Metamorphosis - RMIT Architecture Bachelors Architecture Studio by RMIT Architecture

METAMORPHOSIS

Bachelor of Architectural Design Studio by A Anna Johnson sem 2 2020. Architecture + Urban Design Program RMIT University

hen Gregor Samsa awoke one morning from troubled dreams he found himself transformed in his bed into a monstrous insect… “What has happened to me?” he thought. It was no dream. His room, an ordinary human room, if somewhat too small, lay peacefully between the four familiar walls…’ Franz Kafka, Metamorphosis. 1914 In this opening scene Kafka sets a startling image of nature and ‘hu-man.’ Man (sic) has literally become nature: but over scaled and caught within the homely confines of a bedroom. The end of this fiction is sad: Gregor the beetle is neglected and dies, nature loses out again. Architecture is spatial, cultural and enduring but can it also enable change? Can it be a social activator, a facilitator, or even a system from which change can occur? For this studio we take up the idea of Metamorphosis - a transformative architecture that can respond to environmental and local concerns in the regional town of Castlemaine. Student’s propositions for a radical architecture explored strategies for densifying and building into the local built fabric through the design of a mix-used public building sited adjacent to and on the local 19th 20th century built fabric. We begin with the premise that for the environment - for us to survive Nature (whatever we decide that is) cannot lose out here but needs to be equal to or greater than architecture. Students speculated on what a new architecture could be that responds to this eclectic local context. The work took place in a centrally located site in Castlemaine CBD adjacent to the library, theatre and old heritage listed bank building that is now without a significant program. Working with this local built fabric and the gaps spaces, students designed a series of public and community buildings in addition to some micro native landscapes. As part this, students explored a radical solution that addressed site, the particular nuances of the surrounding context, but also an alternative way to densify the town more sustainably, and to do so integrating landscape and sustainable solutions. The idea of metamorphosis was used as a conceptual and operational devise to rework – rethink - site, its histories, narratives, physical qualities and contextual influences. We looked back to radical architectures of the past to help us formulate a relevant radicalism for now. Castlemaine is characterised by a mix of building types, histories and notably, architectural types and characters from the mechanical to rural sheds to hybridized classical revival 19th Century buildings. Importantly many of the significant heritage buildings and local public buildings work as a kind of decorated shed- a hybridized transformation already of the existing vernacular.

EDWARD BUCKLE - 4 JOHN PETRAKIS

- 19

OLIVIA LI - 35 CHEN SIJIANG - 46 LIAM MOLONEY

- 56

WILLIAM HARTAWAN

- 70

HONGBO LIAO - 78 ALEX BRUER - 91 JACKSON POLLOCK - 96 WAYNE EU - 103 ROBERTO CONDE - 112 KAREN HAM - 119

his studio and this catalogue would not be possible without the students, and so I would like to sincerely thank all the students for their significant and consistent hard work throughout the semester and for their inventiveness and continued resilience in difficult times. I would also like to thank the critics for their input at the mid and end of semester presentations; Richard Black, Thomas Muratore and Helen Duong. I would also like to especially thank Ed Buckle for his tireless generosity throughout semester and for helping put this catalogue together. Anna Johnson November 2020.

Edward buckle

lv5

hroughout Metamorphosis I have centred my worl with trying to create an architecture that was less anthropocentric, one that gives greater valuation to a broader plethora of spatial relationships and objects. This objective was formed in part from a sustainability and cohabitation perspective but also from observing the vernacular residue of the surrounding context. This bid for a redefinition of nature and place was an idea that I found to be conceptually rich for my personal practice, informed by prior projects this project of tensile symbiosis between urban and natural is a relationship that I feel will continue to influence not only what I view my architectureâ&#x20AC;&#x2122;s role to be but also how to execute such large contentions. It is in the execution of translating an idea into architectural tectonic that I observed the most room for improvement and opportunity for moving forward. Articulating the tensile relationships at a larger, programmatic scale was the most challenging aspect of this project as I was conscious on not losing the ability for the idea to be conveyed clearly. In future studios and projects I aim to develop my personal methodology and framework so that I can better convey contention through formal articulation, while still maintaining an honesty and legibility to the work which I feel to be fundamental

EB_5

E B_5

third floor

second floor

first floor

ground floor

E B_5

john petrakis

lv4

o respond to an existing urban or historical condition, a new architecture must be distinguishable from the old; it must not imitate but instead respond in an abstract and transformative way that hints to the old facades of existing buildings may be abstracted and turned into flexible scripts that may then be applied in a variety of contexts such as plan, section and elevation. Fragments of the old may be used as a hint of the growth and development of an urban or rural area over the years. Ornament or any original studied object cannot still be ornament by the time it exits the transformation process. The concept of the library of babel presents the statement that in order to move forward (architectural or decision-making sense) a fine balance between not holding too strongly and literally on the old and not totally disregarding the existing must be struck. The same inputs of site can be embedded into the scripts but the application of such scripts must be used in a new transformative way has a reference to the old in same way that is beneficial to contemporary needs. Castlemaine, like many rural towns in Australia, is a place of imports where cultural, urban and historical elements have been taken out of their original context and placed into a new alien environment thus reducing their original potency and consequently transforming them into something unique. Such imports are quite often placed facing the main street to cover or ‘decorate’ a fairly simplistic and repetitive enclosure or ‘shed’, creating a duality and contradiction of facade between the main facade and ‘scaffolding’ behind it. The Wunderkammer, the exhibition of truths about site in a room, plays an important role in displaying such fragments of site and taking them into a new even more alien context (a gridded wall) to create an enclosure. The whole site may be regarded as a large decorated shed, allowing people to consider all the different possibilities of using space and scripts.

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CLOSE TO HO CLOSE T RANDOM TRIP RANDOM TOWN TOWN

DIGITAL WALK- A RANDOM TRIP ACROSS TOWN

DIGITAL WALK- CLOSE TO HOME

DIGITAL WALK- A RANDOM TRIP ACROSS TOWN

DIGITAL WALK- CLOSE TO HOME

THE FINAL JOURNEY

ZOOMING IN CLOSE- HUMAN TOUCH ZOOMING IN CLOSE- HUMAN TOUCH

THE FINAL JOURNEY

MONUMENTALITY MONUMENTALITY

ENTERING SIDESTREETS

SEA OF LANEWAYS

ENTERING SIDESTREETS

SEA OF LANEWAYS

INFLUENCE OF DOMINANT BUILDINGS INFLUENCE OF DOMINANT BUILDINGS

OTHER STYLES OTHER STYLES INCREMENTAL CHANGE

INCREMENTAL CHANGE

CONTRASTS

CONTINUITY OF MASS CONTINUITY OF MASS

RESPONDING TO LOCATION RESPONDING TO LOCATION

MONUMENTALITY

NON- CONTINUITY

MONUMENTALITY

NON- CONTINUITY

URBAN EDGES

ZONING OUT AND VISUAL OVERLOAD ZONING OUT AND VISUAL OVERLOAD

URBAN EDGES

ZONING OUT AND VISUAL OVERLOAD ZONING OUT AND VISUAL OVERLOAD

THE IMPORT MOST THE MOST HE LEARNTLEARNT HERE IS IMPORTANC IMPORTANCE OF Z ANDOFOUT O AND OUT SCAL TOO THERE THERE TOO MUCH IN PSYCHOL ONE, P IN ONE, INTEREST INTEREST IS LOS THROUGH T THROUGH THE CIT

REFINEMENT

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INTERACTION OF LANDSCAPES- PERSPECTIVE AND SCALE

SILHOUETTES OF ORNAMENT

INTERACTION AXIS FRAGMENTATION

SCRIPTS FROM SITE BANK BUILDING FACADE AND DETAIL

OBSERVATION OF THE DECOMPOSITION OF WOODCHANGE AND VARIETY IN DECORATING THE SHEDS OBVSERVING

FRAMING OF A VIEW AND OBSERVING COMPARISON OF FOREGROUND, MIDDLE GROUND AND BACKGROUND IN RELATION TO SCALE AND DETAIL

OF LANDSCAPES- PERSPECTIVE AND SCALE

FRAMING OF A VIEW AND OBSERVING COMPARISON OF FOREGROUND, MIDDLE GROUND AND BACKGROUND IN RELATION TO SCALE AND DETAIL UNRECOGNISABLE INTERACTION OF LANDSCAPES- PERSPECTIVE AND SCALE SILHOUETTES OF ORNAMENT SCRIPTS OBVSERVING CHANGE AND VARIETY IN DECORATING THE SHEDS PATTERN OF AXIS FRAMING OF A VIEW AND OBSERVING COMPARISON OF FOREGROUND, MIDDLE GROUND AND INTERACTION OF LANDSCAPESPERSPECTIVE AND SCALE BACKGROUND IN RELATION TO SCALE AND DETAIL FRAMING OF A VIEW AND OBSERVING COMPARISON OF FOREGROUND, MIDDLE GROUND AND OBVSERVING CHANGE AND VARIETY IN DECORATING THE SHEDS BACKGROUND IN RELATION TO SCALE AND DETAIL

AXIS FRAGMENTATION

RECOGNISABLE

UNRECOGNISABLE

FACADE/ WALL- IMPORTING SYSTEMS AND ELEMENTS INTO AN ALIEN CONTEXT

PRESENTING AND SHOWCASING BUILDING THAT IS A TESTIMONY OF DIFFERENT PRESENTING IMPORTS AND SHOWCASING BUILDING THAT IS A TESTIMONY OF DIFFERENT IMPORTS

PRESENTING AND SHOWCASING BUILDING THAT IS A TESTIMONY OF DIFFERENT PRESENTING IMPORTS AND SHOWCASING BUILDING THAT IS A TESTIMONY OF DIFFERENT IMPORTS AND UTILISING IT FOR FESTIVALS AND UTILISING IT FOR FESTIVALS

IDIOCRANCIES- HUMAN TOUCH AND IMPORTS- IDIOCRANCIESSTATE FESTIVAL HUMAN TOUCH AND IMPORTS- STATE FESTIVAL

IDIOCRANCIESHUMAN TOUCH AND IMPORTS- IDIOCRANCIESSTATE FESTIVAL HUMAN TOUCH AND IMPORTS- STATE FESTIVAL PRESENTING AND SHOWCASING BUILDING THAT IS A TESTIMONY OF DIFFERENT PRESENTING IMPORTS AND SHOWCASING BUILDING THAT IS A TESTIMONY OF DIFFERENT IMPORTS AND UTILISING IT FOR FESTIVALS AND UTILISING IT FOR FESTIVALS PRESENTING AND SHOWCASING BUILDING THAT IS A TESTIMONY OF DIFFERENT PRESENTING IMPORTS AND SHOWCASING BUILDING THAT IS A TESTIMONY OF DIFFERENT IMPORTS AND UTILISING IT FOR FESTIVALS AND UTILISING IT FOR FESTIVALS

OBVSERVING CHANGE AND VARIETY IN DECORATING THE SHEDS

FRAGMENTS OVERLAYED

SECTION

PATTERN OF AXIS WITH SILHOUETTE RECOGNISABLE

FROM SITE BANK BUILDING FACADE AND DETAIL

IDIOCRANCIES- HUMAN TOUCH AND IMPORTS- IDIOCRANCIESSTATE FESTIVAL HUMAN TOUCH AND IMPORTS- STATE FESTIVAL AND UTILISING IT FOR FESTIVALS AND UTILISING IT FOR FESTIVALSTOUCH AND IMPORTS- STATE FESTIVAL IDIOCRANCIESHUMAN TOUCH AND IMPORTS- IDIOCRANCIESSTATE FESTIVAL HUMAN

HORIZONTALITY

FRAGMENTS OVERLAYED

SILHOUETTE DEVIATION FROM ORIGINAL OBSERVATION OFWITHTHE DECOMPOSITION HORIZONTALITY OF WOOD

SILHOUETTE

DEVIATION FROM ORIGINAL

SOLID BASE SILHOUETTE

INTERLOCKING ELEMENTS SOLID BASE

OBSERVATION OF THE DECOMPOSITION OF WOOD

ROLE OF MEETING ROOM

REDEFINES MEANING OF A CISION- MAKING ROOM BY DING VISUAL CONNECTION E ARTIFICIAL LANDSCAPE S WELL AS THE CULTURAL AGE FRAGMENTS CLASHING AROUND MS FROM PERSIAN CARPET SCRIPTS BECOME PART OF LIGHT, HALF- CEILINGS, PARTITIONS AND WINDOWS FFECTIVELY BECOMES THE LE OF THE SITE OR SHED - MEETING HELD WITHIN A RECTANGULAR ‘CASTLE’ RIMETER WHICH DISPLAYS FRAGMENTS OF THE SITE IN LIKE A WUNDERKAMMER

SECTION INTERLOCKING ELEMENTS

FACADE/ WA

FACADE/ WALL- IMPORTING SYSTEMS AND ELEMENTS INTO AN ALIEN CONTEXT

OBSERVATION OF THE DECOMPOSITION OF WOOD SECTION

OBSERVATION OF THE DECOMPOSITION OF WOOD

SECTION

SOLIDITY AND ORNAMENTATION OF CORNERS AS WELL AS

PLAN

INTERACTION OF LANDSCAPES- PERSPECTIVE FRAGMENTATION AND SCALE OF HISTORICAL

FACADE- DOCUMENTING TIME AND CHANGE FACADE- DOCUMENTING TIME AND CHANGE

SOLIDITY AND OFORNAMENTATION FRAMING OF A VIEW AND OBSERVING COMPARISON FOREGROUND, MIDDLE GROUND AND BACKGROUND IN RELATIONOF TO SCALE AND DETAIL CORNERS AS WELL AS

MOTIFS

OVERLAPPING OF SYSTEMS AND MATERIALS AND SPECULATING WHICH CAME FIRST AND OVERLAPPING OF SYSTEMS AND MATERIALS AND SPECULATING WHICH CAME FIRST AND WHICH OVERLAPS THE OTHER WHICH OVERLAPS THE OTHER OBSERVING DECAY OF MATERIALS TO TELL USEFL TIME DEVELOPING OBSERVINGIN DECAY OF MATERIALS TO TELL TIME

OBSERVATION OF THE DECOMPOSITION OF WOOD

OBSERVATION SKILLS AND METHODS TO ACCURATELY PORTRAY QUALITIES OF AN FACADE- DOCUMENTING TIME AND CHANGE OBJECT WITHOUT BIAS OR FACADEDOCUMENTING TIME AND CHANGE ABSTRACTION FRAGMENTS

SECTION

ELEVATION

OVERLAPPING OF SYSTEMS AND MATERIALS AND SPECULATING WHICH CAME FIRST AND OVERLAPPING OF SYSTEMS AND MATERIALS AND SPECULATING WHICH CAME FIRST AND WHICH OVERLAPS THE OTHER WHICH OVERLAPS THE OTHER

SILHOUETTES OF ORNAMENT

THIS STYLE OF ABSTRACTION WAS ONE OF THE MOST SUCCESFUL DUE TO TAKING THIS STYLE OF ABSTRACTION APART THINGS AND WAS ONE OF THE MOST RECONSTRUCTING THEM IN SUCCESFUL DUE TO TAKING VERY SPECIFIC WAY USING APART THINGS AND RECONSTRUCTING THEM INBANDS. IT DID HOWEVER RAISE VERY SPECIFIC WAY USING QUESTIONS ON WHETHER THE BANDS. IT DID HOWEVER ORIGINAL RAISE PIECE OF FACADE QUESTIONS ON WHETHER THE IS OBVIOUS ENOUGH IN THE ORIGINAL PIECE OF FACADE ABSTRACTED FRAGMENT

FACADETIME AND CHANGE SCRIPTS FROMDOCUMENTING SITE FACADE- DOCUMENTING TIME AND CHANGE

PLAN

OVERLAPPING OF SYSTEMS AND MATERIALS AND SPECULATING WHICH CAME FIRST AND BANK BUILDING OVERLAPPING OF SYSTEMS AND MATERIALS AND SPECULATING WHICH CAME FIRST AND

WHICH OVERLAPS THE OTHER FACADE- DOCUMENTING TIME AND CHANGE FACADE AND FACADE- DOCUMENTING TIME DETAIL AND CHANGE

AXIS FRAGMENTATION

SECTION

WHICH OVERLAPS THE OTHER

OBSERVING DECAY OF MATERIALS TO TELL TIME

OBSERVING DECAY OF MATERIALS TO TELL TIME OVERLAPPING OF SYSTEMS AND MATERIALS AND SPECULATING WHICH CAME FIRST AND FACADEDOCUMENTING ANDAND CHANGE OVERLAPPING OF SYSTEMS ANDTIME MATERIALS SPECULATING WHICH CAME FIRST AND WHICH OVERLAPS THE OTHER FACADEDOCUMENTING TIME AND CHANGE WHICH OVERLAPS THE OTHER OF SYSTEMS AND MATERIALS AND SPECULATING WHICH CAME FIRST AND OBSERVING DECAY OF MATERIALS TOOVERLAPPING TELL TIME OVERLAPPING OF SYSTEMS AND MATERIALS AND SPECULATING WHICH CAME FIRST AND WHICH OVERLAPS THE OTHER OBSERVING DECAY OF MATERIALS TO TELL TIME WHICH OVERLAPS THE OTHER

UNRECOGNISABLE PATTERN OF AXIS RECOGNISABLE

PLAN ELEVATION

FRAGMENTS OVERLAYED WITH SILHOUETTE

FRAGMENTS

USEFL IN DEVELOPING OBSERVATION SKILLS AND METHODS TO ACCURATELY PORTRAY QUALITIES OF AN OBJECT WITHOUT BIAS OR ABSTRACTION

FACADE- IMPORTS AND GRANDUER

MOTIFS

IS OBVIOUS ENOUGH IN THE ABSTRACTED FRAGMENT

OBSERVING DECAY OF MATERIALS TO TELL TIME OBSERVING DECAY OF MATERIALS TO TELL TIME

IDIOCRANCIES- HUMAN TOUCH AND IMPORTS- IDIOCRANCIESSTATE FESTIVAL HUMAN TOUCH AND IMPORTS- STATE FESTIVAL

OFSHEDS HISTORICAL OBVSERVING CHANGE ANDFRAGMENTATION VARIETY IN DECORATING THE

OBSERVING DECAY OF MATERIALS TO TELL TIME

IMPORTING A CERTAIN STYLE OF CHARACTERISTIC INTO A DIFFERENT LANDSCAPE AND CLIMATE

FACADE- IMPORTS AND GRANDUER IMPORTING A CERTAIN STYLE OF CHARACTERISTIC INTO A DIFFERENT LANDSCAPE AND CLIMATE

FACADE- IMPORTS AND GRANDUER IMPORTING A CERTAIN STYLE OF CHARACTERISTIC INTO A

FACADE- IMPORTS AND GRANDUER DIFFERENT LANDSCAPE AND CLIMATE IMPORTING A CERTAIN STYLE OF CHARACTERISTIC FACADEIMPORTS INTO ANDA GRANDUER DIFFERENT LANDSCAPE AND CLIMATE

IMPORTING A CERTAIN STYLE OF CHARACTERISTIC INTO A DIFFERENT LANDSCAPE AND CLIMATE

OBSERVATION OF THEOBSERVING DECAY OF MATERIALS TO TELL TIME DECOMPOSITION OF WOOD

HORIZONTALITY

DEVIATION FROM ORIGINAL

ELEVATION

FRAGMENTS

USEFL IN DEVELOPING OBSERVATION SKILLS AND SILHOUETTE METHODS TO ACCURATELY PORTRAY QUALITIES OF AN SOLID BASE OBJECT WITHOUT BIAS OR ABSTRACTION

PLAN SECTION

OBSERVATION OF THE DECOMPOSITION OF WOOD

INTERLOCKING ELEMENTS

PLAN

ELEVATION

FRAGMENTS

USEFL IN DEVELOPING OBSERVATION SKILLS AND METHODS TO ACCURATELY PORTRAY QUALITIES OF AN OBJECT WITHOUT BIAS OR ABSTRACTION

FACADE- DOCUMENTING TIME AND CHANGE FACADE- DOCUMENTING TIME AND CHANGE OVERLAPPING OF SYSTEMS AND MATERIALS AND SPECULATING WHICH CAME FIRST AND OVERLAPPING OF SYSTEMS AND MATERIALS AND SPECULATING WHICH CAME FIRST AND WHICH OVERLAPS THE OTHER WHICH OVERLAPS THE OTHER OBSERVING DECAY OF MATERIALS TO TELL TIME OBSERVING DECAY OF MATERIALS TO TELL TIME

SECTION

PLAN ELEVATION

ELEVATION

FRAGMENTS

IMPORTING A CERTAIN STYLE OF CHARACTERISTIC INTO A DIFFERENT LANDSCAPE AND CLIMATE

USEFL IN DEVELOPING OBSERVATION SKILLS AND METHODS TO ACCURATELY PORTRAY QUALITIES OF AN OBJECT WITHOUT BIAS OR ABSTRACTION SOLIDITY AND ORNAMENTATION OF CORNERS AS WELL AS FRAGMENTATION OF HISTORICAL MOTIFS

USEFL IN DEVELOPING OBSERVATION SKILLS AND METHODS TO ACCURATELY PORTRAY QUALITIES OF AN OBJECT WITHOUT BIAS OR ABSTRACTION

PLAN

ELEVATION

FACADE- IMPORTS AND GRANDUER

FRAGMENTS

THIS STYLE OF ABSTRACTION WAS ONE OF THE MOST SUCCESFUL DUE TO TAKING APART THINGS AND RECONSTRUCTING THEM IN VERY SPECIFIC WAY USING BANDS. IT DID HOWEVER RAISE QUESTIONS ON WHETHER THE ORIGINAL PIECE OF FACADE IS OBVIOUS ENOUGH IN THE ABSTRACTED FRAGMENT

USEFL IN DEVELOPING OBSERVATION SKILLS AND METHODS TO ACCURATELY PORTRAY QUALITIES OF AN OBJECT WITHOUT BIAS OR ABSTRACTION

PLAN

ELEVATION

FRAGMENTS

USEFL IN DEVELOPING OBSERVATION SKILLS AND METHODS TO ACCURATELY PORTRAY QUALITIES OF AN OBJECT WITHOUT BIAS OR ABSTRACTION

SURE 3 SCENES ING TO ECTIVE

jp-4 FACADE/ WALL- IMPORTING SYSTEMS AND ELEMENTS INTO AN ALIEN CONTEXT ENCLOSURE 3 THEATRICAL SCENES ACCORDING TO PERSPECTIVE

FACADE/ WALL- DISPLAYING AND CELEBRATING UNIQUENESS VS CREATING UNIFORM FACADES

THEATR ENCLOS GRIDDED SKIN ENCLOSURE REFINEMENT

UNCOVERING AND PRESENTING CASTLEMAINEâ&#x20AC;&#x2122;S NATURE OF THEATRICALLY DECORATING SHEDS

ONE OF THE MOST IMPORTANT FINDINGS AND CONCEPTS REGARDING CASTLEMAINE WAS THIS IDEA OF IMPORTS. THE TRANSFORMATION METHOD OF TAKING SYSTEMS APART AND RECONSTRUCTING THEM AS A GRID PROVED QUITE SUCCESSFUL AND WAS REPEATED MANY TIMES THROUGHOUT THE SEMESTER

ABILITY TO TELL TIME BY THE WEATHERING OF MATERIALS AND LAYERING OF SYSTEMS NOT ENOUGH HIERACHY WAS PRESENT DUE TO HAVING TOO MANY SYSTEMS

TRYING T THEATRIC CASTLEMA AND MECH

RESENTING E OF THEING SHEDS

ME BY THE RIALS AND F SYSTEMS

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OUTDOOR POOL WATER BODY VIEW

POOL DINING RECREATION AREA

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olivia li

lv3

or me metamorphosis is about transforming objects and also about inventing an entirely new system through a series of deconstruction and organization. The aim of the project is to demolish the boundaries and limitation between forms and structure through series of abstraction process, radical strategies on material, spatace and landscape on the site. The landscape is the driver of the project. The aim is to bring the bond relationship between the nature and human. Specifically, the landscape will dominate the space and the architecture becomes the supporting structure to hold the landscape. The studio pay attention to the relationship between the nature and human. The human-centered architecture is typical in present day, on the contrary, the relationship between the landscape and human is now equal in the project at the final stage of the studio. The sustainable solution, long-term design consideration, is developed though the design process. Also, the landscape will engage in the interior conditions by ‘ sharing a space’ with human actions. Therefore, in the long term, landscape is able to dominate the architecture in a long term which will result in a ‘city forest’ in the center of site. The existing site is surrounded by local agency and commercial area, nevertheless, the city fringe of Castlemaine has lots of green recreation area and landscape interaction with residential area due to the site analysis. This leads to the idea to plug in a ‘city forest’ to the existing site which is aiming to bring the landscape quality of city fringe to this area.

METAMORPHOSIS QIANHUI LI S3736875 DESIGN LEVEL 3 TUTOR: ANNA JOHNSON

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WEEK 1 NATURE OBJECT STUDY: OYSTER

APPLE WILL MAL COLOR THESE CHEMND FINALLY OTS WILL BE N AND PULP

THE SHELL

THE INSIDE PART OF THE OYSTER CONTAIN DIFFERENT ORGAN WHICH IS DISTINGUISHED BY FUNCTION. ALSO. THE SOFT MEAT AND HARD SHELL ON THE OUTSIDE PROVIDE HUGE CONTRAST BETWEEN THE INSIDE PART AND THE OUTSIDE RESULTED IN A TRANSITION BETWEEN THE SHARP EXTERNAL AND THE CURVED INNER CORE BEYOND THOUGHT.

THE SHELL OF OYSTER HAS COMPLEX TEXTURE AND HIERACHY WHICH IS THE RESULT OF SUBMARINE CURRENTS UNDERWATER. THESE COMPLEXITY PRODUCE UNPREDICTABLE AND FLEXIBLE FORM OF THE SHELL WHILE EVERY OYSTER HAS ITS UNIQUE TEXTURE. MEANWHILE THE SHELL HAS DETAILED TOPOGRAPHY-LIKE TEXTURES GIVE THE ARCHITECTURAL POTENTIAL AND QUALITY.

THE INSIDE PART

THE SHELL

THE INSIDE PART

OXIDIZED, PLE WILL LINES DUE TO N AND DEHYME TIME, THE HRINK AND WILL GROW IN

THE SHELL

QUALITY OF NATURAL OBJECT

RE OBJECT STUDY: DECAYING STAGES OF APPLE

TUDY: OYSTER

HEMICAL WN AS PHET WITH OXD TO AIR. THE APPLE IS OUNDS ARE N AND ENE KNOWN AS ASES

THE SHELL OF OYSTER HAS COMPLEX TEXTURE THE INSIDE PART OF THE OYSTER CONTAIN DIFAND HIERACHY WHICHWEEK IS THE RESULT OF SUBMA-OBJECT FERENT ORGANOYSTER WHICH IS DISTINGUISHED BY 1 NATURE STUDY: RINE CURRENTS UNDERWATER. THESE COMPLEXFUNCTION. ALSO. THE SOFT MEAT AND HARD ITY PRODUCE UNPREDICTABLE AND FLEXIBLE SHELL ON THE OUTSIDE PROVIDE HUGE CONFORM OF THE SHELL WHILE EVERY OYSTER HAS TRAST BETWEEN THE INSIDE PART AND THE OUTTHE SHELL ITS UNIQUE TEXTURE. MEANWHILE THE SHELL SIDE RESULTED IN A TRANSITION BETWEEN THE THE SHELL OF OYSTER HAS COMPLEX TEXTURE HAS DETAILED TOPOGRAPHY-LIKE TEXTURES SHARP EXTERNAL AND THE CURVED INNER CORE AND HIERACHY WHICH IS THE RESULT OF SUBMAGIVE THE ARCHITECTURAL POTENTIAL AND BEYOND THOUGHT. RINE CURRENTS UNDERWATER. THESE COMPLEXQUALITY. ITY PRODUCE UNPREDICTABLE AND FLEXIBLE FORM OF THE SHELL WHILE EVERY OYSTER HAS ITS UNIQUE TEXTURE. MEANWHILE THE SHELL HAS DETAILED TOPOGRAPHY-LIKE TEXTURES GIVE THE ARCHITECTURAL POTENTIAL AND QUALITY.

WEEK 1 NATURE OBJECT STUDY: OYSTER DECAYING HE FORM AND NG IN EVERY OCESS WHICH ICTABLE TEXMEANWHILE FEATURES AESTHETIC O THE UNALSO, THE DICT THE FUN BE APPLIED

QUALITY OF NATURAL OBJECT

OF APPLE

FUNCTION. ALSO. THE SOFT MEAT AND HARD SHELL ON THE OUTSIDE PROVIDE HUGE CONTRAST BETWEEN THE INSIDE PART AND THE OUTSIDE RESULTED IN A TRANSITION BETWEEN THE SHARP EXTERNAL AND THE CURVED INNER CORE BEYOND THOUGHT.

RINE CURRENTS UNDERWATER. THESE COMPLEXITY PRODUCE UNPREDICTABLE AND FLEXIBLE FORM OF THE SHELL WHILE EVERY OYSTER HAS ITS UNIQUE TEXTURE. MEANWHILE THE SHELL HAS DETAILED TOPOGRAPHY-LIKE TEXTURES GIVE THE ARCHITECTURAL POTENTIAL AND QUALITY.

THE INSIDE PART OF THE OYSTER CONTAIN D FERENT ORGAN WHICH IS DISTINGUISHED BY FUNCTION. ALSO. THE SOFT MEAT AND HARD SHELL ON THE OUTSIDE PROVIDE HUGE CON TRAST BETWEEN THE INSIDE PART AND THE O SIDE RESULTED IN A TRANSITION BETWEEN T SHARP EXTERNAL AND THE CURVED INNER C BEYOND THOUGHT.

THE INSIDE PART

ol - 3 WEEK 6 SEQUENCES IN CASTLEMAIN: INDUSTRALIZATION

INVESTIGATING THE EXISTING FABRIC OF CASTLEMAINE, THE INDUSTRALIZED WORKING TOWN OF CASTLEMAINE HAS LOTS OF INTERESTING ARCHITECUTRAL LANUGRAGES. INCLUDING THE EXPOSED PIPELINE STRUCTURE, THE RUSTED CORRUGATED METAL STRUCTURE, THE CONTAINER IS BREAKING THOUGHT THE BUILDING AND THE CONTINUOUS ROOF SHAPE WHICH CAN BE TREATED AS FACADE STRATEGY, SPATIAL QUATLIY AND ARCHTECTURAL STRATGY TO THE FINAL PROJECT

ol - 3 WEEK 7 FRAGMENT METAMORPHOSIS

WEEK 7 FRAGMENT METAMORPHOSIS

THE GREENARY AREA AND TRANSITION BETWEEN INDUSTRIAL AND NATURAL IS ONE OF THE MAIN CHARACTERISTIC. THE LOCATION OF THE EXISTING SITE IN CASTLEMAINE IS SURROUNDED BY LOCAL AGENCY AND COMMERCIAL AREA LEADING TO THE IDEA TO PLUG IN A ‘ CITY FOREST’ TO THE SITE. THE MAIN IDEA IS TO WRAP THE BUILDINGS AND STRUCTURES IN THE PROJECT WITH LANSCAPE. MEANWHILE, THERE WILL BE THE KEY MOMENTS OF MATERIAL SYNTHESIS AND SYSTEM INTEGRATION THOUGHT THE PROJECT. THE AIM IS TO DEMOLISH AND BLUR THE BOUNDARIES AND LIMIATATIONS BETWEEN DIFFERENT SYSTEMS

WEEK 9: RELATIONSHIP BETWEEN THE PROJECT AND SITE

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CHEN SIJIANG

LV4

etamorphosis is the transformations between two objects, for example the exchange between nature and humans where humans no longer control and dominate everything. Reflecting on how to make changes to the situation of now, where nature is a threat, should lead us to appreciate that we do not dominate nature but are a part of it. But what if nature or animals dominate humans, would that make the environment better? For me Metamorphosis is a way to reflect on that relationship between humans and nature and for a way to make it better â&#x20AC;&#x201C; and more sustainable. Castlemaine is a place surrounded by nature and greenery, by native plants and animals. At the same time Castlemaine retains a large number of historical buildings that are diverse and eclectic. But this is surrounded by a rugged and significant landscape â&#x20AC;&#x201C; my project so like a city in the wild â&#x20AC;&#x201C; where the boundaries between city and nature are collapsed.

cs-4

LIAM MOLONEY LV4 C

astlemaine contains a rich language that has arisen out of the unique history of itâ&#x20AC;&#x2122;s buildings and landscape. A conglomeration of Victorian, Edwardian/Federation and Interwar/Early Post War architectural styles creates formal systems which are contrasted against the natural environment, one which has its own deep goldrush/ mining history. The expression of the main iterations of change that Castlemaine has gone through is a provocative subject and one which through materiality, can be used to set up a new chapter in the fabric of the town. Moments of materiality taken from the township have been used to highlight the instances of metamorphosis on site whether that be the industrial steel cladded extrusions or the brick work that permeates both the internal and external structures giving support to the natural environment.The moments of natural environment in the town invites speculation on itâ&#x20AC;&#x2122;s placement. In an environment where the planning of Castlemaine is so particular and thought out each moment of nature in my project will have to share an equal amount of planning and specificity. Therefore, the role of nature is one that is echoed and supported by its surrounds aswell as having the capabilities to hold its own as an individual system. a level of amalgamation between the natural and built environments therefore cements the role of nature within this project as something self-sustaining aswell as an important incorporation.

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lm-4 bank ground floor

bank first floor

nursery

library extension

Objects Catalogue

lm-4 b.

vi.

vii.

Spatial Conditions

Facades or Walls

Scaleless Objects

New Experiments

ii.

iii.

iv.

Scaleless Objects

Scaleless Objects a.

New Experiments

62 63

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A TRIP OUT OF TOWN

New Experiments

New Experiments New Experiments

A TRIP AROUND THE BLOCK

66 66

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105

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WALLS: JUXTOPOSITION BETWEEN THE NATURAL SPACIAL ENVIRONMENT SPACIAL ENVIRONMENT

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Plan View

Section

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Castlemaine Site Usage and Opportunity Opportunity for facadial treatments or preservation of the old in order to inform new design and structure

Existing forms give boundary to the internal “courtyard” area and provide valuable restrictions on the degree of provocation whilst also creating the foundations for more design opportunitues

A degree of abstraction could provide the familiar whilst ooering a design opportunity which enables new life in the building

Inﬂuence of geometry taken from existing forms

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william hartawan

LV4

n this studio, I defined the term â&#x20AC;&#x2DC;metamorphosisâ&#x20AC;&#x2122; as a transformative strategy of the role of architecture and nature through observation of site, place and landscape and how can this be abstracted to create something new to what we see across Castlemaine. Therefore, my projects addresses the issues of how nature and landscape can be used as an embedded system into an abstracted architecture w created from the transformed observations to create a human feel and experience for how nature and landscape is wrapped around the project. Looking at the strategy of Peter Eisenman of embedding a different system and volume of interlocking spaces, traces of past and present that are embedded over the existing buildings. This strategy works as a flow of spaces across different levels due to the building laid on the faĂ§ade. The Persian carpet is used as a Miyawaki forest and landscape and will be used as a strategy to help experience nature both from inside and outside of the project. Note that the pattern is different because I selectively choose pieces of the Persian carpet and rescale them and intersect them to the spaces.

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HONGBO LIAO LV2 M

y project has been produced from 3 parts. First is my understanding of metamorphosis, which is a transformation from immature to mature. This could be a change of form to satisfy a new function. This understanding has implemented my fragments transformation. I combined different fragments together to test different mixture, different narratives and different relationships between history, space, form and nature. I have found when some original horizontal functions change to vertical, the function and form will be change. Those form become my basic architecture language to create my building facade and volume the next thing inspiring me is the study from Koolhaas and his complex programmatic readings where multiple subsystem work on a major system. A major system with multiple subsystems could series connect by a narrative line. The single subsystem could run by individual also. This theory has applied to my project where the major narrative line is about the rethink of the relationship of Castlemaine and nature. I think Castlemaine have a lot of buildings which have colonial culture impression. That is an invasion of local ecological system. So I am trying to use some radical method to be reflective of this. Firstly, I crash the site buildings and just save the facade that faces on streets for commemorating the humanâ&#x20AC;&#x2122;s past. Then the original building ground will be planted with native plants. The entrance is through a broken Castlemaine; meaning the old rule will be broken. Next is multiuse space. Its form is inspiring by Sisyphus who is a god be punished to do repetition. (Holding a rock on mountain top and go back to Piedmont). This is reflective of human destiny to repetition. When the land cannot hold population, the eco system will be crash and human will be fall in war. The nursery idea is based on my observation. In urban, I realized existing relationship of nature and human has 3 condition, captive, destroy and marginalization. As the same time, the nursery is not true nature. Meeting space and diving platform has shown tow ways for human naturalize. Climb to sky and diving to water, although it is not real naturalize, I think those could be a kind of ceremony. Swimming pool is inspiring by a fable - Noahâ&#x20AC;&#x2122;s Ark, flood has crashed the whole site building. Ponding formed the pool which is near by ruin. The opposite bank has generated a patch forest for reception humans naturalize.

Site Axonometric

Week 1&2 - BROKEN NATURE & METAMORPHOSIS Nature project drawing and metamorphosis

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Week 4 - DIGITAL WALKS Understanding Castlemaine

Idea of Missing Direction Staircase and Diving Platform Humanâ&#x20AC;&#x2122;s develop direction is missing Overpopulation

Idea of Multiuse Space Human destiny is Repetitive which is like Sisyphus, hold the rock to mountain top and go back to piedmont, again and again, endless

Major 9 - Major idea Major 9 - Major idea

Crash the whole site original building and Crash the whole original buildingtoand plant native plants.site Using fragments plant each nativespace. plants. Using fragments to create create each space.

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Week Week 33 -- RADICAL RADICAL ARCHITECTURE ARCHITECTURE Study Studyfrom fromKoohas Koohaswork, work,redesigning redesigningaa new newwork workininmy myhometown hometownby byKoohas Koohas narrative narrativemethod methodwhat whatI Iunderstanding. understanding.

k 7 - CATALOGUE H L - 2 TRANSFORMATION k 7 CATALOGUE TRANSFORMATION kdifferent 7 -- fragments CATALOGUE TRANSFORMATION join each other and

different fragments join each other and yy of different fragments join each other and of combination combination y of combination

Overview Test 1

Week 7 -- -CATALOGUE Week CATALOGUETRANSFORMATION TRANSFORMATION Week 77 CATALOGUE TRANSFORMATION

Overview Test 2

Testing different fragments join each other and Testing different fragments join each other and Testing different fragments join each other and possibility combination possibility of of combination possibility of combination

Overview Test 3

Week 7 - CATALOGUE TRANSFORMATION Testing different fragments join each other and possibility of combination

Overview Test 4

Overview Test 5

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Site Plan

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85 Ground Floor

2nd Floor

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Meeting entrance Narrative View Human naturalization to sky

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Tower Cross Section

Multiuse space Narrative View Repetitive destiny

Nursery Narrative View Captive, Destroy and Struggling

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Meeting area Narrative View

Consider a new relationship

Entrance Narrative View Broken Castlemaine

Diving Platform Narrative View Human naturalization to water

d Nursery Axonometric View

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Diving Platform and Nursery Cross Section

xonometric View

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Multiuse space Cross Section

Corridor Axonometric View

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Corridor and Entrance Cross Section

ALEX BRUER LV2 T

hroughout my work I have looked at metamorphosis as a process of change through merging and transforming different elements to create something entirely new. Metamorphosis is a process which in nature can be seen over time as it is continually changing over different seasons and growing over many years. For me Nature can be used to bring together different parts of site by connecting the gaps and establishing a cohesiveness within the design. Hedges are used in a controlled way to create openings within the faรงade such as for an entrance way into the heart of the building. Nature can be used in a way which wraps around and protects the building where the structure controls the way nature moves and wraps over the space. In this case nature is acting in a way that the architecture allows. This wrapping of nature marries the site together as it created consistency throughout the different facades and styles of architecture which already exist on site for example the more traditional facades on Barker Street compared to the more industrial architecture found on Mechanics Lane. There are two different types of nature found within Castlemaine. The more natural nature which you see in places such as Mount Alexander and as you move further out of Castlemaine and then the more curated nature such as that found in the botanical gardens in Castlemaine which have been manicured and placed to appear a certain way and create a more picturesque aesthetic. The typology on facades in Castlemaine is used to show the traditional purposes of the buildings therefore type on facades of buildings have almost created a script which demonstrates the towns history. As you move away from the main streets in Castlemaine buildings become more industrial and shed like. It is almost like the main street is just like a set design faรงade with large industrial spaces behind making Castlemaine unique.

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HL-2 Tree canopy study and exploring gaps in nature

Step 12 is the most successful of all the extrusions because it has created something which could be scaled up to become the facade of a building or an interesting space. I nd this more successful than steps 14 or 15 because the curvy extrusions take away from the main design

It is a really eﬀective technique to split, distort and rearrange the original item as it keeps key aspects of the original object whilst still creating something completely new.

Transformations of Catalogue Exercise Fragments: Becoming Architecture Objects

Process and Trialling Design on Site

In this exercise I explored using diﬀerent types of transformations to create a new architectural space such as cutting, splitting, extruding, merging, repetition, exaggerating, The Hallwayduplicating, Section and joining.

Castlemaine Drawings in Rhino

The hall has been created using extrusions of many diﬀerent fences and objects from 11 around industrial Castlemaine. As you move through the narrow hallway it is like exploring a long gap much like the ones found between buildings in Castlemaine. At the side closest to the main road archways begin to emerge to connect this industrial aspect with the traditional found across the site. The nature in the archway also grows above and then cascades down the side of the glass hall so that it feels as though you are surrounded by nature and this means the building is also ever changing because when the site is rst built these glass walls will provide a view out over Castlemaine and the buildings next door.

Transformations of Catalogue Exercise Fragments: Becoming Architecture Objects In this exercise I explored using diﬀerent types of transformations to create a new architectural space such as cutting, splitting, extruding, merging, repetition, exaggerating, duplicating, and joining.

JACKSON POLLOCK

LV4

This project looked at the idea of designing architecture as a ruin- as a thing that will deteriorate over time and that foregrounds nature. After studying the intricate pathways, shadowing and the growth of nature, my design took the form of a ruin more literally. This is a system which can be applied to any site in which the program can be adapted to open spaces by creating a ruin, it promotes nature to reclaim architecture- thus merging it into landscape and nature rather than dominating it. Through the study of precedents, the use of glass rooms prevents distraction of disturbances from the surrounding scenery, yet enabling program, Overall, this studio has made me reconsider the relationship that nature plays in architecture anmd that architecture has a role to play in making a more sustainable future.

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WAYNE EU

LV5

etamorphosis of Castlemaine for me is the transformation of the cities existing and natural fabric. It does this by beneficially effecting the biodiversity of the place and changing the ways Castlemainians interacts with nature by controlling way the moments of interactions. This allows the designers to influence the way users perceive nature by creating a platform where both can coexist with each other. The design of the structure draws from the local vernacular, spatial conditions, fabric of the city and the natural landscapes. It transforms the extracted to generate a pluralistic design that speaks unique to its place and time. My project aims to be like a village in a forest. Each module would be surrounded by a thick micro forest on ground level. The forest landscape is a really porous terrain, resembling the citys movement and spatial network. Users would navigate through a thick micro forest of vegetation held back by retaining walls as a system to control moments on the exterior ground level . Inside the porous shed structure containing the 8 multipurpose spaces and farming space. Each program would be plugged into the beams of the structure. Thin meshes would run from end to end of the structure to create a platform for nature to grow . This would create something that resembles a forest suspended in mid air. A combination of structure and vegetation would be used to frame and control moments of collision between humans and nature within. These spaces would act as a home for the surrounding wildlife and a platform where both can interact in a controlled manner. This would encourage the coexisting of animals with humans that uses these spaces. As time pass, the structure would metamorphose into a green shed with a suspended jungle within. Its porous nature would create the perfect microclimate for organisms to make it their home. There is visible change towards the look of the structure as the seasons change from summer to winter by only using decidious plants from the surrounding ecosystem.

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NATURE TRANSFORMATION

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ROBERTO CONDE LV2

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114 the oldest living thing fold fold with with no no intentions intentions fold with no intentions

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alogue research Castlemaine catalogue research

Plastic ocean

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Let me take you 117

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finals exploration

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KAREM HAM

LV3

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CATALOGUE OF PLACES - CASTLEMAINE

ENTANGLEMENT AND COLLISIONS ENTANGLEMENT AND COLLISIONS

ORNAMENTAL - LESS SENSE OF PRIVACY ORNAMENTAL - LESS SENSE OF PRIVACY

CATALOGUE OF PLACES - CASTLEMAINE ATTACHMENT ATTACHMENT

SIMPLICITY - HIGH SENSE OF PRIVACY SIMPLICITY - HIGH SENSE OF PRIVACY

ENTANGLEMENT COLLISIONS COMPLEXITY - AND UNNOTICABLE ENTANGLEMENT COLLISIONS COMPLEXITY -AND UNNOTICABLE

ORNAMENTAL SENSE OF PRIVACY CONSISTENCY-- -LESS SENSE OF MOVEMENT ORNAMENTAL SENSE PRIVACY CONSISTENCY LESS - SENSE OF OF MOVEMENT

ATTACHMENT TYPICAL EMBELLISHMENT ATTACHMENT TYPICAL EMBELLISHMENT

SIMPLICITY JUXTAPOSITION - HIGH SENSE OF PRIVACY SIMPLICITY -JUXTAPOSITION HIGH SENSE OF PRIVACY

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METAMORPHOSIS SEMESTER 2 , 2O2O

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