studio materials




S E N S I N G A

R I M

H W A N G

S P A C E

M A R T I N A

F U

SENSORY PARK SEATING AREA AND SUSPENDED GLASS READING NOOK




C O N T E N T S

P O R T F O L I O

Site analysis Rehabilitation Centre for the Visually-Impaired // Statement + Design strategy

BUILDING 124 COCKATOO ISLAND

Concept development ARIM HWANG (450374175) Materials

MARTINA FU (450411182)

Plans TUTOR: MANO PONNAMBALAM Sensory spaces COORDINATOR: MATTHEW MINDRUP Elevations Sections

BAEN2001 DESIGN INTEGRATION LAB: MATERIALS

Model photos

 

B R I E F The design includes the development of an entire sensory experience through which users can establish their own meaningful relationship with architecture.

The core space of the rehabilitation centre is a sensory orientation park that provides the visually-impaired with a sequence of haptic architectural events they may use to learn way-finding.

S I T E COCKATOO ISLAND, EXISTING BUILDING 124.

Located at east of Cockatoo Island, the former industrial brick building is visually empty inside but intense with historical value and rustic materials.

LEGEND ACCESS TO SITE SUN PATH WINDS

ACCESS Accessible by ferry services from wharfs.

Camber Wharf

IMAGE 1 INTERNAL Parramatta Wharf

IMAGE 2 EAST

EXISTING BUILT Organised, block-like built form Industrial buildings

Eastern apron

VIEWS Views across Sydney Harbour. Key proximity to water edge.

IMAGE 3 NORTH

IMAGE 4 WEST

Docking buildings

Sandstone cliff Historic, convict, ship design Northern apron buildings park, campground

Powerhouse area

“The elements of architecture are not visual units or gestalt; they are encounters, confrontations that interact with memory.”

- Juhani Pallasmaa, The Eyes of the Skin: Architecture and the Senses

 

SENSORY-ORIENTED NAVIGATION With the industrial character and materials of the existing building and site in mind, the centre conceives atmospheric spaces for relaxation and mobility, connecting navigation with sensory experience to rehabilitate the visually-impaired. We realised the journey from the wharf to the site was a sensory journey in itself, and attempted to imbue the different intensities of feeling in our orientation park.

In doing so, the design explores space through the other human senses apart from visual; touch, smell, taste and sound to intimate interaction with architecture.

The rehabilitation centre exists in three zones: the sensory orientation park, transition space and stacked

PULL

RECEPTION/ SENSORY PARK

EXPRESS PATH TO AMENITIES

SHIFT

TRANSITION SPACE

SENSORY PARK MOVEMENT

LIBRARY/ OFFICE/ COMMUNITY ROOM

‘STACKED’ AMENITIES MOVEMENT

amenities at the back.

Immense walls create depth and volume for immersive “chambers” that isolate and intensify sensory experiences, while the linear layout maintains ease of accessibility. At the entrance, the massive concrete wall of the reception blocks any view to the interior, appearing impenetrable.

COMPLEX

But wander along the length of the wall and you will discover openings on each end that lead to the amenities and orientation park.

VOLUMES

SPACES

CIRCULATION

Space within space, space after space, the organisation peels away in layers like an onion to evoke curiosity in the user. Thus in the process of way-finding, the user in a sense, takes on the role of an ‘explorer’ and curiosity, becomes the catalyst for movement through the centre.




RECEPTION

TOUCH

SMELL/TASTE

SENSORY ORIENTATION PARK Split into three semi-private spaces dedicated to exploring each sense, the chambers are designed with specific sensorial mechanisms, to meet diverse needs, The reception and transition are unique spatial experiences in themselves, completing the beginning and end of the sensory park.

SOUND

TRANSITION

S E N S O R Y

P A R K

M A T E R I A L S

TOUCH

SMELL/TASTE

SOUND

TRANSITION

1. TEXTURED TIMBER Textured walls (rough/uneven/ smooth) create tactile cues to guide user.

1. GLASS WALLS Creates greenhouse-like central courtyard space, with natural light for warm setting.

1. CRUSHED GRAVEL Soft crunch of feet on gravel mimics feeling of walking on beach, alluding to site’s proximity to water and sandstone cliffs.

1. VERTICAL RIDGED TIMBER Vertical protruding lines on wall diverge gradually towards centre, guiding user to single opening into amenities zone.

2. WOOD BLOCK WALL Moveable wooden blocks in wall allows users to push/pull to change its textural scape for the next person walking through.

2. LIVING PLANT WALL Exudes fragrance of flowers and herbs, connecting sensory with nature for user well-being.

3. IMPRINT BRAILLE Brief instructions to sensory park and encouraging words are imprinted above inset handrail to guide visuallyimpaired.

3. STEEL STAIRCASE + GLASS WALKWAY Creates two levels of circulation and feeling of suspension, letting users explore different scents across plant walL.

2. STEEL STRING WALL Users can create melodies with vertical steel cable strings stretching from wall to ceiling, turning sensory chamber into a music instrument.

3. SMOOTH TIMBER Smooth timber walls reflect sound for auditory and acoustic interest.

 

C O N C E P T

D E V E L O P M E N T

NON-VISUAL CONCEPTUAL MODEL // TACTILE PIN-BOARD AS SENSORY MAP OF SITE

INITIAL PLAN SKETCH

VOLUMES AND PASSAGEWAYS

Different intensities translated

Linear spaces extruded to create

Density of pins represent three intensities of sensory

into sensory chambers.

dimensional volumes, extending

experience from wharf to Building 124:

Linear layout maximises

immersive sensory environment.

space, ease of accessibility.

Passageway mapping through

1. LOW/sparse, irregular - Arrival. Free sporadic

Design is set in the centre

volumes represents intertwined

movement of wind, smell of sea salt.

without touching walls of

circulation with sensory chambers.

2. MEDIUM/regular, even - Entering. Air still in enclosed

exisiting facade to create

environment, calm, cool.

circulation path around

3. HIGH/tight, clusters - Immersing. Dusty air, smell in

outside.

building is heavy, solidness of materials (brick, concrete).

 

EARLY MODEL DEVELOPMENT Space designed in layers. Users would access chambers in a guided sequence to assist way-finding. Linear geometry mimics existing block-like building typologies on site. Narrow passageways become transition spaces between chambers, where users can prepare themselves for the following sensory experiences.

P R I M A R Y

M A T E R I A L S

FINAL MODEL DEVELOPMENT “Layered” spaces both separate and integrate volumes are developed into a sequential layout that encourages users to explore the centre through the senses and materials. Spaces cannot all be seen or experienced at once. Rather, they are are connected little by little, gradually revealing themselves to the user.

Concrete - heavy, porous

Timber - warm, solid Users access sensory park and amenities through passageways at sides between facade and chambers.

Steel - cool, light

RECEPTION

The entrance is a key experience. The concrete wall creates a confrontation between user and material. Movement and immediate views into the centre are blocked, stimulating mystery and curiosity.

Glass - suspension, transparency

User is naturally guided to reception window, a small opening which does not impede upon space. Rectangular openings allow in natural light to reception office and disabled toilet.

P L A N S

The body generates the interaction, the movement and all the effects.”

- Crescenti and Castoni // When Infinity Comes Alive

STAIRCASE

OFFICES

LIBRARY

TRANSITION SPACE

COMMUNITY ROOM

SEMINAR ROOM

TRANSITION SPACE

TRANSITION SPACE

SOUND

D

SMELL/TASTE

STAIRCASE

I O

ELEVATED GLASS WALKWAY

SUSPENDED READING NOOK

V SEATING

TOUCH

RECEPTION

2ND FLOOR

1ST FLOOR

GROUND FLOOR




S E N S O R Y

S P A C E S

RECEPTION - Perspective of narrow space between brick facade and concrete wall.




BRAILLE ABOVE INSET HANDRAIL

TOUCH - User using inset handrail as a guide to find doorway.

WOOD BLOCK WALL Users playing with moveable blocks.

TOUCH - Initial concept sketch.

SMELL/TASTE- Users enjoying light in

SOUND + TRANSITION - User walking

two levelled chamber with glass

through steel strings, on crushed gravel

always, stairs, and living plant wall.

which creates soft sound.

TRANSITION SPACE - Concept sketch

TWO-STOREY ‘STACKED’ AMENITIES - Perspective concept sketch

TRANSITION SPACE - User contemplating ridged wall.

E L E V A T I O N S

WEST ELEVATION ENTRANCE

NORTH ELEVATION

S E C T I O N S

4 3 2 1

3. CROSS SECTION SHOWING TOUCH SENSORY

4. CROSS SECTION SHOWING SMELL SENSORY

2. CROSS SECTION SHOWING RECEPTION FRONT

1. LONG SECTION

A X O N O M E T R I C

M O D E L

LEFT VIEW

P H O T O S

PERSPECTIVE VIEW

RIGHT VIEW

TOP VIEW

MODEL WITH EXISTING FACADE