MUSEUM OF CONTEMPORARY ART
Jing Tze NG Design Thesis Master of Architecture University of Melbourne
CONTENTS FORM ITERATIONS EXERCISE - Design Techniques - Urban Massing SITE ANALYSIS - Site Survey and Analysis - Route of Suspense DESIGN RESEARCH - Cinematic Architecture - Precedent Studies - Gallery Spaces CRITS - Mid term Crits - Interim Crits FINAL DESIGN PROPOSAL
design. techniques.
precedent studies (design techniques)
BLURRING - is often associated with lack of clarity, confusion or vagueness, blurring the boundary
The mist that created by the nozzles presents a blur image and increases the sense of lightness to the building to create the illusion. Blur is decidedly low-definition. In this exposition pavilion there is nothing to see but our dependence on vision itself. Blur Building by DS+R, Swiss Expo 2002
House NA by Sou Fujimoto Tokyo, Japan Described as “a unity of separation and coherence”, the house acts as both a single room and a collection of rooms. The loosely defined program and the individual floor plates create a setting for a range of activities that can take place at different scales.
precedent studies (design techniques)
ORDER AND DISORDER - geometric order is represented by ideal mathematical forms in 2D and 3D with ideal relationships (e.g. perpendicularly, parallelism, symmetry, rhythm/regularity). - chaos is represented by forms and relationships that are complex and difficult to describe with the language of classic mathematics
The Pantheon united all the gods in one location, and elevated Rome to a heavenly world. Sunlight and proportion were carefully crafted using a symbolism of the earth uniting with the sun. Geometry unites both pediments with the entire design composition.
Pantheon by Pseudo-Apollodorus Rome, Italy
The aim of the design was to incorporate the character of the region and its famous vintage within the building's exterior, the multi-coloured ribbon-like titanium facade reflecting the pink hues of Rioja, the silver foil shielding the cork, and the distinctive gold mesh which adorns all Marqués de Riscal bottles. Marques de Riscal Hotel by Frank Gehry Elciego, Spain
precedent studies (design techniques)
POSITIVE AND NEGATIVE - (the relationship between) solid and void
Nursing House by Aires Mateus, Alcácer do Sal, Portugal The private terrace allows residents to enjoy the open air in privacy, while at the same time providingan effective solar protection from direct southern sunlight. The light gets reflected on the white walls before getting into the rooms. The final form is a clear combination of the void/built sequence of every house
Located on the periphery of the atrium and housing the lifts, fire-escapes, washrooms and service shafts, the service cores provide a degree of privacy to the separate office spaces, with gaps in-between these cores giving some transparency and allowing light to penetrate the into the office areas from the central shared atrium space.
Dominion Office Building by Zaha Hadid Architects Moscow, Russian Federation
precedent studies (design techniques)
DISTORTION - the alteration of the original shape (or other characteristic)
Each of the two towers is essentially a distorted cylinder. The diameter of the solid dominant male tower expands as it extends as it travels skyward, while its glazed female partner is dramatically girdled at the waist. The winding mouldings on the facade also serve to confuse perspective and diminish contrast with the surrounding buildings
Dancing House by Frank Gehry Prague, Czech Republic
Via 57 West by BIG New York, United States The building shaped like a distorted pyramid, and it occupies nearly a full city block at the corner of West 57th Street and the West Side Highway in Manhattan. The eye-catching silver structure features 700 luxury apartments, which ank a European-style courtyard and 22,000-square-foot garden.
precedent studies (design techniques)
ANAMORPHIC - a distorted projection or perspective requiring the viewer to use special devices or occupy a specific vantage point (or both) to reconstitute the image
Optical Illusion Anamorphosis by Swiss artist, Felice Varini Once you walk into a space exhibiting the art of Felice Varini, you will feel confused, then you’ll immediately notice vaguely geometric, monocolor shapes stretchings and sprawling across the room, but you won’t be able to determine any kind of method to the apparent madness.
precedent studies (design techniques)
FRAGMENTATION - state of breaking or being broken into fragments
Royal Ontorio Museum by Daniel Libeskind Toronto, Canada The building has five intersecting metal-clad volumes, which are reminiscent of crystals—inspired by the crystalline forms in the ROM’s mineralogy galleries. Libeskind created a structure of organically interlocking prismatic forms turning this important corner of Toronto, and the entire museum complex, into a luminous beacon.
The courtyard paved with tessellated triangular glass and steel tiles that also cover one side of the building. The glazed triangles on the courtyard surface provide skylights to the basement exhibition hall below, where collections of illustrations are presented.
Museo ABC by Arranguren & Gallegos Madrid, Spain
precedent studies (design techniques)
SUPER GRAPHIC - large scale painted or applied decorative art in bold colors andtypically in geometric or typographic designs, used over walls andsometimes floors and ceilings to create an illusion of expanded oraltered space.
YJP Administrative Center by HHD_FUN Tianjin Binhai District, China The façade apertures serve as view frames. Aperture size and orientation is varied in a continuous manner introducing topological difference across the façade. The whole façade is constructed from six forms, reflected to give twelve types of identical components, making the building process highly efficient.
Car park in Worthing by ECE Architecture and Creative Forager Worthing, UK The reimagined building has been, spray-painted in bright colours and candy stripes inspired by the seafront iconography such as deckchairs, inflatables and ice-creams. The phrase ‘RIGHT NOW’ represents the creative regeneration that is occurring in the area (and is also an anagram of Worthing)
precedent studies (design techniques)
ILLUSION - an instance of a wrong or misinterpreted perception of a sensory experience.
1010 La Trobe Street by ARM Architecture Victoria, Australia The black and white façade has become a famous example of the café wall (or Münsterberg) optical illusion. The rows of rectangles look as if they narrow towards one side or the other, but the horizontal lines dividing them are, in fact, parallel.
A shelter up in the trees; a lightweight aluminium structure hung around a tree trunk, a 4x4x4 meters box clad in mirrored glass. To prevent birds colliding with the reflective glass, a transparent ultraviolet colour is laminated into the glass panes which are visible for birds only.
Mirrorcube by Tham & Videgård Arkitekter Harads, Sweden
precedent studies (design techniques)
TRANSPARENCY the use of open and transparent material, or the combination of form and meaning
Kanagawa Institute of Technology Workshop by Junya Ishigami Atsugi, Japan The floor-to-ceiling glass makes the building appear weightless and elegant, and the open plan preserves the building’s sense of transparency as the viewer’s eye can shoot directly across the uninterrupted space.
Rieteiland House / Hans van Heeswijk Architects Amsterdam, Netherlands Typical of Van Heeswijk’s designs is the application of 'timeless' materials. The sensory experience is largely determined by the transparency achieved and a flowing spaciousness that extends from high to low and from big to small.
precedent studies (design techniques)
FOLDING - a form origami that involves the three-dimensional reproduction of architecture and monuments, on various scales, using cut-out and folded paper
Klein Bottle House by McBride Charles Ryan Victoria, Australia Externally the building is predominantly clad in cement sheeting, simultaneously recalling both folded origami, tents and the ubiquitous ‘fibro-shack’. The ‘contents’ of the ‘bottle’ are a rectilinear platform and walls which make the abstract geometry inhabitable.
The concet is to create an architecture suited to the museum having art pieces appraised internationally. Such Japanese craft as ‘Origami’, ‘ Sensu fan ‘, or ‘Byobu screen ‘ are created from just one piece of paper, having an infinite possibility to be shaped in various forms. Karuizawa Museum Complex / YASUI HIDEO ATELIER Karuizawa, Japan
form techniques.
form techniques.
form techniques.
form techniques.
urban. massing.
urban massing
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site. analysis.
site location
site location
--------FITZROY STREET THE ESPLANADE
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PALAIS THEATRE
LUNA PARK
ST. KILDA BOTANICAL GARDEN
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ST. KILDA BEACH
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ST. KILDA PIER
site survey
site survey
site introduction
ST. KILDA is home to many of Melbourne's famous visitor attractions including Luna Park, the Esplanade Hotel, Acland Street and Fitzroy Street. It is home to St Kilda Beach, Melbourne's most famous beach, several renowned theatres and several of Melbourne's big events and festivals. St Kilda has a unique artists' culture, and many high profile local events. Recreation on St Kilda West and Middle Park beaches includes most watersports, including windsurfing, sailing, kitesurfing, rollerblading, beach volleyball, diving, jetskiing, waterskiing, sunbathing and skydiving with Skydive the Beach Melbourne.
St. Kilda Beach Source: Jing Tze NG
site history
1857 : Municipality and a railway line built
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St Kilda became a municipality in 1857, and in the same year a railway line was built to connect it to Melbourne’s CBD. Regular train services resulted in increased visitors to St Kilda’s sea baths, jetty promenade, cricket and bowling clubs, and the St Kilda Cup. By the mid-1860s, St Kilda boasted about 15 residential hotels, including the famous George Hotel.
1870-1890: Land boom
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Between 1870 and 1890, St Kilda’s population more than doubled to around 19,000 people. During the land boom of the 1880s, it became a densely populated district of large stone mansions and palatial hotels, particularly along seaside streets such as Fitzroy Street, Grey Street and Acland Street
Esplanade Promenade
1900s: Seaside playground After the opening of the cable tramway in 1891, the St Kilda Foreshore Committee was formed as a government endeavour to beautify the area. Carlo Catani was contracted to prepare a masterplan for St Kilda’s beautification, from the foreshore to Point Ormond. Catani created a famous leisure precinct along the bay, inspired by seaside resorts in the Mediterranean. Notable features included the Sea Baths (1910), Luna Park (1912), Palais de Danse I (1913), Palais de Danse II (1926), Palais Theatre (1927), and many others. Several landmarks along the foreshore have been named after Catani, including the clock tower, gardens and arch.
site history
Sea Baths (1910)
Palais de Danse I (1913), Palais de Danse II (1926), Palais Theatre (1927)
1970 - 2000s : Fire and development proposal
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Palais de Danse III opened on the Triangle site in 1972, and was later renamed Palace Entertainment Centre. Destroyed by ďŹ re in 2007, a masterplan was later approved by Council incorporating repairs to the Palais Theatre and a redevelopment of the Triangle site. The plan was abandoned in 2009 following strong community opposition.
2010 - present : Towards a new vision Council initiated a process to develop a new vision for the St Kilda Triangle in 2010, conducting extensive community consultation through drop-in sessions, surveys, vox pops, focus groups, round table conversations and online engagement. Over 900 people helped inform the Vision document, which was released in November 2011. A planning scheme amendment was prepared to implement St Kilda Triangle 2012. However, following community questions about the controls and unresolved issues in St Kilda Triangle 2012, In August 2014, Council resolved to deliver a project for the St Kilda Triangle site with the community.
site research - events
St Kilda Film Festival is Australia's oldest and longest running short film festival and has been showcasing Australian short films since 1983. The festival, produced and presented by the city of Port Phillip, screens Australian short films in all genres including drama, comedy, documentary, animation and digital media. The festival supports the Australian film industry by turning the spotlight on a wide range of fascinating works that may not otherwise see the light of day. Exceptional films by both emerging talent and short works by accomplished industry professionals are shown on the big screen, where they look their shiny best.
site research - events
Melbourne Underground Film Festival is a cutting edge premiere showcase for Independent cinema in the Southern Hemisphere. It is known for its radical, adventurous and iconoclastic programming decisions and for its support for different voices in the Independent and Underground ďŹ lm and video practitioners worldwide. The festival focuses on both Australian and International cinema and is a vocal critic of the staid and failing Australian Film Industry. St Kilda is home to the many venues of the Melbourne Underground Film Festival.
site research - events
site research - events
St Kilda Festival held in February each year, is a free celebration of Australian music, summer and St Kilda. Programming includes music, dance, children’s activities, comedy, poetry, visual art, theatre, outdoor cinema, beach sports, and forums.The only thing better than a music festival is a free music festival. The St Kilda Festival happens to be Australia's largest free music festival, showcasing the best of homegrown talent against the glorious natural backdrop of the St Kilda foreshore.
site research - catani gardens
Catani Gardens is of historical, aesthetic, architectural and scientific (horticultural) importance to the state of Victoria.It sits between the foreshore, Beaconsfield Parade and the Esplanade includes a War Memorial, Captain Cook statue and Royal Melbourne Yacht Squadron Buildings.The historic boulevards of Canary Island palms trees line the walking paths and visually define the gardens. Events are common in the gardens and weekend pony rides are popular with families. The masterplan was designed by Carlo Catani, a native of Italy, was Chief ngineer of the Public Works Department. He was contracted in 1906 to prepare a masterplan for the beautification of the St Kilda foreshore to Point Ormond. His plan resulted in the famous leisure precinct along the foreshore.
site research - catani gardens
district
DISTRICT The site is mainly consisted of residential distrct, commercial district that mostly along the main road, as well as the parklands that locating along the foreshore. The site not only provide a comfortable living environment but also the leisure and fun amenities to the residents and visitors.
district
PARKLAND
RESIDENTIAL
COMMERCIAL
paths
PATHS The path is categorized according to the trafďŹ c density. Primary paths are the main roads and highways that have tram stops and bus services to or from the city. While the secondary paths are the streets that branch out from these roads, as well as the laneways in between.
paths
PRIMARY
TRAM STOP
SECONDARY
BUS STOP
topography
TOPOGRAPHY As locating near to the bay, the topography level of the site is low and this may affect the design of the basement as well as the structure. The issue of ooding is also a concern due to its location and topography
topography
geography
GEOGRAPHY In between the hustle and bustle streets and urban blocks, there are a few outdoor space that allows you to take a break, such as St. Kilda Botanical Garden and St. Kilda Beach. These outdoor destinations not only invite locals but also the visitors for outdoor activities and leisure. The site is surrounded by the deďŹ nitive St. Kilda palm trees along the highway and the Esplanade.
geography
site location
THE SITE The site is deďŹ ned by the boandary of the Explanade , Jack Boulevard, and Palais Theatre. Locating within the boundary of entertainment district, the site sits between the beach, Esplanade, and the urban form of St. Kilda.
site location
SITE
route. of. suspense.
route of suspense
route of suspense
ROUTE OF SUSPENSE (CONTEXT) The feeling of suspense has a mixture of fear, delight, conďŹ dent and hope. As an important entertainment district, the feeling of suspense could be felt on the site and hence forming a route across the urban context. Locatin in between the route, the site has the potential in becoming a catalyst that explores in generating suspense through the design of the building and landscape.
route of suspense
1
St. Kilda Skate Park
Experience of skating and watching especially when the skaters almost fall
route of suspense
2
Brooks Jetty
Experience of feeling excited of what is happening there
route of suspense
3
Luna Park
Experience of uncertatinty and expectation being manipulated by the sudden drops or loops
route of suspense
4
St. Kilda Promenade
Experience of doubtful of where is the path leading to
route of suspense
5
Bay Trail
Experience of hidden and mysterious when walking into the trail that surounded by landscape
route of suspense
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St. Kilda Pier
Experience of facinating towards the kiosk which entices the people to reach them
route of suspense
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St. Kilda Pedestrian Bridge
Experience of anxious and fear when looking down to the highway with the trafiic noise
route of suspense
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ROUTE OF SUSPENSE
cinematic. architecture.
cinematic architecture
Similar to poetry, myth, or story-telling architecture can be conceived not only as a process that spans throughout the design, construction, and occupancy stages of a building but also as a dialectic relationship between people and space. In that context, a narrative is not only an explicit description of a space, but most importantly, a stage for the exploration of human emotions.
Harvard University Graduate School of Design
Cinematic architecture is the study of architecture in which reections on uid processes over time are prized over the consideration of static objects. cinematic architecture is a loose methodology which encourages people to think about architecture as essentially concerned with space and the events that occur in it over time, rather than a discipline concerned with physical buildings and materials.
Pastel Schoning (AA Architectural Association in London)
cinematic architecture
The interaction between cinema and architecture - "the inherent architecture of cinematic expression and the cinematographic essence of architectural experience" is a complex, often multifaceted dialogue between both disciplines. Juhani Pallasmaa (2007)
cinematic architecture
Scenery of the ďŹ lm, Rear Window
Architecture, when defined as the realization of an imagined idea, comes close to the world of the cinema, as cinema provides a rich tool for exercising the imagined. This is one thing that bring architecture and cinema together. Yet, another, and perhaps more important thing is, the change in our conception of existence and space. Regarding the production of these two distinct "art forms", the architect Juhani Pallasmaa emphasizes that both are realized with the help of a team of specialists and assistants as a result of collective effort. However, another aspect emerges: both are the arts of the author, the fruit of a creator, an individual artist. Let us turn our attention to this and other moments in which these arts intersect. Set construction is undoubtedly one of these moments of intersection. Allowing for great control over shooting conditions, sets built in closed studios enable the possibility of getting rid of limitations related to the climate, lighting and eventual setbacks that may occur in shooting in "real" environments. Alfred Hitchcock is an example of a filmmaker who has made extensive use of sets to create spaces of tension and horror in his productions.
cinematic architecture
Freytag’s Pyramid by Gustav Freytag (1863)
Plays first originated in ancient Greece. Aristotle was one of the first to write about drama and describe its three segments: beginning, middle, and end. Over time, dramas evolved, the Roman poet, Horace advocated for five acts, and many centuries later, a German playwright, Gustav Freytag, developed the five-act structure commonly used today to analyze classical and Shakespearean dramas. The pattern of this five-act structure can be seen in the familiar plot diagram above.
cinematic architecture
SUSPENSE Suspense relies upon the audience’s strong sense of uncertainty about how events will play out (Knight and McKnight) Suspense is built upon the audience actively engaging with the story by establishing their own expectations or trying to anticipate outcomes based on the information provided in the narrative
Most of what we regard as entertaining is suspenseful.
cinematic architecture
Alfred Hitchcock Master of Suspense. A storyteller who has frequently used both natureal and man-made environment as catalyst for drama. He offers material expressions of existing fear in order to enhance the suspense within his narratives.
cinematic architecture Architecture of Alfred Hitchcock Leaving the space in suspense. This may be one of the more significant aspects of cinema that can contribute to architecture at the time of imagining/creating intensely emotional spaces. Hitchcock lays out architectural space like a model, in which the psychological content of a movie and the choreography of its dramatic movements are represented. Suspense is a powerful method for keeping the viewer's attention, be it "technical" -a deliberate pause between an action and a result- or "psychological", where the mental process of the viewer prevails over the reality of the filmed action. It is for this reason that all good architectural design, like Hitchock's films, must develop one lone idea that finishes expressing itself in the moment in which the action reaches its peak dramatic point. Emotions are crucial ingredients for creating suspense. In order for there to be suspense it's necessary to understand the spatial layout, knowing that the end point is the surprise. For there to be suspense the space has to be honest, there has to be an element that makes the entire action tense, that makes the ending of this experience over this space unexpected. Suspense provides the perfect atmosphere for surprise.
cinematic architecture
In architecture the forms of transition are the consequence of previously afďŹ xed objects, and the practical necessity that the physical construction of a building imposes. For example, the walkway in the shape of a square of the transept oor in a church or the polygonal or circular form of a roof that results in a dome. The interest of a space in transition is how it changes from one form to another. Vertigo (1958) by Alfred Hitchcock
cinematic architecture
In Rear Window (1954), a tension is produced between who is looking and what is being seen -- all across a courtyard of a block of apartments. Hitchcock, in order to give special attention to optical objects, presents us with the theme of looking. Architecture as just a look may reach its greatest expression in a set of sections. It is precisely in the section where what is happening with a design is discovered, just like how they discover the murderer in Rear Window. The ability to inuence sight in future spaces, manipulating users without being seen, is also had by the architect when he is seen submerged in the process of project or pre-project design. In Rear Window, the ďŹ lm plays on the obscured relationship that occured in the high density housing and embrace the social aspect that has been lost in Ireland. By creating a checkered grain apartment blocks, and overlooking courtyards, programmed by community amenities, a situation occurs where social interaction is enabled.
Rear Window (1954) by Alfred Hitchcock
cinematic architecture
LIGHT In a building with uniform light level, there are few "places" which function as effective settings for human events. This happens because, to a large extent, the places which make effective settings are defined by light. People are by nature phototropic - they move toward light, and, when stationary, they orient themselves toward the light. As a result the much loved and much used places in buildings, where the most things happen, are places like window seats, verandas, fireside corners, trellised arbors; all of them defined by nonuniformities in light, and all of them allowing the people who are in them to orient themselves toward the light.
Tapestry of Light anf Dark in ‘A Pattern Language, Christopher Alexander’
cinematic architecture
Neanderthal Museum by Estudio Barozzi Veiga
cinematic architecture SOUND “I can hear with my knee better than with my calves.” This statement made by Bernhard Leitner, which initially seems absurd, can be explained in light of an interest that he still pursues today with unbroken passion and meticulousness: the study of the relationship between sound, space, and body. Since the late 1960s, Bernhard Leitner has been working in the realm between architecture, sculpture, and music, conceiving of sounds as constructive material, as architectural elements that allow a space to emerge. Sounds move with various speeds through a space, they rise and fall, resonate back and forth, and bridge dynamic, constantly changing spatial bodies within the static limits of the architectural framework. Idiosyncratic spaces emerge that cannot be fixed visually and are impossible to survey from the outside, audible spaces that can be felt with the entire body. Leitner speaks of “corporeal” hearing, whereby acoustic perception not only takes place by way of the ears, but through the entire body, and each part of the body can hear differently.
Sound Spaces TU Berlin. a permanent sound installation by Bernhard Leitner
cinematic architecture MOVEMENT
“Architecture exists, like cinema, in a dimension of time and movement. One thinks, conceives and reads a building in terms of sequences. To erect a building is to predict and seek effects of contrast and linkage bound up with the succession of spaces through which one passes,” - Jean Nouvel
Filmic space can propose a different relationship between architecture and people based on a broader range of sensory, social and temporal qualities. An investigation into the construction of space, both intellectually and physically reveals the variety of meanings and implications that attend the term ‘space’. In film, space is experienced through sounds, motions and e-motions. Film as a medium also allows the viewer to switch between parallel time and story streams, depending on one’s own knowledge, associations and imagination.
museum. visitor’s behaviour
museum visitor’s behaviour
‘Public Space Design in Museums’ by David A. Robillard, University of Wisconsin - Milwaukee in A manual which provides architects and museum professionals with information about visitor behavior, programming, and building design for art and natural history museums. Describes design principles that can improve the quality of the museum's public spaces. Supported in part by the American Institute of Architects Research Corporation. INterest in this study was developed in of a series of interviews with museum directors, curators, and designers as well as personal observations of people touring museum exhibits.
museum visitor’s behaviour Route Selection Findings
Traffic Flow Findings
Exits are one of the strongest devices in terminating a route Grouping scuptures and seating disrupts traffic flow
Visitors tends to turn right after entering a gallery
Central display islands tend to accelerate the rate of flow
Visitors will not enter the gallery with no exits or exits that are readily visible
Gallery spaces that control flow provide better viewing environment
Most visitors will not proceed through the museum systematically. Illustations from ‘ Public Space in Design Museum’
museum visitor’s behaviour Orientation Findings
Museum Fatigue Findings
Abundance of directional choices tires the museum visitor Gallery and object satiation - insufficient contrast between adjacent galleries
Visitors with handouts, read directions and ask for orientation assistance stays longer
Gallery satiation causes physical fatigue problem
Physical orientation system and conceptual orienttation system
Use and inquire about areas for relaxation
Confusion over directions while inside the museum Illustations from ‘ Public Space in Design Museum’
museum visitor’s behaviour Range of Movement Findings
Visitors use more area around the entry of gallery spaces than at exits Male cover more ground and take more footsteps than female
Visitors uses less area when a gallery does not have an exit
The most movement and area covered occurs around area where a maximum amount of information is available
Visitors more area in gallery spaces which use dark colour for walls, flooring and ceiling
Illustations from ‘ Public Space in Design Museum’
museum visitor’s behaviour Object and Gallery Satiation Findings
Lack of diversity and contrast causes greater fatigue
In large museum, the likelihood that a visitor will observe any given picture is less than in smaller museum Visitors look less long and skip more exhibits as the visit progresses
Visitors distribute their attentioon usually pausing for brief periods and skipping several interventing exhibits before stopping again
The more pictures simultaneously displayed, the lesser the average time spent in looking at each picture
Illustations from ‘ Public Space in Design Museum’
museum visitor’s behaviour Attention Distractors and Attractors Findings
Doorways and exit draw visitors to them causing exhibits to go unnoticed
A lengthy distance to exhibits discourages visitors to see it
Distracting windows and backgrounds causes visitors to pay more attention to unusual or unknown environment
Illustations from ‘ Public Space in Design Museum’
precedent. studies.
precedent studies
Hsiangshan Visitor Center / Norihiko Dan and Associates Nantou County, Taiwan. Xiangshan Visitor Center is a visitor center overlooking Sun Moon Lake in Yuchi Township, Nantou County, Taiwan. The center was designed by architect Dan Norihiko with a theme of promoting the harmonious integration between human habitation and the natural world. Housing the tourist board's ofďŹ ces and an information centre for visitors, the building has a green roof and rises out of the surrounding land towards the lake. A basin of water between the building and the lake reects a rippling image of the surrounding trees.
precedent studies
A new model is proposed for a relationship between the building and its natural environment while preserving the surrounding scenery and keeping the inland area from becoming dead space. The project was designed to pursue a new relationship between the building and its surrounding landform.and to draw out and amplify the potential advantages.
precedent studies
National Gallery of Victoria (NGV) / Sir Roy Ground Melbourne, VIctoria, Australia
At the top of the voids the glass panels are conďŹ gured to curve out to skylights: light falls from the top of the void spaces and through the translucent ramps down to the lowest public level. This works, the light quality from the top of the ramp voids to the bottom changing according to the time of day and the weather.
precedent studies
Australian Centre for Contemporary Art (ACCA) / Wood Marsh Architect Melbourne, VIctoria, Australia The building is designed to make reference to its primary function; it is a sculpture in which to show art. The bold form and materiality of the façade is intended to create a strong presence and express with optimism, and in a frugal sense, a robust laboratory for experimentation. Those using the building are meant to feel comfortably challenged.
Coupled with the single dominant cladding material (large insulated trays of Corten steel) the sculptural form simultaneously alludes to the industrial age and natural landforms.The distinctive rusty steel façade contrasts with the shiny, interpressed metal and glass surface of the foyer’s interior, creating a space designed to provide an exciting contemporary art experience.
precedent studies
Queensland Art Gallery / Robin Gipson and Partners Brisbane, Queensland, Australia
Architect’s Statement : 'It is not only a place for the collection and exhibition of our art works, it is a place where the walls and barriers of the Gallery are broken down, where there is a constant source of interchange between the art world and the public.' Water is introduced as a series of audible & kinetic elements externally, which contrasts with the more placid setting of the three-level high central interior space of the Water Mall. The concept is to create this vibrant working relationship between public & artist emerges as an architecture of spaces contained between walls, floors & ceilings of minimal colour content which flow & interlock internally & externally to create an environment for people which is fresh, original and vital
precedent studies
Queensland Gallery of Modern Art (GOMA) / Architectus Brisbane, Queensland, Australia
The gallery is designed to respond to the changing character of modern and contemporary art. Its large open and exible exhibition spaces can easily accommodate modern artworks, which are no longer dependent on lots of wall space this pavilion is light, open and airy and easily accessible from the public open spaces that surround it on three sides. Architect statement: The duality of the design approach is that the architecture is impressive and monumental without losing its openness and freshness, and without being intimidating; international yet responsive to local conditions and the south-east Queensland context. By adopting this approach the architects propose to realise one of the Gallery's most important aims – to place the institution in the public experience of the city
precedent studies
MAXXI / Zaha Hadid Architects Rome, Italy
The complexity of the olumes, the curving walls, the variations and intersections of the levels determine a very rich spatial and functional configuration that visitors may pass through via ever different and unexpected routes As declared by the architect, the museum is 'not a object-container, but rather a campus for art', where flows and pathways overlap and connect in order to create a dynamic and interactive space. Continuity of spaces makes it a suitable place for any kind of moving and temporary exhibition, without redundant wall divisions or interruptions.
Multiple environments coexist in a sequence of galleries illuminated with natural light filtered via a special roof system.
precedent studies
Entering the atrium, the main elements of the project are evident concrete curved walls, suspended black staircases, open ceiling catching natural light. The beams, the staircases and the linear lighting system guide the visitors through the interior walkway, which ends in the large space on third level. From here, a large window offers a view back to the city, though obstructed by a massive core.
precedent studies
Jewish Museum / Daniel Libeskind Berlin, Germany
Daniel Libeskind designed the floor plan based on two lines: the building’s visible zigzagging line and an invisible straight line. He implemented a radical, formal design as a conceptually expressive tool to represent the Jewish lifestyle before, during, and after the Holocaust. The building zigzags with its titanium-zinc façade and features underground axes, angled walls, and bare concrete “voids” without heat or air-conditioning. The three axes symbolize three paths of Jewish life in Germany – continuity in German history, emigration from Germany, and the Holocaust.
precedent studies
The interior is composed of reinforced concrete which reinforces the moments of the empty spaces and dead ends where only a sliver of light is entering the space. It is a symbolic gesture by Libeskind for visitors to experience what the Jewish people during WWII felt, such that even in the darkest moments where you feel like you will never escape, a small trace of light restores hope.
precedent studies
ANIMA Cultural Center Proposal / Bernard Tschumi Architects Grottammare, Italy
The aim of ANIMA is to host the various forms of local culture that find expression through artistic, gastronomic and environmental means. The objective is to promote the encounter, interaction, and exchange through widespread activities: shows, exhibitions, conferences and workshops that describe the existing territory and envision its possibilities for the future. The project is thus configured as a dynamic space, in constant evolution, that will in essence never lack cultural significance, its temperament as mutable as the expressions that will find home in its interior. A point of excellence which will help generate activities, ANIMA will encourage community groups and foster local productivity, thus becoming an urban generator for the development of the area. A center of excellence and creativity of local resources is born.
precedent studies
Water Temple / Tadao Ando Awaji, Japan
In its forms are strong Symbolism, some of them are hidden but also shows clearly, and belong to the Buddhist doctrine and the oldest Japanese philosophical tradition. The same lotus, a symbol of Heaven, represents the emergence of Amida Buddha, which according to popular belief carries a message of heavenly paradise.
A concrete stairway which cuts the circular pool in two symmetrical halves descends down into momentary darkness from the light, below the water, and, eventually, into the sacred space of the Buddhist temple. Contrary to the monochromatic approach through the white walls and neutral concrete stair, the interior of the temple is saturated with color. The circular space is ďŹ lled with an intense red-orange light which seems to be pulsating from its core, the inner most and most sacred space of the temple which houses the Buddha statue.
precedent studies
Institute for Contemporary Art, VCA / Steven Holl Architects Richmond, United States of America
Vertical movement along the “plane of the present� links the galleries, the performance space, the sculpture garden and Forum. Along this architectural promenade, the integration of all the building elements can be experienced in changing views.
The building is an experience of movement in time around the exterior as well as the interior. Approaching on foot from the west (from the University), the building unfolds in the parallax of changing perspectives. As you walk, the crunch of gravel under your feet is complemented by a view that gradually opens to reveal the Forum. If you arrive by car from the north, east, or south, the double-vertical geometry in torsion marks a gateway presence, which changes shape as the car passes by. At night, glowing planes of obscure glass activate the exterior. Video projections may appear on these obscure glass walls, animating the outdoor space with art.
precedent studies
The exterior matte translucent glass and pre-weathered titanium zinc skin share the same greenish-grey tonality, giving the building a shifting presence, from monolithic opaque to multifarious translucent, depending on the light. The four rooftop gardens include a sculpture terrace on the second level for site-speciďŹ c artist installations.
mid term. design schemes.
mid term design schemes
mid term design schemes
MICRO SITE ANALYSIS PEDESTRIAN CIRCULATION POINT OF ARRIVAL VISTA WIND
mid term design schemes
6 urban massing were selected among all the urban massing that had been tested during design iteration process. These 6 massing were selected as they express the concept well, where 3 of them are inspired from the pattern of the wave, while the other 3 are inspired by the circulation pattern of St. Kilda. Out of the six urban massing, two design schemes are being developed for the mid-term crits
mid term design schemes
mid term design schemes
mid term design schemes
mid term design schemes The design of the first scheme is inspired from the circulation of St. Kilda, as the esplanade is the first promenade for leisure. So the design idea has this kind of circulation and intersection and which forms a courtyard at the centre of the massing to accommodate outdoor activities or sculpture park. While responding to the site condition and the key vista that wished to be preserved, the height of the blocks is being adjusted in order to provide a view towards the building along the foreshore and the horizon.
DESIGN SCHEME 1
bird eye view
mid term design schemes
mid term design schemes
mid term design schemes
mid term design schemes
mid term design schemes
mid term design schemes
mid term design schemes
mid term design schemes
DESIGN SCHEME 1
view towards ACMI entrance
mid term design schemes
DESIGN SCHEME 1
view from the roof terrace
mid term design schemes
DESIGN SCHEME 2
bird eye view
mid term design schemes
mid term design schemes
mid term design schemes
mid term design schemes
mid term design schemes
mid term design schemes
mid term design schemes
mid term design schemes
DESIGN SCHEME 2
view from esplanade
mid term design schemes
interim. crits.
DESIGN SCHEME 2
view from obervation deck
interim crits Architecture triggers human emotions and shapes behaviours. Suspense is an experience of mixed emotions, such as apprehension, anxious, excitement, uncertainty, and hope. These are aroused by the unpredictable and mysterious incident or moment, such as watching a thriller, skating and riding a roller coaster. Hence, most of what we regard as entertaining is suspenseful. Locating at the important entertainment district of Melbourne, the research for this thesis project is how architecture might explore in suspense. As a Museum of Contemporary Art (MOCA), brings a psychological and physiological impact to the viewers or visitors through its spaces, circulation and form using the strategies of suspense. This respects the history of the site as an Entertainment Centre back in years, as well as the site context. St. Kilda has become an important leisure attraction that located nearest to the Melbourne city for more than a century. As a connection between the Esplanade and the foreshore, it acts as an extension to the Sunday Market which draws the visit of both locals and visitors, as well as accommodates and supports the local cultural activities, sports, events and festivals. Apart from galleries exhibiting the contemporary art collection, the program of the project also includes bookshops, cafes and restaurants, workshops, auditorium, as well as ACMI gallery.
interim crits
mid term design schemes
Physical Model Making for Selected Urban Massing
mid term design schemes
Physical Model Making for Selected Urban Massing
interim crits
interim crits
interim crits
SETBACK AND VISTA
FLOW OF HEIGHT
interim crits
EXTENSION OF PROMENADE
ENHANCE CONNECTION
interim crits
interim crits
interim crits
interim crits
interim crits
interim crits
interim crits
interim crits
interim crits
BIRD EYE VIEW
interim crits
interim crits
PERSPECTIVE OF ART GALLERY
interim crits
PERSPECTIVE OF ROOFTOP PROMENADE
interim crits
Cross Section
Long Section
interim crits
Basement Carpark
interim crits
interim crits
PERSPECTIVE OF LAWN AND ENTRANCE
ďŹ nal. design proposal
final design
final design
THESIS STATEMENT
The research for this thesis project is how architecture explores situations and moments in the built form which promotes the motions of suspense. Since a century ago, St. Kilda has become an important leisure attraction after the opening of Luna Park and Palais Theatre. Luna Park is a historical amusement park which gives the sense of thrill through its height, speed and acceleration. While Palais Theatre is a home to the annual films festivals such as St. Kilda Film Festival and Melbourne Underground Film Festival. The proposed project is located adjacent to the Palais Theatre and Luna Park project, sandwiched between urban blocks and parkland. The project proposes a museum for contemporary art which intends to strengthen the place identity as an entertainment district. The museum is proposed to provide a space to house the performing art, film and visual arts. The site was a dance hall named Palais De Danse, which had been destroyed during a fire in year 1972. It was then transformed into an open air car park which does not add to the quality of public realm. Hence, the museum intends to enhance the continuation of the historical identity and the notion of suspense from Luna Park and Palais Theatre.
final design
final design
EXTERNAL PERSPECTIVE
final design
final design
final design
final design
final design
final design
final design
final design
final design
final design
final design
final design
Acts as a balcony that provides views from different view angle and height
A ow of height which preserve the dominance of the Palais Theatre
final design
A connection between the promenade and the seashore
continuing the local character and cultural identity of St. Kilda
final design
An extension of the promenade to provide platform for new artists and stallholders
increases the permeability and the sense of arrival to the triangle
final design
SECTION A-A
SECTION B-B
final design