44
Curated by Ruby Mazzocco
Art, Life & Other Things
001
Studio 44
A BODY OF THOUGHT
STUDIO
RM
002
44
Everything shall be better understood under the microscope of art.
003
CONSTUDIO
Week 7: I hope that this journal brings you joy. It was a pleasure to put together, regardless of how sleep-deprived I was while doing so. This semester has welcomes moments of frustration, bewilderment and awe, but looking back, I could never have imagined the amount I have learnt only halfway into the semester. I am proud of the work I have done, there are kilometers of improvement to be made, but I’d say that I’ve come leaps and bounds since my coloured pencil delivery of week one. I am so sorry. Now: I had every intention of completing this final journal before the night it was due. However, certain circumstances arose and I’d be lying if I said I wasn’t RM
writing this very reflection at 11:39pm on the 5th June, 20 minutes before this document is due. As you’ll see through my section titles, this project wasn’t easy, it was a marathon to say the least. It was consistently challenging, every week, but we worked through it. There were lots of tears, in fact I think this journal even saw some. There wasn’t lots of sleep. But there was an unforgettable amount of growth. I’m not convinced that the growth happened because of the struggle but I am sure it played a part. I’m a firm believer in not putting aside one’s physical or mental health for work or study, but I did that this semester and I’d prefer not do it again.
Personal life aside, this subject taught me more about architecture than I probably learnt in the whole first year of school. I learnt about archetypes and heritage and Davidson and Henderson, I mean, who else would’ve taught me about them?! Sam’s wealth of precedent knowledge never went unappreciated and his immediate knowledge of what is wrong with an architectural scheme is admirable. As I say on the last page of this journal, I am proud of the work that myself and my group have done and I endeavour to look back on this subject, past the many struggles, and focus just on that. In the end, we did good.
TENTS 44
FINAL
THE LIVING ARTISTS SOCIETY
007
WEEK ONE
ART & THE MARKET
017
WEEK TWO
CONSERVATION & RENEWAL
023
MANUFACTURING & COMMODITY
031
DISSEMINATION & STORAGE
041
THE ACADEMY & THE STUDIO
053
WORK IN PROGRESS
063
MID SEMESTER PRESENTATION
069
THE A0 PANEL
088
DEFINING THE INSTITUTE
095
WEEK THREE WEEK FOUR WEEK FIVE WEEK SIX WEEK SEVEN MID-SEM WEEK EIGHT WEEK NINE
DIAGRAMMING THE INSTITUTE
101
WEEK TEN
A HURDLE
109
WEEK ELEVEN
A REVIVAL
119
WEEK TWELVE
ONE GIANT STEP
131
THE FINAL COUNTDOWN
141
THE LIVING ARTISTS’ SOCIETY
155
WEEK THIRTEEN FINAL
STUDIO
RM
006
44
We begin at the end
FINAL - THE LIVING ARTISTS’ SOCIETY 007
WK13 05.06.22
STUDIO
RM
008
44
009
THE FINAL DRAWING WK13 05.06.22
STUDIO
Panel 1
RM
010
44
011
WK13 05.06.22
STUDIO
Panel 2
RM
012
44
013
WK13 05.06.22
STUDIO
Panel 3
RM
014
44
015
WK13 05.06.22
STUDIO
RM
016
44
And this is how we got here
WEEK ONE - ART & THE MARKET 017
W01 01.03.22 + 04.03.22
STUDIO
WEEK ONE ART & THE MARKET THE FALLEN Week one asked us to take a moment from the Cable Tram Engine House and hero it through two styles, artifact and surrealism. Artifact was an enjoyable task, I found it simple and therapeutic. Surrealism proved to be more of a challenge. We also introduced the idea of art as a commodity in a market where value is decided on no consistent scale. The site stands so majestically in the hustle and bustle of Fitzroy life. It is solid and ever-present in an ever-evolving society. It is an incredible thing to have stood so still for so long.
Walking through the gardens after visiting the site.
READINGS: Wilson, Ashleigh. Brett Whiteley, Art, Life and the Other Thing, ‘An all absorbing interest’, pages 1-15. Brady, Anna, 2022. This £45m Magritte painting could double artist’s previous record. Vaneigem, R, 1963-65. The Revolution of Everyday Life, Chapter 20. RM
018
44
These colours are so vivid and yet they seem to be slightly morbid subjects. I would love to create a similar effect.
I think I feel comfortable in attempting a dot-shaded artifact drawing.
I love the smoothness of this.
019
W01 01.03.22 + 04.03.22
STUDIO
FEEDBACK RECEIVED
Feedback mainly revolved around the process of creation for my second piece. It was handy to hear other students’ digital processes - Shirley’s especially, this would’ve been the considered way to go.
RM
020
44
SOME THOUGHTS
I will probably never submit a work completed with coloured pencils again. I operate digitally, primarily. Sketches are for hand drawing (and even these I find difficult), everything else, I’ll do on the computer. I admire surrealist painters, they create a smoothness that I simply cannot fathom creating with a nondigital medium..
021
W01 01.03.22 + 04.03.22
STUDIO
RM
022
44
Preservation over disposal.
WEEK TWO - CONSERVATION & RENEWAL 023
W02 08.03.22 + 11.03.22
STUDIO
WEEK TWO CONSERVATION & RENEWAL THE CONSERVATORY This week we explored the importance of art conservation and restoration. I think that art restoration is the most incredible thing. It blows my mind how people can have that much patience and that steady of a hand. I would absolutely feature on the Botch-Up article if I were to ever attempt restoring a painting. For some reason this week the fact that Sam mentioned that it was unfortunate that the CTEH had so few windows you can barely ever see in, really resonated with me. It’s for that reason that the ONLY architectural addition to the site in this week’s project is a giant window, and nothing more.
I felt that this precedent combined a good amount of glazing within a heritage site.
READINGS: Reshaping the Collectible: When Artworks Live in the Museum / Contemporary Art Conservation Helia Marcal - Tate The Science Behind the Restoration of a Painting, Invaluable, 29 May 2019 It’s a Botch-up, Hannah Jane Parkinson, The Guardian, June 25 2020
RM
Convent de Sant Francesc, David Closes 024
44
John Doug Miller was my inspiration in my folio to get into this degree. I thought I’d figured out how to do justice to his style. Unfortunately, I think I need to be able to actually illustrate in order to come anywhere near doing justice to his style.
025
W02 08.03.22 + 11.03.22
STUDIO
This took me a long time to do. I thought I had an idea of how to approach it, but l really did not.
RM
I ended up going with the lighter colour scheme...I think I prefer the darker.
026
44
On reflection, there will only ever be very specific occasions where I export linework from a Rhino model.
It’s tasks like these that make me question if I even have any architectural preference or style or thought. I have no idea what this glass portal is, or how it works, and it definitely cannot stand up.
027
W02 08.03.22 + 11.03.22
STUDIO
FEEDBACK RECEIVED
Little was discussed about the drawing style however I now know to never show the same person in different spots on two drawings. You may only use them if they’re in the same place, being viewed from different angles. Conceptual feedback was mainly relating to the flatness of the design, it didn’t push far enough, it wasn’t dramatic enough, it needed more.
Exterior Corner RM
028
44
SOME THOUGHTS
In general, I was really happy with my John Doug Miller attempt. Personally his drawing style is one of my favourites and I’ve always wanted to be able to draw in a similar way. I felt comfortable this week, like I knew what I was doing. But to be fair, I had very little conceptual backing.
Interior Corner 029
W02 08.03.22 + 11.03.22
STUDIO
RM
030
44
Seeing it all, from beginning to end.
WEEK THREE - MANUFACTURING & COMMODITY 031
W03 15.03.22 + 18.03.22
STUDIO
WEEK THREE MANUFACTURING & COMMODITY THE CANVAS FACTORY, WITH MEICHEN This week was challenging, technically. Meichen’s incredible modeling abilities created a wild composition of machines to be rendered and I think I was out of my depth for a few hours, but I felt confident in our dogma attempts. Our feedback centred mainly around the greater concept of the project, highlighting a need to know the ins and outs of the purpose, the value, the intricate details and definitions.
The HERITAGE lecture Sam gave on Friday was helpful and informative. It presented the following words as ways we could approach heritage in our projects - I need to make an active effort to ensure that I consider heritage throughout the rest of the weeks’ esquisses.
READINGS:
SHROUDED ENVELOPED BLANKETED GHOSTED ECHOED IMITATED UNCOVERED EXTRACTED EXCAVATED RE ASSEMBLED INVERTED SUBMERGED
Gamblin’s New Reclaimed Earth Colors: Eco Friendly Oil Paint, MacKendrew Arts, April 11 2020 The Pigment Trade in Venice and the Mediterranean in the Second Half of the Fifteenth Century, Andrea Mozzato, 11 October 2011 Society of the Spectacle: Chapter 8, Negation and Consumption within Culture, Guy Debord, 1967 RM
032
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I love the flatness of Dogma images. If I never had to include another shadow in a drawing, I’d be a happy girls.
This just feels very Cluedo to me, that’s all I can see, every time. I am a big fan of the use of timber texture coupled with flat colour rendering.
033
W03 15.03.22 + 18.03.22
STUDIO
My very amateur-hour attempt at modeling machines. See Meichen’s additions below. Nothing else to say here.
RM
034
44
This was a completely collaged drawing, I didn’t use any linework, however maybe I should’ve used a faint white stroke.
It is a simple collage but I feel that it shows the threshold between store and factory well. It is literally the three steps down that change the space from retail to manufacturing.
035
W03 15.03.22 + 18.03.22
STUDIO
Perspective
FEEDBACK RECEIVED
We critiqued each other this class, it was interesting, but we were up first so we had very little idea of where we were going. We were critiqued on the absence of balustrade (my fault for simply not being able to model it at the time) and this developed into a lengthy discussion that I felt had nothing to actually do with our scheme. RM
036
44
037
W03 15.03.22 + 18.03.22
STUDIO
Perspective Plan
SOME THOUGHTS
As per usual, I wish I had more time to finish this drawing. Meichen’s machines that she found were so fantastic but I didn’t get time to colour them properly, and I think that would’ve helped the Dogma style. RM
038
44
039
W03 15.03.22 + 18.03.22
STUDIO
RM
040
44
Art is still art, whether stored or displayed.
WEEK FOUR - DISSEMINATION & STORAGE 041
W04 22.03.22 + 25.03.22
STUDIO
WEEK FOUR DISSEMINATION & STORAGE THE TRAVELLING PANELS, WITH KELLY AND IOANNA This week was a big one, and just to make matters worse, we decided to do two perspectives of our doorway... This project revolved around movable storage that travelled through an exhibition state to its semi-final storage destination. Taking inspiration from the door storage in Monsters Inc, our concept blended storage and gallery, allowing visitors to interact with all stages of the art storage process. Our visual inspiration was Arinjoy Sen, the most detailed, slightly whacky architectural artist, his drawings are flat but perspectival at the same time.
READINGS: The Open Storage Dilemma: Kimberly Orcutt, The Journal of Museum A New, Safe Home for the Louvre’s Unseen Treasures: Elaine Sciolino, The New York Times Feb 2021 The City of Collective Memory: M. Christine Boyer, MIT Press, 1994 RM
042
44
Our art storage system was inspired by the door storage system in Monsters Inc. It doubled as a moving exhibition space and created a feature that was different every time you saw it. We had grand ideas about how our drawings would look, but I felt that perhaps the colour scheme I had eyedropped didn’t allow us to achieve as ‘Arinjoy Sen’ a vibe as we could’ve. His work is so intricate, sharp, clean, flat but perspectival, I think it’s incredible. Had we had an extra week, I think we could’ve nailed this style, but, alas.
043
W04 22.03.22 + 25.03.22
STUDIO
The illusion of an open door for humans on the left. The reality of the large open double doors for vans on the right.
Kelly taught me about material ID and how to export from enscape, super handy for future drawings
This allows you to select the pixels that make up one material and Photoshop them easily.
RM
044
44
I think I remember us spending an entire night on these sections and elevations. They exhausted us. It’s such a long building.
We maintained the exact same view but stitched two sections together so that the overall section snaked/zig-zagged its way through the scheme.
045
W04 22.03.22 + 25.03.22
STUDIO
Entry Perspective
Our doorway opened twice, a small offset opening for pedestrian visitors and a large double gate for delivery trucks.
RM
Its resting closed state is initially confusing but equally as inviting, for it appears as though the door is already open. It is also human in scale, welcoming, rather than overpowering. 046
44
Entry Perspective
047
W04 22.03.22 + 25.03.22
STUDIO
Perspective Plan RM
048
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049
W04 22.03.22 + 25.03.22
STUDIO
FEEDBACK RECEIVED
The feedback this studio was mostly presentation related. After three boot-camp-like rounds of presenting, we were exhausted but we had a great idea of how to present our projects. From looking at the other drawings however, we could take some inspiration on colour palette and collaging using precedent elements.
RM
050
44
SOME THOUGHTS
I was happy with our section cut especially, the way it snaked its way through the building at different depths. Perhaps there was too much depth and shadow to our drawings, Arinjoy Sen seems to create flat drawings that are somehow perspectival, not perspective drawings that appear flat.
Elevational Perspective 051
W04 22.03.22 + 25.03.22
STUDIO
RM
052
44
Education is power, is freedom.
WEEK FIVE -THE ACADEMY & THE STUDIO 053
W05 29.03.22 + 01.04.22
STUDIO
WEEK FIVE THE ACADEMY & THE STUDIO THE GARDEN OF SURVEYED DREAMS, WITH REBECCA Upon arrival, you are surprised to see that what once was there, is gone. But vanished, the Cable Tram Engine House, has not. In the humblest way possible, it seems to have simply sunken into, or been absorbed by, the ground around it. In its place, glass boxes protrude through the surface of the earth, giant lightwells beaming up towards you, they are scattered, randomly across the site. You are intrigued by what you see, the light draws you towards it as you step over what used to be a parapet. Below you see the artists, each secluded to their own glass box, their own glass frame, they are free to be observed. They work away, productive, and quiet, as the people above watch on. Careful with your step, you pass by a deep cavity in the earth, grass covered steps down to the speaker’s stage, look to have been swallowed by the site.
Art is bought for millions, while artists struggle to make a living. The practice of art is so often disregarded and yet we regard, in awe, the finished product. The commodity of art is separate to its maker, it is above the practice. In this space, the public will literally walk above the practice.
People sit around you, the are content and they are talking a lot. In front you of you, notice the offices and their employees, tirelessly working away to keep the allure alive. You have the sense that there is much going on underneath, but from where you stand, there is an overwhelming calm. You are not a part of what happens below, but you revel in its existence. You gain from its presence. You step over another artist. You are better because they are there.
The Louvre is a great example of architecture that allows people external to the space, to still experience the space, albeit purely visually.
READINGS: The Cultural Politics of the Art Academy, The Eighteenth Century, AUTUMN 1994, Vol. 35, No. 3, Academic Cultures, Albert Boime Koolhaas, Tschumi. 2 Architects 10 Questions on Program, Ana Miljacki, Amanda Reeser Lawrence, and Ashley Schafer, Praxis Volume 8 The National Museum Canberra and its Garden of Australian Dreams, Richard Weller, University of Pennsylvania 2016 RM
054
44
This week Rebecca introduced me to the world of yellow trace and it’s like I hadn’t studied architecture AT ALL in my life. To be fair, it was never brought up in 1st year of the 300pt program, or I never searched for it. It allowed us to do probably the best brainstorm I have ever done in university. It was seamless, and it landed us with a really solid concept.
Possible project views looked down into and up from the glass box studios.
It’s a bit of an optical illusion but this one is looking up from within the underground studio.
055
This will be our zoomed out view, unfortunately, on reflection, this wasn’t zoomed out enough, I should’ve come from the other side.
W05 29.03.22 + 01.04.22
STUDIO
I found this visit incredibly touching, if not for Vera’s circumstance, then for the sincerity with which she described everything. I was an unusual combination of comfortable and in awe.
STUDIO VISIT WITH VER
It was incredible to see an active studio at work, the amount of material required to keep a single artist at work was astounding. Every single area of the studio was jam packed with content; art, materials, equipment, items in storage. But it still felt calm, in some way. RM
056
44
I’m certain this studio visit will help me beyond this week’s task and probably beyond this studio subject. It affected me more than I was ready for it to.
RA MÖLLER
057
W05 29.03.22 + 01.04.22
STUDIO
I regret not keeping this colour scheme but due to us wanting to show a light, we had to go for a night time shot.
I wish we had kept this wide view, but unfortunately, the requirement was portrait and our design was so landscape. I used enscape to render these views, however now looking back, It would’ve been easier to stay within rhino. This view to the right shows the object ID export, I don’t think I have ever used this when rendering something, it is the MOST tedious.
I was so happy that I managed to get a light beaming up from the underground studio.
RM
058
44
The colours we printed.
The colours we should’ve printed.
059
STUDIO
FEEDBACK RECEIVED
The concept was loved but the drawings were average. The idea of visible private space and the contrast between the leisurely folk up top and the hard-working artist below, were poignant and appreciated. But the drawings were unclear and both were too zoomed in to show enough scope. Greater site context was needed for the drawings to have been loved.
RM
060
44
SOME THOUGHTS
I wish I had chosen different views here - we thought they were clever, but we didn’t realise how much of the project they would cut out. I also should’ve considered the fact that these images appeared brighter on screen than they did printed. We couldn’t see a thing. This is most embarrassing because I am a graphic designer.
061
W05 29.03.22 + 01.04.22
STUDIO
RM
062
44
If you can be anything in this world, don’t be indecisive.
WEEK SIX - WORK IN PROGRESS 063
W06 05.04.22 + 08.04.22
STUDIO
WEEK SIX (WORK IN PROGRESS) ART CLUB WITH KEVIN AND ZHEN It would be lying to say that we had any concise idea of what was happening with our project this week. In fact, I’d say we had 10 different ideas, none of which were deep or fleshed out enough to cut it for mid semester. We liked the idea of freedom through art, creating a space for everyone, where art and artist was respected equally, but there was no weight to it. Much deeper reflection was required. A State
Adapt
B State
In Jarrod’s diagramming lecture that Sam presented, most of those diagrams were actually architectural drawings... This surprised me...and confused me. I’m not sure about the difference between a diagram and a plan now.
We seem to be gravitating to the idea of infinity and endless art production and renewal of architecture. I’ve played around with graphic diagrams but I feel uncomfortable making them architectural. I keep going to collage but I question whether this is architectural enough.
RM
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44
And maybe after all, it way not about art, but about people all along. About you and me and them, and us. Every single one of us who bumble around day in, and day out. Making things, and words, and art, and trying as hard as possible to dedicate ourselves to some greater cause, and ultimately, in the end, be free from us all.
I had a moody moment in class this day.
065
W07 12.04.22
STUDIO
Contrary to how I would usually make a presentation, this one has to be mostly graphic, limited text allowed...I understand the purpose of this, we’re not writers after all, but I miss it. I’ll probably put some in anyway.
RM
066
44
This was a quick sketch of the CTEH that I did after class, it really has no meaning, I think my brain was in overload in this moment.
Making the Proximity Via Distance artwork started with a blurred greyscale cityscape
Then we added a circle and masked out the blur, creating a circular moment of clarity in the sky
We managed to fit in a short brainstorming session after class about our themes for mid semester, we had a list of four that seemed to resonate with us the most, on reflection, I didn’t realise this was the most decisive we would be. Then we added our hero, the subject and the birds
Unfortunately I was late to this class but Sam gave a great lecture explaining the final project/drawing, this is what I took from that.
Then we added an orange soft light and a 10% noise to both add contrast and soften, respectively 067
W07 12.04.22
STUDIO
RM
068
44
A whole lot of work and a big presentation. In socks.
WEEK SEVEN - MID SEMESTER PRESENTATION 069
W07 12.04.22
STUDIO
WEEK SEVEN MID SEMESTER LIVING ARTISTS SOCIETY WITH KEVIN AND ZHEN Following last week, I had to sit down and write. For some reason, It comes to me quicker than visualising. I had to think further about the themes, contrast them with themselves, the way the art industry does every day. They had to become dualities, dichotomies. The art industry continues to contradict itself. While some art sells for millions, most artists struggle to continue their practice. The Living Artists Society takes an underground, under-valued, under-funded art scene, and makes it prolific, significant and infinite. For as long as humans exist, there will be art. For art is a reflection of humanity. The Living Artists Society is a collective of many, not a monopoly of one. It encourages a sustainable art practice for the creators, not the consumers.
RM
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When art, become independent, depicts its world in dazzling colors, a moment of life has grown old and it cannot be rejuvinated with dazzling colors. It can only be evoked as a memory. The greatness of art begins to appear only at the dusk of life.
History divides the continuum of time into static periods and didactic stages, when in reality time exhibits undemarcated and irregular boundaries.
- CITY OF COLLECTIVE MEMORY
HTTPS://TXTLAB.ORG/2019/10/THE-POLITICS-OF-THE-MIRAGE/
We thought this was such a great from the City of Collective Memory, but I seemed to forget why we included it when presenting...
- THE SOCIETY OF THE SPECTACLE (188) 1967
We felt that this really reflected our thoughts on the art profession, and how its greatness is only really recognised when the artist comes to the end of their life
SALA BECKETT - FLORES & PRATS
To leave the building is important... It is critical for me not to just see the same thing... every time I come back in, I see a new aspect of something.
- VERA MÖLLER
An fitting quote from Vera; the importance of taking time and space away in order to improve
SAINT FRANCOIS CONVENT - AMELIA TAVELLA ARCHITECTS
CHARLES RENNIE MACKINTOSH HILL HOUSE - CARMODY GROARKE
A combination of many rather than a single thing
The bleeding of heritage into modern architecture, through altered replication, its as if its shadow has been created
We felt that this represented our theme of distance and space through architecture, literally distancing the facade from the internals
CAIXAFORUM - HERZOG & DE MEURON
City prospers, city falls, artist moves in, city gentrifies, artist moves out... and so on
- SAMUEL HUNTER
Contrasting heritage with the new, respecting its presence but taking very little of its appearance through to the new
We realised that this wasn’t actually Sam’s quote after we presented...
071
W07 12.04.22
STUDIO
ADAPTABLE RIGIDITY Adaptable Rigidity contrasts the still with the active and allows many functions to exist within a single space. It also allows spaces to change over time depending on artists, curators, and workers needs. It provides duality to form, to occupation, to program and to material. RM
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INFINITY AND CONCLUSION Infinity and Conclusion contrasts the inevitable with the infinite. The Living Artists society emphasizes the immortality of art while reminding the artist of their mortality. But not through morbidity, instead through value and experience. This reminds us that art is important and intrinsically human because it relies on our existence for its own. Scarcity equates its value, for once we are gone, we can produce no more. 073
W07 12.04.22
STUDIO
SURVEYABLE PRIVACY Surveyable Privacy blurs the line between public and private spaces, between the observed and the observer. It feeds off the spectacle of the artist. We watch the artists work, while they observe us for inspiration - in a sense, we are both the observed and the observer. RM
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PROXIMITY VIA DISTANCE Proximity Via Distance ensures that throughout the site, there are evident moments of peace, quiet and contemplation. It questions the concept of persistent diligence and proposes that clarity can in fact come from active removal from stimuli. 075
W07 12.04.22
STUDIO
RM
076
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This moment is about art and humanity. It is about art’s human elements versus it’s ephemeral elements. It’s about art living forever, as we grow old and eventually die. The stories that art tells are infinite, in number and in longevity. Not everyone is an artist, but everyone, in their own way, can interpret art. It is the people’s medium; it is a reflection of humanity. 077
W07 12.04.22
STUDIO
RM
078
44
This moment is a reflection of our however short lasting attitude to heritage. Where heritage is reassembled and reconfigured to create new spaces for a new purpose. It’s about using what you have and having the freedom to use it differently, but only if there is a new purpose that it is required to serve. 079
W07 12.04.22
STUDIO
RM
080
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This moment reflects our view on the art industry. A stark contradiction between those who purchase the art and those who create it. It sells for millions, yet artists work two jobs to stay afloat. People fill their houses with expensive pieces yet the artist who created them was most likely only successful after death. Quite literally, this moment visualises the artists below and society above. 081
W07 12.04.22
STUDIO
This moment is about testing the boundaries of surveyable privacy. It’s about humans watching humans in an infinite cycle of observation and inspiration. It is about watching the mundane, not the intimate, and making art out of every day life. RM
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083
W07 12.04.22
STUDIO
This moment is about taking time out to reflect and breathe and just exist. It’s a reminder that what we do every day isn’t the most important part of every day. It’s all of the moments in between, where something catches you and holds you at a distance. It’s when an increase in external space, provides relief for the internal self. It is being closer to everything because you took a step back, rather than a step forward. RM
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085
W07 12.04.22
STUDIO
This final moment is about adaptability and the concept of changing spaces, emphasised by solid material and stability. It is about being more than one thing, it’s about change, and health adjustment. It’s about seeing things from a different angle, all angles. It’s about space and its influence on those who occupy it. RM
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087
W07 12.04.22
STUDIO
Our mid semester presentation was mildly chaotic but I was proud of what we presented. Our name was a hit, which I was happy about because Dead Poets Society is a great film. We received some very in-depth feedback, primarily about our society as a structure and how it functions. I can’t speak for everyone, but the feedback made me excited about our project and its intention and purpose. It felt as though we were designing a genuinely good thing. We had rose coloured glasses on, but that was almost the whole point, incredibly earnest though somewhat naive, idealistic let’s say. Our architecture was not developed but our themes definitely were, and that was appreciated too. I hope I never have to present in socks again.
RM
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WELCOME TO
A State
Adapt
B State
THE
LIVING ARTISTS SOCIETY
089
W07 12.04.22
STUDIO
RM
090
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WELCOME TO
A State
091
Adapt
B State
W07 12.04.22
STUDIO
LIVING ARTISTS SOCIET
RM
092
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THE
TY
093
W07 12.04.22
STUDIO
RM
094
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Who’s up for round two?
WEEK EIGHT - DEFINING THE INSTITUTE 095
W08 26.04.22 + 29.04.22
STUDIO
WEEK EIGHT DEFINING THE INSTITUTE WITH KEVIN AND ZHEN After a completely unsatisfying break, we came back to studio. This time, with a focus on the integral purpose and concept behind our projects. We were asked to think of the heart of the project, the way it values art, the way it values heritage, what is at the central core of its existence and function. I sat down and tried my best to unravel this, pulling what I could from past weeks and adding depth to our existing themes, we seemed to like these. This week’s classes were on zoom for the usual COVID reasons. While we didn’t get to see each other and our work in person, it gave us, what I thought was, some necessary reprieve and peace; time to think about the project while not being all-consumed by the ever decreasing amount of time we have left to complete everything.
RM
096
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097
W08 26.04.22 + 29.04.22
STUDIO
I had so much going through my head in these Online studios. I thought I had figured it all out, and I really liked it.
I went back to the original drawings to do the concept and diagram phase. I felt they had significantly more weight and meaning than the model. They were a consistent reminder of the age of the site.
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those who persist through the monotony of societal order and tradition to sustain their practice LOGISTICS
NUMBERS
POLITICS
FUNDING
STRUCTURE
MISSION
COLLECTIVE
COLLECTION
BOARD
THE LIVING ARTISTS SOCIETY the aggregate of people living together in a more or less ordered community THE VALUE OF ART but not in existence without evident struggle
THE VALUE OF ART but not in existence without evident struggle
THE VALUE OF ART but not in existence without evident struggle representative of the human condition
translatable for all, regardless of one’s artistic foundation
a lesson in understanding one’s self and the other
intrinsically human and necessary to human existence
representative of the human condition
translatable for all, regardless of one’s artistic foundation
a lesson in understanding one’s self and the other
intrinsically human and necessary to human existence
LES AMANTS - RENÉ MAGRITTE 1928
representative of the human condition
LOVE IS IN THE AIR - BANKSY 2003
translatable for all, regardless of one’s artistic foundation
STARRY NIGHT - VINCENT VAN GOGH 1889
a lesson in understanding one’s self and the other
BURRUNGKUY (NOURLANGIE) ROCK ART ~17,000BC
intrinsically human and necessary to human existence
Sam made some great suggestions that wove our conceptual thinking back into our diagram. LES AMANTS - RENÉ MAGRITTE 1928
LOVE IS IN THE AIR - BANKSY 2003
STARRY NIGHT - VINCENT VAN GOGH 1889
BURRUNGKUY (NOURLANGIE) ROCK ART ~17,000BC
LES AMANTS - RENÉ MAGRITTE 1928
LOVE IS IN THE AIR - BANKSY 2003
STARRY NIGHT - VINCENT VAN GOGH 1889
BURRUNGKUY (NOURLANGIE) ROCK ART ~17,000BC
THE TASK OF THE TRANSLATOR THE TASK OF THE TRANSLATOR
THE TASK OF THE TRANSLATOR
o translation, howeverIt good is evident it maythat be,no cantranslation, have any however good it may be, can have any nificance as regards to the original. significance as regards to the original. It is evident that no translation, however good it may be, can have any significance as regards to the original.
The concept of life is given its due only ifThe everything concept of that lifehas is given a history its due of its only if everything that has a history of its own, and is not merely the setting for history, is credited with life. own, and is not merely the setting for history, is credited with life. The concept life is giventhese its due onlyquotes if everything that has a history of its I tried so hard toofrelate own, and is not merely the setting for history, is credited with life. to our project but at this point, I was clutching at straws.
099
W08 26.04.22 + 29.04.22
STUDIO
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100
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When all else fails, just design the diagram.
WEEK NINE - DIAGRAMMING THE INSTITUTE 101
W09 03.05.22 + 06.05.22
STUDIO
WEEK NINE DIAGRAMMING THE INSTITUTE WITH KEVIN AND ZHEN After experiencing what felt like a fair few conceptual roundabouts, we moved on to diagramming the institute. We focused on our heritage theme at this point only, as it seemed the most fitting when converting conceptual to architectural theme. It would develop over time, but its essence seemed to remain relatively constant. We ran with change v no change, flipping the CTEH on the diagonal and sending it’s public functions to the south, resting private functions at the north. At this point, it seemed to work. Zhen and I also took a trip back to the CTEH to try and figure out our ‘noseto-nose’ survey, although we were somewhat unsure as to what this meant. We looked closely at every brick in its facade and paid attention to the buildings that surround it; a scatter of St Vincent’s Private buildings, almost suffocating its east and south perimeter. As a group, we found the back and side alleys to be so interesting, like they used to be something important and now they weren’t anymore. We want to reactivate these areas.
We’re hamming up the ‘society’ initiation and all. We played with the idea of occupying part of the Mental Health Hospital. I think this idea was born and died in the concept phase. It didn’t seem to continue any further than here.
RM
We’re flipping the entrance, the public and private.
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I have no idea when this IN was painted, but I like to think that it refers to the old entrance that we’re re-invigorating.
On the one hand I think they’re overused, but on the other, I just love arches.
This Zoom lesson brought about the idea of the tower extruded up beside a cavity or void to match but also contrast its power. We have one gaping hole and now we have one giant tower next to it. Dramatic. 103
W09 03.05.22 + 06.05.22
STUDIO
EARTH
I spent what felt like an age, planning this building, looking at square meterage, figuring out what needed to go near what, what needed to be far away from what, what was private, what was public, everything. In Friday’s studio, we presented these, albeit pancake-y plans to Jarrod and while there was little to comment on the physical form, he talked about emphasisting the amount of rooms so that everything was in fact a room, even circulations spaces. Everything was a room that branched off of, and spread outwards from, our central atrium.
GOODS LIFT
PHOTOLAB (9.5x6m - min 50m2)
LIGHT SENSITIVE ART STORE (12x6m - min 70m 2)
(1.8x2.7m)
SHIPPING/RECEIVING (10x7m - min 70m2)
ONE WAY WINDOW FOR VIEWING
STAIRWAY CONSERVATION LABORATORY 2 ) (8.5x3m - min 20m
UP
PACKING/UNPACKING (10x4m - min 40m2)
THE GARDEN OF COLLECTIVE THOUGHT (8x10m - min 80m2)
INITIATION CHAMBER
(4.5x4.5m)
CONSERVATION LABORATORY (11x8m - min 80m 2) CONSERVATION LABORATORY 2 (8.5x5m - min 40m )
TO GROUND FLOOR
WORKSHOP (DIRTY) (10x10m - min 100m2)
GENERAL STORAGE (10.3x17.4m + 6.3x4.4m - min 200m2)
CONSERVATION LABORATORY (6.8x10.8m - min 60m2)
CONSERVATION LABORATORY (9x12m - min 100m2) WORKSHOP (MANUFACTURING) (14.5x14m - min 200m2)
WORKSHOP (CLEAN) (10x7m + 5x6.5m - min 100m2)
EARTH
EARTH EARTH ART INTAKE ABOVE
Lower ground acted as the conservation, receival and processing level. Every room had some form of access to the atrium area, and those surrounding the atrium would have large areas of glazing to allow for conservation processes to be viewed. MASTER PLAN A (LOWER GROUND)
ART THERAPY MOVEMENT (10x9m -90m2)
THE ALLEY
ART THERAPY VISUAL (7x6m - 42m2)
ART THERAPY VISUAL (11x5m - 55m2)
IN
EXISTING MENTAL HEALTH UNIT ENTRANCE
CONVERTED PUBLIC GARDEN OUTDOOR BREAKOUT SPACE
GALLERY EXTERNAL (37x2m - min 122m2 combined)
ENTER
ONE WAY WINDOW GOODS LIFT
(1.8x2.7m) CAFÉ BABYLON (12x6.3 - min 75m2)
GALLERY INTERNAL (15x12.5m - min 178m2)
AUDITORIUM (10.7x14m - min 120m2)
EXECUTIVES (9x7m - min 60m2)
REGISTRATION & SECURITY (7x7.1m - min 70m2)
STAIRWAY BELOW
SECRET IN 01
TO LEVEL 1
THE GARDEN OF COLLECTIVE THOUGHT (8x10m - min 80m2)
DIRECTORS (9x5m - min 60m2)
TO LOWER GROUND
COMBINED PATH
GALLERY EXTERNAL (2x24m - min 122m2 combined)
PRIVATE PATH
PRESENTATION SPACE 2 (1ox6m - min 60m2)
DOUBLE HEIGHT OPEN SPACE
STAFF AMENITIES (12x6m - min 70m2)
PRESENTATION SPACE 1 (10.6x14.3m - min 150m2)
BOARDROOM (9x9m - min 80m2)
ART PATH
IN
SECRET IN 02
DERTMATOLOGY UNIT
STUDIO 8 (8.1x3.7m - 29.9m2)
WORKSHOP (DOUBLE HEIGHT) (2ox5m - min 100m2)
SECRET IN 03
BODY IMAGE AND EATING DISORDERS RECOVERY UNIT
DOUBLE HEIGHT OPEN SPACE
STUDIO 1 (4x2.9m - 11.6m2)
STUDIO 2 (4x2.9m - 11.6m2)
STUDIO 3 (4x2.9m - 11.6m2)
STUDIO 4 (4x2.9m - 11.6m2)
STUDIO 5 (4x2.9m - 11.6m2)
STUDIO 6 (4x2.9m - 11.6m2)
STUDIO 7 (5.9x4.2m - 24.8m2) LOUNGE AREA
ART INTAKE
The ground floor would feature a large auditorium, workshop and office spaces. Eveything still stemmed from the atrium, but it now also opened up to Gertrude street to allow for incoming vans to drop off and pick up art deliveries. MASTER PLAN @A1 (GROUND FLOOR)
MENTAL HEALTH UNIT
ONE WAY WINDOW GOODS LIFT
(1.8x2.7m) MEETING SPACES (10x6.3m - 63m2)
GENERAL STORE (15.9x6.3m - min 100m2)
STUDIO 9 (4.9x7.7m - 37.7m2)
STUDIO 10 (4.9x7.7m - min 37.7m2)
OPEN WALKWAY
AUDITORIUM
PRIVATE PATH TO GROUND FLOOR
THE GARDEN OF COLLECTIVE THOUGHT (8x10m - min 80m2)
ARTIST COMMONS (20x6.2m + 3.1x6m- 142.6m2)
COMBINED PATH
ART STORE (7.5x14m - min 100m2)
OPEN PLAN OFFICE (25x6m - min 150m2)
OPEN PLAN OFFICE (10.6x14.3m - min 150m2)
WORKSHOP BELOW BODY IMAGE AND EATING DISORDERS RECOVERY UNIT
DERTMATOLOGY UNIT
POSTGRADUATE OFFICES + COMMONS (30x2.9m + 8.1x5m - min 130m2)
ART PATH AND LOUNGE AREA BELOW
On level one, we had multiple voided areas from below, eg the double height workshop and auditorium. We also planned for an octagonal tower to sit in the corner above the new entrance...Whether we could get this to work would be another story. MASTER PLAN @A1 (LEVEL ONE)
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Due to the sickening length of time it took me to draw these plans, we arrived in class on Friday with no 3D views to show. Therefor, we extruded my plans to create these. I don’t’ think these quite did the voided areas justice.
My favourite part about this image is the auditorium seats that have appeared as vertical lines, like a jail cell.
Kevin had done some cool block and stack diagrams but they may have made it appear even more pancake-y
Looking from this view, our atrium area seems very small.
Jarrod gave a fantastic lecture on Archetypes in Friday’s class. I hadn’t really heard of any of the precedents, except for those that Sam had presented in the heritage lecture. I was left with some interesting thoughts for our project.
This was a big favourite. Fine Arts Museum, Studio Barozi Veiga. 105
W09 03.05.22 + 06.05.22
STUDIO
While receiving this feedback, Kevin drew up three more plans (pictured right), so we decided to move on with these instead.
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44
We began to address the alley way, modeling the rear facade, chamfering the corner and puncturing the facade to create a doorway. Jarrod’s lecture provided some interesting examples as to what this entranceway could look like.
Another relevant precedent from Jarrod’s lecture was Atelier Deshaus’ Taizhou Contemporary Art Museum. Using booleaned cylinders to create a seamless blend between facade and ceiling.
Nottingham Contemporary by Caruso St John treats the facade in a similar way. However, their metal facade is punctured with delicate symbolism, greatly softening its appearance.
We were all encouraged to research Japanese architects after Friday’s studio. 107
W09 03.05.22 + 06.05.22
STUDIO
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108
44
Just when you think you’re on to something, think again.
WEEK TEN - A HURDLE 109
W10 10.05.22 + 13.05.22
STUDIO
WEEK TEN A HURDLE WITH KEVIN AND ZHEN A preliminary tower position/section highlighting its connection to the main building.
With the new plans, I got to detailing them, adding circulation, figuring out double height spaces, allowing for light, common space, private space. I spent too long on this task, I think that I was frustrated and maybe exhausted. It seemed to be coming together but not in a way that made sense, I just couldn’t sit with it not making sense. After Tuesday’s studio we received feedback on our facade and our central atrium. The facade would need to be completely re-worked but the atrium was good, it just needed to be dramatised, added to, emphasised. It needed to beat the residential tower in being the tallest element visible.
ART STORAGE
LIGHT SENSITIVE STORAGE
Friday came around and we seemed to be running around in the widest of circles. There were 100 ideas, all trying to make it to the podium, each kicking each other off, one after the other, repeatedly, for three weeks now. I am exhausted. And we are getting nowhere. And it’s obvious.
GOODS & VEHICLE LIFT
N O TI R IA BE IT M IN HA C
4.4x6.7m
LABORATORY 2 ATRIUM
WORKSHOP
At the end of this week Sam tells us that we will only get anywhere if we work together, face-to-face, at every point. Kevin, Zhen and I saw A LOT of each other over the next three weeks.
WORKSHOP
It took me way too long to create this floor plan. I wasn’t convinced that any spaces worked logistically or were accurate in size. It was a beautiful shape but it also created unusable spaces.
I had not heard of Ricardo Bofill (embarrassing) but his work really resonated with me. I find most of his work, especially his house, extremely visually satisfying. RM
PHOTOLAB
LABORATORY 4
We took a minute to reflect on the semester, the project, the site itself, and we came across one single thought that we seemed to have glossed over from the beginning: the Fitzroy Cable Tram Engine House is a surprisingly ornamental building that envelopes an extremely industrial function. It may be a sign of the time in which it was built, but its facade does not match its program and vice versa. With this in mind, we finally had a conceptual prompt with architectural weight: ornamentation v industrialisation.
LABORATORY 3
LABORATORY 1
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The Nottingham Contemporary details
The below are images of Bofill’s house, converted concrete factory. He uses tall, thin arches to perforate a solid concrete facade and softens the whole space with greenery.
My favourite thing in the world is ‘abandoned buildings’ as a topic. This reminds me of one of those. Effortlessly being absorbed by the vines around it, yet still alive and warm inside.
EXTERIOR SHELL = MASONRY (OF ALL FORMS) = ORNAMENTAL INTERIOR CONSTRUCTION = STEEL (OF ALL FORMS) = INDUSTRIAL
La Samaritaine, Paris, Frantz Jourdain
The Stables, Kerstin Thompson Architects
Naked House, Shigeru Ban Architects 111
Castelvecchio, Carlo Scarpa W10 10.05.22 + 13.05.22
STUDIO
Tuesday WK10 progress Our first board was a combination of all of the things we had created so far. Our facade wasn’t justified, it was simply an initial idea. The plan wasn’t justified either, but it was creating some nice spaces in side with the full height atrium. We had a long way to go after this class.
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112
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113
W10 10.05.22 + 13.05.22
STUDIO
This was extra dramatic, external auditorium looking towards the tower...I think. This is 50% sketch and 50% us setting a time to spend together and flesh out our entire scheme from beginning to end.
A slight reworking here. This will change, for sure.
This was a nice idea of having a double height gallery with artwork all the way up the wall and a bridge that walked through the middle. This would allow the artwork to be viewed both at ground level and from above.
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114
Our atrium needs to be more dramatic, it currently only branches upwards to a point, not letting as much light in as it could.
44
I think it may have been this exact sketch that sent us down a strange path for at least a week, creating random vitrines throughout the facade following little rhythm or pattern.
Figuring out where to place this tower would have to be the most underestimated task of the century.
A new diagram! This one would end up being the vertical ‘common area v private area’ diagram that we would follow.
Some scaffold features could be exciting.
The below are not even HALF of the attempts to fit this tower on the corner of the site. So that it appeared to have some structural integrity. Oh no actually, most underrated? The roof.
We thought about connecting it to the Mental Health Hospital and creating that Art Therapy space we talked about weeks ago. Unfortunately, this didn’t come to fruition.
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W10 10.05.22 + 13.05.22
STUDIO
NARRATIVE DIAGRAMS
THEME
Friday WK10 progress
FACADE DETAIL
PERSPECTIVE
Sam said he wasn’t worried yet but he was concerned. Or vice versa...I’m not sure. Aside from leaving the facade for a later date, we really hadn’t progressed much at all. I had attempted a functional plan but it still wasn’t sitting well. I think that following this class, Sam realised that we weren’t working cohesively as a team. We had a million different directions, ideas and interpretations of what was going on. It has been extremely frustrating. No one seems to back the other’s idea or concept. In fact, I think we have completely forgotten our concept. Planning somehow seemed to kill that.
RM
THEME
NARRATIVE DIAGRAMS
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NARRATIVE DIAGRAMS
THEME
NARRATIVE DIAGRAMS
THEME
PERSPECTIVE ART STORAGE
LIGHT SENSITIVE STORAGE
GOODS & VEHICLE LIFT
N O TI R IA BE IT M IN HA C
4.4x6.7m
LABORATORY 2 ATRIUM
WORKSHOP
WORKSHOP LABORATORY 3
LABORATORY 1
PHOTOLAB
LABORATORY 4
THEME
THE LIVING ARTISTS SOCIETY
117
NARRATIVE DIAGRAMS
W10 10.05.22 + 13.05.22
STUDIO
RM
118
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Everything comes, and everything goes.
WEEK ELEVEN - A REVIVAL 119
W11 17.05.22 + 20.05.22
STUDIO
WEEK ELEVEN A REVIVAL WITH KEVIN AND ZHEN After spending more face-to-face time with a group than I ever did, pre-COVID, we seemed to be getting somewhere. Our facade had no thought but our internals and our atrium, coupled with a new external auditorium, were very much progressing. And Sam could tell. Finally. We found some sort of Mesopotamian vibe and ran with it, picking a primarily red and green-y blue Ivan Bilibin image as inspiration for our board’s design. Not that any single drawing was ‘designed’ yet. We were thrown a hundred and one precedents to work with, which, given how our group approached ‘ideas’ may have been more of a curse than a blessing. We populated a Miro board like you could not believe and spent half a weekend redesigning our entire scheme. We were Bofill and we were Chipperfield and 14 types of arches, but we were still, not, done.
I felt some connection to this James Stirling plan.
We saw Jarrod again, at the end of this week, and we talked about facades and the casual buttress, doing the least, and the most, to hold up a building’s facade. At this point, we thought we had nailed the mimicry of the existing condition with an equally as powerful but significantly more simple, masonry facade extension. We return next week to find out, we had not.
Moritzburg Museum Extension by Nieto Sobejano Arquitectos
These are some general Babylonian/Mesopotamian precedents for our internal atrium - very hanging gardens vibes.
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This was an interesting steel treatment against the masonry walls surrounding it. I think our interior space will have a similar affect against our solid exterior.
I think this model of Tagh Behesht by Rvad Studio shows a really elegant arched facade. I don’t know how feasible it is though.
This was an interesting Herzog and De Meuron example - we tried to do a similar roof treatment but it seems to work best with the simplest of facades only.
The interior of the Harvard Art Museum by Payette and Piano does a great job of contrasting industrial with ornament.
More Ricardo Bofill!! This concrete colour is so beautiful, we will adopt this.
121
W11 17.05.22 + 20.05.22
STUDIO
We sat down together and we drew. Everything. From the lower ground to level one. We referred to the functional brief constantly, and made sure we included a variety of ‘types’ of spaces.
RM
It’s really hard to create a scheme that has so many functions within it - and vastly different functions at that.
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Lower ground first iteration with section cut.
Trying to create the decent-into-eventualopening effect.
Kevin and Zhen draw the most beautiful freehand sections...I can’t imagine drawing such a straight line.
Ground floor with potential tower location - there would be an issue with this.
Close up of some tower chaos.
Second iteration of ground floor.
Level one with voids looking down to level one.
Another level one attempt. 123
W11 17.05.22 + 20.05.22
STUDIO
Tuesday WK11 progress At this point, Sam realised that working together was a great idea for us. So we would continue. Myki was very happy with me over the next two weeks. From this point onwards, our atrium started to take something of a funnel shape. Initially a constant octagon, it now begun as a giant octagon and condensed upwards eventually popping out of the roof. Its shape would allow light to filter down throughout the project but also allow our distance theme to finally come to fruition. Now our task became connecting the tower to the main building, both logistically and in archetype.
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124
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125
W11 17.05.22 + 20.05.22
STUDIO
Central octagons are a thing! Xavier Corbero House
An arched tower with a Chipperfield main building facade.
Arches upon arches upon arches. Triennale di Milano, Giovanni Muzio
Clean arches combined with ornamental arches. Xavier Corbero House
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126
Large vertical accents with protruding doorway. Musée Cantonal des Beaux-Arts, Barozzi Veiga
44
An arched tower with a clean, blank main building facade.
The tower connects to the atrium via the top level of stairs. You enter into a foyer level with open kitchen and washing facilities.
This is perfect for our hanging garden atrium. Xavier Corbero House again.
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W11 17.05.22 + 20.05.22
STUDIO
Friday WK11 progress For this studio, we focused on progressing the modeling, hopefully getting closer to ‘NO MORE RHINO’. Just kidding, there’s never no more rhino.
THE LIVING RM
128
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G ARTISTS SOCIETY 129
W11 17.05.22 + 20.05.22
STUDIO
RM
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Everything, everywhere, all at once.
WEEK TWELVE - ONE GIANT STEP 131
W12 24.05.22 + 27.05.22
STUDIO
WEEK TWELVE ONE GIANT STEP WITH KEVIN AND ZHEN Following what seemed to be some mild form of revival, we fell back into a rut, right when, dare I say, it mattered most. Our intention was there, and our concept made sense, but it wasn’t coming to fruition, it wasn’t converting from though to design, we just couldn’t see it. And this was concerning, in week 12. The tower facade, which I had hoped resembled a Bofill apartment building, was significantly undercooked and unrelated to the rest of the building’s exterior. The roof still didn’t fit the scheme and the plan was too pancake-y. And in the final week of semester, after pulling ourselves back from being three weeks behind, we were once again, behind. Kevin put on some serious modeling shoes and spent days modeling the steel details of the interior, every beam, column and truss. Zhen detailed the new facade, adding etchings extrapolated from the existing condition, water catchment features and buttress function. I returned to the tower, re-modeled the interiors and copied a similar facade treatment onto the tower. We worked really hard. We were still late, and we were still in Rhino, but at least we felt like we were nearly there. After Sam’s functional discussion last week, we also returned to the plan to make sense of our spaces, again. We made sure that all areas, conservation, storage, creation, front of house, back of house, were all present, and adequate.
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These are all examples sent to us by Sam to help with our facade treatment.
Houari Boumedienne Agricultural Village, Ricardo Bofil
UCLA graduate art studios, Johnston Marklee
We love the engraved concrete facades. We are thinking of implementing an engraving of the existing facade across the new facade.
Angelo Cadelapis
This is a description of the things we need for next class. Help is needed. Nottingham Contemporary, Caruso St John
EMBT, Miralles Tagliabue
We can compare these works of art to this naff little tower I designed earlier.
Ian Potter Southbank Centre, JWA Atelier Bardill, Valerio Olgiati
133
W12 24.05.22 + 27.05.22
STUDIO
Tuesday WK12 progress This board rendition was busy but we were so happy with how far we’d come. Everything seemed manageable at this stage. We felt comfortable with the facade treatment, we simplified the vitrines significantly, replicated the position of the windows from the existing facade below, and added supporting buttresses, to hold up the importance of the Living Artists Society. One sticking point was the roof treatment, we still hadn’t blended this seamlessly into the rest of the building. And at this point, it had nothing to do with the tower at all. Below are some notes from this feedback session. We had much more modeling ahead of us.
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THE LIVING ARTISTS SOCIETY
135
W12 24.05.22 + 27.05.22
STUDIO
And apparently we also had some function to sort out! Save Kevin and I the trip, we did this one on Zoom. It was a long Zoom.
This was a new level one proposal or the art receival area.
And this was the new workshop area....To be confirmed and finalised.
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I provided a plan for the tower, hoever straight forward it was.
This is how we left notes for each other on Rhino. To make up for my lack of skills, I like to say that I could at least make Kevin and Zhen laugh.
A new facade with engravings, buttresses and a defined repetitive rhythm.
With a new facade design comes a new tower!! We even carried across the buttress column. See pictured left, the only thing I see when I look at this tower.
137
W12 24.05.22 + 27.05.22
STUDIO
Friday WK12 progress Prior to this class, Sam was definitely entering the concerned realm. In fact I believe he said, ‘you guys just need to be okay with the fact that you’re going to have an average drawing, so at least make you design good.’ And then we surprised the life out of him. Simple Rhino exports with a thin surface edge stroke and some properly considered layer colours, plus 127 modeling hours was all it took. To say we were happy with our progress week is a vast understatement.
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W12 24.05.22 + 27.05.22
STUDIO
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Definitely not a sprint, definitely not a marathon, definitely an ultra marathon.
WEEK THIRTEEN - THE FINAL COUNTDOWN 141
W13 01.06.22 + 03.06.22
STUDIO
WEEK THIRTEEN THE FINAL COUNTDOWN WITH KEVIN AND ZHEN And just when we though we were nearly there, we were so far from it. To say that we’re exhausted at this point is an unfair understatement. I don’t know the last time Kevin slept, Zhen now refers to the MSD as ‘home’ and has fallen asleep on a Zoom call, and I’m so confused, I’m teetering on the edge of mild insanity. But at least the Living Artists’ Society finally works. Our facade holds up, our interiors aren’t perfect but they’re on the right track, and our ornament v industrial theme has filtered across the whole scheme, somewhat successfully. Unfortunately, we still have more modeling to go. Our drawing is taking shape, which means hopefully less ‘searching’ for views and our plan and section are adequate but lacking detail and finesse. Between Wednesday and Sunday, we manage to fit 2 weeks worth of drawing into five days. We haven’t touched our journals, our eyes are red and sore, we miss our families, but we just, keep, going. I guess that’s the price you pay for being conceptually constipated for 3 weeks. I spend an entire day, populating and bleeding together our plan and section. Adding people, trees, greenery and artwork to the vitrines. We are lucky enough to receive one more splash of feedback from Sam and we make a stern decision to tick off the feedback points and finish as quickly as we can. We add shadows, we add more people, we add greenery (but with program), we add grain, we extend the atrium in plan so that it appears complete, not cut, and I prepare the board, one last time. At this point I sent this to the group and said ‘I think we’re looking good’. Keeping morale high.
I add a title, a scale bar, section cuts and image captions. I edit the border, add the theme diagrams, create a new theme diagram and add that too. Zhen helps rearrange the vignettes and Kevin gets to populating them. It’s 2:30am on the Sunday this drawing is due. Zhen and I are nauseous, Kevin is machine-ing, and we are so, so, tired.
Here is me modeling some stairs and moving some gallery columns. RM
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I know there are some incredible Rhino modelers in class but Kevin is one of the most machine-like for sure. He goes into a very evident zone and he produces some extremely intricate stuff. For example, every piece of steel in our structure. And our roof.
We really love this boardroom view with the arching steel above. 143
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Wednesday WK13 progress This rendition simplified the board, condensing our views to just five vignettes, highlighting the most important parts of our institute.
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I thought it could be nice to have some different views, some that highlighted the entrance or the alley that we paid so much attention to in the beginning.
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Following Sam’s pleased but still constructive feedback, everything would become PLATFORM, no normal floors, just an interior scape of platforms and steel and grating, all offset -1.2m from the external masonry facade.
For the third time, Kevin got to remodeling the auditorium. It too would be grated a giant floating steel structure above the Living Artists Society.
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Friday WK13 progress Out of the goodness of his own heart, Sam let us send through one more drawing rendition. I had finally managed to get a plan and section stitched together, added some people, objects and texture and bring out more pale teal to contrast the deep reds and browns. Sam’s feedback was as follows: 1. Make more of the stairs and bespoke joinery around the central atrium in both plan and section. Fudge if need be! 2. Show the amphitheater in two modes. Exhibition and crowd presentation? One in the section the other in a view 3. General colour of boards is looking pretty good. More texture, more grain, way more shadow 4. People objects and annotations, should be filled with energy, 5. All the vitrines need to be full to the maximum, not just every second one. They are the archive. 6. Apartment planning looks pretty average. Can we show one as a studio??? Messy life. 7. Lane-way needs an idea beyond green-wash. How is it programmed? 8. I think a functional block and stack diagram would help your scheme. Maybe exploded axo? Somewhere on the left-hand side of the layout 9. The amphitheater in plan looks better. The wedges in between the seating should be brown and have garden elements, or a spiral stair to the level below? One of each. Show the stair in section 10. The view in the bottom right corner isn’t saying anything more than the view in the top left //// I suggest getting a view down in the society induction space//// 11. Remember to put scale bars on your drawings, and label all images RM
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With such little time left, I made us a spreadsheet and we got to ticking off every point he made.
I took to photoshopping the largest PSD I’ve ever encountered.
I found it most difficult to populate the tower, creating messy life was hard... Which is unusual considering the state I’ve been in for the past six weeks. RM
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I made sure to show the atrium in elevation rather than in plan, so it popped up out of the drawing - or at least, it tried to.
Kevin and Zhen received 46 different versions of this plan and section document.
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The plan and section The final plan and section would look like this. I used concrete benches as fake landscaping to abstractly define the edge of the adjacent Mental Health Unit and provide some program to the space that is, in fact, much smaller than it appears in this drawing. Kevin’s connected roof and atrium really shine in section. I think they are beautiful. It was a very slow process (200mb of PSD) but I really enjoyed creating this drawing. And I’m proud of it.
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Vincit qui patitur. They who endure, conquer. - NONNA
FINAL - THE LIVING ARTISTS’ SOCIETY 155
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This was a big project, and we didn’t make it easy, but we’ve learnt a lot, about each other, and the Cable Tram Engine House, and about archetypes and heritage and diagrams and about art and conservation and purpose, and I’m proud of us. I really am. RM
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THE FINAL DRAWING WK13 05.06.22
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Fine.
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