M E LV I N D I N ATA
A C U R AT E D DESIGN PORTFOLIO 2017 - 2018 University of Melbourne Bachelor of Design Melbourne School of Design
M E LV I N D I N ATA Education
Student Architect | Designer | Artist
2017 - Current University of Melbourne | Bachelor of Design Melbourne, Australia
2016 - 2017 Trinity College Foundation Studies | Diploma Melbourne, Australia
Hi there Indonesia |Singapore | Australia
C O N TA C T Melbourne, VIC , Australia (+61) 451896088 arterpeter138@gmail.com mdarchitecture.wixsite.com/ mdesign
I’m an architecture student currently pursuing an architecture major and construction minor, specialising in design visualisation at University of Melbourne. Passionate about architectural operation in its various scales and processes. Very keen to grow alongside a team dedicated to harness architecture’s potential in bettering the world.
2014 - 2016 Clementi Town Secondary School | High School Singapore, Singapore
- 2014 Prime One International School | High School Medan, Indonesia
Work Experience Jan 2018 - Current S t u d e n t Tu t o r | S t u d e n t V I P Tutoring construction subjects to university students
Architecture for me has always been about the humane; the people and its associations. Coming from a third world background, I was surrounded by an environment where shelters have shifted from a right to a priviliege. It was at that point where I realised that something needs to be changed, in this case, built. I have since set my course for the built industry
Mar 2018 - Oct 2018 Undergrad spokesperson | University of Melbourne Representing UoM’s bachelor of design to in seminars.
Mar 2017 - Aug 2017 Design + Build Consultant| POB Construction Lead designer for student - run design team, responsible for design and structural calculations for The Venny Playgrounds
2014 - 2016 F r e e l a n c e D r a f t s p e r s o n | E r a Ke n c a n a Responsible for drafting floor plans of residential projects
Achievements Dec 2017 , June 2018 MSDx Summer + Winter Exhibitions Projects selected to represent design cohort in Melbourne School of Design Exhibitions @ University of Melbourne (UoM)
June 2018 D e a n ’ s U n d e r g r a d u a t e Aw a r d Awarded for Academic excellence ( Top 3% of design faculty)
June 2018 Student Profiling for B-DES Chosen to represent UoM’s new Bachelor of Design in 2018 Design Guide and Handbook
March 2018 D u l u x ’ s 3 2 n d C o l o r Aw a r d s F i n a l i s t Project shortlisted as Finalist and exhibited @ National Gallery of Victoria (NGV)
Professional skills Design | Construction | Urban Planning
Rhino 6 Photoshop Illustrator InDesign Grasshopper Microsoft Office WIX V-Ray Unreal Model Making AutoCad Revit
Personal
Project selected to represent new Melbourne School of Design curriculum @ Lee King Fun Gallery
Effective communicator Adaptable Team Player Initiative Hard working / Diligent
Membership
Language
Construction Student Association (CSA) Design and Environmental Student Society (DESS) Build Industry Group (BIG) MSD Open Day Representatives
English Working / Professional Indonesian Native Hokkien Native Chinese Basic Conversational
July 2017 FOD:R Exhibition
Responsible Honest Self-Motivated Confident Curious / Eager to learn
I believe that the way people live can be directed a little by architecture
Ta d a o A n d o
1a Content Page
1b GAMMA:
GAMMA:
The Whole House
Hearth Student Precinct
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14
2
3 B E TA :
ALPHA:
Pleasure Garden Estate
Dystopian Dream
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30
4
5 CABIN:
Digital Design:
Color In The Woods
Symbiotic Intervention
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1A
GAMMA: The Whole House 4 MacArthur Place North The Whole House project presents a scenario of a
Upon project completion, The original terrace house layout (1 bedroom, 1 study, 1 bathroom, and 1 kitchen) is refurbished into a compact, adaptable, and environmentally-attuned 3-bedroom and 2-bathroom house, with a small courtyard and additional upper storey .
multigenerational household configuration, and a case of a typical single-storey Edwardian terrace house, situated on a narrow allotment in an inner-suburban location in Melbourne. With rapid influx of people wanting to reside in the city, overly densified neighbourhood has forced houses to be narrower and narrower. The challenge is then on how can we still provide comfortable living spaces for a 3 generation family with an ever decreasing space ?
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The Edwardian character of the house’s facade is maintained, while generating a contemporary living space and architectural tectonics inside and within the new section of the house
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CANNING ST
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les both problems simultaneously
Height of second volume is reduced to prevent overshadowing of Northern sunlight into the face of the first volume. Middle volume is removed to allow winter sun to penetrate into the face of the house in accordance to the end of shadow caused by the 3 storey building infront
Concept Diagram
The maximum overshadow line from the 3 story building coincides with the start of the neighbouring courtyard. Hence, the removal of the overlapping area tackles both problems simultaneously
NEIGHBOURING BUILDING
SETBACKS - SHADOW M
FORM
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Setbacks introduced to response to neighbouring’s courtyard as well as to help dictate the overall mass of building
By removing the middle volume, the overall volume of the house is now divided into two separate volumes; main front living area and the rear extension. To re-establish the connection between the two volumes , a relationship needs to be introduced. In this project, the relationship comes in a programmatic spine.
LIVING
An array of programmes, from living > courtyard seating > kitchen, assembled in a continuous physical spine creates a continuous flow between the two volumes.
COURTYARD DINING + KITCHEN LIBRARY
NICHOLLS LN
SCHEM
N GROUND
FIRST MACARTHUR PL N
ROOF
Living into Courtyard
M AT I C S E C T I O N S
First Floor Family Lounge
Kitchen into Courtyard
Adapting: 3 Generations The Whole House is an adaptable house that is able to accommodate the lives of a growing family, changing family configurations, in the following cohabitation scenarios: First 10 years: multi-generational house (extended family consists of the core family and live-in grandparents) Second 10 years: Live-work combination (one of the parents will work from home with 2 children (teen-aged) Third 10 years: Live-work combination, transitioning into retirement, with a live-in adult child or tenant
FIRST 10 YEARS:
SECOND 10 YEARS:
THIRD 10 YEARS:
Multi-generational house
Live work combination
Live work combination transitioning into Third Third Third 10 10 10 years: years: years: retirement Live Live Live work work work combination combination combination transitioning transitioning transitioning into into into retirement retirement retirement (( With (With With aaa
First First First 10 10 10 years: years: years: Multi-generational Multi-generational Multi-generational house house house (extended (extended (extended family family family conconconsists sists sists of ofof the the the core core core family family family and and and live-in live-in live-in grandparents) grandparents) grandparents)
Extended family consists of the core family and live-in grandparents)
Second Second Second 10 10 10 years: years: years: Live Live Live work work work combination combination combination (One (One (One of ofof the the the parents parents parents will will will work work work from from from home) home) home) (2 (2(2 teen-aged teen-aged teen-aged children) children) children)
Grandparents room becomes Child Grandparents Grandparents Grandparents room room room becomes becomes becomes Child Child Child 111 room. room. room. 1 room Each Each Each bedroom bedroom bedroom isisis now now now fitted fitted fitted with with with aaa single single single bed bed bed and and and aaa study study study desk. desk. desk. First First First office office office isisis now now now more more more heavily heavily heavily used used used by by by one one one working working working parent. parent. parent.
Each bedroom is now fitted with a single bed and a study desk.
Front work room is now used as a collaborative office. Library is now used as a personal office
live-in live-in live-in adult adult adult child child child or oror tenant) tenant) tenant)
Front office becomes a bedroom for First First First office office office switches switches switches place place place with with with first first first bedroom bedroom bedroom -- allowing -allowing allowing the the the rent. room room room to toto be be be rented rented rented to toto tenants. tenants. tenants. This This This allow allow allow the the the rest rest rest of ofof the the the house house house to toto be be be cordoned cordoned cordoned off off off for for for privacy. privacy. privacy.
Back Back Back of ofof the the the house: house: house: kitchen, kitchen, kitchen, backyard backyard backyard and and and library library library isisis now now now partly partly partly Child 1turning bedroom becomes personal public, public, public, turning turning the the the kitchen kitchen kitchen into into into aaa mini mini mini coffee coffee coffee stand stand stand and and and the the the office library library library as as as aaa semi-public semi-public semi-public library library library for for for community community community childrens. childrens. childrens.
Kitchen, backyard and library is now partly public, turning the kitchen into a mini coffee stand and the library as a semi-public library for community childrens.
FOAM CORE BALSA WOOD CARDBOARD
1B GAMMA: Hearth Student Precinct 2,4,6-10 MacArthur Place North Hearth Student Precinct is a densification and neighbourhood activation project for the north-eastern area of the MacArthur Place precinct in Carlton. The project aims to generate infill housings, communal and shared facilities, green infrastructures, and laneway activation tactics, as a coherent scheme to articulate a vision of a living and active neighbourhood.
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The project proposes a new student housing x precinct particularly aimed at tertiary level Design students. The Heart Student Precinct aims to differ itself from the conventional student housing by including extensive amount of co-working spaces, high-end facilities, and generous outdoor spaces. These are to address the typical problem with student housing having poor facilities and very restricted green/outdoor spaces.
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Amenities Density Active / Passive Zones
Canning Stre
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Analysis
Elgin Street
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Legend:
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Medical Centres
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Wellness centre
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Saloon / Barber
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Petrol Station
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Cafe / Diner
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Apartments
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Shops
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Offices
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Canning Str ee Elgin Street
Elgin Street
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Residential Townhouses
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BOOK SHOP
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VR BOOTH
PWD WC
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BIKE STORAGE
CAFE
WC
A-A WORKSHOP / CLASSES
CENTRAL COURTYARD
B-B
OPEN GARDEN CIVIC SPACE
EXHIBITION SPACE
WHITE STUDIO / COLLABORATIVE WORK AREA WC
WC FAB LAB STUDIO
RECEPTION
PAINTING STUDIO
BLACK STUDIO
N MACARTHUR PL N
BOOK SHOP
NICHOLLS LN
NICHOLLS LN WC
WC
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VR BOOTH BIKE STORAGE
ENTERTAINMENT ROOM PWD WC
WC
WC
CAFE
WC
COVERED WALKWAY
WORKSHOP / CLASSES
CENTRAL COURTYARD
CANNING ST
CANNING ST
OPEN GARDEN CIVIC SPACE
OUTDOOR LOUNGE
OPEN MULTI FUNCTION AREA
LOUNGE
CORRIDOR
EXHIBITION SPACE
WHITE STUDIO / COLLABORATIVE WORK AREA WC
WC FAB LAB STUDIO
COMMUNAL KITCHEN
RECEPTION
PAINTING STUDIO
BLACK STUDIO SHARED BALCONY
GROUND
FIRST MACARTHUR PL N
cad-block.com
cad-block.com
dwgmodels.com
MACARTHUR PL N
NICHOLLS LN
CANNING ST
CANNING ST
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DOWN LOUNGE DOWN
CORRIDOR
COMMUNAL KITCHEN
SHARED BALCONY SHARED BALCONY
SECOND
ROOF MACARTHUR PL N
MACARTHUR PL N
View on the Bridge overlooking into the central courtyard
View looking onto the main corridor of the units
INTERACTION THROUGH CIRCULATION
P INTERACTION THROUGH PRIVATE - SHARED SPACE CIRCULATION PP
RESIDENTIAL - PUBLIC SPACE
PP P P
PUBLIC - PUBLIC SPACE PRIVATE SHARED SPACE
PP
RESIDENTIAL - PUBLIC SPACE
PPP
PUBLIC - PUBLIC SPACE
Circulation ; Threshold The circulation around the precinct is intended to collide with major civic / shared areas to increase the likelihood of interactions to take place amongst students. The precinct follows a central courtyard arrangement. The level of privacy hence follows a concentric form as well; with courtyard being most public, into the surrounding semi-public shared spaces, before retreating back into the most private student units.
ENTRY 1
FROM MACARTHUR
ENTRY 2
FROM MACARTHUR
ENTRY 1
FROM MACARTHUR
ENTRY 2
FROM MACARTHUR
ENTRY 5
FROM NICHOLLS LN
ENTRY 3
FROM CANNING ST
ENTRY 6
FROM ELGIN ST
ENTRY 4
FROM CANNING ST
ENTRY 5
FROM NICHOLLS LN
ENTRY 3
FROM CANNING ST
ENTRY 6 ENTRY 4
FROM CANNING ST
FROM ELGIN ST
02 B E TA : Mokuzai Estate Elsternwick Mokuzai (wood) estate is a community estate/pleasure garden
The estate includes short stay accomodations and facilities such as hot spring sauna, restaurants, libraries, entertainment rooms and a central open garden which are accessible to the public when the estate is not being rented.
for Melbourne’s suburb: Elsternwick. Inspired by the duality of the Ripponlea estate as a communal space now and a domestic space in the past, this project aims to incoorporate temporary rental facilities in addition to an estate’s public functions. The pleasure garden estate functions predominantly as a communal, immersive entertainment space but its placement within the suburban realm suggests that it may also offer a space for other more private uses.
The arrangement of the estate dictates the movement of the visitor from the entrance to the main garden area, providing a sequential experience ; From narrow , crowded corridors before eventually opening to a large recreational space.
Pleasure Garden Estate
Studio Beta & Earth
Exercise Name
Drawing Title
Assignment 4
Schematic Concept Diagram
Student Name:
Tutor Name:
Melvin Dinata - 900429
Nan Ma ( Nancy )
Coordinators Name:
Date:
Leire Asensio-Villoria and David Mah
21 / May / 2018
Comments
Scale 1 : 125@A3 (drawn in millimeters) 0m
0.5m
1m
North
Drawing No
01 01 of 13
Pleasure Garden Estate
Sidewalk
P2
P1
Studio Beta & Earth
Exercise Name Assignment 4
Drawing Title Overall Final Site Plan
Student Name:
Tutor Name:
Melvin Dinata - ID 900429
Nan Ma (Nancy)
Coordinators Name:
Date:
Leire Asensio Villoria and David Mah
23 / May / 2018
Comments
Scale
North
1 : 125@A3 (drawn in millimeters) 0m
1m
3m
Drawing No
02 02 of 13
Pleasure Garden Estate +7.00m
+3.80m
+0.00m
Section A
-0.50m -0.85m -2.00m
Ground is lowered here to further set-back the space as a private area
Terraced slopes for seating
A ridge around the teahouse acts as a water gutter for the waterfall and watershed
Raised ground for structure allows water to flow from underneath the floor
+1.30m
+0.00m
Section B
-0.50m
Lowered and flat ground for the private-hidden pathway
Exercise Name
Drawing Title
Small opening/courtyard area
Raised mound to act as a mini-garden and a path buffer to dictate circulation
Student Name:
Low ground to indicate an arrival to a compact open space and fully hide the main area
Tutor Name:
Gentle slope that slowly denies the viewers from viewing the main area behind
Comments
Highest ground to allow the viewers a glimpse of the main area behind
Scale
North
Drawing
Section C
Well defined cave-in for pool
Slopes allow for water to flow which is utilised as a water feature
High gro vantage whole ma
ound provides a better e point to frame the ain area picturesquely
+7.00m
+3.80m
+0.30m +0.00m -0.55m
-2.00m
Small open courtyard as a space for interacting and relaxing. This area represents a smaller scale version of the main area
Pleasure Garden Estate
P
Bicycle Garage/ Storage
3000
3550
3550
2650
Small Public Toilet
Office / Study
Food and Drink Bar
Pleasure Garden Estate 3000
3050
3625
370
Big Public Toilet
3750
3000
Pleasure Garden Estate Library with Leisure Pavillion
Dining Area with Kitchen
3050
Office / Study 3837
370
3050
3125
375
Meditating / Exercise Hall 3250
Laundry 1
3750
Exercise Name
Drawing Title
Studio Beta Assignment 4 & Earth Dining Area with Kitchen
Building Matrix 1
Tutor Name:
Melvin Dinata - 900429
Nan Ma ( Nancy ) Date:
Leire Asensio-Villoria and David Mah
21 / May / 2018
Laundry 2
Comments
Student Name: Coordinators Name:
Pleasure Garden Estate
2100
Pleasure Garden Estate Lobby / Gallery
Scale 1 : 125@A3 (drawn in millimeters) 0m
0.5m
1m
Studio Beta & Earth
North
Exercise Name Assignment 4
Drawing No
Main Living Pavilion
11
11 of 13
Drawing Title Building 2 GlassMatrix Tea House
Student Name:
Melvin Dinata - 900429 Coordinators Name:
Leire Asensio-Villoria an
3000 3890
370
4375
2100
3250
3875
3050
udy
Meditating / Exercise Hall
Drawing Title
Assignment 4
Building Matrix 2
Student Name:
Tutor Name:
Melvin Dinata - 900429
Nan Ma ( Nancy )
Coordinators Name:
Date:
Leire Asensio-Villoria and David Mah
21 / May / 2018
Comments
Circulation Broadwalk 3890
Studio Beta & Earth
Exercise Name
Glass Tea House
Corridor Garden
Main Living Pavilion
Scale 1 : 125@A3 (drawn in millimeters) 0m
0.5m
1m
North
Drawing No
12
37
12 of 13
Pool Pavilion
Pleasure Pleasure Garden Garden Estate Estate
Perspective Perspective 1 1
ExerciseExercise Name Name
Studio Studio BetaBeta Assignment 4 4 & Earth & EarthAssignment
DrawingDrawing Title Title Perspectives Perspectives
Perspective Perspective 2 2
Student Name: Student Name:
Tutor Name: Tutor Name:
Melvin Dinata Melvin - 900429 Dinata - 900429
Nan Ma ( Nancy Nan Ma ) ( Nancy )
Coordinators Coordinators Name: Name:
Date:
Date:
CommentsComments
Scale Scale North 1 : 125@A31(drawn : 125@A3 in millimeters) (drawn in millimeters) 0m
0.5m 0m
0.5m
1m
1m
Drawing NoDrawing N North
06 06
03
architecture (shelter), and its social value (an escape mechanism)
SWANSTO
night’s downpour. “Grab your buckets and let’s go, we’re climbing up to harvest and sow. “ 4 Children cheer as they know, plenty of stories await if they follow. When ascending, the house would peek, as 3 ALPHA: if inviting you to seek. Through the steps, and is, Subhi’s D Ythere S TitO P I A alN DREAMS ready waiting what a bliss! c o l n to Square As the adults plant, the childrenL i nstarts chant. Dystopian Dreams is a project that investigates the role of shelter The client / protagonist is Subhi , a 7 year old boy, born in the Square Subhi begins toseries tellof a scene, with things in a dystopian setting. A devastating natural disasters has thatand lives with his ill mother and teenage sister. He is a born optimist, a forced set up shelter at Lincoln Square. This group starts lover of stories and views the world in the Square through a dreamy can people only tobe imagined. to build their lives based on human connection and in small ways “Where does he get allfindthose stories full ofchildlike lens. joy in unlikely places. wonder?” They still enjoy his stories, thoughThe response is a micro-infrastructure that enable private exchange of In this project , ALPHA aims to utilise both the physical aspect of stories between Subhi and a friend living outside the Square, while also they always ponder.
URBAN TERRAIN
acting as a public platform for Subhi to share his stories with people inside the Square.
DYSTOPIAN DREAM 1
MELVIN DINATA / 900429 STUDIO LEADER: DOUGLAS WAN SEMESTER 2, 2017
SITE PLAN - scale 1:500
CONCEPT DIAGRAM: Inside v Outside
LINCOLN SQUARE SOUTH
LINCOLN SQUARE NORTH 7-8 6
SWANSTON ST
When everyone sleeps, he knows its time, a boy began to make his climb. His movement dodges the sunlight, to reach the place that’s out of sight. A rhythm of knocks Subhi hears, to signify that his friend is here. The border vanishes with a quick turn, its time to share stories they both yearn. She tells him of what the world was before through postcard, and that the world she now lives in is charred. Subhi can only imagine what’s its like outside, when his world inside has greens and clear water spread wide. “Look”, he said. “the world is full of colour” “Look too, mine’s black and white”,she replied. Only through stories exchanged, the two divided worlds can seem to collide. . . Everyone gathers by the shore, to collect last night’s downpour. “Grab your buckets and let’s go, we’re climbing up to harvest and sow. “ Children cheer as they know, plenty of stories await if they follow. When ascending, the house would peek, as if inviting you to seek. Through the steps, and there it is, Subhi’s al-
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SITE PLAN - scale 1:500
SWANSTON ST
SPATIAL PROGRESSION 5: Approaching the house, revealing a front open facade and a more enclosed space behind SPATIAL PROGRESSION 5: Approaching the house, revealing a front open facade and a more enclosed space behind
SPATIAL SPATIALPROGRESSION PROGRESSION 1: 5: View from open onto the narrowing distance Approaching theshore house, revealing a front open facade and a more enclosed1:space behind (house) SPATIAL PROGRESSION View from open shore onto the narrowing distance (house)
SPATIAL PROGRESSION 6: SPATIAL PROGRESSION 2: providing clear Vantage point from the house While thelandscape slope progressively reveal open ascending, view onto the the house PROGRESSION before closing the2:view again. SPATIAL While ascending, the slope progressively reveal the house before closing the view again.
SITE PLAN - scale 1:20 SITE PLAN - scale 1:50
SITE PLAN - scale 1:50
SPATIAL PROGRESSION 7: View on left suggests open 3: landscape juxtaposed SPATIAL PROGRESSION by a more enclosed space on the Steps bounded by two planes thatright suggests a compressive experience of space SPATIAL PROGRESSION 3: Steps bounded by two planes that suggests a compressive experience of space
SPATIAL PROGRESSION 8: Subhi’s compressed view through the peep hole SPATIAL PROGRESSION 4: into his friend and the outside Compressive steps eventually opens to a wide SPATIAL 4: public areaPROGRESSION with the house immediately visible Compressive steps eventually opens to a wide public area with the house immediately visible
SPATIAL PROGRESSION 6: Vantage point from the house providing clear open view onto the landscape SPATIAL PROGRESSION 6: Vantage point from the house providing clear open view onto the landscape
SPATIAL PROGRESSION 1: View from open shore onto the narrowing distance (house)
SPATIAL PROGRESSION 2: While ascending, the slope progressively reveal the house before closing the view again.
SITE PLAN - scale 1:20
SITE PLAN - scale 1:20
SPATIAL PROGRESSION 3: Steps bounded by two planes that suggests a compressive experience of space
SPATIAL PROGRESSION 7: View on left suggests open landscape juxtaposed by a more enclosed space on the right SPATIAL PROGRESSION 7: View on left suggests open landscape juxtaposed by a more enclosed space on the right
SITE SECTIONS - scale 1:20
SITE SECTIONS- scale 1:50 SITE SECTIONS- scale 1:50
SPATIAL PROGRESSION 8: MELVIN DINATA 900429 Subhi’s compressed view through the peep hole STUDIO LEADER:DOUGLAS WAN into his friend and the outside SEMESTER 2, 2017 SPATIAL PROGRESSION 8: MELVIN DINATA 900429 LEADER: Subhi’s compressed STUDIO view through the DOUGLAS peep hole WAN SEMESTER 2017 DINATA2, 900429 into his friend and the outside MELVIN
STUDIO LEADER: DOUGLAS WAN SEMESTER 2, 2017
SITE PLAN - scale
SITE SECTIONS - scale 1:20
SITE SECTIONS - scale 1:20
MELVIN DINATA 900429 STUDIO LEADER:DOUGLAS WAN SEMESTER 2, 2017 MELVIN DINATA 900429 STUDIO LEADER:DOUGLAS WAN SEMESTER 2, 2017
SPATIAL PROGRESSION 4: Compressive steps eventually opens to a wide public area with the house immediately visible
SITE SECTIONS- s
MATERIAL STUDY
LANDFORMING MODEL MODEL SCALE 1:500
HOUSE MODEL PERSPECTIVE MODEL SCALE 1:20
OBJECT STUDY
MELVIN DINA STUDIO LEADER: DOUG SEMEST
04 CABIN: Color In The Woods Norway Color in the Woods is a prototype for a retreat cabin along a mountain trekking route in Norway The retreat cabin intentionally uses bare and exposed materials for the exterior and interior as a gesture to the natural environment that forms the setting of the building. Initially an independent project, Color in the Woods is then remixed with Dulux Paint Colours for the Dulux 32nd Award Competition Entry.
The facade is mostly comprised of large glass openings to maximise natural light and creating a diffused lighting inside that promotes greater viewing opportunity on every side of the building, blurring the lines between exterior and interior. The structure’s interior takes the form of a simple conjoined rectangular space meant for relaxation and admiration. The affordance of the sitting and tabling prompts the visitors to engage with the building’s form.
05
D I G I TA L D E S I G N : The Hearth Pavilion Queen Victoria Gardens The Hearth is a light-emitting entity that benefits from the symbiotic relationship between two organisms that form the pavilion. The idea stems from the primary concept of light catching - casting, creating an interplay of dynamic design within a static structure. The pavilion is fabricated to accomodate a lunchtime seminar and an evening quartet performance, sheltering an estimate of 15-30 audiences. The pavilion form is essentially a distorted hollow cube, where the programmes can take place within. Worn walnut lines the interior, creating a more tactile, humane experience. The exterior of the cube naturally forms an enclosure, providing shelter for inhabitation.
3. A Pavilion Design
Polished walnut is employed to clad the exterior, providing it with a glossy profile that assist in reflecting lights further to the diffused context. Raised above a stepped podium from the park, the pavilion provides a clear transition upon entering. The pavilion connects to the surroundings by the projections of lights that extends to a proximity. The intensity and direction of lights produces varies throughout the day due to the sun’s movements. This provides an effect where the pavilion undergoes a photosynthesis-like process of filtering lights in and projecting it out.
A Symbiotic Intervention
The external form of a pure cube provides the juxtaposition of rigid, orthogonal external with a minimal, free-flowing internal.
The flat and empty wall acts as the ‘light-catcher’ by providing a surface for the patterned lights casted by the perforations.
The relaxed surface takes the role of the ‘light-caster’ which projects light in every direction through the perforations onto surrounding surfaces
Seatings are subtly integrated as part of the structure itself by utilising the minimal surface forms.
Isometric Rendition
The pavilion’s platform helps to reinforce the intended circum-ambulatory nature of the pavilion’s circulation to understand the pavilion as a whole.
The float creates a seating that allow viewers to sit and view outwards into the light being casted on the ground by the pavilion
The stepping platforms (one on each side) acts as the only means of entering / exiting the pavilion. This helps to clearly define the assigned circulation when navigating the pavilion.
The wall floats above the ground. This form provides the impression that the wall’s mass itself is not load-bearing. It is instead supported by the internal columns which cantilevers outward into the walls.
Circulation Diagram
Legend: Main Circulation Path Area of Movement
C o m p u t a t i o n a l P r o c e s s : Bridging
Step 1: Dividing The Surfaces The first set of components divides the surfaces into cells that can be individually selected. These selected cells will then form the face-areas for the bridging.
Step 2: Bridging Surface The next group generates the bridges between the selected cells of the bottom and top surface.
Step 3: Joining the Form The next step involves combining the bridges and surfaces as a single object. This is so that the bridges can be relaxed as part of the surfaces.
Step 4: Baking final product The final outcome is a single object consisting of bridges and surfaces. The top surface is wire-framed to provide a view towards the interior of the object.
By the same logic, the surface bridging script is futher explored to attain a form with higher clarity, allowing programmes to be speculated into the spaces . Three base surfaces are employed to simulate basic enclosure - walls and roof - which allows the bridging to happen in more directions. Cylindrical volumes replaced quadrilateral forms to provide a juxtaposing profile between the interior and exterior , further exploring the possible relationship between inside and outside.
C o m p u t a t i o n a l P r o c e s s : Relaxation
Step 1: Dividing the object The first set of components breaks down the object into faces via triangulation to allow a higher degree of customisation. The smaller the faces, the smoother the relaxed form will be
Step 2: Anchor Points This group provides the anchor points for the relaxation to ‘latch’ onto. In this case, the anchor points are generated from the naked edges of the object
Step 3: Relaxation The Kangaroo component then relaxes the object with reference to the anchor points. This creates a series of tensile elements within the cube.
Step 4: Perforations Perforations are generated via WeaverBird. The openings are generated in accordance to the individual faces that were generated in Step 1.
Computational Process: Fenestrations
Step 5: Selection based on Areas This group allows the selection of faces based on the size of their areas. The median value can be adjusted to alter the ‘larger than’ or ‘smaller than range.
Step 5: Selection based on Areas The selection divides the form into 2 different objects due to their area difference: ‘Smaller than’ and ‘Larger than’
Step 6: Perforations for Selected Areas The openings of WeaverBird can now be generated only within a set of areas rather than the whole object.
Step 7: Baking the Object The final product is a relaxed form with perforations located on specific locations that can be freely adjusted.
By using the same flow of work, the location of the perforations are assigned in better accordance to the concept of light casting and catching. The perforations are now primarily located only within the interior relaxed form and openings of the exterior walls. This is effective as the light funnels are now able to filter in more lights into the spaces inside and the weaverbird openings now provides a patterned profile for more interesting shadows and lights projected by the pavilion.
Relationship Diagram Initial form of the host: A pure cubic form with 2 surfaces exploded off
Cubic form is forced to distort to accomodate the parasite’s form. The host still mantains certain degree of its cubic form
The minimal surface parasite that depends on the host as a platform to project the lights that it generates.
Exploded Diagram
Holes on the host’s roof helps to funnel in natural light for the parasite to generate its lighting.
The blank and puristic cube form of the walls and roof (host), is being distorted due to the relaxation from the parasite. The host itself then catches the light that are being generated by the parasite, producing intense patternation on the previously blank walls of the host.
The internal minimal surface acts as the’parasite’ which latches onto the ‘host’ (orthogonal cubic walls and roof). This surface generates light by absorbing sunlight through the occuluses during the day and via LEDs at night time. The lights casted by the parasite (minimal surface) is then caught by the host (walls and roofs).
The distinction between the base and pavilion is blurred by relaxing the columns into the base; as if the column rises up from the base.
Design Iterations
Iteration 1 is the most straight-forward approach to the relaxation object. The pavilion concentrates on a centralised light source that acts as the main light source, projecting lights in every direction. However, the spaces formed through this form is not possible for the required brief as it is too small. More openings could also be added for better lighting inside
Iteration 2 is a more refined form of Iteration 1 that starts to greatly considers the threshold and circulation of a pavilion brief. The bottom area is now freed up to allow more spaces with the light casting surfaces now resolved onto the higher area, filtering lights in effectively. However, the light casted is not obvious enough as there is only one suface able to catch the lights
The last iteration both incoorporates light casting openings and light catching surfaces more extensively. Combining the more enclosed form of Iteration 1 and light wells of Iteration 2, the final iteration is able to generate light effectively while at the same time capturing the lights produced. A centralised space of Iteration 2 is also used to resolve the programmatic brief.
Atmospheric Rendering
The interior of the pavilion follows a honey-comb like profile. Flickering Visitors are greeted with a lightshow upon entering the pavilioin. The lights casted and caught is clearly visible in this orientation
lights with different levels of glow helps to create the effect of ‘breathing’ , suggesting that the pavilion is an organism itself.
A centralised space with seatings on the seat allows people to congregate or
Aptly named the Hearth, the pavilion viewed from the exterior resembles a
simply rest while being immersed by the intense-patterned projective lights and
fireplace that offers comfort and warmth from the harsh external elements. It
shadows. This establishes a greater feeling of actually being inside something -
is an entity that provides light in the dark and warmth in the cold - an effective
a pavilion.
example of a humane architecture
Physical Model
e vision of the pavilion is then realised into physical forms.
e pavilion is generated through two methods of fabircation:
astic Printing
nd
owder Printing
Fabrication The vision of the pavilion is then realised into physical forms. The pavilion is generated through two methods of fabrication: Plastic 3D Printing and Powder Printing The base is assembled via laser cutting
Plastic 3D print
Powder 3D print
owder Printing is used to represent the potential of the
avilion’s perforative elements in casting complex lightings.
owder printing is also more effective than plastic in
oducing this model as powder printing does not
enerate support structure , making it a better option when
enerating complex forms. It also produces a smoother Powder usedto tobe represent the potential ofile to allow sharper andPrinting clearerislights produced of the pavilion’s perforative elements in casting rough the holes. complex lightings.
Powder printing is also more effective than plastic in producing this model as powder printing does not generate additional support structures, making it a better option when generating complex forms. It also produces a smoother profile to allow sharper and clearer lights to be produced through the perforations.
Light is a strong communicator of atmosphere, space and presence Beings are instinctively attracted to lights
Ligh
Being
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