STUDIO E JOURNAL

JOURNAL

TRIANGLE MOCA STUDIO 29

SEMESTER II| 2017 NEISIVIKHO ZUTSO 645771

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TABLE OF CONTENT 1. INTRODUCTION 2. SITE ANALYSIS 3. PRECEDENTS 4. PROCESS 5. ITERATIONS I. Massing II. Perforations III. Renders IV. Floor Plans 6. FINAL DRAWINGS AND RENDERS 7. REFLECTION

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1. INTRODUCTION

This project is based on designing a contemporary art museum in the St KIlda triangle, currently housing a car park. The project, as encouraged, goes through a lot of investigation in the changing nature in the discourse of architecture. As this journal would introduce the readers, likely spectators, to the exploration of techniques and methodologies for developing and generating a functional building.

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2. SITE ANALYSIS

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REGIONAL

LOCAL

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SITE

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GREEN SPACES

BUILT FORMS 10

CIRCULATION

NOISE 11

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3. PRECEDENTS

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Parc de la Villette (right) Bernard Tschumi The Pinnacles (below) Formally I was drawn by the configuration t of the orthogonal grid of the Parc De la Villette with the folies arranged at the intersecting points. For the formation of my follies I looked at local inspiration, the Pinnacles from Western Australia, which I felt my building could remind people they were dwelling in a natural Australian Landscape.

The underlying meaning I wanted to reference was the then conservative culture of Melbourne, represented by the orthogonal grid, while St Kilda would be represented by the free flowing MOCA building not constrain by conventions.

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Outspread Clement Meadmore

Caixa Forum Madrid Herzog and De Meuron

Vanna Venturi House Sketch Robert Venturi

In a more solemn world, I wanted to bring in a more playful architecture, much like St. Kilda is.

The reading of Robert Venturi’s Complexity and Contradiction in architecture was A huge influence on my design process.

Taking formal reference from the neighboring buildings much like Herzog and De Meuron did with their Caixa Forum in Madrid. Clement’s twisting and splitting sculptures were huge influence for the form of the MOCA.

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Women’s Awelye Minnie Pwerle

De Young Museum Herzog and De Meuron

Women’s Awelye was chosen for the profile for the perforation of my copper facade. It was not only chosen as a tribute to the art but also to celebrate the building’s architecture much like the painting was to celebrate the human body.

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4. PROCESS

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Programs as points on grid

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Free flowing circulatory lines

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Planar elements

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5. ITERATIONS

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I. MASSING ITERATIONS

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Singular Y forms multiplied and interconnected to each other.

These singular form set under the parameter to extend and branch out view towards the horizon.

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Disconnection of masses to interconnect the pockets open spaces within the site.

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The orthogonal cut shape is moulded, oriented and extended to view to the horizon and to extend entry to users.

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A modernist approach of putting a plain white box in the site.

The plain white box cut off at the edges orthogonally.

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The orthogonal cut shape moulded, oriented and extended to view to the horizon and to extend entry to users.

Introduction of courtyard into the previous moulded form.

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Super extension of the Esplanade. Increasing circulatory system while still interconnecting parts divided by its formation.

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Points and lines as programs are to be fitted to points that are extruded in volume, lines link the points for connectivity and circulation.

Points and lines with addition of planar elements which are the reconstructed ground levels.

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Forms taken reference from the existing typology of building forms in the precinct. Arranged as layers of levels according to the chronological order.

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Tearing the ground into thin strips and lifting them off the ground by allowing the strips to flow as if the wind was blowing. Each one is connected to their neighbour at certain points to allow movement across the strips.

Superimposition of the extensions of the esplanade without too much control for arrangement. An abstraction of spirit of the esplanade, to allow users to wander without any aim or destination.

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Connection of the modernist viewing boxes.

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Negative forms of the viewing boxes. These amplify the view to the horizon from the negatives spaces as the forms frames it.

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Massing as stepping landscape.

Double courtyard terrace stepped form with the addition of extrusion of an organic form at the back of the Palias theatre.

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Massing as stepping landscape while creating a space for performance or a courtyard taking advantage of the stepping.

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II. PERFORATIONS TESTING

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Awely Atnwengerrp

Kurun Warrun

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Minnie Pwerle

Minnie Pwerle

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Molly Pwerle

Turlapunja Yikartu Bumba

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Narabri Nakamarra

Wangkartu

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III. RENDERS

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IV. FLOOR PLANS

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ACCA GALLERY

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EATERIES

OFFICES

COMMERCIAL

AMPHI THEATHRE

OTHERS

ACMI

POOL

A sequential progression of the development of the plans of the MOCA. It shows how real world factors start affecting the conceptual idea we originally conceive in our mind. It shows the many decision making in order to maintain both conceptual and pragmatic elements in our design. Some subtle changes but some drastic to maintain the conceptual element of the design.

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GF 32

FF 46

FF 46

CARPARK 77

BASEMENTG

BASEMENT

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ROUND

GROUND

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FIRST

SECONDT

SECOND

HIRD

THIRD

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BASEMENT

BASEMENT

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GROUND

GROUND

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FIRST

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SECOND

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THIRD

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BASEMENT

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GROUND

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SECOND

THIRD

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GF FF

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TF

RP

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6. FINAL FLOOR PLANS

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SECTIONS

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6. FINAL RENDERS

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7. REFLECTION

A challenging project trying to amalgamate the conceptual theories and the large numbers of programs developing to make it a functional building, considering the pragmatics of the real world situations, like the real estate factoring in while trying to imply personal architectural agenda in our final outcome. The methods and techniques learnt were definitely a huge stepping stone in terms of new explorations when ideas seemed to have stopped flowing. The sheer size of the architectural surely brought out a new way of thinking and approach in terms of my designing.

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