Studio 41 Create Curate - Reflective Journal - Kalliopi Patros by kallipat

S t u di o 41

Create | Curate: Sensory (Re)treat Reflective Journal K al l i o p i P at r o s 1 0 6 6 9 5 4

contents

Week 1 Reconnecting the Hand & Mind Week 1 class activities: Self introduction, Ki ar a’s L ooki ng + C r eat i ve cr i t i cal r ef l ect i on Week 2 Proj ect 1. Cr af t + Concept Met alsmith - Jewellery making research Precedent analysis Week 3 Proj ect 2. Planet Jewellery: Romanticizing Cr af t The temple, gallery, and monastery Week 4 Proj ect 3. Rooting Craft & Concept in Site Si t e analysis and research Week 5 Proj ect 4. Cur ating Spaces & Landscapes, Appr ent i ce’s X X H ouse Design of x4 accommodation units Week 6 Mid S emester Pr esentation Week 7- 9 Curating Landscape and Key Moments Week 10 Interim P resentation Week 11- 12 Refi nement and F inals

1 Tutorial 01. Reconnecting the hand & Mind

Week 1 reflections What drove/informed design decisions? Diving into week 1’s first task was an interesting step away from technology driven methods. The ‘self-introduction’ model making task making abstract physical diagrams challenged my way of thinking and adapting conceptual ideas into forms. There is a sense of pressure complete the task in front of other’s you have never met, as the first judgement of you for them is the way in which you present your ideas. What was successful/unsuccessful? The abstract physical diagrams I found most challenging to create was the model to represent my personality and my favorite things. Capturing the essence of a personal attribute or emotion abstractly is highly subjective. The time constraints of the task also forced me to commit to an idea and think quickly. Pondering and overthinking my translations into physical form was not possible. What did you learn from the exercises/tasks? The second task design a lookout for classmate Kiara was also challenging. What I found most difficult about transitioning into an exercise about looking inward was trying to disassociate personal likes into designing for Kiara. What I learned from this task is it can be easy to overlook certain details about who you are designing for. How might these inform your decisions in future? After the short presentation/conversation I had with the ‘client’ I found myself making several assumptions about how she would use the space and where the space would be. Upon reflection I realized some decisions I made about location/where the lookout would be was slightly influenced by my personal like for natural scenery. This is an interesting balance an architect must make between person agenda and client needs/wants.

Self i n t ro d u ct ion abstr act physical di agrams

your personality as one core word

je we l l e r y wor k s ho p

Week 1

main interest/hobby outside of architecture

what is your favourite place & why

what is your favourite building

craft you’re interested in

Below are some rough hand sketches before I began model making for each task. I did not end up making these diagrams and changed my concept last minute.

Kia ra ’s l o o k o ut

The third task was to present our most recent studio project and reflect upon it to the class. In discussing weaknesses: I felt that I did not develop the concept to its full potential due to the size of the brief and time constraints. The project overall was better resolved in plan and section than in 3D.

Materiality ‘bounds’ solidity - stones juxtaposed with soft finishes relating to warm bedroom environment Gesture Privacy & interiority Path/openings not set in relation to trying new things plan Spatial Solidity & solitude Light & shade

Week 1

week 1

elevation

c l as s ac t i v i t y

plan & topography

cr ea t i v e cri t i c al r ef lection

Reflection of Studio D Sem 2 2020 project titled ‘Remnants’, the design of an acoustic performance shell, with programs including, back of house shell building, performance school, accommodation, sky restaurant and camping grounds.

Weakest aspect identified A weakness identified from this studio project was being unable to develop the concept to its full potential due to the brief size and time constraints. This was extremely challenging as there were many areas of the design that had been forgotten and undesigned fully. Another layer to this is that the design was much better resolved in plan rather than in the three-dimensional exterior form. Improved aspects An area which could be improved is exploring ideas in more depth, perhaps with more explorative esquisses to generate more thought. I find with a combination of hand sketching and quick model making I can visualise and conceptualise ideas with more solidity. Most successful The most successful aspects to this project were the implementation and exploration of materiality and acoustic construction of the performance shell. A lot of time was spent computationally enhancing the shell in conjunction with reading construction books. Through the design process, a lot of scall scale model making and sketching techniques were used to explore spatial and sonic ideation. Patterns identified A specific pattern I identified when reflecting upon this project is my tendency to design in plan. This has positive repercussions allowing well thought spatial planning and consideration, however the difficulty comes with overlapping the plan with the three dimensionalities of the overall form. Form generation became difficult, particularly when the geometries I was exploring were quite complex. Weaknesses A core weakness identified is my ability to develop architecture in the 3D form within time constraints. I find it much more comfortable and easier to generate architecture through plan. In the final Studio assessment, there was an overall lack of 3D representation, despite my entire process being a mix of sketching and model making. The difficulty came from representing it digitally in realistic renders as requested by the tutors.

model photos from Studio D, sem 2 2020.

2 Project 01. Craft + Concept

Week 2 reflections what drove/informed design decisions? Researching jewellery making was extensive, therefore, to avoid confusion I scaled back and concentrated on the making of a ring. Although there was no designing required for this task, conceptual thinking occurred in the background about how the processes could be transposed architecturally. where there any iterations that you disregarded? One challenging aspect when identifying overarching concepts inspired by the craft was facilitating the hand to mind connection. I thought of many scattered ideas through the thinking process, however, did not sketch them. Because of this, as I began to cut into the cardboard, my ideas faded, and I began forgetting my core objective. This led me to unintentionally disregard iterations which may have been developed. In relation to creative contemplation, sometimes it is essential to jot or sketch down ideas, even in its roughest form. what was successful/unsuccessful? The Parti as Artefact section of the task had proven to be the most difficult, particularly trying to abstract a physical model about ‘historical roots’ of the craft. I felt this was the least inspired model and leaned towards a literal interpretation, rather than a parti. I felt the ‘embodied experience output’ was a successful model interpretation responding not only to the unveiling of the finished product but the juxtaposed clean/dirty process a sparkling piece of jewellery takes. what did you learn from the exercises/tasks? I found the material and jewellery examples of ancient times to be the most interesting part of the research. I learned that ‘high-tech’ tools and machinery are not an essential aspect of the craft. Intricate handcrafted work can be achieved with minimal tools and/or few core tools. how might these inform your decisions in future? The material research of both the metals and stones is an aspect of jewellery making I wish to explore further. There are some inter-esting ideas about sourcing, initial processes of melting metal and stones.

u n d ers t an d i n g site & topogr aphy

Introduction to site topography. The challenging aspect to this class task was trying to do it after 4 hours of presentations. I always found it difficult to distinguish topography in 2D in plan. Drawing the topography in section both allowed me to delve into old skills but to understand the site in section. This helped me visualize the site connecting the contours together. Furthermore, attempting to guess locations from the images on plan was difficult to distinguish. ‘Guest-imating’ was done as it was unclear the height of trees etc.

reading: topography Francis Ching, Building Construction Illustrated, 2014 Trying to understand topography as I was not able to draw the lines properly. A classmate presented their classwork and had quite a developed understanding as seen here in Ching’s example. After reading this chapter, I was able to grasp the connection of the contours and translate it into section with a deeper understanding.

class activity

Week 2

Image right, Francis Ching, Building Construction Illustrated, 2014

‘ Smi t h ’ - s o m eone w ho w or ks w ith met al

The term ‘smith’ refers to a craftsperson who specialises in the transformation of metal into a new object. Pre-industrialisation, smith-work was a very respected profession, important for societies to be provided with resources for war and farming. There are several layers to the smith craft being: • Blacksmith: working with wrought iron or steel • Whitesmith: working in conjunction with blacksmith in charge of finishing work & delicate smaller tools & engraving • Bladesmith: knives, swords • Coppersmith: copper • Goldsmith: gold • Locksmith: locks • Silversmith: silver or gold which is commonly also referred to as a … • Metalsmith: tools or art out of different metals The selected craft is ‘metalsmith’, specifically specialising in jewellery making. It can be described as a craftsperson who transforms metals to produce intricate, delicate, and composed objects used as an expression of human emotion on the body.

b roa dl y : t h e c r a ft

Week 2

When observing jewellery making, a specific focus for this task has been the study of ring making. It is a tangible and visible process which takes the craftsperson through a series of intimate, coarse process which results in a gleaming hand-crafted work of art. Jewellery making is a decorative, intimate, and tactile process through which the craftsperson performs a series of processes such as joining, bending, shaping, drilling, cutting, soldering and designing.

Cr aft p ro ces s of jew eller y m aking a ri n g

design

source

melt

mould metal

design

measure

bend

cut

file

check

preparation

heat

solder

file

size

file

detail

clean

polish

fin.

c r a f t proc e s s

Week 2

The craft process of making a piece of jewellery, specifically a ring.

Cr aft p ro ces s of jew eller y m aking a ri n g

sieving tools

source

melt

mould metal

design

measure

flip

cut

file

check

preparation

heat

solder

file

size

file

detail

clean

polish

fin.

The craft process of making a piece of jewellery, starting from sourcing the stone stage. For the jewellers, they will source and fossick their own gemstones and incorporate them into their jewellery making.

Fiv e cri t i c a l pr ocesses of r ing m aki ng

m et al s m i t h jewellery making eg. a ring

c r i t i c a l proc e s s e s

Week 2

craftsperson sources, melts and moulds metal

craftsperson bends the metal into desired shape

craftsperson cuts the metal to desired length

craftsperson solders joints to create jewellery form

craftsperson cleans and polishes the jewellery

to o l s + o b j e c t s of the cr af t

gr a p hi c i n v e nt or y

Week 2

the jewellers tool box

the jewellers desk

.6m

rolling mill machine

press machines

microscope

ultrasonic cleaning machine

dremel drill

400

0 200

600mm

design tools

hammer

torch

400

0 200

600mm

caliper

ruler

chemicals

filer

saw

400

200

600mm

pliers

pick

solder block

flux bowl

tweezers

material

.6m

100mm

200mm

100mm

kitchenware

tableware 300mm 400mm

300mm

200mm

400mm

me t al w or k o b je c t s

Week 2

weaponry

keys & locks

jewellery

to o l s + o b j e c t s + p roduct s

.3m

sp ac e (s u b j e c t s + objects in context ) sp a t i a l r eq u i rem ents Holschuch, B. (2009). The Jeweler’s Studio Handbook: Traditional and Contemporary Techniques for Working with Metal and Mixed Media Materials.Quarry Books.

A lot of time will be spent in this space, as jewellery making can be a time-consuming process from initial design to final piece. The workshop must be equipped with ample: electrical outlets, water, lighting, ventilation/exhaust Key attributes: - Organisational system Lots of fine small tools, lots of small allotments are needed to avoid clutter. This will help equipment and tools to be maintained chemicals must be labelled - Easy workflow for safety and ease Key zones: - Work zone - Wet zone - Design zone - Photography zone - Safety items PPE etc. eye protection/welders’ goggles, apron (full grain cow leather or suede), studio first aid kit, hand protection, dust mask, welders’ gloves

s pa t i al re s e a rc h

Week 2

Key joinery: - Jeweller workbench typ. 1200 x 600 - Standard worktable typ. 1800 x1200 Key spatial needs: - Electricity - Natural ventilation/air quality soldering fumes can travel through floorboards above your work area – be sure to have an exhaust system in studio. Hazardous smoke and fumes can happen so ventilation is important or have respirator box overhead exhausts near a window are common Mech ventilation - Work bench space etc. - Lighting Must be well lit desk top lighting, large flood lights, focused desk zone lighting, - Temperature controlled indoor climates with comfortable ambient temperature blowing fans are bad for some techniques - Gas storage and chemical store Flammable compressed gas – there is fire risk. Secure these tanks using rigid upright structure. May need special permits to have these in special residential areas. Chemicals including nitric acid, chloride etc. make sure to store and label properly. Some fuel or ceramic heaters in a cold studio may not suffice when working with various metals - Water there are chemicals which can be neutralized with water and need after certain processes - Flooring Working with metals means tools and tools can drop to floor chemical spills concrete is considered safest and durable – also hardwood floor, laminate, ceramic. Carpet is a no as it is flammable and will get dirty.

Jeweller polishes and cleans the metals

polishing

Jewellers mold and press the metals in shape, appropriate for making their piece

s pa t i al m o v e m e nt

Week 2

pressing / moulding / filing

Su bj e c t s i n t h e cr af t pr ocess

bending / shaping /soldering

Jewellers continuous intimate proximity to the desk allows them to be in arms reach of hand sized tools

Jewellers intimate proximity to one another allows for both human connection and connection to the craft. Adequate light and ventilation is also required to perform the craft

jewellery making 25

jewellery making

Su bj e c t s i n t h e cr af t pr ocess

polishing

spati al m ov e me nt

Week 2

the jeweller’s space is established by the bounds of the desk. these confines dictate the movements of the jeweller.

various larger scale machinery is used as part of the initial processes of jewellery making; smelting metals and rolling them into shape. 26

small scale hand craft cleaning / chemicals

an intimate relationship between the jewellers hand, timber pick and the desk. all tools are at arms reach and the pick is meticulously used as a tool and support mechanism

cleansing of the hands and cleansing of the jewels. the basin is used for storing chemicals and washing.

sp ac e (s u b j e c t s + objects in context ) sp a t i a l r eq u i rem ents

wet zone Chemical store fire risk is a possibility so flammable chemicals must be secured in a designated area. Water there are chemicals which can be neutralised with water and need after certain processes

craft zone Natural ventilation/air quality an exhaust system in the workshop is imperative as soldering fumes. a box overhead exhausts or working near a window is ideal. Mech ventilation important over work bench space etc Lighting Must be well lit specifically with desk zone lighting Temperature controlled indoor climates with comfortable ambient temperature as blowing fans are bad for some jewellery techniques

Flooring working with metals means tools can easily drop to floor or have chemical spills. concrete or hardwood is considered safe and durable

s p at i a l z on e s

Week 2

machinery zone

il nt

ati

Histo r i c a l + Geogr aphical + Environment al research

8700 BC

2500 BC

1200 AD

Egypt, Greece, Rome, China, India Copper was widely used for weaponry

‘brazing’(metal joint work) becomes popular practice ancient Egypt and Greece

China discovers a technique like the ‘Bessemer process (1850s)’ to create steel via cold blasts over molten metal

1400 BC

1700 AD

Steel working in sub-Saharan Africa by using furnaces to generate temperatures much greater than what was previously accomplished. The downfall of this innovation was the lack of coal production for furnace use

Great Britain created the first Iron factories

t i me l i ne

Week 2

4500 BC Merging of tin and copper to create bronze for money, building material, weaponry, jewellery

Mat eri a l e x a mples: Anci en t j ewel lery of the Mediterranean + Europe

Etruscan (Italy) Gold ear studs late 6th century BC tightly fitted network of beading ‘granulation’

Ancient Greek Greek gold olive wreath from late classical to early hellinistic period 4th century BC hammered sheet gold

Celtic Torc

Source Video: Ancient Jewellery: A Link to Vanished Civilizations, Christies 2016.

a n c ie nt e x a m p le s

Week 2

4th century BC hammered sheet gold with raised relief and repousse design

Mat eri a l e x a mples: Co nt emp o r a r y handm ade jewellery Aust ral i a Fine jewellery from Sydney studio; designs below by Sarah Garrdner Fine Jewellery

Supporting the narrative - Jewellers use locally sourced stones from fossicking (zircon, ruby, sapphire) and metals to create an array of handmade fine jewellery.

Mat eri a l res e a r ch

57% of worlds silver production comes from Mexico, Americas & Peru

China is the leading country producing gold

South Africa is rich in platinum

gold

platinum

iron

stainless steel

copper & brass

titanium

polishing & binding compounds

delft clays

mat e r ia l s f o r c r a f t

Week 2

silver

Sail o rs F al l s + Sailor s Cr eek Siev i n g p r e c i ou s ston es & gold

the site

2a Viewpoint Lane Daylesford Sailors Creek

Dja Dja Wurrung people are the Traditional Owners of this land Fossicking (recreational activity sieving for natural minerals) is allowed along Sailors Creek (adults must obtain a Miners Right) 1851 - The first gold found in Sailors Creek

Top left + mid, Zircon Top right, Ruby Bottom left, Zircon Bottom mid, Sapphire Bottom right, Gold

s it e c on te x t

Week 2

Common minerals found in Sailors Creek

Par t i a s Art e fact: Philosophy ( +aest het i cs) meta l s mi t h - jewellery m akin g

embodied experience 2

the transformation process of metal poses a juxtaposition between the solid and the malleable

the output of the final product is an unveiling of the metal from its dirty oxidised exterior to reveal a gleaming lustre

e ss en ce of c raf t

Week 2

embodied experience 1

material manifestations

geographical + environmental relationship

historical roots

the joining of ends meeting and connecting represents the metals journey to become a work of art

quarried and mined, metals are retrieved in the rock minerals from the earth

dating back thousands of years, ancient civilizations used metal for many things, including jewellery

Th r ee o v era rching concepts inspir ed by t he craft

regeneration

intricacy

amalgamation

evolving from the earth, metals go through various transformations and can be re-formed continuously

juxtaposed between the metamorphosis of the solid transformed into delicate works of art, to wearing the piece is the idea of intricacy and intimacy

when making jewellery, a metal piece manipulated, and results is the joining between two ends to make a whole

c ore c onc e pt s

Week 2

meta l s mi t h - jewellery m akin g

Th r ee o v era rching concepts inspir ed by t he craft meta l s mi t h - jewellery m akin g reading: the jeweller’s studio handbook Holschuch, B. (2009). The Jeweler’s Studio Handbook: Traditional and Contemporary Techniques for Working with Metal and Mixed Media Materials. Quarry Books.

Firsthand insight into a jeweler’s craft space, the book was written by a craftsperson. I learned about some practical aspects required for the workshop such as the importance for ventilations due to fumes and wet areas for chemical components. Despite the small-scale nature of jewelry making, there is an interesting association between the intricacies of working within the confines of the hands and pick at the workbench and the broader space needed to house larger machinery needed in the initial stages of smelting and molding the metals. I find this concept to be interesting and would like to explore this further –

c o nc e pt u al t hi n k i ng

Week 2

how can this ‘scaled’ process and journey of the craftsperson be translated architecturally?

I n v e s t i g a t i o n of the gem stone Zirc o n concept: light ~ propogation of light ~ reflections ~ transparency Reading/resource: International Gem Society ‘Gemstone Properties’ by Trevor Hannman

Research about the ‘Zircon’ stone which is common to the Daylesford region. This relates to the concepts of light reflections and the optical phenomena that occurs through gemstones. The propagation of light and consequent reflections make for an abundant interior spatial experience with contextual origins. Critical Angle of a gemstone i.e.. the angle of incidence when the light transmits and reflects light ‘totally’ i.e.. total reflection. The refractive index (RI) is a constant measurable value which gemologists used to identify stones which are anonymous. It refers to the angle in which the light passes through the gemstone.

Critical angle: Pavillion angle: Crown angle: Refractive index:

31 degrees 41 degrees 35m, 40g, 20s 1.99

c o nc e pt d e v e l op m e nt

Week 2

for a Zircon

refraction of light original light path

the ‘refraction’ or ‘bending’ moment

back to original path

prisms/pyramids

pinacoids

key geometries associated with zircons found in South Eastern Australia.

collation of images of zircon gemstones and light illusions generated from reflections on stones

Bo dy + j o i n er y scale study reading: body & scale chapter Francis Ching, Building Construction Illustrated, 2014

Week 2

re ad i ng

Week 2

After reading the jewelry book, I explored some basic scales of the human body and furniture. This solidified the proportions and scales appropriate for the craft processes. With these dimensions and scales, I can take this and implement it in future design work and exploration. In conjunction with the jewellers handbook, I was able to draw the jewellers desk to an appropriate scale.

Co nt emp l a t i o ns on cr eativity

the desk

convenience working in certain set environments comes with a level of ease to allow for natural and seamless work flow

boundaries boundaries of space to allow/restrict creative thoughts, processes and actions

The pressure of working in a public space can hinder creativity due to internal thoughts surrounding external judge-ment. I found this to be true for the week 1 class exercise. I find working in solitude to be a more enjoyable and relax-ing experience, depending on the activity.

re fl e c ti o ns

Week 2

Creativity in the home environment is explored in the confines of my desk. I model make, draw, and type in this space. Creativity can sometimes be blocked when surrounded by the same things every day. However, the irony is that for such a confined boundary of the desk, many things can happen. Working in solitude often allows for more free-flowing ideation and expression.

3 Project 02. Planet Jewellery

Week 3 reflections what drove/informed design decisions? For this week’s project, based upon the three architectural concepts generated from previous research: regeneration, intricacy, and amalgamation, I tried to explore these. This led me to brainstorm various key words associated to each in relation to both the craft and architecture. The three concepts were then re-evaluated into the following for week 2’s task: ‘Joining/Connection’ (circulation, tectonics, views), ‘Unveiling’ (hidden, circulation, spaces, what you cannot see) and ‘Of the earth’ (topographic integration, connection to natural elements, materiality). Furthermore, interest in gemstone fossicking arose from additional site research. where there any iterations that you disregarded/success/unsuccessful? In this task I found it difficult to differentiate between the concepts as I began sketching, I realized I was converg-ing the ideas. This clouded some of the design decisions I made including the overlap between concepts ‘of the earth’ and ‘connection’. Because of this, I disregarded many iterative sketches as my judgement became unclear of the true nature of the ideas. Another challenging aspect of this task is designing for the hypothetical narrative and disregarding conventional expectations of architecture. In my personal religious experience, the ‘church’ is an ex-tremely symbolic place in its architecture and rituals. For example, in the Christian liturgy, every aspect on the alter, the gestures of the priest etc. are all deliberate and symbolic. Trying to relay this symbolism and poetic field into the ‘jewellery religion’ has proven difficult. To overcome this, I referenced my research from last week looking at the process of making a ring. To solidify the narrative to translate into space I have taken several key aspects of the process and converge them with a concept to find an architectural standpoint. Because of this, I found some of my initial concepts unsuccessful. As I re-read the brief, I felt that I was not conceptually pushing the boundaries or be-ing radical enough. what did you learn from the exercises/tasks? I started with site location, trying to decide which locations may work for the spaces required. Upon reflection, I notice that I tend to separate the spaces regarding them as individual buildings, rather than as a series of 3 spaces within one building. This could be due to my preconceived ideas about ‘sacred, worship’ spaces as individualized entities which are generally of their own being. Regarding form, my site research has led to the interesting roots of gemstones found in the Daylesford region. This ties in strongly with the craft and processes of jewellery making. The prisms, pyramids and pinacoid shapes have a deep-rooted connection to the natural land formation of the site and can be translated architecturally. Lastly, it was not until I modelled the site in 3D digitally to make contour cutouts for the model making exercise that I fully learned the nature of the site and its sloping topography. The site has a very unusual property boundary and is broken up into two distinct sections: open grass land and heavy tree/vegetation plantation. I would like to explore building placement further in consideration of both sections of the site. how might these inform your decisions in future? I learned that re-visiting conceptual ideas and pushing them deeper upon reflection will be something I wish to implement in the future. Many of the unsuccessful iterations led me to solidify my concept and the process of trial and error proves to be helpful.

Th e g e ms t o n e in the jew eller y Zirc o n Hollis, J.D., & Sutherland, F.L., 1985. Occurrences and origins of gem zircons in eastern Australia. Records of the Australian Museum 36(6): 299–311.

Crystallography in Eastern Australian of Zircon’s and Sapphires have been known as a common occurrence and were discovered by the Indigenous Australians. In the Daylesford region surrounding Sailors Creek, it is also known that such stones are fossicked and can range in sizes from larger fist size to tiny fragments. These mineral formations (including gold) date back to the discovery in the 1850’s and back 5 million years ago when the volcanic rock formed the gems. Zircons occur from alkali volcanic rocks and have a distinct natural color mixed of scarlet, brown and mauve, orange. According to a study Occurrences and origins of gem zircons in eastern Australia 1985, 54 key crystal characterized formations have been determined as the most common Zircon shapes ranging from prisms to pyramids and pinacoids.

ge m s t on e re s e a rc h

Week 3

In Daylesford/Leonard’s Hill region, the red soil which sits upon the alkali basalt slopes is known to produce ‘prismatic mauve-orange’ “zircons up to 9mm long.” “many are sharp ephedra and corroded with tubular cavities and embayment’s” When fossicking Zircon’s, it is uncommon in this region to find them still connected to larger host rocks and is said to have only 5 crystals per cubic meter.

Br ai n s t o rmi n g

Geomet ri c e x plor ation Geometric exploration based on the common Zircon gemstone geometries found in Daylesford. A few iterations were made using different angles to generate shadows and form. Formally and spatially the architecture does not need to mimic the stone, rather extractions of elements may be used to idealize the concept.

f o r m + c o nc e pt

Week 3

For example, possibly angles which lend themselves to moments in time which enhance interior space or provide appropriate lighting could be explored.

Min d ma p p i n g

connection joining

soldering

amalgamation binding

views

experience

unveiling

revealing

regeneration

polishing replenish

nature/the elements

wellbeing

topography

oxidisation

recurring

rocks / stones recurring

the earth

intricacy sieving

metal irregularity

gemstones

connection

of the earth

unveiling

craft/jewllery connection

nature

views

circulation

topography

what you can’t see

tectonic

regeneration

atmosphere light materials

co n cep t i d eat ion - m odel m aking e squi sse ‘unsuccessful’ iteration of the ‘unveiling’ concept.

mo de l e x pl o r at i on

Week 3

I felt this geometric iteration was not pushing boundaries and was not connecting to the concept. The more I research about Zircons and relate it back to the process of jewellery making the more ideation I get from the curved model. This reminds me of the ‘bending’ moments found in jewellery making and making connections between solder joints and other ele-ments of the jewellery piece.

Geometric exploration of the ‘Zircons’ emerging from the earths landscape. inspired by the ‘pinacoid’ geometry, the roof plane would be raised from the earth, revealing itself above ground. light reflections through coloured glass panes to reflect colourful light into the interior. Alternatively, I imagine this geometry as an above ground form, again, emerging from the earth and generating various subtle openings as seen in some of the elevational imagery.

Ro ug h s i t e t o pogr aphic m odel 1:1000 10m contours

5mm foamcore used to construct the contours with 1 contour in between each major line.

550

540

530

520

sit e to pograph y

Week 3

510

Ex pl o ra t i o n o f site ar r angem ent Exploration of 3 key programs on site. Sketching without the trees in plan makes it difficult to distinguish where the key vegetated areas are. It is likely that the site arrangement will develop more toward to left (west side) of the site due to the clearance in topography. However, there will be some building integration between both open grassland and tree zones.

monestery ambulatory temple

Co ncep t 1 o f t h e ea r t h

c onc e pt 1

Week 3

All activity on the site of the jewellers planet is underground. Pilgrims and visitors are lead through a series of excavated tunnels into various buildings underground. The only hint of built space is through the peaking ‘zircons’ (stones found in the region, used for jewellery making) where light fills the interior spaces.

Br ai n s t o rmi n g sketches o f t h e ea r t h nature topography extraction regeneration

Br ai n s t o rmi n g sketches o f t h e ea r t h

gaining inspiration from archaic practice of smelting founded in Africa.

what you can see from one side, you cannot see from another

c onc e pt 1

Week 3

This concept was unsuccessful in the fact that the three spaces are separate. Perhaps it could be strengthened by having them connected. Patrons could use the roof as a ‘connection’ between each space. The water body below is representative of the streams used to fossick stones. The idea is, to keep all the jewellery ‘safe’ each piece would be placed down the hole and the water body of jewels would become a ‘sacred’ extension of the gallery.

unveiling or bending moments in circulation and spatial experience with earth elements (fire and water) present.

Co ncep t 2 co n n ect i o n

c onc e pt 2

Week 3

All circulation on the site pays homage to the stones found on the lands of Daylesford. As sourcing and sieving for material in creeks is the primary action before soldering, connection to the lands and ritual of sieving is made as all external circulation is taken place through a body of water.

Br ai n s t o rmi n g sketches co n n ect i o n craft/jewllery connection circulation tectonic

horizontal water and topographical relationship with building adjoining the two aspects.

water as circulation. water relating back to the processes of ‘polishing’, ‘cleansing’ and ‘sourcing’ stones by sieving.

fragmented circulation, traversing through site via a series of waterways

Br ai n s t o rmi n g sketches co n n ect i o n

dramatic intersection between the 3 spaces being underground, forming connections to the land through water and embedding.

deconstructed ‘stones’ in plan with a series of openings in the roof plane or division of rooms.

the connections above ground are made through sight of the ‘zircons’ peeking through the landscape

Co ncep t 3 unv e i l i n g

c onc e pt 3

Week 3

Traversing the site takes one through a series of ‘unveiling’ moments. The reveal of elements is sacred to the process of jewellery making as the embellished final product is always revealed at the end.

Br ai n s t o rmi n g sketches unv e i l i n g views what you can’t see atmosphere

Br ai n s t o rmi n g sketches unv e i l i n g

c onc e pt 3

Week 3

Followers come to give thanks to the jewellery religion by fossicking in the creek. To connect with the sources of the craft materials. Plying the spaces, malleable, moving adjusting, bending, Fire – soldering element Water – Piece of solder between joints – waterfall Creates joint Polished Displayed Light – waterbody reflections?

co n cep t 1 o f t h e ea r t h

gemstone

c o nc e pt 1

Week 3

internal space immersed with remains of stone like chips - mimicking the gemstones natural emergence

co n cep t 2 co n n ect i o n

water

c o nc e pt 2

Week 3

water as the connection path for all circulation. patrons also sieve for stones

Co ncep t re fi n em ent During this weeks task, I was unwell and unable to develop the architectural concepts with clarity. Reflecting upon my initial concepts, I have refined them slightly and broken them into several strata to clearly identify the architectural meaning behind each abstraction.

of the earth spatial topographic connection, materiality, landscape material rammed earth, stone, steel other earth processes related to jewellery making; sourcing

reflections - bending moments spatial light, colour material glass, mirror, reflective textiles other refractions, bending moments,

spatial thresholds, scale material texture other revealing, optical phenomena of light

how can this ‘scaled’ process and journey of the craftsperson be translated architecturally?

re f i ne m e nt

Week 3

unveiling

Mat e ri al i t y

reflecting light and iridescence

steel cladding & rammed earth encase the internal walls

stone corridoors to mimic the earth

burnt earth tones, reminicent of the Zircon gem to flood the interior spaces with reflections and light.

se c t ion al c ol l ag e

Week 3

bluestone

Planet J e wel l er y: the tem ple, galle ry and monast ery

site key plan

3 2 4

1 1

f l oo r p l an

Week 3

Followers of planet jewellery: The Zircon, embody the process of jewellery making linking sourcing roots to the land and elements of the earth. 1. 2. 3. 4.

monastery gallery temple circulation (underground)

15m

5m 0

10m

Th e t e mp l e, g aller y and m onaster y

water body - reflections

Ambulatory/Gallery

ponds of reflections scattered around the site comprised of discarded and unused flakes and fragments of gemstones for jewellery.

where sacred relics of the craft are displayed jewellery awaiting collection/ distribution are displayed and meticulously polished daily

1 1 1 4

Monastery quarters

s e c t i on a- a

patrons live in stone-like ‘zircons’ paying homage to the gemstones of Daylesford.

1. 2. 3. 4.

monastery gallery temple circulation (underground)

all buildings, rituals and circulation is underground the live vegetation is the only activity above ground

15m

5m 0

10m

Pr el i mi n ary s ketches & m odels f or bri ef

br ie f de v e lopm e nt

Week 3

Both private and communal workshop to have connection to key jewellery making zones, yet still have privacy and maintain safety.

Landscape and vegetation used as a tool for separation/privacy between public visitors and private residents.

Pr el i mi n ary s ketches

ide at ion

Week 3

Consideration of geometric building form and Zircon gemstone. The nature of cutting into a solid from the outside mimics the chipped nature of a gemstone.

Mo d el es q u i s se Trying to develop and initiate design through form and model making first. In the past I find that I lean toward spatial schemes and end up designing in plan. Although this is obviously helpful in determining spatial flow and circulation which are important aspects, I have decided to take a different approach to see if it will expand my thinking. With my comfort designing in plan, I find it gets to a point where I cannot visualize and creatively explore opportunities of the overall architecture in a non rectilinear form. This is not bad, however, considering I am exploring the pinacoid as a potential massing inspiration I wanted to begin the design process with this from the start. By having a rough building mass, it will allow me to spatially explore in plan connections and thresholds in different ways such as angular walls or windows if necessary, spatial qualities and a more immersive design. This is still at trial stage; I am not sure if this strategy will stunt my design process however I would like to explore it.

ide at ion

Week 3

Zircon pinacoid shape as a reference for spatial and formal ideation. Angular modifications could facilitate light and hidden elements.

4 Project 03. Rooting Craft & Concept in Site

Week 4 reflections what drove/informed design decisions? In conjunction with the site analysis research, precedents were explored to keep in the background when understanding the site. what was successful unsuccessful? As no designing was attained for this task, the focus was on group work. Working within the group felt quite easy as everyone was responsive and cooperative. The collaboration between all members allowed for an easy workflow of broken up individual tasks. In the previous week, I began briefly looking at site context research for Sailors Hill as it relates back to jewellery gemstones for my craft. what did you learn from the exercises/tasks? There are quite a few overlays which occur across the site which must be considered. There was no significant information for the Aboriginal Significance overlay which was disappointing from the authority’s website. I learned that there needs to be more emphasis and consideration of this when looking into site significance. The precedents outlined in the pages ahead outline in further detail my inspirations and learnings for future implementation. how might these inform your decisions in future? The research revealed that despite Daylesford and the surrounding townships of Sailors Hill and Hepburn being a popular tourist attraction for tourism and culture, there was an absence of jewellery makers/craft workshops. In relation to the brief, it seems that the second income of jewellery workshops may be a valuable addition to the tourism community and should be part of the brief. To solidify this within the site contexts further, jewellery crafting workshops alongside fossicking is a deeper way to connect to site.

Ref l ect i o n s :

caustics, light and wat er

Influential Precedent Residential example of how caustics and lighting can impose internally on a space. Exploration of this concept from the roof plane onto the floor and walls is a technique which could spatially designate and define rooms. Particularly for the concept of the threshold extending out into various experiences, these encounters could be explored with earthy colours and various glazing profiles to create unique reflections.

plan

l i gh t / c au s t i c s

section

S h aw Ho u s e Location: Canada Architect: Patkau Architects Year: 2012 Area: Unknown

Ref l ect i o n s :

caustics, light and wat er

Influential Precedent

li ght / ca usti c s

Experimental art installation of water reflectance and shading design generating unique caustic reflections. For both residential dwell-ings on the site, this concept is explored particularly to define threshold and circulation experiences as a way to navigate and initiate the familiar. This is also a key design abstraction hinting to the cleansing of jewellery and the essential process of polishing post oxidi-sation process. Particularly for bathing areas, this will be a significant spatial characteristic.

Tim es c a p e s - L i g h t Pa v i l i o n Location: Unknown Artist: Philippe Bompas Year: 1995-2001 Area: Unknown Description: Water and light installation

Gla s s + re fl ections exper im ent Influential Precedent Inspired by the precedent, a lighting test was done with random glass household objects filled with water. Each had a different glazed profile which generated unique reflections onto the surface.

Top right

Carpenter Centre for the Visual Arts

l i gh t & c au s t i c s

Week 4

Location: United States Architect: Le Corbusier Year: 1963

Layo u t , ma t e riality & topogr aphic pl acement Influential Precedent

o f t he e a r t h

Residential example of earth-like, tactile materials are used to create a warm atmosphere. Subtle reflections occur through brass like internal cladding spanning the entire length of the house. This concept of intimate and continuous proximity of amenities is one that reflects the relationship between the jeweller and their table. The ‘floating’ nature of the building on the open deck face with connection to the land through vegetation is subtle yet evocative. This idea can be adapted into the private accommodation to create a sense of connection to the landscap from a ground plane perspective.

S aw Mi l l Ho u s e Location: Yackandandah, Australia Architect: Archier Studio Year: 2014 Area: Unknown 1m

Ref l ect i o n s :

caustics, light and wat er

Influential Precedent

l igh t / c aus ti c s

Overhead lightwell central to the dwelling to introduce light. This skylight concept can be interpreted into the workshop to spatially designate communal work zones. The angled skylights can be 31 ° to mimic the gemstone in an abstract manner. Both extruding out-ward from the solid form but also cutting into, to create different spatial and lighting experiences.

Bu n d e e n a B e a c h H o u s e Location: Bundeena, Australia Architect: Grove Architects Year: 2018 Area: 265m²

Layo u t , ma t e riality & topogr aphic pl acement Influential Precedent Both the roof and the spatial floor plan pose interest as the floor plan presents a similarity to the overall concept diagram for my pro-ject. The relationship to the threshold and the experiences expanding from that can evidently be seen on the floor plan. The place-ment of the building on site is also of interest as the walls continue down to touch the ground, this emergence is remnant of the ‘of the earth’ concept. The details of the roof profile is also an interesting way the architect has introduced angles, this could partly be explored for all dwellings on site with the use of weathered steel and rammed earth materials.

of t he e art h

the approach

the threshold

the experience

Bellb i r d R e t r e a t H o u s e Location: Killarney, Australia Architect: Steendijk Year: 2018 Area: 67m²

p r ec ed en t ex p lor ation Influential Precedent

of the e arth

Week 4

Quick model esquisse of concept with the 31-degree critical angle in mind. The roof profile will work, and interest during the journey to the accommodation will form with the peaking nature of the roof. This, however, means the roof profile cannot be used as a roof deck. Also, this may be copying the precedent too much in a literal manner. The roof could be explored further and extend into an overhead chain drain with a connection to a pond below to push sensory experience further.

o f t h e eart h :

layout, m ater iality & t opographi c pl acement

Influential Precedent

of t he e art h

The rammed earth walls and connection to the topography is of interest in this project. Placement and window cut outs of rammed earth in plan and elevation can make for a focal point of interest. ‘Window box’ illusions can be made due to the thickness of the wall and cast unique angular shadows.

Th e Gr e a t Wa l l o f WA Location: WA, Australia Architect: Luigi Rosselli Year: 2020 Area: 230m²

wo r k s h o p 1 Influential Precedent

je we l l e r y w or k s ho p

Both a jewellery workshop and store, this four-storey precedent has a small building footprint and stacked vertically. The floor area of each plan suggests that the workshops do not need to be enormous as the space comfortably fits 10 crafts people at a time.

A lex M o n r o e St u d i o 1 Location: London Architect: DSDHA Year: 2016 Area: GIFA 200m² Craftsperson capacity: 10 craftspersons

wo r k s h o p 2 Influential Precedent The same proprietor of the previous precedent has a second store with the same architectural strategy, small footprint with vertical stacking. This solidifies the ideas generated about intimate proximity and amenity. The shared group workshop spaces (as seen in the plan) do not require large amounts of space, jewellers’ desks and in close proximity. This suggests joinery plays a large part within the architecture in creating a seamless and creative flowing space.

je we l l e r y w or k s ho p

drawn by DSDHA

A lex M o n r o e St u d i o 2 Location: London Architect: DSDHA Year: 2016 Area: GIFA 310m² Craftsperson capacity: 10 craftspersons

Gene ral h i s t o ry of D aylesf or d

Pre1839

1830s

1850s

1880s

1860s

1930s

1920s

Indigenous occupation of land (Dja Dja Wurrung tribe).

First settlers/pastrorialists at Wombat/Jim Crow (Daylesford)

Gold discovered in Wombat Creek (1851) Daylesford declared a municipality. Population 7000 (1859)

Railway is built allowing access to region (1880) Town Hall is built (1882) Popularity increases due to mineral springs

Wombat Hill gardens established (1863) Main town buildings are built (Convent, courthouse, post office)

Popularity declines due to wars and Depression

Gold mining is no longer ecconomically viable Lake Daylesford is created where gold was first found (1929)

1900s

1950s

1970s

2021

Return to underground mining at Argus and Cornish Hill

Railway is shut down as cars become prevalent

Daylesford becomes known as a centre for a healthy and alternative lifestyle. Popularity strengthens

Daylesford remains a center of healthy and inclusive lifestyle, delicious food and surrounded by nature. Population 2550

PROJECT III | SITE ANALYSIS

General History of Daylesford

c ont e x t

Week 4

Gene ral h i s t o ry of H epbur n & sur rounds

Pre1838

1850’s

Traditional & rightful custodians of the land Dja Dja Wurrung or Jaara people

Goldrush period where Swiss Italian immigrants began settlement in the areas. This had large architectural influence on the townships. Effervescent mineral water was also discovered at this time. Villa Parma vineyard built

1838

Captain John Hepburn invaded the lands and Hepburn was formed

1852

1851 First gold descovery in Daylesford.

Popular mining camp was turned into a town

1859 Old Macaroni factory was built. Alluvia gold ran out in the area and a new mining camp was established which enticed Chinese immigrant diggers to the area in Breakneck Gorge

1865 Mineral water became scarce due to the mining and preservation ensued. The Hepburn Mineral Spring Reserve was established. By this time Hepburn had 1 school and 5 hotels.

Hepburn

Spa resorts in the area gained popularity as a tourist attraction. Pictured: 1935 Peppers Mineral Springs Hotel

1870’s

Connections between the Daylesford region and Melbourne were formed via railway. This rapidly increased the tourism and excursionist holidays

1881

Major bushfire occured which damaged the Hepburn and forested surrounding areas Pictured: House built after 1906 bushfire

1906

8 more holes were drilled into the Hepburn Springs Reserve. The Great Depression also saw a mass decline in tourism and activity in the area. Pictured: 1936 Daylesford

1930’s

To w n s h i p s n e ar D aylesf or d

Hepburn Springs

Hepburn Established 1838

5km North of Daylesford and 90-116km north-west Melbourne CBD

7k m

No rth

-W est

M elb ou rn e

108km NW from Melbourne

Daylesford 113km North-West Melbourne

Sailors Hill Established 1871

Week 4

Waterfall & two Mineral Springs (Spring/Winter peak) Gold rush - forest logging (Blackwood timber) for mining shafts, electricity poles, trainways...

c ont e x t

Gold, Sapphire & Zircon fossicking permitted Parks Victoria walking trails

To u ri s m, cu l t ur e + f estivals

Tourism, Customs, Tourism, Customs, Culture, FestivaC

Art Galleries: Black Gallery Daylesford Art Galleries: Black Gallery Daylesford

Spa’s and Spa’s and Wellbeing: LakeWellbeing: House SpaLake House Spa

ChillOut Festival ChillOut Festival

Markets:Sunday Mill Market, Ma Markets: Mill Market, Market,Sunday Farmers PROJECT III | SITE ANALYSIS

Daylesford has many commercial galleries bouMarket has many commercial galleries and smaller bou- and smaller longest running and largest regional prideThe festival The Daylesford andregion Hepburn Spring to the Market Australia’s longestAustralia’s running and largest regional pride festival Daylesford and Hepburn Spring is home to region the is homeDaylesford that show artists. There are workshops Daily and weekly marketsmix offer eclect tique galleries thattique showgalleries local artists. Therelocal are workshops began in is a 5events day festival events concentration all largest concentration springs It has Daily and weekly markets offer an eclectic of an shopping that began in 1997.that ChillOut is 1997. a 5 dayChillOut festival with all withlargest of mineral springsofinmineral Australia. It hasin Australia. with localartists and openwhere studioartists weekends where artistsCustoms, Culture, fromproduce antiques to local produce from surr localartists and open studio weekends Tourism, Festivals over Daylesford, a parade down Vincent Street. long since been a place to relax and rejuvenate with with a myriad from antiques to local from surrounding farms. over Daylesford, including a paradeincluding down Vincent Street. long since been a place to relax and rejuvenate with a myriad invite vistoris into their creative space. Tourism, Customs, Cultur invite vistoris into their creative space. of spa treatments. of spa treatments.

Spa’s and Wellbeing: Lake House Spa

Art Galleries: Black Gallery Daylesford

PROJECT III | SITE ANALYSIS

Tourism, Customs, Culture, Festivals

Markets: Mill Market, Sunday Market, Farmers Tourism, Customs,

ChillOut Festival

Spa’s and Wellbeing: Lake House Spa

The Daylesford and Hepburn Spring region is home to the largest concentration of mineral springs in Australia. It has long since been a place to relax and rejuvenate with a myriad of spa treatments.

Art Galleries: Black Gallery Daylesford

Daylesford has many commercial galleries and smaller boutique galleries that show local artists. There are workshops with localartists and open studio weekends where artists invite vistoris into their creative space.

Art Galleries: Black Gallery Daylesford

Spa’s and Wellbeing: Lake House Spa

ChillOut Festival

Markets: Mill Market, Sunday Market, Farmers Market

Daily and weekly markets offer an eclectic mix of shopping Tourism, Customs, Festivals fromCulture, antiques to local produce from surrounding farms.

PROJECT III | SITE ANALYSIS

Australia’s longest running and largest regional pride festival that began in 1997. ChillOut is a 5 day festival with events all over Daylesford, including a parade down Vincent Street.

PROJECT III | SITE ANALYSIS

Galleries: Black Gallery Daylesford Markets: Mill Market, Sunday Market, Daylesford galleries and smaller bouChillOut Festival Spa’s andis Wellbeing: Spa has many commercial Art Market unning and largest regional pride festival The Daylesford and Hepburn Spring region home to the Lake House Food: Lakerunning Houseand Restaurant The Convent Daylesford hasworkshops many commercial galleries and smaller bouTourism, Customs, Culture, Festivals Food: isLake House Restaurant Theoffer Convent galleries that There are longest largest regional pride festival The Daylesford and It Hepburn Springtique region is home toshow the local artists. Daily and weekly markets anMarket eclectic mix of shopping ChillOut a 5Australia’s day festival with has events all largest concentration of mineral springs in Australia. has Daylesford a dynamic food scene, often with restaurants An winning art gallery, cafe,venue bar tique galleries that show local artists. There are workshopsAn award winning Daylesford has a dynamic food scene, often with restaurants artaward gallery, cafe, bar and wedding Daily and weekly markets offer an eclectic mixa with localartists and open studio weekends where artists that began in 1997. ChillOut is a 5 day festival with events all largest concentration of mineral springs in Australia. It has from antiques to local produce from surrounding farms. luding a parade down Vincent Street. long since been a place to relax and rejuvenate with a myriad serving a seasonal and farm toregion table fares. The region long since been a place to relax and invite Theseven building houses seven individual gal with localartists and open studio weekends where artists The building serving a seasonal menu and farm tomenu table fares. The houses individual galleries, with a new from antiques to local produce from surroundi vistoris into their creative space. over Daylesford, including a parade down Vincent Street. rejuvenate with a myriad of spa treatments. has a rich culinary history stemming from Swiss-Italian miexhibition every 6 8 weeks. invite vistoris into their creative space. has a rich culinary history stemming from Swiss-Italian miexhibition every 6 - 8 weeks. of spa treatments. grants from the 1850’s. grants from the 1850’s.

Markets: Mill Market, Sunday M

Daylesford has many commercial galleries and smaller bouMarket Australia’s longest running and largest regional pride festival The Daylesford and Hepburn region is homeGallery to the Daylesford ArtSpring Galleries: Black Markets: Mill Market, Sunday Market, Farmers Spa’s and Wellbeing: Lake House Spa galleries that show local artists. There are workshops Daily and weekly markets offer an eclec that began in 1997. ChillOut is a 5 day festival with events all largest concentration of mineral springshas in many Australia. It has galleriestique Daylesford commercial and smaller bouMarket unning and largest regional pride festival The Daylesford and Hepburn Spring region is home to the with localartists and open studio weekends where artists from antiques to local produce from su over Daylesford, including a parade down Vincent Street. long since been a place to relax and rejuvenate with alocal myriad tique galleries that show artists. There are workshops Daily and weekly markets offer an eclectic mix of shopping ChillOut is a 5 day festival with events all Food: Lake largest concentration of mineral springs in Australia. It has invite vistoris into their House Restaurant The creative Convent space. of spa treatments. with localartists and open studio weekends where artists e Restaurant The antiques to bar local produce from surrounding farms. luding a parade down Vincent Street. long been a place and rejuvenate with a myriad Daylesford has asince dynamic food scene, often to withrelax restaurants An award from winningConvent art gallery, cafe, and wedding venue. Wine & Cider: Daylesford Cider C Food: Lake House Restaurant The & Cider: Daylesford Cider Co serving a seasonal menu and farm to table fares. The region The building sevenwinning individual galleries, with a new invite vistoris into their creative space. namic food scene, often with restaurants Anhouses award art Wine gallery, cafe, bar Convent and wedding venue. Nature and Walks: Daylesford Lake of spa treatments. Nature and Walks: Daylesford Lake a rich culinary from Swiss-Italian miexhibition every 6 - 8 weeks. The region isaart best known for due it sparking Art Galleries: Black Gallery Daylesford has The a dynamic foodhasscene, oftenhistory withstemming restaurants Anbest award winning gallery, cafe, bar and The region is known forDaylesford it sparking wines to itswed hi menu and farm to table fares. region The building houses seven individual galleries, with new Spa’s and Wellbeing: Lake House Spa ChillOut Festival Daylesford offers scenicthrough walks trails through farmland, grants fromand the 1850’s. Daylesford serving offers scenic walks and trails farmland, altitude and cool climate. Boutique wine has and many commercial galleries and smaller bouaSwiss-Italian seasonal menu and farm to table fares. The region longest running and largest regional pride festival The building seven individual galleries, altitude cool climate.houses Boutique wine, cider and spirit history stemming from mi-and everyDaylesford 6 - 8 weeks. Australia’s The Daylesford and Hepburn Spring region is home toexhibition theFarmers around lakes, from village to village through more rugged Art Galleries: Black Gallery Daylesford Markets: Mill Market, Sunday Market, around lakes, from village to Lake village through moreand rugged cellar door experiences are a popular act Spa’s and Wellbeing: House Spa tique galleries that show local artists. There are workshops has a rich culinary history stemming from Swiss-Italian miexhibition every 6 8 weeks. cellar door experiences are a popular activity in the region 0’s.bushwalking trails.bushwalking trails. that began Daylesford in 1997. ChillOut is acommercial 5 day festival with events all of mineral springs in Australia. It has has many galleries and smaller bou-largest concentration Market The Daylesford and the Hepburn with localartists and open studio weekends where artists grants from 1850’s.Spring region is home to the over Daylesford, including a parade downartists. Vincent Street. been a place to relax and rejuvenate with a myriad tique galleries that show local There are workshops long since Daily and weekly markets offer an eclectic mix of shoppinginvite vistoris into their creative space. largest concentration of mineral springs in Australia. It has of spa treatments. with localartists and open studio weekends where artists from antiques to local produce from surrounding farms. long since been a place to relax and rejuvenate with a myriad invite vistoris into their creative space. of spa treatments.

Wine & Cider: Daylesford Cider Co

Nature and Walks: Daylesford Lake

The region is best known for it sparking wines due to its high altitude and cool climate. Boutique wine, cider and spirit cellar door experiences are a popular activity in the region.

Daylesford offers scenic walks and trails through farmland, around lakes, from village to village and through more rugged bushwalking trails.

Food: Lake House Restaurant

Daylesford has a dynamic food scene, often with restaurants serving a seasonal menu and farm to table fares. The region namic food scene, often with restaurants has a rich culinary history stemming from Swiss-Italian mimenu and farm to table fares. The region ks: Daylesford Lake grants from the 1850’s. history stemming from Swiss-Italian miNature and Walks: Daylesford Lake enic walks and trails through farmland, 0’s. Daylesford offers scenic walks and trails through farmland, village to village and through more rugged Food: Lake House Restaurant around lakes, from village to village and through more rugged Daylesford has a dynamic food scene, often with restaurants bushwalking trails. serving a seasonal menu and farm to table fares. The region has a rich culinary history stemming from Swiss-Italian migrants from the 1850’s.

e Restaurant

The Convent

An award winning art gallery, cafe, bar The building houses seven individual g An award winning art gallery, cafe, bar and wedding venue. every 6 - 8 weeks. The building houses seven individual with a new Wine & Cider: Daylesford Cidergalleries, Coexhibition Wine & Cider: Cider Co exhibition - 8 weeks. The regionevery is best6 known for it sparking wines due toDaylesford its high The region is best known for it sparking wines d altitude and cool climate. Boutique wine, cider and spirit altitude andincool cellar door experiences are a popular activity the climate. region. Boutique wine, cider cellar door experiences are a popular activity in 9

The Convent

An award winning art gallery, cafe, bar and wedding venue. The building houses seven individual galleries, with a new exhibition every 6 - 8 weeks.

Week 4

Wine & Cider: Daylesford Cider Wine & Cider: Daylesford Cider CoThe region is best known for it sparkin

Nature and Walks: Daylesford Lake ks: Daylesford LakeDaylesford offers scenic walks and trails through farmland,

altitude and cool climate. Boutique wi The region is best known for it sparking wines due to its high cellar door experiences are a popular a altitude and cool climate. Boutique wine, cider and spirit cellar door experiences are a popular activity in the region.

c ont e x t

around lakes, from village to village and through more rugged enic walks and trails through farmland, bushwalking trails. village to village and through more rugged

Nature and Walks: Daylesford Lake

Daylesford offers scenic walks and trails through farmland, around lakes, from village to village and through more rugged bushwalking trails.

Wine & Cider: Daylesford Cider Co

The region is best known for it sparking wines due to its high altitude and cool climate. Boutique wine, cider and spirit cellar door experiences are a popular activity in the region.

Site o v erl a y s

reek ng C Spri

r cke Tu

rs ble Cob

Gu lly

lly Gu

HEPBURN REGIONAL PARK

W els hm an s

ly rs Gul Docto

Sailors Creek

lly Gu

HEPBURN MINERAL SPRINGS RESERVE

PROJECT III | SITE ANALYSIS

Nature Landmarks + Reserves

Gardens and parks

ek d Cre Bun

WOMBAT HILL BOTANIC GARDENS

Aboriginal Cultural Heritage Significance

500m

1:10 000

Aboriginal Cultural Heritage Sensitivity ACHS - Aboriginal Heritage

1:10 000

Environmental

c ont e x t

Week 4

500m

Environmental overlay ES02 ES04

500m

1:10 000

Bushfire

Site o v erl a y s

Bushfire overlay BMO - Bushfire Management Overlay BPA - Bushfire Prone Areas

Heritage

500m

Heritage overlay Heritage Register Heritage Inventory

500m

Neighbourhood

1:10 000

Neighbourhood overlay NCO - Neighbourhood Character Overlay

500m

1:10 000

Su r ro u n d i n g pr ogr am s + buildings

PROJECT III | SITE ANALYSIS

Retreats vs Residencies

Retreats and religious

Religious Health Health Shops Shops

Retreats - hotels and accom

Retreats - Hotels and Accomodation

Retreats - Public (Camps_Library_po-

lice station_community centres) Public/Community (camps, libraries, police stations etc)

Residences Residences Site Site Roads 1:101:10 000 000

c ont e x t

Week 4

500m 500m

There are no existing jewellery craft workshops in the immediate/ surrounding Daylesford region.

PROJECT III | SITE ANALYSIS

Craft and Worshops - Surrounding Areas

Su r ro u n d i n g pr ogr am s

12 9

7 9

8 5

2 10

Galleries 1. Overwrought Sculpture Garden and Craft and 3409 Midland Highway, Blampied 2. KATSUI STUDIO, 3851 Midland H 4 stown 3. Stony Creek Gallery, 10 Stony Creek 4. Bullarto Gallery, 962 Daylesford-Tre Bullarto 5. Bromley & Co, 45a Vincent 19 St 6. Ozkiva Vision Gallery, 34/39 East St

c ont e x t

Week 4

Galleries 1. Overwrought Sculpture Garden and Gallery, 3409 Midland Highway, Blampied 2. KATSUI STUDIO, 3851 Midland Hwy, Eganstown 3. Stony Creek Gallery, 10 Stony Creek Rd 4. Bullarto Gallery, 962 Daylesford-Trentham Rd, Bullarto 5. Bromley & Co, 45a Vincent St 6. Ozkiva Vision Gallery, 34/39 East St Galleries 1. Overwrought Sculpture Garden and Gallery, 3409 Midland Highway, Blampied 2. KATSUI STUDIO, 3851 Midland Hwy, Eganstown 3. Stony Creek Gallery, 10 Stony Creek Rd 4. Bullarto Gallery, 962 Daylesford-Trentham Rd, Bullarto 5. Bromley & Co, 45a Vincent St 6. Ozkiva Vision Gallery, 34/39 East St Workshops 7. Cooking School @ Vegan Cooking & Yoga Retreats, 9 Lone Pine Ave, Hepburn Springs 8. Cooking School @ Village Dreaming - Orto Farm, 100 Allisons Rd, Blampied 9. Instrument Making @ Wildwood Instruments Phillips Road, Mount Franklin 10. Painting @ Daylesford Art, 2891 Ballan-Daylesford Rd 11. Painting @ The New School of Classical Paint-

Workshops 7. Cooking School @ Vegan Cooking & treats, 9 Lone Pine Ave, Hepburn Sprin 8. Cooking School @ Village Dreaming Farm, 100 Allisons Rd, Blampied 9. Instrument Making @ Wildwood In Phillips Road, Mount Franklin 10. Painting @ Daylesford Art, 2891 Ba ford Rd 8 12 11. Painting @ The New9 School of Clas ing, 18 Stanley St, Daylesford 2 12. Glass art/Painting/Basketry @ Ston Retreat, 5401 7Midland1 Hwy, Daylesfor

Workshops 7. Cooking School @ Vegan Cooking & Yoga Retreats, 9 Lone Pine Ave, Hepburn Springs 8. Cooking School @ Village Dreaming - Orto Farm, 100 Allisons Rd, Blampied 9. Instrument Making @ Wildwood Instruments Phillips Road, Mount Franklin 10. Painting @ Daylesford Art, 2891 Ballan-Daylesford Rd 11. Painting @ The New School of Classical Painting, 18 Stanley St, Daylesford 12. Glass art/Painting/Basketry @ Stone & Straw Retreat, 5401 Midland Hwy, Daylesford Entertainment 13. Palais-Hepburn, 111 Main Rd, Hepburn Springs 2500m

Entertainment 13. Palais-Hepburn, 111 Main Rd, Hep 8 5 2

1:50 000

1 3

2500m

1:50 000

Site v i ew s

c ont e x t

Week 4

Key views approaching and into the site. The dashed outlined views are the current critical views in focus in the design. Particularly view J for the workshop and accommodation.

Site an al y s i s : w inds

s it e c l im at e

Week 4

Wind as an influence on site placement. As half of the site is compacted with dense trees and vegetation, wind will not be an enormous factor in an unpleasant site experience. The intention is for the buildings to be somewhat nestled amongst the treescape, hindering the wind paths creating less impact. The wind temperatures however are considered, as the buildings will be embedded into the topography the winds may not pose much of an issue.

summer wind winter wind cooler aspect warmer aspect

p ar t

|| - In d i v idual

pr opositions r oot i ng craft & concept

how can this ‘scaled’ process and journey of the craftsperson be translated architecturally?

of the earth spatial topographic connection, materiality, landscape material rammed earth, stone, steel other earth processes related to jewellery making; sourcing

reflections - bending moments spatial light, colour material glass, mirror, reflective textiles other refractions, bending moments,

unveiling the threshold

c on c e p t s um ma r y

spatial thresholds, scale material texture other revealing, optical phenomena of light

Br ief: T h e o ccupants + P r ogr am

who are the craftspeople Susan and Julie are a mother and daughter jeweller duo. Susan began handmaking fine jewellery and her daughter Julie followed on and eventually began an intergenerational family business. Julie has a small family of her own with a husband who works offsite and a small child.

what is their craft process The pair enjoy fossicking for stones across Australia, however landed upon Sailors Hill where they sieve for stones to use in their jewellery. The essence of handmade extends not only to the final jewellery pieces but from the initial sourcing stages of metals and stones.

their dwelling Both women live together and require a semi joint home that facilitates privacy and adjoint living.

accommodation Short stay visitations will be available on site with air-bnb style accommodation. It will be located close enough to the entrance parking and facilities, however, far enough to instil a sense of privacy.

t he br i e f

Week 4

function, income generation + community contribution The workshop is not only small scale for their own business making bespoke pieces, but they also hold jewellery making classes. The duo also hosts a fossick group for group learning about both craft and history, where interested participants can spend the day both sourcing and making their own jewellery piece. The workshop should be appropriately located near the house for convenience for the clients, however, ensure privacy for their home when classes are on. Due to the intergenerational aspect, a sense of aging in place needs to be considered. Research shows that there is only 2 jeweller’s and no jewellery making classes in the Daylesford region. The only workshops available are in a town Keyneton, about 50 minutes away.

Sp a t i al are a s + r equir ed r oom s br eakdown

Small scale, privacy, quiet with natural light Small scale, privacy, quiet with natural light Larger scale for social engagement of craft, sense of safety and cleanliness yet still evokes purpose Reflection of craft pieces, ambient focus on light and texture clean

10 m2

clean

8 m2

Safe and clean

16 m2

Jewellers Natural & Guests mechanical ventilation

Clean and sterile

3 m2

Jewellers Guests Jewellers

Emphasis on surroundings

20 m2

Jewellers

Secluded retreat emphasis on warmth and relief clean

13 m2

clean

6 m2 8 m2 3.5 m2

Auxiliary Spaces

Workshop

Private workshop

• •

x2 Desks small storage

Design space/studio

• •

Chairs and desk Supplies store

Jewellers Views of site and natural ventilation

Public workshop/Classes

• •

Individual desks General tools section Supplies/materials area

Jewellers Guests

• • • • •

Gallery/Shop Lockers Cleaner’s store Bin’s area Sink & bench

Jewellers Guests

• • • •

Vanity Dda Wc large work bench space for large machinery movement sink Bin Storage/lock for chemicals Area of respite

Reception/Entry

Kitchenette Bathroom Machinery zone

House

Wet Zone

• • •

Outdoor

•

Private access into private dwelling Bedrooms x2

•

Bathroom

• • • • • • • •

Kitchen Living Laundry

Week 4

Key Spaces

•

Accommodation

Backyard/Outdoor Bedroom Bathroom

s pa t i al b re ak d ow n

Atmospheric

Building

Kitchenette Private outdoor space

•

• • • • • • • •

Circulation path and connection Wardrobe

Vanity Wc shower Dining room Seating area Washing machine Bench Private/public washing Space of respite Double bed wardrobe vanity wc shower Sink, bench & bin Area of fresh air and respite

Users

Pragmatic requirements Jewellers Views, ventilation, and privacy

Jewellers Guests Jewellers Guests Jewellers Natural & Guests mechanical ventilation

Jewellers

Jewellers Jewellers Jewellers Connection near circulation to workshop Jewellers Jewellers Jewellers

Jewellers Jewellers

4 m2

50m2

15 m2

3 m2

tbd

clean

Warm, earthly & textured clean

clean Shaded and private

6 m2

tbd 13 m2 6 m2

2 m2 tbd

private public

100

Sp a t i al are a s + r equir ed r oom s br eakdown

design studio

public workshop

private workshop

reception/gallery/shop

bathroom

accommodation machinery zone

101

5 Project 04. Curating Spaces & Landscapes (Part 1) Apprentice’s House

102

Week 5 reflections what drove/informed design decisions? The essence of the commonly found Zircon gemstone in Sailors Hill was the instigator for my design decisions this week. Going back to previous research about local fossicking, I began to investigate aspects of the stone. A particular area of interest came from the refraction of light and geometric tendencies of stones, translating them into conceptual ideas. Further detail is summarized in pages ahead. where there any iterations that you disregarded? Due to the time constraints, I was unable to go entirely in depth with both two concepts I produced. This led me to commit to an idea which took the concept of gemstone as geometry too literally. Upon reflection and discussion, I wish to proceed with my second con-cept of abstracting angles from the solid form (see pages 130131) for the workshop. what was successful/unsuccessful? The lighting exploration model testing was successful in identifying the importance reflection has on the glass profile. This is an area which I wish to further explore and use within the project. how might these inform your decisions in future? The photograph esquisse with light and water to generate reflections will inform future design decisions, particularly for evocative spaces such as sleeping and bathing quarters in the residential areas. In connection to creativity, the changing nature of reflections in a static, ‘built’ in environment could be a way to promote and enhance spatial innovation and thinking.

103

Co ncep t u al i d eation Transposing the jeweller’s desk into an architectural strategy alongside the concept of light behavior in gemstones.

400

600mm

i nit ia l s k et c he s

Week 5

200

104

Sp a t i al / arc h i tectur al diagr am Spatial progression is inspired from the reflection of light in a gemstone. This has been translated from three critical steps: light source, the solid object, and the reflected light into an architectural strategy of the approach, threshold, and experience. The solid object/refraction that occurs will be explored with the 31-degree critical angle. This spatial progression based on light refraction dictates the architectural strategy. The threshold/ circulation will be explored on both the intimate individual scale and larger open scale. This ‘bending’ refracted moment will transpose into a series of experiences (amenities etc.) through different floor planes.

ray of light

the threshold

dispersed light

the experience

arc hi te c t ural st rat egy

Week 5

the approach

solid object - refraction

circulation - bending moment - threshold

105

Sp a t i al / arc h i tectur al diagr am

d iag r am

Week 5

The ‘unwrapped’ circulation from one plane to another to facilitate and encourage a slow traverse into the building. This bending moment as taken from the continuous bending moments through jewellery making, is bound by the threshold/circulation and disperses out into various experiences/amenity.

106

Top The threshold/circulation dispersing a series of experiences/amenity Bottom Overlap of the circulation, floor area and roof plan to reveal exposed areas indicating overhead angular light wells. These are to work the sunpath and generate a series of light and shadow areas internally.

light, colour and reflections as defining spatial zones

circulation floor area GF circulation ROOF 107

Ap pro ach / Revelation slowness Emphasis on ‘slow’ approach, traversing through the site. Using landscape as a ‘slowing’ technique - pathways, slopes and level changes. Slight angles to direct pathways with small interventions such as lighting and water.

paths

progre ssi on s ke t c he s

Week 5

lighting in path

108

what you can see with the journey The building has been deliberately inset into the topography mimicking the Sailors Hill mineral falls. As stone fossicking is an important aspect of the jewellery making process for the occupants, they spend many hours in the natural surrounds of their Daylesford town-ship. The intention for each building on site is to adapt this abstraction by embedding within the landscape.

109

En tr y / Arri v al slowness Creating ‘slowness’ through changing levels and use of tactile materials. Slowness of the door as a threshold - shadows and interventions. How to exploit the threshold/door as a slow gesture

interventions to create slowness

pro gre ssi on s ke t c he s

Week 5

The slight ‘peaking’ out of the building from the topography from the pathway is a hint along with other interventions to instigate slowness. What can be completely seen, can be completely approached. To avoid the linear directness of such a path is to enhance the ‘unrevealed’ through various hints and interceding moments. Landscape elevations, tactile materials and water can be used to facilitate these ideas.

110

The hidden traverse amongst stone and rammed earth construction

Water and reflective surfaces

111

Clea n s e/ Bat h e caustics and reflections Emphasising reflective surfaces and natural reflective optics from light and water. Incorporation of the critical angle. Shadow, light and colour present in the space.

interventions to create slowness

pro gre ssi on s ke t c he s

Week 5

The bathroom is an integral part of the cleansing amenity within the accommodation, but also for the jewellery making process. The notion is cleansing the metals and gemstones after key processes such as soldering is essential to achieve the jewellery in its finished state. Architectural atmospheres important for this space is generating reflections from water, light, and reflective surfaces. Consid-eration of the angular form can be achieved from a rectilinear exterior with angular internal wall gestures sketched above. The angle has also been explored in plan and section. The cutting from above may be considered too literal of an approach to the gemstone concept. Internal concealed angular spaces have not been explored yet but will be considered in future iterations.

112

colour and reflection The connections of coloured frosted glass either in fragmented angles or rounding shapes, the idea of this emerges from the popular Zircon stone. Earth tones can be used as reflective impositions into the internal space to create specific zones, particularly in circulation amenity areas (ie. threshold circulation with amenities such as kitchen and wardrobe in the same perimeters).

The opening of the jeweller’s desk pin as inspiration for other architectural elements including door openings. The shadow gap, indentations and unfinished nature can be translated into a timber, unfinished edge partition. This is to still be explored, however, to adapt architectural elements from conventional rectilinear forms will be considered. Along with the sink, the critical angle of 31 degrees can be implemented in joinery and other amenity fixtures.

113

Pr ep a re / E a t the threshold; spatial zoning and amenity

pro gre ssi on s ke t c he s

Week 5

The notion of ‘peaking’ emerges from the interior and exterior. The angular overhead windows are to spatially zone the circulation route without the imposition of walls.

114

Rest / S l e e p the threshold; spatial zoning and amenity

pro gre ssi on s ke t c he s

Week 5

Lighting to enhance the internal spaces

115

Th ink / Refl e c t / Read / D r aw external connection

pro gre ssi on s ke t c he s

Week 5

In reference to an initial diagram (see right) generating open social spaces along with larger open spaces is an important aspect to the jeweller’s workshop. Translating this into a dwelling scale, as the building is embedded into the topography, usage of the roof plane can be used to create connection. Surrounding accommodation neighbours will have a visual proximity at times. Creative activities such as reading, or drawing can be achieved here with the surrounds of the trees, sunlight, and birds. This may pose a dilemma in winter having no shelter; therefore, this aspect could be explored further. It may however be too disconnected from the below building. If a guest wanted to sit on the roof with a cup of tea and reflect, a somewhat arduous effort is made by circulating around and down into the kitchen.

116

Sp a t i al arran gem ent + f or m the critical angle

i ni ti al sk e tc he s

Week 5

Incorporation of the 31-degree critical angle within the project could be explored in plan, section or three dimensions. Spatially, us-age of the ‘pinacoid’ geometry commonly found in Zircon stones was implemented. The nature of this geometry is having two sym-metrical angular sides with rectilinear opposing corners. Further exploration into sectional spaces is needed to avoid literal mimicking of a gemstone. The cutting may be done so in an ‘invisible’ way which also contributes to the ‘unveiling’ approach considered in the approach.

117

Ap pren t i ce J e w eller s H ouse

The essence of the placement refers to the nature of the waterfall at Sailors Hill. As fossicking is a large part of the jewellery making process at Viewpoint Lane the inspiration for ‘the approach’ comes from that journey. The slow incline through the topography towards the mineral spring that cannot be seen without the journey inward is the quintessence of the building placement. There are hints towards the building as the journey progresses, however it cannot be seen in its entirety until the entry is near (refer approach/revelation sketches).

m ode l p hotog raphs

Week 5

building + placement

118

Ap pren t i ce J e w eller s H ouse

site key plan

detail

2 3

6 9

2m 1.5m

flo or p la n

Week 5

1. 2. 3. 4. 5. 6. 7. 8. 9.

path stairs down pond/chain drain entry kitchenette table/desk closet bedroom with feature frosted glass wall bathroom

1 .5

2m 1.5

119

Ap pren t i ce J e w eller s H ouse

2 4 3 4

2m 1.5m

ro of p lan

Week 5

1. 2. 3. 4.

rooftop deck pond below path coloured frosted glass windows

1 .5

2m 1.5

120

Ap pren t i ce J e w eller s H ouse

se ctio n

Week 5

1. 2. 3. 4. 5. 6. 7.

roof deck bathroom open desk wardrobe opening to bedroom wc behind front door

1 .5

2m 1.5

121

Clea n s i n g + b athing

de ta il p la n

Week 5

.25

1. shower 2. bath 3. water proof cladded rammed earth wall 4. coloured frosted glass wall 5. external pond

.5 .25

1m .75

122

Clea n s i n g + b athing

de ta il s ec tio n

Week 5

1. shower 2. bath 3. water proof cladded rammed earth wall 4. coloured frosted glass wall 5. frosted glazed wall in background

.5 .25

1m .75

123

Site v i ew s + site placem ent Key sightlines for each building. Dense trees and planting will remain to the east of the site with the workshop closest to the entry for accessibility purposes. There will still be connection to the surrounds, however the west side will be somewhat easily seen and accessible. Below Initial sun studies of accommodation placement on site. This was purposefully done to investigate how the light would behave with the frosted coloured glass internally. North and east directions seem favorable, however some consideration for shading will need to be implemented for the North and West sides.

510

530

52 0

540 0 55

520

530

540

510

accommodation

workshop

53 0

Week 5

52 0

550

540

0 51

dwelling(s)

10am

12pm

3pm

4pm

ke y vi ews

9am

124

Site v i ew s + site placem ent Computational coloured glass exploration with different times of day and how it will impose on the internal space. Colours may be slightly too opaque/harsh however, the essence is to reflect earth tones onto the surrounding walls and floor.

11am

3pm

4pm

ligh t + c olo u r

Week 5

9am

125

Gla s s l i g h t i n g exper im ent Lighting studies with glass objects found in my home to test reflections and caustics. The glass objects in these images were all coloured with clear liquid inside. The objects were coloured, wine glass, perfume bottles, alcohol bottle. Each bottle had a distinct glazed profile such as indentations and imperfections. Wine glass - purple glazed with smooth glazed profile Perfume bottle 1 - Orange colour with circular impressions at bottom Perfume bottle 2 - Light blue colour with smooth profile Alcohol bottle - Darker blue colour with small circular impressions at bottom

l i gh t & c au s t i c s

Week 5

Moving forward, the impression of the glass will be used as the architectural underpinning for internal reflections, opposed to colour. It’s evident from the images that the reflections are more prominent and evocative when the glass is not smooth.

126

Ref l ect i o n s e xper im ent Light and reflection model studies based on cutting into geometry. The intention for the concept is not to mimic a gemstone, but to abstract its core features. By cutting into the underside or in areas invisible from plan view, gives an illusion. However, once viewed in section, the angle is revealed creating a spatial distinction from both the inside and outside of the angled wall section. Foil was used as a base to the models and for covering the geometries. Light was directed towards the angular face, revealing the reflections onto the mirrored floor. This is the design intention to create some reflective atmospheres with surfaces, light and water.

l i gh t & c au s t i c s

Week 5

Angled wall on both sides of one single face generates more encompassing reflections around the sides of the geometry as evident from this model.

127

Co ncep t u al d evelopm ent back to the question... how can this ‘scaled’ process and journey of the craftsperson be translated architecturally?

c o nc e p t ua l i de a t i on

Week 5

Abstraction of the 31-degree angle - to carve from the inside out. Rather than cutting into the geometry, literally as a gemstone would appear, to instead obscure the external sense of the concept. The angles would only be revealed in plan and once inside. This concept also revolves around the ‘inward’ and ‘intimate’ experience and concept of the jewellery and desk. The proximity and closeness of the small desk is partnered with a larger space for larger equipment. Although this idea has not been presented in class, it is one which will be explored over the mid semester break.

128

Co ncep t u al d evelopm ent

There is a sense of intimacy and proximity in plan to mimic this inward experience of the Jeweller. Although the internal courtyard/opening seems too enclosed and astray from the natural surrounds, it could be explored in a way which still allows connection. The roof may be extended in plan with a deck and an operable wall (refer SawMil House precedent) to give the illusion of enclosure.

architectural strategy

plan

elevation

129

Ar r a n g e men t esquisse ‘unveiling’ As seen in the reflections experiment, angled wall on both sides of one single face generates more encompassing reflections around the sides of the geometry. Arrangement of the plan with varying under cuts can achieve specific reflections, light and shading patterns. arrangement 1 cutting into the solid with mixed placement of shape to create an external angle arrangement 2 cutting into the solid with a more rectilinear illusion

arrangement 2

m od e l e s q ui s s e

Week 5

arrangement 1

130

r eadi n g : The Eyes of the Skin by juhani Pallasmaa Chapters; Multi-Sensory Experience + The Shape of Touch Introduction: Touching the world (p.12)

Chapter: The shape of touch (p.8)

‘When working, both the artist and craftsman are directly engaged with their bodies and their existential experiences rather than focussed on an external and objectified problem’ I found this to be an important meaning, particularly as metalsmithing jewellery is a very personal and intimate craft. Once the use of machinery to melt and shape metals is complete, the essence of the craft thrives between the table and the hands. I have identified this ‘intimate proximity’ in earlier weeks however have not yet considered how this engagement of the body is facilitated by the ‘mental site’. Once work is complete in other areas of the workshop (ie. Sinks, machinery station etc.) the site becomes innately internal as the mental engagement of the hand between the jeweller’s pin, materials and tools brings to life the sense of self. Thus, designing for intimate and specific moments can be further explored in joinery or spatial arrangement. ‘A sense of homecoming has never been stronger for me than when seeing a light in the window of my childhood house in a snow-covered landscape at dusk, the memory of the warm interior gently warming my frozen limbs”

c r it i c a l re f l e c t i o n

When considering the ideas of ‘aging in place’ for the senior jeweller in not just practical ways, but meaningful ways can enhance the value of the home. This quote resonated with me as building profound sensory connections back to personal memories can be heart-warming. Cherishing these ideas, I find this to be at the heart of the older jeweller’s needs. Something as simple as a visual connection to bring about an internal sense of fulfilment is important. Building these visual connections to jeweller 2’s house both through the landscape and placement is a way as jeweller 1 ages in place, maintains a sense of connection.

131

6 Mid Semester

132

Week 6 reflections what drove/informed design decisions? An excursion to the site was undertaken to truly grasp a sense of the site and the nature of the landscape. As much as the photographs, arial maps and 3d computer model did to visualize this, it was not as encapsulating as viewing the site. Walking through the dense tree canopies brought a sense of appreciation that was not previous attained through imagery. Understanding the feeling the dramatic terrain alongside the landscape significantly drove the siting and placement of the buildings. Initially, the intention was to design all three interventions at the top of the site where there are large clearings of grass. However, once on site it was discovered that the arial imagery of the dense trees was misleading and the space between tree trunks was significant. This suggesting that there was room for the buildings to be rooted in amongst the landscape rather than behind it. I also found this to be a stronger connection back to previous ideas about traversing landscape down to creek beds to fossick and unveil the building, opposed to immediately viewing it upon arrival. where there any iterations that you disregarded? Not discarded but rather placed on hold, the ideas about implementing light. Glass and light studies were complete in previous weeks however embedding this into the mid-semester deliverables proved to be challenging. A focus was primarily put on implementing the architectural strategy across the three buildings. what was successful/unsuccessful? There was a heavy focus on the idea of 31-degree angle of refraction of a zircon gemstone. I tried to implement this in areas including the sloped stone landscape retaining walls but also architecturally. This was extremely difficult as the slope is quite dramatic to work with. The pitching of roofs and especially walls became overwhelming when computer modelling. This led me towards a rectilinear approach by incorporating the angle in plans only yet still maintaining an orthogonal building. how might these inform your decisions in future? The ideas about angles, although seemingly related to background research of the gemstone may be too arbitrary for the site. It is still unclear whether this is the right approach, an effort was made to ensure the building did not look like a gemstone as a literal interpretation. This idea could be too abstracted or not yet solidified within all aspects of the project yet and thus seemingly illogical. The following pages are mid-semester submission

133

b r o a d er c o n t e xt site plan

s it e c on te x t

1:2000 @ a3

10 0

40m 20 134

lo cal co n t ex t site plan 1:1000 @ a3

accommodation apprentice’s Jewelle r y - Ho u s e

work shop c e lebr ation of cr aft

jewe ller ’s dwelling

s it e c onte x t

cre ative living

5 0

20m 10

135

site p l a n 1:500 @ a3

si te c onte x t

1. site entry 2. car park 3. workshop 4. accommodation 5. path down to dr’s gully path 6. jeweller’s dwelling 7. walking trail

10 0

40m 20

136

si te c onte x t

dwe l lin g

p ath

accom m odation

car par k

work shop

site s ect i o n

1:500 @ a3

40m

137

1 :1 000 s it e

p h y s i c a l s i t e m odel

138

sp at i a l p ro g re ssion / qualities & cont empl at i ons Ref l ect i o n s :

caustics, light and wat er

Top right

Carpenter Centre for the Visual Arts Location: United States Architect: Le Corbusier Year: 1963

Inspired by the precedent, a lighting test was done with random glass household objects filled with water. Each had a different glazed profile which generated unique reflections onto the surface.

139

sp at i a l p ro g re ssion sketches

w ork shop

A pproach/ Revel at i on

E nt ry/ Arri val

140

sp at i a l p ro g re ssion sketches

w ork shop

Work

Learn

141

sp at i a l p ro g re ssion sketches

Cl eanse

Depart ure

142

sp at i a l p ro g re ssion sketches

Present / Exhi bi t

w ork shop

secret garden house, singapore. wallflower architecture + design, 2015. shallow water overhead reflections

143

co n cep t u al d i agr am

spatial ‘bending moments’ progression based on light refraction of a gemstone & slowness material rammed earth, stone, reflective finishes threshold intimacy in space and ease of amenity

circulation ‘bending moments’ progression based on light refraction of a gemstone & slowness unwrapped

w ork shop

abstraction of the ‘gemstone’ in plan

144

jew el l ery wo r kshop

1 4

3 7

key moment 6

pl an

1. entry/jewellery store 2. kitchenette 3. group jeweller’s studio 4. store 5. soldering station 6. fossicking sink 7. fossicking equipment store

8. wc 9. machinery work station 10. private jeweller’s studio 11. open courtyard 12. path down to residence/walking trail 13. path to accommodation

1 0

4m 2

145

jewellery workshop

se c t ion

1. entry/jewellery store 2. group jeweller’s studio 3. machinery work station 4. private jeweller’s studio 5. outdoor fossicking sink

1 0

4m 2 146

k ey mo men t : section

sto ne be nc h

fossicking sink after sourcing stones: for cleansing and sorting finds from the creek before making jewellery

.5 0

2m 1 147

1: 100 m ode l

mas s i n g mo d el: the w or kshop

148

co n cep t u al d i agr am circulation - bending moment - threshold

spatial ‘bending moments’ progression based on light refraction of a gemstone & slowness material rammed earth, stone, reflective finishes threshold intimacy in space and ease of amenity

light, colour and reflections as defining spatial zones

1m .5

2m 1.5m

ac c om mod ati on

circulation floor area GF circulation ROOF

1m .5

149

1.5m

ap p re n t i c e j e weller ’s house: accommodat i on

3 1

4 7

pla n

1. path 2. stairs down 3. pond/chain drain 4. entry 5. kitchenette 6. table/desk 7. closet 8. bedroom with feature frosted glass wall 9. fireplace 10. bathroom

1m .5

2m 1.5m

150

1.5m

ap p re n t i c e j e weller ’s house: accommodat i on

ac c om mod ati on

1. 2. 3. 4. 5.

entry door bathroom desk nook store bedroom & living behind

1m .5

2m 1.5m

151

k ey mo men t plan

1 3 2

ac c om mod ati on

1. 2. 3. 4. 5.

outdoor entry reflection pond glazed brick wall bath shower

0 .25

152

k ey mo men t section

.25

ac co mm odat i on

1. 2. 3. 4. 5.

outdoor entry reflection pond glazed brick wall bath shower

0 .25

153

1: 100 mo de l

mas s i n g a c c o mm odation m odel

154

site p l a c e men t: pr ivate r esidence c oncept s for fut ure expl orat i on following on from architectural strategies and concepts outlined above to design the private dwelling for creative living. there will be two houses ‘soldered’ together for both mother and daughter

key view to gully

dwelling 1

communal courtyard

dw el li ng

dwelling 2

155

Hand -d ra wn abstr act diagr am s - Desi gn Process

biggest strength?

biggest weakness?

Chaotic The overlapping of many ideas during the design process is chaotic and sometimes difficult to comprehend in unison. Sometimes workflow in the design process can be chaotic and lead to an array of possibility

Arranagement Spatial planning and understanding arrangement I find quite an enjoyable task in architecture.

Uniting ConceptApplication of overarching concepts and condensing them to core features can be chaotic and difficult to decipher under stress.

ref lec tio n

Week 6

how does this work best for me?

156

mid-semester reflections which drawing &/or design feature was the strongest part of presentation? The ‘fossicking sink’ drawing/design in the workshop was the strongest feature in connecting the program narrative into the architecture. As sourcing forms an integral part of the journey in the workshop classes, it’s important to showcase this. It is in the workshop where I have begun to explore details more specific to the crafting process and wish to further enhance the bench internally with the soldering station. which was the weakest? The workshop section was the weakest aspect of the design. Particularly in that the geometry is quite detached and seemingly arbitrary in comparison to the rest of the design decisions made for the angles in plan. Furthermore, I feel that the spatial arrangement is fine however there can be improvements to make the spaces feel more intimate yet collaborative. This detachment comes from the separation between the private jeweller’s workshop and collaborative classes. outline how you might improve on these? In section – implementing the studies of light, glass and reflection into the roof plane to create ‘refractions. These ideas have been explored through the accommodation with the use of different colors and textures of glass. Additionally, in the accommodation, a deeper understanding in the ideas of how reflection in light works between material surfaces could enhance this aspect. In plan - Reidentifying not only the spatial needs but the program narrative. What is the sequence of using the space for both the teaching aspects of the craft and crafting itself? There is a slight hint towards the ideas of the threshold and dispersed experience (refer concept diagram) however this could be strengthened further. The corridor is seeming to be creating the detachment due to its placement in plan.

157

7 Curating | Rooting in Landscape

158

Week 7 reflections what drove/informed design decisions? Taking a step back after mid semester reviews and feedback to think about how to solidify the craft further into the concept. Particularly, research into metal casting and how to incorporate this into the program and architecture. where there any iterations that you disregarded? The original site plan presented at mid semester was disregarded and reconfigured for practical reasons. As aging in place is a thread within the design of the dwelling, a decision to swap locations of the accommodation with the dwellings was made. This was to ensure an ease of access between the car park area and avoid unnecessary landscape interventions to preserve areas of the site. No hard concrete paths are intended to be designed, rather graveled landscape pathways around, including the parking. A brief reconsideration was made for the workshop overall planning; however this was regarded for being too isolated and indifferent from the initial ideas from midsemester. what was successful/unsuccessful? Initially, it was intended that the two private residences would be semi-detached. Upon designing, this came to be difficult as there is not enough room on site for a semi-detached building large enough without clearing many trees. As the concept is to ‘embed’ the buildings into the earth to ‘unveil’ them through the journey, it would be arbitrary to place this intervention at the top of the site clearing. Therefore, the houses have been considered as two separate dwellings connected by the landscape through trails and spatial arrangement.

159

Ex pan d i n g t h e nar r ative

Looking back at week 2The intricate nature of ancient jewellery making, there may be a way to incorporate more ‘smelting’ metalwork into the jewellery program. Not only having fine handmade jewellery but also embossed, more craft type jewellery workshops that include clay casting and smelting. Etruscan (Italy) Gold ear studs late 6th century BC tightly fitted network of beading ‘granulation’

Source Video: Ancient Jewellery: A Link to Vanished Civilizations, Christies 2016.

c as t i n g e x a m p le s

Week 7

These ideas of embossing could also make its way into the building itself, such as embossing into the rammed earth walls in certain areas or externally around the building hinting to the landscape. In reference to Pascoe’s reading, the idea of metalc asting flowers could also be translated into ‘casting’ walls.

casting metal Natural Casts of Four Plants 1940-50 Silver Cast Nuremberg , German National Museum objektkatalog.gnm.de

casting shadows

casting into wall

Rammed Earth Consulting CIC, Chelsea Flower Show 2018

Imprint of palm leaves set in concrete, unknown

source: http://rammedearthconsulting.com/ img/rammed-earth-chelsea.jpg

http://watermarked.cutcaster.com/cutcaster-photo100213897-The-imprint-of-palm-leaves-set-inconcrete.jpg

160

Cu r at i n g | Ro oting in Landscape

how can the ecological context and landscape features work with your craft + architectural spaces, and further root your concept in site? Workshop: ‘Metal casting garden’ As part of the workshop landscape intervention, a series of small plants and flowers (blossoming in varying seasons) can be picked and used in metal casting works. Also fallen leaf matter may be used. Dwelling: ‘Connection pond & path’ Maintaining visual connection between the family dwellings is key. Using topography to create a sense of privacy between work/home or private/public yet still generating a section of landscape that is shared between the families. Using the existing creek on site to facilitate water interventions throughout the landscape as a reference to the craft and action of fossicking and cleansing. Accommodation: ‘Unveiling through topography’ The slopes and buildings ‘cast’ into the ground allows for a level of privacy in the dwelling. The stone retaining walls with small pockets of gardens amidst the tall existing trees is a way to enhance the experience of guest. what is your approach & response to the existing ecological context? To maintain as many existing trees as possible and work around them. Also, utilizing the existing creek in the middle of the site from the N-S direction. From the site visit, this creek is no longer in use, however made for a practical path along the contour. This creating a central axis for circulation between each building from the existing site with the landscape in between. Lastly, to incorporate water into the landscape to further solidify the ideas of cleansing.

what landscape features: both soft or hard, will compliment your architectural concept + resulting spaces?

re f l e c t i on

Week 7

Small garden pockets Habitat regeneration and encouragement through water and ponds Different rock sizes both large and small, gravel and stone juxtaposed with metal elements

10 0

40m 20

161

r eadi n g : Landscape As Protagonist by Bruce Pascoe Chapter; Considering Landscape

Pascoe identifies an important belief that we should be respectfully reflect upon the practices of the local Aboriginal people and their methods in connecting to the landscape. I find this important as there is nothing new, ideas and inspiration circulate from the past and can be re-adapted to new conditions. The way Pascoe discusses engagement of the landscape through craft is also an aspect I wish to implement. In a way, the Aboriginal people’s traditions of burning the landscape to nurture it is fascinating. Not burning, but rather finding a way to connect landscape back to the craft of jewellery making can be done by literal implementation. Casting flowers, leaves and paraphernalia found in the garden into metal work could be a meaningful way to embrace this. On another path, the landscape also facilitates the connection between the three site interventions. Particularly as in the design they share a path that runs across the same contour line. The ideas about seasonality discussed with beautiful flowers and edible plants could be a way to enhance this long ‘landscape corridor’ designed.

c r it i c a l re f l e c t i o n

Clay model exploration of imprinting garden leaves

162

I d ent i fi cat i o n & Consolodation of Key Concept s

concept

of the earth

refractions

unveiling

strategy refined

solid material

raw & rough VS smooth & clean

- process of sourcing - regeneration of material - rawness - narrative through sourcing

- ‘slowness’ in movement/ circulation - light fragmented into space - roughness in fragmentation

- unveiling building through landscape - revealing through the thresholds

design feature

spatial: topographical connection

spatial: natural and artificial light

spatial: threshold expansion

material: rammed earth, stone, metals

material: matt and honed surfaces

material: polished and smooth surfaces

c on c e p ts

other: water stone

163

I n d i v i d u al Ref inem ent

• Generating a rationale for form: gemstones, light, materiality • Landscape: incorporation of some key moments in the workshop within the landscape • Embedding ideas of ‘pulling from the earth/ground’ deeper into the project • Contrasting between the rough, raw, and textured to the refined, finished pieces •

Hierarchy to materiality:

A ‘ground up’ approach in the same way gemstones emerge from the earths crust to the surface, to the way the building is sited in the landscape and unveiled through the path down. An emphasis on materiality in a rough state weather visually or texturally to occur. Eg. (Interior perspective) roughness of stone from the ground morphing into a smoother bench top surface to the smooth and seamless ceiling/roof plane to reach the highest point of seamlessness – natural light from the sky.

physical diagrams Physical diagrams demonstrating key landscape strategies

c r i t ic al re f le c t io n

of the earth Overarching Conceptbetween the rough and raw is refined

bending moments

casting

refractions (reflections, slowness) in water

imprinting (both positive and negative) casting

164

Sail o rs F al l s + Sailor s Cr eek Siev i n g p r e c i ou s ston es & gold

the site 2a Viewpoint Lane Daylesford

Sailors Creek

s it e c on te x t

diagram - not to scale

Sourcing stones in the local creeks (with permit is a one off fee $30 valid for 10 years) as a core part of the jewellery making process/program

Source: Liz Kreate How to Sieve for Gemstones - Sapphires and Zircons, 2015

165

lan d s c a p e featur es: w ater Int erv entions at k ey areas of site

fl o w e r g a rd e n

accommodation

Flowers for jewellery A specific garden for picking flowers and vegetation to be used in jewellery if workshop guests chose to res t Post walk respite A place to rest in the land

to g a ther

Social gathering for guests Fire pit and seating for guests

workshop

p r iv a te g a rden pr

dwelling

iva

Vegetable garden Permanent residents to have their own private garden

fossicking sink: where does the water go?

intervention s

Thinking about how the landscape can enhnace this design feature 500mm 50 5 00m m .5m 5m 5 m

166

sk et c h e s

to rest Post walk respite A place to rest in the landscape A visitor might take a walk down the Dr’s Gully path and return up the slope and wish to peacefuly sit with amidst the trees

water : bioswale

Encouraging flora & fauna use of a bioswale or site creek as a subtle intervetion bending through

features

materiality through landscape stone (varying sizes and textures) timber water

167

f lo ra

Flowers for jewellery A specific garden for picking flowers and vegetation to be used in jewellery if workshop guests chose. Looking at smaller leaved plants to be utalised and inspired by for jewellery making. 1. Nodding Saltbush 2. Scotch Broom 3. Common Heath 4. Hawthorn Blossom 5. Sweet Vernal Grass 6. Finger Rush 7. Eucalyptus Macrorhyncha Red Stringybark Tree 8. Kidney Weed 9. Ivy Leaf 10. Prickly Starwort

11. Chocolate Lily 12. Tussock Grass Flowers for creek/billabong 13. Tassel Rush 14. Mountain Rush 15. Water Ribbons 16. Running Marsh Flower

f lora garden

Imprinting Model esquisse of imprinting leaves into clay

168

g en era l s i t e i nspir ation

Above Woodleigh School, Sam Cox Landscape

l andsc ap e

Left Botanic Gardens and Parks Authority of Perth

169

wat er & t h e l andscape s eas onality

Dry Creek bed Site: The climate data for Daylesford Victoria shows that precipitation is very high, especially in the winter months. A horizontal and vertical creek to intervene into the landscape with a series of gardens and a billabong to promote biodiversity. Dry creek beds not only pose as a landscape aesthetic feature but are intended to become a water drainage system for the wetter months and rainfall events. The maintenance is minimal, especially helpful for aging in place and the leaves that will fall from the trees will biodegreade and contribute to the natural landscape in a positive way. Although the water is held for only a short amount of time there will be a series of adjoining water bodies to facilitate and embedd local flora and fauna on site. Creek beds are constructed of: Pebbles, Rocks, Aggregates on a slope

chain drain water run-off from roof to drop into pond / ‘rain garden’, minimum 3m away from the structure

pond

use of native plants for pollutant filtration attraction of birds, butterflies etc.

l andsc ap e

pond to recieve sun to attract wildlife

170

lan d s c a p e i n t e r vention Influencial Precedent The connections between water, land and building made through the overpass is an idea I wish to explore. Not only should the water be a feature but the layers of its function/purpose can be enhanced to -perform as an agricultural drain through the site -become a dry creek for rain fall events to enhance the water’s presence in diffferent seasons -to promote landscape biodiversity for flora and fauna over time this shall develop as a scheme to enhance local wildlife habitat (birds etc.) -serve as an architectural gesture to generate reflections -signify the ‘cleansing’ of the materials, the process of jewellery making and the cleansing of self post crafting

wet season flowing water through the creek

lands c ape

dry season rocks, pebbles and leaves

F u k u c h i o Sa k e B r e w ery Location: Kashima, Japan Architect: yHa Architects Year: 2014 Area: 154m²

171

Ov e ra l l l a n d s cape str ategy Billabong at bottom of site - Animals need plants - Enhance wildlife contribution, well establish in time so waterbirds, yabbies or other habitat can move in Key Plants: - Tassel rush - Mountain rush - Water ribbons - Running marsh flower - Acacias and local trees

l andsc ap e

Dry Creek Enhance earthly natural habitat

172

l andsc ap e

Sk e t ch i n g

173

8 Curating Spaces & Landscapes Creative Living

174

Week 8 reflections what drove/informed design decisions? Focusing on developing the key residence, refining the thresholds and key moments of the reading nook. As the intention of the reading nook is to create a sense of mental respite or ‘mental cleanse’, maintaining a relationship to water as is seen in the workshop is a key feature. The fireplace is a key reference to the soldering of materials to create a sense of warmth, intimacy, and togetherness with oneself. where there any iterations that you disregarded? Initially the ‘threshold’ space present in both the accommodation and workshop was the intended starting off point in designing the residence. This led to the ‘threshold’ being an external corridor onto the entry decking as seen in the plan. The spatial arrangement with no key entry moment and lacking this threshold creates detachment from the original core ideas. I will re-consider this when developing further. Although present in plan, the previous ideas pertaining to the 31-degree critical angles has been disregarded as it was not a driving force to the design. The rationale for any angles presents in the design is simply to achieve specific viewpoints/connections between the two residences or create privacy from the workshop. what was successful/unsuccessful? The entry path between the parking through the middle of house (see plan, no 11.) and entry into the dwelling two ways is an unsuccessful intervention. This was designed to maintain a common path between the two dwellings for connection between the families during day-to-day activity. However, the enclosed nature of the threshold does not give a sense of connection but rather a sense of seclusion and privacy. Enclosing the circulation amidst the building’s walls could create a potentially unnecessarily fenced space. how might these inform your decisions in future? Developing an external circulation scheme between the two dwellings that facilitates visual and physical connection yet maintains privacy from the public areas of the site.

175

th e w o rk s h o p : spatial ar r angem ent Through spatial planning, attempting to separate the two distinct working spaces: public (classes) and private (in house jewellers) via the threshold that continues from the outside, inside and back out again. This feels somewhat enclosed and too separate, no room for collaboration or social interaction between the two groups which could be problematic in a workshop setting. Furthermore, no room for shared workshop machinery space. The continuous threshold will be explored further, avoiding unnecessary separation.

sp at i a l a rra n gem ent: pr ivate dw elli ng

Key thoughts: - not enough site view points for aging in place home - move entrance to other side to give it more free view points but still needs to remain in the same axis to avoid level changes for aging in in place

- no ‘threshold’ or attachment to key concepts

176

Sp a t i al D es i g n: Residence 1 aging in place for residence 1

A ppr oach/Revel at i on

E n t r y/A r r ival

Res t / S l e e p

Commune/ Soci al i se Prepare/ Eat

Work/ St udy Thi nk/ Refl ect / Read/ Draw

177

Cr ea t i v e l i v i ng | aging in place ( dwel l i ng 1)

residence 2: small younger family

2 4

parking

11 3 2

5 6 7

pl an

residence 1: aging in place

1. path 2. entry/deck dwelling 1 & 2 3. open kitchen/living/dining 4. guest bedroom 5. wc 6. reading nook 7. store 8. bathroom 9. bedroom 10. robe 11. overhead stairs down from parking

1 4m 178

C r e a t i v e l i v i ng | aging in place

1 8

s ec t ion

1. path 2. entry/deck 3. open kitchen/living/dining 4. guest bedroom 5. wc 6. reading nook 7. store 8. bathroom 9. bedroom 10. robe 11. private dwelling 2

179

Cr ea t i v e l i v i ng | aging in place

ke y m om e nt

1. 2. 3. 4. 5.

book case 2 way fire place seating nook reflection pond with chain drain polished brass cladding on ceiling

.5 0

2m 1 180

Cr eat i v e l i v i n g | aging in place

ke y m om e nt

1. 2. 3. 4.

book case 2 way fire place seating nook reflection pond with chain drain

.5 0

2m 1

181

Cr eat i v e l i v i n g | aging in place

m od el

Massing model

182

Lig ht i n g Lighting Designer Josie White, lecture on reflections. Aside from practical task lighting, the overall lighting scheme intention is to emphasize the textural qualities of the spaces and materials present in those spaces. Smaller lighting moments, opposed to widely lit spaces are favored to carry through the ideas of intimacy on the small scale. Particularly where individual tasks or actions are made these being: Workshop: Key task lighting for hand movements, however practical largely lit space is required for safety in most areas Gallery: To create a textural ambiance to showcase the jewellery works Residence/Accommodation: Small key moments of lighting in the reading nook or lighting to highlight spatial features including external water and incorporation of natural lighting overhead with skylights etc. Materials & methods Incorporating metal elements through the details of the internal space for both lighting and fixtures. Playing with the ideas of unveiling with ‘concealed’ lighting. Copper pipe lamps: Made by MarCoWoodRU

stone & light

ligh tin g

- pull out copper lighting at desk?

183

Met al cas t i n g details Door pulls inspired by leaves, twigs, findings in the landscape. For all key doors in dwelling, accommodation and workshop to have metal cast door handles inspired by the landscape. Specific spaces: Entry/Exist Key threshold spaces / moments Metal cast door Pulls Made by PullCast Jewelry Hardware Earth Collection

m e t al c a s t i ng

Site photos: Key moments and exampes of twigs and landscape matter that can be used to metal cast details and textures

184

Cr aft p ro ces s of m etal casting a me t a l b a l l

Key Moments in Workshop:

Recycling Materials

1. Fossicking Sink 2. Cleanse 3. Soldering station 4. Delft clay store 5. Clay/metal casting station 6. Upcycling metals 7. Smelting station

Spoons and silverware can be melted and metal casted Sterling silver or silver plated but not steel

c r a f t proc e s s

Week 8

Process of metal casting Delft clay is a key material alongside the mold as well as a ruler, powder and a Mallett to condense the clay. Hot metal is poured into mould and left to dry. Charred clay is disregarded and left over clay can be re-used endlessly.

185

9 Curating Spaces & Landscapes Key moments

186

Week 9 reflections what drove/informed design decisions? Reiterating material choices and concepts of the earth back to key moments in each area of the site thinking about the merging of stone and metals. Specifically contemplating how the key moments can be enhanced through joinery or materials. where there any iterations that you disregarded? Ideation about tectonics of the external walls specifically about the coming together of earth and metals in the rammed earth walls was considered. Particularly in relation to the idea of ‘soldering together’ something (as done in the craft), specifically building elements. However, it was put aside to focus on internal and spatial joinery details specifically for crafting in the workshop and key moments. In the mid-semester submission, there was a lack of focus on the gallery space within the workshop, upon reflection this space could make for an essential key moment between the ‘rough’ making of the jewellery in the workshop into the ‘finished’ yet evocative gallery. what was successful/unsuccessful? Thoughts of ‘soldering’ taken from the above ideas were considered in the joinery of the workshop. I find the generation of ideas and designing for the craft the most exciting part of the brief. The specificity of the craft in comparison to a dwelling is much more deliberate and considered. I found that I was unsuccessful in trying to solidify the ideas explored in the joinery of the workshop into the residential spaces. The reading nook in the residence was reconsidered as the original bench designed was oversized as less specific. There is room to improve the function of the seat by designing for different ways of sitting/relaxing.

187

r eadi n g : Gemmology by Peter G. Read (2005) Chapter; xxxxxxx

Delving into to formation of rocks and gemstones through the Earth, a layered process which distinguishes distinct ‘thresholds’ or layers. The essential earhtly elements which contribute to this formation are the compositions of sand, soil, clay which are pertruded by wind, water and rain. These in part are the essential essence of my project. The exploration of the rock sourcing in the water through to the sifting and collecting and embedding said gemstones into malleable metals retrieved from the earth. Although gemstones do ‘travel’ or move through the earth due to external weather forces, they temd to maintain their location where they were intially formed. Gemstones also have a distinct way of formation where by ‘blocks’ or ‘stacks’ of matter are formed like Lego blocks to create the whole. This stacking - stacking of materials stones, earth for walls stones cast in rammed earth wall? The Zircon has Prismatic qualities with square prisms terminated by pyramids

re f l e c t i on

fig.1 Diagram showing the formation of gemstones . Zircon’s are formed in the plutonic rock layer and travels upward in time towards the surface.

188

Ar ch i t e c t u ral P r ecedent D etail Japanese Platform Bed made with stone and timber to create a bed leg detail. The timber and stone and joint through an interlocking detail where a void in the stone is cut to allow perfectly for the timber to ‘slot’ in. This detail was selected both due to the materiality relating back to the concepts of the earth and land but also to amalgamation of two materials which are moulded together coherently as metals are soldered together. Wood-Stone Joinery by Wood Work http://perennialstone.com/japanese-style-platform-bed/

Not to scale.

alstone.com/japanese-style-platform-bed/

jo i ne r y d e ta i l in g

http://perennialstone.com/japanese-style-platform-bed/

189

wo r k s h o p : j o i ner y details Influencial precedent Upper Side Cafe 2017 Seoul Korea by Creative Studio Unravel

j oine ry de tai ls

long bench considerations - ergonomics for solder station and double function as a standing jeweller’s desk - space for hanging or storing tools other than bench top (below - see section) - space for re-usable delft clay to be stored in bench for convenience & teaching demonstration - metal and stone material on bench for durability using fire and tools

U p p er Si d e C a f e Location: Seoul, Korea Architect: Creative Studio Unravel Year: 2017 Area: 69m²

190

wo r k s h o p : j o i ner y details

bench top for working smooth metal finish alcove below benchtop to hold small tools to avoid obstruction of bench when in use/not in use. this is also at eye level from the workshop desks when sitting, so jewellers can look over to bench to view any extra tools they may need. stone clad to face and kicker of joinery to create the illusion of an elongated stone bench. stone cut offs can be used and joint together to form this. Detail Section: Collaborative work bench

delft clay store delft clay is a core material necessary for metal casting. this clay can last for years if stored and maintained correctly. place directly next to the soldering station, craftspeople can come to collect their delft clay and molds to perform their casting/teaching/ learning at the bench.

j oine ry de tai ls

Detail Section: Delft clay store for metalcasting works

191

p r iva t e res i d e nce: r eading nook key moment wat er Plan Glazed panel to floor to view water from below. Water into light to reflect back upon the internal space with matte finishes to generate ripples in times of water movement.

j oine ry de tai ls

Waterfall Stone illusion cushioned reading seat with connection to water between inside/outside.

192

jo in ery t e c t o nics & m ater ial

Manipulating natural stones by cutting to create joinery/details/architectural interventions within the buildings

External stone fossicking sink

Connection between rammed earth walls (non-structural) rather a reference to the amalgamation of metals by using steel to ‘connect’ two walls and use this as a water downpipe (external) and exposed internally.

m at e ria lit y

Incorporating stone and metals into internal/external wall elevations?

193

wo r k s h o p : t h e jew eller ’s desk joinery

Bench leg support to double as a soldering (fire proof) surface block at the surface this placement however seems inconveniently placed as observed the jewellery process, the jewellers focus and workflow occurs generally at the centre

j oine ry de tai ls

Bench leg support to double as a soldering (fire proof) surface block at the surface

194

wo r k s h o p : t h e jew eller ’s desk joinery

Plan sketch: Collaborative jewellery desk for classes: a timber bench top with natural edges/rough looking however sanded smooth to avoid catching of clothes/tools which could hinder the crafting process. timber desk to be made from many pieces and joint together with seamless joints to create the overall desk. Elevation sketch: Desk with extra ledge store and overhead exhaust plan sketch: each desk to have own ‘built in’ accessories including the stone soldering block

plan sketch: exploration of different materials- a mix of timber and metals. however if craftsperson is experienced and able to solder at their individual desk, the metal may become hot and unpleasant to work on.

plan sketch:

j oine ry de tai ls

Fossicking sink between internal external: Metal to wrap from the outside melting inside to create a sink

195

wo r k s h o p : arrangem ent Key thoughts - Ideal to create a view in the private studio area for accessibility visually to the dwellings for the inhabitants - Moving ‘private’ jewellers workshop in the same proximity as the public jewellers workshop to enable accessibility to utility and connection.

work sh op

-Better exhaust system instead of having two separate systems on either side of building -facilitate connectivity between the ‘dual’ threshold i.e.. wall between inside and outside which facilitates various activities

196

wo r k s h o p : fo ssicking sink

intent: to connect to the ideas of fossicking from the earth by creating a stone ‘waterfall’ sink

sourced: of the earth unveiling: the transformation of the stone into a final use

how to create a long stone bench? take a large basalt boulder/rock and cut in half to use as the construction of the bench. connecting pieces through ‘casting’ metals in between to join the stones to create a seamless bench

seasonality & function: creating a thermal mass element in rammed earth wall and stone bench by creating an in built woodfire stove to make a cup of tea outdoors post fossicking adventure

197

lig h t i n g & t e c tonics: the r oof Exploration of the roof form as an instigator for natural lighting and moments of reflections. Testing with a model form and textured transparent material to understand the atmospheric qualities achieved from this design intent. The textured transparent ‘glass’ on the matt white card surface mimcs the ripples of water without using water as a roof material (overhead roof pond). This design decision was deleted as the overhead leaves from the above trees would constantly pose a distraction from the inented clear water above. Leaf matter etc. would collect and cleaning would it be an issue.

Textured glass to all skylights. Skylights in the roof are deliberately placed above key areas of the building where core actions or key moments occur. Aside from the workshop soldering station areas for practical reasons, these ephemeral lighting qualities are slight architectural gestures to define key moments. Model esquisse to understanding lighting behavior of a faceted geometry. The intention is for the light to hit specific areas at different times of day, these are not to cast harsh light above work desks but rather target ancillary spaces (wash basin areas, joinery or casting light onto plain walls and floor.

n at u r al l i g ht i ng

r ef ract i o n s

198

creative living

BBQ MAIN BED 01 SPARE ROOM

BATHROOM

STORE

OPEN KITCHEN / DINING / LIVING

S AL DU

F IDE

E AC PL IRE

L'DRY ROOM

READING NOOK

STORE

LANDSCAPING

W AL INING RETA

LANDSCAPING ENTRY

L STAIRS DOWN TO PATHWAY FROM PARKING

PATH/RAMP TO PRIVATE DWELLING 2

PRIVATE PARKING ZONE

TH PA P AM /R TO W

pl an

P HO KS OR

0 0.5

2m 1.5

199

creative living | aging in place

3 4

k e y m om en t

1. 2. 3. 4.

book case 2 way fire place seating nook reflection pond with chain drain

.5 0

2m 1

200

creative living | aging in place

k e y m om en t

1. 2. 3. 4. 5.

book case 2 way fire place seating nook reflection pond with chain drain matte brass cladding on ceiling

.5 0

2m 1

201

workshop

4 1

2 5

- gallery / shop - collection of keys for accommodation - bathrooms - kitchenette - fossicking store

plan

1. entry from car park 2. entry 1 into workshop 3. private jeweller’s studio 4. collaborative workshop desks 5. utilities bench 6. entry 2 into workshop (from fossicking path) 7. outdoor area 8. path

workshop

soldering station for teaching, learning and creating, task lighting above cut out

1 delft clay store clay for metal casting is reusable until burnt by metals 2 3 4

5 thermal mass fireplace

k ey m o m e n t

with stove top for outdoor use

1. 2. 3. 4. 5. 6.

soldering station delft clay store (reusable) delft clay disposal thermal mass fireplace & cooktop window for cross ventilation workshop bench

.5 0

2m 1

202

workshop

5 6

key mome nt 1

1. 2. 3. 4. 5.

soldering station entry behind wall workshop bench fossicking sink garden/ courtyard

203

10 Interim Presentation

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Week 10 reflections what drove/informed design decisions? The interim submission was a focus on furthering the curation of key moments. It was difficult to step back and gain clarity between the many concepts and qualities within the project, particularly between the three buildings. In this submission, I also found it particularly difficult to stop ‘re-designing’ and focus on the key moments and how to enhance them. where there any iterations that you disregarded? The accommodation was put on hold to focus on features of the workshop and residence. The original mid semester submission for the accommodation was disregarded to make changes as the site location for that intervention moved. The buildings were placed in small pockets of openings amongst the trees, close enough to be a cluster and share a path yet far enough and ‘dug in’ to create a sense of privacy between. what was successful/unsuccessful? A successful aspect was the finalized plan of the workshop was made to ensure some ESD principles were incorporated particularly regarding natural ventilation for the workshop. Cross ventilation from S/E – N directions and implementation of clerestory windows for passive ventilation were considered as part of the roof ‘faceting’. However, In the expression of the drawings, there is a lack of hierarchy and sense of textural quality embedded within the project yet to be conveyed. how might these inform your decisions in future? Reflections and unveiling two points of reflection between water and stone Water: relaxing moments of cleansing in the daylight ripple effects – This as a key moment in the workshop and reading nook.

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1 :1 000 s it e

site mo d el p roposal 1:1000

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spatial progression sketches co m mu n al j ew eller ’s w or kshop

w ork shop

shared workspace where jewellery and metal casting workshops/classes are held through the whole year.

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jewellery workshop

10 3

key moment 9 14

8 6 4

pl an

1. entry/jewellery store/gallery 2. kitchenette 3. group jeweller’s studio 4. store 5. soldering station 6. fossicking sink 7. fossicking equipment store

8. wc 9. machinery work station 10. private jeweller’s studio with design nook 11. open courtyard 12. path to residence/walking trail 13. path to accommodation 14. key collection/drop off

1 0

4m 2

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jewellery workshop: circulation diagram

a cco m m o d a t i o n g u est

1 . k e y c o l l e c t i o n / d ro p o f f v i si t o r s t o c o l l e c t t h e i r k eys b e f o re t r a v e r s i n g t o t h e i r accommodation on site

je we lle ry store

1 . j e w e l l e r y t r y o n & d i s pla y v i si t o r s c a n t r a v e r s e t h e j e we l l e r y s t o re / g a l l e r y w h ere t h e o n s i t e j e w e l l e r ’s p re sen t their works. caved carvings i n t o t h e w a l l re v e a l t h e s h in in g m e t a l a n d g e m s t o n e p i e c es wh i c h c a n b e t r i e d o n a t th e vanity bench

jeweller ’s movements 1. fossic k ing store v isitors to c olle c t the ir e quipm e nt be fore he ading toward Sailors Cre e k to fossic k for stone s 2. fossic k ing sink v isitors c le anse the ir stone s and e quipm e nt be fore c om m e nc ing in the work shop 3. m e talsm ith m ac hine ry te ac hing m om e nt: J e we lle r ’s c an m ould, shape or c ut the ir m e tals safe ly at the work be nc h 4. 4. solde ring be nc h te ac hing m om e nt: J e we lle r ’s c an m e lt, solde r and m e tal c ast safe ly at the solde ring be nc h

je welle ry workshop je welle ry store ac commodation guest

7 . p r iva te res id en t jew eller s s tu d io ro o m a llo ca ted fo r s ecu re s to re a n d p r iva te s tu d io fo r res id en t jew eller s o n s ite w ith ea s y a cces s to w o r ks h o p fa cilities

5. c le ansing sink J e we lle r ’s c an rinse re sidue from the ir hands from c raftm ak ing and handle c he m ic als at this sink

6. the je we lle r ’s de sk , whe re the de signing and m ak ing of the ir own pie c e c om e s to life

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jewellery workshop

5 7

se c t ion

1. entry 2. jewellery store/gallery 3. outdoor fireplace 4. outdoor fossicking sink & bench 5. entry into communal workshop 6. water down to billabong 7. path

1 0

4m 2

210

key moment plan

sto ne be nc h

outside

inside

solder station for teaching the technique and safety of soldering metals together

fossicking sink for cleansing stones & equiptment water and unwanted stones drained and fall into a rock pool collection on ground

.5 0

2m 1

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key moment section

sto ne be nc h

jeweller’s desk group jewellery making classes held at desk with exhaust above

fossicking sink after sourcing stones: for cleansing and sorting finds from the creek before making jewellery

.5 0

2m 1 212

spatial progression sketch r ead i n g n o o k Permanent dwellers reading nook with two seating types and views to the landscape.

skylight overhead

rammed earth walls

opening in floor to reveal reflection pond below

p riv at e dwe l li ng

dual sided fireplace

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key residence

10 9 12

11 8 13

7 5 6 4

pl an

1. external cleansing sink with pond 2. entry 3. stairs from car park 4. reading nook + book case 5. dual fire place 6. l’dry clean zone 7. wc

8. multipurpose room with fold out bed 9. bathroom 10. bedroom 11. in built storage and joinery 12. kitchen 13. open living/dining 14. open deck

1 0

4m 2 214

key residence

2 3

5 4

s ec t ion

1. pond 2. entry foyer 3. hall 4. reading nook + book case 5. open deck overlooking landscape 6. car park area 7. path to dwelling 2 8. dwelling 2 in background

1 0

4m 2 215

key moment

pl an

cleansing sink

1. outdoor cleansing sink with pond 2. reading nook seat 1 3. reading nook seat 2 4. dual sided fire place 5. book shelves 6. overhead chain drain into pond

.5 0

2m 1

216

key moment

4 3

s ec t ion

1. outdoor cleansing sink with pond 2. reading nook seat 1 3. reading nook seat 2 4. dual sided fire place 5. book shelves 6. overhead chain drain into pond

.5 0

2m 1

217

key moment

pl an

1. outdoor cleansing sink with grated floor threshold and water run off to... 2. pond which falls to on site billabong at bottom of site 3. stone rough faced bench seat with smooth finish top to sit 4. inside seating nook 5. slanted retaining stone wall

. 0

5 1 m 218

spatial progression sketch clean s i n g s i n k

stone wall with fireplace behind

cleansing sink for guests who finish their day crafting in the

a cc om m odat ion

grated floor to threshold for occupant to clean their dirty shoes

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apprentice jeweller’s house (accommodation)

6 8 5 7

pl an

1. path from workshop / carkpark 2. cleansing threshold (cleansing sink with grate to floor) 3. entry with desk nook 4. kitchen + store 5. wc 6. bathroom 7. stairs up to... 8. open bedroom / living 9. open deck with fireplace and seat

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apprentice jeweller’s house (accommodation)

se c ti on

4 3

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apprentice jeweller’s house (accommodation)

5 8 7 1

3 2

thre sh old

1. path from workshop / carkpark 2. cleansing threshold (cleansing sink with grate to floor) 3. entry 4. kitchen + store 5. open deck overlooking the landscape 6. outdoor fireplace 7. in built fireplace seating 8. stone retaining wall

.5 0

2m 1

222

apprentice jeweller’s house (accommodation)

3 2

thre sh old

1. 2. 3. 4.

cleansing threshold - stone sink open outdoor fireplace open deck overlooking landscape entry door

.5 0

2m 1

223

private residence - reading nook

lighting for reading outdoor lighting? still TBD

illuminate bookshelf and emphasise the ‘rawness’ of the carved out stone look finish in the rammed earth wall

lighting to emphasise slight ripples in water and assist in casting reflections

k e y m om e nt 2

floor light to emphasise stone emerging from the ground + raw stone face/edge on inside and outside

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re fi ne me nt

acco mmo d at i on

225

en vi ron me nt

ESD co n s i d e rations

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en vi ron me nt

ESD co n s i d e rations

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wo r k s h o p : arrangem ent dual fossicking sink reflecitons - too oversized with potential for unused / unecessary bench space - how can the ‘unwinding’ joinery become rentable workspace for jeweller’s in the surrounding Daylesford region

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11 Finalising Project

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Week 11 reflections Finalising the project This week’s focus was wavering dramatically in week 11. With many things going on, an attempt was made to try and implement/ release any unresolved design thoughts or issues. An effort on the roof form for the buildings was made. Focusing on the workshop and then translating the same language into the other buildings. The rationale for the overhead refracted ‘gem’ roof is to create natural lighting effects diffused by textured glass into the internal spaces. These skylights, present in core areas of the building including moments of key areas or highly used spaces. Thresholds maintain a ‘flat’ ceiling; however, the slight angles of the flat roofs are still experienced internally as the ceiling lining is fixed directly to the timber roof structure. Thus, creating a subtle ‘reflection’ of the lines on the external plane, into the internal plane. Further development of the workshop gallery space as a key moment was undertaken. Specifically looking at the joinery details and the spatial intent of creating a ‘cave’ like atmosphere with an emphasis on texture, finished vs unfinished. The challenge for this week and the following is the curation and production of finalised drawings. Knowing when to ‘stop’ designing can be challengning and this is an issue I have faced.

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p er sp ect i v es

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tect o n i cs : ro o f f or m & dr ainage Roof geometry - all angles to meet at a point for wall to support and act as drainage point. This, carried through all three buildings.

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Ref i n eme n t

Gal l ery : L i g h ting

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Ref i n eme n t - G aller y Floor Threshold (right) 1. Rough texture 2. Metal inlay 3. Smooth Floor finish

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Ref i n eme n t - G aller y f ur nitur e

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Ref i n eme n t - G aller y f ur nitur e

tex t u re ru b b i ngs

A series of texture rubbings using charcoal using surfaces found in the backyard (From Top left to right) 1. Timber Deck flooring 2. Concrete with charcoal rubbed 3. Concrete with charcoal not rubbed in 4. Paving rubbed 5. Paving left untouched 6. Rubbing over a stone

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Key Re a d i n g s Ref er ence List

Ching, F. (2014). Building Construction Illustrated. Wiley & Sons Canada, Limited, John. Hollis, J., & Sutherland, F. (1985). Occurrences and origins of gem zircons in eastern Australia. Records Of The Australian Museum, 36(6), 299-311. doi: 10.3853/j.0067-1975.36.1985.349 Holschuh, B. (2009). Jeweler’s Studio Handbook, The. Laguna Hills: Quayside Publishing Group. Hannman, T. (2021). Faceting Made Easy, Part 1: Gemstone Properties - Gem Society. Retrieved from https:// www.gemsociety.org/article/faceting-made-easy-part-1-gemstone-properties/ Pascoe, B. (2019). Landscape as Protagonist. Considering Landscape. Pallasmaa, J. (1994). The Eyes of the Skin. Chichester, West Sussex [U.K.]: Wiley. Read, P. (2013). Gemmology. Kent: Elsevier Science. Note: Images and precedents are referenced in text.

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Studio 41 Create Curate - Reflective Journal - Kalliopi Patros

Articles inside

Week Curating Landscape and Key Moments

Week Refinement and Finals

Week Interim Presentation