Encounters by rachelle.

encounters. CRISES CURATED BY RACHELLE YEOH

rules & regulations

rules & regulations LOSS OF INNOCENCE, GAIN OF KNOWLEDGE

“Perhaps this dissipation of innocence isn’t entirely abominable after all.”

Upon more reflection, I was surprised that I reached that conclusion last week. Rebellious by nature, I tend to dislike rules, however I succumb to them as my goodytwo-shoes side arises. I fluctuate between the two as I am in a constant wrestle between the devotion and rebellion of rules, seeing the beauty in both of them.

Perhaps it’s the acceptance of reality and the compromise that proceeds after the realisation of the concerns now in regards to the heavy responsibility in the future. As I previously mourned the loss of my innocence, I couldn’t help but put the blame on a 740 page document; however the BCA was not the only person at fault in restricting my freedom and creativity, and not that there was anything wrong with being practical or safe in the first place. It offered clear, pragmatic “solutions” and limitations to dreams and even nightmares.

-03

Tech 4 - everything has to be BCA approved Notes:

4MM DAMTEC MULTI ACOUSTIC UNDERLAY

INSIDE

EN 94 99 EPD 02 31

EPD 02 24

M10 SCREWED INTO CONCRETE

OUTSIDE

EP D0 50 4

EP1 23 34

1MM MAPEI ULTRABOND ECO V4 SP ADHESIVE

EXTRUDED ALUMINIUM TRACK BRACKET SUSPENDED FROM CONCRETE

EP1 05 96

7MM MAPERI UC LEVELLER WITH ECO PRIME T PLUS PRIMER

1200 x 600MM PERFORATED CEILING TILES BETWEEN TRACK BRACKET

3500 x 1200MM MOVEABLE WALL PANEL

CONCEALED WINDOW FRAME BY POURED CONCRETE. ONLY SLIDING DOOR TRACKS SHOULD BE VISIBLE.

13MM COVET EXTERIOR CONCRETE FINE SAND OVERLAY

PVC SWEEP RAILS

- ALL WORK TO BE CARRIED OUT IN THE BEST WORKMANLIKE MANNER TO THE SATISFACTION OF THE ARCHITECT, THE REVENANT BUILDING SURVEYOR AND IN ACCORDANCE WITH THE VICTORIA BUILDING REGULATIONS, BUILDING CODE OF AUSTRALIA AND APPROVAL OF ALL LOCAL AUTHORITIES. - SET OUT THE WORKS TO ENSURE ACCURATE ALIGNMENT OF JOINTS AND MATERIALS. - ALL DIMENSIONS MUST BE CHECKED ON SITE PRIOR TO THE COMMENCEMENT OF ANY WORK. - DIMENSIONS TO BE TAKEN FROM (FFL) UNLESS NOTED OTHERWISE (UNO). - DISCREPANCIES MUST BE REPORTED TO ARCHITECT FOR INTERPRETATIONAL WORKS MUST COMPLY WITH RELEVANT LOCAL HEALTH AND COUNCIL LAWS AND/OR RELEVANT STANDARD CODES. PRIOR TO OCCUPANCY, BUILDER TO ARRANGE FOR FINAL INSPECTION LOCAL LAW AUTHORITIES INCLUDING BUT NOT RESTRICTED TO COUNCIL, HEALTH, BUILDING. -BUILDER TO PROVIDE STRUCTURAL ENGINEER'S DRAWINGS, COMPUTATIONS & CERTIFICATE FOR ALL CEILINGS /GLAZING WORKS AS REQUIRED REFER TO SERVICES CONSULTANTS DOCUMENTATION FOR DETAILS AND SPECIFICATIONS ON ALL FIRE,ELECTRICAL & DATA SERVICES WORKS. -ALL ITEMS REQUIRED FOR COMPLETION OF WORKS THAT MAY NOT BE MENTIONED OR DESCRIBED IN DETAIL IN THE CONSTRUCTION ISSUE DRAWINGS, THAT ARE NECESSARY OR INCIDENTAL FOR THE COMPLETION OF WORKS SHALL BE INCORPORATED AND MUST CONFORM TO GOOD BUILDING TRADE PRACTICES, MANUFACTURERS' RECOMMENDATIONS WHERE APPLICABLE.

SEALANT RIGID INSULATION 30 7

EPD 0 2 2 4

EPD 0 2 3 1

3 60

447

750 x 1500MM CAPRAL DOUBLE GLAZED 900 FIXED PANEL SLIDING DOOR

EPD 0 2 1 1

EPD 0 2 5 1

150

140

EP5 6 9 3

CAPRAL ALUMINIUM WALL STUD

EP1 0 5 9 6

EPD 0 5 0 4

EN9499

EP1 2 3 3 4

150MM STRUCTURAL SUSPENDED CONCRETE SLAB WITH F72 6⌀ CONCRETE REINFORCEMENT MESH

SILICONE SEAL AND CLOSED CELL BACKING ROD

EPD0224

LECTURE ROOM

EPD0231

SOCIAL BALCONY

SEAL SUPPORT BLOCK

3500 x 1200MM BILDSPEC SERIES 100 OPERABLE WALL

EXPOSED WINDOW FRAMES

750 x 1500MM CAPRAL DOUBLE GLAZED 900 FIXED PANEL SLIDING DOOR

PVC SWEEP SEAL

K250 KLASSIKDRAIN

WINDOW TO FLOOR DETAIL 1:5

150MM STRUCTURAL SUSPENDED CONCRETE SLAB

1MM MAPEI ULTRABOND ECO V4 SP ADHESIVE

750 x 1500MM CAPRAL CW150 DOUBLE GLAZED CURTAIN WALL 10MM COVET INTERIOR CONCRETE FULL BODIED SAND MIX OVERLAY

20MM THICK PARTICLE BOARD PROVIDED BY MANUFACTURER

EP D0 22 4

20 9

ACOUSTIC INSULATION 60

60MM INSULATION BOARD DAMP PROOF MEMBRANE

9 20

30MM SCREED

RIGID INSULATION

EP 1 2 5 9 4

SEALANT

EP1 23 94

13MM COVET EXTERIOR CONCRETE FINE SAND OVERLAY

EP1 08 06

7MM MAPERI UC LEVELLER WITH ECO PRIME T PLUS PRIMER

BILDSPEC SERIES 100 OPERABLE WALL

EXTRUDED ALUMINIUM PERIMETER FRAME WITH INTERLOCKING VERTICAL STILES

118

4MM DAMTEC MULTI ACOUSTIC UNDERLAY

1050

EP D0 23 1

1050

EP D0 21 1

EP D0 25 1

EP5 69 3

ACOUSTIC SEALS. TRIPLE FINGER EXTRUDED VINYL AT TRACK AND FLOOR

EP1 05 96

F72 6⌀ CONCRETE REINFORCEMENT MESH

EP D0 50 4

EN 94 99

EP1 23 34

EPD 02 31

AUSTRALIAN TIMBERS 9MM THICK ACOUSTIC PINBOARD WALL FINISH WRAPPED AROUND THE MOVEABLE WALL PANELS

WINDOW TO WALL PANEL DETAIL

https://mm-stu-dio.wixsite.com/mmstudio

ARCHITECT:

RACHELLE YEOH S3784384 MICHAEL MARCHETTI S3687147

SITE:

81 BOUVERIE ST, CARLTON VIC 3053

1 : 10

TITLE:

WALL DETAIL

WALL TO WALL DETAIL

SCALE AT A1:

DATE:

As indicated

1 : 10

14.10.2020

PROJECT NO:

DRAWING NO:

Project Number

A118

Notes: 1

A116

A115

4551

116

A113

7935

100

7943

116

1802

230

PP A

1:5 SLOPE

1502

CTW

255MM TRENCH DRAIN

BCH

C O L

DR06

CH02

SF02

CTW

TA02 CH02

TA02

CH02 TA02 CH02

CT01

BCH

CH02

W05

05.01 STUDIO 1

TA02 TA04

SF01

BCH

TA02

CH02

05.02 STUDIO 2

TA02

WALLS LEGEND

DR05

W01 255MM TRENCH DRAIN THAT RUNS AROUND THE INTERNAL CURTAIN WALL SYSTEM

TA02

BCH

11300

W02

BCH

CH02

TA02 CH02

CH02

MOVEABLE WALL PANELS TO MEET IN THE MIDDLE WITH FIXED WALL

CH02

1:100 slope

1 A117

CH02

1:100 slope

CH02

TA02 CH02

20230

A114

CH02

TA02

CH02

TA02

CH02 TA02

CTW CH02

05.03 STUDIO 3

CH02

BCH

A115

CH02

CH02 CH02

BCH

CH02

FFL 20000

15978

CTW

1600

W01

TL02 TL03 CR01 CR02 CR03

300MM REINFORCED CONCRETE COLUMNS SUPPORTING STRUCTURE

DR01

PERFORATED FACADE

1500

W01 04.06 SERVICE LIFT

05.08 CORE STAIRS

CH02

DR04 CT01

DR04

W01 DR02

05.07 KITCHENETTE

TL02

TL03

200

CH02 CH02 TA05 CH02

05.12 MALE BATHROOM

DR02

05.11 UNISEX ACCESSIBLE BATHROOM

CH02

TL02

CT01

DR04

DR01

DR04

W01

FIXTURES, FITTINGS AND EQUIPMENT LEGEND BAS01 WC FHR

05.13 FIRE ESCAPE STAIRS CR02

BASIN WATER CLOSET FIRE HOSE

1500

2 A116

05.10 LIFT 2

CH02

W01 CR03

05.09 LIFT 1

CR02

CH02 TA05 CH02

W01

DR04

05.06 FEMALE BATHROOM

CH02

DR09

W01

https://mm-stu-dio.wixsite.com/mmstudio

200

100

CH02

BATHROOM TILE KITCHENETTE TILE CONCRETE OVERLAY CONCRETE OVERLAY CONCRETE OVERLAY

FACADE LEGEND

DR01

CH02

5600

FLOOR FINISHES LEGEND

TRENCH DRAIN 255MM

W01

150

2490

2500

CR03

DR01

2510

200

150

2500

A113 -

1000 X 2500MM DOOR 900 X 2100MM DOOR 600 X 2100MM TOILET DOOR AUTOMATIC SLIDING DOOR CAPRAL 900 SLIDING DOOR SELF-CLOSING FIRE DOOR

CTW

CH02

DOORS LEGEND

COL

255MM TRENCH DRAIN THAT RUNS AROUND THE CURTAIN WALL SYSTEM

W03 W05 CTW

STRUCTURES LEGEND

DR05

PRECAST CONCRETE WALL (CORE) STEEL STUD WALL WITH GYPSUM PANELS TOILET PARTITION WALL MOVEABLE WALL CURTAIN WALL

W02

DR01 DR02 DR04 DR05 DR06 DR09

C O L

TA02

C O L

CH02

C O L

14630

05.00 SOCIAL BALCONY

WALL-MOUNTED, MOTORISED COMBI MODULE, CONTAINS 2 SINK BOWLS AND A COOKTOP WITH 4 COOKING ZONES

CTW 334

1800

200

2450

200

1230

2930

200

ARCHITECT:

CTW

RACHELLE YEOH S3784384 MICHAEL MARCHETTI S3687147

CR02

3400

200

2550

200

5200

200

1800 SITE:

23124

81 BOUVERIE ST, CARLTON VIC 3053 TITLE:

L5 STUDIOS

LEVEL 5 FLOOR PLAN

A114

SCALE AT A1:

1 : 50

PROJECT NO:

Project Number

Foundation design studios - got ideas? go for it.

Catalogue of Artefacts

DATE:

14.10.2020 DRAWING NO:

A106

(un)clarity, production + consumption

(un)clarity, production + consumption THE ANXIETY OF TASK SHEETS

The first task sheet often sets the overall mood for the studio. The anxiety to start strong follows through as well as the constant pressure to perform well, where production at times turns into consumption. Sometimes it produces incredible work filled with a lot of potential for (and after) the studio, on the other hand it can be confusing and messy, especially when derived from ambiguous instructions without the timeline to judge and reflect on where it went wrong.

Through the comparison of task sheets from my first and last studios, I reflected based on my experiences when designing at that given time, as I concluded that I preferred clarity over ambiguity when designing. The anxiety from a 14 page sheet hits really quickly, but slowly fades as I design procedurally, in comparison to the single page that makes sense initially, but deceiving in nature.

However, I was challenged by the quality and potential that derived from the tasks. When I was constantly forced to go out of my comfort zone in ctrl-z(oo) - a studio that was the antithesis of my previous design studios, I was surprised by the production of form that I would never have created through my familiar procedural technique for form generation.

-05 F R O N T I E R S

H A Z Y

T E R R I T O R I E S

L E A R N I N G

F R O N T I E R S

and

PROCESS 2

L E A R N I N G

H A Z Y

T E R R I T O R I E S

L E A R N I N G

H A Z Y

T E R R I T O R I E S

M A C A S A E T

L E A R N I N G P A T R I C K

F O O T S C R A Y

L E A R N I N G

F R O N T I E R S

M A C A S A E T

PART 1

to keep in mind: readings:

Typological Experiments Christopher C.M. Lee | Typological Formations: Renewable Building Types and the City | Projective Series Sam Jacoby | Typological Formations: Renewable Building Types and the City | Wha’t s your Type? Programme + Ideas Kim Dovey & Scott Dickson | Architecture and Freedom? - Programmatic Innovation in the work of Koolhaas/OMA

Learning Environments (Secondary) Caroline Morrison | Library as Experimental Space DET | Linking Pedagogy and Space Clare Newton & Kenn Fisher | Take 8: Learning Spaces. The Transformation of educational spaces for the 21st century (1-3) Kenn Fisher & Kim Dovey | School Design as Socio-Spatial Assemblage

strategies

F O O T S C R A Y

L E A R N I N G

H A Z Y

P R E C I N C T

S E M E S T E R

2 0 1 9

ISSUES + POTENTIAL

TYPE - IDENTIFY

• Research and choose a type that you think has spatial and programmatic characteristics /qualities that could be amplified or exaggerated to re-think the programmatic adjacencies and spatial qualities of the school typology. • Collect the necessary information (drawings, plans, sections, photos, etc.) to be able to digitally create your chosen type. • Write a key sentence or more, on what your speculation is in relation to its potential for the school typology.

L E A R N I N G

F R O N T I E R S

P A T R I C K

PART 3

• Complete the readings with an eye to the use-value of the material. • From the readings and your own research, identify and visually capture the following that are of interest to you: > A minimum of 3 key issues associated with contemporary (secondary) learning environments. > A minimum of 3 areas of potential for the contemporary (secondary) learning environments.

PART 2

H A Z Y

T E R R I T O R I E S

L E A R N I N G

F R O N T I E R S

H A Z Y

T E R R I T O R I E S

ty.pro.logy

Learning Environments Videos (Precedents) Introduction to High Tech High - https://www.youtube.com/watch?v=cOVm7zBHJJY Stanford Online High School - https://www.youtube.com/watch?v=1DZiIpz460A Precedent Projects (Typological Experiments) Keisuke Kobayashi | Mediated Space & Max von Werz | The Projective Arcade NL Architects | Parkhouse Precedent Projects

Image: Catalogue of student procedural experiments from the Learning Frontiers Series.

L E A R N I N G

F R O N T I E R S

“Common to landscape architecture, warped or folded surfaces promised new forms of connectivity, novel programmatic congurations and a new aesthetics of smoothness. Architecture, which had traditionally been associated with the vertical plane and bounding partitions, dissolves into an extensive, horizontal of interconnected surfaces.”

H A Z Y

T E R R I T O R I E S

L E A R N I N G

F R O N T I E R S

H A Z Y

T E R R I T O R I E S

L E A R N I N G

articial terrain

F R O N T I E R S

H A Z Y

T E R R I T O R I E S

L E A R N I N G

Contemporary Learning Environments are now experimenting with novel and highly experimental spatial arrangements that contribute to future pedagogical scenarios. How might the deformation/reformation (or break-up) of the horizontal slab and vertical partitions re-think the formal, programmatic and spatial organization of the school typology? How might these affect the sectional and planning relationships within a contemporary learning environment?

Sou Fujimoto | Primitive Future House OMA | Agadir Convention Centre

F R O N T I E R S

H A Z Y

T E R R I T O R I E S

2 strategies of the i void How might voids be deployed as a strategy for vertical/lateral connectivity, practical and environmental requirements, urban connectivity, etc.? What other models exist other than the monumental void? How can voids be deployed beyond the typical monumental atriums or grand large spaces? How can voids be seen as operative? Dispersed void, urban void, ornamental void, shattered void, fragmented void, operative void, programmatic voids, public void.

Preston Scott Cohen| Eyebeam Atelier Museum

Dominique Perrault | Ewha Womans University

ARM | Storey Hall

sectional juxtaposition

section

This week, the experiment will emphasize the - programmatic and spatial relationships/arrangements. These experiments will explore the conditions of the void and artificial terrains. How can they be manipulated to produce speculative propositions (formal, programmatic, spatial, experiential, etc.) for the school typology? OMA | Jussieu Library

“... what is solid what is void in nothingess.”

“Architecture must never be neutral or indeterminate. It must be active, it must continually engage people, draw them into action, involve them in public events. “... it was necessary to discard the notion of the vertical enclosure, whose walls are made inaccessible by gravity, and to dene habitable space by means of wholly accessible inclined planes, thereby increasing the usable surface areas. This was, in essence, the principle of habitable circulation.”

- Stan Allen, From the Biological to the Geological

- Paul Virilio

has melted, oats as objects - Koolhaas, Rem. “SMLXL”: p.648

2 0 1 9

T E R R I T O R I E S

Procedural experiments will be deployed to assist in manipulating, distorting, amplifying, shattering, dispersing, and {insert action here} the behaviours and qualities of existing types to affect the architectural elements of school typologies. The studio is not only interested in a procedural approach but more so, what could be generated in terms of architectural propositions in this specific way of working.

Void Study Analysis

UN Studio | Void Study UN Studio Projects 2015

TY.PRO.LOGY – the study of typological behaviours and its associated histories, to its then subsequent dismantling, abstraction, augmentation and recomposition through procedural techniques as a means of testing possibilities for the evolution of nascent types and ideas.

week 2 aims:

- To practice choreographing process experiments with a focus on typological transformations. - Have an understanding of typological procedural experiments - To understand that the experiments may open up possibilities for other architectural relationships simultaneously. - Research contemporary learning environments and to recognize the potential for the project.

We are not attempting to create a new perfect learning model/environment. We are trying to generate speculative proposals, test and seek out new possibilities.

P R E C I N C T

F R O N T I E R S

typological // procedural // experiments

section -

* Refer class presentation & precedents uploaded online P A T R I C K

L E A R N I N G

This experiment also investigates our exploration into TYPOLOGICAL PROCEDURAL EXPERIMENTS [TY.PRO.LOGY]; that is, understanding the broader formal, spatial, and programmatic potentials of precedent types; extracting its specific qualities and behaviours, and amplifying them for the project. In this case, we are seeking types not normally associated with learning environments.

spatial

sectional juxtaposition.

This week, the experiment will emphasize the programmatic and spatial relationships/arrangements. These experiments will explore the conditions of the void and artificial terrains. How can they be manipulated to produce speculative propositions and compositions (formal, programmatic, spatial, experiential, etc.) for the school typology?

F R O N T I E R S

programme

M A C A S A E T

F O O T S C R A Y

L E A R N I N G

H A Z Y

P R E C I N C T

T E R R I T O R I E S

PART 3A :

CHOREOGRAPHING

Using one of your collected systems, choreograph a process-based experiment to generate a programmatic & spatial proposition in light of your speculations with a view that it will be for a high school/learning environment. ENSURE that you write the steps before commencing the experiment. HINTS & TIPS • Remember that we are looking at PROGRAMME & SPATIAL possibilities this week. • Don’t limit yourself to the plan. Consider the sectional quality of the project.

Select one system and thoroughly analyse it. Understand and have a speculation/hunch/ hypothesis on how it can be useful for this experiment. On a page(s) write out and diagram its behaviour and the way it works through a series of steps or actions.

PART 3B :

APPLICATION

Apply the rules and steps that you have setup.

EXPERIMENT BRIEF

Create drawings and diagrams that exhibit the volume transforming according to the rules you have set-up.

• Teaching Spaces = approx. 20% • Specialty Facilities (ie. flexible learning spaces, art room, = approx. 30% workshops, home economics, science labs, gym, etc.) • Social Spaces (Recreation & Informal Learning) = approx. 10% • Administrative Office Spaces = approx. 10% • Circulation/Utilities = approx. 15% • Outdoor Spaces (Learning & Recreation) = approx. 15% civic programs, etc.)

PART 3C :

RAW RESULT

9,000 sqm as a guide.

PART 3D :

THERE IS NO PROCESS EXPERIMENT NEEDED FOR THIS PART, JUST YOUR JUDGEMENT BASED ON YOUR EARLIER HUNCH & IDEAS Manipulate your raw result so it fits within a habitable building. It is understandable that you may not generate form. In order to judge the outcome you may simply fit it within the prescribed site boundary you have chosen and contain it.

POST-PROCESS/FILTERING THE OUTPUT

The projected ‘building’ program should have the following area percentages:

S E M E S T E R

A. 136m X C. 72m X E. 92m X

L E A R N I N G

2 0 1 9

143m // B. 87m X 254m // D. 165m X 80m // F. 147m X

SITES 108m 128m 140m

PROCESS EXPERIMENT

NOTE: RESTRICT THE OUTCOME SO THAT SO THAT THE FINAL RESULT IS CONTAINED WITHIN ONE OF THE ALLOCATED VOLUMES FROM PROCESS 1 OR A FORM YOU HAVE CREATED.

P A T R I C K

F R O N T I E R S

M A C A S A E T

F O O T S C R A Y

L E A R N I N G

H A Z Y

P R E C I N C T

DELIVERABLES

YOU MAY PRESENT DIGITALLY BUT PRINTOUTS ARE REQUIRED - A3 SHEET(S)

T E R R I T O R I E S |

S E M E S T E R

L E A R N I N G

2 0 1 9

P A T R I C K

F R O N T I E R S

• Part 2 : Type • Part 3 : Your initial thoughts and plan for the experiment and/or an attempt. FOR MONDAY (JULY 29) - FORMAL PRESENTATION, YOU WILL PRESENT: • RE-PIN ALL previous works so we can have a complete picture of your exploration and have a proper discussion.

• Part 3B: Application A3 sheet(s) dedicated to the application of the ruleset/procedures showing the transformation/evolution/emerging of the raw result. This could show a series of axonometrics showing the emergence of programmatic/spatial strategies.

Freeze and document the outcomes of the process experiment. Judge it based on your earlier speculations and hunch. Speculate! Did it generate what you had designed the experiment to do? Do you need to vary the parameters in order to get a more useful outcome? Does it begin to show clues for novel programmatic and spatial strategies? What’s next? How can you progress?

F O O T S C R A Y

L E A R N I N G

H A Z Y

P R E C I N C T

T E R R I T O R I E S |

S E M E S T E R

2 0 1 9

• Part 3 : Procedural Experiment • Part 3A: Choreographing A3 sheet(s) dedicated to the choreographing of the experiment

HINTS & TIPS • Suspend your judgement and do not interfere with the process! • Draw the steps and how the outcome begins to transform.

make big mistakes

M A C A S A E T

HINTS & TIPS • We are particularly interested in the programmatic and spatial outcomes of this experiment. Aim to have a series of schematic drawings that clearly illustrate your ideas behind the programming and spatial strategies.

FOR THURSDAY (AUGUST 1) - WORKSHOP, YOU WILL PRESENT: • Part 1 : Issues + Potential

HINTS & TIPS • Study the system and understand how it works (does it disperse over time, does it intensify, refer lecture). How can you apply this behaviour to generate and control programmatic/spatial strategies? • We are aiming to copy the behaviour of the system and how that behaviour can be replicated and applied to architecture.

Peter Corrigan quote, collected by Julius Egan (then RMIT Architecture student) during the Barney Curley: Patience RMIT Master of Architecture design studio (2014) led by Professor Peter Corrigan.

• Part 3C: Raw Result A3 sheets dedicated to the raw result. This should be presented in its RAW form - that is before you have manipulated it. Consider how to present this in order to lure out and visually represent the emerging formal possiblities and ideas for learning environments.

L E A R N I N G F O O T S C W E E

F R O N T I E R S R A Y L E A K 2 P

4 R

N R

H A Z Y N G O C

T E R R I T O R I E S P R E C I N C T E S S 2

• Part 3D-3F : The Proposition Architectural Drawings/representations to sufficiently represent the new propositions to scale. Schematic Plans @ 1:500 @ A3 Schematic Sections @ 1:500 @ A3 Views Diagrams

HINTS & TIPS

• As an example: - This may simply involve scaling down your raw result so it fits within the boundaries of the site. - Or ‘folding’ your frozen moment so it fits on site - Or splicing and stacking - Or a series of strategic overlays with parameters designed by you.

comfort zone, what the heck is this??????

• This may require a series of iterations to figure out what is the best method to retain what you have generated whilst fitting it on site. • When manipulating your raw outcome, think about your earlier speculations and hunch and what you are trying to achieve.

PART 3E :

THE RESULT

PART 3F :

JUDGE & SPECULATE

Redraw the outcome of your process experiment as a new building. That is, as a series of architectural plans, sections, views, etc.

Though I was grounded by rules and inside of my

HINTS & TIPS • When you analyse your result, you may find that the process experiment may begin to also provide ideas and clues for strategies on other components such as facade, landscape, etc.

DO NOT STOP AT THE RAW RESULT. Continue and turn it into architecture! IMPORTANT TIPS • Remember that we are aiming to copy the behaviour of the system and how that behaviour can be replicated and

CRITIQUE, EVALUATE, JUDGE AND SPECULATE Thoroughly analyse the new building and generate a proposition. What have you generated? What is its potential for a high school building in terms of a programmatic and spatial strategy? Can the process experiment be modified with major or minor variations to create new possible outcomes? Is the outcome better suited for a particular model (ie. dispersedversus concentrated, flat, etc.)?

Do not look at the system for its formal and aesthetic value. • You need to have a speculation and an idea that DRIVES THE EXPERIMENT.

applied to architecture.

The process experiment should be executed with INTENT. • Without an idea, the process experiment will be USELESS. You will not be able to judge it if it was successful.

First task sheet - Level 2

1:200 plan >

PA R K PA R K

MELBOURNE ZOO HISTORIC CAGE AXONOMETRIC MELBOURNE ZOO HISTORIC CAGE AXONOMETRIC modelled by Rachelle Yeoh modelled by Rachelle Yeoh

REPTILE HOUSE AXONOMETRIC REPTILE HOUSE AXONOMETRIC modelled by Isabella Westwood modelled by Isabella Westwood

1:200 PLAN by Isabella Westwood and Rachelle Yeoh

1:200

0 8 16 1:100 SECTION 1:200

by Isabella Westwood and Rachelle Yeoh

1:100 SECTION by Isabella Westwood and Rachelle Yeoh

1:100

0 4 8 AXONOMETRIC VIEW 1 12 1:100

by Isabella Westwood and Rachelle Yeoh

AXONOMETRIC VIEW 1

AXONOMETRIC VIEW 2

by Isabella Westwood and Rachelle Yeoh

AXONOMETRIC VIEW 2 by Isabella Westwood and Rachelle Yeoh

PERSPECTIVE VIEW 1 by Isabella Westwood and Rachelle Yeoh

PERSPECTIVE VIEW 2 by Isabella Westwood and Rachelle Yeoh

existing zoo geometry

First task sheet - Level 5

1:200 plan >

PA R K

axonometrics 54 REPTILE HOUSE AXONOMETRIC

1:200 PLAN

modelled by Isabella Westwood

by Isabella Westwood and Rachelle Yeoh

1:200

1:100 SECTION by Isabella Westwood and Rachelle Yeoh

PA R K

55 REPTILE HOUSE AXONOMETRIC

1:200 PLAN

modelled by Isabella Westwood

by Isabella Westwood and Rachelle Yeoh

1:200

1:100 SECTION by Isabella Westwood and Rachelle Yeoh

perspective view

200

PERSPECTIVE VIEW 1

PERSPECTIVE VIEW 2

by Isabella Westwood and Rachelle Yeoh

1:100 SECTION

1:100 section 1:100

by Isabella Westwood and Rachelle Yeoh

56 the vagueness that I hated... Somehow, I found freedom in

PA R K PA R K

Catalogue of Artefacts

AXONOMETRIC VI

by Isabella Westwood and Rac

solid, solid-void’s & voids

solid, solidvoid’s & voids STRATEGIES OF THE VOID

“As I was digging up artefacts of the past, I was stunned upon finding my first task sheet with these words on it. Whether it be coincidence or not, I was introduced to the idea of solid and void then without thinking twice about it. My infatuation for solid/ void has influenced my propositions and method of designing architecture.”

I see potential in the idea of solid and void, specifically in the carved out, subtracted pockets of spaces now imagined to be occupied by inhabitants. The void is no longer a void but a solid-void through the injection of programs and performance within the solid. The solid/void idea has been consistently explored in my previous studios to bring life into the solid. When undergoing mitosis or further divisions, it forms fragments of the promising in-between solids operating as laneways, circulation paths or central hubs in my projects.

As I further reflect, I’m reminded by my instinct and preference towards the experience of the architecture, evident by my curation of a specific NamedView or a walkthrough video. The degree of solidity affects how I encounter the design, in addition to how I imagine people will encouter the solid, solid-void’s and voids.

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solid

L E A R N I N G

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H A Z Y

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sectional juxtaposition

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solid-void’s

has melted, oats as objects - Koolhaas, Rem. “SMLXL”: p.648

voids

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RESIDENTIAL - SITE VIEW OF THE CONTAMINATION * Rachelle - Residential 23

0 0 : F I NAL PR E S E NTAT I O N

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RESIDENTIAL - 1:200 GROUND FLOOR PLAN

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laneway communal garden residential tower communal kitchen storage communal bbq bedroom one bedroom two living room

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LEGEND 1 laneway 2 communal garden 3 residential tower 4 communal kitchen 5 storage 6 communal bbq 7 bedroom one 8 bedroom two 9 living room 10 kitchen kitchen 11 bathroom bathroom 12 stairs stairs 13 lobby lobby 14 shared laundry shared laundry 15 commercial oﬃce commercial oﬃce spaces 16 collaborative collaborative 17 hallwayspaces hallway 18 rain garden rain garden

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* Rachelle - Residential

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RESIDENTIAL - 1:200 GROUND FLOOR PLAN Axonometric

Catalogue of Artefacts

LEGEND 1 laneway 2 communal garden 3 residential tower 4 communal kitchen 5 storage 6 communal bbq 7 bedroom one 8 bedroom two 9 living room 10 kitchen 11 bathroom 12 stairs 13 lobby 14 shared laundry 15 commercial oﬃce 16 collaborative spaces 17 hallway 18 rain garden

sequential architecture

sequential architecture THE REALISATION + VISUALISATION OF PROJECTS

“It’s fascinating upon realising how I tend to prioritise the spatial experience over the circulation, which you would assume the other way around given my fondness towards logic and order.”

In previous weeks, I’ve discovered that I tend to design iteratively and procedurally, having steps written out and executing, reflecting, taking a few steps back and redoing if needed. There is a requirement of control, logic and certainty when designing procedurally which I enjoy and ground myself in. Even just by thinking about the organised and procedural nature of how I work is surprising given how messy and whimsy I am as a person.

Looking at the user experience in a sequential manner has allowed me to critically selfassess the degree of success in my design. My encounter with thinking and designing sequentially has deeply influenced my method of designing, judging and learning.

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Thinking sequentially not just procedurally, but also experientially.

1 3 : F I N A L P RO JE C T BDD

M A N U FA C T U R I N G

MIXED

S c ript The architecture focuses on production, taking into consideration of issues that arise from gentrification such as the creative class destroying and consuming Brunswick, hencewhy it is crucial to preserve and ADD ON to the Brunswick culture as the nature of it is that it is constantly changing.

DESIGN SCHOOL

RMIT BRUNSWICK

E X I S TI NG S I TE

D IV ID ING T HE SIT E

p at hways ro a d s

C I R C U L ATI O N

C IR C ULAR C LUS T ERS BASED ON SENSES

The site was equally divided into 3 areas, influenced by the surrounding contexts. Slingshot-like, long winded roads for cars and trucks are designed from both sides of the roads, with another grid that was superimposed and layered onto the site#, which formed the tight and narrow pathways for cyclists and pedestrians. The overlapping use of pathways divided the circular spaces that were designed within the formed ‘cores’ of the slingshot roads, based on senses to enhance the experience of the users. What happens in the in between spaces when 2, or more senses collide? Similar to a venn diagram, senses are infused together at intersection areas. It is a mixture of the senses that creates interesting outcomes of cross pollinated, multiuse spaces, where there are large, open spaces for people from different disciplinaries or students and manufacturers to collaborate. This project challenges what productive work is, whether it is about working efficiently and generating a large amount of output. The architecture assists in creating environments that nurtures team productivity rather than individual efficiency. It is designed to be more effective, and not to be more efficient. Efficiency can be defined as productivity with the least amount of effort, which oftentimes would lower the quality of work, and does not necessarily equate to effectiveness. The architecture facilitates work that is fun, experiential and experimental, whilst also adopting a culture of unity and diversity in the workplace and design school, where ideas are shared amongst the community, where the architecture assists in this through the in between spaces. All throughout the site, there are visible and large infrastructures such as air vents or pipes that you may be able to find in Brunswick. They are operative infrastructures that extend beyond their original intended use. These infrastructures are large that they become a part of the architecture that forms and defines open spaces, whilst also able to be seats or shelters. It functions more to just being purely ornamental – it references and honours the industrial culture in Brunswick, becoming monumental and celebrated within the architecture. This perspective collage begins to highlight the Brunswick culture of negotiations and chaotic order. Pedestrians and cars negotiate with each other.

p athways roads

I NFR AS TR U C TU R E

Explanation diagrams

Congestion is very often viewed as a negative issue to be solved. But what if congestion was viewed as a potential to generate new ways of collaborative teaching and learning? The generated congestion rejects efficiency, but rather develops a culture of slowing down and taking your time, which prioritises effectiveness over efficiency, and quality over quantity. Connections are formed within these formulated tight tensions between the people, cars and/or trucks. It is in these emerging tight conflicts that create meaning and bridge these moments together. Observing the relationship between chaos and order from Tati’s movie “Playtime”, I’ve realised that there is a similar pattern in Brunswick, as shown in the previous perspective collage. It may seem chaotic and disorganised to observers, but because the local community are aware of the systems, there is order that emerges from chaos. The generated conflicts within the architecture generate an ordered system as negotiations occur between the people. And in these situations, the people are essentially Catalogue of Artefacts experiencing different activities from their point of views as conflicts happen. These two collages showcase a scenario of a conflict formed by layered circulation, but from a pedestrian’s and a truck driver ’s perspectives. It is the conflict between the people that effectuates and ultimately connects these individual moments together as they collide and experience things together. Scenarios like this generate both order and chaos that is a celebration of movement.

back/fore-ground

back/foreground A QUESTION OF MONUMENTALITY + ANTI/HEROISM

“Perhaps [suburban architecture] is the foundation of what “authentic architecture” is - an architecture that is not necessarily monumental or ambitious in nature, but seeks to be honest and contextual.”

As someone who constantly seeks and looks forward to the next thing, I’m surprised by my taste and tendency towards comfort and familiarity. Perhaps it’s the nostalgia rooted in its appearance, Edmond & Corrigan’s influence on me after studying Australian architecture or even the idea of celebrating the mundane and the everyday moments.

The word “monumental” connotates a greater significance. It’s not that I reject monumental architecture; in fact, I appreciate and admire them very much. But I have a disdain towards the deceptive and insincere nature that is lost in its translation from written texts to a built form. Despite tyically at a smaller scale, I’d argue that suburban architecture can be just as monumental as an enormous, whacky architecture in the city.

“I often contemplate the role of architecture. Is it the main character, or a backdrop? I used to perceive architecture as the main character, but now I question the heroic selfproclamation by an architect.” Again, is the protagonist the architecture or the users occupying the space?

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Site Plan

3 Site Plan. 1:250 @ A1. Legend 1. Circulation Cluster, 2. Technology Cluster, 3. Science Cluster, 4. Engineering Cluster, 5. Traditional Maths Cluster, 6. Flexible Maths Cluster, 7. Toilet, 8. Student Run Library Cafe, 9. Kitchen,

10. Lift, 11. Central Hub, 12. Loud Study Area, 13. Quiet Study Area, 14. Dance Studio, 15. Reflection Spot, 16. Hangout Zone, 17. Information Booth, 18. Library, 19. Monumental Bridge, 20. Flexible Artroom, 21. Robotics Lab, 22. Locker Hallway, 23.

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Meeting Room, 24. Waiting Area, 25. Library.

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Architecture as monuments... Is this a product of inexperience in scale? What are we celebrating? 00: FINAL PRESENTATION

RESIDENTIAL - VIEW FROM THE CORNER OF ALEXANDRA PARADE & GEORGE ST.

Catalogue of Artefacts

* Rachelle - Residential

reflection through curation

reflection through curation THE ACT AND ART OF CURATING FOLIOS

I was surprised about the amount of enjoyment that emerged from curating my catalogue of artefacts last week. I savoured the thinking, reflecting, writing, selecting, organising and curating process. It was personal, reminiscent and intentional, as it gave me more of an insight of my identity and design decisions.

As I reflected further, I realised that I did also enjoy the act of curating my previous folios. The growth, learning and unlearning through iterative trial and errors were evident as I scrolled through my folios. As I compared the front covers of my folios, I realised that it was reflective of my experience of the studio and the propositions and opinions I gained at that given time. My first cover was very “Patrick”, manifested in his colours with a hint of fonts I liked at that time. There was also a tendency to fill up the whole page that slowly faded away over the semesters as I ahdered to a template I had designed for Made in Brunswick II with slight alterations after that as I wrestled with the idea of the importance of first impressions.

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Catalogues for Made in Brunswick, filled with questions and analysis of Brunswick A Catalogue of Ar tifacts

A Catalogue of Ar tifacts

01 Furniture and Wall

Main Picture of alteration

Workers have curated their own social space - placing furnitures and decorating the large space outside their workplaces. This space is a multi-use space, being a social hub, storage space and a carport.

A curated and decorated space, the designer being the workers.

Title

wall

storage

carport

In Brunswick, there are often times when the people are the designers of the space. With this, we should be designing spaces that have a ‘slack’ quality to it, for the space to be flexible and adaptable for future uses. What are some aspects to consider when designing a space with ‘slack’? The people seem to make use of the space, as shown in the photos. People have stored a Bible and deodarant stick within the sills of the windows. The people use their creativity to create a social hub. However, empty and used bottles and cigarette butts are left on the concrete ground. With the consideration of the people of Brunswick being the designers, how can we design spaces that can improve or enhance the social hub?

Storage space, social hub and a carport - three in one.

Title

Detail or related picture of alteration

Accumulated cigarette butts and a juice bottle that was left behind.

social hub (furniture)

Detail or related picture of alteration

Axonometric diagram - multi-use space

The site a few days later - now with glass shards and a pair of socks.

Found by Rachelle Yeoh

Made in Brunswick | Police Garage

A Catalogue of Ar tifacts

02 Contents and Container

Main Picture of alteration

This storage space contains machinewares and stacks of boxes, with an outer layer of the ‘container’, being the wall. Another similar shop with the same template was spotted near the storage space. 1.

co nte nts

Title

The storage space has been curated by the workers, designed to have a circulation path. As I was speaking the one of the workers, I told her how I found the layout interesting. She looked surprised as to her, it is normal. As ‘outsiders’ who are designing for the people living in Brunswick, how can we ensure that we are translating their culture and history into the new building? In the axonometric diagram, the upper level seems to be dangerous as it lacks a safety railing apart from the piece of wood. Should something be replaced or added for a safety barrier, in light of this? It is ironic how the storage space itself is a container for the contents stored inside.

The contents of a storage space inside a template of a container.

Title

container

Detail or related picture of alteration

Perspective view of the interior space.

Detail or related picture of alteration co ntain e r

Axonometric diagrams of contents vs container.

Made in Brunswick | Police Garage

Catalogue of Artefacts

co nte nts

Found by Rachelle Yeoh

The contents of poultry shop inside a template of a container..

Made in Brunswick | Police Garage

encounters. CRISES CURATED BY RACHELLE YEOH