Union Safe House
NICOLE WEI MIN REN Student ID: 836139
University of Melbourne Bachelor of Environments ENVS10004 Semester 1, 2016 Portfolio
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SITE | Morphological Mapping
9am
3pm Map showing the front elevations of surrounding buildings; a red border shows openings and barriers into the space (above) Three maps showing movement across Union Lawn at different times of the day (left)
The initial analysis of Union Lawn involved looking at shadows, movement of people, activities, the temperature and history of the site as a group. My assigned aspect was looking at the movement of people across and around Union Lawn at particular times of the day (9am, 3pm and 9pm), where a general change in ow of people can be clearly seen, as more classes are during the afternoon.
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9pm
At 9am, people are arriving for morning classes and so traf c is seen coming from the outside. Hence, there is a considerable amount of foot traf c coming from different entrances of the campus, and bikes travelling down Union Road. At 3pm, a large increase in traf c across the site is mostly from the buildings around. Whilst mostly foot traf c now, the occasional bike or car is seen along Union Road; and more people are seen sitting around the lawn chatting and having a coffee. It is also just after lunch so people are beginning to move from their lunch spots, going to class or going home. Eventually 9pm sees the least amount of movement in the lawn. People are nishing their last class for the day and leaving campus. More direct routes out of campus can be seen being taken instead of through Union Lawn.
FORM | Spatial Composition
[1] A plan view of the spatial composition model [2] A section of the spatial composition model
This week’s aim was to explore compositional possibilities of framework structures while working with simple beam and lathe elements. The materials used for this model is balsa wood and twine, as it tried to convey the concept of the natural and raw. Therefore no adhesives were used, instead the balsa wood was weaved together in a reciprocal fashion. Inspired by a spaceframe structure, the twine was also used to create a tensegrity network. This tensegrity feature also helps to effectively encompass the interior volume of the structure. With tightly wound twine, it is as if clear panes of glass are capturing the space within the structure. This prompts greater attention to notice thresholds or the lack of thresholds created between the interior and exterior space. The twine also illustrates a series of triangles which represents the strongest natural shape. A symbol of the reciprocal structure as it is a structure of strength. However this model is more like a pseudo-reciprocal structure as the balsa wood without the twine would not maintain its form on its own.
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FORM | Landforms
[1] A plan view of a downward sloped landform element
[3] A plan view of the subtracted and extracted landform element
[2] A section of the downward sloped element
[4] A section of the subtracted and extracted landform element
This model explores several techniques for subtraction and extrusion within landforms. The model shows 3 separate techniques that were tested; the rst using a sloping technique, the second a tilting technique and the third incorporates a balancing cut-and- ll method.
I aimed to explore a contrast in levels and depth across a landscape which can be seen in the contrast between landforms [2] and [6]. Both shapes have been cut out of the ground and pushed up or down to create its current form. Supporting walls were created to emphasise this contrast and contain their volumes.
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The idea for the third landform was to reuse the pieces I had cut out and then seeing how to rearrange them to create a different sort of environment using the same shapes. The idea meant transplanting and mirroring parts of the landform, essentially the method of balancing cut-and- ll.
[5] A plan view of an upwards tilting landform element
[6] A section of an upwards tilting landform element
FORM | Assemblage
[1] Plan view of assemblage model As my technique for this week was grafting the model was inspired by Frank Gehry’s early deconstructivism projects such as his Santa Monica house and a magician’s illusion of sticking swords into a box. The element from the rst model was a pseudo-reciprocal structure as the sharpened sticks are only held in place by their contact points on the ‘walls’ of the model. From the second model the method of balancing cut-and- ll was utilised to create the jagged landform that ultimately pushes into the space created by the model. The landscape was supposed to crash violently into the interior, however the thickness of the ground was not exaggerated enough and this concept was lost in translation. However the main concept of this model is the illusion the front gives of a being a normal house. A sense of security may be had because that is what is associated with a home. There seems to be solid walls and a roof, however as you progress through the model, you begin to realise that certain elements such as half the roof, sidewall and the back, are all missing. Now you don’t get the sense of safety or privacy in the enclosed, but rather openness and permeability. Which is accented by the violation of these wooden sticks into the virtual boundaries of the volume. The idea is yet again heighten by the walls, which would symbolise protection and solidity, but as the sticks puncture these walls it challenges the idea and one should now feel more uncomfortable.
Materials also played a role in conveying this idea across. The design decision is in using box card instead of balsa wood creates a distinct contrast between the dull grey box card and sharp paleness of the sticks, which augments the penetrations and satis es the theme of violence within grafting.
[2] Section view of assemblage model
Ultimately, the whole appearance of the model challenges the archetypal idea of a home, where upon closer analysis things such as barred windows, or door-like openings too narrow to serve as doorways create an uneasy atmosphere. Here, grafting and illusions were used to juxtapose the themes of solidity and protection with exposure and vulnerability. 5
FUNCTION | Program Occupy
A space to claim, to ll and maintain, to hold a family of four, yet I am not quite sure if there may be more.
But where to stay? And where to build? It must be free, it must be good enough to protect my brood. No, I don't mind should it be made out of wood.
Ah... How I like the shade of these leaves. How about that? How about a tree? For it's as free and as shielded as can be. Here we are, the space of neither of us, but to stake our claim, to make our own. Until come winter and then we'll head back home.
[1] A 100-word narrative about the program
After being assigned the program ‘occupy’ I began thinking about the different kinds of ways to occupy a space, and then why are these particular spaces occupied? The most commonly inhabited areas would be homes or of ces, but I was particularly intrigued about occupying a public space, the moment someone needs the space – to relax or to sit for a while – it becomes private. My case study involved Hong Kong helpers who tend to ood public areas such as bridges during their day off, creating their own private space in a public area. So within my collage I depicted picnic blankets, twigs and nests as symbols of how people begin to mark their own space. The use of birds in the collage relates to the 100-word narrative of my program. 6
[2] A collage accompanying the 100-word narrative to inform the program: Occupy.
The narrative speaks of a mother bird looking for somewhere to raise her young. She talks about her desires for the space and the requirements it has to have to satisfy her needs. I decided to use the idea of a home as it is a somewhat more permanent form of occupation, however at the end it is seen that it is still only temporary. It shows that occupying a space is merely the need for a place to ful l a desire, and eventually the transition to another space to satisfy a different desire. This introduces an element of impermanence to ‘occupy’ a space. This means that a space is temporarily occupied until a need or desire is ful lled.
FUNCTION | Superimposition Three elements (the movement map of Union Lawn, an assemblage plan and narrative collage) were combined to create the superimposition. The bold elements that stood out were used to form a basic plan for the nal design.
A motif of rectangles represent the built environment which contrast with the smooth natural curves of the pigeons that seemed to be ‘caged’ in the built environment. So to remove that sense the shapes transform into a stepped construction that opens up onto ground level. The shapes are then translated so the rectilinear offsets are now broken up by curvilinear paths that derived from the organic curves of the pigeons, setting off a contrast between the built and the natural. [1] Superimposition of the Union Lawn movement map, assemblage plan and narrative collage.
[3] A plan of selected elements of the superimposition
[2] Annotated section of the superimposition
[4] A conceptual design plan following the analysis of the superimposition
The outline of the roof was visible and so was the background, however the sticks can clearly be seen penetrating through the structure yet they are not seen. An atmosphere of mystery and intrigue evolves and hence, it is from the invisible roof of the assemblage plan that the idea of a ‘safe house’ came across.
Mazes are incorporated into the design, taking the series of dotted and solid lines of the movement map as a graphic representation of the idea of semi-permeability. It hints at the concept of a compound that has limited access and of exclusivity, heightening this idea of a secure safe house, for only those who know the way may enter. The same series of lines also roughly divides the space and offers a sense of separation, perhaps alluding to a theme of the outsider versus the insider. Then to further the theme of safety and separation, the triangular construction is enveloped by 4 solid walls. An enclosure within another enclosure with only three direct routes to enter the compound.
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FUNCTION | Experience
[2] Perspective view of the underground bunker
The underground bunker has an elongated form, carrying the same language of the bridges through to create a cohesiveness within the entire design. It also uses brushed metal like the bridge, but is of a darker tone to create an environment that seems more private and secure. Inside is also a maze of mesh curtains providing a more interactive experience where users are able to move these curtains to create the space they need to ful l their desire. With a perforated ceiling, the insider can know and hear everything going on outside, however it could also be challenged that the enclosure can make one feel trapped like an animal, even isolated from the outside world. [3] Conceptual representation of experience in the maze [1] 1:50 section of the experience in the compound
Metal was the assigned material for which my project would have to revolve around. It was somewhat suitable for the idea of the nal project developing into an underground bunker with a deconstructed structure, as it will begin to convey a greater sense of unpredictability and uneasiness.
The bridge is made out of brushed metal with windows cut out of its sides and each bridge contains the exact same maze. However, only one of the bridges are connected to the central structure so unless people know which and where to go, they are unable to navigate into the main compound; although seeming to be already inside. The windows on the side provide light into the maze, but it also offers a greater sense of mystery, as the user to the outsider will only be seen through ashes as they navigate. Also within these bridges are ‘three-walled rooms’ that people can inhabit temporarily. The further in they go, the more they are committing to the program of occupy. The central structure is made out of perforated and solid metal in a form a deconstructed building with its roof and walls ripped apart. It is a relatively fragile looking building that contrasts with the thick concrete walls amplifying a theme of vulnerability versus protection. Even the contrasting textures of the metal adds to the uneasiness and tension. As people enter the space they work their way down the three platforms, all the while feeling exposed in the open air. Of course each level can be occupied, but most likely would not be as it is ‘unprotected’ by walls and hence is used as a space of transition instead of destination. 8
FINAL PROJECT | Plan view
[1] Plan view of Union Safe House in site context
The overall structure took ideas of vulnerability and exposure that a grafted and deconstructed building creates and emphasising it with metal – a more commonly associated material with cold harsh impermanence. This also adds to the idea of occupancy as a transitional, always moving program. Yet the brushed texture reduces its uninviting quality, as the light re ection is softer making it more bearable. The monotonous colour scheme of Union Safe House is an attempt at camou aging it with its concrete surroundings even though it is such a large and imposing structure. Only silver or dark metal is used alongside dark grey concrete.
Initally inspired by the idea of a safe house, the structure has become a physical manifestation of the fragile state of those seeking refuge. It is surrounded by a thick concrete wall to give some sense of protection, yet ultimately still alluding to the vulnerable state of those who enter a safe haven. The juxtaposition therefore only ampli es the sense of exposure. Like refugees, my idea of occupation is a temporal state. It encompasses the concept of constant relocation and the inhabitation of different sites in order to ful l different needs.
Therefore the nal project cannot be viewed as a piece that encourages stagnancy, rather the opposite. It encourages the transition from space to space in order to satisfy different desires however temporary they are, as any space is inhabitable if one chooses it to be.
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FINAL PROJECT | 1:100 Full Section
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[1] 1:100 Full section view of Union Safe House in site context
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“The most interesting experiences of an architectural space takes place through contact with materials, when their texture, their depth, is revealed.” – Kengo Kuma
ENVS10004 UNION SAFE HOUSE PORTFOLIO 2016 NICOLE WEI MIN REN
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