Studio E Reflective Journal by Robyn Mackenzie

JOURNAL JOURNAL JOURNAL JOURNAL JOURNAL JOURNAL JOURNAL

Robyn Mackenzie - 914559 Studio 13 - Embody

Contents

week 1

week 2

week 3

week 4

week 5

week 6

week 7

week 8

week 9

104

week 10

109

week 11

120

week 12

133

final Thoughts

Note: All reflective statements are written in this colour 01

Robyn Mackenzie - Studio 13

01 02

Robyn Mackenzie - Studio 13

27.07.21

Embodiment

29/10/21: I wish I would have kept up with the sketching we did in the first week specifically the left hand sketches

Reading Embodiment

Reading Embodiment: This drawing depicts the environmental sensations of reading in a courtyard. I first made a list of experiences that I wanted to convey including moist, green, cold, shaded, secluded, and quiet.

Process: I sketched an outline of the scene in pencil before tracing over it with my left-hand. I found this techni ue to be beneficial as I, as a perfectionist, did not have to worry about making mistakes.

Past Embodiment

Reflection: One challenge I had with this task was that drawing in pencil made it hard for my sketches to be legible when scanned. I decided to adapt to this by using pen for the remainder of the semester.

Past Embodiment: I choose to depict an indoor swimming pool, a mossy forest, a sunny reading nook, water on a beach, and fresh baking. I found that my experience of embodiment focused around temperature specifically hot vs cold. 03

Robyn Mackenzie - Studio 13

28.07.21

Modality tracking

The Process

Process: I followed a tutorial online of how to make a pinch pot. I first cut the clay to the desired size and then rolled it into a ball. I shaped the ball of clay into a pot using my thumb. I used water to smooth the edges to create an even form. I then decorated the pot by carving in markings using a pencil.

The Setup

The Aftermath

Reflection: I believe that depicting my arm movements in the drawing was successful as it allowed me to recognize the extent of where I could reach. One downside of this approach is the lack of understanding of how I interacted with the clay specifically. Other students in the class accomplished this by recording several different processes on the same map. 04

29/10/21: y pottery setup actually changed later on as I found I needed much more paper towels and less water than I originally though

Robyn Mackenzie - Studio 13

28.07.21

Phase Depictions

21: ing 29/10/ nal draw or my fi lude an c in I did version d update iagram to d of this nses the se in la ing exp rk o hen w I feel w y with cla

Phase Change Diagram

Reflection: This diagram was a new experience for me as I prefer more concrete representations, however, I believe that allowing myself to think abstractly was beneficial. I should continue to create abstract sketches throughout my design development to ensure I retain this skill.

Summary: This diagram tracked the different phase changes that the clay went through when I practiced my modality. The more I worked with the clay the more its properties changed from cold to hot, from wet to dry, or from textured to smooth. This observation may be something I want to explore in the coming weeks. 05

Robyn Mackenzie - Studio 13

28.07.21

Zonal Depictions

Zonal Diagram

Summary: These zonal depictions tracked how I experienced hot vs cold, smooth vs texture, wet, and noise within the environment. I found as I dipped into the water with my hand my workspace became increasingly saturated with water.

Reflection: I was the only one in the class who utilized words to describe zonal depictions. Additionally, most classmates used lines rather than radiating circles. I believe this disparity is a result of my desire to organize my drawings and have neat and clear layouts. While this preference is beneficial it makes it challenging to embrace drawing tasks. 06

Robyn Mackenzie - Studio 13

28.07.21

Studio C(1)

Research

Concept

I started by researching how renting impacts peoples view of home, specifically, how strict rental rules make it difficult to customize a space.

Finals

Form

To make my final drawings I first created a hino model. Next, I exported the plans and sections to Illustrator and then Photoshop. I utilized the same plan and diagram style from undergrad to save time.

Using my research as a base I began sketching possible concepts. However, I failed to enrich the concept past this point and did not explore other possible solutions.

I first designed the building in plan as the site was very small and had to sleep 18 people. I started by sketching layouts in my notebook before transferring them to Rhino.

Summary

The main strength of this project is that the spatial layouts are very efficient. Additionally, my visual representation created a coherent presentation. If I were to do the project again I would spend more time on the interior design and experiment with a different colour palette.

Robyn Mackenzie - Studio 13

28.07.21

Studio C(2)

Site Analysis

Concept

This project uses the same concept as C(1). However, this project had a longer time frame therefore I could explore my concept more and push it to new places.

I first made a detailed surrounding context model and charted details like tram routes, access points, wind, shadows, and building types.

Final Form

Draft Form

I struggled with the facade design as the building was large and I did not know how to make it look interesting. I also battled with the landscaping as I had never learnt how to design the spaces between buildings.

This draft form was my initial interpretation of where the building should sit on the site. I was nervous as I had never designed an apartment building before so my form was very conservative.

Summary

The concept for this project was strong and therefore inspired me to create an interesting building. One thing I would change would be playing in section more to create more dynamic roof forms.

Robyn Mackenzie - Studio 13

28.07.21

Studio D

Concept

Research

This project involved designing an ambulance branch that adhered to ESD principals. The issue that I decided to focus on was how the ambulance branch can adapt to covid-19.

Engineering

Form

After the building form was finalized I created detailed ergonomic and construction drawings. These drawings helped me design the interior spaces to a higher quality than previous projects.

My research was extensive due to the technical nature of this studio. I researched ambulance branches, covid-19 mitigation strategies, and how natural and artificial ventilation works in buildings.

I started by designing in plan, however, I also designed in section simultaneously. This allowed me to create a dynamic roof form that did not look like an afterthought.

Summary

In this project I broke away from my bad habit of ignoring building sections, landscaping, and interior design. This decision allowed me to create a comprehensive building that was more functional and interesting than previous semesters.

Robyn Mackenzie - Studio 13

28.07.21

Block Busting

Strengths • • • • • • • • •

Weaknesses

Photorealistic rendering unctional floor plans Environmental design knowledge Construction drawings Time management Research skills Functional sections Photoshop and Illustrator skills Verbal presentations

• • • • • • •

Integration between levels Variety of representation styles Neglect of exterior form Interior design Landscape and urban design Model making Lack of personal growth

Summary: My main weakness is a lack of personal growth. This can be broken down into two main subcategories including representation and design process. My representation style has stagnated which is a problem as I want to should show a variety of styles in my portfolio. Additionally, my design process is uneven as I battle to design in section. I believe improving in these two areas will make me a better designer and prepare me for thesis. 29/10/21: I still struggle to design in section as I find it hard to be creative from that perspective

Improvement Plan Working in different medium

More time for representation experimentation

Watching representation tutorials

Gathering representation inspiration

Designing in section simultaneously

Summary: To aid my design process I will try working in different mediums and designing in section at the same time that I design in plan. To help improve my design representation I will watch tutorials, gather inspiration, and give myself more time to experiment before an assignment is due.

Robyn Mackenzie - Studio 13

01.08.21

Five Modalities

Ballet

Climbing

Swimming

Wrestling

Piano

Reflection: To generate representation ideas for these modalities I first brainstormed characteristics that I wanted to represent e.g. gracefulness for ballet or strength for wresting. This association between an actions and a narrative improved my drawings and designs.

Summary: During this exercise I tried experimenting with different art styles and mediums including pen, pencil, colored pencil, marker, and gels. I believe the most successful drawings are the ballet and the wrestling as they are abstract yet dynamic.

Robyn Mackenzie - Studio 13

01.08.21

Big Ideas

29/10/21: gravitate still I angular s toward es geometric shap d rve cu th wi t jus e tim s thi edges guilty!)

Pip Woods Ceramics, 2021

Studio Zhu-Pei, 2020

Muhamad Samiei, 2019

What is it that inspires you about the human body, the way we experience the world? What could lend itself as a focus for your studio Embody? I have always been interested in how people use furniture and create affordances in their environment. Each person may sit in a chair in a completely unique way based on their experiences, comfort level, and size. People’s ability to customize their environment to suit their needs coveys both an appreciation for the needs of a human body and the limitations of the environment. Additionally, I am also interested in sight, specifically, sight lines and framed views. et again, it is this concept of how every person is a different height so therefore can see the world differently. What specific modality would you like to explore further? I would like to explore pottery as I loved doing the activity as a child. Pottery has many different components including wheel work, hand shaping, glazing, firing, and painting. These components give numerous opportunities to create different spaces and experiences within my building. What architectural element, tectonic or material have you always been keen to explore further? Coincidentally, I am yet to use brick in one of my architecture projects. Stemming off of this is traditional brickwork elements like arches, domes, and tunnels. I normally gravitate towards angular geometric shapes but bricks may give some opportunities to try something out of my comfort zone.

Robyn Mackenzie - Studio 13

Reflections

How has my project progressed this week? This week I choose my modality pottery. Before I chose pottery I first researched different pottery studios and pottery creation methods to discern whether it was worth pursuing for a whole semester. I also had the opportunity to practice pottery and map the zonal depictions that I experienced. This exercise allowed me to get initial ideas about what attracts me to pottery and how I could translate this into a building. Additionally, I explored some of the tectonic and material qualities associated with pottery.

What has worked well and what has not worked? The main skill that was successful this week was drawing in pen. Throughout my degree I have only ever taken notes and made sketches in pencil. This is because I am a perfectionist and don’t like my errors to be seen, however, I am starting to accept that showing and celebrating mistakes are ust as beneficial as perfect drawings. I also felt that my left hand drawing skills have improved a lot and has allowed me to overcome my fear or errors. One thing I am reluctant to change is using new mediums like pastel or watercolor to create sketches. There are a few reasons for this including not wanting to buy new materials and finding the mediums messy .

What can I do to improve my progress and skills? Although I am proud of myself for doing more hand drawings I still shy away from them due to the fear of making mistakes. I prefer my notebooks to be neat and not laden with messy, crossed out, and splattered pages. I am unsure whether this is something I can fully overcome but perhaps I can experiment more with mediums that I am comfortable with like pens, pencils, and markers.

Robyn Mackenzie - Studio 13

02 14

Robyn Mackenzie - Studio 13

03.08.21

Tectonic Sketches Summary: This tectonic reflects mass and utilizes cutouts to create a dynamic form. I believe pottery is fundamentally about layering therefore I wanted to showcase this in my sketch. One new skill that I developed from this exercise was the ability to focus on internal ualities before the overall building layout. This skill can be retained for future projects by conducting abstract sketching rather than just drawing plans. 29/10/21: I ended up using this tectonic in my building as I liked the layering and mass effects created

Summary: This tectonic experimented with lines to represent the relationship between layering and pottery. This tectonic is less heavy than the other two and therefore would be suited to a higher level in a building or outside. I found that during this exercise I sketched whatever popped into my head first. This was beneficial as I did not get stuck in my head and worry whether I was drawing the right’ thing.

Summary: This tectonic explores mass by carving away different geometric shapes. I like this tectonic as a composition, however, I feel like it does not showcase the art of pottery as much as the other two. I believe this is because I focused on the concept of mass rather than experimenting with how mass can reflect pottery. Other students in the class resolved this problem by experimenting with forms oriented around the process rather than the end result.

Robyn Mackenzie - Studio 13

04.08.21

Sketch Models My first sketch model experimented with a organic roof form and archway inspired elements. I liked the shadows created by the roof but felt that the cube shape made the model static. I believe that my inability to reject organized geometric shapes is impacting how I experiment with forms and lighting.

Model 1

or this model I decided to revert to the design elements I am most comfortable with - angles and planes. However, this resulted in less experimentation as I had preconceived notions of what is correct for an angular model. To break away from this habit I should push myself out of my comfort zone for the next model iteration.

Model 2

This model explored a more dynamic roof form. I found this model to be unsuccessful as it lacked originality. I believe this is due to not understanding the link between this model and the art of pottery. After this model I decided to re-focus my attention to pottery rather than just interesting shapes. Model 3

Robyn Mackenzie - Studio 13

04.08.21

Sketch Models

This model successfully represents the massing that I associate with pottery. Additionally, the cutouts provide a lightness to this otherwise heavy form. This is something that I want to explore in future sketch model iterations. Model 4

This model represents pottery through a dynamic layering and contouring effect. This model was uni ue compared to my classmates and showcases my logical and organized way of thinking. Although, I saw it as a weakness for my other models I believe it is a potential strength for future model iterations.

Model 5

Robyn Mackenzie - Studio 13

06.08.21

Pottery Tectonics

Phase Changes

Bricks

Lightness

Mass

Plastic et Firm

Heavy

Pottery

Hollow

Repetition

Spinning

Tools Wire

Layering

Sponge

Knife

Symmetrical

Summary: The two ideas that I want to explore further is how clay is a heavy material yet is cut by wire which is light and dainty. The juxtaposition between these two elements is something that is worth exploring. Additionally, I want to explore the tectonic quality of horizontal lines from layering clay and by hands on a pottery wheel.

29/10/21: I actually neglected the phase change properties of clay in my project as I just wasn’t inspired by them

Reflection: After completing the first iteration of sketch models I realized I need to clarify what tectonic ualities apply to pottery rather than getting caught up on aesthetics. This helped me realize how my past way of designing was rigid and focused on making buildings that looked good rather than being conceptually grounded. 18

Robyn Mackenzie - Studio 13

08.08.21

Pottery Research

About Pottery (Lutyens, 2021): • One of the oldest human inventions dating back to 29,000 BC • Made by forming a ceramic (often clay) mass into objects • Made on a pottery wheel or manually by hand • The ob ects are then fired in a kiln that increase the strength of the ob ect • Pottery can be utilitarian or artistic • Pottery can be decorated by carving, glazing, or painting Characteristics of Pottery:

Mindful

Tactile

Process Driven

Messy

Grounding

My Experiences You arrive at the moment you are about to engage in your practice, what frame of mind do you need to be in for a satisfying experience? What do you do to generate this? I need to be in a relaxed and creative mood to fully embrace my modality. I find that if I am distracted or stressed I am less likely to fully engage in the art and would rather rush through my modality. Being inspired and having an idea of what I want to make is also helpful to embrace my modality. To generate these mindsets I watch tutorials, look up precedents, or listen to music to get inspired. List the elements of your environment that most influence your practice, what brings most joy? • Lots of natural light • Studio environment and being surrounded by friends • Using pottery as a way to connect with others • Not worrying about being distracted 29/10/21: • Enjoying the kinetic/tactile qualities I also felt messy and crusty as my hands were Describe the feeling at the end of your practice. covered in dried • Cheerful clay. I’m not sure • Accomplished why I romanticized • Social pottery here

Robyn Mackenzie - Studio 13

09.08.21

Modality Practice

Modality Setup

: 29/10/21 cused on I really fo damp l, o the co p f ottery aspects o uilding b y m for it as design e th f o me reminded earth

Touch: Slippery Smooth Cool Humid

Smell: Earthy Damp Burning Wood

Hear: Water Dripping Fire Crackling Footsteps Echo

Reflection: I identified the ualities in week one but failed to expand on them further. The detailed identification of the environmental ualities I want in my future building will help progress my design further and provide a rationale for certain architectural moves.

Summary: When practicing my modality I wanted to focus on the senses that I envisioned in my building. Personally, the most evocative is the cool, damp air and the earthy smell. I believe these qualities directly relate to clay and can be used to create unique architecture and lighting effects. 20

Robyn Mackenzie - Studio 13

09.08.21

Process Diagram

Process of making a bowl

Hand sculpting movement

Wheel work movement

Reflection: I believe I accurately captured the process of making pottery, however, I noted other students in the class took a slightly different approach. any of them created a timeline that charted senses, emotions, and movement throughout the process. I want to try this in the upcoming weeks as I believe it will help me gain a greater

understanding of how each stage of making pottery feels. I also should research the different types of firing in a kiln as this could also help me come up with new tectonics for my building.

Robyn Mackenzie - Studio 13

09.08.21

The Embodied Image

The Vessel, Heatherwick Studio (2019)

Pallasmaa, J 2011, The Embodied Image. Excerpts: Architecture has always fictionalized reality and culture through turning human settings into images and metaphors of idealized order and life, into fictionalized architectural narratives... It has a central role in creating and projecting an idealized self-image of the given culture” (P.19) The earlier visions of architecture reflected a viable form of cultural and lifestyle whereas today s computer-generated visions usually appear as mere graphic exercises without a sense of real life” (P.19) Notes: • Architecture renders often represents an unobtainable utopian vision • Theses utopian images disregard the realistic sensations of being in the space • The over reliance on rendering software has caused a blurring of fiction and reality • The goal of the architect should be to strengthen our perceptions of the real specifically experience • Architects should focus on human experience rather than just pretty images • ociety values the production and commodification of images this causes shallow images that lack meaning and truth • Lived and embodied images are more fundamental to humans than purely visual images (e.g. renders) • The rise of digital technology has made images more frequent and important in our daily lives • Architecture images no longer represent an artistic version of reality but often are perceived to be more realistic than the finished building

Robyn Mackenzie - Studio 13

09.08.21

Sketch Models In this model I separated each contour layer to create a different spatial effect. However, I found this to be unsuccessful as the lighting was consistent throughout the inside of the model. This problem could be solved in future iterations by partially enclosing the model to create more dynamic lighting effects.

Model 1

This model attempted to capture the rotational qualities of pottery. any other students in the class also tried to capture this effect and were more successful than me. I believe this is because my model is too rigid rather than free flowing. This is a common issue I have and I will try to resolve it in future models. Model 2

Similar to the previous model I tried to capture rotational qualities of pottery. I found this model to be more successful as the wire created a unique tectonic quality. However, the lack of a defined interior means the model is hard to envision as part of a building. Model 3

Robyn Mackenzie - Studio 13

09.08.21 Model 4

Sketch Models

I tried to create an organic form which was a new experience for me as I am normally drawn towards angular geometry. I found this model to be successful as it reminded me of a cave and the tectonic qualities of pottery. I decided to continue experimentation with this form in later models.

29/10/21: This is still my favorite model of the whole semester. I find it so enchanting and uni ue compared with the others

I juxtaposed thin wire with a massed exterior shell that contained the contours found in earlier models. This model was successful as it drew from the identification of pottery tectonics earlier in the week. To continue the momentum I should revisit earlier work to gather ideas. Model 5

Robyn Mackenzie - Studio 13

Reflections

How has my project progressed this week? The primary way my project has progressed is by experimenting with the tectonic qualities that I associate with pottery. Through my experimentation I found myself gravitating towards mass as I believe the tectonic represents the heaviness of clay. I also researched the history, art, and process of pottery which is useful as I can draw from these findings in future weeks. Lastly, I explored the senses and emotions that I associate with pottery like touch, smell, and sound. These explorations will help me refine my tectonics in later weeks.

What has worked well and what has not worked? The main success from this week is the improvement of my model making skills. I believe that this is due to me viewing the work of other students in the class to generate different ideas and tectonics. I found that my models tend to be more rational and orderly than other students models which is good as I can add my own style to explorations. One thing that has not worked well is experimenting with different lighting effects in my models. I believe that this can be resolved by enclosing my models and spending more time taking photographs.

What can I do to improve my progress and skills? One trend I have noticed in my workflow this week is me moving away from hand drawing. This is interesting as I identified this skill as something I want to improve this semester. I believe this is due to me feeling more comfortable producing a higher quality of work digitally than by hand. To overcome this issue and help this skill develop I will try hand drawing when I am coming up with ideas rather than for final iterations. This will help take the pressure off me to produce beautiful drawings and allow me to experiment and develop my skills.

Robyn Mackenzie - Studio 13

03 26

Robyn Mackenzie - Studio 13

10.08.21

Brief and Ideas

Parti Diagrams

Summary: After practicing my modality I found myself drawn to the social atmosphere created in a studio environment. To me art is a way for people to come together and make new friends, consequently, I want my building to be a social space. My initial schedule of spaces will be tailored to create a studio environment where people can share ideas and feel connected to the broader community.

Workshop Studios, California (2020)

Reflection: This concept diverges away from my classmates as many of their modalities are inward focused such as yoga. To create some initial parti diagrams I thought about what I liked about my sketch models and tried to represent it abstractly. This is a completely new process for me but I believe it worked well as I was not stuck in my head about possible building concepts. 27

Robyn Mackenzie - Studio 13

11.08.21

Lighting Reading

Minimal openings to contrast with darkness

Soft vs hard lighting can change mood Use of gold finishes to reflect light

Fissure space can add dynamism in corridor

Cloudy translucence from frosted glass

Woven air from sails, wire, and cutouts

Streams of sun can be dramatic Veil of glass similar to a curtain wall

Light in transitional space e.g. stairs, ramps

Sifting light through porous screen

Channeling light through hollow mass

Summary (Plummer, 2009): One concept in the readings that really stuck out to me was placing light in transitional spaces like stairs, ramps, and the end of corridors. This simple yet effective techni ue was something I was doing subconsciously in previous sketch models but then decided to explore it further with the upcoming models.

Atmospheric silence is based on simplicity

Another concept that resonated with me was how to channel light through a hollow mass. As my building is leading towards a cave typology this theory was very relevant to my future sketch models.

Robyn Mackenzie - Studio 13

12.08.21

Sketch Models

I liked the overall shape of this model but found that the interior qualities are not dynamic enough. This could be resolved by making the interior space larger or by enclosing one of the open walls. I did find one challenge of working with clay was getting the model to stay upright without sagging. Model 1

I carried forth this idea of layering from my previous sketch models. I believe that the textural and tectonic ualities are successful but the lighting effects are not uni ue enough compared with my classmates. In the next iteration I want to experiment with different lighting setups to achieve the desired effect. Model 2

I found this model to be very interesting spatially. Although it is simple the two holes in the form create interesting lighting conditions. To push this concept further I want to experiment with the ground plane to create different atmospheric ualities and lighting effects. Model 3

Robyn Mackenzie - Studio 13

12.08.21

Sketch Models

This was one of my favorite lighting effects created. I tried to directly apply what I learnt from the reading about lighting transition spaces. I believe having this theoretical basis was vital to this models success. To carry this forward my next models will have more planning and research behind them. Model 4

The lighting qualities in this model were also successful as the staggered archways created a dynamic lighting effect on the floor. I believe this is the only model where the lighting is harsh rather than diffused. This is unusual as the clay tends to absorb light more than the paper from previous models. Model 5

I enjoy the three circles of light on the floor but found the overall interior quality of this model to be lackluster. This could be improved by having an idea of what the space could be used for and then applying relevant lighting conditions. I will try to experiment with this process in the next iteration. Model 6

Robyn Mackenzie - Studio 13

13.08.21

Philosopher Notes

Materiality

Movement

Mood

Affordance

Spatio-temporal

Sounds

Documentation

Ergonomics

Working with Mud, Jackson (2010)

Robyn Mackenzie - Studio 13

16.08.21

Site Collage

Reflection: I believe my ability to abstractly represent concepts has improved throughout the semester. However, I still need to ensure that my compositions are relevant to my project and not just purely aesthetic. As identified in previous

tasks I can accomplish this by having a clear plan of my drawing that is grounded in research. This process will help me create abstract compositions while sticking to my concept and ideas.

Robyn Mackenzie - Studio 13

16.08.21

Precedent 01

Street View

Name: Gallery and Studio Architect: Johnsen Schmaling Architects Location: Racine, United States Year: 2019 The aim of the building is to create a new cultural anchor for the neighbourhood and revitalize a underutilized part of the city. The design incorporates a ground floor public art gallery to activate the streetscape and interact with the surrounding context. Upon opening the building has become a cultural icon which attracts visitors for gallery openings, community gatherings, and studio tours.

Studio

The building sits on a long slender corner lot which is similar to my project site. The schedule of the building consists of a studio, a gallery space, three storage rooms, bathrooms, and a reception.

Plans 33

Robyn Mackenzie - Studio 13

16.08.21

Precedent 02

29/10/21: I used this concept of different furniture arrangements in my event space to accommodate functions or classes

Street View

Name: House of the Arts Kildegaarden Architect: Svendborg Architects Location: Roskilde, Denmark Year: 2018 The driving concept for the building is to bring practicing artists and the public closer together. Additionally, the project aims to facilitate the shared creation and enjoyment of arts in tandem. The building contains facilities for painting, sculpting, music, and performing arts to aid in cross-disciplinary connections.

Workshop

The interior is composed of a single square room which can be subdivided by furniture arrangements to suit different functional requirements. Flexible walls help to transform the space from several different studios during the day to a large function space for events at night. Additional facilities include bathrooms, storage rooms, communal sinks, and supply cupboards. Plan 34

Robyn Mackenzie - Studio 13

16.08.21

Precedent 03

: 29/10/21 ly inspired I was real shelving by the e and ag im is in th use it to decided s dio as an in my stu l al w accent

Pottery Studio

Name: Les Faiseurs Architect: Catherinecatherine Location: Montreal, Canada Year: 2018 The aim of this project was to create a bright and warm space that anchored the neighbourhood and connected art to the community. The primary concept of the building was to create a connection between a cafe and a pottery studio through a glass wall which gives various points of views into each space. Additionally, a large custom bookcase in the cafe allows visitors to purchase ceramic work.

Transition Space

The pottery studio can accommodate groups of 8 students alongside workspaces for professional ceramic artists. The studio is flexible and contains storage, a kiln, a sink, 8 potters wheels, and a large work table. The studio is connected to the community through a window facing the street which lets passerby’s see art at work. Layout Isometric 35

Robyn Mackenzie - Studio 13

16.08.21

Precedent ideas

Importance of activating street frontage

Art as a way of connecting people

Movable walls and tables

Bright with lots of natural light to see work

Allow for social events and functions

Spatial qualities and materiality

Precedents

Direct connections between programs

Indirect connections between programs

Merge studio and cafe with glass wall

Flexible and multi-use spaces

Earthy and neutral colour scheme

Use of timber and white interiors

Purchasing pottery in the cafe

Building and studio tours

Summary: The key takeaways from the precedents is how each building combines programs together to help connect art to the broader community. I can implement this in my project through spatial composition and flexible multi use spaces.

Reflection: This precedent analysis activity is very similar to what I have done in prior studios. However, due to the specialized nature of my modality I found myself being more creative with what precedents I looked for. 36

Robyn Mackenzie - Studio 13

16.08.21

Schedule of Spaces

Space

SQM

Entry / Foyer / Reception

Admin Office

itchenette

Pottery Painting Cafe

Gallery

200

Indoor Art Market

120

Outdoor Art Market

Sculpting Studio (3)

Wheel Working Studio (3)

120

Painting Studio (2)

Function / Workshop Space

100

Air Drying Room (2)

Kilns (6)

Artwork Storeroom

WCs (8)

Disabled WC

Circulation

300

Other External Space

I wonder if some of these spaces can be combined?

Bike Parking (20) General Storeroom

Storeroom Cleaner

A/C Plant

Total

hat specifically would this be Outdoor pottery studio?

1390

Robyn Mackenzie - Studio 13

Reflections

How has my project progressed this week? This week I decided upon a brief and schedule of spaces for my building. I found coming up with an idea surprisingly easy as I had already generated many concepts from the previous two weeks. I decided that I wanted to focus on the social aspects of creating pottery and how the modality can bring the community together. When doing my site research I focused on what the community needs which is beneficial as it helped me solidify my brief. Additionally, I gathered precedents and brainstormed how they could inspire spatial layouts and concepts. I found that approaching precedents with a concept in mind was useful as I could be more targeted in my research.

What has worked well and what has not worked? One thing that worked well was making my sketch models out of clay. I found that clay models were significantly faster to construct than paper models which allowed me to experiment more with form and lighting effects. However, one drawback of working with clay is that the kinds of forms I could make was limited. The clay was very damp and therefore started sagging whenever I tried to construct large spans. Additionally, my inexperience of working with clay made some of the models look very messy and overall uninspiring.

What can I do to improve my progress and skills? To improve my clay sketch models I will look up tutorials online to refine my pottery skills. Additionally, I will try experimenting with tools that will make my sketch models easier to construct like rolling pens, knives, wire, and pencils. I also want to further explore the step by step process of making pottery and implement this into my next schedule iteration.

Robyn Mackenzie - Studio 13

04 39

Robyn Mackenzie - Studio 13

19.08.21

Schedule Update 01

Space

SQM

Entry / Foyer / Reception

Admin Office

itchenette

Pottery Painting Cafe

Gallery

150

Indoor Art Market

120

Outdoor Art Market

Sculpting and Wheel Working Studio

Detailing Studio

Glazing Studio

Function / Workshop Space

150

Air Drying Room (2)

Kilns (6)

Wedging Studio

Clay Sourcing

WCs (8)

Disabled WC

Circulation

This separation by pottery stage will create natural progression through the building

300

Bike Parking (20) General Storeroom

Storeroom Cleaner

A/C Plant

Total

1380

Robyn Mackenzie - Studio 13

Trim and edit Piece

Air Dry 01 2 days

Sculpt or Wheel work

Glaze firing

Glazing

Bisque Firing

Air dry 02

Wedging

Clay Sourcing

19.08.21

Spatial Progression

Trash to Terracotta, Geneva Vanderzeil (2020)

Summary (Prysten, 2017): I wanted to understand the step by step process of making pottery so I could generate ideas for different spaces in my building. I envisioned a progression through the building that mimics the pottery process.

Reflection: I found this exercise to be extremely beneficial as it helped me generate several ideas for the form of my building. This evidence based approach to design is a new skill for me and something I want to continue in future studios. 41

Robyn Mackenzie - Studio 13

19.08.21

Layout Diagram 01

Studios

Summary: I wanted to create an active street frontage along Elgin St and have a landscape connection to Macarthur Square. I liked how the atrium had a prominent position in the site, however, I found that placing the admin at the corner was inefficient and not the dramatic entrance I desire.

Atrium / Indoor Marketplace Pottery Cafe Admin Firing / Kilns Air Drying Gallery Function / Workshop

Reflection: The importance of a corner facade was instilled in me in Studio . I find this reassuring as I both remembered past project mistakes and modified my design process to prevent prior errors.

Robyn Mackenzie - Studio 13

19.08.21

Layout Diagram 02

Studios

Summary: For this option I moved the studio spaces to be the anchor of the site. Additionally, I setback the atrium to create a dramatic entrance. I believe this one is the most successful as all the street frontages are activated. I also like the level changes that occur in this model.

Atrium / Indoor Marketplace Pottery Cafe Admin Firing / Kilns Air Drying Gallery Function / Workshop

Reflection: Studios To generate this idea I reshuffled the building blocks I made for the first iteration in / Indoor hino. This Atrium Marketplace 29/10/21: process is different than my previous studios as It’s interesting to normally I create overall massing models rather see how much Pottery Cafe than breaking it into several blocks. I found this my building has new techni ue to be more beneficial for idea changed throughout generation. Admin the semester. uch more than I normally change my designs Firing / Kilns

Air Drying

Robyn Mackenzie - Studio 13

19.08.21

Layout Diagram 03

Summary: This iteration also activates the prominent corner on the site, however, it lacks the dynamic form of the previous iteration. I believe this is due to all the blocks fitting together too perfectly as it does not leave room for unexpected expressions.

Studios Atrium / Indoor Marketplace Pottery Cafe Admin Firing / Kilns Air Drying Gallery Function / Workshop

Reflection: I found that I became stuck when composing this iteration as I had run out of ideas. I believe this could have been overcome if I allowed myself to experiment and not worry whether the blocks fit together or not.

Robyn Mackenzie - Studio 13

19.08.21

Sketch Models

This model experiments with a hallway typology and utilizes the previously explored concept of light at a transition space. I found that this model was more successful than previous iterations as my pottery skills had improved. This meant that I was working with the clay rather than fighting with it. Model 1

This model experiments with perforations in the clay to create a whimsical atmosphere. I followed through on my week goal of using tools to make my models -- using a pencil to puncture holes in the facade. I found this techni ue to be beneficial as i could create smaller holes than I could with my finger. Model 2

This last model represents a cave with a skylight illuminating a focal point at the end of the room. This model was also based on principals from the week readings. I believe that having this educated rationale behind my designs is important for idea generation. This is something I want to keep doing throughout the semester. Model 3

Robyn Mackenzie - Studio 13

23.08.21

Building Models

This model directly translated my favorite layout diagram from earlier in the week. I liked the simplicity of the solid forms but felt that it was overall uninspiring. I implemented a new pottery skill of banging the clay on a table to create smooth rectangles. This techni ue made it faster to create clay blocks that would fit on the site. I continued to use this techni ue for the remainder of my models.

Model 1

I wanted to experiment with how to represent the clay being cut. I decided to place three planes of plastic through the building. However, I found this juxtaposition between planes and mass to be unsuccessful. Some other students in the class have been able to successfully merge planes and mass together. I believe that the reason their models are successful is that they placed the planes deliberately rather than randomly. This could be something to explore in future iterations Model 2

In this model I wanted to represent the puncturing that I have been experimenting with in my tectonic models. I believe this iteration is successful as it has clear ties to pottery yet is more unique than model 1. I found that experimenting with different tectonics on my building form came easily. I believe this is due to the numerous sketch models that helped me refine my tectonic language. This is something I can try later in the semester if I get stuck thinking. Model 3

Robyn Mackenzie - Studio 13

23.08.21

Sketch Models

Model 1

For this tectonic model I wanted to experiment further with intersecting the clay with pieces of plastic. I decided to try layering the plastic to create unique lighting effects. This notion of a skylight has been something I have experimented with since the first tectonic model. I believe that my experimentation around this skylight has improved due to me not worrying about what the final product will look like. 29/10/21: This tectonic could be something to explore in my next studio as I really liked it but it did not work in this project

Model 1

Robyn Mackenzie - Studio 13

Reflections

How has my project progressed this week? The primary way my project has progressed is by settling on an initial building composition and schedule of spaces. The ability to envision how my building interacts with the site and the surrounding context will help make any future tasks grounded in the building. Additionally, I have refined the tectonic qualities that I want to show in my building yet still need to experiment with translating them into large-scale architectural moves.

What has worked well and what has not worked? My clay sketch modeling abilities have significantly improved. I believe this is due to me working with the clay rather than fighting with it to be more angular or thin. The ability to embrace my modality has opened up new opportunities for tectonic expression. I also found that generating mass models by creating and moving several small blocks in hino to be more efficient. I find that this technique prevents me from getting stuck as I can create numerous iterations quickly. This is something I want to continue in future studios.

What can I do to improve my progress and skills? Two areas I want to research in the next week is different tectonic expressions and how to translate my tectonic into a facade. I feel like my clay models are not as expressive as previous iterations and feel like more research will help me overcome this issue.

Robyn Mackenzie - Studio 13

05 49

Robyn Mackenzie - Studio 13

25.08.21

Modality Collage

rke

display

Modality Collage

29/10/21: reusing I ended up rategy st ge lla this co times e or a few m the ut ho ug thro d un fo it as r semeste it so fun

Summary: To create this collage I gathered images from my inspiration folder on pottery. I made sure to follow the same colour palette and graphic design language as my site collage to keep my work consistent.

Reflection: I found this exercise to be beneficial as it helped me to visually represent what pottery means to me. When creating the interior spaces of my building I will come back to this collage to gather inspiration and ideas.

Robyn Mackenzie - Studio 13

25.08.21

Facade option 01

Ground Floor Entrance

Tower Facade

Name: The Workstation Coffee Architect: CoRi Design, MDA Architecture Location: Vietnam Year: 2019 The building is a working station, meeting location, and coffee house. The two main segments of the building are connected by curves and balconies. This precedent is a similar shape to my proposed building. I find that the setback glass cutouts make the building seem very cave-like yet still modern and bright on the inside. I also like how the curves are subtle and functional rather than purely aesthetic. 51

Robyn Mackenzie - Studio 13

25.08.21

Facade option 02

Main Facade

Detail of Facade

Name: Saadat Abad Residential Building Architect: Mohsen Kazemianfard Location: Iran Year: 2018 The facade is designed to create a strong connection between interior and exterior spaces. Additionally, the facade blurs the physical boundary of the building -- potentially making it more inviting for the public. This design would be well suited to the gallery and function spaces in my building as the diffused lighting will help protect the artwork. I believe it is too enclosed for the main studio spaces as I want them to be displayed for the public.

Robyn Mackenzie - Studio 13

25.08.21

Facade option 03

Main Facade

Detail of Facade

Name: DL1310 Apartments Architect: Young & Ayata, Michan Architecture Location: Mexico City Year: 2020 The building’s facade consists of inverted bay windows framed by twisted board-marked concrete. This design decision creates a seamless transition between straight angles to curved forms. I like this facade as it has a direct impact on the internal floor plans. The windows cut into the floorspace which creates opportunities for small moments in the building.

Robyn Mackenzie - Studio 13

26.08.21

Sketch Plans Fire Escape

Fire Escape

Roof Deck Pottery Painting Cafe

Pottery Painting Cafe

Roof Deck

Pottery Painting Cafe

Kitchen

Sculpting Studio WC

WC Main Entry

Lift Lobby

Air Dry

Detailing Studio

Pottery Painting Cafe

Lift Lobby Bike Parking

Kitchen

Sculpting Studio

Kilns

Storage

Indoor Market

Lift Lobby

Main Entry

Gl St

Lift Lobby

Kilns

Admin

Air Dry

Detailing Studio

Function and Workshop Space

Gallery

Lift Lobby

Outdoor Market

Bike Parking

First Floor

Fire Escape

Admin Storage

Kilns Ground Floor

First Floor

Second Fl

Fire Escape

Roof Deck Pottery Painting Cafe

Pottery Painting Cafe

Indoor Market Kitchen

Sculpting Studio WC

Lift Lobby

Main Entry

Gallery

Bike Parking

Detailing Studio WC

Air Dry

Glazing Studio

Functio Work Spa

Lift Lobby

Kilns

Admin Storage

Air Dry

Outdoor Market

Indoor Market Function and Workshop Space

Gallery

Outdoor Market

Fire Escape

Second Floor

Ground Floor Fire Escape

Ground Floor

First Floor

Second Floor

Summary: I created my plans in Rhino so I could check the area of each room. I find this technique to be useful as certain services like lifts, stairs, and bathrooms are always larger than I expect. This disparity causes my hand drawn plans to be warped and non-functional. I believe several aspects of these plans need to be revised. First the studio fire escape stair location is inefficient. Second the location of the spiral staircase is

First Floor

unusual and inefficient. Lastly, the function and workshop space is awkward -- perhaps this space could be improved with a rooftop deck.

Robyn Mackenzie - Studio 13

26.08.21

Sketch Section

29/10/21: I definitely made the right call having a smoother atrium as it helped my project look more cohesive and less jagged

Summary: I created my section manually as I was unsure what the 3D form of the building would look like. I believe that the atrium space need significant work as the contours are making it look deformed rather than inviting. I decided to create a sketch of what I wanted the atrium to look like to refocus my ideas. I believe that a smoother form may work better for this upcoming submission until I generate new ideas to represent the contouring. Sketch of Atrium

Glazing Studio

Lift Lobby

Outdoor Market

Lift Lobby

Indoor Market

Detailing Studio

Sculpting Studio

Glazing Studio

Detailing Studio

Sculpting Studio

Section Through Atrium and Studios 55

Robyn Mackenzie - Studio 13

27.08.21

Building Models

This model translated my floor plans into a potential 3D form. This iteration of my building covers more site area than the previous iteration. I believe this is useful as I can design the interior spaces more rather than purely focusing on exterior aesthetic. I found that I reverted back to the tectonics of my least favorite model -- just a mass of clay. This is because I was unsure of how to represent my facade ideas with just clay. To counter this in the future I should utilize other materials alongside clay when I am modeling Model 1

Model 2

This interior tectonic model translates my sketch of the atrium to a 3D form. I believe that this model was not as successful as the sketch -- potentially due to the model lacking dynamism. However, it was important for me to experiment with how the atrium might look in perspectives.

Robyn Mackenzie - Studio 13

Reflections

How has my project progressed this week? This week I translated my ideas into a functional building form with plans and a section. I composed these drawings in Rhino so they could be measured and accurate to the site. I also began experimenting with the overall building form and what kinds of facade expressions should be used. I gathered precedents that reminded me of my project and examined how they represented their concept in the facade.

What has worked well and what has not worked? My plans have worked well as I have effectively translated my concept into a building. However, there are still numerous aspects of the plans that are not working or could be further refined. One thing which has not worked well is my section. I believe this is due to the contours seeming strange and static. This could be countered by reducing the height of the contours from 300mm to 150mm, however, this would result in a significantly higher workload for myself. At this stage the more appealing option is to try ‘lofting’ the atrium to make it more smooth.

What can I do to improve my progress and skills? To improve my progress for the interim presentation next week I need to refine my plans, work on my section, and redesign the atrium to make it more inviting.

Robyn Mackenzie - Studio 13

06 58

Robyn Mackenzie - Studio 13

01.09.21

Structure 01

Concrete Ceiling Grid

Name: Kasmin Gallery Architect: studioMDA Location: New York, USA Year: 2018 The gallery features a unique structural concept to maximise the display of large-scale artworks without columns. The space has ten meter high walls with a polished concrete floor to create a neutral base for the artwork. Street Facade

The ceiling is composed of 28 trapezoidal boardformed concrete coffers. This ceiling grid contains skylights which provide natural light into the interior space. One advantage of this structural system is the flexibility to subdivide the space in different ways. This feature is useful in a gallery where walls may need to be rearranged for different exhibits.

Building Section 59

Robyn Mackenzie - Studio 13

01.09.21

Structure 02

Atrium Contours

Name: Phoenix Central Park Gallery Architect: Durbach Block Jaggers, John Wardle Architects Location: Australia Year: 2019 The structure of this building transforms orthogonal elements into more organic forms. The facade utilizes bricks which are twisted to create a dynamic curving effect. The twisting is gradual to create a smooth shape.

Street Facade

The building also features a contoured atrium. This atrium is made with stepped and contours timber ribs which are attached to a connecting structure. The timber ribs were created through pre-fabrication in a factory and was then assembled on site.

Building Section 60

Robyn Mackenzie - Studio 13

01.09.21

Structure 03

Gallery Entrance

Name: New Gallery and Casemates Architect: Bevk Perović Arhitekti Location: Austria Year: 2019 The building transformed a historic ammunition storage structure of a medieval fortress into a new cultural center. The original structure was retained to celebrate the history of the site Historic Structure

The structure is composed of a series of arches and vaults composed of brick. The arches vary in heights to create a dynamic interior space. One disadvantage of this structural system is the inability to put windows or skylights into the existing structure.

Building Facade 61

Robyn Mackenzie - Studio 13

01.09.21

Materiality 01

29/10/21: I kept coming back to this precedent when I was designing my interiors as I was so captivated by it

Interior View

Name: DressingForFun Renewal Architect: NTYPE Location: China Year: 2021 This interior space uses a combination of timber and concrete to create organic forms at varying scales. The space uses materiality and colour to create an earthy, grounded experience which is enriched with plants. Interior View

The space sometimes narrows or opens to create different moments for different activities. The aim of the tectonic expression is to increase the depth and complexity of this formally contained space. Additionally, the interior expression directly connects to the facade to create one coherent building form.

Building Plan 62

Robyn Mackenzie - Studio 13

01.09.21

Materiality 02

: 29/10/21 e furniture I used th te fe to crea in this ca by the g n ti a se my l my fina kilns in is It . n o presentati tic yet so so simplis g interestin

Main entrance

Name: Ethai Cafe Architect: Quarta & Armando Location: Shanghai, China Year: 2021 This restaurant uses an earthy colour and material palette to tie the building to the earth. The rammed earth is cut strategically to make the seating areas appear that they were carved out. To enhance this effect the building alternates between rough and smooth textures.

Dining Space

The design also uses coarse terrazzo flooring, white arched tiles, and wooden finishes. The overall building creates a connection to nature through natural materials and vegetation.

Plan 63

Robyn Mackenzie - Studio 13

01.09.21

Materiality 03

Pottery Studio

Name: National Museum of Qatar Shop Interiors Architect: Koichi Takada Architects Location: Doha, Qatar Year: 2019 The shop interior uses wooden panels that were CNC cut using a design from a 3D modeling software. The inspiration behind the design is a famous cave system in the country, Dahl Al Misfir. The organic architecture aims to make the visitor feel like they are underground in a network of caves.

Shelving Detail

Similarly to other precedents, this design also aims to connect people to the environment through materiality. The timber gives the space a warm and earthy feel and is more inviting than using stone or bricks.

Plan 64

Robyn Mackenzie - Studio 13

02.09.21

Interim Diagrams

Setback Diagram

Height Variation Diagram

Spatial Progression Diagram

Reflection: The notion of incorporating progression into my design is new for me. I found it to be helpful as it was easier to rationalize why I placed certain programs in proximity to each other

Summary: To create the building form the four main entry points of the building were setback from the street to guide people into the site. Next, the building was divided into blocks which were then lowered to create a varying scale throughout the site. Lastly, the building form was subdivided into different programs that create a progression through the building. The progression was inspired by the different stages of pottery.

Robyn Mackenzie - Studio 13

02.09.21

Interim plans

First Floor

Second Floor

Reflection: These plans used a similar style to plans I created in previous semesters, however, The use of browns was new for me. Overall, I believe that the graphic representation of the plans was successful but the addition of people would make the spaces seem more alive and dynamic.

Robyn Mackenzie - Studio 13

02.09.21

Interim Sections

Reflection: These sections were a completely new representation style for me. To come up with this style I spent the afternoon experimenting in Photoshop. The ability to freely create without a predefined plan was successful as I was not worrying whether I was creating correctly. 67

Robyn Mackenzie - Studio 13

02.09.21

Interior Views 29/10/21: Wow! I can’t believe my representation has improved so much this semester! Something to be very proud of :)

Indoor Market

Gallery

Clay Selection

Kilns

Walkway Bridge

Robyn Mackenzie - Studio 13

02.09.21

Exterior Views

View from Street

Reflection: This rendering style was new to me as normally I do more hyper-realistic renders. I really enjoyed creating these renders as I had absolute control over how I wanted the image to look. I believe one way I can take these images to the next level is by incorporating more shadows and light to make the scene less flat.

Outdoor Marketplace

Robyn Mackenzie - Studio 13

03.09.21

Goal Tracking

Working in different medium

More time for representation experimentation

Watching representation tutorials

Gathering representation inspiration

Designing in section simultaneously

Summary: So far I believe that I have met most of these goals. Sadly, I have yet to break into hand drawing this semester -- in fact I find that I am pushing away from it more. I am unsure why this is but perhaps my focus on representation styles is causing me to want to improve my illustrator and Photoshop skills. In terms of successful goals I believe I have designed in section as well as plan. I still find designing in section incredibly challenging but I am beginning to enjoy it more. Additionally, I have stuck to my focus of creating a new graphic representation style for my drawings. I have really enjoyed this part of the semester as I forgot how much I love creating images that show off my work. I found I was actually excited for interim so I could experiment and play in Photoshop.

29/10/21: I really never broke into hand drawing at all. I just am not inspired by it as much as I used to be

Robyn Mackenzie - Studio 13

Reflections

How has my project progressed this week? My project progressed a lot this week due to interim. I fully developed my building in plans and section and began looking at how the inside of the building may look. I also gathered research on possible materials, interior design concepts, and structural systems that I can incorporate in my design.

What has worked well and what has not worked? My graphic representation exploration has worked really well as I believe it captures the atmosphere of the building and my modality well. I believe that the exterior of my building needs a lot of work. The facade is always challenging for me as I find the complete freedom can be overwhelming. The feedback I got from interim was that the exterior of the building does not reflect my modality as well as the interior. This could be solved by potentially incorporating pottery elements like glazing and mass into the facade.

What can I do to improve my progress and skills? When I was creating my model for interim the one thing that held me back was my lack of Rhino knowledge around organic shapes. As I have only ever designed orthogonal and angular buildings before curves are completely new to me. I found myself confused on how to model the canyon-like atrium and spent way longer on it that is necessary. I believe researching some different 3D modeling techniques will be beneficial to speed up my workflow.

Robyn Mackenzie - Studio 13

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Robyn Mackenzie - Studio 13

05.09.21

Big Ideas Revisit

What is it that inspires you about the human body, the way we experience the world? What could lend itself as a focus for your studio Embody? I need to remember that my initial focus was how people use furniture to create affordances in their environment. I believe as I begin focusing on interior design I will better explore how people use furniture. What specific modality would you like to explore further?

The different compo nents of pottery has surprised me as I initially only thought there were 5: wheel work, hand shaping, glazing, firin g, and painting. I now understand tha t there are many sub-processes that fall into each of these five stages inc luding trimming, etching, wedging etc . These subcomponents are som ething I want to explore further in the remainder of the semester.

ment, ral ele architectu al have you t a h W ri or mate explore tectonic keen to n e e b s y a lw a further? mester I of the se mmed rt a st e Since th wards ra vitated to way to show have gra sa a r e plast hoose to earth and clay. I c f o re s I found a s e the textu h e from arc y a w a r la u r in th stee too pop e b to them studio.

Robyn Mackenzie - Studio 13

05.09.21

Colour Studies This model utilizes an earthy colour palette that represents my modality. The floor is darker than the walls to make the atrium feel tall. The walls contain varying colours to give the illusion of contours of the earth. I found that I was drawn to this option the most as it was similar to my interim design. However, I felt that the colour palette needs a contrasting colour such as blue or green.

Indoor Market 01

This model utilizes contrasting colours from my modality to create a different atmosphere. The walls are darker than the floor to make the space feel more open. I really liked this contrasting colour element and the light colored floor. However, perhaps a bench colour that is different to the wall will help the space stand out.

Indoor Market 02

This model utilizes a dark purple colour to make the space feel dark. The walls are colored in a gradient to reflect the light coming from the skylight. Although the contrasting bench colour is a success I feel like the varied contour lines of previous iterations captured my modality more than this gradient. Additionally, a contrasting colour like green would help make the space seem more lively.

Indoor Market 03

Robyn Mackenzie - Studio 13

05.09.21

Colour Studies This model utilizes the same colours as my interim. The dark wall and floor colours make the space feel narrow and cave-like. The light roof adds a contrasting element, however, perhaps a light green colour would have been more successful. I feel like this option is a missed opportunity to decorate the kilns more and make them more celebrated. Perhaps coloring the inside of the kilns would help?

29/10/21: Looking back, I really liked the middle colour combination as it was so provocative compared to the other options

Kilns 01

This model utilizes earthy tones that contrast with green elements. Additionally, the back wall is colored darker to make the space feel low. I believe that the previous iterations shading, with lighter roof and darker walls, was more successful. This iteration seems confused and distorted.

Kilns 02

This model utilizes the same purple tones as the indoor market iteration 03. The tones of this iteration are similar to the first iteration to create a cave-like atmosphere. I believe that the previous iterations shading, with lighter roof and darker walls, was more successful. This iteration seems confused and distorted.

Kilns 03

Robyn Mackenzie - Studio 13

05.09.21

Colour Studies

This model utilizes earth tones contrasted again neutral colours like grey and black. The tones of the colours make the room seem like it lower and more cave-like. However this effect was unsuccessful as the gallery is a 1.5x space and therefore the effect gets canceled out. For future iterations I want to highlight the height of the space.

Gallery 01

This model contains earthy tones and the green accent colour seen in other explorations. I also experimented with keeping the floors dark to make the space feel tall and open. I believe that the tones of this model are successful, however, the grey roof stands out too much. The third version should try and use similar colours on the roof and floor.

Gallery 02

The tones of this model are the most successful as it creates a nice balance whilst still highlighting important elements like the stairs and columns. This iteration could be improved my resorting to earthy tones rather than the purple tone.

Gallery 03

Robyn Mackenzie - Studio 13

06.09.21

Plan Brainstorm

Option 01

Option 02

Option 01 Pros • ood flow between studio and gallery market • Kilns are celebrated more • Lift core is out of the way

Option 02 Pros • Good connection between indoor and outdoor market • Shape of outdoor market is more dynamic • Bathrooms are easily accessible • Kilns are celebrated

Option 01 Cons • Bathrooms are too far away • Not enough focus on outdoor marketplace • Minimal level changes

Option 02 Cons • orse flow between studio and gallery market • Separation between gallery and market • Kilns blocking off key access point

Robyn Mackenzie - Studio 13

06.09.21

Clay Sensations

29/10/21: This collage really helped me gather my thoughts on the clay senses that I had forgotten since the start of the semester

This collage explores the different sensual qualities of clay including the dampness and cold when you first hold it, the earthy smell, the warmth of the kilns, the smell of smoke, and the

scratchiness of the dry clay on your hands. I found this collage to be useful to gather and explore my thoughts on the sensations I may like to include in my building. 78

Robyn Mackenzie - Studio 13

06.09.21

Embodiment of Clay

To embody the art of pottery means being one with the process. It is to embrace the texture and imperfection of a natural material whilst sculpting it into something new. Its the cold dampness of the clay when you unravel it from its plastic prison. It is to feel the warmth of the kiln and the sadness when a piece of pottery shatters. It is to connect with others through a shared interest -gathering round to examine and give feedback on different projects. Its the way that art can bring people together and make communities stronger.

Robyn Mackenzie - Studio 13

09.09.21

Revised Plans

Reflection: I found it challenging to revise the plans as I was unsure what direction to take my project in. I overcame this by reminding myself that I can continue to change my plans and it’s best to just get something on the page. 80

Robyn Mackenzie - Studio 13

09.09.21

Revised Sections

Section 01

Section 02

Reflection: I found it extremely challenging to design in section as it feels like I am making design moves just to create unique architecture. To overcome this I tried to focus on creating multi-level spaces as these serve more functional purposes than just playing with the shape of the floor plates.

Robyn Mackenzie - Studio 13

Reflections

How has my project progressed this week? Progress on my project was slow this week as I was tired after the first interim. owever, I did start rethinking my plans and brainstorming the direction I wanted to take my project for the remainder of the semester. I also took some time to revisit my modality and reconnect with big ideas I had earlier in the semester.

What has worked well and what has not worked? Spending some time creating collages to brainstorm aspects of my modality helped me to loosen up and not worry about creating a perfect design. I find collages to be a fun way to connect with my modality and help translate aspects of pottery to a built form. Designing in section did not work well as I was hesitant to design for the sake of designing. I believe this is because I am a very orderly and rational person and design to solve problems rather than to design to create something interesting.

What can I do to improve my progress and skills? To improve my progress in the coming weeks I will do some more research to help refine my building design. I will also focus mostly on the plans rather than worrying too much about the sections. I think that trying to force a section design causes me to get stuck and therefore delays my progress. I believe that letting the section design form naturally as I am creating the plans will result in a more cohesive project overall.

Robyn Mackenzie - Studio 13

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Robyn Mackenzie - Studio 13

13.09.21

ESD 01

Exterior View

Name: Ashen Cabin Architect: A A Office Location: New York, USA Year: 2021 This full-scale prototype cabin responds to local environmental challenges by using materials like timber and concrete in innovative ways. The building was constructed with machines which can cut irregularly shaped trees and 3D-Printed concrete. The 3D-Printed concrete requires no formwork and uses the absolute minimum amount of concrete needed.

Interior View

These innovative construction methods help to reduce the CO2 footprint of the building and construction waste.

Building Section 84

Robyn Mackenzie - Studio 13

13.09.21

ESD 02

Exterior View

Name: adi ouse Architect: PMA madhushala Location: India Year: 2020 This house functions like a small fortress with thick walls with lots of thermal mass, internal courts and balconies. The house was designed to accommodate passive systems that utilize minimal energy. Additionally, the building is designed and orientated according to passive design principals to harness light, ventilation, and water and energy conservation.

Interior View

The house contains wind towers to help with natural cooling thus reducing the need for air conditioning systems. Additionally, the thermal mass of the building helps to keep the internal temperatures comfortable year round.

ESD Diagram 85

Robyn Mackenzie - Studio 13

13.09.21

ESD 03

Interior View

Name: TELCA Architect: Mario Cucinella Architects Location: Italy Year: 2021 This building is the first sustainable house 3D-printed entirely from local raw earth. The building is nearly zero-carbon as the use of local materials reduces construction waste and travel emissions. Exterior View

The composition of the earth used in the project responds to local climate conditions. The envelope was designed to balance thermal mass, insulation, and ventilation to create a comfortable interior space. The large skylights help to move hot air out the building through a process known as stack ventilation.

ESD Diagram 86

Robyn Mackenzie - Studio 13

13.09.21

Modality Practice

Wedging

Pinching

Summary: I spent some time diagramming my process of working with clay specifically the circular motion of wedging and the wavey motion of pinching. Whilst I was working with the clay I imagined how I

could translate this movement into the form of my building. Some ideas I had included the facade and any custom furniture I wanted to create.

Robyn Mackenzie - Studio 13

14.09.21

Clay Types

Earthenware

Stoneware

Earthenware (Smith, 2021) • Oldest clays • Most common today • Very plastic and beginner friendly • Warm tone - brown, red, orange, grey • Very versatile • Fires at lowest temp of all the clay

Stoneware (Smith, 2021) • Moderately plastic, hard, and nonporous • Cool tone - white and grey • Works well with glazing and is popular for tableware • Used in hand sculpting and wheel work • Mid firing temperature

Ball

Porcelain

Earthenware (Smith, 2021) • Least plastic clay - hard to work with • Colours are very faint and light • igh firing temperatures • Very fragile

all (Smith, 2021) • Most plastic clay • Produce a white colour when fired • Mostly used in slip casting • igh firing temperature • hrinks during firing

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Glazing

What is Glazing Glazing serves several important purposes including sealing ceramics, making ceramics waterproof, making ceramics foodsafe, and decorating a piece. There are three main ways to glaze potter: dipping into a glaze, brushing glazes onto a piece, or pouring glazes over a piece. Pouring is mostly used if one wants to glaze the inside of a pot or piece. Dipping is the easiest way to get a smooth finish on a piece and therefore is recommended for beginners. Brushing is more complicated as care needs to be taken to ensure application is not streaky. (D’Souza, 2019) Matte (MaiaMingDesigns, 2021)

Types of Glazing There are two main types of glazing including gloss and matte. Gloss glazing is very shiny and reflective whilst matte glazing is duller, more transparent, but still contains various amounts of shine. (D’Souza, 2019)

Gloss (MaiaMingDesigns, 2021)

Considerations when glazing Before glazing a pottery piece needs to be clean with no dust or dirt on the surface as this can effect the finish of the glaze. The glaze also needs to be well mixed as heavier sediments can sink to the bottom and cause an uneven distribution of pigment. Lastly, it is important to conduct test glazes to ensure the different types of clay react well to the different types of glazes to achieve the desired effect. (D’Souza, 2019)

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Firing 29/10/21: stly I decided to mo my use gas kilns in are y the as ing build to compact and easy ol ntr co

Electric Kiln

Gas Kiln

Wood Kiln

Soda Firing

Raku Firing

Sawdust Firing

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Revised Plans

Rolling

A Wheel Work

Wedging

Hangout

Casts Sculpting

Sto Clay Select Tools Lockers

Seating

Storage

Pottery Painting Cafe

Storage

Reception Admin Kitchen

Market Community Meeting

Market

Ground Floor

Reflection: To create these plans I thought about how I wanted to reflect the different pottery stages in my building. I found this technique to be helpful as it restricted my choices of where I could place

different programs. I enjoy designing with lots of restrictions so I found this to be an easy way to become excited about my building design.

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Revised Plans

Smoothing

Air Dry Engraving

Trimming

Water

Void Scrap Sort Slip Storage

Tools

Kiln Kiln Adding Seating

Lockers

Kiln

Cafe Seating/Hangout

Sto

Storage

n Private Events

First Floor

Reflection: I really battled with where to located the kilns throughout the first half of the semester. y feedback was that either they were located too centrally or not central enough. I found this

frustrating as I was running out of ideas on where to place them. However, by conducting more research into kilns I found it easier to place them in my plans 92

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Revised Plans

Glaze Prep Painting

Void Glaze Select

Glazing Kiln

Kiln

Kiln Kiln

Kiln Lockers

Kiln ??????

Storage

e Events

Second Floor

Reflection: I struggled with designing the second floor as I felt it was just a repeat of the first floor. I noticed that all my classmates floor plans were completely different each level which made me insecure as

I wasn’t sure whether I was creative enough to design three unique plans. I believe this insecurity was a reaction against breaking out of my comfort zone as I have always done ‘pancake buildings’ 93

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Facade Ideas

Option 01

Option 02

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Facade Colours

Option 01

Summary: I began experimenting with the shape and colour of my facade. I wanted a design that reflected my modality yet was different from the interior tectonics of my building. ella suggested a mesh screen that represents the glazing of pottery. After deciding the shape of the mesh I began thinking about what colours I wanted the facade to be. I decided to try something out of my comfort zone and incorporate colour into my facade. Normally my facade is composed of white, brown, black, and grey, however, this facade also incorporates green as a contrasting colour.

Option 02

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Reflections

How has my project progressed this week? This week was primarily spent designing my new plans in preparation for interim 2. I began experimenting with what kinds of furniture I envision in my building and identifying opportunities for built in options. I also finally decided on a location for my kilns that was central yet not too central. Lastly I reworked my facade to make it better represent my modality

What has worked well and what has not worked? I felt that my plans this week are working really well. Part of this is due to me creating new restrictions that help me refine and direct my creativity. I found that my research into ESD strategies was uninspiring due to my previous two studios. My last two studios had a massive focus on environmental design where I had to ensure my building was net carbon zero. Consequently, I am bored of environmental design and did not want to be restrained by shading, window size, and building orientation. That is one thing I really liked about this studio -- the ability to design without worrying about all this environmental science and mathematics. Understandably, I chose not to engage strongly with ESD, however, I still incorporated some elements like stack ventilation and thermal mass.

What can I do to improve my progress and skills? After interim 2 I want to try and experiment with creating more realistic renders from a rendering engine. The reason for this is that my collages do not accurately show the shadows and lighting of my building. To accomplish this I need to experiment with a rendering engine I haven’t used before (twinmotion) as my computer is not strong enough to run lumion. Luckily for me, I have another assignment due in week 12 where I have opportunities to create renders. I want to kill two birds with one stone and spend that time learning twinmotion so I am prepared for swotvac.

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Interim 2 Diagram

Spatial Organization Diagram

Summary: This diagram shows the different stages of creating pottery and how I envision them being divided over different levels of the building. When most people think of the stages of pottery they imagine sculpting clay on a wheel and then putting it in a kiln. owever, the art of pottery is much more complex. Pottery involves many processes and sub processes including clay selection, wedging, wheel work, hand sculpting, refining and detailing, glazing, two air drying sessions, and two firing sessions. The building reflects these pottery stages by creating a progression through the building from creating pottery, refining a piece, decorating the piece, firing, and lastly selling.

Reflection: I found this diagram to be very helpful at refining my thoughts and solidifying the procession I envision through the building. I noticed that other students in my class completed similar diagrams if their modality was process driven.

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Interim 2 plans

First Floor

Second Floor

Reflection: I was really happy with how the representation of these plans turned out. However, I was surprised that even though I have made a conscious effort to experiment with curves my building is still very angular. y housemate likes to call it a obyn uilding . I guess it proves that I have a defined architectural style.

29/10/21: andy gave me I that feedback should also revisit community my space to make it designed more rather than generic 98

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Interim 2 Sections

: Looking back this section was definitely taken in the wrong space. I’m glad I changed the location for the final presentation

Reflection: Overall, I was happy with these sections but I felt that they still were a bit flat. I believe that doing perspective sections for the final could help create more depth and consequently make the drawings more interesting. I also think that I need to add more surrounding context like other

students in my class have done. This will also make my building feel more grounded rather than it being randomly floating in space.

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Interior Views

Indoor Market

Atrium Stairs

Painting Studio

Kilns

Wedging Studio

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Exterior Views

Reflection: I really like the colours of the exterior facade, however, the overall drawing feels flat. pon looking at my classmates work I found that those who used renders as a base and then postprocessed them to be more artistic were very successful. This is something that I want to try for the final presentation.

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Detail Section

Atrium Detail

Reflection: I was very lost about what this drawing was supposed to be and therefore did not spend that much time on it. I think that looking at other student’s detail sections will help me figure out what I want this drawing to be for the final.

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Reflections

How has my project progressed this week? My project progressed a lot this week as it was the second interim submission. I found that my feedback for the submission was very positive as my plans were very resolved in comparison to my classmates. I found this humorous as I had only about a week refining my plans before the submission. owever, many of my classmates had more refined sections and facades than me. This is definitely something I need to work on in the coming weeks

What has worked well and what has not worked? I was really proud of my renders that I produced for this submission as I managed to make them very atmospheric only using photoshop. I have always felt confident in photoshop but these semester my skills have improved a lot. One thing that is not working is my detail section. The drawing is too zoomed in as does not show anything in particular. This could be solved by increasing the extent of the drawing to show more of the facade.

What can I do to improve my progress and skills? In the upcoming weeks I want to focus on the outdoor market and the atrium as these areas are not developed enough. Some ideas I have include adding balconies where one can sit and watch the market below and a staircase that connects the outdoor market to the first floor of the atrium. In terms of skills I want to work on my rendering abilities so I am comfortable using the new software for the final submission.

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Stair sketch

: ore did m e I h th I wis f ns o out iteratio y tr to s stairs n o ti nt op differe

ummary: This sketch is a plan of the outdoor market and shows how I can connect the atrium to this space. I want to continue the tectonics of the atrium

outside to create a more cohesive architectural project.

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Stair precedents

quare eet Architects,

o.,

ummary: I gathered some inspiration images for how the outdoor market staircase could look. I want the design to be functional as a staircase yet has the ability to be used as a potential gathering space -- increasing community. I originally envisioned greenery on the stairs but steered away from this ideas as the stairs will face south and there also is not that much space on the stairs.

omena,

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Lighting Sketches

Studio Shelving

Market Bench

Kiln seating

Wedging Room

ummary: These were some sketches I made during and after my talks with Josie. She gave me different strategies I could use to hide lighting and how to position lights to show the texture of my walls. 107

: I think I will continue to use these lighting strategies in future studios as they were easy and effective

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Reflections

How has my project progressed this week? My project did not progress much this week due to a high workload in my other class. owever, I made sure that I was still sketching and gathering inspiration images so I knew how I wanted my pro ect to be for the final.

What has worked well and what has not worked? Taking a break from studio this week worked well as I find it makes me more productive in the final weeks of the semester (For example I am writing this is swotvac! Oops!). Stepping back from studio also allowed me to gather my thoughts on my design and approach the redesign in week 11 with a fresh set of eyes. This helps me to be more objective when making design decisions as I am not as attached to my design.

What can I do to improve my progress and skills? I wish I had documented my thought process of the stairs more thoroughly. Most of my brainstorming actually takes place in the shower as I can sketch on the glass door. owever, one obvious downside to this is I don’t have a record of my sketches. I’m not sure how to overcome this -- perhaps having a mini whiteboard in the shower would help? Another hurdle to my lack of sketches is that my brain moves faster than my hand. This causes me to have already worked through and ‘solved’ my design before I even start sketching my first line. One thing about me which I m sure you may have picked up on) is that I hate backtracking. This means that once I have ‘solved’ the design in my mind it seems redundant to sketch it out on paper.

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Revised Plans

Reflection: After changing the outdoor market and adding balconies in the atrium my design is working much better. I feel like these design changes have made my project really unique and it now stands out from other atrium’s in my class. However, I do feel guilty that I have not changed much of the rest of my building.

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Market Design

Clay

Concrete

ummary: ere is a draft view of my redesigned atrium with some potential materials. I believe that this view is too busy and chaotic which is not the atmosphere I want in my atrium. This could be solved by changing where the view is so less of the marketplace is visible.

Ceramic

: t the righ I made the g in g n call cha or the indo view of d a h I ce as marketpla drawing another e owed th which sh s balconie

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Stair Design

Clay

Concrete

Water

ummary: This is a view of the atrium stairs. I like this view as it has a good balance of foreground, midground, and background. One thing I want this render to show is the stream that runs through the atrium. This idea was my dad’s as he mentioned that canyons tend to be shaped by water. I believe that the water on the ground (covered by glass of course could also serve as a way finding element by guiding people from the main entrance to the reception and marketplace.

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Studio Design

Brick

Concrete

Terracotta

ummary: This view is a good base, however, the chairs are not very ergonomic for painting. Stools would be better as it allows for an increased range of movement. Additionally, the horizontality of the stools will place emphasis on the shelving. For this space I envision the use of bricks and terracotta shelving to bring out the red tones of the clay.

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Wedging design

Terracotta

Terracotta Tiles

Concrete

ummary: To improve the wedging room from the last submission I focused on designing tables that represent the sculpting of pottery. I also created indentations on the wall to add texture and tie the design to other spaces in the building. The materials in this space will be warm to represent the heat of wedging clay.

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Kiln design

Brick

Concrete

Terracotta

ummary: To improve the kilns I spent time brainstorming how to make the seating bench more engaging. I settled on a design that I saw in a few of my material precedents -- scalloped concrete. This design decision gave the space more movement and added depth to an otherwise flat design.

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Structure Ideas

ame: Organic ouse Architect: Javier Senosiain Location: Mexico ear: This building uses ferrocement to create a moldable and dynamic architectural form. A steel shell was constructed with rods arranged in the form of rings. The rods were spirally wound and secured. ext, the concrete was thrown onto the frame and smoothed to create a seamless surface. This technique can be used in my building in conjunction with traditional concrete prefabricated walls to hold up the atrium. My atrium is designed in 600mm high strips therefore each ‘frame’ would only need to be this high before a new frame begins. This will increase the dynamism of the atrium and get the layering affect evident in the renders.

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Back facade ideas

View of Back Facade

My Design Solution

View of Back Facade

Reflection: I felt like the back facade was not working as it seemed so flat. I began brainstorming ways I could create a more engaging space above the staircase. ventually I settled on trying different levels to create more depth and interest. I believe this was successful as it did not compete with the atrium tectonics and instead complemented the form. 117

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My practice Touch Damp Cold Squishy Slippery Warm

Smell Earthy Sweet Water Clay Fire

See Cave Dark clay Tools People

hear Kilns Wheels Chatter Water Banging

ummary: This diagram shows my experience practicing pottery. I tried to focus on the senses that I experienced including touch, smell, see, and hear. I then charted connections between the senses to see what elements came up often. This exercise helped me understand the characteristics that I associate with pottery

: This diagram is very similar to the one I completed in week . This was completely unintentional

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Reflections

How has my project progressed this week? My design did not progress much this week but my project progressed well. I spend much of the week finalizing my plans and working on my 3D model. The 3D model allowed me to identify anything that wasn’t working (e.g. my balcony was too narrow at one point). I also spend a lot of time designing furniture to go in my building as I wanted custom options that represented pottery.

What has worked well and what has not worked? My furniture design has worked well as it now looks like it was sculpted from pottery. I believe the simplistic nature of designing furniture will really help bring my renders to life by providing more detail. One thing that has not worked is the back facade before I made changes as it seemed like two different architectural languages.

What can I do to improve my progress and skills? I want to spend more time on representation for the final submission as one of my goals for this semester was to improve my representation skills. I will do this by giving myself multiple days to do the renders so I can experiment with different materials, lighting, and effects. I also want put more effort into my diagrams so they are more engaging and not just greyscale.

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Process Diagrams

1. The two main entry points into the building are setback from the street to guide people into the site Entry Setback

2. The building is divided into blocks which were lowered and raised to create a varying scale throughout the site. cale and

ierarchy

3. Final details are added to the building to showcase the tectonics of pottery. Final Isometric

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Zoning Diagram

Final Zoning Diagram

Studios Atrium / Indoor Marketplace Pottery Cafe Admin Firing / Kilns Air Drying Gallery Function / Workshop

Interim 01 Zoning

Reflection: This comparison between my first zoning diagram and my final zoning diagram shows how much my building has been rearranged. I am very proud of how much my building has changed as normally Studios I am very reluctant to redesign my building. I Atrium / Indoor Marketplace believe my willingness to change things this

semester could be due to me not doing a studio last semester. Therefore, I am more energized and creative that I would have otherwise been.

Pottery Cafe Admin Firing / Kilns

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Circulation

Reflection: This diagram shows the circulation in my building. Overall, I think that I could have been more creative with how someone navigates and transitions between different levels of the building. This could be something to explore in future design projects. 123

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Plans

First Floor

Second Floor

Reflection: I am very happy with how the final plans turned out. I believe that they showcase my modality of pottery well and are very unique compared to other plans in the class. If I could do one thing differently I may have experimented with putting different colours in the plan to create contrast. 124

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Sections

Reflection: These perspective sections are working much better than the interim two sections. I feel like these drawings have much more depth and are conse uently easier to understand.

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Interior Views

Indoor Market

Atrium Stairs

Painting Studio

Kilns

Wedging Studio

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Exterior Views

Main Street View

Reflection: I am very proud of how my main hero shot turned out. sing the render as a base was a fantastic idea as it helped create more depth and more realistic shadows. I also like how the rendering engine caused my mesh screen to almost sparkle. I believe that I definitely met my goal of experimenting with a new rendering style and I am excited to see how I progress in thesis.

Outdoor Marketplace

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Detail Section

Reflection: This detail section is working much better than the one in interim two. I believe this is because the larger scale makes it seem more interesting as one can see the relationship between different levels. One thing I would change in this drawing is potentially adding more construction detail to show off my knowledge. However, I was concerned that the detail may get lost in this scale of drawing.

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Night Render

Market Render at Night

Reflection: I decided to make my surprise drawing an image of the atrium at night. This was on the advice of my dad who suggested I light up his token canyon stream (he gets one architectural feature per design project of mine). I found this drawing to be successful as it really captures the texture of the clay walls of the atrium.

Market Lighting Detail

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Lighting Details

Atrium Stair Lighting Detail

Kiln Lighting Detail

Studio Shelving Lighting Detail

Wedging Lighting Detail

Reflection: I really enjoyed making these lighting details as one of my favorite subjects is construction. I enjoy thinking logically and coming up with solutions to how my design could be built. One area that I struggled with was the atrium staircase as I felt just using reinforced concrete was a cop out. However, the mass directly relates to my modality. 130

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massing model

Model View 01

Reflection: I decided to remake my clay massing model as the old one was outdated. I found this to be challenging as it had been a few weeks since I had last worked with clay. I did find that I uickly got back into the rhythm of my modality and enjoyed making this model. I wish the model could be more detailed, however, my clay sculpting abilities are still a work in progress. This could be something I can work on so my models can be better next semester.

Model View 02

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Reflections

How has my project progressed this week? My pro ect progresses significantly this week as it included week and swotvac. I finished my design, my drawings, and even had time to create a new model.

What has worked well and what has not worked? One challenge I ran into was how long the sections took me. Every semester I fall into the same trap of thinking I can do them in one day. You think I would have learnt but apparently not. This delay caused my precious timeline to be thrown off and I was panicking for a few days before I could catch up again. owever, it all worked out in the end and I finished my presentation three days before it was due.

What can I do to improve my progress and skills? One thing I will make sure I do is not underestimate how much time sections, especially perspective sections take, I was too optimistic about my time management skills and it backfired on me. For thesis I would like to continue to grow my rendering and photoshop skills as I am always looking for new ways to improve.

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Final thoughts

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Sem Reflection

houghts on the studio? I have really enjoyed this studio as it was completely different than my last two studios. I really liked how I was allowed to be really creative without worrying as much about functional components like solar heat gain and a material’s embodied energy. I learnt several new skills that will help me come up with design concepts in thesis including collages, sketch models, and program diagrams. I en oyed the focus on lighting design as I have never been taught it in architecture school. Lighting opens up a whole new realm of architectural design and made me excited to explore new atmospheres and effects. or the first time in a while I actually had so much fun designing my building. I am sure this was evident in my enthusiasm when I was presenting and the effort I put into my drawings. One thing I found challenging in the studio was the amount of sketch models we had to create. I have been on what I like to call a ‘physical model strike’ since undergraduate when I had to create a large model for Construction Design. This studio forced me out of my comfort zone and made me (begrudgingly) start making physical models again. Although model making was tedious at times I did enjoy making the clay models. These clay models were easy to make and allowed me to quickly experiment with different forms. Overall, I am glad that I took this studio and am excited to apply the skills I learnt for my thesis.

How did I improve? My main goal this semester was to improve my representation skills as they had stagnated. onsequently, I spent a lot of time researching and trying different representation styles until I found something that I liked. I also gave myself more time to explore and have fun creating drawings rather than pumping them out as fast as I can. This slower approach made me appreciate my building more and be excited to decorate my drawings in Photoshop each morning. I also felt like my journal improved a lot this semester as I spent much more time on it than in studio and D. The quality of my reflections was better and I also spent more time on graphic design to make the whole document feel cohesive.

What did I not achieve? The goals that I did not achieve was designing in section and doing more sketches. I came into the studio fully prepared to think through my building in section, however, when we had a weekly task that encouraged it I copped out. I believe that section design could just be beyond my comfort zone in architecture and that I should not force it ust because I can. I find that my best sections actually come from designing in plan and then letting them form naturally. This approach creates a cohesive building form that does not feel forced to include fancy gimmicks. Additionally, I failed to do more sketches to brainstorm ideas for my building. I actually found that I have done the least amount of sketching in any of my studios I have no idea why this is but my main theory is that my confidence in my designs has grown. Therefore, I am no longer trying out several different design options as I trust that I have come up with a suitable solution after only a few options. I also processed my ideas much faster than previous semesters which meant I did not get stuck nearly as much. Overall, whilst I am disappointed that I did not meet these goals I understand that it may just not be how I design and there is nothing wrong with that.

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References

D ouza, . . ow to master ceramics glazes for beginners. etrieved October 3 , https www.thesprucecrafts.com ceramics glazes for beginners 3

, from

Lutyens, D. , April . hy the slow, mindful craft of pottery is booming worldwide. BB ulture. etrieved October 3 , , from https www.bbc.com culture article why the slow mindful-craft-of-pottery-is-booming-worldwide Milne, L. . even pottery firing methods commonly used. https thepotterywheel.com firing clay

etrieved October 3 ,

Pallasmaa, . . The embodied image Imagination and imagery in architecture. https en au The mbodied Image 3A Imagination and Imagery in Architecture p Plummer,

, from

www.wiley.com 3

. The architecture of natural light.

Prysten, . , anuary . tep by step process for making handmade pottery. etrieved October 3 , , from https www.hughprysten.com blogs news my step by step process for making handmade-pottery mith, M. , eptember . hat are the four types of clay https://potterycrafters.com/what-are-the-four-types-of-cla

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etrieved October 3 ,

, from

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Three lists

Project Ideas • • • • • • •

Light and airy building Building as interlocking planes Beekeeping Network of caves Interesting circulation Restaurant and dining area Implement water more into building

To Improve • • • • • •

Sketching ability Working with other mediums Rendering with Twinmotion Documenting design iterations Documenting my thought process Model making skills

Tools • • • • • •

Left hand drawings Sketch models to generate ideas Abstract site collages Collages to generate ideas Creating atmosphere in Photoshop Clay massing models

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