FOLD RACHEL LIANG
The University of Sydney BDES3027 Architecture Studio 3B Name: Rachel Liang Email: rjliang22@gmail.com Phone: 0414992888
Tutor: Sean Akahane-Bryen A selection of scale people are collaged with love from illustrations by Naomi Wilkinson and Kate Pugsley
TABLE OF CONTENTS
RESEARCH
CONCEPTUAL FRAMEWORK
THE DESIGN
JORN UTZON
9
MAPPING
23
RIBBONS
35
INCISING
45
‘FOLD’
55
FOLD Performance spaces, in their purest forms, are characterised by constant flux. Performers and audience come and go in various intensities, charging performance venues with frequent bursts of cultural activity. The architecture becomes a kind of wafer-thin shell that is enriched by the life and art that passes through the building’s envelope. A programmatic impermanence resonates through the architecture that prompts human intervention as a mode of activation. “Fold” is a proposal that suggests the formation of malleable public spaces that emerge from the natural ground plane. Deep cuts into the ground plane allow for ruptures to emerge; forms responding to the site’s existing tension introduce new trajectories that lead away from the public domain and into a deeper dimension of performance and art. A language of brick walls weave through the site like ribbons, forming intimate relationships between everyday life, art and performance. A permeability within its architectural envelope emerges, achieved by folding, puncturing and burying the ribbons into the landscape. Movement through the site is questioned at a granular scale. A performative journey materialises from within and wraps around a central courtyard, sculpted by a gentle ascension of programmed ground planes that depart from the public domain to reach the main theatre.
RESEARCH
12
AXONOMETRIC
A preliminary study on Utzon’s works was conducted to construct formwork for the early design stages of this studio. This solidified later intentions to meticulously map and sculpt the natural ground plane of the proposed site.
1X1
1X2
The Herning School for Export reflects Utzon’s principles of “Additive Architecture”, especially in its execution of variations alongside a common denominator.
2X2
This is formally presented in large and small scales, most importantly in the treatment of roof profiles and ground elevations within a repeated framing module. These modular forms, when repeated in several scales and rotations, draw similarities and differences between certain programs throughout the school.
3X2
1X5
5X4
GUTTER
ROOF A
ROOF B
ROOF C
ROOF TYPOLOGIES 1:1000
ROOF D
13
C
B
A
A
C
14
ROOF TYPOLOGY PLAN 1:1000
B
SCALE
ROOF A
ROOF B
ISOMETRIC ROOF TYPOLOGIES
ROOF C
ROOF D
15
EXTERIOR
INTERIOR
E
COURTYARD
I
C
INTERIOR
I
I
E
16
EXTERIOR
C
COURTYARD
INTERIOR
E
I
I
C
SECTIONS A B C 1:1000
COURTYARD
C
I
I
I
INTERIOR
C
C
E
E
EXTERIOR
By examining the work in section, Utzon’s attitude towards the human body and its movement through these modular spaces becomes clearer. A series of floor elevations functionally categorise the school as an amalgamation of exterior, semiinterior and interior spaces. These form a series of datum lines that complements the language of the roof, which together create an evolving spatial dynamic that formally characterises each module. A sense of familiarity permeates the architecture as the human body moves through in elevation and constantly revisits each datum. How the human body travels in elevation within this project, shifting in elevation between natural and designed ground planes, formed likely links for flexible art and performance spaces in the Domain.
Variations investigated the possibilities of introducing more dynamic modulations within these sectional spaces by manipulating the architectural fabric vertically.
17
1.
2.
3.
1
18
1. EXTRACT GROUND PLANE AND RADIAL GEOMETRY 2. FLATTEN GROUND PLANE VERTICALLY TO A DATUM LINE 3. USING THE SAME VERTICAL VECTOR, MODULATE THE RADIAL GEOMETRY TO FORM A NEW ROOF TYPOLOGY
GROUND PLANE MODULATION 1:2000
A
A
A
A
B
B
B
B
C
C
C
C
GROUND PLANE MODULATION 1:2000
19
1.
2.
3.
2
20
1. EXTRACT CENTREPOINT DATA FROM RADIAL GEOMETRY AND CONNECT LINEARLY 2. FLATTEN LINEAR GEOMETRY INTO A HORIZONTAL DATUM LINE 3. USING THE SAME VERTICAL VECTOR, MODULATE THE GROUND PLANE TO FORM A NEW GROUND TYPOLOGY
ROOF PROFILE MODULATION 1:2000
A
A
A
A
B
B
B
B
C
C
C
C
ROOF PROFILE MODULATION 1:2000
21
R
1.
2.
3.
4.
3
22
1. EXTRACT CENTREPOINT DATA FROM RADIAL GEOMETRY AND SUBTRACT A SET RADIUS R FROM EACH RADIUS (R-R). SUBTRACT THESE VALUES IN THE VERTICAL AXIS IN THE POSITIVE AND NEGATIVE VECTORS. 2. ANY VALUE CAN BE INPUT FOR RADIUS R, AS IT MAINTAINS THE SAME LINEAR PROFILE AND ONLY SHIFTS IN HEIGHT. CONNECT POINTS LINEARLY 3. FLATTEN THIS NEW LINEAR GEOMETRY INTO A HORIZONTAL DATUM LINE 4. USING THE SAME VERTICAL VECTOR, MODULATE THE GROUND PLANE TO FORM A NEW GROUND TYPOLOGY
ROOF TYPOLOGY MODULATION 1:2000
A
A
A
A
B
B
B
B
C
C
C
C
ROOF TYPOLOGY MODULATION 1:2000
23
MAPPING
28
SITE MAP 1:20000
29
10 9 8 7 MINOR THRESHOLD
6 5
MAJOR THRESHOLD
4
MINOR THRESHOLD
3 2 1
Stemming from a particular interest in analysing the movement of the human body in elevation, a sectional study of popular modes of arrival to the site was conducted to help better understand the nature of the site and those using it. Particular attention was paid to the first 3 storeys of any built form, as the primary threshold that harmonises with the public domain at ground level diminishes beyond that1.
1 Gehl, Jan. 2011. Life Between Buildings. Washington, DC: Island Press.
30
THRESHOLD DIAGRAM
SECTIONAL JOURNEY MAP FROM MARTIN PLACE 1:1000
33
34
SECTIONAL JOURNEY MAP FROM THE DOMAIN CARPARK 1:1000
35
36
JOURNEY MAP FROM ST JAMES STATION 1:1000
RIBBONS
Folding this movement around the site’s wider perimeter foregrounds the privileging of views on either side, and also draws attention to the treatment of turning moments along each journey. This study suggests that tangential visual connections are made during a shift in directional movement, which is mediated and varied by the speed and curvature of movement. A look into the old figureground maps of the site as an extension to the Mint, provided clues as to how the human body filtered through the site over time. This study later becomes relevant in the relationship of a central courtyard and the slow, ascending ground planes that surround it. The design embodies strategies that reflect on this quality of movement, and adopts a narrative quality in section that moves visitors through the site.
42
JOURNEY MAPS
JOURNEY MAPS
43
44
TANGENTIAL GEOMETRY AXONOMETRIC
FIGUREGROUND MAP 1831-2019 MAPPING CIRCULATION FROM MACQUARIE STREET 1:500
45
These mappings foregrounded an idea of wrapping a series of tense, flowing forms around the site that each embodied an individual identity and journey within it. Formally, ribbons of brick wall emerged, performing in the streetscape as dynamic, dancing forms that aim to create pockets of programmable public space on both its sides. Each ribbon binds several programs together in tension, and are incised, folded and woven around the site. Porosity between the interior and exterior and between programs is achieved by puncturing the ribbon’s fabric. While these modifications occur, the ribbons remain intact as a single unit. Constructed from recycled brick from the demolished Hospital Road Courthouse, the ribbons represent an idea of reuse, memory and reminder and serve as an architectural palimpsest. They form a shell in and around which performances occur, mould and gradually shift the architecture over time.
46
FORMING THE FOLD
FORMING THE FOLD
47
Spatial configurations were experimented with, all of which aimed to facilitate the maximum amount of different public spaces around a permeable skin.
48
ITERATIONS 1:500
ITERATIONS 1:500
49
INCISE
The ground is the primary mode of physical contact when experiencing a space, and therefore became a heavily considered part of this proposal. Standing as an interstitial space, or threshold, between multiple ground typologies itself, the site offered opportunities to celebrate the tension within the junction of these entities. A series of incisions were made in the taught topographic skin, causing a series of ruptures to burst into the public realm.
54
CERAMIC RUPTURES CONCEPT MODEL
CERAMIC RUPTURES CONCEPT MODEL
55
Several iterations of perforated ground planes models helped clarify a simple narrative strategy to draw people into the site and activate main spaces. Alongside this, the existing character of the site is respected and used as a primary mode for initial programmatic layout. Models were used in this instance to experiment the formation of programmable spaces from a single ground plane that has been cut and folded.
56
INCISING
INCISIONS CONCEPT MODELS 1:500
57
58
INCISIONS CONCEPT MODEL 1:200
INCISIONS CONCEPT MODEL 1:200
59
60
SITE MODEL 1:500
SITE MODEL 1:500
61
FOLD
68
MODEL 1:200
MODEL 1:200
69
70
PARALINE 1:500
71
Brick bond patterns also help to delineate spaces into areas of assembly and dispersal. Here, radial patterns lead towards the centre of a performance space, and straight brick bonds serve as directional cues.
72
BRICK BOND DIAGRAM 1:500
WESTERN CONCOURSE +6500
THEATRE FORECOURT +5350
ANTEROOM +4500
THEATRE PROCESSION +4150
THEATRE ART GALLERY +3500
THEATRE STAGE +1800
MAIN FOYER/DINING/BOH +1000
PUBLIC ART GALLERY +750
CENTRAL COURTYARD 0
EXPLODED AXONOMETRIC 1:500
73
These floorplates signify a change in architectural atmosphere and hug the perimeter of the central courtyard, activating both sides of the brick skin. The central courtyard becomes an inherently malleable space - serving as an outdoor reading area during the day, it has the potential to transform into an intimate concert area at night.
74
DETAIL MODEL 1:50
75
5 2
1
7
4
6
3
76
7
GROUND FLOOR PLAN 1:400
1. 2. 3. 4. 5. 6. 7. 8.
AMPHITHEATRE CAFE FOYER BOOKSTORE OFFICES AND BACK OF HOUSE CENTRAL COURTYARD MAIN THEATRE PUBLIC ART GALLERY
GROUND FLOOR PLAN 1:400
77
10
11
7 9`T
12
78
FIRST FLOOR PLAN 1:400
9. ART GALLERY 10. FORECOURT 11. ANTEROOM 12. WESTERN FOYER
FIRST FLOOR PLAN 1:400
79
80
LONG SECTION 1:200
81
82
MODEL 1:200
MODEL 1:200
83
AMPHITHEATRE + ENTRANCE + CAFE The entry sequence commences at the amphitheatre, flowing out of the main laneway from Macquarie Street. This amphitheatre serves as a flexible and spontaneous space that is regularly activated by the cafe and bar within the blade walls.
84
ENTRY SEQUENCE
AMPHITHEATRE PERSPECTIVE
85
86
SHORT SECTION 1:200
87
ART GALLERY An art gallery precedes each performance space, acting as a highly malleable interstitial space that has the potential to sculpt the visitor’s perception of the performance space before entering.
88
ART GALLERY
ART GALLERY PERSPECTIVE
89
FORECOURT An outdoor forecourt area, invisible from the public domain below, embraces the main theatre space and offers a moment of retreat for its visitors. This courtyard also maintains passive surveillance towards the back lanes, helping to activate other ancillary spaces. Continuing the ascent, visitors exit the forecourt to proceed to the anteroom until they reach the main theatre hall.
90
FORECOURT
FORECOURT PERSPECTIVE
91
92
THEATRE SECTION 1:200
93
94
MODEL 1:200
The highest point of the proposal leads to a magnificent view of the figtrees. The Western Foyer is a space for contemplation and reflection.
WESTERN FOYER PERSPECTIVE
95
At the end of the show, visitors are led down to the stage and down a passage that opens back into the public art gallery and central courtyard. This courtyard is easily characterised by the events within the architecture, with backstage access and a gently slopd ground floor.
96
MODEL 1:200
CENTRAL COURTYARD PERSPECTIVE
97
Thank you!