Studio 41_Create | Curate: A Sensory (Re)treat | Curated Journal_Mingjie Zhang 910787

I ackn owl e d g e t hat t h e pro po s e d s ite is o n Dja Dja Wurrung and Taungurung Countr y. I wo u l d l i ke to ackn owl e dge and exte nd my appre c iat io n fo r t h e Dja Dja Wurrung People, the Tradit io nal Ow ne rs of t h e land t h at we are standing on today.

Studio 41: Create | Curate: Sensory (Re)treat Curated journal for digital and physical works MINGJIE ZHANG_910787

MIN GJI E ZH A N G_ 9 10787

Mid semester self reflection

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W2

Craft + concept

8

W8

Refinement of creative working/living

72

W3

Rooting craft & concept in site

20

W9

Detail development

86

W4

Artefacts in landscape

32

W10

Interim review

98

W5

Spatial curation

46

W11

Lighting & model

116

W6

Curating craft & concept in site

54

W12

Presentation prep

126

Appen.

Final review

138

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W7

Studio 41

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3

Introduction

Studio 41

W1

2

Create | Curate: Sensory (Re)treat

Table of contents

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W1

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The quick modeling exercises gave insight to rapid realisation of ideas. The stark difference in materiality to the potential crafts had little impact on the form making process, if anything, this difference helped to elevate the innate properties of the craft by investigating concepts that could be transferrable to architecture.

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Introduction

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Client: William

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Bricolage

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(in art or literature) construction or creation from a diverse range of available things.

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My client emphasised on the concept of journey which I’ve interpreted as being even more important than the destination. Combined with his passion for natural atmosphere and phenomenology, the “watchpoint” is grossly undersized compared to the abstract landscape. It could be both the beginning and the end, where the journey diverges into the wild, or where the journey converges into a singularity.

Create | Curate: Sensory (Re)treat

Create | Curate: Sensory (Re)treat

Joinery as metaphor for architectural gesture.

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W2

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I’m not too disfamiliar with the world of woodworking - but the intricate detailing of joineries is always something I’ve looked up to but never had a chance to experiment with. This week’s content is revolved around the historical and practical aspects of the craft - how it has evolved over the years and the tools/machines/materials utilised. It is with the hope with a list of programmes could be devised from this research that inform the spatial allocation of the workshop in the upcoming weeks.

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Craft + concept

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Dressing timber Mitre saw + finishing

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Mitre saw

Shop vac

Scale

10

Orbital sander

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1:25 @ A4 0.5

1

2m

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4. Assembly 5. Finishing

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Create | Curate: Sensory (Re)treat

3. Joinery

2. Cutting

Fine timber furniture requires constant addition and subtraction of material, but the general workflow more or less stays on track. Rough sawn timber is made square and flat for ease of processing, which is then divided into smaller segments for joinery and assembly.

2.2_Graphics inventory_power tools 1. Dressing

2.1_Process research

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1:10 @ A4

0

0.25

File

Mallet

Hack saw

Japanese pull saw

0.5

F clamp

C clamp

Hand plane

4. WORKING

Scale

Chisel

3. CUTTING

Caliper

2. DRESSING

Ruler

2.2_Graphics inventory_programme

1.STORAGE

2.2_Graphics inventory_hand tools

1m

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A general division of programme based on activities that dictates how the workshop will be spaced. Cutting and working generally invovles the most amount of space and tool types, hence their respective amount of allocated space. Storage is an interesting one - it will be relevant throughout all stages of furniture making so it would be worthwhile to devise a system emphasises on the overarching importance of this sector.

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Scale

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2.2_Graphics inventory_products

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2.3_Historical + geographical_research

Shelter

Exploration

Furnishing

Easy to harvest and work with

Light, malleable, abundant

Durable, expressive

Borgun Stave Church

Traditional Workshop

8-11th Century

12-14th Century

19-20th Century

Bauhaus

Asian Influence

Danish Modern

Mass production

Elegant & warm

Simple, functional, comfortable

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tradition continues into the post industrial age - combined with the influences from Bauhaus and Asian furnitures, Danish Modern establishes itself as a simple, elegant and functional approach to craft.

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For this specific research, Denmark is chosen as the location of fine furniture making. There’s a rich culture of craft in Denmark since the middle ages, making them one of the most revered cabinetmakers in the world. This

Viking Longship

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2.3_Historical + geographical_precedent

2.3_Historical + geographical_resources

Being one of the most well known chairmaking masters, Wegner propelled Danish furnitures to the forefront of the world stage with his opus majus, the Wishbone chair. With its slim profile and fluid shape, this chair undoubtedly contains traces of Chinese chairs but refined to be produced at a larger quantity suited for most interior styles.

Hans J. Wegner (1914-2007) Danish furniture designer

The Wishbone Chair (1950)

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Pine

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The prominence of timber used in Danish furnitures is closely correlated to its geographic advantages.

Copenhagen has easy access to one of the worlds largest exporters of spruce and pine - Sweden. This readily accessible and sustainable material became the base tone for the Danish palette, granting a light and airy appearance to this style.

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Spruce

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Hans J. Wegner (produced by Carl Hansen & Son)

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2.4_Material research_palette Timber

Soft

White oak

Leather

Blackbutt

Beech

Cherry

Fabric

Tasmanian Oak

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Spotted gum

American oak

Teak

Rattan

Ironbark

Mahogany

Walnut

Paper weave

Hardwood, medium high strength Warm, dense, light in colour Furniture, veneer, flooring ~$12-25/m

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Create | Curate: Sensory (Re)treat

• • • •

American Walnut • • • •

Hardwood, medium strength Warm, medium dense, rich brown in colour Furniture, decor, carving/turning ~$35-60/m

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Maple

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Tasmanian oak

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W3

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What could a craft be, if it has transcended above its original purpose and became a symbol of worship?

This week’s exercise aims to extrapolate things that make a craft so revered, by drawing parallels to religions. There are key concepts to be discovered that could imbue new meanings to a craft and influence how programmes are perceived.

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Rooting craft & concept in site

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3.1_Research_trees & timber “Natural materials express their age and history, as well as the story of their origins and their history of human use.”

- Juhani Pallasmaa, The Eyes of the Skin, p.31

“Perhaps we should not consider it a fault, but one shortcoming of natural materials like wood is that they have unforeseen defects: instead of being perfectly uniform, like metal alloys, for instance, natural materials retain their individualistic characters to a very great degree.”

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There’s also an inherent warmth to timber - it is neither cold nor hot to the touch, it can have smooth or coarse textures, it could be angular or rounded. The tactility aspect of timber should be regarded as one of its strongest traits, and must be explored in tandem with its visual and olfactory appeal.

From a tree to a piece of furniture, the process is arduous, lengthy, and involves the combined effort of many trades. There’s a timelessness to timber furniture from a once living entity to a still entity, something poetic about the process that a tree undergoes to becoming a symbol, immortalised in another form. This characteristic of temporality could be expressed as a linear timeline, a long passage of space for one to walk through and be immersed within.

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The inherent softness of timber is often overshadowed by its ability to create superstructures. Yet it is one of, if not the only building material that was once alive. Their grains and knots, their wears and tears are witnesses of history, of untold stories, of the natural environment that it was once in; as George Nakashima puts it, a “silent witness”.

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- Kiyosi Seike, The Art of Japanese Joinery , p.90

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3.1_Research_ joinery “Good joinery is often invisible except to those who appreciate the work and take the time to look for it.”

- Ann E. Michael, Mortise & tenon

The mortise & tenon could be figurative parallels to architectural spaces. The mortise is receptive, a welcoming space for dwelling and guests; the tenon offers, thus could be interpreted as a space of production/crafting. These two spaces are joined by intermediary spaces acting as thresholds.

Tectonics The art of joinery is born of the structural necessity to create stronger connections between timber elements - essentially, an expressive effort to celebrate the tectonics in woodworking. While the amateur seek to hide, the masters aspires to show. It is a time consuming craft that requires precision at every step, but it was never about efficiency; it is the craftsman’s attitude for the invisible, to be enjoyed and appreciated at a relaxed pace, a non-stop journey to reach perfection.

https://www.archdaily.com/444857/timber-structure-archery-hall-and-boxing-club-ft-architects?ad_medium=gallery

[sûn], tenon

Create | Curate: Sensory (Re)treat

榫

Being the protruding element in a joinery, the tenon inserts into the mortise and creates a strong bond that resists twist and movement.

[măo], mortise

The mortise is the recess that fits the tenon. They are of the exact shape and size, complimenting each others’ positive and negatives.

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卯

Archery Hall & Boxing Club FT Architects

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https://www.woodmagazine.com/woodworking-how-to/joinery/mortise-tenon-joinery/Master-mortise-and-tenon-joint

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3.1_Research_chairs “The chair is a very difficult object. Everyone who has ever tried to make one knows that. There are endless possibilities and many problems - the chair has to be light, it has to be strong, it has to be comfortable. It is almost easier to build a skyscraper than a chair.”

- Ludwig Mies van der Rohe, Wegner - Just One Good Chair, p.17

Why chairs?

The average human sits for 7.6 hours a day.

Chairs, the medium for the mundane activity of sitting take on an increadible variety of forms: stools, benches, with arm rests, upholstered, foldables, height adjustables, the list is endless.

Chairs therefore, are the single most familiar piece of furniture to the world, so familiar that it almost fades out of visibility or conscious thinking.

The pursuit for “the definitive chair” will continue on for as long as there’s the need to sit and rest.

As Hans J. Wegner puts it, “ there is never one damn thing that cannot be made better.”

Create | Curate: Sensory (Re)treat

Sitting upright is only one of the many modes of positions that humans have designed for chairs. Chairs can be of various height, length, tilt; it could be hardwood all the way through or have softer materials attached to parts where bodies will touch. Perhaps it is worth investigating parts of the workshop/dwelling where tactile experience is felt while seated - or visual elements seen while seated.

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Romantics of ergonomics

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Sketch diagram on evolution of the Chinese Chair by Hans Wegner

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3.2_Design development_brief programme

3.3_Design development_narratives

Workshop (~240sqm) 3 permanent craftspersons, 1 long term apprentice, community guests

• • • •

Machineries Work benches * 6 Storage (timber, tools, fixings) Semi-outdoor finishing area

• • •

Permanent dwelling (detached) short-med term dwelling “after-hour” workshop

• • •

Display gallery hall Knowledge archive Gathering space

• •

Carpark & loading area WC/kitchenette

Dwelling (~390sqm)

Ancillary (~360sqm)

The trifecta of craft, learn and rest must be respected - it is the perpetual cycle of life where all parts are interlinked and must be present at all times.

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Back of house/practical functions

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In-between space intended for public/private use

Knowledge is open to all - displayed to be accessible, to be seen and felt by all aspiring craftspersons.

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Intermediary (~180sqm)

Craft is sacred - the god of machines and tools oversees and guides the craftsperson.

All activities occur around this established symbol of worship.

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3 permanent craftspersons + families 1 long term apprentice, visitors, tourists

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3.4_Site model fabrication Shape & size determined

Process: 1. Source base material: Vic Ash or Tas Oak

A more efficient laminating method per Riley’s suggestion.

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3. Contextual items: 3D printed houses, vegetation and water bodies

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All closed polysrf 0.1mm offset for all insertion pockets Pocket holes for tree models Correctly labelled toolpaths for: parallel finishing/pocketing/etching

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• • • •

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Checklist:

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2. Post CNC processing: manual sanding

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W4

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For the craft of chairmaking, it would be unwise to not consider timber, or trees in general, as the main candidate for landscaping and architecture in site.

The versatility of this material allows for massing and spatial sequences to be developed according to its various properties, including the “hiddeness” of it that should be celebrated in conjunction with landscape interventions.

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Artefacts in landscape

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4.1_Concept consolidation “Fine wooden structures seem to speak with the hearts of the master carpenters who constructed them with obvious respect for the soul of their timber.”

- Kiyosi Seike, The Art of Japanese Joinery , p.13

Hira-hozo

True mortise & tenon

Misc sketches from week 4

Ari-tsugi

Next in line is perhaps, structure. Joinery provides both functional and visual appeals to the construction of a space, giving users opportunities to wander, to observe, and sometimes, to touch.

Finally, the most nuanced aspect of a joinery is perhaps the strong bond it creates between members, which is viable for creating thresholds and lingering in-between spaces.

Sage-kama

Wedged through half dovetail

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To translate the properties of joineries to architecture, the form of it seems like an easy approach - building volumes will inevitably, intersect with one another, thus creating opportunities to appropriate joinery forms into massings.

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Drawing parallels from joinery

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Dovetail

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4.2_Landscaping_precedents

The north wing of the Ando Museum is a clashing between the traditional and the modern in terms of materiality - the colour palette is nonetheless, earthy and neutral, letting the material themselves converse. The original timber structure is kept, embracing the tectonic whilst creating strategic openings for light and shadow plays. https://www.architecturalrecord.com/articles/7514-ando-museum

https://www.flickr.com/photos/masakoishida_macononch/37533426472

Nanzen-in

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In the example above, the architecture is hidden behind layers of vegetation in various height, density and colours.

Yet it is not completely hidden - some parts of the roof, a bit of the window, it is exactly this fragmentation of view that evokes visitors’ curiosity, making them wander and search.

It is only upon arrival that the entire architecture is revealed, offering the moment of catharsis. But is it the end of the journey, or the beginning?

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The picturesque - originally derived from the concept of a natural landscape looking like a painting, evolved to contain a lot of elements such as variety, irregularity, asymmetry and texture. It is neither a coherent theory nor a defining aesthetic; in terms of its application in landscaping and architecture, one could develop a layered relationship between the built and the planted.

Ando Museum Naoshima, Tadao Ando

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Kyoto, c.1287, Muso Soseki

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Yellow gum

River red gum

Up to ~25m height

Up to ~40m height

~7m

Melaleuca lanceolata

Bundy Up to ~15m height

Woolly tea tree ~4m height

Moonah ~7m height

Goodia medicaginea

Prostanthera rotundifolia

Western Golden-tip

Round-leaf Mint-bush

~1.5m height

~1.5m height

Scale 0

~4m

~1.5m

1:100 @ A3 2

4

10m

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Eucalyptus camaldulensis

Leptospermum lanigerum

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Eucalyptus leucoxylon

Eucalyptus goniocalyx

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4.3_Landscaping_flora

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4.4_Sketch models

Exhibit A

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The mortise and tenon metaphorises the relation of massing - some form of insertion, overlapping, or perhaps interlocking.

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Exhibit B

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Attempting to interpret the relationship between the workshop, the dwelling and the intermediary space.

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4.5_Massing development

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The main critique of this form is that there isn’t enough separation between the craft and the living - the workshop sits directly above the dwelling quarters, which is undesirable. There is also a lack of consideration for access and amenities, which are integral to the long, narrow form. The workshop space also needs more attention and planning, especially the gallery area.

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Scale

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4.6_Site model fabrication Suppliers: • • • • •

CERES Fair Wood Urban Salvage Timberlord Sawn Matthews

There was a toss up between American maple vs. Vic ash, as the price of delivery was quite high for the ash, while Timberlord was happy to deliver the maple himself with little added charge. But it would be the best to establish some connection between the site and material used, so Vic ash won out in the end.

Timber stock measurement

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A total of 1.9m was used.

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Eventually I decided to drive down to port Melbourne to pickup a piece of 170*45 Vic ash that measured 2.7m long with minimal surface gum veins. It turned out that it was factory dressed as well, which saves time on planing, and offers the most amount of usable timber straight off the shelf.

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For any project that involves timber, it is best to plan out how much you need first, then add around 10% -20% to ensure you have enough. As we are utilising this irregular lamination method, manual calculation will take too long, so a grasshopper script was envisioned to easily input timber size, which then calculates the total length needed.

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W5

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The residential aspect of this project brings out a key question: what should a craftsperson’s home look like? Some say that a craftsperson’s home is an extension of the place they work at (usually the workshop) - there’s still a degree of craft presence throughout. It should be homelike, it should be minimal on “work” things, such as tools/machinery, and most importantly, it should bear the purpose as the place for reflection; after all, one’s skill can only be propelled by thinking.

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Spatial curation

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5.1_Dwelling precedents

https://www.archdaily.com/945347/daylesford-longhouse-partners-hill?ad_source=search&ad_medium=projects_tab

Daylesford Longhouse (p48)

Tentham Long House (p49)

Daylesford Longhouse makes long volume less boring. It breaks up the slim and long profile through multiple points of interests and visual blockage, creating a sense of adventure for visitors to continue walking along this predesigned journey.

Tentham Long House utilises a simple long volume to the advantage through logical allocation of functions. It places the communal aspects of a household (kitchen, dining, living, etc) in the middle, flanked by two wings of bedrooms.

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The external half wall brings privacy without sacrificing light influx, nor does it impede the openess of the long internal volume. The caged stone wall may bring some extra air infiltration compared to a mortared mason wall.

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The use of material is complex but also kept neutral to elevate the verdant vegetations.

Timber, brick and rock softens the otherwise industrial/barn-like structure, while the transluscent polyester skin generates a diffused and consistent glow for all areas.

Although I’d like to use the benefit of the structure to my advantage and create more distinct light and shadow.

MRTN Architects

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Partners Hill

https://www.archdaily.com/914049/trentham-long-house-mrtn-architects

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5.3_Temp dwelling_development In a general sense, the dwelling compound seems to have little connection to the overaching concept.. There’s also a lack of consideration for the public/private configuration of space, but the courtyard typology could be better developed to balance this relationship.

The temporary residence may tick boxes for a liveable space but definitely does not consider a “craftsperson’s home” as a driving factor. It needs spatial and programatic interventions to be a more coherent experience.

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NTS

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Scale 0

1:500 @ A3 5

10

Scale 15

25m

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1:100 @ A3 1

2

3

5m

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Scale

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5.4_Site model fabrication

Chiseling out the rounded corners due to CNC’s inability to make sharp corners. The rough parallel finish will be sanded down by hand.

Timber lamination

It is also vital to arrange the laminated sticks in a “V” fashion, as in, adjacent pieces have their grains running in two directions, mainly for structural purposes. It also creates a more consistent pattern in the sectional profile.

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After the timber stock has been docked down into respective sizes, they are fit onto a set of clamps for dry fitting. This step is essential before gluing, as it will reveal the flatness of the glued surfaces and determine whether further dressing is required.

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Victorian Ash

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W6

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The craft of timber chair-making is a conversation between the human body and time - a entity nowhere to be seen but always present. The chairmaker pits this meticulous relationship against the nuance of the craft, expressing their artistic mastery through tangible agents such as the joinery and the ageing of the material. It is sometimes difficult to gauge the effort and dedication of a chairmaker, but it will eventually make sense once you sit down and surrender your senses to appreiciating the subtle beauty of a chair.

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Curating craft & concept in site

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6.1_Workshop precedents https://www.archdaily.com/779859/house-for-pottery-festival-office-for-environmentarchitecture?ad_source=search&ad_medium=projects_tab

Casa Ballena Arts Centre is consisted of several components: workshop, a residential display and gallery, much like the brief for this project. There is a certain - earthy quality to the compound in a courtyard configuration. The use of material calls to a raw, unfinished state which enhances the idea that craft is about the transformation of said material.

Casa Ballena Arts Centre RIMA Design Group

House for Pottery Festival

Studio 41 https://www.archdaily.com/942459/casa-ballena-art-center-rima-arquitectura

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The House for Pottery Festival provides an alternate insight into the utilisations of timber structures. The columns that span three stories tall provide support for shelvings of the various pottery artpieces on display - it is an ordered and thoughtful use of vertical space that draws attention to the tectonics. It could be appropriated to the workshop as well as the gallery space to justify the central colonnade - as pigeon holes for personal belongings, unfinished work, scraps of wood, or display of joinery samples.

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Office for Environment Architecture

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6.2_Concept overview

Sensory expression

Respect for the source

Care for tools

A place for contemplation

Landscaping

Spatial sequencing

Structure & tectonic

Spatial arrangement

Ritualistic activities

What is a craftsperson’s home anyways?

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Workshop + gallery

Dwelling

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Temporal tunnel

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Hidden in plain sight

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6.3_Workshop development

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Workshop plan

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0.5

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2.5m

Detail section

Entrance (storage)

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The workshop plan takes visual cues from timber joinery and utilises very long, slim intersecting volumes for spatial arrangement and sequencing.

The temporality of the craft is expressed through a journey that carefully matches the life cycle of a chair, from its living state as a tree, to its conception and production.

The gallery volume should encapsulate this temporality but the current ramp configuration seems overly plain and onedimensional, failing to effectively engage with visitors.

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Overall with landscape

Scale

Long section

North-south (gallery)

Scale 0

1:250 @ A3 2

4

10m

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6.4_Physical models

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Site 1:1000 model laser cut 1mm mountboard contour, laser cut 3mm MDF massing..

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Left page: Workshop 1:200 model spotted gum, laser cut 1mm mountboard contour, laser cut 3mm MDF stilts + platform.

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Right page: Tectonics 1:50 model laser cut 3mm MDF components, laser cut 1mm mountboard figurine.

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6.5_Apprentice’s quarter development

Scale 0

1:100 @ A3 1

2

5m

Detail section

Apprentice’s quarter + courtyard Main dwelling - Emily

Apprentice’s quarter

Scale 0

Main dwelling Anton & Daud

1:500 @ A3 5

10

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25m

Dwelling compound plan Overall with landscape

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1:200 @ A3 2

4

Long section 6

10m

Apprentice’s quarter + courtyard + massing

Scale

1:250 @ A3

0

2.5

5

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The private dwelling requires attention and design resolutions fitting to the main concept - it is still rather generic at the moment. Perhaps utilising the same long volume as the workshop and more observation on “sitting”.

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Top: Full site model with context housing inserts Right: 25mm hole for “poking out” site cutout

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After hours of manual sanding and polishing up to 180 grit (special thanks to Endrick Lim), the site model is mostly completed with surrounding houses and most of the cutouts were able to fit in. The next step would perhaps be applying oil or varnish to the model, and inserting trees to complete the context.

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Top right: Famed local mascot.

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6.6_Site model fabrication

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W7

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A construction that can raise a human body some 42-46cm above ground, a piece of furnishing so common and so closely tied to our daily lives, that they are nearly invisible. Some say it is the simplest thing, four legs and a plank; some say it is the most difficult, even more so than a skyscraper. In any case, they are the closest thing to the human body that a craftsperson can desire, for the multitude of considerations such as lightness, durability, ergonomics, comfort, materiality - it is a juggling of pragmatism and precision, thoughts and execution.

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Mid semester self reflection

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A sitting with time

The programmes on site are positioned to be a place of learning through working. The art of the craft is everywhere - in the structure, in the display, in the tectonics. It is more than a place to simply produce - it teaches one to appreciate the subtlety, the nuance and the virtues of the craft.

The end of a journey often demarcates the beginning of another. The sense of exploration and adventure resides in the landscape and the gallery; there are moments of respite as well as sightlines for views, but nothing is ever fully revealed.

Visual and tactile experience - lowered structure, many chairs, etc.

Meandering pathways, creating breakpoints and thresholds in the long gallery volume, more distinction on public/private.

2. Neighbouring properties

5. The workshop

The workshop will of course, be a more public venue, but it is important to preserve and respect the privacy of the neighbouring residents. As such, all human inhabited spaces are kept low, hidden and enclosed, as to not disrupt the existing harmony.

The values of working by hand are revered and practiced, but should not inhibit the existence of modern machinery. The workshop encourages a streamlined circulation between the indoor and outdoor workflow.

Noise of machinery masked by good insulation, building form that respects local vernaculars.

Logical placement of machinery with proper dimensions, consider storage and circulation.

3. Biohabitats

6. The residence

As opposed to exploiting the land for human activities, landscape and architectural interventions on the site are mainly directed towards preserving and enhancing the diversity of local flora and fauna, by “treading lightly” on the existing topographical conditions.

It is said that a craftsperson’s home is often an extension of the workshop, so it should echo some of the design principles - yet it needs its own characters. It should be a breakaway, a sanctuary, and most importantly, a place of reflection.

Reintroducing local species, building on stilts to minimise destruction of the landform.

Creating balance in communal/private through courtyard typology, creating conversation between the chair and the tree.

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4. Spatial progression

Keywords: Sitting Time

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1. Programme

In praise of chairs: https://www.youtube.com/watch?v=FfGKNJ4mldE 71

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The craft of timber chair-making is a conversation between the human body and time; the chair elevates the body in transience, yet it has already undergone an eternity of transformation. There’s untapped pedagogical potential in the nuance and value of the material, the craft and the body. The chair may perish, but the idea will remain till the end of times.

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W8

Refinement of creative working/living

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8.1_Precedents https://www.archdaily.com/772511/passive-house-with-sundial-kikuma-watanabe

Passive House with Sundial Kikuma Watanabe

This precedent is very on-the-nose about having the sun as the protagonist - while it does serve the narrative of time, it is perhaps a superficial example of displaying the flow of time.

https://www.archdaily.com/979999/buoyant-hue-house-mindspark-architects?ad_ source=search&ad_medium=projects_tab

Ban Thung Na Ta Pin School Library

Mindspark Architect

The “internal courtyard” idea for the residential area could be quite small and intimate like the precedent has shown here - the vegetation and the play of light is a nice touch but ultimately could perhaps be better connected to the “main courtyard” with a lower wall.

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Buoyant Hue House

Studio 41

This pavilion provides an interesting outlook to the marriage of timber and polycarbonate, two potential candidates for the materials used in the workshop. It ustilises a simple sandwiched frame system that is simple to construct and provides a visual stimulus to the visitors - it draws attention by serving functions other than only being structure - it uses the columns to creating shelving. This secondary function could be translated to be spaces that one hangs tools, places timbers, etc.

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Faculty of Architecture, Silpakorn University

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8.2_Workshop structure

Storage entrance to the machine workshop Archery Hall & Boxing Club ceiling structure The latticed timber structure combines modern fixing with traditional joinery methods, which is an effective way of displaying tectonics.

The entrance experience needs to focus on the source material, timber. It should be a somewhat intimate, even relatively confined space that pits the visitor right next to the source material. Light and shadow speak for the passing of time as do the timber themselves.

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4

10

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Scale

Perspective section

East=west (machine shop)

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https://www.archdaily.com/444857/timber-structure-archery-hall-andboxing-club-ft-architects?ad_medium=gallery

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8.3_Workshop materiality

Polycarbonate: Archery Hall & Boxing Club Transluscent PC offers diffused light for both ways during the day, it illuminates interior spaces without glare, and during night time, a soft glow box that lightly touches upon the landscape. https://www.archdaily.com/444857/timber-structure-archery-hall-andboxing-club-ft-architects?ad_medium=gallery

https://architizer.com/blog/inspiration/stories/lina-bellovicova-hempcrete-house-lo/

Top: House LO by Lina Bellovičová The entrance experience needs to focus on the source material, timber. It should be a somewhat intimate, even relatively confined space that pits

Bottom : House LO by Lina Bellovičová

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Hempcrete: sand brushed surface finish

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Hempcrete bolsters superior thermal and acoustic properties as an organic substitute for concrete. its lightweight property is also desirable to be used in conjunction with timber framing. https://www.archdaily.com/444857/timber-structure-archery-hall-andboxing-club-ft-architects?ad_medium=gallery https://materialdistrict.com/article/ building-hempcrete/building-hempcretematerialdistrict-18/

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The entrance experience needs to focus on the source material, timber.

It should be a somewhat intimate, even relatively confined space that pits the visitor right next to the source material. Light and shadow speak for the passing of time as do the timber themselves.

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8.4_Dwelling spatial planning

Figure-ground sketches Iterations of spatial planning

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The buildings will vaguely form a courtyard with many opportunities to look out to the surrounding landscape. This configuration is possible as neighbouring buildings are quite far and the immediate surroundings are either farmlands or natural woodland, so privacy can still be retained.

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The arrangement of the residential quarter is inspired by the journey that an apprentice partakes to become the master - their pathway to the workshop will encoutner the “shed”, where the ritualistic activities are carried out in the morning.

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Spatial configuration

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Bursaria spinosa

Eucalyptus goniocalyx

Acrotriche serrulata

Acacia aculeatissima

Pultenaea gunnii

Mallee Ash

Sweet Bursaria

Bundy

Honey-pots

Thin Leaf Wattle

Golden Bush-pea

~5m height

~8m height

~15m height

~0.3-0.6m height

~0.5m height

~2m height

Melaleuca lanceolata

Desert Ash

Broad-leaf peppermint

Woolly tea tree

Moonah

~20m height

~20m height

~4m height

~6m height

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Leptospermum lanigerum

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Eucalyptus dives

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Fraxinus angustifolia

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Eucalyptus kybeanensis

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8.5_Landscape flora inventory

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Poa labillardierei

Lomandra longifolia

Billardiera scandens

Dipodium pardalinum

Dianella caerulea

Hairy Pennywort

Common Tussock-grass

Spiny-headed Mat-rush

Common Apple-berry

Spotted Hyacinth-orchid

Blue Flax Lily

~0.1m height

~0.5-1.3m height

~0.5-1.0m height

~0.2-1.5m height

~0.4-0.9m height

~0.5-1.0m height

Goodia medicaginea

Common Wallaby Grass

Broadleaf Cumbungi

Ivy-leaved Violet

Western Golden-tip

~0.9m height

~2m height

~0.5-1.0m height

~1.5m height

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Viola hederacea

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Typha orientalis

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Rytidosperma caespitosum

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Hydrocotyle hirta

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8.5_Landscape flora inventory

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W9

Detail development

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9.1_Precedents https://www.remoju.com/en-us/spots/detail/60549

Kennin-ji Temple

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Sawmill House Archier Studio

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Courtyard precedent.

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Sawmill House boils down the quintessential parts of a house and does it really well in a right-sized space. It’s configuration of space is simplistic but takes great consideration of the surrounding; its use of material is diverse but sticks to their raw/natural roots. It is a house that functions well and ages with the occupants.

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https://www.archdaily.com/771906/sawmill-house-archier-studio

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Kyoto

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9.2_Dwelling planning

Scale 0

1:250 @ A3 2

4

10m

Larger communal courtyards that are designated for circulation. The buildings purposefully limits sightlines to create moments of openess and moments of closure.

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Smaller private couryards that are meant for each individual household to care for. They are meant to provide a more intimate outdoor experience for the inhabitants.

0

1:200 @ A3 2

4

6

10m

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9.3_Dwelling spatial perspective

Threshold/entry

Temporary residence

The exposed structure is consistent throughout - it holds pedagogial values for students and masters alike. The wall contains a low window which one has to sit down to fully appreicate the external view - and the bookshelves are placed directly above to satifsfy the large book collection of the user.

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Permanent residence

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Study

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The entry to households should be treated with care - it needs to demarcate the interior from the exterior, a place that provides temporary relaxation when one’s back from a long day of work. The raised step marks the threshold, with a view directly into the internal courtyard.

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9.4_Gallery development

The gallery has seen a face lift since midsem - the long volume is no longer a straight walk, but partitioned to have purposes for each “zone”. Much like the Daylesford Long House, the zones are zigzagged to create a sense of journey and adventure - that entering and leaving each greets the visitor a different sense of atmosphere, mainly through lighting and furnishing arrangements.

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The importance of light must be emphasised - and there should be a space dedicated to pay homage. A place for reflection, even, where decoration/furnishing is minimum, elevating light to be the protagonist of the space that dedorates walls and floors. In this space, there’s nothing else for distaction, except for the user, the tree, and the flowing passage of time.

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9.5_Gallery key moment

Key moment plan

Gallery - meditation room Scale

1:50 @ A3

0

0.5

1

Summer 5PM Gallery - meditation room

1.5

2.5m

Gallery - meditation room

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Key moment section Gallery - meditation room Scale

1:50 @ A3

0

0.5

1

1.5

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Winter 5PM

2.5m

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RCP - NTS

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W10

Interim review

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10.1_Precedents https://practicearchitecture.co.uk/project/mass-timber-studio/

This precedent brings materiality and tectonics to the forefront.

The key is creating multiple “moments” throughout the residence that brings the subject matter under the spotlight - in my specific case, chairs. They should be purposefully occupying spaces within the house but nevertheless serve purposes, such as for relaxation, for viewing, and for reading.

Earl Carter and Wanda Tucker House Sean Godsell Architects

Timber Weaver’s Studio

Studio 41 https://www.seangodsell.com/carter-tucker-house

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Timber Weaver’s Studio proposes the perfect onlook for the union between timber framing and roughened wall texture. There are places where the frame is protruding that acts as pseudo partition for shelving, and there are places where the frame is flush with wall, which can be assumed at transitional spaces - and even then the recess acts as the perfect handrail. This simple play in level is playful and functional, and the roughened wall could be paired with natural light to elevate the texture.

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Practice Architecture

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10.2_Site development

10

30

50m

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0

Opposite page: The landscape should ideally, be arranged in a way that achieves the “layered” effect, with increasing height proportional to the distance to the building.

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1:1000 @ A3

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Scale

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10.3_Workshop development

Scale

Gallery plan

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The main critique for the workshop component is the gallery - the division of space is quite rigid and doesn’t achieve the zigzaggy journey I was originally planning for. The meditation room should also, be more carefully considered in terms of its size and furnishing arrangement, and any additional devices that helps to elevate the sense of craft in the space.

105

10m

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4

10m

Machinery shop plan

1:250 @ A3 2

4

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2

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Scale

0

1:250 @ A3

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10.3_Workshop development 5m

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East-west (machinery shop)

Scale

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Long section

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10.4_Dwelling development The residential component still lacks consideration in the finer moments.

The overall configuration by this point, cannot be altered too much, but many details could still be added/adjusted.

For example, adding texture to define materiality, having more purposeful moments for sitting, and utilising the long section’s advantage to showcase the space of the long volume.

0

2

4

10m

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10m

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2

1:250 @ A3

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Scale

1:250 @ A3

108

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Scale

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10.5_Dwelling key moment The outdoor shed provides some sheltering in the open courtyard, which could be used not only as a ritualistic ground for morning shaprening, but also for gathering between the households. The elevated table that plays with level provides an opportunity to test different types of chairs.

The electric grindwheel, is however, less than appropriate for this setting. I will look to implement a more analogue approach for the morning users. The exposed tools here should also be moved indoors as they shouldn’t be left outside to the weather.

750/1050mm

300mm Typical stool height

0mm Floor

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Typical chair/bar stool height

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450/750mm

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Typical table/bar height

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10.6_Model development (journal)

10.6_Model development (sectional) Base: CNC timber Sectional part: Laser cut MDF/mountboard with visible structure enveloped by facade and roof Massing part: Laser cut MDF/mountboard facade with etched lines representing windows/ structure Wall: Laser cut ivory card/ mountboard

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A sitting with time

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A sitting with time

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Base: Vic Ash CNC

Trees: Baby breath branches

Base: Hempcrete mix Structure: Timber scrap cut to dimension Wall: Cardboard Window: Frosted acrylic Roof: Cardboard sheet

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Structure: White 3D Print

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10.6_Model development (detail)

Floor: TBD

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10.6_Model development (site)

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W11

Lighting & model

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11.1_Precedents http://www.beta-architecture.com/lace-in-wind-benjamin-nicaud/

Visual precedent for detail model.

Timber Weaver’s Studio

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Visual precedent for linedrawings.

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https://architizer.com/idea/753948/

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Timber Weaver’s Studio proposes the perfect onlook for the union between timber framing and roughened wall texture. There are places where the frame is protruding that acts as pseudo partition for shelving, and there are places where the frame is flush with wall, which can be assumed at transitional spaces - and even then the recess acts as the perfect handrail. This simple play in level is playful and functional, and the roughened wall could be paired with natural light to elevate the texture.

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Practice Architecture

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11.2_Key moment development

Shower

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11.3_Lighting development

Shed: Upward pointing LED to illuminate the battens and the ceiling structure.

The pendant should be adjusted to a task lamp for finer adjustments.

Gallery: An indirect wall wash to elevate the texture of the wall; a pendant to focus attention on the live-edge slab and chair near the window.

Shower: A grazer to accentuate the textured cobblestone tile finish, and a hidden LED behind the mirror to not cast a strong light on the user’s face.

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Shower

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Gallery

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Shed

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11.4_Model development Detail model development Taking a snippet from the workshop wall, which includes many of the key architectural elements: column, beams, PC window, roof and ceiling structure, etc.

The key to presenting this key moment is to accentuate the materiality and tectonics, so the framing will be real timber (preferably Aussie native species).

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Gathering five pieces of same sized timber to be placed onto a row to showcase the temporal nature of the craft, from the raw state (top), to the refined and finished piece at last.

A simple joinery method is employed here - a half lap bridle using the router table, chisel and hand plane.

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Parti diagram development

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The dynamic between the internal space and external space should be made clear through the interaction between the body and teh tree. There will be a scale model of human working on the shavehorse having a direct view towards a tree.

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W12

Presentation prep

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• • • •

Consistent font size and lined up bottom edge Middle panel could be increased to A1 size to accomodate more drawings More logical placement of section drawings Larger perspectives

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Post mock pinup comments

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12.1_Presentation panels

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12.2_Model development (sectional)

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All elements are then slotted onto a pre 3D printed base for ease of construction, all cutouts have a 0.1mm tolerance designed in mind due to the inaccuracy of PLA 3D printing.

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The milling was relatively successful with minimum blowouts - the contour is then hand sanded down up to 320 grits, with rounded corners carved into right angles with a chisel.

The walls, columns and roofs are all laser cuts, with thicker 1mm mountboard as wall/column and ivory card as roof. Frosted polyethylene is used for the transluscent windows while transparent windows use clear acetate sheets,

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Laminating timber for the CNC base. Using a scrap piece of messmate that is dense and easy to mill.

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12.2_Model development (site)

12.2_Model development (detail)

In the class, 6 students chose to have the “standard” site cutout, 8 chose to make modifications to the landscape in various ways, and 1 forfeited.

In any case, the 6 pieces are allocated to the vic ash leftover from the previous model, while the remaining found home on two spare planks that the workshop generously donated to our studio. The nested models have their grain direction matched to the main model, which will have a seamless look once assembled.

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The columns are threaded together with beams, and glued down to a sturdy base for ease of construction. The walls are cut to shape with 3mm book binding box board which has a nice, rough outer texture and a colour similar to hempcrete walls.

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Printed template of mortises on freshly cut 5mm thick, 15mm wide pieces of tassie oak. This makes sure all mortises are aligned, can be easily slotted through once they’ve been cutout with a chisel. There was a lot of splitting due to the thinness of the timber, which is fixed by some glue.

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Some behind the scene photos for the upcoming exhibition.

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Hemp hurds (visually resembling woodchips) are mixed with water to be moist, then mixed with a lime mixture. The resulting compound is then shoved into the mould with some force to fill all gaps, and awaits for drying in a warm environment (fablab)

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Perspex sheets with engraved grooves are polished with 400 grit sand paper to have a frosted face to represent the frosted PC sheets.

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A plywood box is made for casting the base out of hempcrete - the internal faces are lined with clear plastic tape for ease of removal once dry. The bulk of volume is filled with blue foam, which reduces material used as well as volume, and doesn’t expand once moist which will cause cracking.

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12.2_Model development (detail)

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12.3_Moment development

Meditation room render snippet.

Morning Feburary

Afternoon

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Dusk March

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June

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Appendix

Final review

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13.1_Site

Scale 1:1000 @ A1

25m

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13.2_Physical works_site

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Scale 0 2 4 10

145

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13.3_Workshop plan

1:250 @ A3

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13.4_Workshop section

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Section C-C_Library

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Scale

Section A-A_Workshop

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147

Section B-B_Storage

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13.5_Physical works_workshop

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1:50 @ A3

0

0.5

1:50 @ A3

0

0.5

1

2

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2

Scale

151

1

Key moment section: gallery

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Scale

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Key moment plan: gallery

150

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13.6_Workshop key moment

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13.7_Workshop perspectives

Morning Summer

Gallery Moment perspective

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Gallery Moment section - lighting design

Dusk Autumn

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Afternoon Winter

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13.8_Physical works_details

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Scale

0 2 4

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13.9_Dwelling plan 1:250 @ A3

10

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13.10_Dwelling section

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Studio 41

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Section B-B_Apprentice’s quarter

Section A-A_Master’s quarter

0

1:250 @ A3 2

4

10

159

158

Scale

Studio 41

Studio 41

160

161

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Create | Curate: Sensory (Re)treat MIN GJI E ZH A N G_ 9 10787

13.11_Physical works_dwelling

MIN GJI E ZH A N G_ 9 10787

1:50 @ A3

0

0.5

1:50 @ A3

0

0.5

1

2

Studio 41

2

Scale

163

1

Key moment section: shower

Create | Curate: Sensory (Re)treat

Scale

Studio 41

Key moment plan: shower

162

Create | Curate: Sensory (Re)treat

13.12_Dwelling key moment: shower

MIN GJI E ZH A N G_ 9 10787

1:50 @ A3

0

0.5

1:50 @ A3

0

0.5

1

2

Studio 41

2

Scale

165

1

Key moment section: shed

Create | Curate: Sensory (Re)treat

Scale

Studio 41

Key moment plan: shed

164

Create | Curate: Sensory (Re)treat

13.13_Dwelling key moment: shed

MIN GJI E ZH A N G_ 9 10787

13.14_Dwelling key moment perspectives

Studio 41

Create | Curate: Sensory (Re)treat

Shed Moment perspective

167

Shed Moment section - lighting design

Studio 41

Shower Moment perspective

166

Create | Curate: Sensory (Re)treat

Shower Moment section - lighting design

MIN GJI E ZH A N G_ 9 10787

Create | Curate: Sensory (Re)treat Studio 41 169

Entrance Apprentice’s quarter

Studio 41

Study Master’s quarter

168

Create | Curate: Sensory (Re)treat

13.15_Dwelling perspectives

Studio 41

Studio 41

170

171

Raw Rough-sawn Dressed Sanded

Create | Curate: Sensory (Re)treat

Create | Curate: Sensory (Re)treat MIN GJI E ZH A N G_ 9 10787

13.16_Physical works_misc

Finished

MIN GJI E ZH A N G_ 9 10787

For the brief moment that we sit, the chair elevates the body in transience - for what we perceive as hours passing by is only a fraction of a second in a tree’s life, for the tree has already endured the passing of seasons, undergone an eternity of growth.

The chair may perish, but the idea will remain till the end of times.