Porous Stratum_Portfolio_RMIT Docklands Media Precinct by Megan Voo

[MEGAN VOO]

POROUS STRATUM

CONCLUSION This studio explores typological and procedural exploration based on different type of architecture. By researching different system and understanding how it works, we apply the behaviour to manipulate the form of a generic typology. The system that is generated requires a set of logic to choreographed and later applied to architecture. It encourages the user to be analytical and to be submissive to the design process and the outcome, to judge and decipher the messy output. To accept that it is okay if the result is too hard to resolve but it is not okay to not be speculative and critical. This mechanism allows a new form of composition to be generated by following the rules and behaviour instead of our own logic. To further enhance the proposition, the studio further challenges students to merge more than one exploration to open up more propositions for the project. This superimposition requires the user to further decipher a bigger mess, to refined it and to continue committing to the previous speculations, maintaining a balance of both typological behaviours that equalize their advantages and disadvantages to further amplify the propositions.

PORTFOLIO CONTENT FINAL PROJECT APPENDIX FINAL WEEK 1 WEEK 2 WEEK 3 WEEK 4 WEEK 5 MID-SEMESTER POST MID-SEM SANSAR PHOTOS

FINAL PROJECT

Porous Stratum â&#x20AC;&#x153;The Future of Digital Media, a place that is open and welcoming, allows the public to be more involve in this space. It is a studio that facilitates the spilling forth of human activity that ultimately delights in its complexities, holding a strong identity to RMIT buildings by taking reference from urban surrounding, the attention to details, to allow parts of the building to touch at one to one, striving for a sense of the civic in the ways things are both mad and used. This can be broken down into porous fabric, porous terrain, and porous view. It allows pedestrians to use it as a getaway to the Dockland Studio Melbourne and hence the ground floor can be accessible throughout each corner of the streets. A place for people to loiter, gather, a threshold that links people from different fields. The new spatial composition breaks the norm of designing a school that has a linear arrangement, each cell is designed to engage with one another. By extracting the behaviour of a prison cell, the idea of control porosity can be observed as the user is standing in the main courtyard of Porous Stratum, where the user can observe various learning activities happening at the same time whereas as the user is standing in any given point in the learning cells, it allows a strategic privilege view. These variety of heights, overlapping of spaces create vertical and horizontal visual connections. Instead of having visual from level to level, this new typology encourages students to collaborate, to be more engaged, spreading the interactions between levels instead of one floor.

PROJECT INTRODUCTION

a seamless transition and provoking a sense of transparency within the industry and the university. Zone B is a place design to encourage collaboration between primary, secondary, and university students as well as people from the industry. Situated in the centre of the building, this porous learning cell is designed to inspire collaboration from the surrounding learning pods by creating an open environment, allowing the spillage of boundaries to the central courtyard. Zone C is a place design for events and exhibition, the typology in this cluster is the most porous, highly ornamental and experiential, catering to a variety of different program, all within one building. All these different stratum of porous learning cells come together to bring a high spatial learning experience to students, industry and the civic. Porous Stratum is a school that facilitates a flow between environment, people and architecture, enabling architecture as a process of exchange. A porous vessel that accommodates the spilling forth of human activities, the opportunities to watch and to be watched. It is the production of an urban learning village, creating spaces that allow the civic to mingle, delight and wonder as well as authenticate the build form in which it is experienced.

The new media hub is cluster of 3 different zones. Zone A is Design and Production. By referencing Melbourne Dockland Studio Sheds, zone A is a collective of different compartments that are complimented by condensed patterns that are more pragmatic and utilitarian for a focused learning environment. This blur the identity between Melbourne Dockland Studio and RMIT media production zones, creating

Image. Axonometric View of POROUS STRATUM. The production of an urban learning village, creating spaces that allow the civic to mingle, delight and wonder as well as authenticate the build form in which it is experienced.

FINAL PROJECT

NORTH SIDE STREET VIEW

Image: By referencing Melbourne Dockland Studio Sheds, zone A is a collective of different compartments that are complimented by condensed patterns that are more pragmatic and utilitarian for a focused learning environment. This blur the identity between Melbourne Dockland Studio and RMIT media production zones, creating a seamless transition and provoking a sense of transparency within the industry and the university.

FINAL PROJECT

SOUTH SIDE STREET VIEW

Image: The South side facade of the new media precinct cater specifically to Zone 3 â&#x20AC;&#x153;Events and Exhibitionâ&#x20AC;?, aiming to create a welcoming area to lure the public to delight in this new precinct. The typology in this cluster is the most porous, highly ornamental and experiential, catering to a variety of different program, all within one building.

Image Top: The vision of Porous Stratum is to create an open and welcoming environment that allows the public to be more involve in this space. A place for people to loiter and gather, a threshold that links people from different fields.

Image Top: Inspired by the Melbourne Dockland Studio logo, the pattern on the ground of the Green Screen Studio become a sense of guidance and direction to lure pedestrian into the education space as well as to dockland studio.

Image Top: This new spatial composition breaks the norm of designing a school that has a linear arrangement, each cell is designed to engage with one another. By extracting the behaviour of a prison cell, the idea of control porosity can be observed as the user is standing in the main courtyard of Porous Stratum, where the user can observe various learning activities happening at the same time.

FINAL PROJECT

PROJECT IMAGES

Image Top: Porous Stratum is also a place for observation learning, allowing the civic to act as a surveillance to the teaching spaces without disturbing the students.The juxtaposition of landscape in the corridor creates interesting experiential effect as it dematerialise itself, creating a non-definitive boundary, a flexible space for innovation and collaboration.

Image Bottom:

FINAL PROJECT

DESIGN PROCESS

FINAL PROJECT

DESIGN DIAGRAMS

OCULAS

• An insertion of aperture on different levels allow glimpse of the roofscapes of other learning cells.

CIRCULAR WINDOW

• The insertion of the circular window directly opposite to the oculus extend the the user’s view from the street, to the classroom and to the atrium.

BRIDGE

• The bridges becomes a tunnel that entice the public to loiter in these spaces.

SEMI-OPAQUE CEILING

• The semi opaque glass mezzanine or ceiling create varied movements as shadow of humans cast on in.

MEZZANINE

• This open mezzanine blurs the transition between what is private and semi-private, enabling these spaces to be shared between civic and students.

ZONE B: Innovation &Collaboration Cluster Diagram

ROOFTOP AREA

• Rooftop area can be extension of space for students to gather and rest when class is finished.

SKYLIGHT

•To allow filtration of air and light, to watch and to be watched

SHADING DEVICES

• The grid can be used as a shading device.

Grid Window

• The grid become the frame and mullion of the window.

Balcony

• The balcony become a platform to connect different learning cells.

MEZZANINE

• This mezzanine maximizes the use of vertical space, providing extended spaces for informal learning spaces.

POROUS PARTITION

• The grid become a structure and a porous wall.

MINI AMPHITHEATRE

• The stairs become adaptable and can be used as a mini amphitheatre.

ZONE A: Design & Production Cluster Diagram

Image Top: Adaptable Shell. A controlled porosity where the civic can be the surveillance to the teaching spaces without disturbing the students. Image Middle: Endless Circuit. A new learning environement that that is driven primarily by circulations. Image Bottom: The juxtaposition of these two experiments create a highly experiential learning environment with different intensity of porosity.

Image Left: The variations of grid facade created different stratum of porosity of learning enviornment, an identity to each learning cells through the different intensity and intricacy of these patterns.

Image Right: Exploded Axo of the different cluster of learning environement. This new spatial composition breaks the norm of designing a school that has a linear arrangement, each cell is designed to engage with one another.

FINAL PROJECT

GROUND FLOOR PLAN

DOCKLAND STUDIO

PEARL RIVER ROAD

02 06 09

02 07 01 05 07

17 48

03 12 ZONE 3 EXHIBITION WALL

Legend: 01 - Equipment Storage Space 02 - Green Studio 03 - Object Preparation Space 04 - Cafe 05 - Equipment Loan and Storage Space 06 - Informal Space 07 - Control Room 08 - Auditorium Room 09 - Symposium 10 - RMIT Connect 11 - Maker Space 12 - Female WC 13 - Male WC 14 - Computer Room 15 - 3D Print Room

10 04

15 14

SCALE 1: 350

DOCKLAND DR 0 1:250

10M

FINAL PROJECT

FIRST FLOOR PLAN

01 09

04 Legend: 01 - Green Studio 02 - Flexible Workshop Space 03 - Editing Suite 04 - Breakout Space 05 - GLAM hub 06 - Informal Space 07 - Dedicated Office Space 08 - Physical Effect Workshop 09 - Control Room 10 - Balcony 11 - Corridor

SCALE 1: 350

FINAL PROJECT

SECOND FLOOR PLAN

03 02

Legend: 01 - Physical Effect Workshop 02 - Flexible Workshop Space 03 - Informal Space 04 - Server Room 05 - Balcony 06 - Game Production Space

SCALE 1: 350

FINAL PROJECT

LONG SECTION

08 04 03

10 02

05 01

Legend: 01 - Seminar 02 - Control Room 03 - Green Screen Studio 04 - Flexible Workshop Space 05 - Balcony 06 - Sitting Area 07 - Corridor 08 - Informal Space 09 - Mini Amphitheatre 10 - Breakout Space

07 06

09 08

SCALE 1: 220

FINAL PROJECT

VIDEO SEQUENCE

The first scene introduces rmit city campus and the new dockland precinct site location.

The scene shows residential buildings are located on the South.

This scene introduces the overall form and site context of the building.

This scene shows a human walking from the surrounding site to the new university.

This view talks about the site context which is the carpark located on the West.

This view begins to unfold the entrance of the new media precinct.

This view shows Melbourne Dockland studio located on the North side.

This view shows the integrated landscape as a guidance to the entrance.

This view shows commercial and retail is on the East side.

The camera begin to shift into the large TV , showing the name of the project.

FINAL PROJECT

VIDEO SEQUENCE

The scene shows the exploration of my research “adaptable shell”.

An close up shot showing the signages forming the landscapes.

This scene shows my exploration of “endless circuit”.

An close up shot showing the signages forming the landscapes.

This view talks about the grid and how it forms the overall form of the design.

An close up shot showing the signages forming the landscapes.

This view show that the landscape is inspired by Dockland Studio’s logo.

This diagram show the hybrid of my two research.

An close up shot showing the signages forming the landscapes.

An introduction to the porous building that can be accesible from all four sides.

FINAL PROJECT

VIDEO SEQUENCE

The scene shows the building allows the civic to access the upper level.

This scene begins to reveal the center courtyard of the building.

This corridor is design to lure pedestrian into exploring the building.

Scene showing the courtyard of the university is a place for people to gather.

This view shows the overlapping of spaces creating various experiences.

A view of the courtyard and a timelapse of the day changing.

Visual connection from level to level.

This view reveal the corridor located on the North side.

This scene begins to take the user into the courtyard of the building.

A sharepassegeway between students, teachers and the civic.

FINAL PROJECT

VIDEO SEQUENCE

The scene shows the privilage view in this informal space.

This scene shows the open corridor and the grid roof.

A scene showing the informal study area for students and the public.

This scene shows the circle window directly facing the flexible study area.

Various visual connections horizontally and vertically.

This scene begins to take user to the Maker Space.

A view to see the center courtyard and Maker Space.

This view reveal a TV screen displaying the section.

A view towards the corridor and civic interacting.

This scene talks about the long section and the design intention.

FINAL PROJECT

VIDEO SEQUENCE

The scene shows the breaking down of Cluster A learning cells.

The scene shows the breaking down of Cluster B learning cells.

A view showing the corridor and the outdoor spaces.

This scene talks about the first floor plan and the programatic layout.

This view shows observation learning between public and students.

This scene talks about the second floor plan and the programatic layout.

This view begins to reveal the floor plans on the TV screens.

The scene shows the breaking down of Cluster C learning cells.

This scene talks about the ground floor plan and the programatic layout.

This scene begins to shift the camera out of the building.

FINAL PROJECT

VIDEO SEQUENCE

The camera begins to shift out to the exterior of the building.

Showing the overall form, landscapes and human interaction.

The camera begin to shift further away from the building.

The camera begin to shift further away and around the building.

This scene slowly summaries conclusion of Porous Stratum.

the

APPENDIX

PROCEDURAL EXPLORATIONS APPENDIX.

[POROUS STRATUM]

APPENDIX Image below The picture below is a blue print summarising the 5 procedure explorations we have research in the beginning of the weeks. Each research has its own speculation and vision that can be extracted out that contributed to the final outcome of the building.

WEEK 02

In each exploration, we are require to research on a type of building, study its behaviour and extract a typological behaviour of these elements that potentially can be re-evaluate it’s tectonic properties. These information and research together form a “Generic Operatice Diagram” (GOD) that abstract the specific typological behaviour we aim to focus.

SYSTEM

RAW RESULT

• The outcome allows the ornament of the church to become a column, the entry tower as a façade, the extended roof as a bridge or cantilever and the main body can be potentially be split into partitions. • The section of the drawing also creates a new form of typology and raises the question what’s the meaning of a roof within a roof.

LEAF DROP

VOLUMINOUS TYPOLOGY

In experiment 2, based on our observations from various precedents, we notice that most of the airport circulation has a U-shaped pattern. This U-shaped pattern shares a similar system to a learning environment, starting with the main entrance, followed by a courtyard in the middle, and a linear circulation where each student disperses to their own individual classroom.

• The proposition of this project is what if we created a new form of teaching spaces that main circulation, breaking the norm of tight hallway spaces. A generous circulation space that create extensive internal recreation areas or informal learning space. • The result of this project creates a new learning environment that consist of purely circulation, purposely a new typology where the learning environment consist of a serious of ramps juxtaposition each other with pocket spaces. • The raw-result compromises of vertical, horizontal, open and enclosed circulation space that can potentially that can be broken up into different architecture typologies in the future.

ENDLESS CIRCUIT

60,000 50,000

• The column grid was manipulated into different sizes to allow the columns to serve different purposes and create new formal qualities.

40,000

30,000

• Playing with the sense of scales, the new post process created a different type of formal outcome of columns that can be habitable, highly operable as a structure, a column, circulation, roof, sitting area and ornaments.

20,000

The potential of column grid through the learning environment lens is a space that is highly adaptable and porous, providing a great ability to be adjusted and changed to suit the different needs of the user.

VISION

• This new form has a voluminous spaces that can potentially be a new learning environmenet. Perhaps the higher the volume, the higher the hierarchy of the learning spaces.

The experiment for this week was to explode the formal qualities of these volumetric spaces so that they can be re-distributed, expand, contract, shift or explode to create a new type of learning environment.

In experiment 3, the columns and the grid of a carpark was focused on in this project. This is because columns are the main division of space and organisation of form in a carpark.

SPECULATION • The new configuration of forms allows the building to have more variations in forms and breaking up the rigid spatial organization of a church.

• However, this project was consider unsuccessful because the intersection of the columns doesn’t create a new type of form other than a circle.

10,000

• Through speculation, the different scales and stacking of forms with specific colors can be potentially develop into programatic layout in the future.

STAR EXPLOSION

PROGRAMATIC STACKING

B E

WEEK 04

A system is applied to this GOD to manipulate the design outcome that is not within our control, allowing our speculation and rules to be faithful to the design outcome.

POST PROCESS

In experimenent 1, the systematic and distribution of spaces in a catholic church was observed. These orders of spaces has its own individual formal qualities that defined the spaces, for example the transept spaces usually has a high atrium and the sanctuary spaces usually has a difference in floor level.

ROULETTE

WEEK 03

The first 5 weeks of the studio aims to focus on generating formal outcome by studying different types of building typologies.

WEEK 01

TYPE

In experimenent 4, Sihe Yuan is a type a traditional Chinese home that were designed around a courtyard. A typical learning environment usually have their outdoor space or field peripheral to the building. Instead of going out to the field to play, what if we bring the fun inside, to the centre and of the building, like a metaphor of a magnetic field, where the force of attraction is the highest in the middle, a place where civic, teachers and students congregate.

POROUS

B C

C C

D E

E H

G F

B A

• The new designed of the courtyard is used to connect several buildings, it act as a terrain to guide people and also a gateway to Dockland studio. Using landscape to engage with public. This continuous terrain can be used by the civic to pass through different location. The whole building is porous, there is no enclosed space, it is not a solid box. Some are open courtyard. Some are enclosed courtyard (private), a void inside one of these building.

A A

H B I

• The symmetrical and social order of the Sihe Yuan is manipulated while maintaining the idea of buildings surrounding the courtyard. However, instead of one, a serious of courtyard were designed.

D D

G E

J F D G

TRAIN LINE

CONTINOUS TERRAIN

WELCOMING MATERIAL THAT CREATE AFFECTS

The result of the outcome will form as a “Raw Result”, which we need to judge it based on our earlier speculations and the potential it brings to our research.

WEEK 05

8000

In experimenent 5, we are interested in the interior façade of prison. The jail bar has a porous behaviour that creates a visual connection between the guard and the prisoner. This controlled porosity allows the guard to look at all the prisoners, but the prisoners doesn’t have the authority to interact with other prisoners. This behaviour can be implemented into the learning environment where the civic can be the surveillance to the teaching spaces without disturbing the students.

• The outcome of the project creates a serious of different layers of façade, that is operable, railings, habitable, ornamental and can be used as a furniture or shelves. This adaptable edge is creates one identity to the building.

7000

6000

• The building can be access by the civic on all four sides, a continuous terrain that can be used to different locations.

5000

4000

• The circulation of the public is on the outside of the façade whereas the blue tube is used by students and teachers. This creates a controlled porosity where civic (green) can access the learning environment of the students as a surveillance above ground level.

3000

2000

•The mezzanine above ground level becomes balcony or bridges that link various pod for the civic without entering the building whereas on the ground floor it is used as tile for the floor or green spaces.

1000

10 11 12 13 14 15 16 17 18 19

FACTORS FAMINE

ADAPTABLE SHELL

COURTYARD TERRAIN BRIDGES

•This grid structure can also be used as a roof to provide shades or a giant net for students to have informal activities.

WEEK 1

PROCEDURAL EXPLORATIONS APPENDIX.

[TYPOLOGICAL PROCEDURAL EXPLORATIONS 1]

VOLUMINOUS

TYPOLOGY

Image 2 Plan view of the procedural outcome. The extended roof now becomes a bridge or cantilever and the main body can be potentially be split into partitions.

Image 3 The outcome creates a courtyard in the middle of the church, with the ornament turning into a sturcture or column and the entry tower as a façade.

Typological Identification This typological exploration focus on the systematic and distribution of spaces in a catholic church. These orders of spaces has its own individual formal qualities that defined the spaces, for example the transept spaces usually has a high atrium and the sanctuary spaces usually has a difference in floor level.

Image 1 Section view of the procedural outcome. The new configuration of forms allows the building to have more variations in forms and breaking up the rigid spatial organization of a church.

G.O.D

Choreography System: “Leaf Falling System” was used to explode the formal qualities of these volumetric spaces so that they can be re-distributed, expand, contract, shift or explode to create a new type of learning environment. The number of the wind speed was used to twist the building clockwise, temperature to subtract, followed by splitting each element equally and then arrange them back to its original position.

Image 4 The short section shows new form of typology and raises the question what’s the meaning of a roof within a roof.

Raw Result

WEEK 2

PROCEDURAL EXPLORATIONS APPENDIX.

[TYPOLOGICAL PROCEDURAL EXPLORATIONS 2]

ENDLESS CIRCUIT

Image 1 Section view of the procedural outcome. The outcome created a new form of teaching spaces that focuses on main circulation, breaking the norm of tight hallway spaces. A generous circulation space that create extensive internal recreation areas or informal learning space.

Image 2 Plan view of the procedural outcome. The new learning environment consist of a serious of ramps juxtaposition each other with pocket spaces.

Typological Identification Based on our observations from various precedents, we notice that most of the airport circulation has a U-shaped pattern. This U-shaped pattern shares a similar system to a learning environment, starting with the main entrance, followed by a courtyard in the middle, and a linear circulation where each student disperses to their own individual classroom.

Image 3 The interior spaces of the circulation is also highly experential. Other than being a ramp, the form can potentially become ornaments that can create varied experiences for user to study in this learning spaces.

G.O.D

Choreography System: â&#x20AC;&#x153;Casiono Rouletteâ&#x20AC;? was used to twist and turn the generic operative diagram to break the linear circulatin of an airport. The procedure begins by rotating the GOD 9 times based on each turn. The number was later used to extrude the height of each GOD. A variation of outcome twisting form was created and was later stack together based on the mid point, forming the raw result.

Image 4 Endless Circuit compromises of vertical, horizontal, open and enclosed circulation space that can potentially that can be broken up into different architecture typologies in the future.

Raw Result

WEEK 3

PROCEDURAL EXPLORATIONS APPENDIX.

[TYPOLOGICAL PROCEDURAL EXPLORATIONS 3]

PROGRAMATIC

STACKING

Image 2 Plan view of the procedural outcome. The formal outcome has a singular identity. Therefore this outcome is consider unsuccessful because the intersection of the columns doesn’t create a new type of form other than a circle.

Typological Identification The columns and the grid of a carpark was focused on in this project. This is because columns are the main division of space and organisation of form in a carpark. The potential of column grid through the learning environment lens is a space that is highly adaptable and porous, providing a great ability to be adjusted and changed to suit the different needs of the user.

Image 1 Section view of the procedural outcome. Overhanging spaces and open coutyards are generated and spreaded throughout the form.

Image 3 The carpark column grid now is highly adaptable, habitable, operable as a structure, a column, circulation, roof, sitting area. and ornaments.

G.O.D

Choreography System: Image 4 The openess and porosity of the built form allow the building to become a gateway to the Dockland Studio.

“Sun Explotion” was used to expand and manipulated the grid column into different sizes to allow it to serve different purposes and create new formal and spatial qualities.

Raw Result

WEEK 4

PROCEDURAL EXPLORATIONS APPENDIX.

[TYPOLOGICAL PROCEDURAL EXPLORATIONS 4]

CONTINOUS TERRAIN

Image 1 Section view of the procedural outcome. The voluminous form creates double height ceiling.

Image 2 Plan view of the procedural outcome. The symmetrical and social order of the Sihe Yuan is manipulated while maintaining the idea of buildings surrounding the courtyard. However, instead of one, a serious of courtyard were designed.

Typological Identification Sihe Yuan is a type a traditional Chinese home that were designed around a courtyard. A typical learning environment usually have their outdoor space or field peripheral to the building. Instead of going out to the field to play, what if we bring the fun inside, to the centre and the inner core of the building like a metaphor of a magnetic field, where the force of attraction is the highest in the middle, a place where civic, teachers and students congregate.

Image 3 Using landscape to engage with public. This continuous terrain can be used by the civic to pass through different location. The whole building is Porous, there is no enclosed space, it is not a solid box. Some are open courtyard. Some are enclosed courtyard (private), A void inside one of these building.

G.O.D

Choreography System: â&#x20AC;&#x153;Sdyney Rail Networkâ&#x20AC;? was observed and study to be create the raw result of this experiment. The colors of the GOD was based on the social statues and main living spaces of the house. Each group of program based on individual colors are split, resize and rotated clockwise based on the diagram of the train system. Each component was later placed back to the same position as the GOD.

Image 4 The new designed of the courtyard is used to connect several buildings, it act as a terrain to guide people and also a gateway to Dockland studio.

Raw Result

WEEK 5

PROCEDURAL EXPLORATIONS APPENDIX.

[TYPOLOGICAL PROCEDURAL EXPLORATIONS 5]

ADAPTABLE SHELL

Image 1 North view facing Dockland Studio. The outcome of the project creates a serious of different layers of façade, that is operable, railings, habitable, ornamental and can be used as a furniture or shelves. This adaptable edge is creates one identity to the building.

Typological Identification This exploration looked into the idea of control porosity in the facade of a jail cell. The jail bar has a porous behaviour that creates a visual connection between the guard and the prisoner. This controlled porosity allows the guard to look at the prisoners, but the prisoners do not have the authority to interact with the other prisoners. This behaviour can be implemented into the learning environment where the civic can be the surveillance to the teaching spaces without disturbing the students.

Image 3 The circulation of the public is on the outside of the façade whereas the blue tube is used by students and teachers. This creates a controlled porosity where civic (green) can access the learning environment of the students as a surveillance above ground level.

Choreography System: “Somalia Famine System” was apply to the GOD of the jail interior facade. The component of the GOD was divided into jail bar, cell walls, staircase, mezzanines and floor slab with its own individual color. Each element was manipulated individually based on the histogram by scaling and rotating. The raw result of the jail cell created a serious of different levels and juxtaposition of the cells.

Image 4 The building can be access by the civic on all four sides, a continuous terrain that can be used to different locations.

WEEK 1

READINGS

[WEEK 1]

FORM, TYPE & PROCESS

Typological Formations: Renewable Building Types and the City What’s your Type? Sam Jacoby

“Rather than function to define type, Quatremere argues that variations in type are engendered by the effects of socialisation and the methods of construction indigenous to each culture.”

Typological Formations: Renewable Building Types and the City Projective Series Christopher C.M. Lee

The experiment in week 1 focus on having a general understanding of Typological Procedural Explorations by testing rigorous and aggressive in formal experiments for the project. Week 1 Aims: 1. Begin an archive of potential systems. 2. Have a general understanding of typological process-based explorations. 3. To practice amplifying the core behaviour of precedent types to open new possibilities for the future learning environments. 4. To identify potential typologies (architecture, infrastructure, urban, etc.) to ‘contaminate’ the learning environment. 5. Begin to understand contemporary learning environments and to recognize potentials for the project.

“Typology as a productive method for architecture. Athough it begins with basic and conventional precedents, the cumulative indexing of genetic imprint is able to produce startling results whilst maintaining continuity, repetition and difference.”

Learning Environments From Ideas for Learning to Architecture Form

“Fabric of the building to be used as a learning tool itself.” “The generous circulation spaces create extensive internal recreation areas.” “To make the space created for learning look and feel appreciated to their subject, to have specific identity so often lacking in secondary school.” “One popular initiative is for the school to mimic an office environment, including spaces for small group teaching, hot-desking, informal working and meeting.”

WEEK 1

Image Top: St Paul Cathedrol, London

TYPE RESEARCH: CHURCH

Image Top: The Cathedral of Notre Dame, Paris

WEEK 1

Image Top: St Patrickâ&#x20AC;&#x2122;s Cathedral, Melbourne

TYPE RESEARCH: CHURCH

Image Top: St Francis Church, Melbourne

WEEK 1

TYPE BEHAVIOUR: CHURCH

WEEK 1

GENERIC OPERATIVE DIAGRAM

Central Tower/ Element 1

Entry Towers/ Element 2

Extended Roof/ Element 3

Ornaments/ Element 4

Speculation

Based on our observations from various precedents, we notice that the floor plan of a church is very systematic and it usually has it’s own system for distribution of spaces. The order of spaces also has it’s own individual formal qualities that defined the spaces, for example the transept spaces usually has a high atrium and the sanctuary spaces usually has a difference in floor level.

Legend Public

Transition Space

Choir, Pastor

The formal qualities of these spaces has the potential to be re-distributed, expand, contract, shift or explode to create a new learning environment.

Extension/ Element 5

Main Body/ Element 6

Image Top: Each element extracted from the generic church’s form will generate different types of learning environments with various area sizes, heights and level of privacy.

WEEK 1

SYSTEM

DIAGRAM OF ITS BEHAVIOUR Date

Temp (°C)

Leaf Quantity

Wind Speed km/h

12.9/13

26 = 2.6

[(12.5 - 8) ÷ 2] + 8 = 10.25 / 102.5 degree

11.4/11

29 = 2.9

[(1.6 - 1) ÷ 2] + 1 = 1.3 / 13 degree

8.1/8

149 = 14.9

[(3.2 - 2) ÷ 2] + 2 = 2.6 / 26 degree

10.6/11

65 = 6.5

[(3.2 - 2) ÷ 2] + 2 = 2.6 / 26 degree

9.2/9

50 = 5.0

[(6.4 - 4) ÷ 2] + 4 = 5.2 / 52 degree

12.6/13

28 = 2.8

[(3.2 - 2) ÷ 2] + 2 = 2.6 / 26 degree

MODIFIED DIAGRAM Element

Expand

Split

Twist (°C)

13-11 = 2

102.5

11.4-8.1 = 3.3

10.6-8.1 = 3

10.6-9.2 = 1.4

12.6-9 = 3.4

12.9-12.6 = 0.4

Steps: 1. Select 5 days interval dates. 2. Each day will be used as one element to be manipulated. 3. Use the number of the wind speed to twist the building clockwise. 4. Subtract the temperature with the one below. Use the number you have subtracted to expand the size of the element. 5. Split the element equally. 6. Arrange all the elements to its original position. Image Top: Leaf Falling System. The system shows the quantity of leaves falling in a mature, deciduous Mulberry Tree in a different temperature over a three weeks period. Data is recorded by smart phone photos and internet temperature reports. Instead of counting each leaf, quadrants are established, and an estimated, quantitative mean is calculated.

WEEK 1

APPLICATION/ SLOW PROCESS

ELEMENT 1

ELEMENT 4

ELEMENT 2

ELEMENT 5

ELEMENT 3

ELEMENT 6

Week 01

WEEK 1

RAW RESULT

WEEK 1

POST PROCESS & OUTCOME

Speculation: The new configuration of forms allow the building to have more open spaces and pods for informal spaces.This open plan teaching spaces encourage independent learning and collaboration between teachers and students.

Top Image: East Section Second Image: West Section Third Image: Plan Forth Image: Short Section

WEEK 2

TYPE RESEARCH: AIRPORT

[WEEK 2]

SPATIAL STRATEGIES Departing Arriving

The experiment in week 2 will emphasize propositions and strategies for programmatic and spatial relationships with a focus on sectional qualities and variation. The explorations will investigate notions of void and absence and the creation of artificial terrains as filters to reimagine spatial strategies and disposition. How can these threads produce speculative propositions and compositions for the learning environment?

Toilet Retail Food & Drink

DEPARTING ARRIVING TOILET RETAIL FOOD AND DRINK 1:5000

Week 2 Aims: 1. To practice choreographing process experiments with a focus on programmatic imagination and spatial arrangements. 2. Further our understanding of typological procedural experiments. 3. To understand that the experiments may open up possibilities for other architectural relationships simultaneously. 4. Research contemporary learning environments and to recognize the potential for the project.

Image Top: Shenyang Taoxian International Airport

WEEK 2

TYPE RESEARCH: AIRPORT

Departing Arriving Toilet

Main Circulation

Retail

Retails & Restaurants

Food & Drink

Toilet & Ameneties

DEPARTING ARRIVING TOILET RETAIL FOOD AND DRINK 1:4000

Image Top: Franjo Tudman Airport Zagreb

Image Top: Melbourne Aiport

WEEK 2

TYPE RESEARCH: AIRPORT

WEEK 1

Main Circulation

Retails & Restaurants

Toilet & Ameneties

Image Top: Singapore Changi Airport Terminal 1

READINGS

Toilet & Ameneties

Image Top: Sydney Airport

WEEK 2

SYSTEM

WEEK 2

GENERIC OPERATIVE DIAGRAM

Image Top: Casino Roulette System.

Steps: 1. The time to spin the roulette is used to extrude the height of the GOD. 2. The resulted number in the casino roulette is minus by 360 degree and is used as the rotation to the GOD. 3. Rotate each the GOD 9 times based on the diagram. 4. Extrude the height of GOD based on the diagram. 5. Stack each GOD based on itâ&#x20AC;&#x2122;s last point of rotation.

ORIGINAL DIAGRAM

MODIFIED DIAGRAM

Time (sec)

Number

Extrude

Rotate

-28

28000

356

-37

37000

337

+20

20000

349

-36

36000

330

-30

30000

329

+28

28000

354

+35

35000

327

+32

32000

352

+32

32000

336

Main Entrance

Check-In Counter

Gates Departure Hall

Immigration

Toilet

Retails & Restaurants

Image Top: Based on our observations from various precedents, we notice that most of the airport circulation has a U-shaped pattern.

WEEK 2

APPLICATION/ SLOW PROCESS

WEEK 2

RAW RESULT

GENERIC OPERATIVE DIAGRAM

Speculation: The raw result compromises of vertical, horizontal, open and enclosed circulation space that can potentially that can be broken up into different architecture typologies in the future.

WEEK 2

Top Image: Axo View Bottom Image: Interior

POST PROCESS & OUTCOME

Top Image: Axo View Bottom Image: Interior

WEEK 3

READINGS

[WEEK 3]

Assimilated Landscapes In this exploration we are interested in the relationship of object, site, urban connection, civic presence and amenity. We are also interested in the contemporary definitions of ‘the public institution’, the extension of the role of RMIT as a public institution and the activation of the Docklands Precinct through translation of the dynamic nature of the city campus to Docklands.

Eisenman’s Machine of Infinite Resistance Alejandro Zaera

Meditation and compliance will become the objectives of this new phase of Eisenmans research, in which the architectural figure is not derived from its multiple affiliations to different fields, but where the process of construction of the object itself becomes also the generator of the field. It is a new formulation of his technique to enforce coherence between the field and the object, the figure and the background. The techniques of ‘torquiring’, or the introduction of asymptotic or exponential ratios: in respect to the geometrical transformations characteristic of previous phases is that displacements, rotations or scalings were techniques aimed at the depletion of content of the ‘graft’, that is , techniques

The transformations applied to the data registering the existing buildings involve two types of operations: ‘displacements’ and ‘reorientations’, which are techniques that Eisemans had already used in previous projects; but here they will be applied through asymptotic or logarithmic ratios, rather than as constants. This means that the proportions of the latent traces wil be altered, deformed locally.

Week 3 Aims: 1. What is the role of the civic and public interface and its relationship with your proposal and the larger urban agenda? 2. How might the new RMIT Docklands Media Precinct be more integrated with the urban environment? How can it contribute in shaping the city/suburb? 3. How can the public interface and edge be activated? Is the public edge limited to the ground or the periphery? 4. Does it always have to be the grand public plaza? 5. Is it the dispersal of the civic within the vertical stack/horizontal condition?

WEEK 3

Image Top: Parking Building IMEC

TYPE RESEARCH: PARKING

Image Top: Parking Garage Cliniques University Saint-Luc

WEEK 3

TYPE RESEARCH: PARKING

7500mm 3600 mm

8500mm 3600 mm

Image Top: Bircham Park Multi Storey Carpark

Image Top: Bordeaux Carpark

2/ orange

WEEK 3

TYPE RESEARCH: PARKING

WEEK 3

SYSTEM

60,000 50,000

40,000 Brightness/Expand 1/ purple

30,000

20,000

10,000 2/ orange

Image Top: Star Explosion System.

Brightness/Expand 1/ purple

2/ orange

Image Top: Bungan Lane Carpark

3/ green

explosion/ Height (m)

1000

5000

15000

25000

30000

23000

32000

27000

22000

18000

15000

13000

10000

8000

6000

4000

1000

0.3

10000

0.5

20000

30000

1.6

35000

1.8

40000

39000

36000

33000

29000

25000

22000

18000

15000

13000

3/ green

4/ blue

4000

1000

0.3

10000

0.5

20000

30000

1.6

35000

1.8

40000

39000

36000

33000

29000

25000

22000

18000

15000

13000

10000

7000

4000

5000

26000

33000

32000

29000

27000

25000

2300

22000

18000

15000

13000

10000

6000

4000

1000

1.4

25000

24000

21000

19000

17000

16000

14 15

10000

15000

7000

13000

4000

12000

explosion/ Height (m)

1000

5000

1000

5000

26000

7000

1.2

15000

33000

15000

1.3

25000

33000

21000

1.5

30000

32000

25000

1.6

23000

29000

35000

1.8

32000

27000

40000

1.9

27000

25000

45000

22000

2300

55000

2.3

18000

22000

46000

15000

18000

41000

13000

15000

35000

10000

13000

30000

8000

10000

25000

6000

16000

4000

10000

1000

5000

9.5

1000

0.3

1000

10000

0.5

1000

1.4

20000

25000

30000

1.6

24000

35000

1.8

24000

40000

24000

39000

24000

36000

24000

33000

24000

29000

24000

25000

24000

22000

21000

18000

19000

15000

17000

13000

16000

10000

7000

15000

4000

13000

12000

5000

26000

33000

32000

29000

27000

3/ green

4/ blue

5/ black

1000

7000

1.2

15000

1.3

21000

1.5

25000

1.6

35000

1.8

40000

1.9

5/ black

Speculation: The system investigates the amount of time it takes for several stars to explode. The graph below shows the intensiveness of the supernova occur over time, measuring when the star explodes the brightest and when it starts to fade. This behaviour provides a measurement of intensity verses length that has the potential to disperse an object into different pieces.

WEEK 3

GENERIC OPERATIVE DIAGRAM

APPLICATION/ SLOW PROCESS

WEEK 3

RAW RESULT

Speculation: Column Grid of a carpark was focused on in this project. This is because columns are the main division of space and organisation of form in a carpark. The potential of column grid through the learning environment lens is a space that is highly adaptable and porous, providing a great ability to be adjusted and changed to suit the different needs of the user.

WEEK 3

Top Image: Plan Bottom Image: Section

POST PROCESS & OUTCOME

Top Image: Street View Bottom Image: Interior

WEEK 4

TYPE INTRODUCTION: SIHEYUAN

Siheyuan

[WEEK 4]

Hybrid Dispositions

A s i h e y u a n i s a h i s t o r i c a l t y p e o f r e s i d e n c e t h a t w a s c o m m o n ly

A Siheyuan is a historical type of residence that was commonly found throughout China, most famously in Beijing and S h arural n x i . TShanxi. h r o u g h oThroughout u t C h i n e s e hChinese i s t o r y, thistory, h e s i h e ythe u a nsiheyuan c o m p o s i t comion was t h eposition b a s i c p awas t t e r the n u sbasic e d f o rpattern r e s i d e nused c e s , for p a l residences, a c e s , t e m p l epalaces, s, monastemples, monasteries, family businesses, and government t e r i e s , f a m i ly b u s i n e s s e s , a n d g o v e r n m e n t o f f i c e s . I n a n c i e n t offices. In ancient times, a spacious siheyuan would be occut i mpied e s , a by s p aac single, i o u s s i husually e y u a n wlarge o u l d and b e o cextended c u p i e d b y family, a s i n g lsignifying e , u s u a l ly l a rwealth g e a n d and e x t e prosperity. n d e d f a m i ly,Today, s i g n i fremaining y i n g w e a lt siheyuan h a n d p r o sare p e roften i t y. still used as subdivided housing complexes, although many T o d a y, r e m a i n i n g s i h e y u a n a r e o f t e n s t i l l u s e d a s s u b d i v i d e d lack modern amenities. f o u n d t h r o u g h o u t C h i n a , m o s t f a m o u s ly i n B e i j i n g a n d r u r a l

h o u s i n g c o m p l e x e s , a lt h o u g h m a n y l a c k m o d e r n a m e n i t i e s .

In this week’s exploration, we are experimenting and investigating speculative approaches to programmatic and spatial arrangements/ compositions/dispositions. As RMIT’s proposal for the Docklands Media Precinct is a hybrid of many different ambitions and approaches (civic, learning, teaching, research, industry, secondary and primary students, etc.), it is prime for experimentation. This mixture of programmatic requirements challenges the university’s role in the urban fabric. Week 4 Aims: 1. What is the university’s role or contemporary learning environments if new modes of remote and online learning are now available? 2. What other programmes could be hybridised with university buildings to engage multiple audiences? S i h e y u a n f l o o r p l a n l ayo u t

Image Top: Typical Floor Plan of Siheyuan

S i h e y u a n r o o f l ayo u t

2. TYPE - Identity WEEK 4 2A. Siheyuan / Beijing

TYPE INTRODUCTION: SIHEYUAN

2. TYPE - Identity

WEEK 4

Siheyuan precendets Siheyuan precendets

TYPE RESEARCH: SIHEYUAN

W a n g F a m i ly G r a n d C o u r t y a r d – t h e E p i t o m e o f t h e Q i n g - D y n a s t y S t y l e D w e l l i n g

2A. Siheyuan / Beijing

W a n g F a m i ly G r a n d C o u r t y a r d – t h e E p i t o m e o f t h e Q i n g - D y n a s t y S t y l e D w e l l i n g T h e W a n g F a m i ly C o u r t y a r d , l o c a t e d i n J i n g sT hh ee nWg a tnogwFna, m1i 4ly0 Ckomu rf rt yo amr Tda, i lyoucaant, e tdh ien cJai np igt-a l os hf eSnhga nt ox w i Pn r, o1v4i0n ckem, fi sr oomn eT ao ify ut ha ne , mtohset coaupti -t a l so tf aSnhdai nn xg i rPerporveisnecnet, aitsi voen ed wo ef l tl hi ne gms oi snt Cohui nt -a . Ts ht ai sn dainncgi ernetp rp ersi ve an tt ea tci ov ue rdtwy ae lr ldi nwgass i bnu Ci lt h i nbay. w m i ly, T heiaslta hn yc iSehnat npxri i mv ae trec hc ao nu tr st ,y at rh de W w aa ns gb uf ai lt by owveearltthhye Schoaunrxsie moefr 3c 0h 0a -nptlsu, st hy ee aWr as nsgi nf ca em itly, he m o vi de -r1 t7h te hc co eunr ts ue roy.f 3 0 0 - p l u s y e a r s s i n c e t h e Cmoi dv -e 1r 7i ntgh ac te on tt au lr y.a r e a o f 2 5 0 t h o u s a n d s q u a r e m C oe vt ee rr isn, gt ah i ts octlaul s at re er ao of fc 2o 5u 0r ttyhaorudssa na nd ds qc ua as -r e tmleetse rhsa,s tahlt i s o cgleut shteerr 1o2f3 ccoouurrttyyaarrddss aanndd c1a, s1 -1 8 ht lo euss ehsa s a lt o g e t h e r 1 2 3 c o u r t y a r d s a n d 1 , 1 1 8 houses

Image Top: The Wang Family Grand Courtyard. An epitome of the Qing-Dynasty Style.

Q i a o F a m i ly G r a n d C o u r t y a r d – a T r a d i t i o n a l Q i n g D y n a s t y M a n s i o n Q i a o F a m i ly G r a n d C o u r t y a r d – a T r a d i t i o n a l Q i n g D y n a s t y M a n s i o n

T h e Q i a o F a m i ly G r a n d C o u r t y a r d a l s o b e l o n g e d tT oh ea QSi ha ao nFxai mmi ly e r cG hr aa nn td dC uo ru irntgy at rh de aQ li ns go db ye nl oa ns tg ye d (t 1o 6a4 4S-h1a9n1x1i ) m . erchant during the Qing dynasty (1644-1911). S u r r o u n d e d b y f u l ly e n c l o s e d g r e e n b r i c k w S uarl rl os uonvdeerd 1b0y mf eu tl elyr se nh ci gl ho ,s et dh i gs rwe ee nl l-b rr ei cs kt o r e d swiahlelysu ao nv ecro 1m0p omuentde rcso mh pi grhi s, etsh i6s mwaejlol-r rceosutrotr-e d ys ai hredysu, a2n0 csommaplolue nr dc co ou mr tp yr ai sr edss 6a nmda j3o1r3 croouormts- . Iyta'rsd as , h2i s0 t somr ai clal le rf ocloku rd twyealrldi ns ga, nidn 3t 1r3a driotoi omnsa. l nI to' rs tah ehri ns tCohriinc easl e f so tl yk l de w . elling, in traditional northern Chinese style.

DOCKLANDS: MEDIA PRECINCT

WK 004

Owen Hsu s3514356

Image Top: Spatial Layout of Siheyuan

DOCKLANDS: MEDIA PRECINCT

Image Top: Qiao Family Grand Courtyard. A traditional Qing Dynasty Mansion WK 004

Owen Hsu s3514356

SIHEYUAN PRECENDETS WEEK 4 WANG

TYPE INTRODUCTION: SIHEYUAN FAMILY GRAND COURTYARD - THE EPITOME OF THE GING-DYNASTY STYLE DWELLING

SIHEYUAN PRECENDETS

THE WANG FAMILY COURTYARO, LOCATEO IN JING-

15..f.& WANG FAMILY GRAND COURTYARD - THE EPITOME OF THE GING-DYNASTY STYLE DWELLING SHENG TOWN, 140 KM FROM TAIYUAN, THE CAPITAL �.=:.Jlet

STANOING REPRESENTATIVE IN CHINA. SHENG TOWN, 140 KM FROM OWELLINGS TAIYUAN, THE CAPITAL

STANOING SHANXI REPRESENTATIVE OWELLINGS CHINA. WEALTHY MERCHANTS, THE WANGINFAMILY,

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THIS PRIVATE COURTYARO WASSINCE BUILTTHE BY OVER ANCIENT THE COURSE OF 300-PLUS YEARS WEALTHY SHANXI MERCHANTS, THE WANG FAMILY,

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THIS ANCIENT PRIVATEISCOURTYARO WAS BUILT BY OF SHANXI PROVINCE, ONE OF THE MOST OUT-

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OF SHANXI PROVINCE, IS ONE OF THE MOST OUT-

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GENERIC OPERATIVE DIAGRAM

THE WANG FAMILY COURTYARO, LOCATEO IN JING-

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2. TYPE - Identity

WEEK 4

MI0-17 TH CENTURY.

OVER THE COURSE OF 300-PLUS YEARS SINCE THE

COVERING A TOTAL AREA OF 250 THOUSANO SOUARE

MI0-17 TH CENTURY.

METERS, THIS CLUSTER OF COURTYARDS ANO CAS-

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HOUSES

TLES HAS ALTOGETHER 123 COURTYARDS ANO 1,118 HOUSES

Image Top: The Wang Family Grand Courtyard. An epitome of the Qing-Dynasty Style.

THE F ORMER RESIDENCE OF MEI LANFANG THE F ORMER RESIDENCE OF MEI LANFANG

THE WANG FAMILY COURTYARO, LOCATEO IN JING THE WANG FAMILY COURTYARO, LOCATEO IN JING

SHENG TOWN, 140 KM FROM TAIYUAN, THE CAPITAL SHENG TOWN, 140 KM FROM TAIYUAN, THE CAPITAL

OF SHANXI PROVINCE, IS ONE OF THE MOST OUT OF SHANXI PROVINCE, IS ONE OF THE MOST OUT

STANOING REPRESENTATIVE OWELLINGS IN CHINA. STANOING REPRESENTATIVE OWELLINGS IN CHINA.

Siheyuan generalprogram program division Siheyuan general division

THIS THIS ANCIENT ANCIENT PRIVATE PRIVATE COURTYARO COURTYARO WAS WAS BUILT BUILT BY BY WEALTHY SHANXI MERCHANTS, THE WANG FAMILY, OVER THE THE COURSE COURSE OF OF 300-PLUS 300-PLUS YEARS YEARS SINCE SINCE THE THE OVER MI0-17 TH TH CENTURY. CENTURY. MI0-17 COVERING A TOTAL AREA OF 250 THOUSANO SOUARE

COVERING A TOTAL AREA OF 250 THOUSANO SOUARE METERS, THIS CLUSTER OF COURTYARDS ANO CAS

METERS, THIS CLUSTER OF COURTYARDS ANO CAS TLES HAS ALTOGETHER 123 COURTYARDS ANO 1,118

TLES HAS ALTOGETHER 123 COURTYARDS ANO 1,118 HOUSES

HOUSES

Programs extracted from siheyuan DOCKLANDS: MEDIA PRECINCT

WK 004

Owen Hsu s3514356

Programs extracted from siheyuan Image Top: Mei Lan Fang Courtyard

DOCKLANDS: MEDIA PRECINCT

WK 004

Owen Hsu

77 E 5ROTATE ROTATE 9090 136 136 130 130 135 135 270 270 137 137 270 270

44 E 5ROTATE ROTATE -90 -90 -90 -90 270 270 9090

WEEK 4

SYSTEM

WEEK 4

APPLICATION/ SLOW PROCESS

Steps: A A

B B

H G

B C C

D E

E H

B C

C D D D D

F G

F F

A B

E A

C A A B

A B

B A

B H B

B C

D E

G G E

E D

J F F D G

ORANGE ORANGE ORANGE ORANGE

SPLIT SPLIT 88 88 SPLIT SPLIT RESIZE RESIZE ROTATE DIVIDE DIVIDE 5ROTATE RESIZE RESIZE DIVIDE DIVIDE 5 5ROTATE 5ROTATE 2130 2130 426 426426 426 9090 9090 2130 A A 2130 2850 2850 570 570 570 225 225 225 2850 570 225 B B 2850 1710 1710 342 342 342 225 225 225 1710 342 225 C C 1710 2050 2050 410 410 410 136 136 136 2050 410 136 D D 2050 1660 1660 332 332 332 210 210 210 1660 332 210 E E 1660 132 132 2626 2626 221 221 221 132 221 F F 132 316 316 6464 6464 138 138 138 316 138 G G 316 224 224 4545 4545 9090 9090 224 H H 224

AA BB CC DD EE FF GG HH

TURQUOISE TURQUOISE TURQUOISE TURQUOISE AA BB CC DD EE FF GG HH I I I I

SPLIT SPLIT 99 99 SPLIT SPLIT RESIZE RESIZE ROTATE ROTATE DIVIDE DIVIDE 5 5 RESIZE RESIZE ROTATE DIVIDE DIVIDE 5 5 ROTATE 1460 1460 292 292 292 -180 -180 -180 1460 292 -180 A A 1460 1790 1790 358 358 358 -270 -270 -270 1790 358 -270 B B 1790 1960 1960 392 392 392 -270 -270 -270 1960 392 -270 C C 1960 2360 2360 472 472 472 9090 9090 2360 472 D D 2360 7 SPLIT 700 700SPLIT 140 140 220 220 7220 700 140 140 220 E E 700 RESIZE DIVIDE 5210 ROTATE 681 681 1362 1362 210 F RESIZE DIVIDE 5 ROTATE 681 681 13621362 210 210 F 4110 500822 822 24090 90 A 2500 2500 500 240 4110 2500 500 500 240 240 GAG 2500 3550 554710 710 60136 136 B 2770 2770 554 3550 2770 554 554 60 6060 HBH 2770 1860 1314 372 135130 130 C 6570 6570 1314 135 1860 372 6570 13141314 135 135 IC I 6570 2120 848424 424 270135 135 D 4240 4240 848 270 2120 4240 848 848 270 270 ID I 4240 2830 566 270 2830 566 270 EE 6340 1268 137 6340 1268 137 FF 4090 818 270 4090 818 270 GG

MAGENTA MAGENTA

YELLOW YELLOW

SPLIT 99 SPLIT RESIZE DIVIDE DIVIDE ROTATE RESIZE 5 5ROTATE 2420 484 2420 484 9090 8400 1680 135 4 SPLIT 8400 1680 135 4 SPLIT 3030 606 RESIZE DIVIDE 5224 ROTATE 3030 606 RESIZE DIVIDE 5224 ROTATE 580 710 116 116 142 120 120 -90 142 -90 A A 580 710 666074001332 13321480229 229 -90 1480 -90 B B 66607400 4800 850 960 960 170 -135 -135 270 170 270 C C 4800 850 1940 375 388 388 75 -225 -225 90 75 90 D D 1940 375 3350 670 -135 3350 670 -135 4140 828 -133 4140 828 -133

GREEN GREEN GREEN GREEN AA BB CC DD EE FF GG HH

SPLIT SPLIT 88 88 SPLIT SPLIT RESIZE RESIZE DIVIDE DIVIDE 5ROTATE ROTATE RESIZE RESIZE DIVIDE DIVIDE 5 5ROTATE 5ROTATE 1100 1100 220 220220 220 9090 9090 1100 A A 1100 1320 1320264 264 264 270 270 270 1320 264 270 B B 1320 2850 2850570 570 570 9090 9090 2850 570 C C 2850 780 780 156 156 156 225 225 225 780 156 225 D D 780 1760 1760352 352 352 224 224 224 1760 352 224 E E 1760 5220 52201044 1044 1044 134 134 134 5220 1044 134 F F 5220 5150 51501030 1030 1030 225 225 225 5150 1030 225 G G 5150 5200 52001040 1040 1040 9090 9090 5200 1040 H H 5200

RED RED

SPLIT 55 SPLIT RESIZE DIVIDE DIVIDE ROTATE RESIZE 5 5ROTATE 4870 974 135 4870 974 135 AA 2960SPLIT 592 224 SPLIT 2960 BB 5 5 224 55 SPLIT SPLIT 592 350DIVIDE 70 ROTATE 220 RESIZE RESIZE DIVIDE ROTATE 350 220 C CRESIZE RESIZE DIVIDE DIVIDE 5705ROTATE 5 5ROTATE 5660 570 1132 230 D 2850 2850 180 180 A 570 5660 1132 230 D A 28502850 570 570 180 180 9400 306 1880 -90 E 1530 1530 306 9090-90 9400 EB 15301530 306 1880 306 9090 B 2750 2750550 550 550 220 220 220 2750 550 220 C C 2750 7760 77601552 1552 1552 135 135 135 7760 1552 135 D D 7760 9 SPLIT 4490 4490 898 898 9090 90 990 SPLIT 4490 898 898 E E 4490 RESIZE DIVIDE DIVIDE ROTATE RESIZE 5 5ROTATE 2420 484 2420 484 9090 AA 8400 1680 135 8400 1680 135 BB 3030 606 224 3030 606 224 CC 580 SPLIT 116 3 580 120 DD 3120 SPLIT 116 6660 DIVIDE 1332 229 RESIZE DIVIDE ROTATE 6660 1332 229 RESIZE 5 5ROTATE EE 2420 484 90 4800 960 -135 F 2420 484 90 A 4800 960 -135 FA 1270 254 130 1940 388 -225 G 1270 254 130 B 1940 388 -225 GB 370 74 250 3350 -135 H 370 74670 250 C 3350 670 -135 HC 4140 828 -133 4140 828 -133 I I

DARK DARK BLUE BLUE DARK DARK BLUE BLUE AA BB CC DD EE

YELLOW YELLOW

AA BB

GREY GREY

SPLIT SPLIT RESIZE RESIZE 980 196 980 196 110 110 2222

GREY GREY AA BB

SPLIT SPLIT RESIZE RESIZE 980 196 980 196 110 110 2222

THE DIAGRAM. THE DIAGRAM. 44 ROTATE ROTATE 9090 210 210

MAGENTA MAGENTA MAGENTA MAGENTA MAGENTA MAGENTA AA BB CC DD EE FF GG

44 ROTATE ROTATE 9090 210 210

SPLIT 77 SPLIT RESIZE DIVIDE DIVIDE ROTATE RESIZE 5 5ROTATE 4110 822 4110 822 9090 3550 710 136 3550 710 136 1860 372 130 1860 372 130 2120 424 135 2120 424 135 2830 566 270 2830 566 270 6340 1268 137 6340 1268 137 4090 818 270 4090 818 270

YELLOW YELLOW AA BB CC DD EE FF GG HH I I

LIGHTBLUE BLUE LIGHT AA BB CC DD

SPLIT 44 SPLIT RESIZE DIVIDE DIVIDE ROTATE RESIZE 5 5ROTATE 710 142 -90 710 142 -90 7400 1480 -90 7400 1480 -90 850 170 270 850 170 270 375 375 7575 9090

SPLIT 99 SPLIT RESIZE DIVIDE DIVIDE ROTATE RESIZE 5 5ROTATE 2420 484 2420 484 9090 8400 1680 135 8400 1680 135 3030 606 224 3030 606 224 580 116 120 580 116 120 6660 1332 229 6660 1332 229 4800 960 -135 4800 960 -135 1940 388 -225 1940 388 -225 3350 670 -135 3350 670 -135 4140 828 -133 4140 828 -133

GREY GREY AA BB

SPLIT SPLIT RESIZE RESIZE 980 196 980 196 110 110 2222

44 ROTATE ROTATE 9090 210 210

RED RED

LAVENDER LAVENDER

LIGHTBLUE BLUE LIGHT

AA BB CC DD EE FF GG HH I I

1. Colors are chosen based on the size/ surface area of each program. 2. Each group of program will be split, resize and rotate based on the diagram. 3. Each component are placed to the exact same position as the GOD. 4. The negative space of the site will become the courtyard.

AA BB CC DD EE

SPLIT 55 SPLIT RESIZE DIVIDE DIVIDE ROTATE RESIZE 5 5ROTATE 4870 974 135 4870 974 135 2960 592 224 2960 592 224 350 220 350 7070 220 5660 1132 230 5660 1132 230 9400 1880 -90 9400 1880 -90

COLORS ARE CHOOSEN BASED THE SIZE/ SURFACE AREA EACH PROGRAM 1. 1. COLORS ARE CHOOSEN BASED ONON THE SIZE/ SURFACE AREA OFOF EACH PROGRAM EACH GROUP PROGRAM WILL SPLIT, RESIZE AND ROTATE ANTICLOCKWISE CLOCKWISE BASED THE DIAGRAM. 2. 2. EACH GROUP OFOF PROGRAM WILL BEBE SPLIT, RESIZE AND ROTATE ANTICLOCKWISE OROR CLOCKWISE BASED ONON THE DIAGRAM. THE ENTRANCE CORRIDOR GATE REMAINS THE SAME. 3. 3. THE ENTRANCE OFOF CORRIDOR GATE REMAINS THE SAME. EACH COMPONENT ARE PLACED THE EXACT SAME POSITION THE GOD. 4. 4. EACH COMPONENT ARE PLACED TOTO THE EXACT SAME POSITION ASAS THE GOD. THE NEGATIVE SPACE THE SITE WILL BECOME THE COURTYARD. 5. 5. THE NEGATIVE SPACE OFOF THE SITE WILL BECOME THE COURTYARD. ANY ELEMENTS ARE SPILLED BEYOND THE BOUNDARY WILL FOLDED BACK. 6. 6. ANY ELEMENTS ARE SPILLED BEYOND THE BOUNDARY WILL BEBE FOLDED BACK.

LAVENDER LAVENDER AA BB CC

SPLIT 33 SPLIT RESIZE DIVIDE DIVIDE ROTATE RESIZE 5 5ROTATE 2420 484 2420 484 9090 1270 254 130 1270 254 130 370 250 370 7474 250

WEEK 4

APPLICATION/ SLOW PROCESS

WEEK 4

RAW RESULT & POST PROCESS

WEEK 4

POST PROCESS

WEEK 4

POST PROCESS

DOCKLAND STUDIO DOCKLAND STUDIO

RETAIL PAVILION

ZONE 1

PEARL RIVE ROAD

ADMIN SPACE

ZONE 1

PARKING SPACE

DOCKLAND STUDIO CAFE

ZONE 3

ZONE 2

DOCKLAND STUDIO

ZONE 1

ZONE 3

ADMIN SPACE

BREAKOUT SPACE

CAFE

DOCKLANDS DR

PAVILION

ZONE 1

PEARL RIVE ROAD

ADMIN SPACE

ZONE 1

PARKING SPACE

CAFE

ZONE 3

ZONE 2

ZONE 1

ZONE 3

ADMIN SPACE

CAFE

Top Image: Axo View Bottom Image: Street View

Top Image: Site Plan Bottom Image: Floor Plan

BREAKOUT SPACE

100

WEEK 5

READINGS

[WEEK 5]

TECTONICS & IDENTITY In this exploration we will rethink the role of facade and ornament and it’s relationship with our project’s identity and context. How can this (facade/ornament) architectural core element allow architecture to become more connected to culture, pedagogical values and urban setting? How tectonic strategies can we utilise to see onrmanet and tectonics as operative parameters for the project? Week 5 Aims: 1. To consider the role of ornament, tectonics and facade as operative, loaded with ideas, culture and meaning. 2. To consider RMIT’s vision and civic identity for the project.

Readings: The Function of Ornament by Farshid Moussavi and Michael Kubo

“Architecture needs mechanisms that allow it to become connected to culture. It achieves this by continually capturing the forces that shape society as material to work with. Architecture’s materiality is therefore a composite one, made up of visible as well as invisible forces. Progress in architecture occurs through new concepts by which it becomes connected with this material, and it manifests itself in new aesthetic compositions and affects. It is these new affects that allow us to constantly engage with the city in new ways.” Culture and society are constantly changing, we need something that is non-representational. Modernism is all about function and against ornamentations. Post-modernism is about building as a symbolic representation and cultural expressions that would enable architecture to communicate with a wider public. Twentieth century is about continuing to effectively relate to culture by creating sensations and affects that create new form of experiences to the public.

“Ornament is the figure that emerges from the material substrate, the expression of embedded forces through processes of construction, assembly and growth. It is through ornament that material transmits affects. Ornament is therefore necessary and inseparable from the object. It is not a mask determined a prioi to create specific meanings, even though it does contribute to contingent or involuntary signification a characteristic of all forms.” Ornament here is focus more on material and the affects and resonance that they produce such as vertical affect, weighted affect and spiral affect and how they relate to the urban landscape.

101

102

WEEK 5

• The Clerkenwell Bridewell and the New Prison were established there in the early seventeenth century. • Tens of thousands of unfortunates, including children, passed through its gates. • It also has a parallel counter-history: scene of one of Jack Sheppard’s many escapes, attacked during the Gordon Riots, and the site of the first Irish bombing in London, the ‘Clerkenwell Outrage‘ of 1867.

Image Top: Clerkenwell House of Dentention, London, UK

103

TYPE RESEARCH: PRISON FACADE

• Alcatraz had been the site of a fort since the 1850s. • • The island became a prison of the Federal Bureau of Prisons in August 1934 after the buildings were modernized and security increased. Given this high security and the island’s location in the cold waters and strong currents of San Francisco Bay, prison operators believed Alcatraz to be escape-proof and America’s strongest prison.

Image Top: Alcatraz Prison, Pier 39 Concourse, San Francisco, USA

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WEEK 5

TYPE RESEARCH: PRISON FACADE

• Oldbath Fields Prison (also known as the Middlesex House of Correction) was originally a prison run by local magistrates and where most prisoners served short sentences. Coldbath Fields also served as a debtor’s prison.

• This prison building celebrates focus two keys aspects that permeate the entire design process. One is introducing sp tial and perceptual diversity. Secondly the building, celebrates openness in the heart of detention.

• The prison housed men, women and children until 1850, when the women and children moved to Tothill Fields Bridewell in Victoria (Westminster) leaving only male offenders over the age of 17. Despite its aspirations to be more humanitarian it became notorious for its strict regime of silence and its use of the treadmill.

• The concrete and stone buildings with sculpted green rooftops are arranged around generous courtyards at this prison complex. Surrounded by woodland, the Mas d’Enric Penitentiary occupies a sprawling site that is invisible to the near by town, so the architects planned a series of low-rise cell blocks surrounded by large outdoor spaces. •

Image Top: Coldbath Fields Prison, Clerkenwell, London

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The sloping topography also comes into play in the courtyards, where stepped levels differentiate spaces, rather than fenced partitions. The architects expect this to give flexibility between spaces, but also to create a “non-oppressive environment”. Each courtyard borders the perimeter of the site, giving prisoners a view out towards the woodland, and prison cells also face out towards the trees.

Image Top: Mas d’Enric Penitentiary by AiB and PSP, Tarragona, Spain

106

WEEK 5

•

The Sing Sing Correctional Facility, is a maximum-security prison located in Osin ing, New York.

•

In use since 1826, it is one of the oldest penal institutions in the United States. It is also among the most well-known in the country, especially notable for its harsh conditions in the 19th and 20th centuries.

•

This six stories complex can housed more than 1,600 inmates. The prison followed the Auburn Prison policy of silence, which forbade inmates from making any unnecessary noises whatso ever. Inmates could neither speak to each other, nor, ironically, could they sing. As a result, Sing Sing became “one of the most repressive institutions in America.” In 2002, Sing Sing museum is turned into a museum which would dis play the Sing Sing story as it unfolded

Image Top: Sing Sing Prison, 1825

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TYPE RESEARCH: PRISON FACADE

WEEK 5

GENERIC OPERATIVE DIAGRAM

JAIL CELLS

RAILINGS

CELLS WALLS

FLOOR SLAB

STAIRCASE

MEZZANINE

Speculation Based on the observations from various of precedents, we are interested in the interior façade of prison. The jail bar has a porous behaviour that creates a visual connection between the guard and the prisoner. This controlled porosity allows the guard to look at all the prisoners, but the prisoners doesn’t have the authority to interact with other prisoners. This behaviour can be implemented into the learning environment where the civic can be the surveillance to the teaching spaces without disturbing the students.

108

WEEK 5

SYSTEM

WEEK 5

APPLICATION/ SLOW PROCESS

8000 8000 7000 8000 7000 6000 7000 6000 5000 6000 5000 4000 5000 4000 3000 4000 3000 2000 3000 1000 2000 2000 1000 1000 JAIL CELLS 1 2 3 4 5 JAIL CELLS 6 1 7 2 8 JAIL CELLS 3 9 1 4 10 2 5 11 3 6 12 4 7 13 5 8 14 6 9 15 7 10 16 8 11 17 9 12 18 10 13 19 11 14 12 15 WALLS 13 16 1 14 17 2 15 18 3 16 19 4 17 5 18 WALLS 6 19 1 7 2 8 WALLS 3 9 1 4 10 2 5 11 3 6 12 4 7 13 5 8 14 6 9 15 7 10 16 8 11 17 9 12 18 10 13 19 11 14 12 15 JAIL CELLS 13 16 1 14 17 2 15 18 3 16 19 4 17 5 18 JAIL CELLS 6 19 1 7 2 8 JAIL CELLS 3 9 1 4 10 2 5 11 3 6 12 4 7 13 5 8 14 6 9 15 7 10 16 8 11 9 12 10 13

1 1

JAIL CELLS THICKNESS 1 2100 2 3 4 5 JAIL CELLS 6 THICKNESS 1 1600 7 2100 2 1800 8 JAIL CELLS 3 9 THICKNESS 1 4 6400 10 2100 2 5 4900 11 3 6 4900 12 4 1600 7 6600 13 5 1800 8 1500 14 6 9 1900 15 1600 7 6400 10 3600 16 1800 8 4900 11 5000 17 9 4900 12 3900 18 10 6600 13 19 6400 11 1500 14 4900 4900 12 1900 15 WIDTH 1 WALLS 6600 13 3600 16 1 1500 14 5000 17 2100 2 1900 15 3900 18 3 3600 16 19 4 5000 17 5 3900 18 WALLS 6 WIDTH 1 19 1 1600 7 2100 2 1800 8 WALLS 3 9 WIDTH 1 1 4 6400 10 2100 2 5 4900 11 3 6 4900 12 4 1600 7 6600 13 5 1800 8 1500 14 6 9 1900 15 1600 7 6400 10 3600 16 1800 8 4900 11 17 5000 9 4900 12 3900 18 10 6600 13 19 6400 11 1500 14 4900 4900 12 1900 15 THICKNESS JAIL CELLS 6600 13 3600 16 1 1500 14 5000 17 2100 2 1900 15 3900 18 3 3600 16 19 4 5000 17 5 3900 18 JAIL CELLS 6 THICKNESS 19 1 1600 7 2100 2 1800 8 JAIL CELLS 3 9 THICKNESS 1 4 6400 10 2100 2 5 4900 11 3 6 4900 12 4 1600 7 6600 13 5 1800 8 1500 14 6 9 1900 15 1600 7 6400 10 3600 16 1800 8 4900 11 9 4900 12 10 6600 13 6400

10 11 12 13 14 15 16 17 18 19

HORIZONTAL RAILINGS HORIZONTAL RAILINGS SCALE (OG x 2) ROTATE 19 SCALE (OG x 2) 10 11 12 13 14 15 16 1ROTATE 17 18 200 900 1 200 900

3 680 19 10 11 12 13 14 15 16 34 ‐90 17 18‐90 4 ‐50 ‐50 600

THICKNESS ROT HORIZONTALLY ROT HORIZONTALLY SCL VERTICAL +SCL VERTICAL + SCL VERTICAL + 2500 SCL VERTICAL + 2500 SCL HORIZONTAL + SCL HORIZONTAL + 270 2000 4500 270 2000 4500 ‐1200 3700 2100 ‐1200 3700 ‐200 ‐200 ‐900 ‐900 3400 3400 2300 2300 350 350 ‐500 ‐500 3000 3000 4300 4300 ‐240 ‐240 900 900 3400 3400 3200 3200 THICKNESS ROT HORIZONTALLY SCL VERTICAL + 240 ROT HORIZONTALLY 240 SCL VERTICAL + 1800 1800SCL VERTICAL + 2500 4300 SCL VERTICAL + 2500 4300 SCL HORIZONTAL + 3000 SCL HORIZONTAL + 3000 270 2000 4500 270 2000 4500 ‐110 ‐800 3300 1400 1600 ‐110 ‐800 3300 1400 ‐1200 3700 2100 ‐1200 3700 140 800 3300 1500 1800 140 800 3300 1500 THICKNESS ROT HORIZONTALLY SCL VERTICAL + ‐200 ‐200 ‐900 ‐900SCL VERTICAL + 2500 3400 3400 2300 2300 230 ROT HORIZONTALLY 1000 3500 SCL VERTICAL + 2500 2600 SCL HORIZONTAL + 230 SCL VERTICAL + 1000 3500 SCL HORIZONTAL + 2600 270 2000 4500 270 2000 4500 350 350 ‐500 ‐500 3000 3000 4300 4300 550 6000 6400 550 6000 ‐1200 3700 2100 ‐1200 3700 ‐240 ‐240 900 900 3400 3400 3200 3200 ‐400 1000 3500 4200 4900 ‐400 1000 3500 4200 ‐200 ‐200 ‐900 ‐900 3400 3400 2300 2300 240 240 1800 1800 4300 4300 3000 3000 ‐270 ‐400 2900 3500 4900 ‐270 ‐400 2900 3500 350 350 ‐500 ‐500 3000 3000 4300 4300 ‐110 ‐800 3300 1400 1600 ‐110 ‐800 3300 1400 330 2600 5100 3800 6600 330 2600 5100 3800 ‐240 ‐240 900 900 3400 3400 3200 3200 140 800 3300 1500 1800 140 800 3300 1500 ‐50 ‐300 2800 700 1500 ‐50 ‐300 2800 700 240 240 1800 1800 4300 4300 3000 3000 230 1000 3500 2600 230 1000 3500 2600 66 400 2900 1000 1900 66 400 2900 1000 ‐110 ‐800 3300 1400 1600 ‐110 ‐800 3300 1400 550 ‐500 3000 6000 6400 550 ‐500 3000 6000 200 1900 4400 2200 3600 200 1900 4400 2200 140 800 3300 1500 1800 140 800 3300 1500 ‐400 1000 3500 4200 4900 ‐400 1000 3500 4200 580 4100 6600 6500 5000 580 4100 6600 6500 230 1000 3500 2600 230 1000 3500 2600 ‐270 ‐400 2900 3500 4900 ‐270 ‐400 2900 3500 2800 5300 3100 3900 2800 5300 3100 550 ‐500 3000 6000 6400 550 ‐500 3000 6000 330 2600 5100 3800 6600 330 2600 5100 3800 ‐270 2000 4500 ‐270 2000 4500 ‐400 1000 3500 4200 4900 ‐400 1000 3500 4200 ‐50 ‐300 2800 700 1500 ‐50 ‐300 2800 700 ‐270 ‐400 2900 ROT HORIZONTAL 2 3500 4900 ‐270 ‐400 2900 3500 66 400 ROT HORIZONTAL 1 1000 1900 UP/DOWN 1 66ROT HORIZONTAL 1 400ROT HORIZONTAL 2 1000 WIDTH 2 UP/DOWN 2 WIDTH 1 UP/DOWN 1 UP/DOWN 2 330 2600 5100 3800 6600 330 2600 5100 3800 200 1900 4400 2200 3600 200 1900 4400 2200 70 27 2000 70 27 2000 4500 ‐50 ‐300 2800 700 1500 ‐50 ‐300 2800 700 3700 580 4100 6600 6500 5000 580 4100 6600 6500 90 ‐1200 2100 90 ‐1200 66 400 2900 1000 1900 66 400 2900 1000 2800 5300 3100 3900 2800 5300 3100 2300 ‐60 ‐20 ‐900 2300 ‐60 ‐20 ‐900 3400 200 1900 4400 2200 3600 200 1900 4400 2200 ‐270 2000 4500 ‐270 2000 4500 4300 30 35 ‐500 4300 30 35 ‐500 3000 580 4100 6600 6500 5000 580 4100 6600 6500 3200 ‐10 ‐24 900 3200 ‐10 ‐24 900 3400 2800 5300 3100 3900 UP/DOWN 1 2800 5300 3100 ROT HORIZONTAL 1 UP/DOWN 2 WIDTH 1 UP/DOWN 1 UP/DOWN 2 3000 ‐120 ROT HORIZONTAL 1 24 ROT HORIZONTAL 2 1800 4300 3000 ‐120ROT HORIZONTAL 2 24 1800 WIDTH 2 ‐270 2000 4500 ‐270 2000 4500 70 27 2000 70 27 2000 1400 ‐50 ‐11 ‐800 3300 1600 1400 ‐50 ‐11 ‐800 4500 90 ‐1200 2100 90 ‐1200 1500 ‐70 14 800 3300 1800 1500 ‐70 14 800 3700 ROT HORIZONTAL 1 UP/DOWN 2 WIDTH 1 UP/DOWN 1 UP/DOWN 1 UP/DOWN 2 2300 ‐60 ‐20 ‐900 3400 2300 ‐60 ‐20 ‐900 WIDTH 2 2600 ‐70 ROT HORIZONTAL 1 23 ROT HORIZONTAL 2 1000 3500 2600 ‐70 ROT HORIZONTAL 2 23 1000 70 27 2000 70 27 2000 4300 30 35 ‐500 3000 4300 30 35 ‐500 4500 6000 0 55 6400 6000 0 55 90 ‐1200 2100 90 ‐1200 3200 ‐10 ‐24 900 3400 3200 ‐10 ‐24 900 3700 4200 ‐80 ‐40 1000 3500 4900 4200 ‐80 ‐40 1000 2300 ‐60 ‐20 ‐900 2300 ‐60 ‐20 ‐900 3000 ‐120 24 1800 4300 3000 ‐120 24 1800 3500 40 ‐27 ‐400 2900 4900 3500 40 ‐27 ‐400 3400 4300 30 35 ‐500 4300 30 35 ‐500 1400 ‐50 ‐11 ‐800 3300 1600 1400 ‐50 ‐11 ‐800 3000 3800 ‐210 33 2600 5100 6600 3800 ‐210 33 2600 3200 ‐10 ‐24 900 3200 ‐10 ‐24 900 1500 ‐70 14 800 3300 1800 1500 ‐70 14 800 3400 700 ‐10 ‐50 ‐300 2800 1500 700 ‐10 ‐50 ‐300 3000 ‐120 24 1800 4300 3000 ‐120 24 1800 2600 ‐70 23 1000 2600 ‐70 23 1000 1000 0 66 400 2900 1900 1000 0 66 400 3500 1400 ‐50 ‐11 ‐800 3300 1600 1400 ‐50 ‐11 ‐800 3000 6000 0 55 ‐500 6400 6000 0 55 ‐500 2200 ‐170 20 1900 4400 3600 2200 ‐170 20 1900 1500 ‐70 14 800 3300 1800 1500 ‐70 14 800 4200 ‐80 ‐40 1000 3500 4900 4200 ‐80 ‐40 1000 6500 ‐340 58 4100 5000 6500 ‐340 58 4100 6600 2600 ‐70 23 1000 2600 ‐70 23 1000 3500 40 ‐27 ‐400 2900 4900 3500 40 ‐27 ‐400 3500 3100 30 2800 5300 3900 3100 30 2800 6000 0 55 ‐500 6400 6000 0 55 ‐500 3000 3800 ‐210 33 2600 5100 6600 3800 ‐210 33 2600 70 ‐27 2000 4500 70 ‐27 2000 4200 ‐80 ‐40 1000 4900 4200 ‐80 ‐40 1000 700 ‐10 ‐50 ‐300 2800 1500 700 ‐10 ‐50 ‐300 3500 3500 40 ‐27 ‐400 4900 3500 40 ‐27 ‐400 1000 ROT HORIZONTALLY 0 66 SCL VERTICAL + 2500 400 SCL HORIZONTAL + 1900ROT HORIZONTALLY 1000 SCL VERTICAL + 0 SCL VERTICAL + 2500 66 SCL HORIZONTAL + 400 2900 THICKNESS SCL VERTICAL + 3800 ‐210 33 2600 6600 3800 ‐210 33 2600 2200 ‐170 20 1900 4400 3600 2200 ‐170 20 1900 5100 270 2000 4500 270 2000 4500 700 ‐10 ‐50 ‐300 1500 700 ‐10 ‐50 ‐300 6500 ‐340 58 4100 6600 5000 6500 ‐340 58 4100 2800 ‐1200 3700 2100 ‐1200 3700 1000 0 66 400 1900 1000 0 66 400 2900 3100 30 2800 5300 3900 3100 30 2800 ‐200 ‐900 3400 2300 ‐200 ‐900 3400 2300 2200 ‐170 20 1900 3600 2200 ‐170 20 1900 70 ‐27 2000 4500 70 ‐27 2000 350 ‐500 3000 4300 350 ‐500 3000 4300 4400 6500 ‐340 58 4100 5000 6500 ‐340 58 4100 ‐240 900 3400 3200 ‐240 900 3400 3200 6600 3100 30 2800 SCL HORIZONTAL + 3900ROT HORIZONTALLY 3100 30 SCL VERTICAL + 2500 2800 THICKNESS SCL VERTICAL + 240 ROT HORIZONTALLY 1800 4300 SCL VERTICAL + 2500 3000 240 SCL VERTICAL + 1800 4300 SCL HORIZONTAL + 3000 5300 70 ‐27 2000 70 ‐27 2000 270 2000 4500 270 2000 4500 ‐110 ‐800 3300 1400 1600 ‐110 ‐800 3300 1400 4500 ‐1200 3700 2100 ‐1200 3700 140 800 3300 1500 1800 140 800 3300 1500 ROT HORIZONTALLY THICKNESS SCL VERTICAL + ‐200 ‐900 3400 2300 ‐200 ‐900SCL VERTICAL + 2500 3400 2300 230 ROT HORIZONTALLY 1000 3500 SCL VERTICAL + 2500 2600 SCL HORIZONTAL + 230 SCL VERTICAL + 1000 3500 SCL HORIZONTAL + 2600 270 2000 4500 270 2000 4500 350 4300 350 ‐500 3000 4300 550 ‐500 3000 6000 6400 550 6000 ‐1200 3700 2100 ‐1200 3700 ‐240 900 3400 3200 ‐240 900 3400 3200 ‐400 1000 3500 4200 4900 ‐400 1000 3500 4200 ‐200 ‐900 3400 2300 ‐200 ‐900 3400 2300 240 1800 4300 3000 240 1800 4300 3000 ‐270 ‐400 2900 3500 4900 ‐270 ‐400 2900 3500 350 ‐500 3000 4300 350 ‐500 3000 4300 ‐110 ‐800 3300 1400 1600 ‐110 ‐800 3300 1400 330 2600 5100 3800 6600 330 2600 5100 3800 ‐240 900 3400 3200 ‐240 900 3400 3200 140 800 3300 1500 1800 140 800 3300 1500 ‐50 ‐300 2800 700 1500 ‐50 ‐300 2800 700 240 1800 4300 3000 240 1800 4300 3000 230 1000 3500 2600 230 1000 3500 2600 66 400 2900 1000 1900 66 400 2900 1000 ‐110 ‐800 3300 1400 1600 ‐110 ‐800 3300 1400 550 ‐500 3000 6000 6400 550 ‐500 3000 6000 200 1900 4400 2200 3600 200 1900 4400 2200 140 800 3300 1500 1800 140 800 3300 1500 ‐400 1000 3500 4200 4900 ‐400 1000 3500 4200 230 1000 3500 2600 230 1000 3500 2600 ‐270 ‐400 2900 3500 4900 ‐270 ‐400 2900 3500 550 ‐500 3000 6000 6400 550 ‐500 3000 6000 330 2600 5100 3800 6600 330 2600 5100 3800

Image Top: The Cause of Somalia Famine in 2011

109

Week 05

2 ‐120

‐120 740

740 680 600 5 5 90 90680 680 HORIZONTAL RAILINGS SCALE (OG x 2) ROTATE SCALE (OG x 2) 6 HORIZONTAL RAILINGS 6ROTATE 180 180 860 860 1 200 200 900 1 900 2 740 2 ‐120 ‐120 740 HORIZONTAL RAILINGS SCALE (OG x 2) ROTATE SCALE (OG x 2) 3 HORIZONTAL RAILINGS 3ROTATE ‐90 ‐90 680 680 1 200 900 1 900 4 4 200 ‐50 ‐50 600 600 2 ‐120 740 2 5 5 ‐120 90 90740 680 680 3 3 ‐90 ‐90 680 680 6 6 180 180 860 860 4 4 ‐50 ‐50 600 600 5 5 90 90680 680 6 6 180 180 860 860

Steps:

WIDTH 2 4500 3700 3400 3000 3400 WIDTH 2 4300 4500 3300 3700 3300 WIDTH 2 3400 3500 4500 3000 3700 3400 3500 3400 4300 2900 3000 3300 5100 3400 3300 2800 4300 3500 2900 3300 3000 4400 3300 3500 6600 3500 2900 5300 3000 5100 4500 3500 2800 2900 5100 4400 2800 6600 2900 5300 4400 4500 6600 5300 4500

1. 4 major factors of famine in Somalia were extracted to use to manipulate the god. 2. Jail cells, railings and walls were manipulated except for stairs and floor slab remained the same. 3. Wall one is level 1 wall whereas wall two is level 2 wall.

Week 05 Week 05

110

WEEK 5

RAW RESULT & SPECULATIONS

WEEK 5

POST PROCESS

BRIDGES

PARTITIONS

SHELVES

HABITABLE

STRUCTURE

MEZZANINE

ORNAMENT

111

Top Image: Axo View Bottom Image: Street View

112

WEEK 5

POST PROCESS

WEEK 5

SPECULATION

SPECULATION • The outcome of the project creates a serious of different layers of façade, that is operable, railings, habitable, ornamental and can be used as a furniture or shelves. This adaptable edge is creates one identity to the building.

Top Image: East Street View Bottom Image: Piazza View

113

•

The building can be access by the civic on all four sides, a contin uous terrain that can be used to different locations.

•

The circulation of the public is on the outside of the façade where as the blue tube is used by students and teachers. This creates a controlled porosity where civic (green) can access the learning environment of the students as a surveillance above ground level.

•

The mezzanine above ground level becomes balcony or bridges that link various pod for the civic without entering the building whereas on the ground floor it is used as tile for the floor or green spaces.

•

This grid structure can also be used as a roof to provide shades or a giant net for students to have informal activities.

114

TYPOLOGICAL ECOLOGIES

SPECULATION

[WEEK 4]

TYPOLOGICAL ECOLOGIES

SPECULATION • In this task I superimposed my week 2 circulation idea with my week 4 Siheyuan project. • By merging these two explorations, it forms a clusters of spaces in tertwine, circulation, the formal, the informal learning and civic spaces all connected to becoming one general space.

In this exploration we re-visit and merge two explorations with an aim of opening up more speculations/propositions/opportunities for the project. We are aiming to capture two conditions, both as separate speculations; then superimposed within each other assembling an ecology of typological behaviours that equalise their advantages and disadvantages to further our propositions. When merging, consider:

• Week 2’s formal quality is more organic, allow it to break the rigid voluminous form of Week 4’s Siheyuan configuration. The super impose outcome, continue allow the circuit to become the main circulation whereas week 4 was more programmatic. A sense of harmony between the two is achieved. • The entire building is still accessible from all 4 sides of the streets. The organic circulation from week 2 becomes a bridge to connect different spaces from the upper level and also balconies protruding from the voluminous form from week 4 explorations.

1. Merging raw results of both explorations and analyse what you have generated (formally, internally, spatially, landspace strategies, façade and ornament, notions of the civic, etc.) 2. This can be analysed through quick schematic plans, sections, elevations. 3. Axonometrics Series 4. Or through screenshots, views and collages 5. A developed drawing (ie. a key section) 6. Merging the “post process” results 7. Merging the “architectural outcome”

115

116

TYPOLOGICAL ECOLOGIES

POST PROCESS

WEEK 2

WEEK 4

Top Image: Axo View Bottom Image: Street View

117

Top Image: Street View Bottom Image: Plan

118

TYPOLOGICAL ECOLOGIES CROSSOVER

SPECULATION

[WEEK 5]

TYPOLOGICAL ECOLOGIES CROSSOVER In this exploration we crossover beyond our own sets of process explorations and select one of our peer’s explorations to merge with. The aim is to evaluate what you may be missing, or expand and strengthen what you already have, and to speculate on further possibilities that you may not have been able to perceive if you were only working within your own terrain. This exploration question what could superimposition and layering of multiple specific sub-typological behaviours simultaneously. How might a procedural approach generate multiple variations from a catalogue of generic typological behaviours?

119

SPECULATION • This task I superimpose my week 5 control porosity idea with Eric’s week 4. •

Besides adding a new covering over my balconies, the layering of canopy over roof has created a new sense of boundary to the roof top spaces. New ornament is created through the glass material that added a sense of depth, threshold and affect to the entire building.

•

The merging of amphitheater has allow a new way for my building to engage with the public. This grid structure can also be used as a roof to provide shades or a giant net for students to have infor mal activities. It can also be used as a roof to provide shades or a giant net for students to have informal activities.

•

By superimposing my building, the grid façade with my peer’s project, it has merge multiple elements, various materials juxta pose each other, this dematerialize the object, creating a seamless transition and breaking the notion of defined boundary on the su perimposed objects.

120

TYPOLOGICAL ECOLOGIES CROSSOVER

POST-PROCESS

WEEK 5

ERICâ&#x20AC;&#x2122;S EXPLORATION

Top Image: Axo View Bottom Image: East Street View

121

Top Image: East Street View Bottom Image: West Street View

122

TYPOLOGICAL ECOLOGIES CROSSOVER

Top Image: Interior View Bottom Image: Inteior View

123

POST-PROCESS

Top Image: Interior View

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MID SEM

LAYOUT

[WEEK 7]

MID-SEM PROPOSAL

IVE

POROUS StRatUm Porous Stratum is a school that facilitates a flow between environment, people and architecture, enabling architecture as a process of exchange.

N LA

A porous vessel that accommodates the spilling forth of human activities, the opportunities to watch and to be watched. It is the production of an urban learning village, creating spaces that allow the civic to loiter, delight and wonder as well as authenticate the build form in which it is experienced.

OCULAS

• An insertion of aperture on different levels allow glimpse of the roofscapes of other learning cells.

CIRCULAR WINDOW

• The insertion of the circular window directly opposite to the oculus extend the the user’s view from the street, to the classroom and to the atrium.

BRIDGE

• The bridges becomes a tunnel that entice the public to loiter in these spaces.

SEMI-OPAQUE CEILING

• The semi opaque glass mezzanine or ceiling create varied movements as shadow of humans cast on in.

1:250

10M

MEZZANINE

• This open mezzanine blurs the transition between what is private and semi-private, enabling these spaces to be shared between civic and students.

POROUS CEILING

• This porous fabric allow sunlight to penetrate the pavilion.

MINI AMPHITHEATRE

• The stairs become adaptable and can be used as a mini amphitheatre.

CANTILEVER BRIDGES

• Provide shading and allow spaces underneath to be activated.

The idea of mid semester is to select two of our best research explorations from the beginning of 5 weeks of research. By superimposing two of our main procedural experiments, the aim of the project is to capture two conditions, both as separate speculations; then superimposed within each other assembling an ecology of typological behaviors that equalize their advantages and disadvantages to further our propositions. The outcome of the project should be speculative and experimental propositions that push the boundaries of what we know in regard to future learning environments and as well as challenge the project base brief. It should be highly ambitious and speculative explorations are preferred than highly detailed and resolved proposals - for now.

125

BRIDGE

• The bridges becomes a tunnel that entice the public to loiter in these spaces.

PIAZZA

• The piazza becomes a platform for people to gather or to sit.

ROOFTOP AREA

• Rooftop area can be extension of space for students to gather and rest when class is finished.

SKYLIGHT

•To allow filtration of air and light, to watch and to be watched

SHADING DEVICES

• The grid can be used as a shading device.

Grid Window

• The grid become the frame and mullion of the window.

Balcony

• The balcony become a platform to connect different learning cells.

MEZZANINE

• This mezzanine maximizes the use of vertical space, providing extended spaces for informal learning spaces.

POROUS PARTITION

• The grid become a structure and a porous wall.

MINI AMPHITHEATRE

• The stairs become adaptable and can be used as a mini amphitheatre.

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MID-SEM

Dockland Media Precinct is a new campus in RMIT that values community engagement and partnership. With this new site located in Docklands, how do we begin to bring the public to engage with this new environment and how does architecture begin to take place? According to the propositions that I have generated through several weeks, I am interested in the idea -of an “operable façade” and “endless circuit” and how the juxtaposition of these elements can create a highly experiential learning environment. By using the grid façade as the main driver of my design, it creates a singular identity towards the whole building. This operable facade slowly manifest itself into partitions, living cells, roof, furniture and ornaments. It acts as a highly ornamental yet functional tectonic device that can enhanced and create varied experience for the users as they loiter in these spaces. This new spatial composition breaks the norm of designing a school that has a linear arrangement, each cell is designed to engage with one another, allowing a different perspective as one stands in any given point beyond the building envelope. These variety of heights, overlapping of spaces create vertical and horizontal visual connections. Instead of having visual from level to level, this new typology encourages students to collaborate, to be more engaged, spreading the interactions between levels instead of one floor. The building is also a contiguous terrain that allows pedestrians to use it as a getaway to the Dockland Studio Melbourne and hence the ground floor can be accessible throughout each corner of the street. It is a place for people to loiter, gather, a threshold that links people from different fields. The stratum of porosity has a series of threshold

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PROJECT INTRODUCTION

that blurs the boundary between public and private. Students and civic share a passageway that blurs the transition between what is private and semi-private, enabling these spaces to be shared. The green tiles create a seamless boundary to each user as they walk through the building. The blue colour are sitting areas, platform, gathering spaces and oculus.Purple colour is accessible to the civic. It consists mostly of ground open space, allowing outdoor activities such as welcome to country and RMIT welcome day. It is also used as zone 3 for events and exhibition in the dockland media precinct. The orange spaces are semi-private. It is mostly balconies, corridor and mezzanine. A semi enclosed space that allow pedestrian to loiter in these spaces vertically and observed the students studying. For students, these leftover gaps can be used as an informal learning area, allowing students to be creative with their breakout space. This semi porous spaces can be used for dockland media school Zone 2 areas, a place for collaborative learning space such as steam hub and maker space. The pink highlighted spaces are private areas. It is an enclosed space that only students and teachers can access. These spaces are designed for Zone 1: Design Production Learning Spaces with double height spaces specifically for film and tv department. Porous Stratum is also a school that design to allow vertically and horizontal visual connections between students and civic. The insertion of oculus allow user to extend their view from one classroom, to the atrium to another classroom. The overlapping of bridges to the second floor also allow glimpses of the civic interaction to students. To sum it up, Porous Stratum is a production of an urban learning village, creating spaces that allow the civic to loiter and authenticate the build form.

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MID-SEM

PROCEDURE EXPLORATION

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Image Top: The idea of an “operable façade” and “endless circuit” in week 2 and 5 was further explored. By superimposing these two component, it creates juxtaposition elements that can create a highly experiential learning environment.

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IVE

R D S

D N A

L K C

Image. Axonometric View of POROUS STRATUM. A school that facilitates a flow between environment, people and architecture, enabling architecture as a process of exchange.

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MID-SEM

NORTH SIDE STREET VIEW

Image: West Side street facade. A porous entrance that allow pedestrians to use it as a getaway to the Dockland Studio Melbourne.

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MID-SEM

SOUTH SIDE STREET VIEW

Image: The East side facade of the new media precinct. An open and welcoming environment that allows the public to be more involve in this space.

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MID-SEM

EAST SIDE STREET VIEW

Image: The East side facade of the new media precinct. The main entrance located on the East Side aims to invite more people to share this passageway as a gateway to Dockland Studio.

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MID-SEM

WEST SIDE STREET VIEW

Image: The West side facade of the new media precinct. A series of threshold that blurs the boundary between public and private.

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MID-SEM

Image Top: Courtyard View. A contigous terrain. The spilling fourth of human activity that ultimately delights in its complexities.

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PROJECT IMAGES

MID-SEM

CONCEPT BOARD FEEDBACK

Image Bottom: Corrirdor Views. Overlapping Bridges. The overlapping of spaces create vertical and horizontal visual connections, spreading the interactions between levels instead of one floor.

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MID-SEM

EXPLODED AXO DIAGRAM

OCULAS

• An insertion of aperture on different levels allow glimpse of the roofscapes of other learning cells.

POROUS CEILING

• This porous fabric allow sunlight to penetrate the pavilion.

CIRCULAR WINDOW

• The insertion of the circular window directly opposite to the oculus extend the the user’s view from the street, to the classroom and to the atrium.

MINI AMPHITHEATRE

• The stairs become adaptable and can be used as a mini amphitheatre.

BRIDGE

• The bridges becomes a tunnel that entice the public to loiter in these spaces.

SEMI-OPAQUE CEILING

• The semi opaque glass mezzanine or ceiling create varied movements as shadow of humans cast on in.

CANTILEVER BRIDGES

• Provide shading and allow spaces underneath to be activated.

MEZZANINE

• This open mezzanine blurs the transition between what is private and semi-private, enabling these spaces to be shared between civic and students.

BRIDGE

• The bridges becomes a tunnel that entice the public to loiter in these spaces.

PIAZZA

• The piazza becomes a platform for people to gather or to sit.

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MID-SEM

EXPLODED AXO DIAGRAM

ROOFTOP AREA

• Rooftop area can be extension of space for students to gather and rest when class is finished.

SKYLIGHT

•To allow filtration of air and light, to watch and to be watched

SHADING DEVICES

• The grid can be used as a shading device.

POROUS CEILING

• This porous fabric allow sunlight to penetrate the pavilion.

Grid Window

• The grid become the frame and mullion of the window.

POROUS PARTITION

Balcony

• The grid become a structure and a porous wall.

• The balcony become a platform to connect different learning cells.

PIAZZA

• The piazza becomes a platform for people to gather or to sit.

SITTING AREA

• The grid of the façade can be compress to become furniture such as sitting area and table.

MEZZANINE

• This mezzanine maximizes the use of vertical space, providing extended spaces for informal learning spaces.

POROUS PARTITION

• The grid become a structure and a porous wall.

MINI AMPHITHEATRE

• The stairs become adaptable and can be used as a mini amphitheatre.

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MID-SEM

GROUND FLOOR PLAN

PUBLIC

- ZONE 3 - EVENTS & EXHIBITION

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GREEN SPACES

- OUTDOOR ACTIVITIES - GATHERING SPACE

SITTING AREA - FURNITURE - PLATFORM

SEMI-PRIVATE - ZONE 2 - MEZZANINE

1:250

PRIVATE 6 8 10M

- ZONE 1 - DOUBLE HEIGHT

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MID-SEM

FIRST FLOOR PLAN

1:250

PUBLIC

- ZONE 3 - EVENTS & EXHIBITION

149

GREEN SPACES

- OUTDOOR ACTIVITIES - GATHERING SPACE

SITTING AREA - FURNITURE - PLATFORM

SEMI-PRIVATE - ZONE 2 - MEZZANINE

10M

PRIVATE

- ZONE 1 - DOUBLE HEIGHT

150

MID-SEM

151

VIDEO SEQUENCE

152

MID-SEM

153

VIDEO SEQUENCE

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MID-SEM

155

VIDEO SEQUENCE

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WEEK 8

CONCEPT BOARD

[WEEK 8]

POST MID-SEM In week 8, I started to re-arrange the programs in my building and make sure all the total surface area in each learning cell meets the minimum requirement in the brief. Zone A is facing Melbourne Dockland Studio to form a connection and encourage collaboration between the filming industry and media education in RMIT. Inspired by the Melbourne Dockland Studio Shed, the faĂ§ade of Zone A is redesigned to be similar by following the color of the Dockland Studioâ&#x20AC;&#x2122;s logo. Using the color to identity the main entrance of the green studio and only showing sides that are facing the public to blur the identity between Melbourne Dockland Studio and RMIT. Instead of literally the grid, the idea is further enhance by the intensity of closeness of these patterns and the porosity of it whether it is a cladding or window frame.

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WEEK 8

Left Image: Using the language of the Melbourne Dockland Studio Shed, the faรงade of Zone A is redesigned to be similar by following the idea of color coding it to determine each program of Zone A.

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RESEARCH

WEEK 8

EXPLODED AXO DIAGRAM

Right Image: By taking reference from urban surrounding and being attention to details. The new media precinct aims to holds a strong identity to RMIT buildings.

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WEEK 8

NORTH SIDE STREET VIEW

Image: Zone A is facing Melbourne Dockland Studio to form a connection and encourage collaboration between the filming industry and media education in RMIT. Inspired by the Melbourne Dockland Studio Shed, the faĂ§ade of Zone A is redesigned to be similar by following the color of the Dockland Studioâ&#x20AC;&#x2122;s logo.

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WEEK 8

Top Image: South Street View Bottom Image: North Street View

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PROJECT IMAGES

Top Image: South Streetv View Bottom Image: Corridor View

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WEEK 8

GROUND FLOOR PLAN

Green Screen Studio 3 55 m2

Green Screen Studio 1 150 m2

Control Room 1 50 m2

Informal Space

Control Room 3 38 m2

Equipment Storage Space 72 m2

Equipment Loans & Storage Space 70 m2

Zone 3 Flexible Space 2

Informal Space

Zone 3 Flexible Space 2

Informal Space

Zone 3 Flexible Space 1

Zone 2 Zone 3 Exhibition Wall Zone 2

Zone 2 Zone 2

RMIT Connect Cafe Zone 2 Zone 2

1:250

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10M

166

WEEK 8

THIRD FLOOR PLAN

Green Screen Studio 1 150 m2

Control Room 2 44 m2

Green Screen Studio 2 105 m2

Editing Suite 2 32 m2

Equipment Storage Space 72 m2

Control Room 1 50 m2

Flexible workshop space 42 m2 Flexible workshop space 45 m2

Zone 3 Flexible Space 2

Informal Space 18 m2

Editing Suite 1 50 m2

Zone 3 Flexible Space 2

Zone 3 Flexible Space 1 Zone 3 - Flexible Space 3 Zone 2 Physical Effect workshop 1 & 2

Zone 2

Zone 3 Dedicated Office Space

1:250

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WEEK 9

CONCEPT BOARD

[WEEK 9]

POST MID-SEM In Week 9, I started to layout my final presentation by being selective with the drawings that need to be produce in the end. This process has given me a clarity towards the intention of each drawings producing and what best communicate the idea that I am trying to portray. It also helped me to work effectively by being rigorous with the work we choose instead of repeating the same layout. I also continue working on the design on my building such as creating a diagram for the different stratum of porosity in the new media precinct, a different learning cells for each program, creating its own identity based on the level of publicness.

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WEEK 9

Top Image: Axo View Bottom Image: Cinematic View

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PROJECT IMAGES

Top Image: Site View Bottom Image: North Street View

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WEEK 9

Top Image: South Street View Bottom Image: West Street View

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PROJECT IMAGES

Top Image: East Street View Bottom Image: Courtyard View

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WEEK 9

PROJECT IMAGES

WEEK 9

FLOOR PLANS

Green Screen Studio 3 55 m2

Green Screen Studio 1 150 m2

Control Room 1 50 m2

Informal Space

Control Room 3 38 m2

Equipment Storage Space 72 m2

Equipment Loans & Storage Space 70 m2

Zone 3 Flexible Space 2

Informal Space

Zone 3 Flexible Space 2

Informal Space

Zone 3 Flexible Space 1

Zone 2 Zone 3 Exhibition Wall Zone 2

Zone 2 Zone 2

RMIT Connect Cafe Zone 2 Zone 2

1:250

Top Image: Corridor View Bottom Image: Open Spaces View

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Top Image: Ground Floor Plan Bottom Image: First Floor Plan

10M

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WEEK 9

FLOOR PLANS & DIAGRAMS

Green Screen Studio 1 150 m2

Control Room 2 44 m2

Equipment Storage Space 72 m2

Control Room 1 50 m2

Green Screen Studio 2 105 m2

Editing Suite 2 32 m2 Flexible workshop space 42 m2

Flexible workshop space 45 m2

Zone 3 Flexible Space 2

Informal Space 18 m2

Editing Suite 1 50 m2

SHORT SECTIONS

Zone 3 Flexible Space 2

Zone 3 Flexible Space 1 Zone 3 - Flexible Space 3 Zone 2 Physical Effect workshop 1 & 2

Zone 2

Zone 3 Dedicated Office Space

1:250

Top Image: Second Floor Plan Bottom Image: Diagram of Various Learning Cells

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Top Image: Long Section Bottom Image: Short Section Variation 1

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WEEK 9

Top Image: Short Section Variation 2 Bottom Image: Short Section Variation 3

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SHORT SECTIONS

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WEEK 10

CONCEPT BOARD

[WEEK 10]

POST MID-SEM In Week 10, I started developing the landscape in my design. Instead of using the exploration typology raw result, I developed it so it, forms a relationship with the surrounding neighbourhood, integrating it with the site context. The idea of the new landscape now serves the design intent of my building which is to create an open and friendly environment. This landscape is inspired by Urban Infrastructure, Street Signs, Urban Design and Landscape, creating a vibrant neighbourhood. This new typology desire to attract user to come and use this place, that would therefore become a space where to stop and stay to spend some quality time interacting with people and the build form architecture. These pattern on the ground become a sense of guidance and direction to lure pedestrian into the education space, creating a playful and interactive artificial terrain.

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WEEK 10

Top Image: Axo View Bottom Image: Cinematic View

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PROJECT IMAGES

Top Image: Site Plan Bottom Image: Short Section

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WEEK 10

Top Image: North Street View Bottom Image: South Street View

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PROJECT IMAGES

Top Image: Courtyard View Bottom Image: Street View

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WEEK 10

PROJECT IMAGES

BICYCLE RACK

Green Screen Studio 1 150 m2

Flexible workshop space 42 m2

GREEN SCREEN STUDIO 1

EQUIPMENT STORAGE SPACE

Flexible workshop space 45 m2

EQUIPMENT LOAN & STORAGE SPACE INFORMAL SPACE

Editing Suite 2 32 m2

Equipment Storage Space 72 m2

CONTROL ROOM 1

GREEN SCREEN STUDIO 3

Control Room 2 44 m2

Control Room 1 50 m2

Green Screen Studio 2 105 m2

Zone 3 Flexible Space 2

Informal Space 18 m2

Editing Suite 1 50 m2

Zone 3 Flexible Space 2

ZONE 3 FLEXIBLE SPACE 2

Zone 3 Flexible Space 1 Zone 3 - Flexible Space 3

INFORMAL SPACE ZONE 3 FLEXIBLE SPACE 2

Zone 2 MALE WC

ZONE 3 EXHIBITION WALL

Physical Effect workshop 1 & 2

ZONE 2

DDA TOILET RMIT CONNECT

CAFE ZONE 2

Zone 2

Zone 3 Dedicated Office Space

1:250

10M

GREEN SCREEN STUDIO 2 CONTROL ROOM

CONTROL ROOM

FLEXIBLE WORKSHOP SPACE

ZONE 3

INFORMAL SPACE

EDITING SUITE

ZONE 2

ZONE 3 -

ZONE 2

ZONE 3 ZONE 2

1:250

Top Image: Ground Floor Plan Bottom Image: Second Floor Plan

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10M

Top Image: Third Floor Plan

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WEEK 11

CONCEPT BOARD

[WEEK 11]

POST MID-SEM In Week 11, we are required to produce storyboards and animatics drawings. The aim of this task is to create on highly experiential, cinematic and atmospherical narrated videos of our proposals. With the nature of experimentation, it is understandable that there will be flaws in the project and therefore early stages of planning and developing the work is necessary. While doing this task, it made me realize the struggles I am facing on the structure of my speech and the video sequence. It was also challenging to create a narrative and a seamless transition from different clips.

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WEEK 11

STORY BOARD

SCENE A

- SIGNAGE - POEPLE WALKING IN FAST SPEED - ZOOM IN (ANTICIPATION)

- CYCLIST - ZOOM IN - PAN VIEW

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- SIGNAGE - POEPLE WALKING IN FAST SPEED - ZOOM IN (ANTICIPATION)

- CYCLING TRANSITION - TO THIS PATHWAY

- SIGNAGE - POEPLE WALKING IN FAST SPEED

- ZOOM OUT TO “RMIT CONNECT”

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WEEK 11

STORY BOARD

SCENE B

- ZOOM OUT

- ZOOM OUT - SLOWLY SEE THE WHOLE BUILDING

- ZOOM OUT

- TRAM - WALK DOWN

- ZOOM IN TO THE SCREEN

- SLOWLY SEEING THE CONTEXT

TITLE - TITLE OF MY PROJECT APPEAR

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WEEK 11

STORY BOARD

SCENE C

- EXPLORATION IDEA

- IDEA OF THE GRID

- COMING IN TO THE COURTYARD - DIFFERENT ACTIVITIES HAPPENING IN THIS AREA THROUGHOUT THE DAY

- ZOOMING IN TO THIS SCREEN

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- SHOWING DRAWINGS OF ELEVATION - NO TALKING

SITE PLAN

- SCREEN SLOWLY LOOKING UP TO SKY FROM COURTYARD - SITE PLAN - GATEAWAY TO DOCKLAND

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WEEK 11

STORY BOARD

SCENE D

BICYCLE RACK

20 GREEN SCREEN STUDIO 3

CONTROL ROOM 1

GREEN SCREEN STUDIO 1

EQUIPMENT STORAGE SPACE

EQUIPMENT LOAN & STORAGE SPACE INFORMAL SPACE

TO BE CONTINUE...

ZONE 3 FLEXIBLE SPACE 2

LONG SECTION SHORT SECTION DIAGRAMS

INFORMAL SPACE ZONE 3 FLEXIBLE SPACE 2 MALE WC

ZONE 3 EXHIBITION WALL

ZONE 2

DDA TOILET CAFE ZONE 2

RMIT CONNECT

1:250

- FLOOR PLANS - PORGRAM

10M

- FLOOR PLAN TRANSITION TO A SCREEN ON THE FLEXIBLE WORKING SPACE SCREEN - TO SHOW THIS VIEW - VISUAL CONNECTION (SPECIFIC VIEW ON SPECIFIC STANDPOINT)

STYLE: “UNCAPTURE” https://www.youtube.com/watch?v=64xT3RKWEZ0

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WEEK 12

CONCEPT BOARD

[WEEK 12]

POST MID-SEM In Week 12, I started the render the selective views for my final project. The challenge part of this task was the material selection that needs to suit the idea of my project. The colors chosen for the terrain in my building was derived from the logo of Melbourne Dockland Studio. These colors blur the boundary between the Dockland Studio and Melbourne, forming a stronger relationship and encouraging collaboration between RMIT and the media industry. Following the language of the experiment procedure, the grid, vertical and horizontal patterns are derived from week 5 ‘operable façade’, creating a similar language from the roofscape to the landscape as one view the new precinct from the top. The material chosen for the façade of the new media precinct has a similar language to the grid pattern, by using tiles to determined the stratum of porosity on each leaning cells.

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WEEK 12

Top Image: Axo View Bottom Image: South Street View

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PROJECT IMAGES

Top Image: East Street View Bottom Image: West Street View

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WEEK 12

PROJECT IMAGES

WEEK 12

FLOOR PLANS

ZONE 3 - SEMINAR SPACE

GREEN SCREEN STUDIO 2

69 m²

106 m²

INFORMAL SPACE 33 m²

GREEN SCREEN STUDIO 1 135 m²

FOYER 25 m²

EQUIPMENT ST0RAGE SPACE 64 m²

EQUIPMENT LOAN $ STORAGE SPACE 70 m²

INFORMAL SPACE

ZOON 3 - AUDITORIUM ROOM 142 m²

COMBINED THESE TWO SPACE

OBJECT PREPARATION & PRESERVATION SPACE

Maker Space Wokrshop

FEMALE WC

166 m²

11 m²

71 m²

ZONE 3 EXHIBITION WALL

MALE WC 12 m²

STAIRS

ACC WC 12 m²

RMIT CONNECT 46 m²

CAFE 19 m²

MAKER SPACE 3D PRINTER 20 m²

MAKER SPACE COMPUTER ROOM 29 m²

1:250

GREEN SCREEN STUDIO 2 68 m²

CONTROL ROOM 2 35 m²

MEETING ROOM

FLEXIBLE WORKSHOP SPACE

MEETING ROOM 55 m²

SITTING AREA

19 m²

ZONE 3 - DOUBLE HEIGHT CONFERENCE OR AUDITORIUM ROOM 231 m²

EDITING SUITE

ZONE 3 - GLAM HUB, GALLERY LIBRARY MUESUM 273 m²

ZONE 2 34 m²

Top Image: North Street View

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Top Image: Ground Floor Plan Bottom Image: First Floor Plan

1:250

204

10M

WEEK 13

CONCEPT BOARD

[WEEK 13]

POST MID-SEM In Week 13 which is an extra class before final presentation, I decided to continue to work on the material, details and lightning on the interior of my learning environment. The rendering view shows the juxtaposition of landscape in Zone 2, creating an interesting experiential effect as it dematerialise itself, a non-definitive boundary, a flexible space for innovation and collaboration. I also produce a short clip on the introduction of my video, using â&#x20AC;&#x2DC;pngâ&#x20AC;&#x2122; human to overlay on my building. Despite the video was not very successful, I did made me realize the style that I would be progressing for my final.

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WEEK 13

Top Image: Courtayrd View Bottom Image: Interior View

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PROJECT IMAGES

WEEK 13

Top Image: The video on top was to create a cinematic scene where a cyclist is cycling to the new precinct. An introduction to the video.

VIDEO SEQUENCE

Top Image: This is another trial of an introduction to the video, where students are walking on the streets before entering the building.

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WEEK 14

FINAL PRESENTATION IN SANSAR

[WEEK 14]

SANSAR

PRESENTATION

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