LAU _ AARON
a c at a l og of works
5 HARCOURT STREET HAWTHORN EAST 3123 VICTORIA AUSTRALIA P: + 6 1 4 3 0 4 7 7 8 5 0 E: aalau7690@gmail.com SKYPE:
aaron.lau.yee.yin 1
4
_CONTENT SYNECDOCHE
STUDIO ‘SUSPENDED BY HISTORY’ - memorial/museum/park [year 4 fall 2011]
PLATFORM
STUDIO ‘INVERTED COURTYARDS’ - living platform/(s) for living [year 4 spring 2011]
_border as enclosure _border as interface
CODING
STUDIO ‘TEARING DOWN THE WALL’ - a prison hybrid [year 5 spring 2012]
Special thanks to Dr. Andrew Saniga and Mr. Danius Kesminas for your guidance and supervision on this amazing trip. Biggest congratulations to my fellow colleagues and friends for a successful semester as well as all the help and encouragement Last but not least, a shout-out my Lordto and Jesus Christ. The wall as atomediator theSaviour, randomness and unpredictability of
graffiti placement and delineation
DISPLACEMENT
LITHUANIA STUDIO ‘MEMORY & NOSTALGIA’ - cinema/memorial hybrid
[Year 5 winter 2012 ]
[year 5 spring 2012]
THESIS
‘the FOLDED MAT’
S peculations of a new city typology at Melbourne’s edge
INFILL
STUDIO ‘MEDIASPACE’ - infilling the heritage void [Year 3 fall 2009 ]
[Year 3 fall 2009]
[Year 2 2008]
‘HOLO-MINANCE’ SKIN
environmental systems; sustainable facade panel
NIKE SPORTSWEAR INSTALLATION Pavilion, Kuala Lumpur, Malaysia
5
6
SYNECDOCHE
STUDIO ‘SUSPENDED BY HISTORY’ - memorial/museum/park [year 4 fall 2011]
tutor: Billy Kavellaris
[exhibited in ‘Synecdoche’, The Hon. Evan Walker Design Studio 2011 exhibition]
7
5 2
4
3 “The dead and the unborn are as much members of society as the living. To dishonour the dead is to reject the relation on which society is built – the relation of obligation between generations. Those who have lost respect for their dead have ceased to be trustees of their inheritance. Inevitably, they lose the sense of obligation to future generations. The web of obligations sinks to the present tense” - Douglas Kelbaugh
8
MEMORIAL/ M U SEVICTORIA UM / PAMARKET RKQUEEN _ R E C O N C E P T UA L I Z ING THE MEMORIAL
The Synecdoche design studio is underpinned by interdisiplinary speculations which recognize that architectural outcomes are directly influenced by dynamic socioeconomic, political; and technological forceswherecultureplaysthemediatingrole.
A vacant carpark of the existing Victoria marketplace was the site for intervention. Initial research indicates the presence of a ‘forgotten’ cemetery beneath, causing a reluctance to develop the site. My proposal hinged to expose the particular history of the site, rendering visible its specific memories and acknowledging its significance with the hope of addressing both past and present to affect positive future outcomes for the city. The Synecdoche is derived through a narrative, where history acts literally as structure that supports and suspends programme in a linear motion of time; this drives both the visual, programmatic and conceptual premise of the proposal. Essentially, through the synecdoche, the museum resolves itself into three parts, museum as archive, monument and memorial. The fact that it is a museum, rather than a freestanding monolithic commemorative object, already suggests an active and meaningful engagement with history, rather then the passive contemplation implied by the traditional monument.
7
Together with the injection of culture and new public space, these programs have the ability to regenerate imagination of the city.
6
1 1. MEMORIAL PARK 2. VERTICAL CEMETERY 3. ABORIGINAL MUSEUM 4. HISTORICAL SPACE 5. GREEN ROOF 6. ART SPACE 7. PERFORMANCE SPACE
sectional perspective 9
RESPONSE
present
?
s t a g e reconnection
primary axis
h i s t o r y
roots
Urban gesture no.1 - to complete the urban edge by reconnecting Dudley & Therry streets.
performing making learning watching
memorializing remembrance
memorializing remembrance
m em ori a l
past
Victoria Market in itself is a diverse ‘city within a city’. Standing out within the urban map as an edge of an incomplete grid system.
performing making learning watching
e
performance a r t
of ‘suspended
pastpresentfuture
neglected space used as carpark
future
tim
The site’s former history as a cemetery was overwritten. Layers of history lie neglected as the site is currently utilized as a carpark
time
SITE
history (literally)
by
history’
permeable Urban gesture no.2 - Secondary axis connects pedestrian movement from Franklin and Queen streets.
SHED typology
1. Continuing the historical market language and typology CBD
flags greenteaff ry
1
program is chosen to activate the surrounding area.
qu een st.
2. Greenery from Flagstaff to inform and locate the memorial park 3. Museum and theatre entrances located along the Queen street periphery
ley dud
st.
3
st.
queen st.
t
peel st.
secondary axis
ry her
2 in nk l a r f
st.
4
urban intervention 10
10
9
rr y the
peel st.
queen st.
6
7
st.
8
5 y dle
du
st. n fra
1. Aboriginal 2. Monument Core 3. Follies - unprogrammed sheds 4. Theatre spillout 5. History 6. Green Roofscape 7. Art 8. Viewing platform 9. Performance 10. Stage & back of house
n kli
st.
franklin st.
masterplan 11
PEELING AWAY THE LAYERS OF THE MEMORIAL 1. Representing & remembering the 9000 unnamed bodies that were neglected through
du
a picturesque imagery of a cemetery landscape. LANDSCAPE & TREES - greenery to represent life
re
peel
t
et
his tor ica l ax is
T H E AT R E MACHINE
n vi ct
A R T MACHINE
ma
HISTORY MACHINE
rk
s axi y t i c
ia
s axi l a ic tor s i h
+
or
+
st
stree
ee
=
ey
qu
f fs a te n s Concreteg d - juxtaposed with the landscape a toFRAMES attempts evoke tensions between life an death l r f a g FOLLIES - unprogrammed shelters, rest & event generators
dl
et
fra nk lin str ee t
2. VERTICAL GRAVE / LIVING MONUMEN T
ABORIGINAL LANDSCAPE
Challenging the typical flat graveyard typology. Implying a future possibility of building vertically to prevent overrunning the ground. A living, event-filled core.
vs
8 columns representing 8 groups buried at the cemetery, holding up the & suspending the stacked programs
th
queen
street
er
ry
str
ee
t
3. MUSEUM JOURNEY PAST. PRESENT. FUTURE. “past” - experiencing aboriginal culture at ground level through the museum embeded in landscape, acknowledging their connection with the land. History machine facing Victoria market. “present” - journey upwards through the vertical memorial, towards the present, the contemporary art museum “future” - art and theatre as an
ever-evolving program
exploded axonometric of volumes 12
view from peel street
new programs to activating the site at night 13
“...Challenging the typical flat topography of the graveyard, a living vertical monument instead of the traditional contemplative monolith.�
vertical cemetery 14
Eisenman’s Berlin memorial - Concrete block juxtaposed representing the unnamed with a the living object
Memorials and pause spaces for contemplation & reflection “in the midst of ongoing living history” better suits the everchanging outdoor streetscape, serving as a catalyst for infecting change and urban regeneration of urbanity and the city.
A public space that is also spiritual in nature
“...Two cantilever bridges, suspended from the memorial core provide instruments for experimentation, both visually and physically, with the landscape. The walk from the core to the roof garden, opens historical views towards the market & subsequently towards Flagstaff gardens without ever losing connection with the geography and events transpiring around the memorial park”
machinary for the senses
15
16
PLATFORM
STUDIO ‘INVERTED COURTYARDS’ - living platform/(s) for living [year 4 spring 2011]
tutor: MARJAN CERHOVIN
[distinction; exhibited in University of Melbourne EYES exhibition]
17
s u b urban living
isolated urban sprawl
typical city highrise
no interaction no sense of community no green space
community blocks
some visual interaction, no personal garden
platform housing
social interaction, personal garden, high density community living
“There is a contradictory desire in our utopia”
We want two extremes, the intensive meeting plavce, the urban environment, the meeting place; and we want the secluded open spce where we are alone in nature, the “Australian Dream”. Suburbia is an expression of those desires - needing the city and wanting the country - but it provides neither. A ‘paradox of suburbia’ emerges from this conflict.
“the conflict between downtown and the suburbs is a phony, the two are complementary parts of a whole” Victor Gruen, 1954 18
I N V E R T E D C O U R T Y A R D S MACAULAY ROAD, NORTH MELBOURNE _RETHINKING MID-DENSITY HOUSING
The proposal challenges typical notions of homogenous and indistinguishible social housing, and their place in Melbourne’s inner suburbs. How then can a proposal for medium density housing integrate these ideals when site constraints, solar gain and overshadowing have dictated an optimal mass that is as slim as possible? VOID POTENTIAL: Through an exercise in composition, the articulation of two unit types carved dynamic voids that create an architecture of permeability while addressing formal and social juxtapositions. Voids act as interfaces, entrances, communal spaces, private spaces, even public spaces, the possibilities of in-fill or out-fill are tremendous. In hindsight, voids allow for the injection of both private “back/front/court-yards”as well as common spaces that provide elevated greenspaces. Also, they allow for neighbourly ‘confrontations’, occasions that rarely happen in typical density housing configurations. Encased in a logical structural system, the void extends its role of forming private/semiprivate open space further as it also extends the possibilities of future transformation as per current condition of the owner. Finally, an injection of identity and a sense of belonging is achieved not only through the ability of the owner to congure a specific kit of parts, the use of the symbolic silhouette of a ‘monopoly house’, hopes to not only create a unique roofscsape but act as an element of identication as well as literally denote an architectural platform.
19
1
5
node proximity in north melbourne
programmatic density
2
optimizing form
6
existing site conditions
site conditions
3
optimizing diagonal flow
7
typical block layout
4
negotiating the slope
8
micro unit optimization for communal spaces and private gardens
capturing the northern sun
permeability through blocks
urban intent 20
B
A’
A B’
north melbourne figure ground
section
A-A
section
B-B
urban design proposal 21
11 894 sq m optimised plot area
2.4 floor ratio area 58% covered area 69.5% built open area
28 962 sq m Gross Floor Area
94 /ha
73.9% 8784.7 sq m residential housing
133 lots 5560 sq m residents
29% 3452 sq m residential communal areas
13.7% 1626 sq m commercial & retail
44.5% 5299 sq m Public open space
/ha
82 units
42 units 4551 sq m Apt block 1
20 units 2116.8 sq m Apt block 2
1.5% 423.4 sq m health & child care kindergarten
282
block 3 type 1 single - 10units type 2 duplex - 8 units type 3 duplex - 2 units
block 2 type 1 single - 10 units type 2 duplex - 8 units type 3 duplex - 2 units
block 1 type 1 single - 36 units type 2 duplex - 4 units type 3 duplex - 2 units 16-20 lots 978 sq m visitors & public
20 units 2116.8 sq m Apt block 3
22
urban design proposal 23
carparking
public park commercial podium residential blocks
circulation galleries & bridges
private green terraces
permeable block
- elevated bridges and voids
private void
- breaking typical single unit configurations
semi-private void
- inverted courtyard for 4 neighbours
vertical relationship & identity
type studies and void potential - interaction/expansion possibilities
single unit (12x8)
single unit + courtyard
DUPLEX/TRI-PLEX + PITCH ROOF EXTENSION
type composition diagram architectural intent 24
single
a c c o m o d a t i n g G R O W T H
duplex/tri-plex
unit configurations 25
elevated park
a l e r c i m m c o
e s p i n 1 2
7
6
6
4
4
3
1
COMMERCIAL PROGRAMS 1. garage/verhicular + bike services 2. supermarket 3. retail 4. lobby 5. childcare 6. eateries 7. management offices
26
DUPLEX SINGLE PRIVATE GARDEN COMMERCIAL PUBLIC
plans + elevations 27
C O M M E R C I A L public spine 28
“living platform denotes an architecture of flexibility and adaptability that supports everyday living�
COMM E RCIAL elevated links 29
+21.8 platform
7 +17.9 9 8
+14.6 duplex
2
+11.3 residential + communal
1
7 +8.0 residential 3
7 +4.0 commercial
8
5 6
+0.0 commercial + carpark 4 3
sectional detail
DUPLEX UNIT WITH PITCH-ROOF OPTION 1. timber pergola 2. timber backyard patio 3. north-face horizontal timber louvres 4. glass handrail 5. balcony extension 6. steel tension cable attached to slab 7. aluminium frame window (top hung) 8. aluminium sliding door 9. perforated steel-alloy mesh attached to structure 10. loft floor addition
kit of parts 30
neighbouring void 31
physical model 32
“man may readily identify with his owb hearth, but not easily with the town in which it is placed. Belonging is a basic emotional need - its associations are of the simplest order� (Alison & Peter Smithson)...
only then can we call a place home
33
34
_border as enclosure _border as interface
CODING
STUDIO ‘TEARING DOWN THE WALL’ - a prison hybrid [year 5 spring 2012]
tutor: JUSTYNA KARAKIEWICZ, STEVE HATZELIS [distinction]
The wall as a mediator to the randomness and unpredictability of graffiti placement and delineation
35
36
280km
PRISON HYBRID QUEEN VICTORIA MARKET _A NEW URBAN PENETENTIARY TYPOLOGY
The thesis attempts to challenge negative preconceived notions of “PRISONS” to reinstil an urban penitentiary type into the city fabric that is desirable, focusing on the prison wall and what it means to be in the city? This occurs primarily with the prison wall. A ‘Wall’ is defined as ‘a continuous structure that encloses or divides an area of land’. The wall defines the ‘social physic that two bodies cannot share the same place at the same time’. This forces people to remain on their side, primarily for their well-being, similar to the main scenario of having a prison wall.
40% 36%
increase (Source:
in
Department
prison
of
population Justice
the
Corrections
last
10
Statistics,
years.
Victoria)
of the prisoners return to prison within two years of release. (Source:
Report
on
Government
Services
2012
-
Council
of
Australian
Governments
(COAG))
_Despite prison population and recidivism significantly increasing over the last decade, the incarceration structure in Australia has failed to see advancements throughout the past century and desperately requires innovation and reimagination.This debate creates an opportunity to rethink the future of prison designs. Adding to this debate are the locations of prisons at the fringes, away from the city, framing a negative perception that prisoners are transported away akin to garbage. _Site as ‘terrain vague’ Strategically located at the northwest edge of the Hoddle grid, the site currently functions as a car park and is under-utlized. Despite being surrounded by the market, residential, office towers, and education institutions, the lack of a public presence renders the site a ‘terrain vague’. This generates great potential for a significant social and architectural intervention.
_‘TEARING DOWN THE WALL’ The core concept was a redefinition of the wall, manifesting in a narrative coined ‘walls as enclosure’ and ‘walls as interface’. By intersecting these two wall definitions, the conditions generate a level of permeability and acceptance to happen between the city and the prison. _The wall as architecture; Through a rigorous process of diagramming, the new typology becomes catalytic for the emergence of programmatic hybrids such as places for living, education, art and agriculture. Art-centric programs become priority as they gradually increase the scope of prisoner-societal interaction. This is crucial as only via a state of trust can the intervention start to merge a symbiosis with the city morphology. Where the re-defined ground plane and wall meet, social connectivity and networks are forged that engages its contextual adjacencies, becoming the hidden gem that actually increases its value; breaking a deadly cycle of recidivism and negative stereotypes.
37
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white red orange yellow cyan light green dark green blue purple brown black
Through a process of data collection, image averaging and pixellation, the influences of graffiti on the privatization of Union Lane was visualized. The investigations on graffiti and street art reveals its potential as means of education as well as a medium of social blurring and breaking of social hierarchies.
graffiti and privatization of public space - laneway privatization diagram 38
site flows and intensities 39
program generator 40
urban intent 41
STRATEGY OF THE WALL WALL AS ARCHITECTURE HORIZONTAL PROGRAMMING
“The wall as architecture” was basically an ordinary strip of space delineated by a minimal architectural intervention, a space waiting to accommodate program.”
potential p
GREEN GRAFFITI
edestrial fl
ow
ALL W N ISO
URBAN W ALLS
PR
PROGRAM BASED ON POTENTIAL OF PRISONER-SOCIETY strategy of the wall INTERACTION
FORUM
“the wall as architec ture”
ATTRACTION VALUE: 1 ONE ON ONE, CLASSROOM STYLE
TRIANGL
E
horizontal programming ATTRACTION VALUE: 3 a strip of space delineated VISUAL, PERFORMANCE by minimal architectural VALUE: 5 intervention, a ATTRACTION space waitINDIRECT ing to accomodate program
PROGRAM PARAMETERS interaction + attraction + security interaction
QVM
distance from core attractiveness DISTANC E
interaction
security
FLAGSTAFF
pe rfo rm an ce ga (th l le ea ry tre (g ) ra ffi ti/ ar tg ar de n
pr is
on
co re stu di lea os r ga nin rd g s en pa s ce s
)
interaction
PROGRAM BASED ON POTENTIAL OF PRISONER-SOCIETY programINTERACTION based on potential for
prisoner-societal interaction ATTRACTION VALUE: 1 ONE ON ONE, CLASSROOM STYLE ATTRACTION VALUE: 3 VISUAL, PERFORMANCE
INTERAC
ATTRACTION VALUE: 5 INDIRECT
TION
interaction
distance from core core distance from
iinteraction nteraction
aattractiveness ttractiveness
interaction
ssecurity e c u
r
i
t
y
program parameters interaction + attraction + security 42
transforming opaque walls into interfaces with transparency, allowing varying degrees of information exchange and potential interactions
programmatic and formal parameters 43
44
1. By extruding the site, the prison becomes an impermeable wall... this is not ideal
5. Reorient the prison strip to reconnect the grid
2. Imagining the site as a field of horizontal strips or walls) for horizontal pemeability, making it accessible to the city
3. Maximum clashing between ‘walls’, generating two potential cirrculationary types: an enfilade (a suite of rooms formally aligned with each other)
4. ...and Serendipity (a meandering, spontaneous route in which one finds their own paths)
6. Lifting the prison strips for security
7. Gradual bleeding of walls - bringing the prisoner back to the ground plane through ART as a first step to the process of ‘reintegration into society’ as well as creating a public loop through the building
8. Inserting catalyst program into strips to activate walls, functions which encourage interaction. For example: performance spaces, art facilities
45
in-between outdoor public art installations
triple-volume plaza
activated ‘laneways’
spatial vignettes 46
an urban wall 47
a public forum
site activation around a 24 hour lifecycle 48
tearing down the wall - a prison hybrid
49
50
Special thanks to Dr. Andrew Saniga and Mr. Danius Kesminas for your guidance and supervision on this amazing trip. Biggest congratulations to my fellow colleagues and friends for a successful semester as well as all the help and encouragement Last but not least, a shout-out to my Lord and Saviour, Jesus Christ.
[Year 5 winter 2012 ]
DISPLACEMENT
LITHUANIA TRAVELLING STUDIO ‘MEMORY & NOSTALGIA’ - cinema/memorial hybrid tutor: Dr. ANDREW SANIGA
[distinction; exhibited in ‘Lithuania Travelling Studio 2012 exhibition]
51
52
Current preoccupations of heritage calls for the preservations of what is beautiful, old and has significance; however my opinion denotes that it should also be about keeping what is ugly, normal, mundane and absurd..only through the preservation of these layers can one truly understand a city’s past and periods it went through.
‘MEMORY’
- reformation square, Vilnius _interventions on a forgotten landscape. Studio Displacement calls for the design of a ‘space’ that recalls the displaced person/ people of Lithuania. My approach questions what Lithuania should preserve from the Soviet era and can preservation in turn be a catalyst that recalls the displaced? _‘Memory’ celebrates the idea of heritage not in the form of an object, but through a memorialization of memories, collected, stored and then projected.
The Paradox of preservation There has been an escalation of nostalgia, but also a decay of memory. ‘Memory’ draws on this paradox, utilizing nostalgia as a vehicle for recall.
53
SCAN THE
THE QR CODE FOR UNALTERED TRUTH
“the repackaging of history for tourists masks the truth that the city struggles to come out from under the shadow of its history” Harnessing simple technologies like the qr code as an educational tool and convenient way to distribute information and knowledge of Lithuania’s past. Only through knowledge can one act.
54
Instead of the monument, ‘memory’ is immaterial, reflecting the space that it inhabits and rendering its signinficance nil; people (literally) become part of the object, people become the object, that regenerate the square to perform its duty as a public space; a space by Lithuanians, for Lithuanians
55
“i attempt to initiate a dialogue with the viewer that could instigate transformation, one person at a time... �Jonas Mekas - displaced Lithuanian cinematographer
56
“you dont see how Lithuania is today: you see it through the memories of a Displace Person...� Jonas Mekas - displaced Lithuanian cinematographer
sections 57
58
59
Memory seeks to create the inverse condition that the Soviet rule had in Lithuania; reliving memories not of fear and displacement but of attraction, communion and a nostalgic longing for RE-placement
‘In our land there is still big heat’ - A satirical drawing showing Lithuanians feeling Stalin’s rays 60
‘Memory’ - public space for cinema 61
62
[year 5 spring 2012]
THESIS
‘the FOLDED MAT’
speculations of a new city at Melbourne’s edge supervisor: Corbett Lyon
[exhibited in ‘GRADEX’ - Final Year Graduates Exhibition]
63
“Cities are plugged into the globe of history like capacitors: they condense and conduct the currents of social time." (James Holston, Cities and citizenship, 1995: 35)
melton
33k m
melbourne
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THE FOLDED MAT - M E L T O N , V I C A N E W C I T Y T Y P O L O G Y at the EGDE
“Recent changes to Melbourne’s UGB (urban growth boundary) relinquishes Melton’s satellite city status as it is planned to become a part of Melbourne’s future conurbation” ... Melbourne is a city sprawling out of control. ... The Folded Mat is a speculative exercise in transplanting the familiar ‘HoddleGrid’ onto aneverchanginglandscape at Melbourne’s edge. Melton is the site of experimentation, a growing suburb 33kms away from Melbourne city. The new city pulls the landscape onto the facade, simultaneously addressing issues on two extremes, indeterminate ‘edge-conditions’ and ‘nimbyism’. From a distance, the ‘green wall’ retains characteristics of suburbia, while as an outcome generates this new & generouspublicgreenspace,allowingfortheinfiltrationofrealms normally associated only with the ground level of a city.
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2012
2020
2030
1. MELTON’S UNDEFINED EDGE between the urban & countryside is the epitome of Melbourne’s inability in planning to control sprawl & accomodate growth. With recent changes to the Urban Growth Boundary (UGB), Melton’s projected growth is as visualized
fold
+ wall
= mat
2.WALL_MAT HYBRID
What type(ology) can act as a container of sprawl as well as a framework for sustainable city growth? By hybridizing a wall and mat urbanism, a new fold typology for the city is generated
wall-mat 66
sprawl 70’s 80’s 90’s present
melbourne cbd melton
radial city
melbourne cbd melton
edge city
3. THE FOLDED MAT..
At a macro level, the fold could be understood literally as both a container of sprawl as well one that has a tsunami effect..returning itself to Melbourne.
4.EDGE CITY
It flips the typical radial city model, where the city has one centre and free to sprawl into an edge-city that radiates inwards
perimeter
+
urban
=
2.56mil SQM 256 HA
peri-urban melton
5. However, with suburbia prospering compared to in the city due to its openness and lush landscapes, can this two conditions be merged at an urban scale?
melbourne
6.Transplanting the Hoddle grid
...it becomes a framework for placing an urban condition at the edge which is familiar to many, one way of metaphorically proclaiming a returning of Melton to Melbourne
7. SCALE AND DENSITY
Melton grows annually at 5.1% annually, equating to 5000 new residents; Hence, the proposed density: Melbourne CBD the FOLD Melton 8200/km² 210/km² 2500/km² 67
8.GRID DEFORMATION
The new grid is adapted to the topography, neighbourhood proximity, vehicular & pedestrian access. Program is placed like bands along the grid for maximum interaction
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mix-use 50% open space (green)
housing 20%
single/multi storey
9.TRANSFORMATION FOR DIVERSITY
commercial+offices 7% public facilities 8%
infrastructure 15%
roads,trams,parking
suburbia inner suburbs
cbd
inner suburbs
suburbia
existing urban typology
3
In section, program isn’t stacked and distributed like a typical radial city model, instead woven & merged Transformation from dominant centre into a continuous mat; less car dependency + encouraging vertical urban activity
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5
4.
new city
+0
10.VALLEYS AND PEAKS
The city is lifted and sunken contextually, in turn generating a diversity in building heights & volumes.
+40
+0
11.PUBLIC ROOF & GREEN CONTINUITY ...allows public life that normally occurs on ground level to gradually invade a different plane
12.EDGE DEFINITION
The folded mat becomes a model not only to contain sprawl...
13.GROWTH
...but one that sets a framework for growth and mutation that strengthens and prospers the existing city
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country-side
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1
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10
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1. PUBLIC SPHERES 2. HOUSING/MIX-USE 3. UNIVERSITY 4. EDUCATION STRIP 5. PEDESTRIAN BRIDGE 6. PUBLIC 7. COMMERCIAL STRIP 8. MARKET 9. FOREST STRIP 10. SUBURBAN HOUSING
(sub)-urban 69
from a distance, the ‘green mountain’ retains the characteristics that has made suburbia so desirable
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As the building is located at the very edge of Melbourne, interesting clashes of lifeforms may emerge over time
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the perimeter urbanism becomes a gateway that identifies Melbourne’s edge; the city becomes signage
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the scale of the landscape lends itself as a contemplative monolith that can be experienced in the automobile.
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Program located on the wall’s periphery retain amazing views to the country-side horizon, greatly increasing its desirability and value.
An edge condition that distinctly demarcates the countryside and (sub)urban is generated.
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The roof gradually falls and rises at the foot of the mountain as well as at public spheres, which provide surprising vistas and relief from the order of the grid.
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INFILL
STUDIO ‘MEDIASPACE’ - infilling the heritage void [Year 3 fall 2009 ]
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A “gathering� denotes a place where people meet, be it with similar intentions or not. Weaving through a left-over void in Ipoh town’s urban context, the proposal intends to generate a contemporary piece of architecture, a dynamic infill that embraces technological innovation and serves as a new public node for the society.
the frontage
infill strategy 78
inside-outside connection
carving public plazas 79
roof photography studios
art gallery
learning
first meeting
cafe admin
lobby public plaza lobby
entrance plaza
interactive plaza courtyard plaza
experiential
ground
infill plans 80
unique but sensible - respecting the heritage row 81
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[Year 3 fall 2009]
‘HOLO-MINANCE’ SKIN
environmental systems; sustainable facade panel
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“holo-minance” skin holographic self-illuminating sun reflector cladding
ECOMIMICRY - innovative nature inspired design
aaron lau yee yin I tham chee yeen 0701P59724 I 0703P61805
ILLUMINATING THE STREETSCAPE ALL DAY LONG, WITH ZERO ENERGY, WHILE HARVESTING IT. INCORPORATING HI-TECH MATERIALS & SOLAR HARVESTING TO CREATE TRULY
‘INTELLIGENT BUILDING SKIN’
Morpho Butterfly THE BUTTERFLY’S WING
NANO-STRUCTURE - Quantified interference & diffraction in butterfly scales
- Wavelength-selective & anisotropic light-diffusing through the structural layering of the scales - Anatomically diverse butterfly scales all produce structural colours by coherent scattering, creating a dazzling, vivid visual of colours
li-
e sibi l i s h tr w al po fo tic m co sthe n e ma th a u h wi g n di ding n sta poun r de ex n u
1. butterfly scale 2. scale nano-structure 3. nano-structure layering 4. light refraction / reflection diagram
1.
2.
3.
4.
light
.
“..
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streetscape diagrams
DAYLIGHT
INTENTIONS : 1. To provide a sustainable means of illumination for streetscapes at low light conditions. 2. Reinterprete the shading device, which acts to reduce excessive solar emittance while maintaining interior-exterior visibility.
green to blue & IR passed
red to yellow diffracted
solar cells
holographic film
Layering Relationship Diagram Applying the principles & structural layering of the butterfly’s nano-structure, 2 layers of holographic film are applied to refract specific light wavelengths & reflect them to the solar cells. This keeps cells near peak efficiency over longer periods of the day. The angular surfaces, coated with reflective surfaces purpose to reflect excessive sunlight and redirect them to illuminate the streetscape
sunlight entering
red to yellow & IR passed
green to blue diffracted
THE CONCEPT : Ecomimicry - Mimicking the butterfly wing structure & it’s qualities of LIGHT REFLECTION
& ILLUMINATION
holographic film
sunlight entering
visible light diffracted
IR passed
R FO reflective glass
M
ired insp ides s a w es ning e. B s ope tructur focuse l a s n o o o o an it t ag hex rfly’s n light, ight to cy The e butte reflect of sunl efficien o n h by t ioning t lenghts sorbtio t b func le wave r-cell a a b usa ase sol e incr
phosphorescent
f a c a d e
f a c a d e
glass
IR- Iridescence
ht
ig dl
cte Creating an fle e r evenly illuminated urban street-scape
sustainable street illumination scheme
section
NIGHT Heavy reliance on artificial lighting
The ‘vertical density’ often casts the street in shadows, leading to a theatrical and often dark nature of the streetscape. Hence, besides drawing inspiration from nature, we also explored the potential of harvesting nature’s gift of sunlight
sunlight entering
material layering diagram
DAY Insufficient daylight
colour diffraction diagram
ISSUE : Illuminating the urban streetscape
FLEXIBILITY OF APPLICATIONS
The panels are designed to be customised to adhere to various requirements. Angles, aperture size, orientation & colour rendering can be suited individually to site/building requirements for more efficient sunlight reflection, interior penetration & colour coherence.
REFERENCES: 1. Prism Solar Technologies. (2009). Prisms Unique HPC Film. Retrieved October 1, 2009 from http://www.prismsolar.com/?p=hpcfilm 2. J. Horton. (2008). howstuffworks: Where do butterflies get their striking colors?. Retrieved September 5, 2009 from http://animals.howstuffworks.com/insects/butterfly-colors.htm/printable 3. Ask Nature Beta. (2009). Wing scales diffract and scatter light: Morpho Butterflies. Retrieved September 5, 2009 from http://asknature.org/strategy/1d00d97a206855365c038d57832ebafa 4. TAMPL. (2007). MicroScale Reflectance Spectrometer Theory. Retrieved September 5, 2009 from http://www.tufts.edu/as/tampl/projects/micro_rs/theory.html 5. J. Toon. (2006). Georgia Tech: Butterfly Wing is Template for Photonic Structures. Retrieved September 5, 2009 from h ttp://www.nano.gatech.edu/news/release.php?id=1215
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[Year 2 August 2008]
NIKE SPORTSWEAR INSTALLATION collaboration with Architect Lisa Foo and Fabian Tan Pavilion, Kuala Lumpur, Malaysia
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Together in collaboration, an art installation was created in conjunction with Nike’s new product launch. Mini rubber hand gloves were inflated and amalgamated to form the iconic, glowing NIKE swoosh.
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AARON LAU 5 HARCOURT STREET HAWTHORN EAST 3123 VIC, AUSTRALIA
P: +6430477850 E: aalau7690@gmail.com ayylau.tumblr.com
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