the architect’s companion
“Its just full of stuff” - Anon, 2020
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PART ONE: THE ARCHITECTURE OF OPPORTUNITY
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6. Preface : So Dance? 9. The Context: Melbourne CBD
10. The Development of Melbourne 12. Activation of Developments 14. Secondary Functions in Melbourne 16. Sites of Secondary Function
18. The Urban Dancer within Melbourne
30. Principles of Opportunity 36. Methodology 38. Urban lab: Center Way Arcade 44. Topics of investigation
46. Topic One: program
66. Topic Two: tools of insertion
76. Topic Three: Thresholds 110. Topic Three-point-Five: Designing permission 120. Spaces of Opportunity (Center Way Tests) 126. Where to From here
Credit -Miriam Garrido
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Credit -Collingwood Underground Roller Disco
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preface : so dance? This project in many ways represents the intersection between two major areas of my study and passion, that of architecture and dance. More specifically it represents a way for me to begin to understand in a more clinical way, through architecture, the ideas and relationship of dance (In my case specifically urban dance) within the urban context. the use of a site, in reference to center way arcade, is as a vehicle to understand more complex systems and as a tool to witness and critic the effects of the decisions of the architect. Though a building in form, it is not the project. Unlike other translations of dance within architecture, this project (if we can call it that) intentionally choses to focus less on the common ideas of “performance”, “movement in form” and “choreography”, instead opting to explore dance within the narrative of practice and community. The way in which the urban dancer experiences the city is that of an outsider opportunist, where even the most mundane spaces are viewed through a very difference lens of possibility. The school entrance at the Melbourne museum, an after hours arcade, the empty Queen Victoria Market carpark, all these sites can be seen as sites of great importance and gathering within the dance community though not specifically designed for that purpose. But this project is not about just designing spaces for “dancers”, these optimal spaces already exist in the studio, the club & the stage. This project rather explores the use of the narrative and relationship of the dancer within the specific urban context as a means to critic existing and propose a new ideas. ideas of activation based on opportunity and flexibility , located within the new private developments that are engulfing the city. By choosing to address this specific private typology, these ideas of occupation are forced to rub up against the existing spatial, economical and social hierarchies present within the space. Entering into a negotiation of systems, thresholds and program. And that in its essence is what this project is, a series of considerations, of tests, of designs, that, although may not present a clear metric or singular design in its outcome, is more so present in the ideas of which it choses to confront and deal with in existing systems. The 5 principles of opportunity in Access, Insertion, Negotiation, Visibility and Permission, form the soul of this project, and weave through all of these physical tests, proving not singular nor universal in application, but rather as a series of unique connections and sequences, inter woven not only in the architecture, but within society. Like a dance is it not a static solution, rather a moving and shifting through time, space, feeling & a hell of a lot of axonometric drawings. -Marnie Newton 7
Credit -Nam Chops
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the context : melbourne cdb
the development of melbourne activation of developments secondary functions sites of secondary function the urban dancer within melbourne
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the development of melbourne with the current trajectory of Melbourne’s CBD, we are seeing increased development, predominantly for high rise mixed use. Currently there is 33 developments under construction, with another 64 obtaining a permit, all to continue to support the growing population which is predicted to increase from 179,000 people to over 384,000 people by 2041.
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Of the over 100 developments in the CBD that are under construction, approved or proposed, there are two main typologies that keep re-appearing. 1.The mixed use commercial/ tower 2.The residential tower
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33 Under Construction 64 Permit Approved 29 Applied for permit
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activation of developments
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the activation of these developments present predominantly in the following three ways relying on the program of the either retail or hospitality as the main driving force
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1. Hospitality Ground floor (Restaurant/Cafe/Takeaway) Ground level of apartment/office main trafficked road dedicated to restaurants. Entrance pushed around to minor road. Single or double restaurant with main entry/exit to main road. Built to the edge of the property line. Harsh threshold and definition. No engagement with the apartment/office opening.
2. Mixed Hospitality & Apartment Entry Main access to apartments from main street. Centered to the middle of the facade. Frontage split between 2-4 Hospitality, often mixed within Restaurant, Takeaway, Convenience and Bar (often occupied on the first floor, but with main road access) Can often feature small retail stores.
3. Arcade - Central Access Walkway with Retail More often seen with retail. Two shop frontages with access to the main street. Centered arcade/walkway, can be open or dead-end. Raised ceiling height for arcade. Well lit to encourage circulation. If open at both ends can often serve primarily as circulation through the city. Retail may occupy multiple levels of the building, accessed through stairs or escalators
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secondary functions in melbourne
secondary functions refer to program that occurs within a space that it was originally not intended for nor designed to function as. the way in which these activities interact with the built environment is ephemeral and of the moment, meaning that these functions are not intending to take claim of the space outside of the physical use think a musician on the street a dancer in the arcade a painter in on the wall a skateboarder on a tram stop and even old chinese ladies dancing in the park the power of the secondary function is that it looks at the city through the lens of opportunity and re-imagining. finding potential within a space or object which many of us would over look.
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MELBOURNE MUSEUM
LINCOLN SQUARE
MEDIA PORTAL - NEW ACADEMIC STREET - RMIT
QUEEN VICTORIA MARKET
BOURKE STREET MALL
TIVOLI ARCADE
HOZIER LANE
FEDERATION SQUARE
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sites of secondary function
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Credit -Nam Chops
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the urban dancer within Melbourne
understanding the current nature in which the secondary function of dance is practiced in melbourne with in their respective genres waacking vogue bboy/breaking battle jam/session krump performance urban/kpop classical
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“Waacking/Punking” A dance style that grew out of the culture within the Underground LGBT Disco Clubs in Los Angeles during the 70’s. Popularised on the TV Show “Soul Train” by the “Outrageous Waack Dancers”, Waacking is symbolised by its story telling, musicality, and “waacking motions”. With the urban context of Melbourne, waacking is practiced at the Melbourne Museum, tucked inside the school entrance next to IMAX. The space is semi enclosed, ambiently lit at night and features a smooth, but paved floor. It is typically occupied from 7-10pm, outside of the museum operating hours. 20
“Vogue” A dance style that emerged from the Ball scene in New York during the 80’s and was brought to the forefront of popular culture with its featuring within Madonna’s “Vogue” music video. The dance is now divided into 3 main styles; Old way, New Way and Vogue Fem. Within each of those styles there are the 5 main elements; Hand Performance, Duck walk, Cat walk, Floorwork and Spins and Dips. Currently within Melbourne, Vogue typically occurs with the internal context of a dance studio or a “Ball”, often held inside. The layout of the practice occurs within a T-Shaped stage. 21
“breaking/bboy” One of the 4 pillars of Hip Hop culture, breaking emerged from the african american community during the 1970’s in the bronx. Taking influence from the dynamic forms of martial arts and the groove of james brown, the form of bboying includes; toprock, drops, footwork, power and freezes. the sessions are typically carried out in a cypher (circle) in which dancers will take turns showing their moves. within melbourne breaking has emerged as one of the more popular street dance styles and has seen the occupation of tivoli arcade, new academic street (rmit), level 1 qv and popular busking spots in melbourne. 22
“battles” Over time competition has become more and more prevalent within all cultures of street dance. often the nature of the battle is not limited to a single style, but represented as “freestyle” or “all style” in which dancers from different backgrounds will come together and competed to a variety of music genres. within melbourne the battle has seen many transformations, from studio and club battles, to be hosted in the arts center and imagined as a “street run” where dancers compete at interval locations along swanston street. 23
“jam/session” Jam/sessions offer an alternative space for dancers to get together outside of competition. an evolution of the “party” within dance culture, the jam/session offers a variety of formats dependent on the participants. often conducted between dancers from different styles. within melbourne, the jam/session is most prevalent at the level 1 of qv. The most popular jam is “jam on toast” conducted on a wednesday night from 8pm. The minimum requirement in sessions is that of music and a portable speaker.
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“krump” one of the younger street dance styles, krumping was created in the early 2000’s by tight eyex and big mijo as an evolution of the 90’s style “clowning”. the four basic moves are: stomps, jabs, chest pops and arms swings. melbourne has seen a rapid growth and representation of its krump scene over the last few years. the practice of krump is typically held within and active cypher, a circle that moves with the dancers and often interacts with the built environment. the practice of krump is typically held outside, popular spots within melbourne are; queen victoria market, qv level 1, bowen street rmit & rose street carpark 25
“theater/performance” the performance/theater has seen many transformations within dance culture, typically associated as a construct within more “classical” dances, the essence of the performance sits within the relationship of threshold of the audience and performer. its a matter of consent. melbourne has seen many representations of this, within the street dance culture, the battle could be considered a performance, but there is less of a consideration of performing for an audience as it is more about a self representation. busking perhaps is the most neutral representation of the “performance” within street dance. 26
“urban dance/kpop” coined as urban dance, the essence of the “style” is choreography within a “hip hop” feeling. urban is used to separated itself from the wider umbrella term. kpop is another example of this. not styles in their own right, the nature of the large following has caused them to define themselves separate to the general term. the practice of these styles are virtually the same. a group of people gather with the intention of practicing the same moves, often with the intention of all achieving a synchronized output.
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qv melbourne tucked away on the first level balcony of qv melbourne is an institution within melbourne street dance culture. this space has been the context in which people have been exposed and connected to each other through the power of dance. though not a studio or a stage, many iconic moments within melbourne’s dance history has occurred here. surrounded by symbols of the growing economy (retail, apartments, offices) this space has been allowed to exist. unlike others of its kind has yet to see a removal of the “dance culture”. instead it has allowed this secondary function to flourish and grow.
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home to the largest all style jam session in melbourne - “jam on toast�
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more public spot, due to the nature of the circulation within the space. audience often gathering by the escalators or the balustrade
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popular spot for urban/kpop dancers, due to better lighting and reflective surfaces large groups practicing routines
Credit -Nam Chops
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principles of opportunity creating opportunity in private development 5 principles of creating opportunity
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private vs. public in many cases the boundaries between the private and public realms of the city are harshly defined and enforced. this project explores the idea of one potentially existing within the other. how to introduce public space into an area that is predominantly private in nature and occupation? understanding the existing relationships, hierarchies and shareholders within these current spaces and what will be the effects of introducing the public into these spaces. in one word, negotiation.
the notion of hacking Considering the current nature of development, the notion of preserving space in an office tower for the public or for people to dance is at best a pipe dream, unless your pitching a dance tower. the idea of hacking allows the architect, specifically within the more mundane “details� of the building to positively impact and create chances of opportunity without clearly designing in another function.
the narrative of the dancer The way in which the urban dancer experiences the city is that of an outsider opportunist, where even the most mundane spaces are viewed through a very different lens of possibility. offering a chance for a duality in the reading of spaces.
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opportunity
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5 principles of designing habitation
access access refers to the nature of opening up the space through the understanding of existing conditions and introduced intervention. taking the role of the circulation between objects, it also considers the nature in how those objects and program operates in a whole system.
insertion insertion refers to the way in which the specific object, program or intervention aids the narrative of the secondary function. how the space works to support, encourage and enable this additional service whilst still maintaining the integrity of the primary function.
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negotiation negotiation is the act of accepting the realities of private enterprise within the space and working at understanding the concerns and friction that can occur between the primary and secondary function. understanding the rub that can occur between the two thresholds and developing methods that allow both to occur within the same space while not compromising either.
visibility visibility refers to the notion of understanding the nature of “found space” and that these spaces, though aiding, should resist the temptation of taking on too much of an formal identity of the secondary function. the line in which the space moves from a foyer to dance studio should be defined by the occupancy not the architecture. This is not a fusion, but rather an “piggybacking” of sorts.
permission with out the definitive obvious formal cues of the possible occupation, there needs to be consideration in designing the idea of that these spaces can be inhabited. designing permission looks at the smaller cues that could propose the idea that these space could perhaps be occupied for activities outside its primary use.
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Credit -Nam Chops
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methodolgy urban lab: center way arcade through out the investigation, center way arcade has served as the architectural test site and lab of the sweet of ideas that have emerged.
taxonomy of investigation topics & details
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“URBAN LAB” - CENTER WAY ARCADE
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methodology 1 urban lab - testing site redesign the “redesign” of center way arcade is not intended to view view as a complete singular project. like the term “urban lab” denotes, it is to be viewed a testing tool, allowing the impacts of singular moves and ideas explored in taxonomies to be tested within a larger system
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methodology 2 taxonomy of investigation topics & details presented in part as a series of detailed axonometric drawings, the focus of this project was within the gather and design of many different conditions within a single topic as a means of not only critic but adaption. this is not a singular project, but more of an approach and philosophy to design with the urban city.
functional axonometric
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programmatic axonometric
detail axonometric
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Credit -Nam Chops
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topics of investigation topic one: program topic two: tools of insertion topic three: thresholds topic three point five: designing permission
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Credit -Little Shao
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topic one: program
program explores the effects that the program of a building has on the nature of its occupancy. and if perhaps these ideas in the arrangement of program can offer additional opportunities and justification for insertions and access. featuring four main types of common programs in this typology: retail hospitality commercial residential
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“retail”
The most predominant feature of modern retail is that of a shop front, in which products are displayed for sale. The value of the shop (in regards to rent) is directly proportionate to; a. the size of the shop front, b. the location of the shop front & c. the guaranteed traffic outside the shop front. This means that often shops with a street interface or within popular shopping and main circulation points are desirable. There are two main typologies of shop fronts within Melbourne, the modern fully glazed façade and the “heritage” facades, with substantially more solid elements within the façade (think block arcade) producing a heavier look. Retail programming typically occurs between 9-6pm daily with the exception of the occasional “late night” shopping.
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“hospitality�
hospitality presents itself withing four main types; the restaurant, the cafe, the takeaway/food court stall and the bar. in which, with exception to the takeaway type, the main consideration concerns the idea of floor space and how many customers they can seat. this is in consideration that there is a required food preparation area. in comparison to retail, the hospitality type sells the idea of experience, so although it many not require as much store frontage, the design should be considered as to the overall ambiance of the space and experience. each of the four types operates on a slightly different daily time-frames; cafes: early morning to mid afternoon takeaway: mid morning (10/11am) - to late (10-12pm) restaurants: lunch time service (11-3pm) dinner service (5-11pm) bars: late afternoon (3pm) to late (2/3am)
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“commercial”
referring to the occupation of the upper floor in a building by a business with the need for an “officetype” of working space. generally these spaces are off limits to the casual citizen and have no need for a street frontage or presence within the building. typically accessed by lifts or stairs, a commercial building will sometimes feature a lobby on the ground floor (space permitting) or each floor will have its own lobby. this program (though not limited to) will typically operate on a 9-5 time-frame 50
“residential�
the occupation of living spaces (apartments) in the upper floors of a building. these spaces are considered private as they are a version of the house, meaning that there is a strong sense of security and privacy that needs to be considered in their design. typically accessed by lifts, the residential tower requires, if in part of a large complex of program, requires a separate and secure access, which will need to be open 24 hours.
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amount of program - retail
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single retail frontage activated footpath
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quadruple retail frontage double side activated footpath
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double retail frontage double side activated footpaths
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“dead end” arcade 5 shop fronts
“cross” arcade additional side access points 8 shop frontages on two sides.
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double retail frontage single side activated footpaths
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double arcade 2 main access thoroughfares 9 shop fronts
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open arcade 8 shop fronts
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triple retail frontage three sides activated footpaths
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side thoroughfare with short “dead end” arcade 7 shop fronts
“snaked” arcade weaving thoroughfare 10 shop fronts
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14 shop fronts over two floors access via large stair well in center of arcade
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12 shop fronts over two floors access via stairwell and ramp from front of building
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6 shop fronts (large) over two levels access via stairs from both entries
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17 shop fronts over two floors “gated community� access from two internal stair cases.
3 shops (large) over two levels access via stairs from one entry
amount of program - residential
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single core lobby located in back accessible from both ends of building by arcade.
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double core lobby located in center of building accessible by passageway to the front street
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double core lobby located in center of building accessible by passageway to the front street
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double core lobby located in back accessible from only front of building through arcade
triple core lobby located along side of building with street interface.
double core lobby located in center of building accessible from both sides of building via a snaking arcade
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single core larger lobby with direct street interface and access from front of building
quadruple core lobby located in center of building accessible by passageway to the front street
quadruple core lobby located at back of building accessible from front through a large multi use space
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double core lobby with direct street interface and access from front of building
single core lobby located in front with major street interface.
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three separate cores servicing three separate towers accessible from both ends of the building via an arcade.
amount of program - commercial
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single core center of building with access via arcade
double core (separated) located at north and south of building
single core (w. staircase) separated from building access via side arcade
double core (separated) center of building with access via arcade
double core (separated) located at main entry of building
double core located along side arcade access.
double core center of building with access via side arcade
double core center of building splitting arcade into 2 dead ends
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double core (separated) located at north and south of building. no connection
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quadruple core separated from building access via side arcade
double core separated from building access via side arcade
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double core (separated) located at north and south of building. no connection
variety of program often the occupation by more than one type of program within a space can offer some interesting ideas on circulation and overall operation of a building.
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retail at front hospitality at back
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retail at front hospitality at back (in the form of a food court)
retail at front commercial at back
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hospitality at front retail at back
hospitality at front commercial at back
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retail around the edges hospitality in the middle
retail and hospitality at front commercial at back
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retail below hospitality above
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hospitality below retail above
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retail below commercial above
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retail below residential above
key circulation retail commercial/office residential hospitality
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hospitality below residential above
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hospitality below commercial above
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understanding the daily cycle of a building: center way arcade
7am -9am (morning traffic) Serves as a major connection point from degraves and flinders street station to the rest of the city. services the offices above.
10am retail opens as the retail shops open and the commercial crowd settles in on the upper floors the ground floor is mainly occupied by shoppers or other pedestrians passing through
12pm -2pm lunch hours lunchtime sees the progression of the commercial workers venturing out to source food and socialize often smaller retail shops may close for a short lunch break the arcade continues to serve as a passageway through the city
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2pm-5pm afternoon with the commercial workers back in their offices the building calms back down to a similar function as the mid morning
5pm -7pm afterwork a major rush of office workers leaving for the day as well as other workers from other buildings using it as an passageway to the rest of the city retail closes
7pm - 7am shut down the two ends of the arcade are shut from the public and the space is closed down till tomorrow.
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program: early morning/24 hour residential tower the addition of a residential tower above the existing center way arcade to generate more property value
this means that there needs to be a separate access and lobby for the apartments
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there is also required to be disabled access for the apartments, due to the level shift in the block there needs to be stairs added to the back access, meaning that the front needs to be opened to allow disabled access of the apartments
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means that there needs to be * this access to the gym via the main street frontages, lifts and fire escape stairs
gym/workout space the introduction of a gym provides the need for early access to the building outside of the normal operating hours.
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program: 9-5pm hospitality the insertion of a food court & restaurant on the second floor produces an additional destination and another time period of lunch time
extends the circulation by providing another destination
limited time-frame of the food court operation provides additional large “left over space� outside if its function
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the office spaces to serves as a buffering space between the retail/ hospitality areas and the residential program, especially at night
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commercial the inhabitation of the remainder of the existing building by commercial office space
areas outside of lifts and * larger other amenities (toilets ect) to accommodate for the pedestrian traffic
retail the opening of the retail shops calls for greater public access into the key part of the building
retail on the first floor * additional means the public access needs to increase through the escalators and elevators
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program: after 7pm
hospitality hospitality programs like restaurants and bars have later hours of operation which will require the access to them to stay open later
the main areas of circulation on the first floor needs to remain open for accessibility to the restaurant
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need for the area to remain open * the for circulation to the restaurant means that the food court space will also remain accessible.
access tools like lifts * major and escalators need to remain operational
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Credit -Marnie Newton
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topic two: tools of insertion
tools of insertion explore singular ideas of addition and subtraction within a building. this topic is though specific and detailed to center way arcade explores over arching methods in the realms of renovations and retrofits.
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“The fire escape� using two key factors; 1. required circulation 2. change in floor plans the fire escape looks at the insertion of additional space as a result of negotiating the change in program type/floor plate. a little left over space.
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“The theater” present within the center or entry to a building, the theater serves as “free multipurpose” space for center functions/activities. such as pop up shops, book signings, brand take overs, concerts ect. It provides a destination space within the arcade, but also serves at dividing the space and providing precedent for more “free” functions.
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“the lounge� pitched as alternate wait space, or shared lobby to the surrounding, the lounge offers the option and idea of the arcade being more than a retail conveyor belt. a quiet place to escape to and eat your lunch by yourself free of judgment, except for the teenagers trying to charge their phone for the third time today. and once the shops close... who knows.
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“the bike parking� buying into the environmentally woke narrative, the bike parking looks at the insertion of program that supports a desirable lifestyle. although they could ultimately park their bikes on the street. the bike parking there to prove that we care. that we support your healthy, lyrca ridden lifestyle. oh and that we’re sick of you bringing you bike into the office.
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“the waiting room� a topical approach off the back of the covid-19 social distancing, the waiting room, in some ways similar to the theater, looks at the idea of allowing ourselves to just have space. the notion of being able to design for a pandemic in a private building is absurd, but perhaps if we just gave our selves an little bit of left over space for emergencies.....? just in case?
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“the open lift” insertions don’t have to add more, sometimes they really should remove some of the unnecessary. the open lift looks at stripping back as much fluff as possible (thresholds) to the bare bones and ideas before designing on the limit of public and private. a locked lift is a decent enough threshold, do we really need another roller door?
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“the waste disposal� exploring how to use essential services to make space for additional occupation. if we only put the bins out on monday nights, what about tuesday? wednesday? or thursday? justification of left over/awkward space by the common necessities we all got trash
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view of rear entry and waste disposal - daytime
view of rear entry and waste disposal - nightime
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Credit -Shuttermain
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topic three: thresholds
this topic addresses the relationship between existing and introduced shareholders within the context of center way arcade. dealing with the effects of the larger program moves as well as the detail of understanding access in conjunction with the timeline of a building. this is the negotiation
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thresholds: understanding existing types understanding the nature of existing thresholds within a building allows the architect to play around with removing certain thresholds and the effects it has on the building whilst still maintaining sense of security and proposed functional hierarchy of the space.
hospitality fronts
shop fronts
fire escape
sealed entry
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entry thresholds
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“open entry” transition between space is noted but not restricted. solid walls conceal the contents of the space except for the framed view through the opening
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“closed entry” with the addition of a door the transition between space can be controlled and the contents completely concealed
the use of the curved wall suggests a natural flow into the entry by softening the hard edge of the threshold. the glazed door allows a framed view of the content of the space beyond
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the use of the steps aid this transition as literal upgrade in space. a desire. the contents of the space are exposed through the glazed facade
in comparison to 2, the step down relaxes you into the space. that this space is “less precious” than street level.
the step up and down works at dispelling a singular trajectory into the space. by forcing a very distinct choice at the start is lessen the horizontal threshold and instead focuses on the vertical
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“open foyer” pushes a large portion of the facade back significantly to produce an external foyer which presents as an extension of the street.
“lane way” the entry is defined as the space between two separate structures and instead of entering you are moving past the buildings in a neutral “laneway” space.
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the implementation of street furniture on and around the entry introduces a permission and publicness to the use of the space.
entry thresholds : center way arcade (collins street)
two distinct forms from entry perspective
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retail threshold is set back
poured concrete walls at seat height
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paired with exisitng street furnature
this entry threshold uses a combination of 7 & 9
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view of collins street entry - daytime
view of collins street entry - night time
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entry thresholds : center way arcade (center place)
view of center place entry - day time
view of center place entry - night time
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the use of the curved wall controls the primary flow to the main arcade entrance
though a sealed threshold the glazing still exposes the content beyond pulling people up into the space
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the set back of the second floor removes the harshness of the building threshold
this entry threshold uses a combination of 2 & 5
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retail thresholds (street level)
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the 600mm solid base of the shop front works at producing a solid hardy feeling. the raised platform also produces a further spatial barrier between the two spaces.
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the use of the angled glazing expands the idea of the threshold with out concealing it. the extruded 600mm platform also works at disrupting a singular flow of the the wall,
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66% solid single centered glazed window for retail offerings
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by lowering the facade and the access point of the shop there is a need for a ramp to access the shop. this ramp produces a further spatial barrier between shop front and street.
similar to 2 in the way that the ramp expands the threshold, but the shop is raised, allowing for a greater visibility.
curved facade increases shop front area, whilst disrupting the external circulation by redefining the flow of the horizontal threshold.
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retail thresholds (first floor)
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classic fully glazed shop frontage, common in precedent like emporium. blurring of the threshold between public and retail.
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the addition of a step in the fully glazed shop front assists in creating a smaller, but still emphasized, vertical threshold. the stairs and ramps become part of the threshold.
blurring the definition of the threshold by the invitation for people to occupy it. the private providing a public service.
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recessed side entry via stairs pulls back the shop from the boarder whilst not compromising the frontage. the raised floor continues to assist in the threshold distinction
similar to 2 in the way that the entry is pushed back, but the scale and centering of the main access suggests more of a grand entrance.
hospitality thresholds - food court
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1
3
5
2
recessed service zone with solid outer wall for kitchen service. presents a definitive threshold once closed.
4
recessed frontage on a 45 degree angle allowing for lager service space and definitive threshold once closed.
6
second frontage with an entrance and exit door allowing for a flow and circulation as well and a definitive threshold which can easily be sealed.
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service area recessed into a little under halfway of the space allowing a more varied public interface whilst in operation and a definitive threshold when closed.
sliding batten door with some visual permanence allowing for visual comprehension of the space whilst ensuring a definitive threshold when closed.
recessed service area with sliding door threshold. the service counter facing to the side rather than the front increasing sense of privacy.
hospitality thresholds - general
7
9
8
flat interface built right up to the threshold of the shop. typical food court model
10
open frontage with center focal service zone. self serve feeling.
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recessed 2000mm with columns breaking up the entrance and counter into four unique and human scale zones
similar to 8, but the columns define only the entrance threshold at an individual thicker scale.
12
similar to 9 with additional focal hierarchy to the side walls. back service counter represents more of a retail typology.
borrowing from the japanese omakase style of restaurant. the counter is turned into a table and the threshold is pulled in just enough to allow for customer seating.
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access thresholds: escalators
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3
5
2
a semi clear cage structure around the escalator, allowing one entry that can be shut down if required.
4
the use of a void rather than a door to control access to escalator. the side threshold though thin is amplified by the planter boxers either side.
uses a step to define the start of the procession of the escalator. thin battens restrict access but still allows visibility. can be shut at the end.
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a semi solid structure concealing a fair bit of the escalator, with a side opening that can be shut to restrict access. the combination of materials represent the function with out the need for full transparency
the use of the column threshold mimicking the surrounding paired with a moving roller door disguises the threshold as part of the existing.
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access thresholds: elevators
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3
5
2
enclosed elevator lobby with step up. large columns split the space into a front and back and guide the circulation down the center to the elevators.
4
enclosed lobby with intense compression at the raised thin entrance which works at disconnecting the lobby from the surrounding spaces
6
narrow entrance hides the elevators from the general circulation. common application in current residential bulidings where there is no need for public access.
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open lobby which is defined by the use of columns spaced 2000mm apart at the “entrance�. though open the columns allow the idea of the division of space.
the combination of the stairs and ramp works and making it appear to be more than just one space. two unique entrances into two spaces.
open lobby spatially divided by the use of stairs. the step up enforces the idea of the elevator as a destination or as an important function within the space.
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access thresholds: fire escapes
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1
3
5
2
concealed fire escape wrapped around the back of retail/ hospitality. hidden as a main point of circulation and access blends into the existing threshold.
4
typical concealed fire escape
6
the urban playground of fire escapes with stairs and “firemans” pole. a space that doesn’t take itself too seriously and actually encourages occupation.
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partially exposed fire escape to external access. use of the corner for a wrapping staircase that morphs the staircase and fire escape into one.
typical fire escape layout with open exit and glazed (external) walls. encourages it as a point of access, not just exit.
external fire escape that wraps along the facade of a building allowing for a larger external lobby through set back from the property boundary.
active thresholds
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5
2
the occupation of the space up the stairs places the function in the place of importance and power. can be viewed as quiet threatening and people are less inclined to watch.
4
the occupation on one side of a compression moment of a passageway closes off the idea of additional circulation. the activity is presented as a “flat� image that can not be interacted with.
6
the lowered ceiling, similar to the step down, compresses the activity causing it to be seen as less threating and discourages a circulation through the space.
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the occupation of a function on the space down the stairs still defines the area for the function, but in a less powerful position. people passing by are more likely to stop and watch.
the use of side rails change the condition of the walls and thus discourage an occupation other than circulation, however then the space that is not defined by rails becomes the occupiable space.
the use of centered handrails splits a space into two. allowing for a static occupation on one side whilst still maintain a circulation on the other.
7
9
8
the use of voids compress the circulation, but unlike 3 does not discourage it. it still allows for a static occupation of the space but presents it in the entirity as a 3d fucntion.
changes in wall texture denotes the idea of a new function or use that is inteneded to the space.
10
the use of the rail pushing half way into the space pulls out a pocket for static occupation.
the implementation of the street furniture invites the static occupation of it and the area around it.
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12
similar to the change of materiality of the wall, the change of materiality of the floor creates threshold for occupation. unlike the wall, it is more immediate.
the use of columns with one area occupied works a wall and pushes the circulation (if there is a destination beyond) to one side
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wall thresholds
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1
3
5
2
a wall with a sliding glazed door denotes the possibility of access, but also the understanding that it is not a constant.
4
the textured/unusual wall allows for a static moment as it is observed and taken it. it also may serve as a destination of sorts within the circulation.
6
the mesh/the see through wall, works in a similar way to the glazed wall, but the visibility is dependent on angle and proximity.
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fully glazed wall restricts access but exposes the contents beyond. if it is a public function it suggests that there is an alternative access point
arches work at defining the threshold while still allowing access. the weight of the top part of the arch defines the space off the ceiling rather than just the ground plane
the active wall uses the column idea but installs the use of moving thresholds to redefine the space when needed.
wall thresholds
7
9
8
the active wall through street furniture breaks the flow and invites the occupation of the wall through very specific ways (based on the design)
10
the painted wall in comparison to the textured wall serves as an invisible thing, until it is marked or damaged. the notion of marking or painting on a clean white wall.
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the textured wall presents a solid, indestructible quality to the area. that it can be pushed up against or hit and there will be no damage.
12
similar to the arches, the columns lightly define the spaces as equals.
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the irregular openings introduce a dynamic nature to the space. suggesting a less conventional occupation is possible.
the reflective walls deter an occupation that is not related to an engagement or need with it and encourages a use that needs it. can be mimicked by glazed walls if the light is brighter on one side.
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rail thresholds
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1
3
5
2
the extension of the railing into a connection and definition to the ceiling works as the best use of defining and enclosing space.
4
the use of the mix of open and solid exposes certain frames for the viewer from below while still providing privacy for the occupant above.
the narrow battens offer restrict visibility from a distance while still maintaining a porous connection between spaces. and an acknowledgment of the other by the occupant.
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the clean solid railing disguise the use beyond with the only suggestion of function occuring when someone or something gets close enough to the egde.
the use of glazing exposes the occupation, but through a filter of sorts. for the occupant, though it is clear there is still the feeling of a solid boundary.
the addition of street furniture in the rails encourages and occupation of the threshold itself and pushes the circulation into the center of the space.
rail thresholds
7
9
8
a combination of 3 & 4 the solid and glazed combination works an increasing the feeling of separation for the occupant while framing the filtered moments of the viewer.
the ornamental rail becomes a focal destination itself, reducing the impact of the occupant to the viewer.
10
similar to the batten rail, the mesh rail obscures the viewer from seeing past a distance but also creates a greater sense of security for the occupant.
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the classic rail introduces a sense of the familiar and depending on the finish a definition of the class of the space beyond.
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Credit -Nam Chops
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topic three-point-five: designing permission
designing permission concerns itself with the details that suggest the nature of the occupation understanding the natural circulation of the program and how to suggest how do we say its okay through architecture?
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keys of permission
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2
the presence of security items can initially deter occupation but over time if the occupation is not haltered by security there presents this idea of acceptance of the behavioiur.
4
the use of floor signage suggests a openness to the entrance and occupation. the idea of walking over a label suggests a hardiness to the space.
6
graphic/graffiti stylized signage presents a relaxed carefree feeling to the space. the idea that a few scuffs or dots of paint doesn’t really matter.
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functional signage is a clear way to denote the desire for occupation of a space.
the heritage hanging signs suggest a classic, expensive feeling and denotes a hierarchy of the named program in the space.
directional patterning on the floor guides and pushes people through the space - “you can go this way”
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keys of permission
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7
8
signage of function gives people a reason to access the space. ‘i’m here for ...” but can present the idea that the space can only be used for x,y & z
9
10
the placement of functional objects like a trash can acknowledge an occupation of a space. and occupation that may generate rubbish.
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directional lighting can guide people through a space but also create a chain of visual connections to something.
the placement of open power points allow a permit the use of the space for static activities like charging a phone/laptop/speaker
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the use of flow and material changes in floor patterns produce the idea of a way to move through the space with a specific function/ occupancy
permission of space - consideration
view of the food court - daytime
view of the food court - night time
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food court
the food court works on the idea of consideration, the tables and chairs are designed to be folded up and put away in these storage banks for primarily safety reasons, however the reminder left over space offers the opportunity for occupation on a large scale
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permission of access - destination
entrance view from collins street
view from ground floor lift lobby
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focal destination the use of a strong exposed focal destination as means of inviting people into and through a space. the destination needs to present with minimal visual disruption.
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Credit -Nam Chops
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spaces of opportunity the spaces of opportunity created through out the testing on the urban lab: center way arcade
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urban lab- opportunity spaces - ground floor
column redefines the spaces into access to the fire escape and the “left over space�.
2
of ramp to split the space, 1 use further defined by the change in floor materials. the glass has the capacity to serve as a mirror
change in ceiling height, use of columns and wall material changes separates the lift lobby
3 power points
*
* trashcan
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urban lab- opportunity spaces - ground floor
pushing the threshold back to just before the alternative lobby entry creates a shorter dead end arcade to be occupied. area around is considered a 24 hour space due to the surrounding apartment lobby.
1
simply by a concrete 2 defined bench, spotlight and power point.
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urban lab- opportunity spaces - first floor
1
occupying both a end space and service space in the access to the bathrooms, which is not activated at night. the use of the single column defines the space and pushes the current circulation to the escalator side when the space is occupied.
* powerpoints
* trashcan
use of the column and * the material change in the
into the functional 2 tapping operation of the lift and seeing
floor to define the space
the lift as a closed threshold “after hours� in the way of a dead end allows the occupation of the lift lobby.
addition of the seal-able wall * the threshold creates a sense of control within the space and its nigh time activation
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urban lab- opportunity spaces - second floor
the food court uses the idea of permanent and removable furniture as a means of creating a dual function for the space. during the operation times of the food court the tables and chairs are set up to be used . after the closure of the food stalls the furniture is packed up in storage located both in the island furniture and the large columns at the windows
1
step down and material * the change defines the space to be occupied and creates a larger threshold between the shops and activity
two unique functions * the of the space with the removal of the furniture
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Credit -Nam Chops
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where to from here It is evident that this project is not one that reaches a singular conclusion, rather a process that continues to uncover, critic and attempt to rationalize the narrative of the dancer in the city. Though this particular part focused on the habitation of the commercial development, the ideas and principles of opportunity can be continuously tried and tested against different typologies. In many ways this typology presented the most friction and thus had little to no precedent, if you can make it work here, you can make it work anyway. As the development of the city continues and new approaches to design and construction are created these principles will expand and retract next to them. Growing and shrinking when needed, but continuing to push forward, like the urban dancer, they just find another way in. To be continued‌‌ Definitely
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