ENVS10004 DESIGNING ENVIRONMENTS. K E LV I N N G 8 3 2 3 0 8
SEMESTER 2 DESIG NING ENVIRONMENTS
SITE BALDWIN
BALDWIN
SPENCER
SPENCER
REDMOND BARRY
UNION HOUSE
REDMOND BARRY
STUDYING
UNION HOUSE
MELBOURNE SCHOOL OF DESIGN
UNIVERSTY HALL
MELBOURNE SCHOOL OF DESIGN
UNIVERSTY HALL RAYMOND PRIESTLY
EATING
RAYMOND PRIESTLY
9AM BALDWIN
11 AM BALDWIN
SPENCER
WALKING
SPENCER
REDMOND BARRY
REDMOND BARRY
TALKING/SOCIALISING
UNION HOUSE
UNION HOUSE
MELBOURNE SCHOOL OF DESIGN
MELBOURNE SCHOOL OF DESIGN
MOBILE PHONE
UNIVERSTY HALL
UNIVERSTY HALL
RAYMOND PRIESTLY
RAYMOND PRIESTLY
3PM
1 PM BALDWIN
BALDWIN
SPENCER
REDMOND BARRY
UNION HOUSE
UNION HOUSE
UNIVERSTY HALL
MELBOURNE SCHOOL OF DESIGN
UNIVERSTY HALL RAYMOND PRIESTLY
RAYMOND PRIESTLY
5PM
10am
11am
12pm
1pm
2pm
3pm
4pm
5pm
6pm
7pm
8pm
9pm
SPENCER
REDMOND BARRY
MELBOURNE SCHOOL OF DESIGN
9am
7 PM
The intensity of the The University of Melbourne’s Concrete Lawn has been mapped in the form of a temporal diagram, shown above. The map of concrete lawn has been overlaid with different traffic intensities, lighter colours showing less intensity while the darker colors shows greater intensity. The map shows the passage of time throughtout the day, mapping instances of movement from 9am to 9pm.
SPATIAL COMPOSITION The concept of spatial composition was explored though the use of interlocking frames, creating a dynamic sense of movement, fluidity through rigidity. The notion of transparency is created throught this as well, different levels of light being let through from different angles.
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A
PLAN 1:2 SCALE
SECTION AA 1:2 SCALE
LANDFORM SECTION AA 1:2 SCALE
PLAN 1:2 SCALE A
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This exercise was inspired by Australia itself, elements representing different aspects of the country, from the cut and surrounding steps invoking the image of a crashing wave in a cove, to the steps towards the back representing the layers of rock in Uluru. The usage of cutting, stepping, tilting as well as extrusions an subtractions have built a base for the final design. It was also the start of the digital process, starting to use Rhino to envision the final product before being built.
ASSEMBLAGE PLAN 1:2 SCALE
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A
SECTION AA 1:2 SCALE
The activity of grafting was shown in this design, elements from spatial composition and landforming meeting in an almost chaotic, violent way. The frames from the previous design look like blades hurled into the side of the main platform, while the wooden pillars have been placed to look like they have been dropped almost haphazardly from the sky, into the steps. In the process of designing this structure, both the landform and spatial composition models were broken down into their basic blocks and recombined to form the base plan, before details were added.
OCCUPY.
Sinking. Blackness Who am I? What am I? We need not know. Are we confined to this mortal shell that our minds occupy? Do we control the dream or does it control us? I feel myself expanding, consciousness rushing outwards to occupy not only the shell that is me, but to encompass space itself Images melding together to form connections, pulses through a network, tangible yet intangible. Images of history, people, places rush by, moments captured by imagination. Beauty. Madness. Sinking. Darkness.
The concept for the narrative was the occupation of the metaphysical, that is, the occupation of the dream. I have tried to describe the process of meditation, or the instant where we are transferred from conciousness to sleep. This had been translated into a collage, which forms the base of the final design. The challenge, mauch more so than other designs, was to keep the design functional and real, rather than embark on a fantastical and unreal journey, ending up with a impractical and strange design that would look out of place in a university.
COLLAGE
BALDWIN
SPENCER
REDMOND BARRY
UNION HOUSE
MELBOURNE SCHOOL OF DESIGN
SUPERIMPOSITION UNIVERSTY HALL RAYMOND PRIESTLY
1. COLLAGE 2. INTENSITY MAP OF SITE 3. ASSEMBLAGE PLAN
BALDWIN
SPENCER
REDMOND BARRY
UNION HOUSE Over the superimposition, a plan was drawn, using the intersecting lines and intesisty of people within the sie as a guideline. The shades have been drawn over the places of most intense traffic.
MELBOURNE SCHOOL OF DESIGN
UNIVERSTY HALL RAYMOND PRIESTLY
INITIAL PLAN
CONCRETE LAWN REDEVELOPMENT
PRECEDENTS
Figure 1.
Figure 2.
Figure 3.
Figure 4.
Figure 1. (Kengo Kuma, GC Prostho Museum Research Center), Figure 2. (Larry Oltmanns, Melbourne Exhibition Centre), Figure 3. (George Chakhava, Tbilisi Ministry Of Transportation), Figure 4. (Kengo Kuma, Naturescape)
PRECEDENTS
++++++++++ Previous projects I have considered in my design stem from a range of influences, from the brutalist movement of the 1950s-70s to Kengo Kuma’s works. As I was working with concrete, the main base of the project had to be quite solid and blocky, brutalism fitting perfectly with this. However, I used a more asian design philisphy, trying to achieve a sense of balance and continuity with the base and how it relates to the upper elements of the structure. I have considered Kuma’s work, using quite solid materials but still able to create a sense of lightness and airiness in his designs. The grid structure that holds up the concrete slab roof, inspired by the exhibition centre, was referenced from his cidori style musuem while the sweeping steps are a nod to his naturescape. However, it has not been designed to emulate his style, but simply reference it, the easy, almost carefree nature of the brutalist elements contrasting heavily with the exacting and precise nature of Kuma’s works. The brutalist elements have been placed to almost give stuents a break from the carefully designed aspect of life, elements looking almost haphazard in their composition, compared to the precision of the MSD or functionaility of Union House directly adjacent to it.
WHY
ROOF
GRID
LANDFORM
First, the landform “base” of the structure was extruded and subtracted from the ground, leaving a space where people could climb and sit, simply occupying the space and breaking up the purpose-filled design tht surround us, much like how we dream of fantastical scenes to break up the monotonous routine of modern life. Second, the grid was formed, allowing people to weave and play among the pillars, forming the ‘fun’ of the dream. It also acts as a support to hold up the concrete roof slabs. Finally, the concrete slab roof bisects the grid, forming shade over the cocncrete lawn, shielding from rain and sun.
DESIGN PROCESS
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Plan v1.
Plan v2.
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The floor plan originally had a single large roof slab covering the middle of concrete lawn, which was considered to provide shade to patrons using it. However, in sunlight simulations, it proved to be too much, overshadowing the whole space and making it seem quite dark and heavy.. The grid also was not present, making it almost impossible to hold itself up on three thin pillars alone. The circular nature of the plan was designed with the asian quality of balance in mind, each element balanced against another, whether it be a extrusion and subtraction, or a grid and negative space.
SECTION AA
DESIGN PROCESS
MODEL PHOTOGRAPHY
FINAL LAYOUT BALDWIN
SPENCER Sinking. Blackness BALDWIN SPENCER Who am I? What am I? We need not know. Are we confined to this mortal shell that our minds occupy? Do we control the dream or does it control us? I feel myself expanding, consciousness rushing outwards to occupy not only the shell that is me, but to encompass space itself Images melding together to form connections, pulses through a network, tangible yet intangible. Images of history, people, places rush by, moments captured by imagination. Beauty. Madness. Sinking. Darkness.
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REDMOND REDMOND BARRYBARRY
UNION UNION HOUSE HOUSE
MELBOURNE SCHOOL MELBOURNE SCHOOL OF DESIGN
OF DESIGN
UNIVERSTY HALL
UNIVERSTY HALL
RAYMOND PRIESTLY
RAYMOND PRIESTLY
A
SECTION AA 1:50
SECTION AA 1:100
The layout was created through the superimposition of the plan at 1:200, section at 1:100 and the experience section at 1:50. Additional elements such as an exploded axonometric showing each element and a fully realised render, complete with context and people. The render and textures were applied in Rhino and rendered in V-Ray. All of these elements were combined into one image in Photoshop. The superimposition creates a more interesting layout than a traditional only drawing presentation.