ad
00 s
Cottage
t r a
by the
Sea D E S I G N J O U R N A L
NIKKIE CHIA
the
greatest
blessing we can give the children is happy memories - OG MANDINO -
CONCLUSION
FORM + FUNCTIONS
SITE ESTABLISHMENT
06 07 08 COSMOS
PHYSICAL MODELS
OVERWORLD
UNDERWORLD
SITE OVERVIEW
01 02 03 04 05
C O N T E N T S
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SITE OVERVIEW BACKGROUND AND IMAGES... OF QUEENSCLIFF
Queenscliff is a small coastal town, harbouring a population of around 1300 people. It is surrounded by the sea and sandy beaches which mostly get covered during high tides. It started out as a fishing town before it was colonized in 1830. Then it slowly developed into a popular cargo port during the gold rush period. Migrants started moving in to the town in hope to get a share of the fortune.
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A number of beautiful hotels and guest houses can be found all around Queenscliff and the reason behind was to attract the high society of Melbourne into the town.
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Cottage By The Sea Established around 1890, originally built as a recovery centre for children suffering from a variant of diseases. It was renovated and improved 40 years later into a much happier environment, similar to a holiday retreat for all children, regardless of their statuses.
EXPLORATORY DRAWINGS
THE EXPLORATORY DRAWINGS WERE DRAWN SEPARATELY INTO 2 DIFFERENT LAYERS, NAMELY THE UNDERWORLD, AND THE OVERWORLD. THE UNDERWORLD LAYER CONSISTS OF DRAWINGS OF NATURAL FORCES THAT WORK TOGETHER TO SHAPE THE LANDSCAPE OF THE SITE, WHILE THE OVERWORLD LAYER, CONSISTS OF ALL THE HUMAN ESTABLISHMENTS FROM THE PAST, THROUGH THE TIMELINE INTO THE FUTURE. THE OVERWORLD, IN ESSENCE IS THE SANDBOX FOR THE HUMAN TO EXPLORE AND BUILD ON. “THINKING THROUGH THREE PARTICULAR AND INTERRELATED WAYS OF DISCOVERING ARCHITECTURE THROUGH THE CONCEPT OF TRANSPARENCY”
SSL1 Q1 WHAT TYPE OF ARCHITECT DO YOU WANT TO BE, AND WHY? I want to build and tell stories as an Architect... I have always enjoyed telling stories to an audience, be it my friends, family, or my partner. But sometimes, words are simply not enough to express my ideas. I’ve also enjoyed playing Lego and Minecraft during my childhood as I always find it fascinating to create and build structures although they didn’t look particularly “aesthetically pleasing”. Then I found out, architecture seems like the way to go as it coincides with 2 of my favourite pass times.
WHAT ATTRIBUTES MAKE A GOOD ARCHITECT? I believe the purpose of an Architect, it is important to build for the community with a collective mindset. Every buildings must have a reason to be built. Such reasons could be as simple as to provide accomodations for the people, or for a much more sophisticated reason such as to portray a message of that time and place. The purpose itself is not enough to make a good Architect. Though it is subjective, I believe what differentiates between a good and an average Architect is that a good Architect is able to understand the problems of a given site while providing a very specific and appropriate solution by answering the pleas of their clients. They creatively extract and incorportate the vernacular aspects into their designs to ensure amiability among communities. Everyone can design and build what they want, but not everyone could be a good Architect.
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UNDERWORLD NATURAL FORCES OF THE SITE... THAT SHAPE THE LANDSCAPE
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SITE VEGETATION MAP (PRESENT)
SITE VEGETATION MAP (1830)
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SITE CONTOUR
SUNPATH
SSL2 Q2 PICK AN ASPECT OF CONTEXT/ MEMORY/ HISTORY THAT WILL BE IMPORTANT FOR YOUR PROJECT TO CONSIDER, FIND A CASE STUDY TO EXEMPLIFY THIS POINT? In the beginning of this project, I was reminiscing a moment of the past where I was blank staring into the night sky in a hotspring on the peak of the hill. Then I inclined towards designing my project with a strong relation to the stars. I gave my project a story where the disadvantaged children, regarded as lost children guided by the stars through the turbulence of life, just like how in the past, travellers have used the stars as guides during voyages. With the constant activities and noises from the world, sometimes we can be lead disarray. then, we must remind ourselves to slow down and realise, the world we live in is just a speck of dust compared to the vast, perceivably unchanging universe. The project as I have envisioned at this stage was to design a multi-layered concept for the children and visitors to experience as they walk along a guided journey. each checkpoints should tell a different story, similarly to how each constellations have their own stories.
The constellation is a concept mankind has continuously turned to throughout history, through observing the sky from time immemorial. in human life, they are approached as intense wavelengths and influences physically and emotionally and above all, they create a beautiful meaning. the stars that form a constellation are those that constantly move in space individually with their mass, gravity, and orbit and they are thousands of years or even hundreds of millions of years apart, so the light emitted by each of them does not exist in the same dimension. They are virtual and real at the same time. I think that the human life – which forms any society or community – and that architecture – which is a place (a space in time and a field of perceptual experience) – interact in a way similar to the constellation. -KIM DONGJIN-
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OVERWORLD SANDBOX... FOR HUMAN EXPLORATION AND ESTABLISHMENTS
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1830 PROPERTY ESTABLISHMENTS
SITE FIGURE MAP (PRESENT)
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1830 TO PRESENT DEEP TIME ANALYSIS
THIS DRAWING WAS CREATED BY MARKING OUT THE BUILDINGS THAT WERE NOT SHOWN ON THE 1830 CARTOGRAPH WITH “CHRONOSPHERES”, THEN DRAWING A LARGE CROSS TO SHOW THE THRESHOLD BETWEEN THE ORIGINAL ESTABLISHMENT AND THE DEVELOPMENT OF QUEENSCLIFF.
CHRONOSPHERES
DEVELOPMENT THRESHOLD
CREATIVE PROCESS
THE CREATIVE PROCESS IS THE MAIN DRIVER OF THE DESIGN. JUST LIKE HOW MITOCHONDRIA CONVERT OXYGEN AND SUGAR INTO ENERGY TO PROPAGATE THE CELL FORWARD, THE CREATIVE PROCESS CONVERT THE PHYSICAL MODELS, DERIVED FROM THE EXPLORATION DRAWINGS, AND THE EXTRAPOLATION OF ABSTRACT DRAWINGS INTO COSMIC ENERGIES, FORMING THE DESIGN CONCEPT FOR THE EXTENSION PROJECT, OF COTTAGE BY THE SEA. SURFACE MODELS MADE FROM PAPER SHEETS IN A5 SIZES WERE ENCOURAGED TO EXPLORE THE AMBIGUITY OF THE SITE.
SSL4 Q4 WHAT IS A BODY
BODY /ˈbɒdi/ noun 1. the physical structure, including the bones, flesh, and organs, of a person or an animal. 2. the main or central part of something, especially a building or text. an object with mass.
From a technical standpoint, an architectural body is the identity and appearance of a building visible to the outside world. On the other hand, philosophically it may means something deeper, such that a project demands a fundamental rethinking of the terms ‘human’ and ‘body’, forming a being. To put it simply, how an architect defines a body is significantly different compared to how a physiologist defines a body. I believe the main thing that defines a body is a machine that is pilotted by its inner hosts. A living body is a machine controlled by trilions of cells forming into tissues, muscles, organs, then a complex body system, whereas an architectural body is a building, given life by its designated inhabitants.
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PHYSICAL MODELS THINKING... IN 3-DIMENSION
MODEL 1
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sh a d ow stud y
THIS MODEL WAS DERIVED FROM THE COLLAGE OF THE CONSTELLATIONS AND THE CROWNS OF THE TREES. THEY WERE PLACED IN RHYTMIC ROWS TO EXPRESS LAYERS OF TRANSPARENCY.
MODEL 2
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sh a d ow stud y
THIS MODEL WAS DERIVED FROM THE CONSTELLATIONS AS WELL AS THE MAPPING OF BIRD PATHS IN THE PREESTABLISHMENT MAP. IS THIS HOW CONSTELLATIONS WOULD LOOK LIKE IN A 3RD DIMENSIONAL PLANE?
MODEL 3
04
sh a d ow stud y
THIS MODEL WAS MADE WITH THE LEFTOVER SHEET FROM MODEL 2. THE ARCH OF THIS MODEL FOLLOWS THE SHAPE OF QUEENSCLIFF TO PROJECT A STARRY ENVELOPE OVER THE SITE.
MODEL 4
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The combination of the 3 earlier models made into one composite model.
MODEL 5
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Inspired by the contour lines and the big circle from the deep-time analysis
SSL5 Q5 WHAT CAN PROGRAMME DO? WHAT IS THE SUPERSTUDIO PROJECT’S POSITION ON THE INTERRELATIONSHIP BETWEEN DESIGN IDEA, PROGRAMME AND ARCHITECTURE?
Programmes are the activities specific to designated locations of a site. It is what defines the purpose of a building, organizing the elements, zones, and areas around the building. The ideas around programme and architecture can be developed together, alongside the form and massing of the building. Sometimes, we might unintentionally develop one aspect more than the other, creating disparities between each decisions you make. This is a challenge that all Architects must face as there are no “perfect” solution to any given problem. The key towards dealing with this issue in design is to have a strong agenda for the project. You can establish an agenda as early as the beginning of the project, where you explore the given site through its surrounding contexts, history and cultural backgrounds, or towards the middle where you discover interesting concepts to work with, but never towards the end of a project. We must know what our project stands for: be it a body to tell a story, or even a political agenda. Having a defined agenda means you’ll be able to make better decisions about programme, and explain them convincingly to others. And with a clear agenda, you’ll be able to test ideas, alternatives and possibilities beyond the known and expected.
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COSMOS THE HEAVENLY FORCES... THAT EXTRACT ELEMENTS FROM THE SITE AND RECONSTRUCT THEM
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FORCES OF NATURE
COSMIC SECTION
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COSMIC DUALITY
THIS DRAWING WAS CREATED BY OVERLAYING THE SHADOWS OF THE MODELS ON TO DEEP TIME ANALYSIS. THE SHADOWS WERE SEPARATED INTO TWO DIFFERENT LANGUAGE: OUTLINED AND FILLED, TO EXPRESS DUALITY
SSL6 Q6 SELECT AN AUSTRALIAN ARCHITECT WHO EXEMPLIFIES ASPECTS OF CRITICAL REGIONALISM IN THEIR PROJECTS. IDENTIFY KEY POINTS AND ILLUSTRATE.
Regionalism in architecture is synonymous to vernacular architecture where one pursues a sustainable architecture. It is about the context and customs of making buildings in a particular region. Forementioned buildings are specifically configured to the climate, geology, geography, and topography of a given region. On the other hand, critical regionalism is much more complex than simply regionalism. It is the approach to architecture that strives to counter the lack of identity, and the neglection of local site context by the International and Postmodern Architectural styles. It is a progressive approach to design that seeks to mediate between the global and the local languages of architecture. Glenn Murcutt is the perfect example as the pioneer of critical regionalism. His craftiness in utilising the local materials, tectonic practices, and ecological responses has allowed him to demonstrate deep sensibility towards the local contexts while designing. His iconic work, the Marie Short House, is a modernist styled architecture which incorporates a blurring of the indoor and outdoor living spaces using adjustable steel louvres - a similar approach evident in Mies van der Roh’s 1950 glass Farnsworth House - together with posts lifting the building off the ground, to touch the earth lightly, retaining a strong connection to the local vernacular aspects.
SSL7 Q7 WHAT IS ARCHITECTURE’S SOCIETAL, POLITICAL AND ETHICAL ROLE? IN THE PAST... PRESENTLY... TOWARDS THE FUTURE? AND IN THE CONTEXT OF THE SUPERSTUDIO PROJECT?
Architects are like social servants, they design and build for the people, be it for the common population or even the politicians. Be it to bring the society and community together, an economic strategy, or even political agenda to portray power. Like I’ve previously mentioned, Architects should practice a mindset of collective growth rather than personal ambitions. It is common practice that each project should consider the location, local trends, target audiences, and historical background to achieve a harmony in a greater context. A great example was the design competition for Tokyo National Stadium in 1964 where a few of the greatest Architects worldwide came together design the stadium. The proposal which won was one that support a flatter, more democratic society, and that is what was needed at that time in Japan. The superstudio project allow us to practice each of those mentioned aspects as we were given a very specific brief to think and design for the community. Each decisions made during the project must be informed realistically relating to the given site, as it is discouraged to build something aesthetically pleasing but completely arbitrary.
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SITE ESTABLISHMENT THE LANDING... OF COSMIC FORCES ONTO THE SITE
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SITE MAP SCALED 1:500
A BASE SITE MAP WAS TRACED IN ORDER TO AID THE SITE ESTABLISHMENTS. THIS STAGE OF WORK ALLOW PRAGMATIC EXPLORATIONS ON HOW THE FORM AND FUNCTIONS SIT WITHIN THE GIVEN SITE BOUNDARY. THE SHADOW EXTRUSION MODEL WERE PLACED AROUND THE SITE BOUNDARY IN SEARCH OF A FITTING ALLOCATION BEFORE THE FORM DEVELOPMENT STAGE COULD COMMENCE.
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DEMOLISH PLAN
ONCE A SATISFIABLE LOCATION WERE SECURED, THE SURROUNDING OBSTACLES WERE MARKED FOR DEMOLISHING WORKS. TREES ARE ALSO RELOCATED TO ALLOW SPACE FOR THE NEW LEARNING CENTRE. QUITE A BIT OF EXISTING STRUCTURES HAVE TO BE REMOVED IN ORDER TO FIT THE NEW LEARNING CENTRE. NEVERTHELESS, THE SPACES TAKEN AWAY WERE REPLACED WITH NEW FACILITIES THAT PROVIDES EQUIVALENT VALUE TO THE PEOPLE.
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FORM
THE INITIAL FORM OF THE BUILDING WERE IMAGINED IN THIS 2D DRAWING BEFORE CARRYING ON TO THE FORM DEVELOPMENT STAGE. THIS ALLOWS ME TO GET AN EARLY IDEA ON THE SCALE OF THE BUILDING ON THE SITE. IT ALSO SHOWS THE ENTRIES AND VANTAGE POINTS OF THE BUILDING TO EMPHASIZE ON THE IMPORTANT LOCATIONS TO RETAIN AS THE FORM DEVELOPS.
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PROGRAMME
WITH THE INITIAL FORM ESTABLISHED ON THE SITE, A GRID WAS SUPERIMPOSED ON THE 2D FORM TO ASSIST ME WITH PROGRAMME ALLOCATIONS. IN THIS CASE I USED THE TOWN’S GRID TO SHOW A CONNECTION TO THE SITE CONTEXT. DIFFERENT LINEWEIGHTS WERE USED IN THIS DRAWINGS TO SHOW DIFFERENT THICKNESS OF WALLS BETWEEN EACH SPACES. I MADE SURE TO ALLOW CIRCULATIONS BETWEEN THE OUTSIDE AND THE INSIDE PARAMETERS BY COMPROMISING SOME SPACES TO MAKE HALLWAYS.
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FORM + FUNCTIONS BREATHING... LIFE ENERGIES
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SHADOW EXTRUSION MODEL
SERIES OF 2D DRAWINGS, 3D DRAWINGS, AND PHYSICAL MODELS WERE CREATED POST-SITE EXPLORATION AND ANALYSIS. THESE PROCESSES FOCUS ON THE DEVELOPMENT OF THE BUILDING FORM AND PROGRAMME ESTABLISHMENTS. A SET OF DESIGN CONSIDERATIONS WERE FOLLOWED ALONG THE FORM MAKING PROCESS: 1. Accessible roof structures to allow high vantage points for stargazing. 2. Large central courtyard to increase peripheral view of the night sky. 3. Implementing poetic phenomenology to the experience. A SEGMENT OF THE COSMIC DUALITY DRAWING WAS EXTRACTED AND EXTRUDED TO ACHIEVE THE SHADOW EXTRUSION MODEL. THIS MODEL IS AN AMALGAMATION OF BOTH THE TANGIBLE AND INTANGIBLE FORCES WHICH SHAPES THE UNIVERSE. THE MODEL WAS SPLIT INTO 3 PARTS TO PROVIDE FLEXIBILITY IN FORMS. IT ALSO REPRESENTS THE 3 LAYERS OF EXISTENCE: THE UNDERWORLD, OVERWORLD AND COSMIC LAYER.
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Fuji Kindergarten
EXTRUDE
CIRCULATE
The Fuji Kindergarten by Tezuka Architects have an expansive oval-shaped roof which encourages movements which could be good for energetic children. This element inspired the 2 large circular ramp of my design.
DEVELOP
BALUSTRADING
Precedent Studies
Ikast Brande School The balustrades used in Ikast Brande School boast an elegant flow of wooden battens with dynamic movements. This precedent inspired the “Form-continuation Balustrades” in my design where the wooden battens continues the changing heights of the building.
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TECTONIC MODEL 1
SCALE 1:500
TECTONIC MODEL 2
SCALE 1:500
TECTONIC MODEL 3
SCALE 1:1000
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THE END THIS CONCLUDES THE AD ASTRA PROJECT... UNTIL NEXT TIME
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