REKINDLE
STUDIO INNER HOUSE PORTFOLIO
JUSTEEN TSAI
‘INNER HOUSE’ STUDIO 16
|
Studio Leader Joel Benichou
STUDIO THEME: Inner House
their practices.
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 homogenisation of design output. The pressure on architects to produce innovative and popular schemes has created a new mode of rapid cultural appropriation and promoted a scenographic approach to building design. Increasingly, contemporary residential projects are required to present the public with an amplified brand and be presented as a marketing object. Clients are looking for the viral ‘Insta’ shot or gimmick that will sell real estate and architects are obliging in an effort to sedate the client and grow
As designers, we should strive for an architecture that pushes back on shallow façadeism and objectification. The most important elements of architecture do not translate into imagery and a projects architectural identity should not be found online. Buildings need to be rooted in their geographical and cultural context and highlight the uniqueness of the region and the users. The experience, sensation and feeling of space is what remains once the pornography of airbrushed architecture fades. Studio 16 will provide students with an opportunity to develop a housing project that counters the superficial aesthetics and objectification of contemporary architecture. The studio will explore alternative design drivers such as time, place, experience, ritual, tectonics and culture. Inner House will focus the design attention to the inner workings of
the dwelling with the ambition to uncover a practical and refined 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
pre design ‘box model’
|
The three cross church
‘object design’
|
Arrangement
‘return brief’
|
re kindle
‘design process and inspiration’
|
P.22- P.25 P.26 - P.31
‘subterranean room’
|
melbourne
P.32 - P.47
P.06 - P.13 P.14 - P.21
subterranean room
form finding precedent study GAD Architecture
|
Cappadocia
P.50 - P.51
GRAUX & BAEYENS ARCHITECTS
|
Loft M
P.52 - P.53
|
Pt. Leo Estate
P.54 - P.55
Vault House
P.56 - P.57
JOLSON ARCHITECTURE JOHNSTON MARKLEE
|
material selection and vision Curved Concrete
|
glass fiber reinforced panels
Curved Brick Wall
|
Kennedy Nolan Caroline House
Che Wang Architect
|
Soft Cement Wall
P.64 - P.65
P.60 - P.61 P.62 - P.63
Material Vision
|
Concrete x Brick Glass
P.66 - P.67
Light Penetration
|
Curve wall and light
P.68 - P.69
architecture detailing Built in Joinery
|
Architecture Architecture
Kids Room Interaction
| Cleare Cousins
P.73
Celling Edge Treatment
| N+A Studio
Window Opening
| Kennedy Nolan
P.74 P.75
‘s i t e a n a l y s i s ’
| 5 Garden Terrace, Melbourne
P.76 - P.77
‘d e s i g n p r o c e s s a n d i n s p i r a t i o n ’
|
P.78 - P.103
‘rekindle’
| 5 Garden Terrace, Melbourne
P.104- P.147
P.72
final design
appendix ‘design sketch and documentation’
P.148 - P.163
pre | design boxmodel and object design
Church of the Three Crosses 1958 Alvar Aalto
The Church of the Three Crosses in Vuoksenniska is one of Imatra’s parish churches. Alvar Aalto was commissioned to create a master plan for Imatra, which merged three of the old rural villages: Imatrankoski, Vuoksenniska and Tainionkoski. The industrial community required church amenities, and thus Aalto was commissioned in 1955 to design a new church. Aalto designed the church for the Vuoksenniska industrial community to combine sacral and social activities. The church was completed in 1958 on the high, pine-forested ridge that divides the two main-lake; Lake Saimaa and Lake Immala. Alvar Aalto, together with his office collaborators, designed the church interior, complete with its lamps, church collection baskets and candle holders, in the spirit of a total work of art, or “Gesamtkunstwerk”.The basic design of the sculptural white church consists of a series of consecutive sections. The main church space can be subdivided into three spaces using movable partition walls. The most intriguing part about this building is the internal volume space that Aalto created. A unique underground mass atmosphere is created above the ground with the heavyweight feeling roof. However, the double layer glaze and white finishes of the internal space helps lighten the space and bring in the pure and holy atmosphere.
Church of the Three Crosses | Alvar Aalto Box Model
Church of the Three Crosses | Alvar Aalto Box Model
Design an Object
Our everyday experience of the world around us is strongly influenced by the object we interact with. Good design of everyday object not only makes out life more enjoyable, but is also integral in the smooth running of the world around us. Object can range from purely functional to entirely conceptual each having their place and playing a part in the human experience. In the exercise, we will start to think about object within the framework of experience. Building on the lessons learned in the previous exercises, you will begin to explore the idea of giving form to an object base on function, scale, interaction or imagination.
first object design attempt | alignment
The first attempt of the object design was a object that can help a line different size of book. the inspiration comes from OCD. however the design has been furtherer developed into a bigger scale object to tackle more architecture perspective and object.
ALIGNMENT
justeen tsai
ARRANGE MENT
As humans, we often find ourselves in pursuit of perfection. However, this utopia thinking of ours is often deemed unrealistic. By encompassing obsessive-compulsive disorder as the driver of the design allows for the elimination of disarrangement. A table or a wall installation, Arrangement allows users to organize daily items by category, size, or their personal preference. Instead of trying to achieve perfection, Arrangment caters to the design philosophy embraces the notion of imperfection, impermanent, and incompletion. The object is imperfect – being not aligned with each other, diagonal supports is placed randomly, the object is not a perfect square, the depth of each compartment is not the aligned. A playful attempt to break the boundary between quirkiness and perfection. That the design help you to embrace the notion of imperfection while still let you live clutter free.
ARRANGE MENT
Arrangement - Table Organizer
Arrangement - Wall Organizer
subterranean room mid semester
Return Brief
It is common for us as human being to experience a sudden surge of ideas, imageries, and messages that often grant us with abundant of excitement or more susceptible to fear. The inner house will allow the user to embrace the moment by instilling emotions such as calmness and stability yet still allowing for element of excitement to occur. As humans, we often find ourselves in pursuit of perfection. We are often overwhelmed; hence we often struggle with mental clarity. This utopia thinking of ours is usually deemed unrealistic – if not impossible. Human desires for more, whether it is information, materials, or wealth. We often find ourselves embedded in a hoarder state of mind. By encompassing mental clarity as the driver of the design, it allows for the elimination of disarrangement.
The Inner House aims to captures a moment – a philoshopy that embraces the notion of imperfection, impermanent, and incompletion. The main concept nurtures all that is authentic by acknowledging three simple realities; that nothing last, nothing is finished, and nothing is perfect. Life is not linear. We often find ourselves in an upward trajectory for a while, however, it is not always the case. In life, we often celebrate a certain milestone of our life with an particular object – whether it is a watch being passed down from your father, or your very first car toy. It can be argued that our memories are often stored in these objects. Objects that are not permanent, complete and imperfect. In essence, our memories make up who we are today. We often take for granted these objects, believing that it does not hold an importance on us now. However, the opportunity to reconnect with these objects may help us in rearranging our life and drives us out from burning out. The subterranean room is a metaphor of the natural progression of life. It is for us to reflect on our lives and what we have achieved so far. A space that hold a collection of items that define who you are today. A room that allows us to rekindle our motivation to go forward and break the that downward trajectory that we are facing. A platform for us to contemplate and rearrange our lives during our lowest point in life. It understands us – our habits and our desires. It understands nature and life through its representation of memories. The pathway down to the room is a representation of our life is not always moving forward, or upwards. The stairs leading out of the room represent the notion of us embracing the adversities after being rearranged and reminded on how far we have gotten. The emotions in the room is personified by the material, lighting, atmosphere, and tactility through the space. The room is the relationship of time and life – a lancing act that will lead the us to a sense of peace through understanding our memories and our life.
inspiration and progress subterranean room
inspiration
conceptually thinking the subterranean room is carved in to the ground, to mimic the structure and affect I tried to use tracing paper the create the column that is left after carving the earth out.
re | kindle subterranean room
The room is a metaphor for the natural progression of life. A space for us to reflect on our lives and what we have achieved so far. The journey of the space mimics the essence of our lives. We enter a rocky pathway down to the room represents our downfall in life. You will be then greeted by a space that hold a collection of items that define who you are today – a room that allows us to rekindle our motivation to go forward and to break the downward trajectory we are facing. It is a space for us to contemplate and rearrange our lives during our lowest point. The journey ends with a long wavy ramp that leads you out of the subterranean room. A journey that represent our experience of getting our lives back in our hand – a slow process but hopefully a smooth one. The light on the edges will hopefully leads you to a better space – a symbol of hope wrapping around you.
the reflection space
Subterranean Room Plan
A
B
PRODUCED BY AN AUTODESK STUDENT VERSION
Scale 1:75 @ A3
Subterranean Room Journey Diagram
Subterranean Room Section A
PRODUCED BY AN AUTODESK STUDENT VERSION
Scale 1:75 @ A3
Subterranean Room Section B
PRODUCED BY AN AUTODESK STUDENT VERSION
Scale 1:75 @ A3
pathway to the subterranean room
dead end
the reflection space
the reflection space
the reflection space
path way out
‘FORM FINDING ’
GAD Architecture
|
Cappadocia
GRAUX & BAEYENS ARCHITECTS
|
Loft M
JOLSON ARCHITECTURE
|
Pt. Leo Estate
JOHNSTON MARKLEE
|
Vault House
|
TOWN AND CONCRETE
Design from GAD architecture is an inspiration of bring the interesting curve and geometry from the plan vertically. This precedent is a new conceptual form of morphological material architecture, this design is also natural, ecological and critically allows for physical contact with the human body for health and wellness. Which has become a great influence to my inner house design; a dynamic interior volume and a simple exterior form. The curve and organic volume helps break apart a conventional form of a house to create a natural attachment to human body and spatial relationship.
LOFT M |
GRAUX & BAEYENS ARCHITECTS
To create a more dynamic form on the internal volumn design besides being a circular extrude from the plan. The method that is adapted in LOFT m is with mass and light filtration. the design consists of a stack of two stories high empty rooms (lofts), characterized by steel columns and ceilings in brick arches. Daylight enters via four vertical windows in the corner of the room. The design of this loft is an exercise in filtering light. The undulating surfaces capture the light and let it gradually shift into shadow. Shadow is light.
PT. LEO ESTATE |
JOLSON ARCHITECTURE
the president is the design that helps me to find a geometry logic behind the curves that I Initially drawn for the plan. By having a clear geometry logic helps clarify the circulation, relationship between each building, and easier planing. One of the most beneficial learning from this precedent study is to help avoid award angle and corner in space.
VAULT HOUSE |
JOHNSTON MARKLEE
Text description provided by the architects. Situated in a densely developed beach site in Southern California, the Vault House challenges the typology commonly found on narrow oceanfront lots. Instead of directing its focus on the single prime ocean view, an array of transparent interior spaces layered inside the main volume, offer a multiplicity of oblique views through the house while capturing natural light from a variety of angles. With the assembly of stacked and unidirectional vaulted rooms contained within a simple rectilinear volume, the parallel orientation of the rooms acts as a filter that extends the oceanfront view from the beachfront façade to the West through to the street at the Eastern boundary of the site.
‘MATERIAL SELECTION AND VISION’
Curved Concrete
| glass fiber reinforced panels
Curved Brick Wall
|
Che Wang Architect
| Soft Cement Wall
Material Vision
|
Concrete x Brick Glass
Light Penetration
|
Curve wall and light
Kennedy Nolan Caroline House
CHRISTIAN DIOR FLAGSHIP STORE GLASS FIBER REINFORCED PANELS | Christian de Portzamparc
Architect Christian de Portzamparc worked together with local architects DPJ & Partners, to create the Christian Dior Flagship Store, located in Seoul, South Korea. The exterior of the building features a sculptural white facade, that was inspired by the shapes and movement of the fabrics in Dior’s fashion collection.
The fabric inspired facade, was made from large panels of GFRP (glass fiber reinforced panels) This may be a potential material selection for the inner house
BRICK CURVE WALL CAROLINE HOUSE |
KENNEDY NOLAN
This project is an alteration and addition to a weatherboard Edwardian house in inner Melbourne. The rear of the house faces south, where there is a generous garden. Kennedy Nolan restored and re-imagined the existing house and added a pavilion which is separated from the original building by an internal courtyard containing a swimming pool. This rather conventional approach is enlivened by displacing expectations of the backyard extension. This was done through a whimsical formal approach, a balanced relationship between garden and interior space and a detailed and nuanced approach to texture, colour and pattern.
The most interesting about this building for me apart from the building is the use of white brick on curve surface and volume, which helped create a minimalistic look on a dynamic form.
SOFT CEMENT WALL |
CHE WANG, VERY ARCHITECT
Soft cement (concrete) wall are used between apartment and balcony in my design. This concept is inspirited from Architect Che Wang and Goldsun Building materials experiment on recreating a 16 square meters per person space with soften the concrete. The concept is to see the wall as a malleable material that can be bent expend or perforated to better suit the user daily routine. Imaging a soft wall where a seating area for the living space but the other side of the wall is a shelf or storing unit. The cupboard furnitures can also follow curves of the wall and create a magical space.
This concept is applied in my design between the apartment and balcony space. On the balcony side it is a sitting area for resident to social and on the other side is a built in storage system for the apartment. In this way it creates a more efficient use of space and solve the issues of storage space in the apartment.
GLASS BRICK AND CONCRETE |
MATERIAL VISION
To lighten the main material of the architecture - concrete exterior and interiorly, beside normal glazing, brick glaze is a complimentary material selection for my design.
Glass brick aren’t just effective as a decorative element in architecture. They can be used as singular wall panels solely meant to filter in light, but they can also be structural.
By using glass blocks for external finishes it brings diffused light into a space and are utilized for their high thermal insulation values, window openings are sometimes incorporated to break up the monotony of the block pattern itself and permit an influx of natural air and direct light. Using it internally with the natural blurriness of the material it creates a more private barrier but still allows light coming through the wall, also the blur light creates a special atmosphere for the interior space.
CURVE WALL AND LIGHT |
LIGHT PENETRATION
Curved walls have been used throughout the design not just only get inspired by the form of watercolor and blending but also to create a sense of fluidity throughout spaces. Shadow and light gaps have been set between the individual curve so that they appear separate from each other. Moreover, light penetration between each curve has the intention of creating a unique architecture language and make the interiors look lighter, softer and warmer atmosphere interiorly.
‘MATERIAL SELECTION AND VISION’
Built in Joinery
|
Architecture Architecture
Kids Room Interaction
| Clear Cousins
Celling Edge Treatment
| N+A Studio
Window Opening
| Kennedy Nolan
BUILT IN JOINERY |
ARCHITECTURE ARCHITECTURE
KIDS ROOM INTERACTION |
CLEARE COUSIN
CEILING EDGE AND WINDOW EDGE TREATMENT |
N+A STUDIO
WIDOW GEOMETRY |
KENNEDY NOLAN
site condition 5 garden terrace
inspiration and progress inner house ‘ selected sketches see more at appendix ‘
entrance to sunken gallery
boundry between inner house and exterior
sunk
ken gallery
pokets of greens between rooms
‘FINAL DESIGN’
re | kindle
re | kindle v. to make someone have a feeling that they had in the past
For many people, their earliest memories often take place in a domestic setting. Places embody our memories, even when those memories are contested or controversial. A house is a vessel for memories to take place – whether it is an individual memory, or a collective memory shared within the household. Memories takes roots in building fabric, spaces, gestures, images, and objects. A house encapsulates all the aspects of a memory and how it occurs in our life.
For many people, we often feel that life has taken a toll on us. The monotonous aspect of everyday life has led us to feel uninspired most of the time. Places such as a gallery allows for the stimulation of interest leading us to feel inspired, emotional, or motivated. Gallery is one of the place that build a community, a social network, a collective memories and identity. Aspects of community that has been lacking since the inception of the internet. The inner house is an exploration on combining the typologies of a house, and a gallery. It symbolizes the progression of life and the production of memory in a household, and a community setting. As humans we have different memories – one that we might want to keep within ourselves or one that we might want to share to others. The inner house is a platform to celebrate your memories regardless whether it is personal, or not. It is true that memory can survive if the place disappear, but memory will not be as durable or flexible when the place is gone. The Inner House is a vessel to encapsulates not only past memories, however, acts also as a platform for creating new memories. the design, it allows for the elimination of disarrangement.
Objects are a physical manifestation of a memory. Despite the uncertain nature of a memory, there is no denying that certain objects can help us remember events that we have not thought in years. An object usually belongs to a person, however, the memory of the event that is encapsulated within the object itself is usually shared. Memories are often intertwined between different party; however, the significance of the particular event or memory varies between each of them
site plan
@A
A3
site planing
native victoria botanical garden pedestrian entrance
gallery garden vineyard
residential garden
entrance
circulation
semi public pathway
public pathway
public pathway
semi private pathway private pathway (elevated)
down
up
workshop residential
gallery
up down
public
semi public
semi private
private
sec
tion
b
sec
tion
b
sec
tion
b
sec
tion
b
functional program circulation
function spcae circulation
entrance
entrance
gallery experience | rekindle house
personal collection shared collection
family collection entrance
entrance
private access to gallery
semi public pathway
public pathway
public pathway
semi private pathway private pathway (family)
individual pathway shared pathway (couples / siblings)
il
de ta
01
section a
1
il 0
de ta
section a
1
l0
ai
de t
section a
north elevation
@A3
east elevation
@A3
section b
section a
section b_zoom in
detail section
Main Living Space
Main ramp display
Study room
Main ramp display
Indoor courtyard
Main ramp display
Individual path (kids section)
Kids room
grandparents’ bedroom
‘APPENDIX ’
|
sketches and work documentation