+bridge melissa tsang hiu ching 377534
the Melbourne dreaming: competitions, landmarks and identity studio 7 2015
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studio 07 brief introduction
“ The studio takes as its point of departure the fact that Melbourne has over its history and development been a site of numerous architectural competitions. One of the most important and largest competitions was held in 1979. It was for a landmark building on what is now the Federation Square site and attracted over 2000 architects. The studio will reflect on the culture of competitions and landmarks in Melbourne by examining the entries for 1979 competition and subsequent competitions such as that held for the Melbourne Museum, the State Library, Federation Square, Docklands, Flinders Street Station, and more recently the CUB site. The reference to ‘dreaming’ in the title of this studio seeks to problematize the notion of landmark and identity by examining Melbourne’s culture of competitions designed to invent a landmark as the space of an imaginary community.”
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contents + bridge
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Research —
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Fact-Findings of RMIT precinct —
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Exploration of +Bridge —
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Thesis Project of +Bridge —
Definition of Landmark Landmark Competition 1979 Proposed Melbourne Landmark site : the RMIT city precinct
Historical Background of Site Analysis of Existing Site Condition Concept-Mapping Study of potential idea development
Precedent Studies Framework Iteration V1 Framework Iteration V2 Framework Iteration V3
Plans Sections Collages Diagrams Physical Model 1:1000
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Definition of Landmark research information
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Landmark /’lan(d)ma:k/ a. a prominent or conspicuous object on land that serves as a guide, especially to ships at sea or to travelers on a road; a distinguishing landscape feature marking a site or location. b. something used to mark the boundary of land. c. a building or other place that is outstanding historical, aesthetic, or cultural importance, often declared as such and given a special status (landmark designation) ordaining its preservation, by some authorizing organization. d. a significant or historic event, juncture, achievement,etc.
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Landmarks the city image & its elements by kevin Lynch [1960]
a. Another type of point-reference, but in this case, observer does not enter within them, they are external. - usually a rather simply defined physical object, building, sign, store or mountain - distinct ones, typically seen from many angles and distances, over the tops of smaller elements, and used as a radial references. b. Other is primarily local, being visible only in restricted localities and from certain approaches. - are the innumerable signs, store fronts, trees, doorknobs, and other urban detail, which fill in the image of most observers. i. frequently used clues of identity and even of structure, and even of structure, and seem to increasingly rely upon on a journey becomes more and more familiar. c. There seemed to be a tendency for those more familiar with a city to rely increasingly on a system of landmarks for their guides; - to enjoy uniqueness and specialization d. Use of landmarks involves the singling out of one element from a host of possibilities. - the key physical characteristic of this class is singularity, some aspect that is unique or memorable in the context.
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Personal Reflection Definition of Landmarks
As the topic of Landmark, itself, is limited in terms of its areas of exploration and definition, i do found it hard to give my definition and to further explore what potentially my argument for my thesis project could be. However, based on the background research that i had done so far with the readings and discussion provided and shared by my fellow studio mate, i found it very interesting how idealistically there are two perspective to understanding what (essentially) is landmark, in general - the idea of its being a singular class and the notion of it being a iconic representation to emotionally connect the public with the past - retrieving memories! Personally, i do find both ideas to essentially be represented and inter-related to each other in various elements as ultimately landmark is about the past and how it connects back with people. Thus, as mentioned, it is after-all inevitable to what i could developed on and idealistically argue about. Yet, at the point of time, i aspire to be ambitious and to explore further when i relate it back to the context of Melbourne and how the definition could be further challenged. Currently, i am intrigued by the notion that Lynch provided that Landmark exhibit the “ key physical characteristic of this class is singularity, some aspect that is unique or memorable in the context”, which i reckon that this definition could be further explored and studied on.
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1979 Landmark Competition brief
“The competition sought a landmark for Melbourne to rival Sydney’s icons and conceal the wrinkles of the unsightly Jolimont railway yards. Open to anyone, the competition attracted more than 2000 entries of various feasibility – from a pair of monumental mammaries (with revolving restaurants in the nipples), boxing kangaroos, enormous hanging gardens and numerous pyramids. Full of imagination but often short on practicality, most entries understood the site’s public potential, suggesting a tourist Centre, gardens, galleries, bars, cafes and a radio and TV station – all of which have come to fruition. Big things were certainly the order of the day, but unfortunately were not to be as judges – including future NGV director Patrick McCaughey – stormed off the selection panel and the competition was canned in 1979.”
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the ‘paris’ end of flinders street
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Melbourne Tower
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Batman Gardens
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Landmark Tower
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Melbourne National Park - A Garden Hub
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Melbourne : A Paradise of Birds
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1979 Landmark Competition personal reflection
Upon the analysis and research of the 1979 Landmark Competition entries, it was interesting to noticed that how Melbourne’s identity was perceived by international people versus the locals. This also reflects strongly on the lack of identity of Melbourne during that period of time. Despite being one of the largest populated city in Australia ( in comparison to Sydney), the diversity of Melbourne itself had ironically caused it become lost in its own identification. Within the 2000 and more entries of various feasibility suggested, it was the local citizen’s that pointed out and identified what the personally reckon that Melbourne is, and what Melbourne lacked of as a city’s representation. Whereas, the suggestions given by the international entries did not take into any consideration of the existing and the actual meaning of what Melbourne essentially is. This, then essentially, questioned us back — what is Melbourne’s Landmark?
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Historical Image of Flinders Station
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Heritage of Melbourne technical report 10; protecting heritage in a changing Melbourne [2001]
Q. What is valued by Melbournians? - Cultural heritage recognition and appreciation emerged as a significant community concern in the post-war boom years. - It is important to note that, for residents, Melbourne’s significance is derived from the legacy of various stages of development and from different historical layers and cultural themes rather than from any particular monument, feature or landmark. - “Recent efforts to provide Melbourne with a ‘landmark’ precinct, feature or building have failed to understand that Melbourne’s most valued heritage is a subtle blend of spatial influences and physical structures from its whole history.”
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Site location - Northen end of Swanston Street
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personal thoughts reflection
“ It is not about building more landmarks; the solution
is to connect all landmarks together and create a stronger identity, at the northern end of
Swanson Street, the way federation square has en-lived the south....”
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Diagram of concept of Singluarity versus Plurality
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Analysis of Site Context of Northern End of Swanston Street
Surrounding land contains high density development with a mix of uses Site is located at the edge of the Central Activities District (CAD) retail core includes ; o Residential o Retail o Office o Education / Institutional facilities o Public Car Parks Building height in the area varies from between 2 – 48 stories incorporating a mixture of tower designs and materials.
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A General Analysis of the Site Context
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Analysis of Landmarks of Northern End of Swanston Street
Melbourne Central Shopping Centre by ARM -Retail development ; o That includes the historic shot tower and railway station access State Library of Victoria by Joseph Reed (1956) -Civic / public location; o Included the exhibition spaces, open grassy lawn _ a speaker’s forum. Queen Victoria Village _QV -Comprises a large shopping centre, a central plaza, and underground food court, Melbourne’s central city’s first full-size supermarket, apartment buildings, and the global headquarters of BHP Billiton.
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Site Identification of the landmarks located
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Analysis of Landmarks of Northern End of Swanston Street
RMIT city Campus _ famous Architecture structures : 01. Storey Hall by ARM (1996) o Home to RMIT Gallery, considered to be Melbourne’s most vibrant art space. 02. Swanston Academic Building _SAB by Lyons (2012) o 6 lectures theaters, mix of small & medium sized teaching and learning spaces, specialist learning venues, student portals for study and recreation, 11 retail outlets. 03. Building 8 by Peter Corrigan (1993) o Houses many university functions, containing the Swanston Library, Student Union, & Schools of Architecture, Interior design, Landscape Building, Planning & Policy, Fashion and Mathematics. o Contains facilities such as workshops and labs. Carlton United Brewery_CUB (on-going) development -120,000 sqm of commercial space and 600 apartments, plus 150 underground parking spaces. o “ a $600 million city-within-a-city ” o “To be the fourth major landmark on the city’s circumference, completing the points of the compass. On the South, there’s the Yarra River and the railways, to the east, you’ve the parliament house and gardens, and the west side is Docklands and Spencer St, which adds a whole new typology. That’s what the Carlton Brewery will do. It will become an icon, like federation Square.” - Hearldsun.com.au, 2007.
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Research Presentation Panel 01
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Research Presentation Panel 02
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Thesis Argument V1 from Research Presentation Critics
“The city does not tell its past, but contains it like the lines of a hand, written in the corners of the streets, gratings of the windows, the banisters of the steps, the antennae of the lightning rods, the poles of the flags, every segment marked in turn with scratches, indentations, scrolls.” – Invisible Cities; Cities and memories 3_ Italo Calvino Topic (what area of your field are you investigating?) The concept of Singularity (in the notion of Architecture); 1.A point at which a function takes an infinite value, especially in space – time when matter is infinitely dense. 2.A hypothetical moment in time when artificial intelligence and other technologies have become so advanced that humanity undergoes a dramatic and irreversible change. This leads to the question of: Is Singularity a plural? Can Architecture incorporate and be represented as a whole; with an infinite layers of meanings that transits from its rich historical past, present and the (potential) future contexts? Can Architecture reflect as a form of reminiscent of the past through time; a attempt to redefine and connects the boundary between the differences?
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Feedback from Research Presentation Critics
Review went well despite that i was unable to provide Philip with sufficient or more information to enable him to further thoroughly analysis the site. However, the general feedback given by Philip was useful and was appropriate for me to further examine the site in more detail. Important factors that was needed to be taken into consideration was pointed out — 01. to examine the site in detail 02. select the important areas to address 03. what happened at the CUB site. 04. Is there possible entrances into the fabric of the street font, the southern end 05. Search for areas in which you might want to intervene with a built form Design form: the double element shown was interesting and Frank suggested that the ‘high line’ element and the informal element that zig zags across it connecting the locations you have selected through your mapping. Remember: this project is not only about connecting elements of RMIT’s precinct but its precinct to the city!
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Personal Reflection from Research Presentation Critics
It was a very useful and insightful feedback given by Philip Goad, despite the fact that i didn’t have a well-provided amount of background research information for further discussion. Beside the highlighted points that Philip suggested and provided, i reckon that the scope of my research information provided is too general, and i did not take into consideration further or more detailed elements or cues into better understanding my chosen site, especially when the existing buildings / landmarks situated at the site chosen is diverse and has various range of strong identity of themselves. Looking into exploration of the idea of bridges or other form of connections was suggested. Also, researching on how elevated platforms was once envisioned for the future of Melbourne. Example, the linkage tunnel from Melbourne Central to Myers in the City.
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RMIT Precinct background information research
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RMIT Precinct background information research
1986- 2004_RMIT university: engaging with Melbourne “Rmit is situated at the northern end of Melbourne’s ‘civic spine’ & its major processional route- Swanston Street…. At the northern ‘bookend’ of this processional route, RMIT occupies a significant civic position which unfortunately it takes no advantage of at the present time. In fact most of RMIT literally turns its back to the public and presents an ugly, blank aspect to Swanston Street. If RMIT is to encourage access to its campus and to play its role in the development of the Civic Spine, it should open itself outwards to the city.” In its breadth of approach and understanding of what RMIT could offer the city it was the most significant blueprint for development that the institution had ever produced, providing a robust critique of previous plans that had proved so insular. The recommendations not only argued for a holistic design of the campus but its civic responsibility to be acknowledged in its buildings and in the insertion of pedestrian paths
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Perspective Sketch Drawing of Bowen Street from La Trobe Street 1914 drawn by Robert Haddon
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Historical Information of RMIT background information research
In its breadth of approach and understanding of what RMIT could offer the city it was the most significant blueprint for development that the institution had ever produced, providing a robust critique of previous plans that had proved so insular. b. The recommendations not only argued for a holistic design of the campus but its civic responsibility to be acknowledged in its buildings and in the insertion of pedestrian paths and squares through the site. c. Commission was divided into a number of task forces which investigated 6 fields: 1)Educational process 2)Relationships with government 3)Industry and commerce 4)Human resources 5)student life 6)RMIT’s role in Inner Melbourne; covering the physical amenity of the campus and its relationship to the city.
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RMIT city campus proposal 1965 Master Plan for RMIT city Campus Bates Smart & McCutcheon
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Historical Information of RMIT background information research
d. Brief : to examine the nature of RMIT’s relationship with inner Melbourne and to explore the opportunities for RMIT’s future development that would be of benefit to both the institute and to the various communities and sectors within the inner urban area e. Recommendations continue to guide the University’s vision today, the most significant being the awakening its role on Melbourne’s processional route and civic spine, Swanston Street. f. The story of Rmit’s Building program started from Building 8 (1987) is one of the ambition and high drama.
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RMIT, the technical college looking south-east 1971 Master Plan for the Carlton Campus Demaine Russell Trundle ArmStrong & Orton
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Historical Information of RMIT background information research
Background part 02 1992: Marks the start of Rmit as a university; with a new mace for the celebration Concept for the mace was to exploit high-tech materials to represent the contribution of RMIT’s research strengths to the development of new materials and technologies.
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STOREY HALL
P.CORRIGAN B8
B22
B16
Services+ facilities
Venues
Storey Hall
Basement Connected to B16 from the Back L1 Admissionsprospective students [Connected to B16 from the Back]
Green Building Level 01 Theatre Lecture
Level 02 -First site RMIT Link student gallery -RMIT (Union) Gallery -Student Study Area Level 03 -RMIT Gallery Levels
L2 Not connected to B16
Level 04 -RMIT Gallery mezzanine
L3 Connected to B16 from the Back
Level 05 -Annexe Foyer -Hall Auditorium - [Connected to B8’s L4 from the Back]
L4 Connected to B16 from the Back
Level 06 -Foyer Mezzanine
Roof
Level 07 -Hall Balcony -Seminar Rooms
Venues Research centres Academic sch Services+ facilities
Level 01
B10
RMIT BUILDINGS CASEY WINGS B12 B14
Academic sch Services+ facilities
Student admin offices Research centres Services+ facilities
Level 01
Level 01
College offices Academic sch Services + facilities
Level 1
DESIGN HUB B100 Services+ facilities Venues Research centres Basement 02 Wkshop Rm Theatre Multipurpose Basement 01 Design Archives Multiuse Exhibition Office Ground Lobby Furniture Store Lecture Theatre Speaker’s Balcony Design Archives Meeting Rm Level 01 Warehouse Long Room
SAB BUILDING B80 Academic sch Services+ facilities Venues College offices
B81
B37
B36
Academic sch
Academic sch
Research centres Academic sch Services+ facilities
Level 01
Level 01 English worldwide
Basement
↔
Level 01 -Hero subs -Roll’d -Cinema
Level 01
Level 02 -kaleide theatre -Comm Bank (Swanston St)
Level 02
Level 02
Level 02
Level 02 Warehouse Long Room
Level 02 -Bean project -The vine -Large Lecture 2levels
Level 02
Level 02 School of global urban +social studies
Level 03 -Fitness Centre -RMIT Link (sports recreation/arts) -2nd hand bkshop (student union) - Student Union (Connect to B28;Post Grad Bldg -Connect to B10_front) Level 04 Main cafeteria Printing services ( Connect to B10_Front [International student lounges) (Connect to B28;Post Grad)
Level 03
Level 03 Mail Room
Level 03 -Lost Property -security office
Level 03 Warehouse Long Room
Level 03
Level 03 School of graduate research
Level 03
Level 03 -Mediacom. -Centre for animation + interactive media
Level 04 - Copy centre - disability liaison Unit
Level 04 -The Hub - Indigenous Centre -STA travel
Level 04
Level 04 NEIS *Lookout Point -Large Lecture 2levels
Level 04
Level 04
Level 05 City Library (Connect to B28;Post Grad) (Connect to B10_front +Back) Level 06 City Library- AFI research collection (Connect to B28_Post Grad) (Connect to B10_front+Back) Level 07 Design + social context (Connect to B10_front)
Level 05
Level 05
Level 05
Level 04 *same above -Exergames: research - GEElab research - PTRI research - SIAL Lab - Vroom research Level 05 *same above - OUTRresearch - UAL Lab
Level 05 School of Vocational Business
Level 05
Level 05
Level 06
Level 06
Level 06
Level 06 *same above
Level 06
Level 06 IELTS Test centre
Level 07
Level 07
Level 07
Level 08
Level 08
Level 08 Comp.science+ Info technology
Level 07 -Bean project -In a Rush -C. of Business *Lookout Point Level 08 B. IT & logistic
Level 07
Level 08 -Property construction + project management -Design + social context Level 09 Maths + geospatial science (Connect to B10_front)
Level 07 Seminar Rm Roof Terrace Long Room Light Scoop
Level 09 Electrical + Computer engineering
Level 9
Level 09
Level 09 Management
Level 10 Design + social context
Level 10
Level 10
Level 10
Level 11 Theatre_ 2levels Design + social context Level 12 Design + social context (Connect to B10_front)
Level 11
Level 11 Geospatial science initiative
Level 11
Level 10 Economics, Finance marketing Level 11 Accounting
Level 13 Plant Room
Level 13
Level 12 Civil + chemical engineering
Level 12
Level 12 C of science engineering health
Level 13
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Roof
Level 12 Plant Room
Swanston Academic Building SAB Building Information
“Saw the site as a focal point of the city and looked at how the SAB could create a dialogue with the other landmark buildings that define Melbourne. The process involved mapping lines from the site to these buildings. Using these lines wer then created a computerized algorithm that generated the three-dimensional shapes and form of the building. We also put a boom lift on site and hoisted architectural photographer Dianna Snape up to photographically capture the vistas from the 11 levels of the building. The best viewpoints then became the location for the student ‘portals’ on each level that connect student activities inside the building with the surrounding cityscape. In this way we have created a design that integrates the building into the very heart of Melbourne architecturally, but also reflects and embraces the broader architectural legacy of the city.”[7] Predominant colours of Melbourne were derived from a survey, which has been reflected in the colour palette of the SAB. Lyons has connected the Swanston Academic Building to the rest of the RMIT campus by designing it with “a sense of openness, transparency and energy”.[6] When designing the layout for the Swanston Academic Building, Lyons consulted extensively with a wide range of academic staff to gather information about learning and teaching methodologies (both current and future), including learning and teaching spaces that would aid their teaching practice.”
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Building 08 Building Information
Edmond & Corrigan Building 8 reconnected the University with its city, helping to repair the loss of connection which was so lamented in the 1987 Centenary Commission report. This is nowhere more evident than in its grand gesture to the historical civic spine of Melbourne – Swanston Street – where its brilliant ornament, colour and sheer exuberance signaled a new spirit at work at RMIT. The building straddles John Andrew’s unfinished Union Building, adding the floors that were never completed on the 1972 scheme to house a library, a number of departments and academic administration. Giant steel pins appear to raise the new brilliantly coloured stone façade up over the grey Andrews’s substructure, barely distinguishable now, its original glass blocks bookended by brightly coloured mosaics of glazing. This is Gothic polychromy & structural expressionism with a vengeance. It reminds us of the Victorian progressive optimism that sought to amplify the benefits of education for working people in its institutional architecture. Spanning the whole width of the site from Swnston Street to Bowen Street and linking to the adjacent Building 10 and 28, Building 8 has a deep floor plate and the architects made a feature of this in the interior. They created a sense of a labyrinthine somewhat chaotic space rather than a regular, predictable, office layout, full of irregular corridors, unexpected balconies and odd-shaped rooms. The top floor is like a light-filled eyrie and houses the architecture program and the offices of the School of Architecture and design. From the school meeting room, signalled by its own brilliantly coloured canopy, one can view the whole city along Swanston Street, in the resurgence of which Building 8 played so significant a part. It was the forerunner of and set the standard for RMIT’s new and exceedingly ambitious building program.”
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Building 10 (1969) , 12 (1969) , 14 (1976) Building Information
(initial design scheme) The basic concept of Bates Smart & McCutcheon plan for this group of buildings was to form a wall to Swanston Street. Against this wall, all the services would be located & the east-west classrooms came off these, sheltered from noise and dirt of Melbourne’s main thoroughfare. Between these classroom wings were small courtyards intended to provide seating & amenity for the students. The 1967 plan offset the negative gesture to the street by providing a strong identity to the campus in the proposed multistory tower on the corner site. Both were steel-framed buildings with grey concrete-block walls, the structure providing the possibility of flexible internal configuration as different requirements emerged; the walls could be altered or removed altogether to create double-height volumes if needed. …. Although BSM went ahead with the third building in the group, they were required to change the north elevation to Franklin Street and open it up to the sky.
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Storey Hall Building Information
The brief to remodel Storey Hall was, like that for Building 8, complex and incorporated an existing building, in this case the nineteenth century heritage-protected former Hibernian Hall. The project for Ashton Raggatt Mcgougall (ARM) was to design an exhibition – the RMIT gallery, and auditorium facility of international standard that would make a significant contribution to the present and future identity of RMIT and to Melbourne’s architectural culture generally. They achieved these aims in a remarkable synthesis of advanced digital technology, inventive heritage solutions and a deep and resonant response to the building’s history. Storey Hall was ARM’s first internationally recognised work and it quickly achieved iconic status in Melbourne. Their solution for what had been intractable barriers to Storey Hall’s rehabilitation was to appropriate the adjacent site, demolish 2 small shops and create an annex to house all the functions which could not be accommodated in the Hall itself, such as foyers and circulation spaces, seminar rooms, lecture theatre and a commercial kitchen. Like Edmond & Corrigan, ARM’s predilection is for buildings that are richly eclectic with a strong narrative base in their locality. Storey Hall reinforced the role of Swanston Street as the ceremonial route through Melbourne by redeeming the cities past architectural and urban history and reassembling it as fragments and allusions on the surface and interior of their new building. There are specific references to the history of Storey Hall – from tis Irish Catholic beginning (green being the emblematic colour), to the suffragists who occupied it during the First world War (green, purple and grey). Storey Hall also embodies a deep engagement with contemporary architectural ideas and with philosophy and religion – as one would expect in a building with ‘Resurrection City’ stamped on its exterior tiles. This tiling, which was developed by the English mathematician Sir Roger Penrose, was used to generate the exterior and interior surfaces of the building and Storey Hall’s international fame resides in the fact that it was the first building in the world to use Penrose tiling In this way.
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Design Hub Building Information
“ The RMIT Design Hub houses research, archive, exhibition and studio space of the RMIT in melbourne......It is an icon of design innovation heralding a new era of integrating technology with design. The Design Hub is located on the historic Carlton & United Breweries site. “ The Design hub engages with contrasting eras, with the classic history of Shrine of remembrance in Street Kilda road which marks the other end of Melbourne public axis as well as its neighboring buildings. The vantage point from the roof of the Design Hub provides a clear view of Swanston Street, North of Latrobe Street as well as the Shrine which gives all the more reason for its occupants to go the roof. Minimalism is the main design factor for the exterior facade, which consist of circular cells achieving a dynamic design. Inspiration for the lucid discs with its steel cylindrical structure came from the beer business that once ran on the CUB Brewery site. The intent for the facade however, is to encourage further use and research into solar energy. It is because of this that each solar panel can be replaced with innovated panels as the technology continues to develop. Research groups can now use this building to experiment and develop the technology, using its northern facade, dedicated to this research. The interior of the hub is designed to encourage the various research groups to ‘cross pollinate’ ideas with each other, regardless of the relevance between each other’s fields of practice. This therefore provides a learning environment which should create innovation in design for years to come.[9] Influences which addressed the choice in materials of the interior, include RMIT being an industrial college, which is reflected in the use of galvanized steel industrial walkway grating as a cladding material on the walls, creating an industrial atmosphere.”
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RMIT City Campus Surrounding Building Information
1996- 2010 _Urban Spaces: Remaking the campus ‘RMIT City campus is Australia’s most urban university, now occupying a full city block at the top of Melbourne’s main pedestrian spine, Swanston Street, and extending north, deep into Carlton. With an expanding property portfolio of buildings strategically located deep in the retail district of the grid, it is becoming increasingly difficult to work out where the city stops and the university begins. Peter Elliot and RMIT like it that way.” a.Campbell Walk & Bowen Lane _Between Bldg. 8 & 16, & behind Bldg. 8 & 22. b.Ellis Court_ On LaTrobe Street c.Bowen Street_ Ellis Court to Franklin Street d.Bowen Terrace _ Adjoining Bowen Street & Bldg. 8, 10, 12 & 14
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Carlton United Brewery CUB Building Information
“ The CUB site is a key urban node that sits at the other end of the Shrine of Remembrance axis, bisecting the CBD grid. It was originally the home of the Carlton United Brewery, and has lain idle for 20 years. RMIT purchased the site in the mid-1990’s. It is being redeveloped by Grocon, in partnership with RMIT. An invited competition was run for the various buildings across the site. The commissioning competition jury included Professor Leon van Schaik of RMIT, Ms Sophie Patitsas from the Department of Sustainability and Environment and three design and development managers from Grocon. The competition was endorsed by the Royal Australian Institute of Architects and conducted under competition guidelines of the Institute. The taller buildings will be built near the city end of the site, with lower structures tapering off towards Melbourne University.”
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Typology of Bridges Design precedent Studies
Two selected pieces of built precedent studies were chosen as they are the relatively the most relevant in terms of its design thoughts and intention of my proposed bridging element. New York High Line: “ We envisioned it as one long, meandering ribbon but with special episodes,” Corner told me. “We wanted to keep the feeling of the High Line consistent but at the same time have some variations.” The design included sleek wooden benches that appear to peel up from the park surface, but also kept many of the original train tracks, setting them into portions of the pavement and landscape.” 11th Street Bridge Park Project: “ ...an incredible opportunity to contribute to the civic fabric of Washington, D.C. through the design of an iconic, multi-functional landscape which promotes the health of the river and its adjacent communities acting as a model both nationally and globally....... Our design creates a literal intersection and a dynamic, multi-layered amenity for both sides of the river,”.
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New York High Line precedent studies - Bridge
A 1.45-mile-long (2.33 km) New York City linear park built in Manhattan on an elevated section of a disused New York Central Railroad spur called the West Side Line. The park is open daily from 7 a.m. to 7 p.m. in the winter, 10 p.m. in the spring and fall, and 11 p.m. in the summer, except for the Interim Walkway west of 11th Avenue, which is open until dusk. It can be reached through eleven entrances, six of which are accessible to people with disabilities. The park’s attractions include naturalized plantings that are inspired by the landscape that grew on the disused tracks,[32] and views of the city and the Hudson River. The High Line Park implemented cultural attractions too, that is run by Friends of the High Line.
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11th Street Bridge Park Project precedent studies - Bridge
As the old 11th Street river bridges that connect Washington, this is the aged infrastructure into the city’s first elevated park: a new venue for healthy recreation, environmental education and the arts. The Bridge Park will span the capital’s cityscape and include outdoor performance spaces, playgrounds, fruit orchards, classrooms to teach students about river systems and even kayaks and paddle boats. Bound by the Washington Navy Yard on one side and the National Park Service’s Anacostia Park on the other, the Bridge Park will be a destination for some, a pedestrian or bicycle route for others and an iconic architectural symbol across the Anacostia River.
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personal reflection precedent studies - Bridge
Question : How do the idea of a physical bridging connects and relate to the meaning of bridging especially in my chosen context - where there are many different characteristic of elements in a site? Would there be potential new intervention of spaces of programs that be further enhance that could be developed into new typology of space that can be reinforced on? Or would essentially it’s to keep it as minimal to allow the bridge to blend in with the context? The flexibility of a bridge in terms of its function and program are limited as it is essentially just a connection platform. However, with the exploration and research of the different project type of bridge ( being indoor and outdoor), the typology of a bridge would be ideally further studied, if integrated with another field of study. This will also allow me to further look in-depth into the possible typology and functionality of the site, by challenging what defines a bridge. And especially in this context, it would be developing together as on one with the site.
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Thesis Argument V2 mid semester critic
“ Its not about building more landmarks; the solution is to connect all landmarks together and create a stronger identity, at the northern end of Swanston Street; the way federation square has enlivened the south.”
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Design Development mid semester crit
- Singular Axis continuous of the invisible axis of the civic spine - Swanston Street, balancing the symbolic element of Shrine of Remembrance at the opposite end - Linear (Up & Down) Link Integrate a system of network that fuse the program of the design with the everyday life and as landmark icon with a mix and maximum usage of site - Connecting the landmark Creating an assemblage of existing landmarks as a singular form; strengthen the significance and the identity of Melbourne. And placing potential programs to engage the site with the users. - Fabric of the cityscape Exhibits strongly the character of site of mix expression of individuality of freedom and mockery + revealing the theme of seriousness versus playfulness
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Feedback from Critics mid Semester presentation
Unrealistic design development as the existing context is not fully and deeply understood and analysis. There a lot of potential and essentially a straight line is a strong element to bring forward the connection of it with Swanston Street and to wards Shrine. Potentially could explore the idea of different platform and develop more ideal circulation spaces within the site with the upper levels. Also you could connect the existing public spaces of RMIT to one platform. Maybe, its just a new urban intervention for the RMIT students.... not as a public intervention for everyone?
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Personal Feedback Mid-semester Critics
Firstly the scale of the site was not drawn correctly to scale and this had hinder further exploration of the site to be commented by the critics. The feedback given was intuitive to a certain extend, allowing me to take a step further to exploring my design intention of Bridging into a more realistic approach. However, realistic issues of what a bridge could potentially bring forward and create was identified; such as underground spaces and how potentially it would be dangerous, blocking views from existing buildings. Highlighted that my design concept as of now is too fantasy and unrealistic, need to look upon further to the actual context to understand the existing dynamic and problems with RMIT!
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+bridge
/plʌs/brɪdʒ/
Exploration of design framework Precedent studies of theories
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“Architecture should have little to do with problem solving- rather it should create desirable conditions and opportunities hitherto thought impossible.” - Cedric Price
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Cedric Price 11 September 1934 – 10 August 2003
He was an English architect, influential teach and writer on architecture, whom was “as famous for not building things as he was for building things”. Many of Price’s designs were so outlandish and unconventional they were never built, yet his influence on modern architecture remains considerable. Price’s inspiration can be seen today in world-famous structures such as the Centre Pompidou in Paris and the London Eye. Price’s architectural style came from his belief that buildings should serve the needs of the people, and be radically transformed or demolished if they no longer served their purpose. A life-long socialist, Price was deeply skeptical of political institutions and their tendency to use grand, monumental buildings as a means of consolidating power. Instead, Price proposed building temporary and mutable structures which would be open and accessible to all. Price completed relatively little and never achieved stratospheric success, but his iconoclastic, eccentric and forward-thinking vision of architecture and its relationship with people shaped modern thinking and influenced a generation of architects and designers. His plans for a flexible geodesic dome, designed to be an auditorium and entertainment centre that could raise up to allow people entry, can be seen as an influence on the design of London’s Millennium Dome, and at one point he anticipated the London Eye by several decades when he envisaged a giant Ferris Wheel to be erected on the banks of the Thames, for the enjoyment of local residents.
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Fun Palace PR:PRICE proposal
One of Price’s most ambitious unrealized designs was for a “Fun Palace” to be built on the banks of the Thames in 1961 for the progressive theatre director Joan Littlewood. Littlewood’s idea of a theatre where the audience are also players combined well with Price’s architectural vision of a collaborative and ever-changing environment which would be a “laboratory of fun”, featuring moving walls and floors, interactive panels and even an “inflatable conference centre”. With its lack of doors to control entry and no solid roof, the Fun Palace became referred to as an “anti-building”, designed to be dismantled and re-assembled to fulfill different needs. Despite critical acclaim from leading architects such as Buckminster Fuller, Cedric Price’s design for the Fun Palace never came to fruition. Yet, according to New York’s Museum of Modern Art, the Fun Palace was “the first of many projects that supported Cedric Price’s idea that architecture should not determine human behavior but rather enable possibility”.
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Potteries Thinkbelt PR:PRICE proposal
One of Cedric Price’s more political projects was a design for a new form of university, called the Potteries Thinkbelt. Another unbuilt vision, the Thinkbelt was Price’s response to the proliferation of new “glass-plate” universities being built in Britain during the 1960s. Price argued that the government were merely putting up “more monuments to a medieval sense of learning” when they could be re-thinking the concept of education itself. The Potteries Thinkbelt was to be built on a huge site of around 100 square miles in the former manufacturing heartland of Staffordshire. It was a deeply personal project for Price, as his family home, where he was born in 1934, was right in the proposed Thinkbelt area. With the demise of factories and heavy industry, the Thinkbelt looked to harness the potential of the emerging information and knowledge economy, in order to revive the impoverished post-industrial regions of Britain.The project was also an implicit critique of the mainstream university system, which Price felt concentrated on the academic, instead of practical and technical education. As an alternative, Price proposed a travelling university that utilised the redundant manufacturing sites of the area. It was designed to be an extended network of learning, rather than a centralised campus. Based mainly on a stretch of disused railway, the Thinkbelt would transport people between residential and learning areas, while the carriages themselves would be mobile classrooms complete with fold-out workspaces and inflatable lecture.
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Personal Feedback Precedent studies of theory
I came across the readings of Cedric Price when i was researching on the architectural style and theories in different architecture writings on archigram. It was interesting at the beginning reading and understanding Price’s logic and theories in his way of expressing his thoughts in architecture. Similarly, he liked to challenged and push the limits of what define architecture and space, in different scale and layers in relation to political and social perspective. The two proposed projects that i had analyzed was the few that i was intrigued with, among his other projects. However, these project got my attention as it exhibited how Price’s insistence that buildings should not be monumental but mutable. Based on the readings, he reckon that buildings and institutions should not be preserved forever, but it rather should be obsolescence and demolition as part of the natural ‘life cycle’ of buildings. In relation to this (with my project), it is similar but different in terms of ideology at the same time. For my project, i was driven by the idea that my new addition of the platform acts and perform as +PLUS element to bridge and connect the diverse characters of the site, yet at the same time, blurring the differences into one. Thus, i was looking into the architectural style of minimalism but in its material and structure framework ( as shown in the project of Fun palace). One of the key characteristic of the program in my project is flexibility; allowing changes and adaption in situation. As of now, the case studies of Cedric Price is sufficient enough for me to relate back to my design, for further Exploration
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+bridge
/plʌs/brɪdʒ/
Exploration of design framework In terms of
A. Process Thinking Sketches B. Height differences of Platform C. Covered Vs Exposed exterior form D. Linear vesus Cuvy Form / circulation
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Design Development Process Thinking Sketches
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Design Development Process Thinking Sketches
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Framework Iteration #1 Height differences of Platform
Exploration: of connection in terms of form and the idea of playing with different height of level in relation to how the bridge and site would be further exploited and integrated with the existing context. Question: Utilized the different spatial dyanmic of how possible configuration of interaction among the students would be possible through the play of creating another set of possible network of connection or meeting spaces Results: successful New potential and habitant spaces were developed within the site. However, there is a challenge in terms of its degree of reality in terms of its form.
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Framework Iteration #2 Volume in Forms
Exploration: Volume, Facade , Material design Question: what the form of the bridge in term of introducing new volumes and form that reflects its existing context and the diverse buildings around. Results: unsuccessful A more obvious differences in its form were noticed. Interestingly, it connects yet seperate the existing context as well.
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Framework Iteration #3 Meandering Circulation
Exploration: circulation Question: creating unintention meeting spaces and developing potential pocket of spaces for interaction among the RMIT students. Results: unsuccessful Ironically its dyanmic in elevation but linear in term of its circulation. However, realistically, there is a degree of possibility in further development.
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+bridge
/plʌs/brɪdʒ/
Singularity Versus Plurality Project thesis argument
Melbourne — a vibrant and engaging city, is a 180 years old city that is built upon a distinctive grid formation and a rich layer of historical cultural background. In the heart of the city reveals the city’s civic spine — the Swanston Street; positioned directly in the middle of the Hoddle Grid, that bridges the main north-south end of the city together, though the Central Business District [CUB]. This singular axis holds a historically symbol to the city’s weather development, and also houses Melbourne’s lavish collection of distinctive architecture. Yet, it’s often questioned — ‘What is the Melbourne’s Landmark?’ Landmark is, after all, a prominent locality representation of a city. As defined by Lynch [1960], ‘the key physical character of this class is singularity, some aspect that is unique or memorable in the context.’ Based on the Heritage of Melbourne’s report (2001); “ Recent efforts to provide Melbourne with a landmark precinct, feature or building have failed to understand that Melbourne’s most valued heritage is a subtle blend of spatial influences and physical structure from its whole history.”
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Singularity Versus Plurality Project thesis argument
This, which then question: Can architecture represent Singularity, in coherent to the notion of plurality, reflecting and defining Melbourne’s (diverse) identity in by connecting all the various landmarks as one? My proposed site constitute the northern end of Swanston Street spine, from La Trobe Street to Victoria Street, along the University’s Swanston street precinct. Project aim to bridge the collective cityscape and character of all the existing new and old RMIT landmarks at the site; terminating at the CUB site. It also reflects against the symbolic element — Shrine of Remembrance, on the opposite axis of the street, marking the last iconic CDB landmark of the city’s circumference; completing the point of the compass.
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Design Concept of Bridging Project thesis argument
different layers of the idea of Bridging to celebrate the RMIT precinct — 01. physical bridging as a bridge; The practical function of a bridge of connecting point A to B through the form of an Elevated walkway by connecting and extending the existing circulation within the Existing buildings into one common platform. 02. Historical / Social Bridging Translating the timeline of the development of the RMIT buildings along Swanston Street. Utilizing the typology of a musuem - the notion of ‘the White Cube’, to emphasize and accentuate the facade of the building as a form of artpiece for Public to admire. 03. Educational / Academic Bridging Creating an interdisciplinary connection space for the different group of people From the individual faculities to have the chance to mingle and interact with Other - a flexible space / platform for different users to exchange and socialize With each other 04. Bridging the Melbourne Context to RMIT site The relationship of connecting the two different Swanston Street/ Hoodle Grid with The landmark of shrine of remebrance at the Southern end of Swanston Street. Connecting the different landmarks around the CDB circumference
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Plan Drawings + Bridge Project
SITE PLAN 1:1000 @ A2 GROUND PLAN 1:1000 @ A2 COMMON GROUND PLAN 1:500 @ A2
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Site Plan Plan drawings
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Ground Plan Plan drawings
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Common Ground Plan Plan drawings
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Abstract Collages + Bridge Project
The Lawn. The Sundeck. Viewing Deck to Shrine An open exposure space in contrast with the Surrounding dense layout of the city’s buildings ; an area where the public could feel at ease and carefree.
The Exhibition Space A playful and vibrant image to illustrate the another typology of open spatial environment on the bridge; where the gallery space Is divided and separated though the landscaping design layout.
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The Lawn. The Sundeck. Viewing Deck to Shrine Abstract Collages
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The Exhibition Space Abstract Collages
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Section Drawings + Bridge Project
Section A-A Illustrates the different height of platform and further exploration Of the potential dynamic and spatial areas of underground space.
Section B-B portrays an abstract collage section of what potentially does the spatial Environment of the lecture hall would be utilized and ideally feel like within the space
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Section A-A Section drawings
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Section B-B Section drawings
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Diagrams + Bridge Project
Exploded Axo of Lecture Hall Illustrates the possible configuration of the (potential) spatial Dynamic of the space, with or without programs, exposed and enclosed In terms of its facade.
Variations of the design Columns A simple diagrammatic image to illustrate the 3 main designed Column systems that had being used at the side; that functions Not just structurally but act as a monumental element of the bridge
Collage Axo of +Bridge At the existing site context of the northern end of Swanston Street. Exhibiting the connection of the bridge with the 3 main RMIT Buildings located at the site.
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Exploded Axo of Lecture Hall Diagrams
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Exploded Axo of Lecture Hall Diagrams
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Exploded Axo of Lecture Hall Diagrams
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Physical Model + Bridge Project
Massing Model 1:1000 To represent how the in reality does the design relates and fits into the Existing context.
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Exploded Axo of Lecture Hall Diagrams
PHYSICAL MODEL
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+bridge
/plʌs/brɪdʒ/
Project Review + Bridge Project
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Personal Reflection on +Bridge + Bridge Project
+Bridge – A very personal and intimate project that i had done for my final year of my architecture school. Despite the fact that(in regards to the entire project) there were many ups and downs challenges and opportunities presented before me, i am very satisfied and delighted with outcome of my thesis project. This is ,indeed, a project that pushes me further and harder in terms of how i design, explore and present. Moreover, with the chosen challenging site that i had taken upon to tackle on, this is indeed a positive result of the endless struggles and issues that i had encountered along the way for this thesis project. The theme of Singularity Versus Plurality – Was a personal favourite topic that i had chosen to take upon. It allowed me to further explore and investigate in terms of the vast variations of what define the idea of singularity This project explores and questioned if the existing complex and dynamic framework would be resolved if a new set of simple rules that resolved and connects the differences into one. Challenges of the project comes in when the exploration of the existing site context refrains further exploration of the project. However, in relation to the type of design iterations that I’ve explored previously, I attempt to push the limit of what potentially and ideally could be intervened into the existing site context. The exploration outcome of the project allowed me to conceptually challenge my design approach into how the project could be developed and further investigated for future interest.
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Personal Reflection on thesis / studio + Bridge Project
Studio 07 – I had a good experience this semester - being able to have a great and helpful bunch of studiomates that constantly motivate and encourage each other. Despite all the struggles and issues, everyone stood by each other and helped each other out as much as possible. It was indeed a rare sight to see how everyone bonded with each other, at the end of the semester. In general, this studio was challenging and mind-stimulating in terms of the ideology that we had to explore to develop for our individual project. I had to admit that there were constant times of design struggles that i had encountered over the semester due to lack of organizing of my designs that caused little unnecessary issues to be raised up. Issues such as the scale of my 3-d models and drawings as pointed out in my mid-semester presentation. However, overall, i was constantly very satisfied with the feedbacks given by the guest critics as they were very useful and realistic to what my project would envisioned or potentially could be developed into. My greatest satisfaction from this entire thesis project was that i was able to make a unfeasible project to be realistically and idealistically designed, developed and produced! This is indeed my biggest joy gotten from the endless weeks of hardships and struggles i had went through.... But after-all, this is architecture and its my thesis project.
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Thank you for the time. Thank you for the love 2015