Tahj Rosmarin Concrete Dreams Journal

TAHJ ROSMARIN PORTFOLIO OF WORKS

TAHJ ROSMARIN. S731906. MELBOURNE SCHOOL OF DESIGN. STUDIO C. PETA CARLIN AND LUCA LANA. ‘CONCRETE DREAMS’ 2015

TABLE OF CONTENTS

PROJECT PRECIS The brief called for a masterplan of an old abandoned cement factory located in Fyansford, Geeling. Within this masterplan, an art gallery, residential complex, workshops and a running track were to be implemented. The proposal aims to engage with the site directly: the masterplan enables the user to experience the site from many vantages: whether it be from above the perimeter, from above the silos or from under the ground. Interventions are designed to mould within the existing terrain through enhancing qualities which are already apparent. Each segment of the brief offers a different experience of place, with each of them responding differently to their location context.

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EXPLORING SURFACE FROTTAGE/MATERIAL Page 1 ESQUISSE ONE RENE MAGRITTE Page 2 CRITIQUE ONE FRAMING VIEWS Page 3 ESQUISSE TWO SITE CONTEXT Page 4 ESQUISSE THREE ART IN THE SILOS Page 5 PRECEDENT ARCHITECTURE

Page 6 DESIGN DRAWINGS THE SITE

Page 7-8 MIDSEMESTER CRITIQUE

Page 9-11 DESIGN DRAWINGS THE SILOS Page 12-17 END OF SEMESTER CRITIQUE Page 18

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EXPLORING SURFACE FROTTAGE AND MATERIAL

BITUMEN Collingwood, Melbourne Photo edit of a frottage

OFF FORM CONCRETE Caulfield, Melbourne Photo edit of a frottage

FLOORBOARD Collingwood, Melbourne Photo edit of a frottage

CONCRETE WALL Carlton, Melbourne Photo edit of a frottage

BITUMEN Abbotsford, Melbourne Photo edit of a frottage

CONCRETE FLOOR Carlton, Melbourne Photo edit of a frottage

CONCRETE WALL Carlton, Melbourne Photo edit of a frottage

RENDERERED WALL Collingwood, Melbourne Photo edit of a frottage

GRAPHITE DRAWING Collingwood, Melbourne Photo edit of a frottage

RENDERED WALL Collingwood, Melbourne Photo edit of a frottage

CONCRETE WALL Ftizroy, Melbourne Photo edit of a frottage

WATER COLOUR PAPER Collingwood, Melbourne Photo edit of a frottage

GRAPHITE DRAWING Collingwood, Melbourne Photo edit of a frottage

BITUMEN Collingwood, Melbourne Photo edit of a frottage

WATER COLOUR PAPER Collingwood, Melbourne Photo edit of a frottage

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ESQUISSE ONE RENE MAGRITTE VISBILITY AND INVISIBILITY The surrealist artist Rene Magritte inspired the concept of the visible and the invisible. I became fascinated with hiding the prescence the silos, which dominate the site surrounds. How can you make something so obviously real, dissapear? A quote of Magritte deals with this issue:

“Everything we see hides another thing, we always want to see what is hidden by what we see. There is an interest in that which is hidden and which the visible does not show us.

This interest can take the form of a quite intense feeling, a sort of conflict, one might say, between the visible that is hidden and the visible that is present.�

ESQUISSE ONE: A MONUMENT TO GEELONG The monument to Geelong expands on the themes of the visible and invisible. The contrast of these two themes are highlighted in the monument.

The silos are hidden at the start of the day. A large projection projects the surrounding landscape on them and hides their presence.Throughout the course of the day, the projection slowly unveils the silos, so that by evening, the silos are completely illuminated and made visible.

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CRITIQUE ONE FRAMING VIEWS

fyansford cement works the existing narrative

fy th

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The work of this critique was an architectural expansion of the concept of the visible and the invisible. A directed route frames certain views of the silos; highlighting their scale in some instances, and completely ignoring them in others. This was the first instance that the concept of ‘narrative’ became important in viewing fyansford cement works the site.. the existing narrative

fyansford cement works the existing narrative fyansford cement works the existing narrative

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a defined entry sequence with clear views of the silos. a formalised intervention should be introduced which introduces an architectural language.

a paused moment with partly shielded views of the silos.

a ruin in the landscape is seen from afar in the distance. the silos are no longer a dominant form, but rather appear like part of a landscape in a painting.

this point allows a moment of contemplation before the journey down the hill begins.

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D

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a re

dscape is seen from afar in the distance.

dominant form, but rather appear like part of a r in the distance. appear like part of a

a

a defined entry sequence reference: formalised planting at kimbell art museum by louis kahn a defined entry sequence reference: formalised planting at kimbell art museum by louis kahn a defined entry sequence reference: formalised planting at kimbell art museum by louis kahn

an artefact provides opporunity for complete isolation. glimpses of the silos appear in the distance, but the eye is drawn to the more expansive views of the quarry in the distance.

a framed perspective brings the silos into clear focus again.

a dominant force. as one prepares to leave the site, the silos are made clearly visible. this time they appear as looming figures, which remind the user of their obvious presence.

however, despite their clear presence, the forced perspective prepares a clear vista into the landsape.

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tion

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a framed perspective reference: katsura imperial palace, kyoto, japan a framed perspective reference: katsura imperial palace, kyoto, japan a framed perspective reference: katsura imperial palace, kyoto, japan

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befo tion flec of re

ent

hill

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clear w vides vie

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a ruin in the landscape reference: lee ufan museum by tadao ando a ruin in the landscape reference: lee ufan museum by tadao ando a ruin in the landscape reference: lee ufan museum by tadao ando

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befo

silo

B

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rce. as one prepares to leave the site, the y visible. this time they appear as looming figures, r of their obvious eave the site, the presence. ear as looming figures, . res,

site plan scale 1:200 @ a3

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wards

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clear formal & view provides entrance

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ESQUISSE TWO‘artefect’ SITE CONTEXT context plan

western cemetery

flour mill house

designed in victorian vernacular of the nineteenth century cottage type home in fyansford.

formed in 1855 - 1858. original layout by christopher porter. connection to settlers and aboriginals.

scale 1:25000

former railway line a remnant entry into the site.

ES H WY

north

THOM

built in 1858 for christopher porter – one of geelong’s most noted architects. It was one of the first homes in the region west of minverva road

first geelong cement head office

north geelong

use of the georgian revival style for a commercial application, reflecting the Australian homestead typology at the time, and its value in the area,

hamlyn heights

DY ST

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ee

the old swann inn was built to a design by geelong architect a.k. skene; he was also an important early government surveyor. the addition of the bridge led to new hotels to service surrounding agricultural and horticultural interests. later adapted as a farm house.

PSON

(pr i n c es f w y)

lo ng r in g r o ad

old swann inn

katoomba house

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bell park

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M cC UR

herne hill

geelong bowls club

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AU TU M

N ST

h a mi lton h wy

fyansford

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EEN ST

wimmera house TO N ST

designed by civil engineer john monash. bridge in particular marks a technologically significant event, as it is a perfect example of the ‘monier’ principle.

geelong cbd

MC

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P S T ST

R I VE B A RW O N R

monier bridge

important example of the work of celebrated architects backhouse and reynolds. an illustration of the nature of the italianate tradition of the 1850's in victoria.

OL

one room school was constructed in 1875 by contractor j. pile and sons in stone with a shingle roof, and was replaced or covered with iron in 1899. it is of local significance as an example of an early education department single room school constructed of bluestone.

PA K I N G

former fyansford primary school

use by the workers as a recreation club. in 1926, the bowls section was formed on site, which includes a croquet green and tennis court but, was burnt to the ground in 1930.

geelong west

newtown

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corio bay

south geelong F YA

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orphanage

significant as proof of the history of child welfare and education in victoria as well as providing evidence of the social conditions in 19th century victoria.

barwyn paper mill complex fyansford hotel

two storey brick structure, a transitional colonial georgian style hotel. was erected in 1854 for publican cb dawson. distinctive symmetrical fenestration and angled corner entrance are characteristic mid-19th century features of public house architecture.

consists of the original mill buildings (late 1870's), the manager's house (1878), six workers' cottages (1878), a stone water race, stone tower and stone weir. workers' cottages are examples of "pre-world war one purpose-built company housing in Victoria" which show the influence of the british model of industrial estates on australia's building design history.

barwyn river

diverse range of vegetation inhabit the river’s bank, featuring red gums, blackwoods etc. natural fauna of the area includes kangaroos. the river was important to the wathaurong people as a place that was rich to gather food, visited frequently. river hasalso been a vital part of geelongs history from as early as the 1830’s. it worked as the main water supply for geelong until 1873.

‘coronal’ house

erected in 1854-55, the two-story victorian italianate style mansion was home to architect benjamin backhouse. Its distinctive design makes it one of backhouse's finest works and continues to be a powerful indication of australian architecture during the 1850's.

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ESQUISSE THREE ART IN THE SILOS THE ARTWORK The artwork that was selected to be in the main art gallery was divided into a series of themes which were currently being explored in dealing with the site. Further, this artwork which was chosen presented a physical manifestation of the concepts of the architecture which were yet to be realised.

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PRECEDENT ARCHITECTURE PLAN LANGUAGE The work of Enric Miralles and Roberto Burle Marx informed the language of my plan. The soft curves and organic, fluid nature of their lines were an appropriate realisation of the themes I had been exploring in dealing with site.

landschaftspark duisburg nord, latz + partner

material language

FORMAL LANGUAGE The work of Japanese architects, such as Tadao Ando, helped inform the way the architecture met the landscape, and in turn, helped define a new one.

naoshima ferry terminal, sanaa, naoshima, japan

roberto burle marx, sao paulo brazil gardens

enric miralles, olypmic archery

engaging with the site katsura imperial villa, kyoto, japan

enric miralles, igualada cemetery

tadao ando, chichu art museum

enric miralles, igualada cemetery

sculpture forecourt, isamu noguchi

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DESIGN DRAWINGS THE SITE

FRAGMENTING THE SITE DEALING WITH THE SILOS AND SITE

THE MANIFESTO OUTLINING THE ROLE OF THE DESIGN

ORGANIZATION CONCEPT

DEMARCATING THE SILOS

DEALING WITH THE SITE

DEALING WITH THE SILOS

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DESIGN DRAWINGS THE SITE

THE SUBURBAN EDGE DEALING WITH THE EDGE CONDITIONS

THE SILOS

INITIAL MASTERPLAN

A SACRED SPACE IN THE CENTRE

PROGRAMMING THE SITE

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MIDSEMESTER CRITIQUE

#LayID #DrgID

#LayI #DrgI D D

#DrgI #LayI D D

#DrgID #LayID #DrgID #LayID

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MIDSEMESTER CRITIQUE workshops workshops relate to a semi-public courtyard. they have a direct relationship with both housing and the gallery proper.

cafe/viewpoint two silos are used as a means of circulating around them. they intersect and spiral around the existing silos until they reach a cafe on the top of them. this cafe provides vast outlook over the site and relates to the gallery next to it.

suburban edge the suburban edge is articulated through raising the ground plane. users are able to view the silos at a different height while simultaneously demarcating the edge of the site.

carpark the carpark is ramped into the earth. however, from everywhere else on the site, it reads as the same level. the canopies of trees provide this illusion and make for an interesting relationship with the ground level. public amphitheatres surround the carpark and provide places to enjoy the surrounding landscapes.

lobby/gallery spaces the gallery and lobby spaces are created using the existing northern silos. the shell of half of the silos are removed to create a huge void over the lobby space. the remaining are silos are used to house the gallery spaces. an outdoor gallery is located to the right, enveloping the disused and abandoned silos within its walls.

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MIDSEMESTER CRITIQUE

THE SEMI-PUBLIC ENTRY

ENTRY

THE SEMI-PUBLIC HILL

THE SUBURBAN EDGE

THE SUBURBAN EDGE

ENGAGING WITH MATERIALITY

THE FORECOURT

THE GALLERY

THE SUBURBAN EDGE

EXPERIENCING SCALE

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DESIGN DRAWINGS THE SILOS THE GALLERY After midsemester, I began to start investigating the role of the silos, in responding to the brief of the course. This is where the artwork I had chosen before, became vital to the design of the gallery.

The concept of a ‘narrative’ building, one which was heightened by both art and architecture, was explored at this point. These sketches mark the initial thoughts how a building like this could be planned.

LINE DIAGRAM

GROUND FLOOR

PROGRAMMING THE BRIEF

MOULDING THE GROUND FLOOR OF THE BUILDING

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DESIGN DRAWINGS THE SILOS

CONICAL SECTION EXPERIENCING THE SCALE OF THE SILOS

MELTING FLOOR PLAN MOULDING THE FORM OF THE SILOS

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DESIGN DRAWINGS THE SILOS

GROUND FLOOR PLAN

FIRST FLOOR PLAN

A PUBLIC SPACE

THE BEGINNING OF THE NARRATIVE

THE ART GALLERY PLANNING THE NARRATIVE

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DESIGN DRAWINGS THE SILOS

EXPLORATIONS RETHINKING THE ENTRY SEQUENCE

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DESIGN DRAWINGS THE SILOS

THE THREE PART NARRATIVE THREE MAJOR SPACES ARE TIED BY A CENTRAL CORE

THE BUILDING AS A STREET RETHINKING THE NARRATIVE

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DESIGN DRAWINGS THE SILOS

THE WORKSHOPS EXPERIENCING THE SITE FROM UNDER THE GROUND

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END OF SEMESTER CRITIQUE 6.

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THE NARRATIVE

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This critique presented an unfinished concept of a narrative building. In this instance, the use of cantilevred walkways was used as a way of defining circulation through each gallery.

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ground floor plan scale 1.200

mezannine floor plan scale 1.200

lobby floor plan scale 1.200

typical gallery floor plan scale 1.200

1. entry to gallery 2. cafe 3. toilets 4. kitchenette 5. lecture hall 6. plant room 7. loading bay/staff entry 8. bookstore 9. sculpture court

1. mezannine terrace level

1. main entry 2. toilets 3. museum shop/waiting area 4. reception 5. cloak room 6. office 7. storage 8. loading bay/staff entry 9. staff toilets 10. atrium

1. gallery space 1 2. gallery space 2 3. gallery space 3 4. toilets 5. lift access 6. walkway ramps

This was later deemed inappropriate, and instead, the focus was placed on each room having a spatially unique experience.

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typical gallery floor the gallery floor is made up of a very simple plan. existing silos are used to define a spatial enclosure and circulation narrative.suspended walkways carry the user to the next level, expanding the narrative beyond the silos walls.

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lobby floor

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this provides the first introduction to the gallery proper.a narrative of entry is dictated through the spaces which the user moves through. the first stage of the gallery narrative begins with experiencing the multi-height atrium space.

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mezannine floor this floor acts as a public terrace which connects the ground floor to the huge volume it lies in.

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ground floor

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contains public amenities such as a cafe, lecture hall and public sculpture court. it also contains infrastructure for the building such as the plant room and loading bay.

section a not to scale 1. lecture hall 2. mezannine public floor 3. sculpture court 4. atrium 5. waiting area 6. gallery level 7. suspeneded walkway 8. rooftop level

exploded axonometric not to scale

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