Graduate Design Studio -

MARC 5001 GRADUATION STUDIO

Post - Production

XL L M S XS POROSITY AND SCALE

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04 THE DOMAIN

Content

Introduction

THE EXISTING SITE This semester has been an exciting one. The field of Post - Production has long been a part of my interests and I have approached this semester as a path of exploration and discovery.

06 THE UBER EFFECT THE FUTURE OF SYDNEY’S TRAFFIC

17 CONSIDERING POST-PRODUCTION VALUE AND ARCHITECTURAL APPROACH

Many thanks to my tutor, Yiwen Yuan, for the repeated encouragement to push the envelops, and the guidance, when something becomes so complicated, to ten help me fit everything back within that same envelope.

77 THE PLAN BUILDING PLANS @ 1:1000

28 URBAN AND SOCIAL POROSITY 30 INITIAL DESIGN CONCEPTS 35 POROSITY AND SCALE

37_XL_ THE CITY 41_L_THE APPROACH 47_M_ PROGRAMMING 51_S_SPATIAL SYNTAX AND THE MOD. 59_XS_MATERIALITY AND DETAILING

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Moreover,

thank

you

for

the

reminder

of

contextual

importance

and

process.

Many weeks of rigorous work are consolidated here, and so I sincerely hope that you enjoy the contents of this portfolio.

87 THE SECTION BUILDING SECTIONS @ 1:1000

93 MODEL PHOTOGRAPHY

Kate Wraight

CNC MERBAU & 3D PRINTED RESIN

99 BIBLIOGRAPHY

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strengths

weaknesses

the domain Post - Production

The Domain car park, located on the corner of Sir John Young Crescent and St Mary’s Road, East Sydney, is a 3 level, 1,144 bay car park, located in close proximity to Sydney’s mid-city CBD, Royal Botanic Gardens and Art Gallery of New South Wales.

The Sydney Domain is nationally significant for the understanding it provides of Governor Macquarie’s plan for Sydney. It is part of the earliest surviving colonial and most extensive public cultural landscapes in Australia, that is accessible by the public. It completes the open space between Hyde Park and the Botanic Gardens and is used for a multitude of public activities including recreation, sports, and public festivals. Situated within such a close

High Pedestrian Traffic with vehicular traffic only accessible to the East and South

Poor Northern solar access

Encourage Pedestrian thru-site access

Museum to incroporate deep light wells to draw in natural light

Tourist Area - great diversity of people and visiting habits

Little visual connectivity to the CBD

Create an engaging and Interactive Museum Typology

Create an visually engaging facade that captures attention to both the CBS and Urban frontages

Close to Tourist attractions inc. The Art Gallery of NSW, Mrs Macquarie’s Point and St Mary’s Cathedral

Very small ceiling heights

Design the site to be a destination rather than merely a transportation node

Incorporate variable ceiling heights and explore the option of removing

Link the SIte to the circulation paths of these tourist attractions

portions of the above slab to accommodate larger exhibitions

Site topography feeds into the urban hub of Woolloomooloo

Large and Long Site

Design the museum to feed into an urban environment and establish a place

Consider subdividing the plan for better appropriation of existing space

of transition

opportunities

threats

proximity to the Art Gallery of NSW, the Australian Museum and St Mary’s Cathedral, the site links several cultural centres through the Sydney CBD and lies adjacent to both educational and cultural ribbons that traverse the city.

Close to Art Gallery of NSW, and cultural precincts

Poor access to natural sunlight

Provides an opportunity for the Museum to capture an audience that would

The design of the architecture will have to be suitable to both capture natural

have otherwise been missed - the Makers Museum

sunlight yet provide some aspect of solar protection to the exhibition items

Expansive area close to Urban infrastructure and links

The sole function of the Museum is already somewhat captured in the surrounding

Opportunity to link the local precinct of Woolloomooloo and use of its

architectural icons

amenities and culture

Create a new and engaging museum typology that has not otherwise been captured - the Makers Museum

Large Green space that does not currently possess a strong link to the urban front Opportunity to provide Woolloomooloo with a tangible link to the Public Domain

Consideration into the effect of a new building typology on the heritage items that surround the site Consider a sympathetic or unobtrusive design approach to the facade facing

Woolloomooloo from The Domain, Sydney, 1852-1870

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Aerial Photo of the Domain, Sydney, 2010

the CBD and respond to the character of the urban context at the Eastern

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THE UBER EFFECT

the uber effect the autonomous vehicle

Perhaps as a response to the frustrations of congestion and inflation of the cost of private travel, the response to and adoption of car-sharing across Sydney has been widespread over the last five years.

THE NEW MODEL OF OWNERSHIP OWNERSHIP

Car Sharing

public private

require as little as 5% of the cars on the road if the system were 100% shared

fleets In anticipation that private ownership will decrease, manufacturers are testing the concept of partnering with hail and ride transport companies.

personal automated vehicles Individually

owned

automated

vehicles may provide considerable convenience.

automated vehicle taxis Possess similar issues found with personal vehicles. However , benefits include lower parking needs and increased mobility for elderly or assisted needs.

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single shared

autonomous vehicles cities may

OCCUPANCY

By integrating both ride sharing and

The effect of car sharing is wider than initially perceived. While the individual saves on the cost of vehicle ownership the reduced dependency on a car has been seen to promote physical activity by either walking, or riding to more local destinations and has a collective public health benefit.

Further to this, when someone switches to services rather than ownership, they no longer need to store a vehicle at their house or workplace, taking pressure off both personal storage as well as increasing the availability to kerb side parking.

Most Importantly, the average sharedcar services a group of approximately 20 people. Given the rate of car ownership within the City of Sydney is approximately 60% per household, this means that for each group of 20 people who share a vehicle, 10 cars will have been removed from the residential fleet.

Sydney-Siders have an established dependence on cars. While the number of successful sharecar models exist within the city and have seemingly been readily adopted by its resident’s, the discussion surrounding automated vehicles is infused with excited nervousness.

The potential ramifications of automated vehicles across the already-congested Sydney is tenuous and will be largely determined by our the manner in which we treat the service. One can already anticipate that if we seamlessly transitioned from privately owned selfdriven cars, to privately owned automated cars, that the problem of congestion will only be exacerbated on our existing roads. The convenience of automated vehicles turn the chore of driving into periods of leisure, only at the cost of grid locked roads.

While sharing has become one of the buzzwords of contemporary urban life, our complex relationship with the car and its material entanglements are highlighted when we consider car sharing. Much of our perception regarding the ownership of a car is founded around control. If we were to break the relationship between ownership, control and car activity a wider potential of solutions to congestion could become available. Suppose a group of four local individuals travelled to work at approximately the same time each day. These four individuals could share a self-driving car to work. But instead of that car sitting unused within a parking space for the next 8-10 hours, it could be similarly used be another group of individuals travelling in a common direction. Given this, a self-driving car would rarely be stationary, instead travelling fluidly between site to site to shuttle individuals or groups in common directions. Although the convenience of such a service may result in a greater volume of people preferring automated vehicles over public transport, the risk of a greater number of cars on the road could potentiall be mitigated by the shared nature of the ride.

FACT #1 At least 40% autonomous vehicle uptake will be needed today to make the traffic flow noticeably AUDI 25TH HOUR FLOW

FACT #2 According to Analysts, approximately 14,000,000 autonomous vehicles will be sold in china by 2040.

ENGADEGET (2018)

FACT #3 33% of commuter trips could be saved if the number of passengers per car rises from 1.1 to 1.3 people and all cars are autonomous vehicles.

AUDI 25TH HOUR FLOW

FACT #4 The flow of 20 human controlled vehicles can be managed by one single autonomous vehicle.

STERN ET AL. 2018

FACT #5 Until 2050, greenhouse emissions could drop by 50% if vehicles were automated, shared and electrified.

FULTON ET AL. 2017 7

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Roads Bus Stops

Existing Car Park Commercial Buildings

Building Context

Public Buildings

The Domain Car park lies at a distinct junction between Sydney’s CBD, the Public Recreation Precinct and the Residential sprawl of Woolloomooloo

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Educational Buildings Residential Buildings Historical Buildings

Train Stations & Underground Train Line

Circulation

Eastern Train Line

The Domain Car park currently acts as a transport node for motor vehicle transportation. It lies adjacent to the train access to and from the City Centre, as well as bus access from the local urban precinct of Woolloomooloo

Cahill Express-way Walkways Underground Express Walkway

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Density

green space The Domain Car park lies at a distinct junction between the high density of Sydney’s CBD and the medium density build up to the residential sprawl of Woolloomooloo

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Mid Density High Density

The Domain Car park sits nested within the Precinct of the Sydney Public Domain. It also Captures Views of the Adjacent Woolloomooloo Bay and urban precinct.

Publicly Accessible Green Space

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E D C B F

A

materiality

Cultural Ribbons The materiality of the surrounding sties is reflective of their function and zone. Those sites within the CBD are primarily composed of concrete, steel and glass; while those within the historical or educational precinct are composed of sandstone. Those within the urban sprawl are largely constructed from timber and brick

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Concrete, Steel & Glass Sandstone Timber & Brick

The Domain Car Park lies at the intersection of two cultural and educational ribbons across Sydney’s CBD. The site may potentially act as a contemporary educational node

Australian Museum

A

St Mary's Cathedral

B

Hyde Park Barracks

C

The Mint

D

NSW State Library

E

Art Gallery of NSW

F

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Jan 9am

1

2 1

Jan 3pm

2

3 July 9am

4 3

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Environment

July 3pm

Calm

Key

4

>= 0 & <10km/hr

>=20 & 30km/hr

>= 10 & <20km/hr

Views & Sight-lines

environment The Domain Car park has expansive views back towards the city across the public parklands.

Also, however, are the views which are not currently easily accessible; those feeding toward the urban centre of Woolloomooloo. Those views are currently only accessible if one stands at the eastern most point of the car park. Such views could be captured by modifying the landscape to feed into the urban realm.

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>=40 & < 50km/hr

>= 30 & < 40km/hr

Buildings in Line of Sight

The Domain Car Park lies on an South-East/North-West Orientation. The exposed face of the structure faces the South East and this has limited exposure to natural sunlight. The north most point of the structure intercepts the existing train-line and is thus also limited in its use. The challenge lies in redirecting sunlight and daylight into the long and sub terrain structure.

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considering post production

HYBRIDISING THE OBSOLETE: RESTORATION, RE-APPROPRIATION, OR REFERENCE

Twentieth century history lends the obsolescence of modern structures to abandonment, decay, or more appropriately, in a society where real estate is never left untapped, post production.

Left unattended, the obsolete structures leave voids in the urban fabric of the city and impede development and cultural regeneration around them. The obsolete carparks of Sydney, namely the domain carpark, serve an important role in urban life as the former nodes of transport. They are not preserved because they lack the architectural, historical or symbolic significance that society requires to retain them. Instead their functionality may be hybridised with new program through the method of post production. Prospective thoughts as to buildingâ&#x20AC;&#x2122;s future challenge us to consider the appropriateness of different responses to obsoleteness, hybridisation and post-production; restoration, re-appropriation or reference.

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restoration

reappropriation

LOCATION Bexhill , United Kingdom

LOCATION Verona, Italy

BUILT 1935

BUILT 1450s

ARCHITECT Erich Mendelsohn

MUSEUM CONVERSION 1926

RESTORED 2005

ARCHITECT Avena

ARCHITECTS John McAslan + Partners

REAPPROPRIATED 1959-1973

De La Warr Pavilion on bexhill At the time of its construction Mendelsohn and Serge Chermayeffâ&#x20AC;&#x2122;s De Lar Warr Pavillion was the archetype of a public international style building . The construction and funding of the public pavilion was championed by social aristocrat, the 9th Earl De La Warr, who also happened to be the mayor at the time. This public seaside insertion acts not only as a record of an early international style building, but also an eloquent record of English social history.

Although the building assumed a military role during the Second World War, it has since been used for public functions and the 2007 restoration and refurbishment of the building returned it almost to its original state. As such its function, and its historical-value have remained relatively constant and its restoration by John McAslan only enhanced the eloquence of the building. In this example, both lived history and architecture coincide across two tempoalities.

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ARCHITECTS Carlo Scarpa

Museo Civico Di Castelvecchio Recognising that the restoration of a building will never exactly replicate the original, they instead decide to effectively cleanup and selectively edit the old, but not return it to its original state. Carlo Scapa exemplified this with the adaptation of Museo Civico di Castelvecchio, Verona. Scarpa seemingly weaved together different eras of history with the careful detailing and articulation of joins and connections. As a result, the created spaces are unique and a poetic unity exists between the ancient 14tv century structure and the contemporary 19th century addition. Where the architect adjoins the old to a representation of its manylayered history, the site becomes a palimpsest.

It reveals signs of temporality, with the select components of history allowed to remain. In this manner there is some tolerance for the selective manipulation and removal of historical details. However this is not intended to devalue the old for the new, but rather celebrate the harmonious junctions between the two to create a grander whole.

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reference

RECONSIDERING THE DOMAIN

LOCATION Cockatoo Island, Sydney, Australia BUILT Early 20th Century ADAPTIVE REUSE 2007 ARCHITECTS Allen Jack + Cottier

Mould Loft 6 Where one history may not be dominant over the other; and the experience becomes a composite.

In 2007 the Mould Loft on the island’s Plateau underwent necessary transformation. Previously underutilised and decaying it was revived by Allen Jack and Cottier Architects and transformed into a popular events space. While the mechanical elements of the building were updated, the elements required to still show the transition of time were maintained.

The redevelopment protected the loft’s floor which offers a physical record and displays incision of ships being built on the island. Visible scars on the exterior of the building have been maintained to preserve and reflect the site’s rich history. The site carries a strong sense of time and transformation.

The buildings are not forcibly altered to something that they are not, nor are they refurbished and redecorated to become a trace of their original function; the only point of difference is that they become flexible enough to play host to a new function; adding just another layer of historical richness to the site.

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The Domain Car Park, despite its size and utility to the site, does not possess significant historical, cultural, social or architectural value. Rather, it was originally considered a blight upon the park, a statement that has not yet been publicly negated.

There is little value in restoring ore re-appropriating the site, however there is some merit in referencing the site’s history. As such, not all elements should be removed, and those that are retained should reveal some evidence of the site’s shared history and evidence of time.

We believe there is some value in retaining the waffle grid ceiling where possible, or exposing them to reveal the structural element within a different light. The existing public connection to St Mary’s Cathedral via the Travelator will be maintained however further approaches to pedestrian access will be explored.

The site sits within close proximity to the Art Gallery of NSW and other cultural hubs. There is an opportunity to provide a contemporary style of Museum; a space of collaboration and creation, rather than observation. Noteworthy is that the site must still maintain a sympathetic facade towards the existing Historical Buildings.

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PRECEDENT STUDIES

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MOMA PS1

building’s unique spaces, Rooms established the MoMA PS1 tradition of transforming the building’s spaces into site-specific art that continues today with long-term installations

by James Turrell, William Kentridge, Pipilotti rist, Lawrence Weiner, and many others.

A

part from its hybrid status as avantgarde museum with unfettered access to institutional ‘comforts,’ of it MOMA affiliation, PS1 has several additional strengths. Its unique physical location in an old redbrick school building in Queens lent it a ramshackle charm also known as “the Apotheosis of the Crummy Space,” transforming spaces in the physical building into site-specific works which seem to divorce themselves from the historical narratice of the building. Its location at the city’s periphery allows the building to act as an interface between contemporary art and the urban environment.

LOCATION Long Island City, New York STATUS Initial Completion, 1979 Courtyard Addition, 1997 ARCHITECTS Alannah Heiss Frederick Fisher & Partners

Housed in the distinct Romanesque Revival Building; a former public school, MOMA PS1 is the host to cutting edge contemporary art installations and also hosts the internationally acclaimed architectural studio program.

F

MOMA PS1 distinguishes itself from other major art institutions in its progressive approach to exhibitions and its involvement of artists within the museum’s framework. October 1997, MoMA PS1 reopened to the public after a three-year renovation project designed by Los Angelesbased architect Frederick Fisher. True to the building’s history and form, the renovation preserved much of the original architecture, as well as most of its unique classroom-sized galleries The building’s facilities were expanded to include a large outdoor gallery, a dramatic entryway, and a two-story project space. In bringing together artists and their audience, MoMA PS1 functions as a living and active meeting place for the general public.

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ounded in 1979 by architect Alannah Geiss as the Institute of Art and Urban Resources Inc., an organisation devoted to organising exhibitions in underutilised and abandoned spaces across New York City.

The initial idea arose out of the desire for a divorce from the traditional museum model and a consequent unburdening of budgets, markets, agendas, and collections.

In 1976, it opened the first major exhibition in its permanent location in Long Island City, Queens, with the seminal Rooms exhibition.

An invitation for artists to transform the

MOMA PS1 Plan , 1:5000

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84.51° CENTRE

Original development office parking

Original development

LOCATION Cincinnati, Ohio

retail

STATUS Completed 2015 DEVELOPER 84.51° / 3CDC

Option I: expand over interconnected office floors interconnected office floors

ARCHITECT Gensler Research Institute

84.51 GLOBAL HEADQUARTERS

T

he lower three levels of the Gensler designed building are Currently used for parking but Are intended to blend in with the remainder of the building, with the prospect of converting them into office Space in the future with the adoption of automated vehicles. Considerations into design have included increased parking floor heights to allow for an easier conversion as well as a continuous facade regardless of function or spatial typology.

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retail

future expansion Option I: expand over

$$$ future II: expand up Option expansion

LOCAL DEVELOPER parking + expansion

ground floor retail

future expansion

$$$

84.51 GLOBAL HEADQUARTERS Option II: expand up

LOCAL DEVELOPER parking + expansion

The mixed use development by 84.51° % 3CDC incorporates street level retail and underground parking, as well as integrated planning for a future residential tower

office parking

ground floor retail

below-grade parking below-grade parking

future expansion

$$

$$

Option III: Expand down Option III: Expand down

future expansion into parking

$

future expansion into parking

$

With the ground floor used for retail and lobby space, the next lowest three floors are dedicated to intermediate parking spaces. The cost effective strategy allows for these three floors to be remodelled at a later date to reduce the parking spaces from a total of 1,100 to a mere 500 with the advent of automated vehicles. The below-grade parking is designed as a permanent structure, freeing up those spaces above that capture natural light. The design also incorporates local charging station and intermediate parking bays.

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Urban porosity & the parasite

Social Porosity & the makers museum

Richard Goodwin

Henri Lefebvre

“Porosity recognises the need to create a more equal balance between public and private space beyond the limitations of what constitutes outside; ... it seeks to transform the underutilised”

Global Major cities are comprised of historical centres; a pastiche of heritage items collated with modern structures. Each of these buildings possess their merits and may be argues for the sake of preservation. Yet, how should we consider those buildings that are not extraordinary or epitomise their era? How should one consider the obsolete carpark?

Goodman views the city as a decaying entity; one that is constantly changing and in flux. These obsolete structures create voids in the urban fabric that impedes development and regeneration around them. These structures serve an important role in urban life as the former nodes of transport. They are not preserved because they lack the architecture, history or symbolic significance that society requires to retain them.

Cities shape social and political bureaucracies as well as each and every idividual, and with this in mind, Goodwin repeatedly states that we must accelerate change; we don’t have time for current architectural styles because they are redundant by the time they evolve. Goodwin sees public space as the oxygen of the city and in Porosity: The Architecture of Invagination (2011) he presents research on an architecture driven by inferiority and its connection with external public spaces. Goodwin’s porosity paradigm this views this spatial act, which he calls public art, as a powerful mechanism for change within the city.

Porosity research identifies that the city has become less available to the public beyond the pavement, and the need to embrace a more equal balance beyond the envelope of the building. The theory proposes the hybridisation of programs to rather than the destruction of the building to repair the obsolete and provide character or host to the new.

“Social space per se, is at once work and product... Social space is what permits fresh actions to occur, while suggesting others and prohibiting yet others. Social space implies a great diversity of knowledge.”

-Lefevbre, The Production of Space, 1974

Socialist, Henri Lefevbre is cited with introducing the idea that space is a social production, supported by the observation that spatial experiences are affected over time depending on social circumstances. Social space is not a homogeneous, abstract or passive entity; it is heterogeneous, active and per-formative. Lefevbre’s characteristic of social space resonate with those of porous space, where porous space appears to be an architectural manifestation of social space.

The existing Domain Carpark possess two unique local advantages.

- Intersects the educational and cultural ribbons across Sydney’s CBD - Poses a unique opportunity to act as an urban interface with Woolloomooloo city centre In ‘The Space of Architects’, Lefevbre seeks to understand the nature of designed spaces in terms of its social organisation and impact, in relation to the intentions of those who create it. Lefevbre argues that one can conceive of a “primacy of... semi-public, semi-private spaces”. Such suppositions would lead to a diversification of spaces and the importance of functional division would almost disappear; spaces would become fixed, semi-fixed, movable or vacant with regard to their function and implies a high level of flexibility where functional division is dispersed.

Given its unique characteristics is it possible for a post-production intervention to allow the existing Domain Car park to become a social space? A space that promotes design awareness and participation from a multitude of different users: the public, students, design professionals, employees, production engineers and even architects(!), can coincide. The architectural implications for this denote a system of social spaces that is porous to the flow of ideas and opinion. It implies co-mingling, dialogue and participation.

Lefevbre’s socially porous spaces, combined with the studies of Urban Porosity by Goodwin lend the post-production design of the Domain Car park to a creative and design-aware space blurs the public boundary with that of the private and encourages public and interdisciplinary mingling and production.

Enter the

Richard Goodwin, What a Building Desires, 2005

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Maker’s museum

Richard Goodwin, Porosity, the Architecture of Invagination, 2011

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Initial concept diagrams

n

The

i a m Do

Light wells to perforated floors below at varying depths. Glass panel sports field flooring above to inc. LED to delineate sports fields

L2 L1 + L3 t a n king pace o r a s ng p ge isit stora x e ain ess ret ic acc l pub

U 30

nc

tra

e anc

r

tilising both modular insertional elements as well as the interstitual spaces the combine we are able to create a dual programmatic layout. The room-like layouts are similar to that exhibited at MOMA PS1, while the interstitial spaces may the utilised for more large scale or interactive works.

il

eta

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en tive a n r

or es t

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C

reating porous spaces to allow for social encounters.

A public stairway linking the Public Domain to the urban centre of Woollooomooloo encourages urban porosity, as well as a flow of activity and movement of people.

Perforations to the facade allows for visual porosity both across and into the site.

There is value in retaining the sports fields above however to allow for natural sunlight; Perforated Light wells connecting both spaces above / below the museum as well as across the floor plates allow for connectivity and help visitors with spatial navigation. Overall, increasing both urban and visual porosity at different scales across the site .encourages the public and makes the realm of the museum more inviting.

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CONSIDERING PARASITISM: Lasercut acrylic & expanding foam

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CONSIDERING MODULARITY: Lasercut acrylic & blackwood

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xl l m s XS 34

porosity

& scale We each interact with spaces at different

different scales.

One of the most important characteristics of a building or site, particularly one that is public, is the ability to create or enhance the connection between ground and sky.

Through the connection with the sky comes the enhancement of the environment with natural light and ventilation.

Both physical and visual links across a site allow for varying levels of visual and social intersections. These intersections provide the opportunity to address both privacy and interaction as well as challenge the threshold between private and public space.

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xl At a grand scale the site and its porosity extends to the bounds of the Public Domain and the City of Sydney. Factors including geography, the existing landscape influence both the production of the Makerâ&#x20AC;&#x2122;s Museum as well as creating an interface between the Public Domain and the Urban Centre of Woolloomooloo.

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sheet 1 Tertiary Pathways through the Public Domain. These casual walkways meander throughout the botanical gardens and provide connective nodes to the city but currently have very little intersection with the urban face of Woolloomooloo

sheet 2

proposed circulation

Secondary Pathways follow the historic line of the Harbour foreshore connecting the Botanical Garden to the Historic and Cultural nodes including the Art Gallery of NSW and St. Mary’s Cathedral.

There is an opportunity to intersect the pathway running between the two aforementioned nodes to connection to the Domain Car park.

sheet 3 The Primary Pathways reinforce the North-South and East-West function of the existing Public Domain. They connect the Sydney Opera House, Art Gallery of NSW, Mrs Macquarie’s Point and the Waterfront Promenade with the Garden, Garden Plaza and main city routes.

sheet 4 The proposed pathways (Blue) look to intersect the existing primary pathways between the Art Gallery of NSW and St Mary’s Cathedral. They would also link to Mrs Macquarie’s Point and encourage those meandering to also explore the southern point of the Domain; the proposed Maker Museum

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V ie

Proposed New Circulation Path

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Proposed New Circulation Path

V ie w s T o St Mar wards y â&#x20AC;&#x2122;s C ath e dral

L At the Large Scale, the Maker Museum acts as a connective interface between the Public Domain and the urban site of Wooloomooloo. The urban stair that physically connects the two zones is grand in scale and the user gains various vantage points both across the park, through to the urban centre as well as across the stair into the Maker Spaces. It connects both the urban and Public realms. Itsâ&#x20AC;&#x2122; direct intersection with the museum entrance, and the transparency that is created across the site blurs the boundaries between that public realm and the museum.

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rooftop The urban stair feeds from both of the proposed primary circulation paths; capturing visitors from both the city landscape and those visiting the cultural ribbon of the Public Domain.

L3 The as/descent across the stair affords view both into the Public Domain as well as down into the urban centre of Woolloomooloo. Views are also offered across the site into the Maker Museum and offer the Public a visual taste of what to expect if and when they choose to cross the threshold

L2 At this level the Urban Stair intersects with the Entrance of the Maker Museum.

Having already glimpsed a preview across the site into the program of the museum, the Public are offered the option to cross the threshold into what is tenuously an extension of both the Public Domain and the cityâ&#x20AC;&#x2122;s cultural Ribbon.

L1 The Urban Stair feeds into the low-walled courtyard and across into the Urban centre of Woolloomooloo. Fittingly, the Urban stair does not necessarily terminate by the greens cape acts as another expression of the extended Public Domain.

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M The medium scale is an intermediary host for interactions between the small and the large. It is not necessarily a tangible entity but rather the spatial and relational arrangement of program and functions.

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MARC5001 security - 70m2

Car Parking Zone

Lobby 450-m2 amenities - 525 m2 loading dock - 720m2

Public Transport / Dropoff Node

av - 70m2

makerspace store - 150m2 workshops - 180m2 children’s creation stations - 280m2 crate store - 350m2

retail boh - 980m2 cafe - 1100m2

Bar / Restaurant Space

cafe BoH - 1150m2

Entry Lobby

Retail Space

Rest Rooms Public

Administration

retail - temp exibition - 1700m2

parking circulation - 1900m2

Secondary Museum / Gallery Space Rest Rooms

Offices

Cafe Space

staff meeting rooms - 2290m2

Primary Gallery & Museum Space

External Courtyard

pedestrian circulation - 2750m2

Maker Spaces / Laboratories exibition space - 2900m2

Publically Accessible Storage Space

Theatre

Maker Space Equipment Store

maker laboratories - 3170m2

Equipment Store

urban stair - 3200m2

Connectivity

Adjacency diagram

Strong

Public Realm

Weak

Public / Specialist Work Zones

Functional Adjacency

Private / Administration

av - 70m2 security - 70m2 amenitites - 175m2 workshops - 180m2 crate store - 350m2

courtyard - 3300m2 controlled storage - 780m2 parking circulation - 1900m2

Transportation

Staff circ. / break out = 3300m2 Lobby 450-m2 parking circulation - 715m2

staff meeting rooms - 2290m2

• • • • • • • •

Function Rooms Green Room Reception Cloak Room Staff Room + Kitchens Toilets / Accessible Toilets First Aid Room Parking

• • • • •

Exhibition workshop, carpentry, preparation + store Exhibition staging area Climate controlled storage AV operation, server room, security office Loading dock + goods lift Collection stores

loading dock - 720m2 pedestrian circulation - 950m2

store - 3720m2

• • • • • • • •

Storage + storage (!)

Manager’s office Open plan offices Meeting Rooms Specialist work areas Broadcast Room Conservation Lab Visible Workspaces

retail - temp exibition - 1700m2

cafe - 1100m2

pedestrian circulation - 1800m2

cafe BoH - 1150m2

Staff circ. / break out = 3300m2

courtyard - 3300m2

parking - 8900m2

parking - 4450m2

exibition space - 2900m2

level 2

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Lobby area Temporary exhibition spaces Permanent exhibition space Publicly accessible maker spaces Cinema Cafe + seating Children’s exhibition / maker space Courtyard

level 1

• • • • • • • •

back of house

makerspace storage - 150m2 amenities - 175m2

retail boh - 980m2

schedule of areas

front of house

amenities - 175m2 children’s creation stations - 280m2

parking - 4450m2

maker laboratories - 3170m2

level 3

Maintenance

Rest Rooms Public

store - 3720m2

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S The programmatic layout of the museum at the Medium scale also brings to light the concept of the spatial syntax of the Maker Museum. We begin to challenge the concept of transparency across different levels of the site, as well as visual and circulatory depth of the Museum spaces.

At this scale we begin to introduce both fixed and flexible partitioning systems to inhibit or encourage both movement and visual access.

Here we introduce â&#x20AC;&#x2DC;The Mod.â&#x20AC;&#x2122; 50

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Considering spatial syntax

tate britain

Who is your museum Guide?

Space syntax is the analysis of the interconnectivity and relative positions of neighbouring spaces and helps to answer the question: Does layout actively affect a persons experience of, and movement within a space? Space can be considered equally the content of a museum, and is particularly pertinent when we consider the social porosity of the building. The Maker Museum is not merely a site of stored and displayed objects. It is a place of collaboration; a place where things happen, things are created, meaning is produced, encounters take place and created objects are re-signified because of their context.

The interpretation of spatial syntax implies that human movement is, in essence, a linear trace. However, our interaction with any other person, or spatial field creates a series of convex possibilities, limited usually by our visual field. In the act of choosing a path from that visual field we can either be influenced by previous experiential

The Tate Britain Gallery in London illustrates the functionality of a museum site with high degree of integration and exploration. The layout of galleries at the entrance of the Tate Britain is typically characterised a series of room-like spaces whose entrances branch of a central axis. The rooms are aligned in sequences off the axis, and can be explored independently. In this way the visitor can walk the whole route just by crossing once at the main axis to move from one side of the gallery to the other. Hillier and colleagues (1996) actively recorded the movements of 100 people within their first ten minutes of their visit. Although there was some dispersal into nearly all parts of the gallery, there appeared a statistically significant bias towards movement from the entrance along the central axis, across the shorter cross-axes and entry into the room-like galleries on the left; they were being read and experienced as a consecutive suite of entrances. The layout of the Tate Britain acts to illustrate both the power of a buildings shape to affect visitor movement, and the inherent manner in which visitors read spatial cues.

However, this observation did not account for the impression of informality and relaxed culture that had been reported by the visitors. The culture of the gallery space has been partially attributed to the most central and public space of the museum which has become known as the shallow integrated core, which links the main entrance through the main axis and into the deeper parts of the building. The shallow integrated core also facilitates system of transparency and churning across the separate galleries. From looking out from one gallery towards and through the central core the works of art form the immediate foreground, while other visitors and works of arts in other galleries appear at varying depths forming a rich and active background.

knowledge, interest, or visual connection to other paths. The deeper a visual field is, more areas need to be traversed to reach the destination, and the more possible paths are encountered. Spaces are considered integrated when the measure of depth is relatively low, and thus fewer spaces have to be passed to reached the desired destination. The more segregated a space is, the more spaces need to be passed to reach the destination. Furthermore, the higher the degree of integration of a space the more likely the space is to associate with a repeatable pattern of movement.

When considering the porosity of the site we must also consider how the transparencies not only between program, but also visual access affects movement; the trace that we leave behind within the building.

Here we consider two museum precedent studies which have both undergone post-production transformations; the Tate Britain and Museo Civico di Castelvecchio to reconsider spatial constructs.

Movement of 100 people within 10 minutes of entering the Tate Britain.

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museu civido di castelvecchio

On first inspection, movement through the sculptural gallery and subsequent Painting Gallery is a unidirectional sequential ring. Such circulation patterns would seemingly minimise the opportunity for exploration, however the structure of space and distribution of objects at Castelvecchio collaborate to encourage exploration on a more local level, they slow down the visitorâ&#x20AC;&#x2122;s path and encourage them to modify and reorientates their perspective.

Upon entry, the visitor is encountered with the sculptural Gallery, comprised of pieces from the early Christian and Romanesque periods of the 14th and 15th centuries. The sculptures are freestanding, or mounted on simple timber plinths and upon first observation suggest no particular viewing pattern. However, when taking into account the precise position of the statues several patterns emerge. The visitor is first required to shift their orientation upon entry so as to face a statue directly. In this process of movement it is noticeable that some of the statues are positioned so that their gazes are directed to each other; visually guiding the visitor to the next work . As such, rather than experiencing the galleries as a series of rooms the visitor is invited to have their path successively directed by the gaze of the statues. The convergence of two statues gazes is perceivable in such a path, but can only be discovered through movement and engagement with the exhibition. Similarly, in the Painting Gallery, the works are detached from the static wall surfaces and mounted on easels central to the rooms. While some paintings face the periphery others are directed towards one another and create a superimposition, which is then only interrupted by the visitors movement in between. In this way both the statues and paintings culminate to something more than objects to be seen and a detached, directive circulatory viewing becomes an engaging and active museum experience.

RECONSIDERING THE Maker Museum The Maker Museum is uniquely intersected by the Urban Stair. It is the most central and public space of the museum and as such is designed to be read as the equivalent of a shallow integrated core; linking different programs and providing visual access to deeper parts of the building.

The visual access across the stair invites exploration and churning across the separate galleries.

The Main Exhibition space is made up of pieces that have either been created within, or influenced by collaborations within the Maker Spaces above. When we consider the gallery space at a more local level we look to create room like spaces that can be explored independently but read as part of a larger sequence. The layout that is featured in the following pages is flexible but looks to reflect one instance of how such a layout may be represented. The skewed partition walls not only reflect the direction of the existing column axis, but also direct the visitorâ&#x20AC;&#x2122;s gaze to an adjacent exhibition.

The Maker Space is intentionally designed as a series of room-like spaces that allow for collaboration and creation at designated nodes, but also circulation to the periphery of the nodes. In such a manner, those specialists who are collaborating are able to continue their work while the public are still able to mingle within those work zones.

Position of Sculptures & Sculptural Gaze at Castelvecchio 54

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the mod Consistent with Lefevbreâ&#x20AC;&#x2122;s concept of social Porosity, we look towards designing a space that may accommodate a flexible layout. We look to not merely create flexible or adjustable partition walls - but to introduce a replicable unit that may serve as museum walls, office partitions, storage space, seating or staging.

ion

the

The Mod may be unpacked and incorporates integrated storage as well as access holes for Exhibition lighting.

On wheels it is maneuverable and acoustic seals may be lowered/raised from below/above for acoustic privacy to reach the beams of the existing waffle grid ceilings 2100(H) above.

the

The unit is designed to fit within limited dimensions of the existing spaces between columns and fit within the service life shaft for transportation or reprogramming.

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xs At the smallest scale, the primary focus is on the element of materiality.

Specific material are embedded with their own intrinsic properties and relate to their own specific environmental contexts.

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Circulation Ramp The pedestrian circulation ramps

playing fields

will be encased in a perforated brick facade. The modality of the perforation will be related to the porosity required to the spaces within

The Mod The Walls of the Mod are to be constructed from Marine Grade Plywood; durable, replicable and flexible

light-wells The light-wells are illuminated from the playing fields above.

The walls of the light wells are to be constructed from a fixed perforated brick screen

walls The existing external concrete walls are to be retained. The Northern services walls are to be demolished

Columns The existing concrete columns are to be retained

Floors The existing concrete floors are to be retained and burnished

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There is value in retaining the playing fields rather than relocating them.

Instead, the fields will be divided into grids and the surfaces replaces with tectonic glass plates. The glass plated will allow light into the light-wells below and LED strip lighting below the plates will allow for delineation of the field lines in low light

Landscaped Surface

The existing landscaped surface of the playing fields is to be retained.

walls to Urban Stair

Urban Stair

The walls to the Urban Stair are to be glazed. Given that their location they will receive little direct sunlight and reflection and glare will be negligible.

Full Height Glazing will help to afford transparency across the sire and visual porosity into the Maker Museum.

The urban stair is to act as an extension of the realm of the Public Domain. As such it will primarily be constructed from paved elements including perforated paving.

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ACCESSIBLE PARKING

PEDESTRIAN LINK

EXIBITION SPACE

PARKING

OPEN PUBLIC DOMAIN

FUNCTION ROOMS / OFFICES

PUBLIC

PUBLIC

TRANSPORT

PUBLIC

PRIVATE

Fixed high Perforation

kinetic

Fixed High Perforation

Kinetic

Kinetic

STORAGE

PEDESTRIAN LINK

MAKER SPACE

PRIVATE / PUBLIC

PUBLIC

PUBLICALLY ACCESSIBLE

PARKING

PEDESTRIAN LINK

EXIBITION SPACE

TRANSPORT

PUBLIC

PUBLIC

Fixed Mid Perforation

PARKING

OPEN PUBLIC DOMAIN

FUNCTION ROOMS / OFFICES

TRANSPORT

PUBLIC

PRIVATE

Fixed Mid Perforation

Elevation & Program

Porosity

Fixed high Perforation

kinetic

Fixed High Perforation

Kinetic

Kinetic

PRIVATE / PUBLIC

PUBLIC

PUBLICALLY ACCESSIBLE

TRANSPORT

PUBLIC

PUBLIC

Fixed Mid Perforation

TRANSPORT

PUBLIC

PRIVATE

Fixed Mid Perforation

Fixed high Perforation

kinetic

Fixed High Perforation

Fixed Mid Perforation

Kinetic

Kinetic

Fixed Mid Perforation

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fixed Mid perforation Translation to facade type

fixed Mid perforation

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Fixed Mid Transparency

0% Transparency

15% Transparency

Fixed Transparency

20% Transparency

The Maker Museum is designed so that all spaces, even those attributed to transport or private programs are visually permeable to some degree. Those areas will be met with fixed brick screens with some visual transparency with a hit and miss brick course.

Those areas that are publicly accessible but not attributed to programmatic movement, such as circulation, will be met with fixed brickwork but with a high degree of transparency. This style of brick work will be characteristic of the light wells that perforate the Levels floors and provide natural light to both the maker spaces and main exhibition spaces

25% Transparency

THE HUMBLE BRICK Clay, in buildings, is most commonly used to make masonry bricks. By no means a mistake, the humble brick was selected as the primary facade material for the urban element of the Makers Museum.

A naturally porous material, it not only strongly references its urban ties with Woolloomooloo, but also allows for a range of facade types of various transparencies and kinetics.

Kinetic

Those areas that have high traffic and are also programmed for movement, such as external circulation zones to the ramps, will be met with a flexible, or moving brick facade. Visitors and the public are encouraged to touch miniature brick horizontal louvers.

THE ROTATION THAT IS LEFT IS EFFECTIVELY THE TRACE OF VISITORS THAT HAVE BEEN. 64

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Vertically Cored Bricks - 225x x76 x 112.5mm 80x80mm SS Angle 80 x 80 x 6 mm SHS Existing concrete slab cut away to allow for light wells

Vertical Section @ 1:10

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Cored Roman Bricks - natural glaze - 300x 100 x 50wmm 75mm DIA SS CHS 100mm SS SHW 200 x 200 x 10mm Galv Plate (recessed)

Horizontal Section @ 1:20 5 6 7 8

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Vertical Section @ 1:20 25mm SS Rod 20mm Polymer Spacer 10D Galv. Anchor Bolt Concrete slab to Existing External Ramps

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1 : 1000 Plans

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B A

C

20% Existing Parking to be Retained

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Level 1 Plan

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Level 2 Plan

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1 : 1000 Sections

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SECTION - A - CAR PARK

SECTION - C - EXHIBITION / MAKER SPACE

LIGHTING Whilst the Urban Stair allows for light to enter the Museum via the central core, the depth of the North and south wings would otherwise inhibit natural light into the spaces and thus different options must be explored.

The light-wells penetrating the Maker Museum through the glass-floored sports fields above not only provide allow for natural light through their eight meter span, but also provide an important connection with the sky and activities above.

SECTION - B - URBAN STAIR 88

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Tertiary

demolition The paved urban stair sits on a fibrous membrane which through a filtrations system and empties at the Northern aspect of the site for recycled water use

Those areas that intersect with the intervening Urban stair have been demolished.

Further to this the services and mechanical rooms that were at the Northern most aspect of the site have been removed to allow for a larger exhibition space and for the Urban stair to feed more directly into the Woolloomooloo town centre.

Perforations have been made to the roof to allow for sunlight to filter to the lower exhibition levels, however the beams of the waffle slab have remained; only the intermediate slab has been removed.

Sunlight filtering through both the brick light-wells as well as the waffle slab will allow for a greater filter of light and a detailed textural light.

ces rfa

u ed s pav

Secondary The secondary set of beams and joists transfer the load of the paved surfaces . Each of the connection points are designed to align with an existing column below.

bra

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Primary The points loads are transferred to the existing concrete columns, and then to the footings. The structure is designed so that the Urban Stair intervention may still be dependent upon the primary structure of the existing car park.

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urban blue

The urban circulation feeds both from the Domain playing fields as well as the travelator tunnel from Hyde Park. Both offer the visitor the opportunity to view and experience the Maker Museum in the but ultimately the trans-urban link to Woolloomooloo which had previously gone unrecognised.

Woolloomooloo orange

The Urban facade of the Maker Museum and courtyard open onto Woolloomooloo.

Visitors entering from this aspect have the opportunity to circulate via the external stair and experience the various transparencies of the urban brick.

1 : 750 Model

Main entrance yellow

All visitors have the opportunity to enter via the main entrance on Level 1. Located at the public courtyard of the Urban Stair it feeds directly to the lobby, shop and cafe as well as the main exhibition.

Vertical circulation CNC Merbau & Resin 3D Print 92

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Thank you

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bibliography Audi, “Audi Study: No Congestion in the City of the Future”. 25th Hour Flow, (Munich, 2017) Baldwin, Roberto. “Autonomous Cars Alone Won’t Solve Trafic Jams”. Engadget, https://www.engadget.com/2018/09/17/audi-autonomous-cars25th-hour-traffic-jams/ (Accessed 28/10/18) City of Sydney, “The City at a Glance.”

Fulton, Lewis et. al., “Three Revolutions in Urban Transportation”. UCDavis: Sustainable Transportation Energy Pathways, California, USA, 2017 Gensler, “Building Obsolescence and the Impact of Autonomous Vehicles on Future Development”, National Association of Realestate Investment Managers. (New York, 2017).

Goodwin, Richard. “Denatured Contingency: The new engine of sustainability”. Experimental Arts, Paper 07, Volume 8. Studies in Material Thinking, pp 1-12.

Goodwin, Richard. “Porosity: The Architecture of Invagination”. Experimental Arts, Paper 07, Volume 8. SRMIT University Press, pp 1-12.

Goodwin,

R.

Porosity:

The

Architecture

of

Invagination.

Melbourne:

RMIT

Press,

Mlebourne,

2011

Hillier, B. Space Is the Machine. Cambridge: Cambridge University Press, 1996.

Merel Pit, Karel Steller, Gerjan Streng, “Parasitic Architecture”, https://www.scribd.com/document/262699759/T02-Essay-Parasitic-Architecture, Accessed August 2019 Peponis, J., Hedin, J. “The Layout of Theories in the Natural History Museum.” 9H 3 (1983): 21-25.

Phillip Boyle & Associates, “The Impact of Car Share Services in Australia,”(Sydney2016).

Sadiq-Khan J, “Blueprint for Autonomous Urbanism,”(New York: NACTO, 2017).

Stern, Raphael et. al., “ Dissipation of stop-and-go waves via control of autonomous vehicles: Field experiments.” Transportation Research Part C: Emerging Technologies, 89, no. 2, pp. 205-221, 2018 Stavroulaki, G., Peponis, J. “The Spatial Construction of Seeing at Castelvecchio.” 4th International Space Syntax Symposium London 66, no. 1 (2003): 14.

“Tate.” http://www.tate.org.uk/whats-on/tate-britain/display/IndigenousHistory.

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City

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“City

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-

Civic

Survey,”(Sydney:

City

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1938-1950)

Tzortzi, K. “Museum Building Design and Exibition Layout.” 6th Internation Space Symposium 72, no. 1 (2007): 1-16.

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Secondary Paths

Primary Paths

Proposed Paths