mark ng Architectural Design Work (2010 - 2013)
DUALITY
2
DUALITY
This is a proposal for a car complex for
also allows for the honest diagrammatic
to promote sales. The building notably
the hypothetical historical clients, A.G
expression of the building’s function and
adopts a car stacking system, offering a
and A.A Barlow, centred on the concept
organisation. This is in turn enabled by the
novel viewing exprience for visitors while
of duality. Located on a two-faced site,
stretching of each programme from end to
also expressing the mechanical nature of
and catering to two perhaps two-faced
end to create long spaces that both prompt
the car. The offices consume one single
clients, the building seeks to express
and express movement and dynamism - a
level to allow for ease of communication,
‘twoness’ holistically in the gesture of
notion pertitinent to such a car building. The
and, as requested, the rooftop provides a
its mirrored plan that regards both facing
building accomodates showrooms, parking,
leisure space, adapting the kitsch miniature
streets equally. It takes this idea into the
a service centre, offices and a rooftop golf
golf into a driving-range-inspired centre
composition of the facades which then
centre in these long spaces. In negotiating
with driving nets and a chipping and putting
wrap around in a continuous skin of fins
the slope of the site, the service centre is
green. The building as a whole aims for a
creating a semi-transparency - a play on the
tucked beneath street level at MacKenzie
sleek, minimalist aesthetic through its
idea of the shady car dealer who seems
street where it is easily accessed, but not
form and predominantly white materiality
to have something to hide. Yet here, the
a visual distraction to the show rooms.
as an allusion to the sleek, pure ideals
interpretation can be that the Barlow’s have
These are located at ground level facing
behind many luxury cars - the product of
nothing to hide - the semi-transparency
the streets and are completely glazed
Barlow’s choice.
Strips and Layers: 1. Cleared Site 2. Cut 3. Showrooms 4. Car Lifts 5. Car Stack 6. Office + Rooftop 7. Formal Manipulation
DUALITY
3
DUALITY LG
FLOOR PLANS 1. Service Centre
12. Balcony
2. Car Lifts (10)
13. Office Reception
3. Staff Amenities
14. Open Office
4. Service Reception
15. Executive Offices
5. Sales Offices
16. Boardroom
6. Urban Open Space
17. Barlow’s Office
7. Showroom
18. Plant
8. Parking Office
19. Putting & Chipping
9. Car Stack
20. Driving nets
10. Viewing Platform
21. Store
11. Kitchen
22. Function Space
SITE PLAN
4
DUALITY
G
1
2
3
4
DUALITY
5
DUALITY LA TROBE STREET ELEVATION
GRANT LANE ELEVATION
SECTION A-A
SECTION B-B
6
DUALITY
1. Concrete/Steel Portal Frame 2. Concrete Floor Plates 3. Glazing 4. White Aluminium Fins
DUALITY
7
DISCOVERY
8
DISCOVERY
This is an intervention for the Potter
the mystifying, never-ending nature of
Cafe Open Space based on the concept
discovery and represents the shift from
of Discovery. The site is located in The
things appearing simple at first, but being
University of Melbourne within the Physics
unexplained, to things appearing complex,
precinct, above a bunker that is historically
but being explained. It was inspired by the
linked to particle physics. The concept
work of artists M.C. Escher (his ‘Belvedere’
represents the pursuits of the field and
in particular) and Felice Varini, whose
the university in general. Discovery is
works use the idea of the priveleged point.
expressed in the gesture of a screen that
The illusion itself provides a platform for
visually disconnects the site from the
seating, while other seats in the same
street to provoke curiosity to discover what
minimalist language are integrated into
lies behind. Users are guided up onto the
the site. The proposal seeks to provide a
elevated site with a ramp that bends as it
node and novel attraction to the university
leads them around the site until they move
that
past the edge of the screen and discover
Potter Cafe, university students, staff and
what is behind - a visual illusion in three
members of the public through engaging
dimensional space. The illusion refers to
them in a metaphorical act of discovery.
accomodates
customers
of The
DISCOVERY
9
DISCOVERY
10
DISCOVERY
DISCOVERY
11
DISCOVERY
12
DISCOVERY
DISCOVERY
13
RHYTHM
14
RHYTHM
This is a freeway art project for the council of Wyndham based on the concept of rhythm. The concept is inspired by the rhythmic nature of driving and motion where the regular (or irregular) pulsing of landmarks such as light poles and trees can have distinct musical-visual effects on the driver. The proposal sought to express this essence of movement and use it to symbolise the transition the driver makes on the site from rural to urban with a rhythm increasing in intensity. The idea of the musical-visual experience was informed by music videos, primarily The Chemical Brothers’ Star Guitar. Grasshopper was used to create a parametric definition which allowed fins to be lined along a surface and attracted to points on the road in clusters to create visual pulses. These provided the metronomic foundation on top of which holes were mapped onto the supporting surface to create
pulses of light which
were composed to give the sensation of speeding up or increasing intensity. This was exaggerated by mapping of a sinusoidal wave outline (a reference to the sound-based nature of the project) on the form to create a swaying effect that also increased in intensity.
RHYTHM
15
RHYTHM
16
RHYTHM
RHYTHM
17
BOATHOUSE
18
BOATHOUSE
As part of a studio dedicated to ‘learning
GROUND FLOOR PLAN
from the masters’, the work of Japanese architect, Kazuyo Sejima (SANAA), was rigorously studied in order to inspire a proposal for a new boathouse located in Studley Park, Kew. Principles of lightness and transparency were translated into this project as responses to the natural context with reference to the Dior and New Art Museum buildings. The proposed building accomodates all of the functions of the existing boathouse including three eating
FIRST FLOOR PLAN
spaces - kiosk, cafe and restaurant, ordered according to formality of use. These key spaces for visitors are given priority for access and views of the river and natural context, while the office, bathrooms and kitchen are ‘hidden’ in the centre.
SECTION A-A
BOATHOUSE
19
UNEARTHING
SITE PLAN
20
UNEARTHING
SECTION A-A
This is a building which tells a narrative about early Australian history. It adopts a linear exhibition style which guides visitors through a chronological path featuring different outlooks - indigineous, colonial and contemporary each filtered through subtle experiential changes in space. It is located on the edge of Herring Island - an isolated, natural site only a few kilometres from Melbourne’s CBD.
UNEARTHING
21
UNEARTHING
GROUND FLOOR PLAN
22
UNEARTHING
FIRST FLOOR PLAN
UNEARTHING
23
A DAY IN THE LIFE
This headpiece was created as part of Virtual Environments, a subject that explored digital architecture by inviting students to create complex headpieces expressing abstract concepts. The form is a spatial representation of the song ‘A Day in the Life’ by The Beatles, mapping changes in intensity and panning over time in the song.
24
A DAY IN THE LIFE
A DAY IN THE LIFE
25