for those who seek.

PERSPECTIVE 03

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Lack of times, not every part of a person space could appreciate and felt the comfort architecture. It might because a part of their met in the agenda or their existence are

as occupant of of a designed needs was not simply ignored.

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sh arleen won orah ardjo/784100

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BRIEF RE-STRUCTURING FOR FINALS

the fulfillment house

“A building must be experienced in person, not through media” Zumthor

“The beauty of an introverted architecture can only be observed from the inside” Pawson

understimulated

overstimulated

private

public

enclosed

exposed

- under one’s control - limited and personal - safe and secure : self-fulfillment - express one’s self - secrecy

- too much needed to be controlled - flexible and open spaces - accessible to public

156

understimulated

in-between

overstimulated

private

threshold

public

enclosed

enclosed/exposed

exposed

- under oneâ&#x20AC;&#x2122;s control - limited and personal - safe and secure : self-fulfillment - express oneâ&#x20AC;&#x2122;s self - secrecy

- too much needed to be controlled - flexible and open spaces - accessible to public

understimulated

in-between

overstimulated

private

threshold

public

enclosed

enclosed/exposed

exposed

HOUSE/HOME

PATH WAYS/VINE YARDS

CELLAR DOOR

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FINAL DRAWINGS

yarra trail

dickinson reserve

5 GARDEN TERRACE site plan 1:300

25m

yarra river

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main entrance from Kew residential estate

vineyards

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FINAL DRAWINGS

5 GARDEN TERRACE site plan 1:300

25m

160

exposed - overstimulated wine cellar

in-between workshop/wineshop

enclosed - understimulated home

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FINAL DRAWINGS

main entrance

filtering hallway

kitchen

HOME plan 1:75

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dining

entrance from workshop

closet

living

bedroom

terrace

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FINAL DRAWINGS

enclosed bedroom

HOME section 1:75

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living

overexposed dining

kitchen

main entrance

entrance from workshop

main entrance

filtering hallway

closet

kitchen

dining

living

bedroom

terrace

165

FINAL DRAWINGS

HOME detail section 1:75

1.5m

166

entrance from workshop

closet

living

167

FINAL DRAWINGS

HOME interior material render

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FINAL DRAWINGS

elevation 01

elevation 02

5 GARDEN TERRACE elevation 1:200

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elevation 02

elevation 01

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Interpersonal Transition FATIMAH AL-AMEEN

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Return Brief

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Human body Human body as an object doesn’t reflect a sensorial perception. It is the subject and the relationship between them that creates an emotion. Similar to the situation of being on the theatre stage. “When we speak of man and space, it sounds as though man stood on one side, space on the other. Yet space is not something that faces man. It is neither an external object nor an inner experience but is an exchange of object and subject.” Martin Heidegger The responding instinct feeling and emotion to the subject, therefore, is an accumulated emotion and is a result of an evolutionary programming. Cultural, social and environmental factors had inspired or discouraged this evolution. Atmosphere Atmosphere similarly is an exchange between material and the immaterial realm of human perception, its experiential creations. Atmosphere as an experiential dimension that automatically perceived in an unconscious manner like our emotions. The atmosphere of a house is what we call home. In other words, the aim of house is to strengthen the experience of the real and provide pathway to the imaginative dimensions. “The chief benefit of the house [is that] the house shelters daydreaming, the house protects the dreamer, the house allows one to dream in peace. The house is one of the greatest powers of integration for the thoughts, memories and dreams of mankind.”Gaston Bachelard Home The inner house is a space where reflects my personal daydreaming, thoughts and memories. The house embodies an atmosphere that comforts my soul and inspires my imaginations. A space that is enriched with comfort, senses and emotions in which defines my individual existential footholds. A place where mood and ambient shall grasped in a whole body of materials, rhythm and illumination. This senses dwell in memories, time and repetition. While memories initiate the design, time and repetition will grow the sensorial theme around it. Subterranean room will use my deepest imaginary fantasies to create a space to disconnect from the real world. A space where I can dwell without any interruption to seek my own relationship with myself and reflect on my theories. This space will eliminate elements of distractions in stages within the transition to the utmost disconnection. Light, sound, materials and paths are few design media in which will be affected. The ambient of this space then will gradually transforms toward a reconnection to the world. As of our cultural and social manner we seek traces of past life because we feel safe and enriched to be part of that temporal realm.

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Yokohama Terminal

Yokohama Terminal was the product of inventive architectural methodology thinking designed by Foreign Office Architects(FOA) in 1995. It represented an emergent typology of transportation infrastructure. The enormous 430 meters project located in Japan. The appearance of the terminal was made possible only by using advanced computer technology. The origami shaped ceiling spans over 35m and using the folding structure it distributes the loads through the surfaces, moving them diagonally to the ground. http://architectuul.com/architecture/yokohama-port- terminal

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BOX MODEL IMAGE

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BOX MODEL

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BOX MODEL

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Introverted Library

This object is a self standing bookshelf with a comfortable sitting area. The design was derived from the concept of reading novels and transferring into our inner imaginative space. While the bookshelf itself creates a boundary from the outside world, it provides comfort sitting/ laying position to maintain a relaxing and secure atmosphere to the user. The design is flexible in term of being open or closed to the surrounding area. A railing timber slide is created to adjust the space as suits the user. Dimmed light fitting around the shelves also provides vibrancy and lighting to the centre of the object. The height of the seat, shelves and total height is designed based on the standard human scale in different positions.

180

181

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OBJECT PHYSICAL MODEL

183

A Place of Detachment

Subterranean room will use my deepest imaginary fantasies to create a space to disconnect from the real world. This space will eliminate elements of distractions in stages 1 to 6 within the transition to the utmost disconnection. The main entrance is by the staircase that gradually eliminates the vision from the open nature into a doomed and darker space. This transition is leading toward the introverted space which holds the designed object, the introverted library. The ambient in this space is very focused and directional. Passing by the Library space, there are two paths. One is the Introverted stairs that take us to the Personalised working space. Another is the White stairs that is the returning path toward the Extroverted socialising space. The lighting, colours and texture is designed according to the desired mood. The final stage is the point of reconnection. It is surrounded by the signs of nature, the crafted wall, natural light and the crowd of people.

184

SUBTERRANEAN ROOM

3_ Black Stairs 185

S B

Stage 4 Introverted Library

Stage 5a Introverted Stairs

Plan 1:50

186

Stage 2 Ramp

Stage 3 Black Stairs

Stage 6 Extroverted Social Space

Stage 5b White Stairs

187

Stage 1 Entrance

Stage 1

Stage 3

Stage 6

Section 1:50 188

Stage 4

Stage 5a

189

4, 5_ Introverted Library and Stairs 190

6a_ Interpersonal Working Space 191

5b_ White Stairs 192

6_ Extroverted Social Space 193

The reflective House FATIMAH AL-AMEEN Brief The inner house is a house that reflects my personality in its physical and spatial appearance. It is an introverted house where it gains stimulation from inner reflections. The inner world where actions happens from inside and work its way towards out. A home that protects its sensorial heart. The house is introvert in its physical nature, where it shuts its views and features from the public and grows a rich atmosphere inside for its private clients. The introvert house offers both moments of celebrating familyhood and moments of intimacy within its spaces. My overarching aim is to integrate the traditional introvert housing with modern Australian design living. In action, I will use the principals of Islamic traditional architecture of introvert houses in creating spaces and the envelope. And will explore the Australian architecture in creating the internal ambient and atmosphere for a family living. 1. Traditional introvert houses_ Entry/ Courtyard/ Unexposed/ openings only to the courtyard/ hierarchy of spaces 2. Australian living_ seamless connection to nature/ use of industrial and rustic timber/ large open living area and kitchen/ local vegetation/ outdoor sitting area/ Memories helped me to design the spaces interconnected and seamless within the house. A visual and spatial continuity within the internal spaces and the courtyard from all around will stimulate the atmosphere of the house. Sequential thresholds would connect the inner spaces together and create a transition between one ambient to another.

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195

House 1

Tennis court

Walking track

Shed

196

||Site plan| 1:500||

Garden Terrace

House 2

Vineyard storage

Yarra river

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198

||Introverted house principals||

Solar access zones Shaded zones Entry Openings Central courtyard

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200

||Circulation and access||

House 2 House 1 Vertical circulation

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202

||Views||

Views from outdoor spaces Views from indoor spaces

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204

||Ground floor plan| 1:200||

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206

||First floor plan| 1:200||

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b 208

||Basement plan| 1:200||

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210

||Section perspective| 1:200||

211

1. Courtyard 2. Living room 3. Master bedroom 4. Roof garden

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||Section a| 1:100||

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214

||House 1| Courtyard||

215

1. Roof garden 2. Living room 3. Bath 4. Bedroom

5. Dinning room 6. Kitchen 7. Library area 8. Study area

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||Section b| 1:100||

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218

||House 1| Dinning room||

219

1. Courtyard 2. Garage 3. Dinning 4. Outdoor sitting

220

||Section c| 1:100||

221

||House 2| Courtyard||

222

||House 2| Stairs||

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East

224

||Elevations 1:200||

South

West

225

INNER HOUSE Studio 16 Semester One, 2020 C0-0rdinated by Joel Benichou Yiran Tao 869650

226

Collage

227

Brief

228

Home is the container of emotions If I live in an attic under a steel sheet roof, the most enjoyable and strongest experience occurs during a storm. When the rain hits the roof, the house amplifies the feeling of warmth and protection. If I live in a high-rise building, the most peaceful and happiest experience happens on a sunny day when the sun shines on the balcony inside the glass curtain, I groom my dog. In the modern house, the house does faithfully perform the duties of the living machines: they are well designed, attractive, cheap, spacious, and open to fresh air and sunlight. However, do these houses warrant the soul to live in them? People live in these houses, but they don’t live in them. A home should be a place where, after moving away, I may not remember the exact shape or layout of the building, but I do remember the feeling of home clearly. House is in the eyes of the some architects have continuity spacious, bright, clean standard. However, it is not large French windows coupled with a spacious layout equals a warm and comfortable home feeling in everyone’s eyes. These architects often lack empathy for the occupants, and the appearance of home should not be driven by the architect’s personal vision or outlook on life. Home is not an object, not a architecture, but a dispersed and complicated environment. Peter Zumthor said, “I enter a building, see a room, and in the fraction of a second have this feeling about it.” This kind of feeling is complex, the multi-sensory integration process. This feeling judgment is a complex, multi-sensory fusion process, which is composed of numerous factors, such as the form and material of the room, the placement of the furniture, the external weather, temperature, the movement and posture of the user. These factors are directly integrated into a picture of atmosphere, feeling or emotion. The house blends the pivture of memories and images, desires and fears, past and present. House is the sum of the pictures of one’s experience, which helps us remember who we are.

229

Box Model

The architecture I did box model is the Fundacao Ibere Camargo by Alvaro Siza. Alvaro Siza used both straight and curvy elements inside the architecture. There is no enclosed space in the museum. All the space are separated by parapet. It just block people movement but allow people to see through the museum. He used white color to express all the vertical elements like walls and handrail and apply wood to the horizontal elements. It give the architecture a kind of contrast. The wooden floor slab and white wall repeat for three times. It provide an aesthetics of repetition. Repetition and symmetry often endow the monumental and solemn experience to the architecture. On the other side of the architecture is the curvy walkway. The curvy walkway disappear behind the curved wall which give people aftertaste and imagination space.

230

Box Model Making Process

231

232

233

234

235

236

237

Matrix Chair

My object brief is to design a flexible chair can be used for different condition. I used a matrix frame and different length of cloth hanging on the frame. People can sit on each cloth. It all give users different experience. The area among the three clothes can be used as storage. Also change the different kind of material such as membrane, elastic fabric may provide the chair more experience.

238

Matrix Chair Draft

1660mm

980mm

25°(+2°) 24°(+5°)

122°(+24°)

128°(+7°)

8 1 5 m m

111°(+6°)

133°(+8°)

4 3 0 m m

860mm 650mm

239

1 1 0 0 m m

Matrix Chair Development

Different length of cloth

Storage

240

Matrix Chair Model

241

Subterranean Room

Climb & Sit

Different Height of Chair

Wear Shoes

Sleep on the Bed

Sit In Front Desk

Home is the container of emotions. Everyone in different stages of life will have different experiences even in the same space. The relationship between human experience and space is complex. This experience and atmosphere is related to behavior, not an object or a visual or graphical element. The phenomenology of architecture is based on verbs rather than nouns. Our strongest emotion is the act of entering, not the door; Itâ&#x20AC;&#x2122;s the act of looking out the window, not the window itself. Architects have no way of deciding what kind of memories the people who see such Spaces will have, but they can guide the users into the same posture.

Different Sit Posture

Bend Over

Curled up

Think 242

Lie On The Back

Gaze

Mirror

Sit In front Window

See Through

Watch Tv

Looking straight ahead

Skylight

Look Upward

Waste Time

Do Anything 243

Isometric

Entrance

244

Plan 1:75 A

A 245

Section A-A 1:75

246

247

Section B-B 1:75

Perspective

248

Section C-C 1:75

Perspective

249

250

251

Section D-D 1:75

Perspective

252

Section E-E 1:75

Perspective

253

254

255

CONCEPT DIAGRAM How to Work Productively When Your Office Is Also Your House? The key for work productively when you work from home is to Maintain A Regular On-site Work Schedule and Environment WEEKEND CIRCULATION

WORKDAY CIRCULATION

DINNING ROOM

BEDROOM LIVING ROOM

KITCHEN

CLOAKROOM

LAUNDRY

HALLWAY

OUTDOOR

LIVING AREA WORKING AREA

OFFICE

BATHROOM

LIVING ROOM

OUTDOOR

BEDROOM

GUESTROOM

DINNING ROOM

RECEPTION OFFICE

LIVING AREA

WORKING AREA

ROOF GARDEN

TWO VISUAL TURNEL

SITE ANALYSIS

LIVING

GROUND FLOOR AXONOMETRIC

G AREA

FIRST FLOOR AXONOMETRIC

Perspective - Living Area

Perspective - Dinning

Perspective - Living

Perspective - Entrance

Perspective - Bedroom

Perspective - Kitchenette

Perspective - Courtyard

WORKIN

GROUND FLOOR AXONOMETRIC

NG AREA

FIRST FLOOR AXONOMETRIC

Perspective - Group Working Space

Perspective - Individual Working Space

ENDLESS REPEATED DUANYI LI

286

287

RETURN BRIEF

We have minds live in bodies, and we have bodies live in rooms. Rooms coherent in buildings and then the citys Architecture can be seen as humanâ&#x20AC;&#x2122;s second body What kind of world do we want to make? Architecture shapes our cities and our lives I recorded my time in one isolation day But there is no other day like that day Days areresemble that day I found that every day seems like a cycle from room to room, Almost repeating the events of the previous day What if I hadn't been isolated Looking back on my previous life, the cycle of home and school. From home to school from school to home Everyday life is repeated day by day Therefore, I want to use the space of repeated stacking, In which the objects repeatedly stacked are placed Seeking changes in the stacking Hoping to live in the repetition can have some breakthroughs

288

I recorded my time in one isolation day But there is no other day like that day Days areresemble that day

9:00

0 00:3

9:3 0

30 3:

22: 30

:00 10

21:30

0 11:0

0 18:3

11:30

:00 18

12 :00 :30 12 0 14:0

17:00

289

17 :30

RODEN CRATER Using sunlight for a place, who is the creator, artist or nature? James Turrell use light to explore the meaning of perseption. He make spaces that the light achieve it, since he doesnâ&#x20AC;&#x2122;t make the light. In roden crater, there are seven spaces in it. I choose east project to do my box model.

290

291

PROCESS

292

BOX IMAGE

293

OBJECT ALL FROM ONE

With the development of urbanization, the living space is smaller and smaller. And the items will be accumulated over time, and the room space is limited. The room become more and more crowed over time. What I want is to get more storage space, the room space is limited, I don't want the object take up a lot of space. So I wanted to make an object that could combine storage space with other finctions. Even I can make everything to be storge space by using this object

294

295

MODULAR

296

297

298

299

SUBTERRANEAN ROOM REPETITIONS OF DAILY LIFE

I recorded my time in isolation and found that every day seems like a cycle from room to room, almost repeating the events of the previous day. And then I thought, what if I hadn't been isolated, looking back on my previous life, the cycle of home and school. Everyday life is repeated day by day. what is repetitions of daily life. When I make object, I hope to make an object that can constitute any furniture, and use an object to form different Spaces for different uses through different combinations. Constantly repeating the same objects, constantly piling up, just like our daily life and the constant accumulation of objects. Therefore, I want to use the space of repeated stacking, in which the objects repeatedly stacked are placed, seeking changes in the stacking, and also hoping to live in the repetition can have some breakthroughs

300

11:30

12 :00

:00 18

21:30

0 11:0

0 18:3 22: 30

:00 10

301 :30 12

17 :30

17:00

0 14:0

0 00:3 9:00

30 3: 9:3 0

PROCESS

9:00

9:30

10:00

11:00

11:30

12:00

12:30

14:00

17:00

302

17:30

18:00

18:30

21:30

22:30

23:30

00:30

303

AXONOMETRIC DRAWING

304

305

EXPLODED

306

PLAN A

A-A SECTION

307

B-B SECTION

308

309

PERSPECTIVE

310

311

BRIEF Stable friends and family members A stable income

Repetitions of daily life

A stable place to live A home Home, is a living space used as a permanent or semi-permanent residence for an individual, family.

What is family likeďź&#x;

When you grow up, you move away from the home where you grew up

You get your second child You have your first child The children have grown up and left home, and the parents are getting old and need your care

You're getting old, tooS

For most of life, a home has between two and four family members

You will meet someone and fall in love and get married

omeday you'll be old enough to need the children

Home, is a living space used as a permanent or semi-permanent residence for a family. A house suitable for four people to live in. A permaneent living space

Suitable for children to grow up Suitable for elder people

CLIENT The user is a newly married couple, they are pregnant with their first child, in their plan, they intend to have two children. They want to accompany the children to grow up together, see them leave and start their own family, and then they accompany each other. The husband loves painting, and he will paint his wifeâ&#x20AC;&#x2122;s portrait to her from time to time as a little surprise in life. The wife likes to play the classical guitar, in the afternoon holding his beloved classical guitar, playing to his favorite people. This is how they intend to keep each other company as they become old. In their planning for the future, they consider that with the passage of time, one day, their parents will need their care, they hope that their warm home can also give their parents enough warmth, give enough convenience of life.

--A convertible bedroom when two children are young, they can live in a room,one side of the room is stacked with their toys, they play together, learn together, grow together as they grow older, the room can be divide into two rooms with movable walls, ensuring that they have their own private space and do not completely block them, they can still move the walls to experience playing with each other --Rooms for their hobby since everyone of the couple have their own hobby. different hobby needs dif ferent space. Not only the couple, they also develop their children to have their own hobbies, as gifts, accompany their children throughout their lives. --Bedroom for couple --Working space They may have some work to do at home, or they may need to work at home in case of special circumstances --Study space --Sport space --Kitchen and dinning room --Washroom --Living space

SITE ANALYSIS

SITE P

PLAN

N 0

10M

20M

40M

DIAGRAM

BEFORE

PRIVATE

AFTER

PUBLIC

PRIVATE

NOW

PUBLIC

WHAT I WANT

OPEN SEMI-OPEN SEMI-PRIVATE PRIVATE

DIAGRAM

GROUND FLOOR PLAN

N 0

B C

SCENARIO——LIVING ROOM/ LAUNDRY

SCENARIO——KITCHEN/ DINNING

SCENARIO——BARBECUE/ DINNING

SCENARIO——WORKING/ HOBBY/ SPORT

SCENARIO——COURTYARD

SCENARIO——BEDROOM

ISOMETRIC

SECTION A-A

SECTION B-B

SECTION C-C

SECTION D-D

PERSPECTIVE

Rite House Lucy Jenkins

346

rite

noun

| raIt |

A social custom, practice , or conventional act.

347

Statement

We are living in a society by which consumption and excess have become a habitual aspect of everyday life. The state of consumerism is such that our desire for a constant upgrade in lifestyle leaves us within a world where material objects outlive the utility that we have for them. The by

capacity to disposability

consume and

accompanied impermanence.

As a result, we have departed from the need for fixed environments that constrain us to a state of perpetuity. Our accustomed behavoiur of ignorant excess has given rise to an eternally replaceable world, in which the consequences of this system are becoming increasingly apparent. Rite house is an ironic commentary and critical reflection on the nature of the modern lifestyle and its self-destructive cycle. Perpetual decay juxtaposes the illusion of permanence, while drawing awareness to the individual behavioural components that are a summation of the way that we live. In isolation, they appear to have inconsequential impacts, though once consolidated into a mode of habitual practice, their drastic ramifications are realised. The the

process modality

of of

consumption being in

348

and the

decay becomes modern world.

Concept Visualised

349

BagsvĂŚrd Church

Bagsvaerd Church by Jorn Utzon, completed in 1976 in Copenhagen, exhibits an unassuming exterior, though once inside, a mesmerising interior space is presented. Industrial precast concrete panels within a structural frame on the intensely juxtaposes a dynamic and fluid interior space of in-situ cast concrete - explicitly presenting a design process that begins from the inside and works out. An awareness of constant oscillation between compression and expansion occurs when moving through the space, while the curvilinear elements sequentially reveal aspects of the architecture, creating a sense of progression and journey throughout the building.

350

Box Model

351

352

353

Vanity Station

Through the everyday ritual of hand washing, Vanity Station, gives the user a choice between preservation and consumption. With use over time, one is reborn while the other deteriorates. The sink is fabricated with a sunken drain and shallow basin, allowing Soap Sink to become more functional and desirable until a certain point, at which point the fatal consequences of the choice to consume beyond reasonable means becomes apparent.

354

Vanity Station

Sink Scale 1:10 @ A4 Faucet & Drain Scale 1:4 @ A4

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Degredation Process

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Prototype Model

357

Cleansing Chamber

NEUTRAL ZONE CONSUMPTION CHAMBER

CLEANSING CHAMBER

Rite House is a summation of three habitual zones that reflect the routine of everyday life. The Neutral Zone reflects habits in which consumption is minimal or null - bedroom and - while the Consumption Chamber incorporates of consumption - kitchen, laundry, dining and

energy garden zones living.

The Cleansing Chamber is a consolidation of rituals associated with the bathroom - purging, renewing and venerating. Here occurs the linear consumption - ejection the body, and reflecting the Consumption Zone

cleansing process of previous of disposable waste, bathing on oneself, before re-entering to commence the cycle again.

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Linear Cycle

Purge

Renew

359

Venerate

National Assem Louis

Relativity M.C. Escher

360

mbly Building Kahn

Museum of Roman Art Rafael Moneo

361

Cleansing

362

g Chamber

Scale 1:200 @ A4

363

Mud Brick

Scale 1:100 @ A4

364

Underground Massing

Scale 1:1000 @ A4

365

Cle

ans

Pla

r Pu

366

Ven e

rat

ean

Cl N Scale 1:200 @ A4

367

North E

Purge

Cleanse

368

Elevation

Venerate

Scale 1:200 @ A4

369

Purge

370

Cleanse

Venerate

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Rite H rite

| raIt |

A social custom, practic

Lucy Je

372

House noun

ce , or conventional act.

enkins

373

Habits of the moder

374

rn Western lifestyle.

375

Habits of the moder

Neces

Prepare

Consume

Non -

Lounge

Bathe

376

rn Western lifestyle.

ssity

Purge

Reset

Necessity

Play

Reflect

377

Quarried

Through employment of excavated clay soils from the site, Quarried Couch deteriorates naturally over time - utilising waste material to create a zero-waste product that again offers the user a choice between consumption and preservation .

378

d Couch

379

380

381

Interchangea

she

Po ly

car

nat

Discrete modules that are prefabricated and interchangeable, offer a solution to the fickle aspects of life. Fabricated from polycarbonate, which is entirely recycleable, and cross-laminated timber, which is a sustainable building solution to alternatives, these modeules offer a logical answer to the ever-changing customaries of the modern lifestyle.

382

able Entities

le G

laz

383

384

385

Cycle and pull as f

386

formal production.

387

Horizont

388

tal Loop

389

Necessity f

390

for Living

391

Squeeze

392

and Pull

393

Vertica

394

al Loop

395

Necessity

Dining, bar & toilet

Kitchen & toilet

Tasting Room & toilet

Cellar

Floor Plates & Structural Columns

396

y Towers

Bedroom & ensuite

Bar

397

Necessity

Dining, bar & toilet

Kitchen & toilet

Tasting Room & toilet

Cellar

Curtain Wall Glazing & Mullions

398

y Towers

Bedroom & ensuite

Bar

399

Necessity

Dining, bar & toilet

Kitchen & toilet

Tasting Room & toilet

Cellar

Exterior Cladding Perforated Brick

400

y Towers

Bedroom & ensuite

Bar

401

Intermediar

Stuctrual Columns & Floor Plates

402

ry Chamber

403

Landsc

Decay & flourishment

404

caping

405

Main Yarra Trail

5 Garden Ter

406

rrace, Kew

Garden Terrace

Young Street

Yarra River

1:1000 10

407

Baseme

Cellar

Reception

Courtyard

Gall

408

ent Plan

lery

Bar Courtyard

1:200 1

409

Ground F wc

Tasting Room

Pool

410

Floor Plan

Bed 1 wc

1:200 1

411

First Flo

Kitchen

Library

Lounge

412

oor Plan

Library

Bath Bed 2 wc

1:200 1

413

Second F

Bar

Rooftop Lounge

414

Floor Plan

Rooftop Lounge

Bed 3 wc

1:200 1

415

Roof

416

f Plan

1:200 1

417

South-Wes

418

st Elevation

1:200 1

419

North E

420

Elevation

1:200 1

421

Sectio

422

on A-A

1:200 1

423

Necessity T

424

Towers 9am

425

Necessity T

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Towers 9pm

427

Vanity

428

y Sation

429

Quarrie

430

ed Couch

431

Quarrie

432

ed Couch

433

Quarrie

434

ed Couch

435

Interchange

436

eable Entities

437

Interchange

438

eable Entities

439

Rite H

440

House

441

Rite H

442

House

443

444