aavs melbs journal

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0 INTRODUCTION

1 PRECEDENTS

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2 SITE

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3 DESIGN METHODS

4 REFLECTION

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CONTENTS

5 APPENDIX

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0.0 INTRO In addition to a lightweight mass that hovers over existing buildings between Lincoln square and Queensbury Street, The cloud is also the idea hub that strives to ignite innovation, much like its online counterpart. We believe unforeseeable, multidisciplinary interconnectedness sparks innovation, and the cloud connects people in different walks of their lives together, ultimately acting as a catalytic intervention for Melbourne’s idea boom.

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1.0 PRECEDENT STUDY We referred to precedents for our design: The program, The frame through readings, studio

3 different form and discussions

categories for the Structural and lectures.

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1.1 THE PROGRAM

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FIG 1

FIG.2

FIG 3

FIG 4 WE LOOKED AT THE MARKET LEADERS OF CROWDFUNDING SITES: KICKSTARTER, PATREON AND INDIEGOGO THAT MAY AID THE AUSTRALIA NATIONAL INNOVATION AND SCIENCE AGENDA 2016 (INNOVATION. GOV.AU, 2016)

Many industrial and manufacturing businesses on our site that once glorified the Melbournian economy are now left vacant and neglected. Although they sit in the midst of academic and research buildings, businesses in this quadrant failed to show signs of what we could consider as innovation today. We believe it is time for Melbourne to progress. Many recent ‘innovative breakthroughs’ such as virtual reality technology and products for niche markets derived through crowdfunding, a source where ideas could be pushed into reality. Crowdfunding provides a space where ideas intertwine, a chance for start-up businesses. It began the new age for innovation. Our design aims to bring the virtual nature of crowdfunding into physical space. Hence, we analysed how these programs work. It has a fast turnover, ideas are fully exposed to the public, ideas are shared, and successful businesses expand exponentially. Hence, we decided to implement modular and flexible spaces for startup businesses in which they have monthly turnover if target funds are not received. However, it was difficult to implement the same program in a physical space as the virtual aspect was what allowed it to become as successful as it is. Hence, we saw the significance of a ‘point of attraction’ in order for the program to have high accessibility with the public.

RESEARCH FROM KICKSTARTER SHOWS THAT MOST SUCCESSFUL PROJECTS HAVE SHORT TURNOVERS OF APPROXIMATELY ONE MONTH. (KICKSTARTER, 2011)

THE PUBLIC IS OFTEN INTERESTED IN THE PROJECT DURING STARTUP AND CLOSING STAGES. (KICKSTARTER, 2011)

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1.2 THE FORM

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DROOG TOWNHOUSE, AMSTERDAM, BY ATELIER BOW-WOW, A NEVER ENDING STEPPED JOURNEY (STUDIO DROOG, 2016)

DROOG TOWNHOUSE, AMSTERDAM, BY ATELIER BOW-WOW (STUDIO DROOG, 2016)

We see innovation as a journey, hence looked at the droog townhouse which hints the idea of a ‘never ending’ staircase. Instead of being used to transition between rooms and different storey, each step extends to form a platform of actual living spaces. This enabled flexible and self-empowering spaces, rather than a finished space. These startup businesses take control of how they use their space, and the space merely facilitates their demands. We also referred to the mobi strip through seminars which also express the notion of a continuous, fluid journey. The Mobi strip also introduces the idea of intervening, where ‘the loop within a loop’ symbolically represents collaboration and interconnectedness. By breaking down the boundaries between different storeys, we introduced stratification and an ambiguous formation within the seemingly hierarchal modulus system.

THE MOBI STRIP SUGGESTED THE NOTION OF A FLUID, CONTINUOUS LOOPED CIRCULATION.

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1.3 THE STRUCTUAL FRAME

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Once the modular form was created, we wanted to implement a structural system which allows enough space for flexibility and expansion, while appearing lightweight. While we initially combined a truss X column hybrid system, it was seemingly heavy and industrial. Sou Fujimoto’s serpentine pavilion, however, executed the essence of a lightweight frame very well. Though discussion with tutors, we ultimately decided to go by a singular system. The greening of Detroit pavilion was one that allowed flexible arrangement of tubes. It is lightweight and structurally stable. THE GREENING OF DETROIT PAVILLION, DETROIT, BY ANDREW ZAGO (ZAGO ARCHITECTURE,2016)

MILSTEIN HALL, REM KOOLHAAS (OMA, 2011)

SERPINTINE PAVILLION, LONDON, BY SOU FUJIMOTO (SERPENTINE GALLERIES, 2013)

CENTRE GEORGES POMIDOU, PARIS, BY PIANO AND ROGERS 1977. WE LOOKED AT HOW INTERIOR WAS BROUGHT OUT TO THE EXTERIOR THROUGH OPEN FACADES. (CENTREPOMPIDOU, 2010)

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2.0 SITE Site analysis was conducted within the quadrant between Lincoln square and Queensbury street. Observation was our main method of analysis, recording photographically. To conduct an unbiased analysis that concerns with more than one point in time, observation was conducted through multiple times and different days.

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2 . 1 S I T E O B S E R V A T I O N S

VACANT BUSINESSES

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QUEENSBURY STREET

THESE WERE THE MAIN FINDINGS FROM CONDUCTED PHYSICAL ANALYSIS. WE CONCLUDE THAT THIS SPACE IS IN A MISFORTUNATE CONDITION, ESPECIALLY AS THERE ARE SUCH HIGH POTENTIAL WITH UNIVERSITIES AND COMMERCIAL AREAS AROUND.

UNINVITING NEIGHBOURHOOD. JUNK VISIBLE

UNINVITING FACADES

UNUSED LANEWAYS


LINCOLN SQUARE

LINCOLN SQUARE NORTH

SWANSTON STREET

THE ONLY POPULATED STATIC AREA

DOMINATED BY CARS OVER PEOPLE

MAJOR TRANSPORT AROUND BUT NOT WITHIN

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With the intentions of responding to the existing site respectfully, we kept the existing buildings as homage to the manufacturing industries which contributed to Melbourne’s economy today. Looking at the negative spaces between buildings almost imitates the natural vegetation and arrangement of trees within the adjacent park.

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NEGATIVE SPACE

2.2 ANALYTICAL DIAGRAMS Findings from analytical research were translated into diagrams, translating the existing conditions and the potential use of the area.

EXISTING BUILDINGS

SLABS

CIRCULATION AND ENTRY POINTS POTENTIAL INVERTED CORES AS VOIDS

CORES

FOOTPATHS

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RATIO BETWEEN CORES AND BUILDLING HEIGHT


CAR SPACES- OCCUPIES INTERNAL SPACES MORE SO THAN HUMANS

ENTRY POINTS FOR PEOPLE. MOST ARE FACING OUTWARDS TO STREETS

CIRCULATION PREDOMINANTLY AROUND AND NOT INTO QUADRANT

POTENTIAL: CIRCULATION WAS ALWAYS AROUND THE QUADRANT, BUT NEVER INTO THE SPACE. OUR DESIGN CAN POTENTIALLY INTERWEAVE PEOPLE INTO AND WITHIN THE SPACE.

Sections with emphasis on contrast between buildlings and laneways, as well as the contrast between the natural landscape of lincoln square and buildling blocks. the contrasting negative space appears as the potential for the design. 25


PREPERATION OF FOAM

PLYWOOD WAFFLE

2.3 SITE MODEL

photo cred: Jeremy Cheung

REFINING FINAL FOAM

photo cred: Jeremy Cheung

I represented the group during the process of crafting the site model. Firstly, digital models were laser cut on boxboard. Secondly, cnc foam model was cut and sanded before attaching to a boxboard base using pva glue as other adhesives corrode the synthetic foam. This is to prevent warping. Thirdly, Base plywood waffle was cut and hammered together. Although we intended to drill foam to plywood, we merely placed the foam on top of the waffle due to time constraints. I believe the site model could achieve consistency if flat boxboard was used instead of foam with terrain. 26


Before laser cutting boxboard, a grasshopper script, kindly provided by another group, turns digital models into slot-able templates that could be dissassembled according to the requirements of our own designs. the script produces an inner core, slotted outer core (height adjusted according to storey height) and slabs.

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3.0 DESIGN METHODS The designing processes involve 3 stages: bringing out a concept, developing the form, structure and program, and refining final design.

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3.1 DESIGN CONCEPT

W H A T

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I S

I N N O V A T I O N ?

Innovation to us is unforeseeable; it may come in the form of a surprise or a mistake. A person would always choose the shortest journey to its goal, but if the journey is forced, the user would encounter unpredictable surprises. This in itself is interesting, but when networks of people, looking for different goals intertwine in a controlled path, the surprises themselves are not only the potential areas for innovation. The collective areas become multidisciplinary and creates potential to generate synergy.


PARTIS

To implement this idea into our design, partis indicate the core tropes. We predominately wanted to introduce fluidity with modularization, and create a network in doing so. Although they are seemingly contrasting, we believe a ‘fluid module system’ not only promotes interconnectedness but also implies categorization of ranging functions.

FLUIDITY

MODULARITY

NETWORK

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CURRENT USE: CIRCULATION CONFINED IN INDIVIDUAL BUILDLINGS

3.2 DESIGN DEVELOPMENT ENVISIONED USE

+ INTERCONNECTED NETWORK

Our site lacked a ‘point of attraction’. The public walks around the site but never into internal spaces. Hence, Instead of implementing gimmicks like big performance halls, we saw the experiential journey of meeting others and being inspired as the attraction itself. Focusing on negative space, occupants would be ‘forced’ to enter through existing buildings and brought together. 32

= NEGATIVE SPACE

CONNECTING PEOPLE THROUGH NEG SPACE


NEGATIVE SPACE

3.2.1 THE MODULES

CURVILINEAR SURFACE GENERATED BY MEAN NEG SPACE

FUNCTIONS SHOVED INTO NEGATIVE SPACE

MODULUS GRID ACCORDING TO CURVED SURFACE

COMBINED FUNCTION WITH FORM

How these spaces were used was implied by the form of negative space itself- for example, the sloped area suits a lecture hall. This was combined with a grasshopper script that produces a parametric grid before they were combined into the final form.

33 REFINED AND FINAL INTERNAL FORM.


3.2.2 THE STRUCTUAL FRAME

YS

AR E PIN

In terms of form, fames act beyond merely casing modular platforms. Frame pierces through some platforms, and at times even into existing buildings. This creates an internalized colonnade, crafting implied corridors, circulation paths and walls.

FRAMES CREATE INTERNALISED COLLONADE

IM PR

We believe the journey is what attracts visitors into the space. Hence, frames act as a porous veil which reveals enough to allow users to be captivated by internal functions, yet conceals enough to retain a sense of mystery, provoking curiosity for them to seek further. Frames not only provide structural integrity, but are also an inviting, permeable tease.

D

ON

SEC

Y AR

HIERARCHY OF PATHS

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INITAL TRUSS X SIMPLE FRAMING

CONSISTANY SIMPLE FRAMING FOR CONSISTANCY

FRAME LIGHTLY WRAPS AROUND PLATFORMS

INE

SP


3.2.3 THE PROGRAM

A

RE

FROM HIERARCHY TO WIREARCHY (N-E-R-V-O-U-S.COM, 2016)

Since the 2010s, new business organizational structures began to emerge, shifting from rigid hierarchies to what we consider as more innovative: networks. As we believe that unexpected journey and multidisciplinary collaboration may assist innovation, we strive to promote transparency and diversity by implementing a network structure into our design.

A AL

RM

FO

PERCENTAGE OF VARIOUS FUNCTIONS

EA

R FO

MA

IN

PROGRAM DIAGRAM

R LA

While traditional hierarchies are generally more autocratic, they are enforced with a linear, one-way communication. Subordinates have limited scope to make significant decisions and the superior may be seemingly unconnected to the true needs of everyday workers. wirearchy, on the other hand, allows a flexible organizational structure while still maintaining clear responsibilities of each individual. It increases individual autonomy and creates scope for unconventional decision making processes. However, rather than a completely fluid and undulating space (e.g. Rolex learning centre by Toyo Ito), we use modules to hint the categorization of space (e.g. more formal collaborative space 35 vs public exhibiting space).


We see the ‘journey’ within platforms as the attraction point itself. Frames pierce through platforms, and platforms are connected through short staircases, creating implied corridors and implied walls; yet, there is still a strong sense of self-navigation.

3.3 FINAL DESIGN CIRCULATION

Visitors could either enter through a main core at the heart of our design or through the existing buildings. This activates unused laneways and vacant buildings. Frames further stretch out to Swanston Street and Bouverie Street to comprise more inviting entry points.

VERTICAL CIRCULATION

FUNCTIONS

Negative area and circulation between platforms act as the trope of the design, rather than the space between the ground and the platforms. We intend to push a strong emphasis on the networked circulation.

Modules are categorized into 5 functions: open Informal gathering space, modular flexi-spaces, formal meeting spaces, enclosed formal spaces (e.g. lecture halls) and enclosed informal spaces (e.g. workshops). & functions indicated with porous columns.

NEGATIVE SPACE

EXISTING SITE

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Existing buildings were not modified to retain and respect the natural landscape. Vacant buildings are to be renovated through restoration work, where entrances through these buildings will be compulsory, a ‘forced circulation’.


3.3 FINAL DESIGN

Structural frame occupies the negative spaces of laneways and are arranged in a linear and perpendicular manner for businesses to potentially branch out as they succeed and expand, even across roads and into Lincoln square. Although the frame act as the index, modules remain extremely flexible and versatile the frames.

FINAL OVERALL AXONOMETRIC

SECTION

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Except for lecture halls, spaces are to be arranged freely, taking form of an office, gallery space, meeting space etc. Free plan emphasizes the idea of flexi-spaces, and allows rapid turnover for ever changing startup 38 businesses.


RENDERS

Various styles of rendering images, some more realistic while others more diagrammatic. To achieve a sense of a lightweight mass (much like a cloud), we opted for the softer rendering (left).

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PHYSICAL MODEL

The templates of the final model (top: of the existing buildlings & bottom: structual framing) before they were laser cut and assembled

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FINAL EXHIBITION

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Having seen other catalytic interventions, our design differentiates from other groups as we retain as much of the existing site as possible. Instead of demolishing them, existing buildings were repurposed. Our internalised design is a humble addition to lure and bring people together in inactive spaces. Modulus platforms have no internal walls, providing flexible and adaptive space for various multipurpose programs. How Flexi-spaces are used is predominantly controlled by the start-ups/occupants. The future potential for ‘the cloud’ to branch out as businesses flourish, perhaps into the park or across public roads poses as a main strength of our design. ‘I believe in what it could be, but I don’t believe in it yet’ However, our idea could have been pushed further ahead. At the current stage, it lacked complexity. While the concept of the program was clear, the idea was incompetently translated into physical space. We were also hindered by our means of presentation. Having conducted a post crit discussion within the group, we agreed that perhaps render images were misleading and took away attention from the internalised program to the entry points and grandeur of the façade. The way our design was modelled as plastic boxes also steered away from our original intentions, as internal spaces were intended to be permeable and fluid, not blocked off by walls.

4.0

REFLECTION

There is, however, much potential if it were to be developed further. At the moment, we focus on the circulation on the platforms, but there is strong potential to develop between the ground and platforms. That is something we can really delve upon, as we could elevate the interlaced network to a whole new level, connecting people among laneways as well as between buildings. If we were to further experiment with density, perhaps fragment and segregate sections even more, we could be able to create more diverse spaces. Seeing how various groups approached the same brief on the same street was immensely insightful, particularly as our light and polite design strongly juxtaposed with the bold geometry opposite of us. We promoted porosity while theirs involved large scale restoration work. Ultimately, the AA visiting school was an eye opening experience. I thoroughly enjoyed the course and learnt beyond our own unit project. Seeing the efficiency, conceptual emphasis, development approach and presentation of graduate students was simply insightful. It proved me the difference in level of skillset and motivates me to push harder. Working with the diverse mix further allows me to vision the difference between those who are working in progress as opposed to tutors who see the designs as finished products. Above all, I learnt what architecture is to professionals and academics in practice and what it truly means to be an architect.

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5. 0 A P P E N D I X

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DROPPED IDEA

(Explode_BReps @ UVa, 2011)

Having discussed with tutors, they suggested we can experiment with the formation of modules. Instead of a extruded void, we could have modules arrayed around the voids. This idea however was dropped as it didn’t fit our concepts and what we stood for. THE GRASSHOPPER SCRIPT WE EXPERIMENTED WITH

SKETCHES DRAWN BY TUTORS AS A SUGGESTION

RESULTS LOOK SIMILAR TO THIS, BUT SPACES WERE INEFFICIENT.

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DROPPED IDEAS 02 There form finding experimentation had voids and were composed from a regular grid. we eventually decided it was better to develop according to funcion of space.

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DEVELOPMENTAL SKETCHES These development sketches allowed us to implement our ideas of interconnectedness into the offsetted negative space.

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5.1

BIOGRAPHY I am a student who doesn’t have a distinct style, but enjoys experimentation. As someone who has background in the fine arts, I am usually captivated by how spaces manipulate the way we move and feel. I am interested in architecture that raises questions, architecture that enlightens us. Hence, my designs often emphasize experiential qualities of occupants, what they would feel, sense and touch as they journey through the designed spaces.

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6TH advanced architecture competition 2016

studio water, University of Melbourne

studio earch, University of Melbourne

studio earth, project mass

toyo ito case study, studio water

digital design and fabrication


5.2

PEER CREDITS

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5.3

BIBLIOGRAPHY Anon, (2016). [online] Available at: http://n-e-r-v-o-u-s.com/blog/wp-content/ uploads/2007/12 [Accessed 27 Feb. 2016]. Centrepompidou.fr, (2016). Home – Centre Pompidou. [online] Available at: https://www. centrepompidou.fr/en [Accessed 27 Feb. 2016]. Explode_BReps @ UVa, (2011). grid repelled by point. [online] Available at: https:// explodebreps.wordpress.com/grasshopper-definitions/grid-repelled-by-point/ [Accessed 27 Feb. 2016]. Innovation.gov.au, (2016). Australia’s Global Innovation Strategy | National Innovation and Science Agenda. [online] Available at: http://www.innovation.gov.au/factsheets/australiasglobal-innovation-strategy [Accessed 25 Feb. 2016]. Kickstarter, (2011). Shortening the Maximum Project Length. [online] Available at: https:// www.kickstarter.com/blog/shortening-the-maximum-project-length [Accessed 27 Feb. 2016]. OMA, (2016). Milstein Hall Cornell University. [online] Available at: http://oma.eu/projects/ milstein-hall-cornell-university [Accessed 27 Feb. 2016]. Serpentine Galleries, (2013). Serpentine Gallery Pavilion 2013 by Sou Fujimoto. [online] Available at: http://www.serpentinegalleries.org/exhibitions-events/serpentine-gallerypavilion-2013-sou-fujimoto [Accessed 27 Feb. 2016]. Studio.droog.com, (2016). Droog studio | All | Townhouse. [online] Available at: http:// studio.droog.com/studio/all/townhouse/ [Accessed 27 Feb. 2016].

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Zagoarchitecture.com, (2016). zagoarchitecture.com - Personal network. [online] Available at: http://www.zagoarchitecture.com/following/zagoarchitecture.com/The-Greening-ofDetroit-Pavilion [Accessed 27 Feb. 2016].


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