+ENERGY
Studio Reflection: Prior to commencing the +Energy Studio, I had preconceived ideas about what sustainability in architecture was about. Having the Technology class running through systems on sustainability as the same time I thought that both would enhance one another , and the content of the work for me to conclude the semester with a strong notion of applications of sustainability. In the early weeks, we were given assignments in which I applied a “typical” approach to sustainability. Sustainable systems, sustainable materials the word in itself lead to a type of design process where I was merely looking up products and designing from that. Not inspirational. It wasn’t until after my Mid Semester Presentation where I was left questioning myself in what this project means to me. How can I try and attempt to design something which looks aesthetically beautiful yet holds meaning without losing sight of this entire Studio based on “Sustainability”. I had to remove myself from the word. Think about really what my concept was.Which took almost the entire semester for me to nut out, with alot of reading and not alot of designing. With an idea of the integration between landscape and the artist as my main driver I sought to create a design really inspired from how I experienced the site looking at colour pallet, forms and circulation. Always asking how do i want to connect people to the site? Am I meeting the brief? From where I stand now on sustainability, for me it is a connection. Connection to context in which we live. Connection to the people in which we surround ourselves. Creating a Holistic environment where there is a dialog where structure interplays with the environment. And people communicate with the structure. Yes using typical sustainable systems have their importance, like passive systems which connect you to natural sources of energy and natural, local and recycled materials. However for me the connection in which we have as a collective to our surrounding context and with each other is the ultimate form of sustainability. Without connection we have nothing.
CONTENTS
ASSIGNMENT ONE
4
ASSIGNMENT TWO
8
ASSIGNMENT THREE
12
SITE
20
BRIEF
22
PROCESS ITERATIONS
24
MID SEMESTER
30
GALLERY ITERATIONS
42
ARTIST STUDIO ITERATIONS
64
NARRATIVE
68
FINAL OUTCOME
70
MODEL PHOTOS
84
LECTURE RESPONSE
94
5
ASSIGNMENT ONE - RHINO MODELING + RENDERING
Sheats Goldstein Residence, Los Angeles, California Architect - John Lautner 1961-63
Rhino Model - Sheats Goldstein House 7
Render - Sheats Goldstein House
9
ASSIGNMENT TWO - RHINO MODELING + RENDERING
Simpson - Lee House, Blue Mountains, New South Wales Architect - Glenn Murcutt 1988 - 93
Rhino Model 11
Render - Glenn Murcutt, Simpson-Lee House
13
ASSIGNMENT THREE - MACHIENE FOR LIVING 1 (CAMPERVAN)
Inspiration Tiny Campervans
Sketches
Inspiration “Super Furniture”(all in one)
Sketches 15
table flips down from side wall to create open space into a dining room
Kitchen Kintetic Space - Bedroom - Dining room
Bathroom
FLEXIBLE
Plan 1:50
PERMANENT
bed slides out from underneath the “super furniture” to create bedroom
PERMANENT
FLEXIBLE
Section 1:50 17
ASSIGNMENT THREE - MACHIENE FOR LIVING 2 (FURNITURE)
Inspiration
Sketches 19
Sliding door opens to reveal bedroom
Bathroom pops up to reveal bathroom
Plan 1:50
Open and Closed
Render
Section 1:50
Open and Closed 21
SITE
Views From the Site
Site
Dense Vegetation
Light Vegetation
Site - 43 Acres, 10m Contours Vegetation/National Parks Neighbouring Blocks Seasonal Creek
45 Salisbury Rd, Mount Macedon
Water
Contours Roads
Neighbouring blocks
23
BRIEF
Mount Macedon is a rural town located 64km North West from Melbourne. The town is located just below the mountain of the same name which rises 1, 001m above sea level. The Town was established in the mid to late 19th century post gold rush where the residence were predominately Melbourne’s wealthy elite, who used the area as a summer retreat. Today the town is still home to large estates and lavish gardens which hold collections of exotic plants. Notable Houses, private gardens and the memorial cross are some of the features for tourism to the area. With extensive native forests which cover the mountain and surround the town, the native fauna and fluana attratcs bush walkers. The Site at 45 Salisbury Rd, Mount Macedon is to become a Artist Residency and Gallery.With ongoing artist working on site in blocks of 3, 6 and 12 month residencies, promotion of the site becomes far greater as exibitions can be curated multiple times a year. Acting as a central hub for both mount macedon residents and tourists the proposal needs to be a beacon for the town as an iconic structure. Inclusions are a Gallery Space with full amenities and multiple Artist Studio, for the assumption that the finished work then gets exhibited and the end of their residence.The final result must incorperate apassive response to the site, with use of local and recycled materials.
25
PROCESS- Iteration 1
Artist Studio and Gallery - Plans and Sections 1:200 @ A5
27
Artist Studio and Gallery Elevations 1:200 @ A5
West Elevation 1:200
North Elevation 1:200
East Elevation 1:200
PROCESS - Iteration 2
Artist Studio and Gallery Plan 1:200 @ A5 29
Render Perspectives
Model Photos 31
MID SEMESTER - Artist Residency Studio Space
Render
33
Roof Plan
West Elevation
South Elevation
Sun Paths
East Elevation
Solar Panels Harvest
Cross-vent
Rainwater Harvest
Compost Toilet
Plan 1 : 100 35
Exploded Axonometric - Construction
Section 1 : 100
Section 1 : 100 37
Spacial Relationhip Diagram
Exploded Axonometric Construction
Section 1 : 50
Elevation 1 : 50 39
Mid Semester Presentation Panels - 3 x A1
41
Model Photos
43
GALLERY ITERATIONS
Sketches
Sketches 45
Gallery Iteration 1
Render Perspectives
a are
cafe
m
co
DW
ist art
n mo
reception gallery
gallery
Ground Plan 1:200 47
CAFE
Gallery Iteration 2
GALLERY
RECEPTION
ARTIST COMMING ROOM + SUPPLY STORAGE
FRONT PERSPECTIVE
Render Perspective
Ground Plan 1:200 @ A3 cafe
gallery
reception
artist supply storage and common area
Ground Plan 1:200
FRONT49 PERS
Inspiration
Astronomy is the oldest of the sciences, and quite possibly the oldest use of astronomy is navigating by the stars. This craft dates from prehistoric times among humans, and is even practiced by certain animals. During the 1960s, a study undertaken by New York's Cornell Lab of Ornithology demonstrated through use of planetarium simulations that the indigo bunting, a brilliantly blue bird of old fields and roadsides, migrates at night using the stars for guidance. It learns its orientation to the night sky from its experience as a young bird observing the stars.
51
Gallery Iteration 3 Cafe
Cafe Main Gallery Space
Cafe
Main Gallery Sp Artist Common Area Supply Storage
Star Signs
Rearranged
Main Gallery Sp
Sectioned Artist Common Area
Using the Sky Constelation as the pole placement to navigate around theSupply Storage space. Where the open space is between the poles is where permanenceArtist Common Area Star Signs Rearranged Sectioned occurs. The different hieghts of the sections act as tree canopies creatingSupply Storage Star Signs verticle spaces. Rearranged Sectioned diferent
Front Perspective View
Front Perspective View Front Perspective View
Perspective View
Perspective View
Sta
Fro
Roof Plan 1:200 Roof Plan 1:200 @ A3
53
Gallery Iteration 4 Taking Gallery Iteration 1 form, and gallery iteration 3 pole placement. Poles have been separated more. and rearranged to fit form. diameter of the poles has also changed so that the larger diameter represents the brighter star in the constellation.
Angular forms to create a more sculptural form in the landscape. So the building becomes part of the sculpture park in which is sits within. Roofline is more dynamic and flows from one section to another
Ground Plan 1:200 55
Render Perspectives
Section 1:200 57
Gallery Iteration 5
Experimenting with more curvalinear forms, so create a more sympathetic form to connect to the landscape
Render Perspectives
cafe
enclosed gallery
artist supply storage and common area
Section 1:200 59
Gallery Iteration 6
Inspired from Giant Lily pads and Banana Leaves. Creating more of a tree canpoy which are suspended in the air by the steel poles. The structures underneath which house the artist common area and supply storage, Cafe and enclosed gallery become pavilions with their own structure nestled underneath Render Perspectives
cafe
enclosed gallery
artist supply storage and common area
Section 1:200 61
Like when you travel through the bush there are trails which are created either by humans or animals which show the path of least resisence. Overtime these become more prominant and can be clearly defined as a path of travel. By having no set walls or circulation to travel through the gallery, a LED flooring will be installed where the gallery is. The pressure sensor lights up and trails your circulation. This interactive installation with allow others who are participating to have their own undictated path in which to circulate the exhibition like as if they where in the nush, however they can see others trials and choose to follow or make their own path.
63
Colour Pallet from the site
The Copper ceiling cladding used for the underside of the roof is atypical from industry standard planel installations. To meet the design intent, panels will have custom shapes with custom folds. Some prefabricated some not, The material is sustainable and changes over time, supporting the aesthetic intent of the building. Due to its Durability, malleability and high ductility, copper can be formed and stretched into various complex and intricate surfaces without breaking. Over time the copper is oxidise to form a patina and will connect more to its surrounding context.
Basalt Pavers for the Gound floor, Both used internally inside the structures and underneath the canapy and in the gallery area. Due to its natural origin, formed by the cooling of basaltic lava, basalt has a unique texture and appearance. Locally sourced as Mount Macedon used to be a volcano.
LED touch sensitive floor. Low energy consumption. LEDs use less energy than other types of light bulbs. This saves the consumer money and places less demand on our energy grid and, ultimately, less demand on the natural resources used to power that grid. Low heat. No harmful materials used in construction. LED lights do not contain any harmful chemicals or materials. Unlike CFL bulbs, which contain mercury and require special precautions to dispose of them properly. Since LEDs last so long (up to 20 years or more) and are more durable than other types of bulbs, fewer dead LED bulbs find their way into the trash. LEDs are made of recyclable materials. Although you can’t throw them out with the curbside recyclables, LEDs can be taken to special collection events or drop-off locations where they can be collected and sent off to be dismantled. Parts can then be reused, repurposed, or recycled.
Aluminium Roofing cladding. Aluminium is infinitely recyclable and remarkably plentiful: the planet’s most abundant metallic element. Approximately 90% of aluminium used in transport and construction and over 60% of that used in beverage cans is recovered. Aluminium can make a major contribution to the creation of buildings that are sustainable, not only during construction but throughout their lives and into their afterlives. Especially with the excellent thermal performance and long, low maintenance life. Light weight and has has an environmental dimension – requiring less material in the supporting structure and saving energy during transportation and construction.
Steel poles are used as the supporting structure for the curvalinear roof. Although not all are used as support, they are used for the galleries interactive circulation and have a aesthetic quality to them. Steel poles are 100% recycable (cradle to cradle) A hot dip galvinized pole has a life span of up to 40 years maintenance free and a well preserved pole has an almost infinite life span.
Lightweight timber construction in the structures underneath the canopy. Timber has a high embodied energy due to cutting down, transportation and treatment and installation. Hower by using recycled timber for the cladding and structural beams it makes the material more sustainable. Timber can also be sourced from the site where trees have falled down.
65
ARIST STUDIO ITERATIONS
Sketches - Artist Studio to be broken into two different types. Studios are meant to be dynamic and part of the sculpture park. With materiality similar to the structues underneath the canopy of the gallery. Creating a similar language between the forms on the site. Lightweight studio - For light artists which draw, paint, textiles etc, constructed out of lightweight materials which are passive in design i.e timber Hazedous studio - for artists which need space to create larger sculptures or work which required toxic materials. To be constructed out of prefabricated concrete and to be sealed. in order to not let toxic matter leach into the
Artist Studio - Lightweight Studio
David Ajasa-Adekunle - Tetra Shed
Plan 1:200
Section 1:200
Perspective - lightweight timber construction 67
Artist Studio - Sculpture Studio
Ryuichi Ashizawa architects - Bamboo Forest and Huts with Water
Iteration 1
Plan 1:200
Perspective - prefabricated concrete panels
Section 1:200
Folded Origami Exploration with A4 Sheet of Paper
Iteration 2
Plan 1:200
Section 1:200
Perspective - showcase of prefabricated concrete sections 69
Narrative - Concept Proposal
This project is about the interface between environment and receiver. The environment in which we occupy holds an abundance of space and has a direct connection to us with influences on how we live and feel. It is architecture which segregates us from this space, enclosing us within confines for an enhancement to specific programs and functions. However Artists are in constant state of creative consciousness where a connection to the environment is a key element in the design process. The mere act of applying a basic architectural components such as floors, walls and ceilings removes them from that direct connection to the environment. My proposal to the site of Mt Macedon would incorporate two distinct types of Artist Residency studios and a main hub building including an activity place, storage and cafĂŠ, promoting the area and encouraging life and culture in connection to the landscape. By separating the activities, stimulation to the site is formed, creating sculptured walkways between studios and the main hub a highway of action is induced and the site becomes fully animated. The studios offer an immersion into the Australian bush endorsing the connection to the environment, creatively opening their consciousness. The flexibility and temporary nature of the studios allow for a user occupant to individually adapt the volume from open to enclosed space. The main hub provokes a space for activities rather than set programs. With separations mimicking the natural navigation of the bush, steel poles create opening and divisions based on individual perception with the circulation found is a free and not dictated experience. Larger openings between the poles promote meeting places or curations for artworks. Like navigating our way through the trees there are slight clues of previous trials in the form of dirt exposure, flattened flauna allows for a desired line of travel. The Gallery offers the same experience by light trailing the occupant allowing others to either make the same of different choice in circulation. The site is to become a meeting place for creative souls, inviting both artists and non-artists to participate is the form of 'living art' experience in a quintessential Australian bush setting.
71
Final Outcome
Exterior Render
73
Site Plan 1:3000
Plan 1:200 75
Roofing - Aluminium Cladding
Roof Support Framework
Underside of Roof - Copper Cladding
Steel Poles
Exploded Axonometric
Section 1:200 77
Internal Render of Gallery Space
79
Lightweight Studio
Plan 1:200
Section 1:200 81
Hazedous Studio
Plan 1:200
Section 1:200 83
S I E N N A
|
2 5 1 6 1 7 9 2
STORAGE/CAFE - TIMBER CONSTRUCTION GALLERY - GLAZING
POLES - STEEL
UNDERNEATH CEILING - COPPER CLADDING
FREAMEWORK - STEEL
ROOF - ALUMINIUM CLADDING
T A R D I N I
MAIN HUB PLAN 1:100
WO
MT
O P E N
MACEDON
GALLERY
+
ARTIST
RESIDENCY
- SEALED (DOESN'T LEACH TOXIC MATERIALS) - PRECAST CONCRETE - TEMPORARY (ABILITY TO MOVE)
I M M E R S I O N
HAZEDOUS STUDIO SECTION 1:100 - SCULPTURE, METAL, VANISHING
- LIGHTWEIGHT CONSTRUCTION
ARTIST STUDIO SECTION 1:100
HAZEDOUS STUDIO PLAN 1:100
- DRAWING, PAINTING, PRINTMAKING
LED PRESSURE SENSORE FLOOR
ARTIST STUDIO PLAN 1:100
- USED AS A NAVIGATION THROUGHOUT HISTORY - USED AS POLE PLACEMENT TO DEFINE SPACE
MAIN HUB SECTION 1:100
CONSTILATIONS IN THE SKY
DW
85
SITE PLAN 1:3000
The site is to become a meeting place for creative souls, inviting both artists and non-artists to participate is the form of living art experience in a quintessential Australian bush setting.
The main hub provokes a space for activities rather than set programs. With separations mimicking the natural navigation of the bush, steel poles create opening and divisions based on individual perception with the circulation found is a free and not dictated experience. Larger openings between the poles promote meeting places or curations for artworks. Like navigating our way through the trees there are slight clues of previous trials in the form of dirt exposure, flattened flauna allows for a desired line of travel. The Gallery offers the same experience by light trailing the occupant allowing others to either make the same of different choice in circulation.
My proposal to the site of Mt Macedon would incorporate two distinct types of Artist Residency studios and a main hub building including an activity place, storage and caf , promoting the area and encouraging life and culture in connection to the landscape. By separating the activities, stimulation to the site is formed, creating sculptured walkways between studios and the main hub a highway of action is induced and the site becomes fully animated. The studios offer an immersion into the Australian bush endorsing the connection to the environment, creatively opening their consciousness. The flexibility and temporary nature of the studios allow for a user occupant to individually adapt the volume from open to enclosed space. The studios blend into the surrounding sculpture park as each studio becomes part of the gallery viewing as well as serving as a functional space.
However Artists are in constant state of creative consciousness where a connection to the environment is a key element in the design process. The mere act of applying a basic architectural components such as floors, walls and ceilings removes them from that direct connection to the environment.
This project is about the interface between environment and receiver. The environment in which we occupy holds an abundance of space and has a direct connection to us with influences on how we live and feel. It is architecture which segregates us from this space, enclosing us within confines for an enhancement to specific programs and functions.
Lightweight Studio Model Photos
Hazedous Studio Model Photos 87
Pressure Sensor Interactive Floor Model
89
Gallery Model Photos
91
93
95
Bachelor Studio Lecture Response Name: Sienna Tardini Date of lecture: 7 | 03 | 2016 Studio: ARC2001 / ARC3001 Your Studio instructor: Tom McKenzie Lecture name or presenters: Ari Seligmann “The Seattle Public Library isn’t a building. Don’t think of it that way. It’ a set of Theories, tested and retested.” (Ari Seligmann, Monash Lecture 7/10\16) Architecture has been a mode of storytelling throughout history. A way in which to problem solve current issues socially and politically, challenging and encouraging the way in which we interact and perceive our environment. With an abundance of architect, building designers and drafters. Short courses in house design and online step by step instructions to the 101 of house design. The meaning of architecture gets lost in an ocean of similar outcomes from other professions. The thought of an Architectural idea into a Architecture project is the contrasting feature that architects contribute to the project that separates it from other built forms. An idea then represented physically allows one to personally have an impact on how other interact within a space. Within the +Energy Studio coming up with our own brief, and therefore also setting our own problems and issues we have to overcome becomes a challenging free space. So the importance of a strong Architectural idea in response to an issue is critical, as the information that is discovered and process ultimatelyends up designing the built form along with having a specific purpose rather than just being purely an object within the landscape. Seattle Public Library
OMA’s response looking at specific and unique design approach to the Seattle Public library. Taking information which needs to be integrated and the volume of consideration. A design is almost created within the information, which is then translated into a architectural form.
Bachelor Studio Lecture Response Name: Sienna Tardini Date of lecture: 18/04/2016 Studio: ARC2001 / ARC3001 Your Studio instructor: Tom Mackenzie Lecture name or presenters: Ben/Colby + Dennis Without context in a concept a design could be placed anywhere in the world without a strong relation to the place in which it is located. With the importance of context, either being site specific with contextual grounds, researching of history or indigenous impact can morph and shape the way a concept is conceived. With factors ranging from scale, size, temperature and placement in the world a deep understanding into a context is needed for a concept placed on that context to be rich and meaningful. In relation to +Energy Studio, context is a key role in shaping and strengthening our final concept for the site. With initial ideas, being manifested before the site, no clear strategy of coming up with a concept was valid until the site was given to us. For me, the research into Mount Macedon’s History and its residential tenants over the years was an interesting avenue to pursue. From grand housing holiday estates post gold rush, to now in current history more humble artist galleries and rare native flora shops as the main stimulant to the town intrigued me into the social relations of what would bring the “city slicker” to the mountain escape. With this in mind I looked at the idea of “the sea change” but more relating to the “bush change” or “sustainable change” but sustainable more in the sense of a holistic approach to living minimal, off the grid and giving back to the community. With inspirations from nomadic lifestyle meets camping. There was a strong notion of designing small scale inhabitation pods with the idea of mobility attached. The mobility pods lead onto an idea of attachable and detachable inhabitation where the pods make the space liveable and without them a shell is just left over. Challenging the idea of what makes a space liveable? How liveable? And if so. What living conditions would I be creating, and how enticing could they be? For someone from an urban environment to move to a mountain nomadic inspired atmosphere. Context is highly important if not fundamental to a concept. Without it, the richness is not meant and the concept could be placed anywhere in the world with no site specific link.
Shell and Pod Shell doesn’t have a specific function empty space
When Pod interacts internally shell has a specific function for inhabitation
Pods are completely mobile and offer their own inhabitation in a nomadic/camping inspired living
97
Bachelor Studio Lecture Response Name: Sienna Tardini Date of lecture: 5/12/2016 Studio: ARC3001 Your Studio instructor: Thom McKenzie Lecture name or presenters Evie Blackman and James Fletcher With a interactive approach to this week’s topic, a communication exercise was created by dividing up all the studios into groups. By having one person in each studio in the group enabled us to communicate to others in different studios were we were sitting on the idea of architecture and concept. Creating a interactive activity of brainstorming the studios fundamentals, we were comparing and contrasting the studios against one another. The end result was to see where each studio stood on the idea of architecture and concept. With 100 students minds working all on the same file the end result was quite chaotic however there were some clear defining words for each of the studios on where their studio sat more or less on different aspects within architecture and concept. For me personally the +Energy studio has a constant back and forth motion between concept and built architecture. Its difficult to specifically state whether a project which is built can directly relate to a concept or not. It becomes biased in a way, and sometimes factors aren’t completely thought out in all aspects. In this studio I’m finding myself constantly manipulating my concept with each week as I discover new technology and projects as reference to different aspects. Who knows at the end of the studio where I will be in terms of concept or the final built design, but the constant back and forth nature between the two is taking me on a path which is pushing me on how I think and therefore design. It very easy to fall into a trap of designing and creating a concept which is safe or been seen before.
Bachelor Studio Lecture Response Name: Sienna Tardini Date of lecture: 14/04/2016 Studio: ARC3001 Your Studio instructor: Tom Mackenzie Lecture name or presenters: Review of Mid Semester – James Fletchers Studio From the initial response James Fletchers Studio predominantly concentrated on the concept rather than the physical structure or building. Attempting to delve into the nature of what is spatial consequence and how it can be represented. The Reponses where divided up into different senses of how space is interacted, mapped and showcased without it having a specific connection to a particular space, place or environment. The framework behind their studio is based on the idea that the world developing new abilities are being introduced however old ones are being lost, therefore we are extending and limiting our abilities to operate within a space.
This idea for a studio is on a complete 180 from the +Energy studio which I am in. where it is very site specific and responding to our own investigations of inhabitation. With two polar opposite studios, it was good to see another perspective on designing how a conceptual idea is mapped to then apply to a place. One project for example focused on the face to face interaction of people and mapped how it has changed from before and after smart phones were introduced as the main form of communication between bodies. From body language and body posture the “smart phone” has altered our sense of surroundings and the way in which we communicate.
The project also looked into the effects of using smart phones everyday on our natural body clock (circadian rhythm) and how it’s shifted our rhythm. The clocks show that on a natural rhythm with face to face communication verses with the addition of technology and artificial light the shifts in the rhythm. In response I thought of how this could apply to my own studio. Looking at if there are places where people are more likely to be on their phones, their peripheral vision is more towards the ground, rather than if someone is on face to face communication, or just not on a electronic device their peripheral vision would be greater. So designing perhaps a system in particular spots within a space where people are most likely going to be on their phones i.e in lines for bathroom, ordering, waiting and having a almost stimulant on the ground to encourage a gaze other out of their smart phones an into the surrounding environment.
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MONASH ART DESIGN & ARCHITECTURE
ARC 3001 TUTOR: THOM MCKENZIE Student # 25161792