Xiaoxi Tammy Tan - Graduation Design Portfolio 2019 by Xiaoxi Tammy Tan

B eyo n d Pe r s p e c t ive |

MA R C5 0 0 1 Gradu at io n St u dio

Xiaoxi Tam my Tan SI D : 3 1 1 0 2 7 0 0 8 H o no ur s T h esi s S up er v i so r : D r Pao l o St rac c hi G ra d ua t i o n S t ud i o Tu t o r : I s abe l Gabal dó n

Contents|

Introduction

Chapter One: Expressive Str ucture in Postproduction and Enr iched Museum Exper ience

Chapter Two: Architecture Museum Promoting Exper ience Economy

Chapter Three: Museum Design Process and Realisation

Chapter Four : Landscaping Design and Re-access Domain Pitches

Introduction|

A d j o i n t t o S y d n e y ’s C B D, R o y a l B o t a n i c G a r d e n s a n d A r t G a l l e r y o f N e w S o u t h Wa l e s , t h e D o m a i n car park is a 3 level building inlaid in the ter rain - with its g round level at the inter section cor ner o f S t M a r y s R o a d a n d S i r J o h n Yo u n g C r e s c e n t , a n d with its roof level receiving the Domain Pitches. U n d e r t h e f r a m e o f Po s t p ro d u c t i o n a n d R e t h i n k i n g the Architecture Museum for the 21st Centur y based on the site at Domain Car Park, the research and design will be introduced in the following themes:

Expressive str ucture in postproduction and enr iched museum exper ience

Architecture museum promoting exper ience economy

Landscaping design and re-access Domain Pitches

C h apter One|

Expressive Structure in Postproduction Enriched Museum Experience|

and

Ni c olas Bour r i aud's Po s t p ro d u c t i o n T h e o r y

Nicolas Bourriaud in his art theoretical book Po s t p ro d u c t i o n s t a t e s : “The artistic question is no longer what we can make as n e w, b u t h o w c a n w e m a k e d o w i t h w h a t w e h a v e . ” 1 The theoretical frame he established for ar tworks also applies to the field of architecture when transforming and adapting an existing building. P r a c t i c a l l y, c o n s i d e r i n g s u s t a i n a b i l i t y i n reconstruction, this can be inter preted by analysis of existing structural features for the sake of t r a n s f o r m a b l e a r c h i t e c t u r a l q u a l i t y, s u c h a s f o r m and exper ience.

Fo o t n o t e: 1 . N i co l a s B o u r r i a u d , P o st p r o d uc t i o n (N ew Yo r k : S te r n b e r g P re ss, 2002) , 9. 2 . " Po stp ro d u cti o n by N i co l a s B o u r r i a u d " , G o o d r ea d s, Acce sse d A u g u s t 14, 2 0 1 9 , h ttp s: / / w w w. go o d re a d s. co m/ b o o k / sh ow / 7 5 2 6 1 . Po stp ro d u c t i o n .

Co ver o f P o st p r o d uc t i o n by N i c o la s B o ur r i a ud . I ma g e S o ur c e Onli ne2

Expressive Structure in Postproduction Enriched Museum Experience|

Type One

Ty p e Two

and

Exi sti ng Str u c t u r a l Fe a t u re s - Fo r m

The part has the most interesting architectural quality of the existing Domain Car Park is the exter nal ramp on the easter n f acade side. There are generally three types of columns t h a t f o r m a n i n s p i r i n g a r c h w a y, b u t c u r r e n t l y under valued and hidden behind fences for the use of storage. The rationality of force distribution, the order of column placement and the sequential column geometry for bending moment bearing, established the “appropr iation” in this research – w h i c h i n B o u r r i a u d ’s o p i n i o n , t h e f i r s t s t e p o f postproduction.3

Type Thr e e

Fa c a d e fr o m S i r Jo h n Yo ung Cr e s c e n t St r e e t 1 : 5 0 0

Expressive Structure in Postproduction Enriched Museum Experience|

and

Exi st i ng Str uc t u r a l Fe a t u re s - E xp e r i e n c e

The diag rams illustrate an illusion perceived when investigating the different types of columns under neath the ramp of the Domain Car Park. S t a n d i n g c l o s e t o t h e u n d e r n e a t h o f t h e a r c h w a y, f r o m a c e r t a i n p e r s p e c t i v e , i t ’s h a r d t o t e l l t h e ceiling height is actually dropping. This illusional architectural exper ience provided by existing str uctural features is also valuable to the fir st step of postproduction - “appropr iation”4, since it g ives a star ting point to design a playful spatial exper ience for architecture museum potentially by expressive eng ineer ing elements.

Fo o t n o t e: 3 . N i co l a s B o u r r i a u d , P o st p r o d uc t i o n (N ew Yo r k : S te r n b e r g P re ss, 2002) , 9. 4. Ib i d .

A c c elera t ed P er sp ec t i ve I llusi o n Ca used by Co lumn S er i es Ty p e Tw o

E leva t i o n

P er p e c t ive

A c c elera t ed P er sp ec t i ve I llusi o n Ca used by Co lumn S er i es Ty p e Thr e e

E leva t i o n

P er p ec t i ve

Expressive Structure in Postproduction Enriched Museum Experience|

and

Bour r i aud’s "Re m i x" i n Gre e n b e r g ’s V i ew

Po s t p ro d u c t i o n i n t h i s re s e a rc h a n d p ro p o s e d d e s i g n is not limited to recycling and repur posing existing s t r u c t u r a l e l e m e n t s , b u t m o r e i m p o r t a n t l y, u s i n g existing structural features as an inspiration bank, where ideas could constantly be drawn from, to m a k e t h e i t e r a t i o n s f o r t h e “ r e m i x ” – i n B o u r r i a u d ’s word - based on existing.5 Architect Allan Greenberg, with his text and work presented on the First Inter national Architecture E x h i b i t i o n o f t h e Ve n i c e B i e n n a l e i n 1 9 8 0 , g i v e s an idea of how to make iterations for the “remix” based on existing, that is looking into the past architectural tradition. “…Structures that undergo constant changes with changing circumstances in society provides a series of expressive and functional solutions to architectural problems…A building should complement rather than contrast the pre-existing architectural tradition. The legacy of the past challenges us to create the architecture of our own time.”6

Fo o t n o t e: 5 . B o u r r i a u d , P o st p r o d uc t i o n, 17- 34. 6 . Al l e n G re e n b e r g, D ent r o L a S t ra d a N o v i ssi ma .Co o rd i n a te d by Pa o l o Po r t og h es i , Ro me : MAX X I - N a ti o n a l Mu se u m o f 2 1 st Ce n tu r y Ar t, 2 0 1 9 , Ex h i b i ti o n c a t a log . 7. Ib i d .

A llen G r eenb er g 's d ra wi ng fo r t h e ex h i b i t i o n "L a V i a N o v i ssi ma " I ma g e S o ur c e7

Expressive Structure in Postproduction Enriched Museum Experience|

and

P r e - e x i s t i n g A r c h i t e c t u r a l Tr a d i t i o n f r o m Palaz zo S p a d a Ga l l e r y A c c o r d i n g t o G r e e n b e r g ’s v i e w, t h e f o l l o w i n g research dates back to the “pre-existing architectural tradition in the past”8 of the obser ved str uctural features in the existing Domain Car Park that has architectural quality for a transfor mation. The intention is to initiate an answer to the question of how to make iterations for the “remix” based on existing structural features in ter ms of for m and exper ience. The image is an accelerated per spective, also known as forced per spective illusion, created by Francesco Bor romini for the Palazzo Spada Galler y in Rome. In an 8.60 meter s long nar row space, the architect managed to g ive the perception of a cor r idor about 40 meter s long. The frontal arch, 6 meter s high and 3 meter s wide, is reduced in the end to a height of 2 meter s and a width of 1 meter.9 The statue at the end is about 0.8 meters tall, but the obser ver under the frontal arch will receive an illusion of a real person's height.10 Fo o t n o t e: 8. Ib i d . 9 . " Acce l e r a te d S o l i d Pe r sp e ctive : G a l l e r y o f Pa l a z z o S p a d a " , Evo l u ti o n o f t h e s t a g e sp a ce, a cce sse d Au gu st 2 0 , 2 0 1 9 , h ttp : / / w w w. sp a z i o sce n i co. a l te r vi sta . o r g/ te c n o. h t m l. 10. Ib i d . 11. Ib i d .

Accelerated Perspective by Francesco Bor romini, Palazzo Spada galler y in Rome I ma g e So u r c e O n l in e11

Expressive Structure in Postproduction Enriched Museum Experience|

and

Rules behind the Illusion of Accelerated Pe r s p e c t ive As one type of the “pre-existing architectural tradition in the past”12, the propor tion of for m and the consequential illusional exper ience in Palazzo Spada Galler y relates well to the obser ved str uctural features in the existing Domain Car Park. The following diag rams reveal the for mation of accelerated per spective illusions in Palazzo Spada G a l l e r y. Using the techniques of tilting the floor, contracting the angles between the elevations and r e d u c i n g c e i l i n g h e i g h t s i m u l t a n e o u s l y, a l o n g e r per spective view is achieved. The g rey space is what has been physically built in P a l a z z o S p a d a G a l l e r y, w h i l e t h e r e d s p a c e i s w h a t people will perceive because of the visual tr icks. A l o n g t h e j o u r n e y, a s e r i e s o f c h a n g i n g i l l u s i o n a l spaces will be perceived. The illusional space will g radually mor ph into the real space until the viewer reaches the end of the cor r idor, where the illusion c o l l a p s e s i n t o r e a l i t y.

Fo o t n o t e: 1 2 . Al l e n G re e n b e r g, D ent r o L a S t ra d a N o v i ssi ma .Co o rd i n a te d by Pa o l o Po r t og h es i , Ro me : MAX X I - N a ti o n a l Mu se u m o f 2 1 st Ce n tu r y Ar t, 2 0 1 9 , Ex h i b i ti o n c a t a log .

F o r ma t i o n o f A c c elera t ed P er sp ec t i ve I llusi o ns i n Pa la z zo S pada Gal l e r y at V 1

Expressive Structure in Postproduction Enriched Museum Experience|

and

V2 V1

F o r ma t i o n o f A c c elera t ed P er sp ec t i ve I llusi o ns i n Pa la z zo S p a d a G a ll e r y at V 2

I3 V3 V2 V1

F o r ma t i o n o f A c c elera t ed P er sp ec t i ve I llusi o ns i n Pa la z zo S pada Gal l e r y at V 3

Expressive Structure in Postproduction Enriched Museum Experience|

and

V2 V1

F o r ma t i o n o f A c c elera t ed P er sp ec t i ve I llusi o ns i n Pa la z zo S p a d a G a ll e r y at V 4

V2 V1

S up er p o si t i o n Ma p o f t h e I llusi o na l Jo ur ney i n Pa l az zo Spada Gal l e r y

Expressive Structure in Postproduction Enriched Museum Experience|

Mak i ng “Remi x” – S i t e l e s s P ro t o t y p e M o d e l One Having analyzed the for mation and basic rules of accelerated per spective illusions, from which i n s p i r a t i o n s w e r e d r a w n t o m a k e , i n B o u r r i a u d ’s words, the “Remix”. A ser ies of siteless prototype models were built to discuss different ways of illusion collapsing into r e a l i t y, a n d t h u s d i f f e r e n t i l l u s i o n a l a r c h i t e c t u r a l e x p e r i e n c e a l o n g t h e j o u r n e y. All the models in this ser ies are constructed by a smooth mixture of both accelerated per spective and nor mal per spective views. With the special gauge ruler designed, a perfect illusional moment is obtained by looking through the peephole when the gauge ruler is placed right next to the model. By sliding the model along the gauge r uler towards o n e ’s e y e a t t h e p e e p h o l e , t h e i l l u s i o n a l j o u r n e y o f walking through the built space is simulated.

and

P h o t o s o f t h e Ob ser va t i o n i n S i t eless Pr o t o t ype M o de l O n e

Expressive Structure in Postproduction Enriched Museum Experience|

Siteless Prototype Model One explores a front a n d b a c k re l a t i o n s h i p. T h e f ro n t i s a n a c c e l e r a t e d p e r s p e c t i v e t h a t p r o j e c t s o n e ’s v i e w t o t h e b a c k o f space where there is no per spective acceleration. The viewer will perceive an illusional continuous s p a c e a t t h e s t a r t o f t h e j o u r n e y, b u t g r a d u a l l y r e a l i s e a h i d d e n s p a c e , t h e d i s c o n t i n u i t y, o n c e walking in.

and

F o r ma t i o n o f A c c elera t ed P er sp ec t i ve I llusi o ns i n S i t eless P r o t o t y pe M o de l O n e

Expressive Structure in Postproduction Enriched Museum Experience|

Mak i ng “Remi x” – S i t e l e s s P ro t o t y p e M o d e l Two S i t e l e s s P r o t o t y p e M o d e l Tw o e x p l o r e s a l e f t a n d r i g h t re l a t i o n s h i p. T h e l e f t i s a n a c c e l e r a t e d per spective that is equivalent to the r ight which is the nor mal per spective. The viewer will perceive an illusional symmetr ical s p a c e a t t h e s t a r t o f t h e j o u r n e y, b u t g r a d u a l l y r e a l i s e t w o p a r a l l e l s p a c e s , t h e a s y m m e t r y, o n c e walking in.

and

S t udy Mo d el o f T h r ee D i mensi o na l D i st o r si o n fo r P er sp ec t i ve A c c elera t i o n i n S i t eless P r o t o t ype M o de l Tw o

Expressive Structure in Postproduction Enriched Museum Experience|

and

P h o t o s o f t h e Ob ser va t i o n i n S i t eless P r o t o t y p e M o de l Tw o

F o r ma t i o n o f A c c elera t ed P er sp ec t i ve I llusi o ns i n S i t eless P r o t o t ype M o de l Tw o

Expressive Structure in Postproduction Enriched Museum Experience|

and

P r e - e x i s t i n g A r c h i t e c t u r a l Tr a d i t i o n f r o m t he O l y m p i c T h e a t re Palazzo Spada Gallery is a great example to understand the basics of the rules for accelerated perspectives, while to design a playful spatial exper ience for architecture museum by accelerated per spectives might not be as simple as designing a cor r idor, instead, a combination of multiple accelerated per spective views from different angles might wor th exper imenting. The Olympic Theatre in Vicenza is a master piece of t h i s k i n d . i t ’s i n i t i a l l y d e s i g n e d b y A n d r e a P a l l a d i o and completed by his student Vincenzo Scamozzi. Behind the three openings of the proscenium, Palladio creates seven roads with accelerated per spective that add in huge urban depth to the scenic stage. 13 Scholars found there was a clear sign of Palladio t a k i n g i n f l u e n c e f r o m S e b a s t i a n o S e r l i o ’s s t a g e densign concept of the inter relationship between the shape of the stage, positioning of audience and the field of vision.

Fo o t n o t e: 1 3 . " Acce l e r a te d so l i d p e r s p ec t ive: O l ymp i c Th e a te r i n V i ce n z a " , Evo l u ti o n o f th e sta ge sp a ce, a cce sse d Au gu st 20, 2019, h ttp : / / w w w. sp a z i o sce n i co. a l te r vi sta . o r g/ te c n o. h t m l 1 4 . Te a tro O l i mp i co V i ce n z a , " I ma ge G a l l e r y" , a cce sse d O cto b e r 2 5 , 2 0 1 9, . h t t p : // w w w. te a tro l i mp i covi ce n z a . i t/ e n / th e - th e a tre / i ma g e- g a ller y

A c c elera t ed P er sp ec t i ve by A nd r ea Pa lla d i o, t h e Oly mp ic The at r e in V ic e n z a I m ag e So u r c e O n l in e14

Expressive Structure in Postproduction Enriched Museum Experience|

and

Accelerated Perspective by A n d r e a Pa l l a d i o, t h e O ly m p i c T h ea t r e i n V i c e n z a I ma g e S o ur c e On l in e15

Fo o t n o t e: 1 5 . " Acce l e r a te d so l i d p e r s p ec t ive: O lympic The ater in V ice nza", Evolution o f th e sta ge sp a ce, a cce sse d Au gu st 2 0 , 2 0 1 9 , h ttp : / / w w w. sp a z i o sce n i co. a l te r vi sta . o r g/ tec n o. h t m l 1 6 . Cor ne lie Le opold, “The Deve lopment of th e G e o me tr i c Co n ce p t o f Re l i e f Pe r sp e ctive,” N e x u s N e two r k Jo u r n a l 2 1 , n o. 2 (2 0 1 9 ): 227- 252. 1 7 . Massimiliano Ciammaiche lla, “Te mpor ar y Th e a tre s a n d An d re a Pa l l a d i o a s a S e t D e si gn e r ” N e x u s N e two r k Jo u r n a l 2 1 , n o. 2 (2 0 1 9 ): 209- 225. 18. Giuseppe Amor uso, Albe r to Sdegn o, a n d An d re a Ma n ti . “S u r veyi n g a n d 3 D Mo d e l l i n g o f th e An d re a Pa l l a d i o ’s Te a tro O l i m p i c o i n Vicenza. Fir st Studies on Geome tr ic Analysi s a n d Pe r sp e ctive s” Re se a rch G a te. La st Mo d i f i e d i n Ju n e 2 0 1 8 . h ttp s: / / w w w. re se a rch g a t e. n et / p u bl i ca ti o n / 3 25475244

( To p ) A n d r e a Pa l l a d i o, V i t r u v i a n t h e a t r e p l a n , i n D a ni ele B a r b a r o, I D i ec i L i b r i d ell’A r c h i t e t t u ra, Venez i a 1 5 5 6 I ma g e S o ur c e Onli ne1 7 S e b a s t i a n o S e r l i o, T h e a t r e p l a n a n d e l e va t i o n , i n Sebastiano Serlio, I l Secondo L ibro d i Prosp ettiva, Venezia 1566

(Bottom) Ottavio Bertotti Scamozzi, Vitruvian g eo met r i c layo ut fo r t h e Tea t r o Oli mp i c o pl an , f r o m L e f a b b r i c h e e i d i s e g n i d i A n d r e a Pa l l a d i o, V i c enz a 1 7 7 6

I mage Source Online1 6

I ma g e S o ur c e Onli ne1 8

Expressive Structure in Postproduction Enriched Museum Experience|

Method to C o m b i n e I l l u s i o n a l V i ews

In par ticular, this research remodelled the Olympic T h e a t r e d i g i t a l l y f r o m O t t a v i o B e r t o t t i S c a m o z z i ’s sur vey drawings (1776) to test out the build-up of combined illusional views. The result proves that along the ellipse of audience seats, at any viewer point designed, the audience could see at least a combined view of two roads on stage with accelerated per spective illusions.

and

V4 V5

Expressive Structure in Postproduction Enriched Museum Experience|

Mak i ng “Remi x” – S i t e l e s s P ro t o t y p e M o d e l T h re e Picking ideas from the combined views of accelerated per spective illusion presented in the Olympic Theatre, Siteless Prototype Model Three explores combined accelerated per spective views from different angles. A t t h e b e g i n n i n g o f t h e i l l u s i o n a l j o u r n e y, the viewer will see three enclosed colonnades, which are actually composed of three accelerated per spective views on two distinctive levels with a s m o o t h t r a n s i t i o n o f p r o j e c t i o n . G r a d u a l l y, t h e viewer will realise the two secondar y colonnades are open spaces on a different level.

and

In addition, Siteless Prototype Model Three is designed to be viewed from both sides, while the illusional views from one side are completely hidden from the other. That is because they are designed within the illusional hidden space of each other. I n s u m m a r y, f o l l o w i n g t h e p r i n c i p l e s e s t a b l i s h e d in the ser ies of siteless prototype models, the illusional effect examed is guaranteed, while the scale and parameter s from thereon to a built space are still open to adaptation to any site conditions and to specific architectural inter pretations. The continual dialogue between spatial for mulation and architectural intent will be discussed in more detail in Chapter Three.

Expressive Structure in Postproduction Enriched Museum Experience|

and

P h o t o s o f t h e Ob ser va t i o n i n S i t eless P r o t o t y p e Mo d el T h r ee - F r o n t V ie w

F o r ma t i o n o f A c c elera t ed P er sp ec t i ve I llusi o ns i n S i t eless P r o t o t y p e Mo d el T h r e e - Fr o n t V ie w

Expressive Structure in Postproduction Enriched Museum Experience|

and

P h o t o s o f t h e Ob ser va t i o n i n S i t eless P r o t o t y p e Mo d el T h r ee - Bac k V ie w

F o r ma t i o n o f A c c elera t ed P er sp ec t i ve I llusi o ns i n S i t eless P r o t o t y p e Mo d e l Thr e e - Bac k V ie w

C h apter Two|

Architecture Museum Promoting Exper ience Economy|

Potent i al Vi si to r Gro u p s a n d R e l a t i o n s

The next question is – What type of architecture museum is in need? The answer might lie in potential audiences to the museum. They could be categor ized into two g roups. The fir st g roup is people studying and working in the architectural i n d u s t r y, a n d t h e s e c o n d g r o u p i s t h e r e s t o f t h e p u b l i c c o m m u n i t y. F o r t h e f o r m e r g r o u p , a n architectural museum for knowledge exchange and hands-on experiments is desired; for the latter g ro u p, p a r t i c i p a t i o n e x p e r i e n c e i s t h e c o r e.

A rc hi t e c t u re R e a l m

Researchers/Companies - A place to build a nd t est o ut a r c h i t ec t ura l p r o t o t y p es - A p lace to ex p er i ment wi t h new ma t er i a ls

sig e; re nc o e i F r pe ial Ex ustr d In

Local C om mu n i t y

Students

- A p lace to study wi t h h a nd s o n fabr ication exp er i enc e

L o cal Ar tists bs ; on n o ti

In f In lue sp nc ir at e; io n

- A pl ace to create and mak e with potenti a l p rofits

- W h a t i s a r c h i t ec t ur e ?

Tr y ; Buy - W h a t c a n I g a i n fr o m i t ?

Architecture Museum Promoting Exper ience Economy|

The Prop o s e d P rog r a m m e s

Thus, a fabr ication based architectural museum is proposed. In the museum, there will be a ser ies of public accessible f abr ication labs, including wood, metal, laser cutting, casting, CNC routers, 3D p r i n t i n g , a n d ro b o t c u t t i n g wo r k s h o p s . D u r i n g o f f i c e hours, the museum will engage students, researchers and companies to build study prototypes; Dur ing after hour s, staff will r un workshops to engage the rest of the community and to encourage local ar tworks. As a result, all the works produced in the museum will be put onto display for exhibitions, and at the same time, how professionals had been working on those works will be showcased to the public in live scenes. As an extra benefit, all the works on exhibition could potentially be sold back to the public in the galler y market. In tur n, the galler y market will attract more people interested to be engaged. I n t h i s w a y, t h e d e s i g n w i l l p r o m o t e a p o s i t i v e c y c l e of “exper ience economy” of "engage – produce – display - sell".

3D Printing Laser Cutting Main Hall for Assembly

Wo o d Wo r k s h o p M e t a l Wo r k s h o p Casting Room CNC and Robots Cutting

P ro d u c e

Researchers/ Companies Students Local Artist

Local Community

E n gage

E xh i b i t

$ Sell P r o p o sed Cy c le o f E c o no my

Architecture Museum Promoting Exper ience Economy|

The New Type o f A rc h i t e c t u re M u s e u m

The proposed architecture museum design draws a compar ison to the classic per manent theatre the Olympic Theatre. Through exper iments with a ser ies of siteless prototype models, the illusional architectural exper ience by accelerated per spective was for mulated. According to the existing site condition for postproduction, illusional jour neys can be mapped out to inform the design. Along the j o u r n e y, e x h i b i t i o n w o r k s , f a b r i c a t i o n p r o c e s s a n d the magic of space itself all contr ibute to a deeper under standing of architecture from the visitor point o f v i e w. On the other hand, in the “comparison”, the proposed architecture museum challenges the way how classic theatre defines space for audience and perfor mer. As a result, it calls for an idea for a switchable role when mapping out the illusional visual relationship between the professionals working in the field of architecture and the museum visitors.

T h e N ew Ty p e o f A r c h i t ec t ur e Museum - Co mp o si t e Co nc ep t ura l D ra wi n g

C h apter T hree|

Museum Design Process and Realisation|

Postproduction with Existing Access Co n d i t i o n To d e s i g n f o r a n i l l u s i o n a r y s p a c e l i k e P a l a z z o S p a d a G a l l e r y a n d t h e O l y m p i c T h e a t r e , i t ’s essential to know where the targeted viewer s will c o m e f r o m a n d w h e r e t h e y w o u l d p o t e n t i a l l y s t a y. Thus, the study of existing access condition of Domain Car Park was car r ied out to exam how the access f acilities could be best preser ved and how the new build within the threshold could be ar ranged for illusional museum exper ience from a p o s t p r o d u c t i o n p o i n t o f v i e w. Due to the fact that the site is bur ied under the ter rain, daylight access will be a key problem. The only possible daylight from building f acades is from the east. Hence, opening up daylight access by glass f acade on daylight exposure side will be pr ior itized when consider ing new access.

P ed est r i a n A c c ess

Ca r A c c ess

S o la r A c c ess

Ma j o r A c c ess o n E x i st i ng G r o un d Fl o o r Pl an 0

50m

Museum Design Process and Realisation|

Human access to the cur rent Domain Car park is divided by car access from the frontal ramp and pedestr ian access through stairs and elevators connected directly from rooftop Domain Pitches. Level one as a transpor tation level between level two and g round floor is made strateg ically special in terms of access, especially for the featuring express walkway from the site to the city centre.

Pedestr ian A c c ess

P ed est r i a n A c c ess C ar Acces s

Car A ccess

Ca r A c c ess

Ma j o r A c c ess o n E x i st i ng L e ve l Tw o Pl an

P ed est r i a n A c c ess (E xp ress W al kw ay ) P ed est r i a n A c c ess

Ca r A c c ess

Car A ccess

Ca r A c c ess

Ma j o r A c c ess o n E x i st i ng L e ve l O n e Pl an 0

50m

Museum Design Process and Realisation|

Po s t p ro d u c t i o n w i t h E x i t i n g S t r u c t u r a l a n d Daylig h t C o n d i t i o n Another key problem for transfor ming the cur rent Domain Car Park into an architecture museum is the low ceiling height. Cur rent clear ceiling height is only 2.2 meter s. Merg ing levels becomes a n e c e s s i t y. The following diagrams summar ize typical treatments to the existing structural condition with consideration on daylight in the proposed design.

Roof RL . 7 6 6 5 Level One FL . 7 3 1 0

Roof RL. 7665 Level Tw o FL. 7310

N ew S ky li g h t

Level Tw o FL. 5110 Level O ne C L. 4755

Level One FL . 2 5 5 5

Level O ne FL. 2555 Ground Fl oor C L. 2200

Grou nd F lo o r CL . 2 2 0 0

Existing Structural Cond ition

Tr i med E x i st i ng F lo o r S la b a s L o o k o ut s

P r o p o sed S t r uc t ura l a nd D ay li g h t i ng Co n c e pt 0 0.5 1

Ty p i c a l Tr ea t ment s t o t h e E x i st i ng – Sho r t Se c t io n 1 : 2 0 0 : A . R et a i ned so il / D o m ain Pit c he s B. E xis t in g r e t ain in g wal l C. N ew c o nc r et e a r c h es h elp t o sup p o r t so i l r o o f wi t h S y nd e y s an ds t o n e c l addin g D. E xis t in g waf f l e s l ab E. Existing co nc r et e c o lumn wi t h d r o p p a nels c la d wi t h p r ec a st li g h t wei g h t c o nc r et e t o c o ver st r uc t ura l st r eng the n in g r e in f o r c e m e n t F. A Co ver ed Pa t i o t o o p en up d ay li g h t a c c ess a nd im pr o ve ve n t il at io n G. Ca nt i lever ed sla b ed g e t o c o ver t h e Pa t i o wi t h r equi r ed s t r u c t u ral bac ks pan H . E x i st i ng c o nc r et e c o lumn p r eser ved a s sc ulp t ura l i t em in Su n ke n Garde n

P r o p o sed S t r uc t ura l a nd D ayl ig ht in g C o n c e pt 0 0.5 1

Museum Design Process and Realisation|

Making "Remix" – The New Scheme – Mapp i n g I l l u s i o n s Having analysed that Level one is the most special level where people from all directions will converge t o. T h e f i n a l d e s i g n p ro p o s e d t wo l o o ko u t s ( V 2 , V 3 ) on existing level one where existing access f acilities w i l l l e a d p e o p l e t o, a n d w h e re e l s e e x i s t i n g s l a b s o n level one and level two are demolished to increase inter nal ceiling height up to existing roof level. Columns remained at where cr itical. The norther n side is opened up as a new pedestr ian main entrance to the museum (V1). The two major spaces – Main Assembly Hall for architectural prototype assembly and the Lobby to the museum - is centred on the visual axis created by the lookout points defined. Applying the illusionary rules experimented in Siteless Prototype Model One, the Lobby zone and the Main Assembly Hall is designed to be perceived as a continuous space by museum visitors ar r iving from V1, whose per spective vanishing point is being accelerated onto Lookout V2 in the Main Assembly Hall.

Op en S o la r A c c ess fr o m Fa c a d e Vi s ua l Ax i s

V2 , F

V isual A x i s Ma p p i ng D emo li t i o n o n E x i st i ng G r o un d Fl o o r Pl an 0

50m

I llusi o na l L o b by Space Vi s ua l Ax i s

A ssembly Hall

V2 , F

L o b by

V isual A x i s Ma p p i ng I llusi o n o n P r o p o sed G r o un d Fl o o r Pl an 0

50m

Museum Design Process and Realisation|

Vi s ual Ax i s

A ssembly Hall

V2,F

Co ver ed Pa t i o

L o b by

Ma p p i ng I llusi o n o n P r o p o sed G r o und F lo o r Pl an

V isual A xis

B o o k sh o p a nd Ca fe

S unk en G a rd en

Met a l Wo r k sh o p

E x h i b i t i o n/ G a ller y Ma r k et 2

L a ser Cut Room

50m

3D P r i nt i ng Room

E x h i b i t i o n/ G a ller y Ma r k et 1

A na ly se F o r ma t i o n o f A c c elera t ed P er sp ec t i ve I llusi o ns o n A x o no met r i c D i a g ram

Lo bby V ie w f r o m V 1

Refer enc ed P r o t o t y p e - 1 a nd 3

Museum Design Process and Realisation|

A sense of “theatre” is constructed - where the audience ar r ives from V1 realise Main Assembly Hall as the “stage”. On the “stage”, professionals working in the field of architecture is demonstrating what they believe is architecture in live “scenes”. At the centre and far back of the “stage”, stands the overlooking “improvised perfor mers” who are another two g roups of the museum visitor s from Lookout V2 and V3. For visitor group from V1, on their illusionary jour ney to find out an illusional hidden “apron” – the Covered Patio and the Museum Retails (for details of illusional rules and experience buildu p, r e f e r t o S i t e l e s s P ro t o t y p e M o d e l O n e ) , a s e r i e s of “secondary stages” on both sides of view will be realised. On the left-hand side, through the exhibition spaces, illusion draws up onto preser ved featur ing structures outside, while on the r ighth a n d s i d e , t h r o u g h t h e w i n d o w, p r o f e s s i o n a l s working in the 3D Pr inting Room, Laser Cutting R o o m , a n d M e t a l Wo r k s h o p c a n b e s e e n . ( f o r d e t a i l s o f i l l u s i o n a l r u l e s a n d e x p e r i e n c e b u i l d - u p, r e f e r t o Siteless Prototype Model Three)

Brush mid court

C o ve r e d Pat io

Refer enc ed P r o t o t y p e - 1

Museum Design Process and Realisation|

As a transition zone, Sunken Gardens release accelerated perspectival vista viewed from the inter ior to the exter ior and link the museum with its neighbouring context, the sloping Domain Pitches. The ser ies of Sunken Gardens scattered in between secondar y exhibition spaces are designed for free public access as an extension to a new Public Plaza area in front of the preser ved featur ing c a r p a r k r a m p. T h e P u bl i c P l a z a a n d t h e S u n ke n Gardens will be occupied by public events, such as a weekend galler y market on occasions.

Brush garden view

Su n ke n Garde n

Refer enc ed P r o t o t y p e - 3 b a c k v iew

Museum Design Process and Realisation|

Vi s ual Ax i s

A ssembly Hall

V2,F

L o b by

Co ver ed Pa t i o

Ma p p i ng I llusi o n o n P r o p o sed G r o und F lo o r Pl an

V isual A xis

0 Casting R oom

Exh ibition/ Galler y Mark et 4

Sunk en Gard en

L ounge

50m

Cera mi c s Wo r k sh o p

Exh ibition/ Galler y Mark et 3

A na ly se F o r ma t i o n o f A c c elera t ed P er sp ec t i ve I llusi o ns o n A x o no met r i c D i a g ram

M ain A s s e m bly H al l

Refer enc ed P r o t o t y p e - 3

Museum Design Process and Realisation|

Cantilever ing over the Main Assembly Hall, the lookout V2 provides visitor s with a view probing into the “stage”, to have a close obser vation of how professionals work on large architectural prototypes. Lookout V2 delivers visitors from the express walkway and the Domain Pitches to the centre of the “stage” without knowing themselves being the “improvised perfor mer s” and their reflection after obser vation being the “improvised perfor mance” for visitor g roup from V1. Meanwhile, multiple accelerated per spective views for visitor g roup from V2 are designed referencing the illusion formation tested out in Siteless Prototype Model Three.

V ie w f r o m V 2 - M ain A s s e m bly H al l

Refer enc ed P r o t o t y p e - 3

Museum Design Process and Realisation|

Vi s ual Ax i s

Main Hall

V2,F

V isual A xis

L o b by

Ma p p i ng I llusi o n o n P r o p o sed G r o und F lo o r Pl an 0

50m

CNC/ R obot Cutting L ab

Wo od Sunk en Wo rk sh op Garden

A na ly se F o r ma t i o n o f A c c elera t ed P er sp ec t i ve I llusi o ns o n A x o no met r i c D i a g ram

V ie w f r o m V 3 - O n t he Lo o ko u t

Refer enc ed P r o t o t y p e - 2

Museum Design Process and Realisation|

At the “backstage” positions the Lookout V3, where visitor s are coming from the preser ved featur ing r a m p. O n t h e l o o ko u t , t h e d e s i g n re p l i c a t e s t h e e x p e r i e n c e i n S i t e l e s s P r o t o t y p e M o d e l Tw o t o enr ich the spatial realisation exper ience on the seemingly symmetr ical views over CNC/Robot C u t t i n g L a b o n t h e l e f t a n d v i e w s o v e r Wo o d Wo r k s h o p o n t h e r i g h t . At the end of the Lookout V3, a holistic view is gained to the “stage” – the Main Assembly Hall, the “apron” – the Covered Patio and the Museum Retails, and the “audience seats” – the Primary E x h i b i t i o n S p a c e a n d t h e L o b b y. However, walking back from the end of Lookout V3 will br ing this under standing to a new level - a completely different walkthrough exper ience when t h e r e i s n o i l l u s i o n b u i l d u p.

V ie w o n t he l o o ko u t bac k t o V 3

Museum Design Process and Realisation|

I nt er i or Mater i ali t y a n d Li g h t i n g S c h e d u l e

N ew A rc h and Wall Clad with Sydney Sand stone

P o li sh ed Co nc r et e F lo o r i ng - Tr ea t ment t o E x i st i ng

N ew Off F or m Concrete Wall

E x p o sed Co nc r et e Cei li ng - Tr ea t ment t o E x i st i ng

Performance Cone provide balance between h o r i zo nt a l a n d v e r t i c a l i l l u m i n a n c e, daylight and ar tificial li g h t i ng LED Projector – for h i g h levels o f c o nt ras t and a more "theatreli k e" ex p er i enc e

L a m i n a t e d l o w I r o n G l a s s w i t h U V- a b s o r b i n g C o a t i n g, A n t i - r e f l e c t i ve C o a t i n g a n d A r c h i t e c t u ra l Cur tain

Decorati ve Tough ened Ceramic F r itted Glass

F lex i ble H o mo g eno us Wa ll L i g h t i ng - fo r i llumi na t i o n o f ver t i c a l wa lls

Co r t en S t eel W i nd o w a nd D o o r F ra me

Museum Design Process and Realisation|

O f f i ce

Offi c e

L o ung e

C W era or mi ks cs ho p

g tin as C oom R

CNC/ R obot Cutting L ab

Museum Bo o ks ho p

S ky li g h t Over

Ma i n A ssembly H a ll

V3 L ook out Over

V2 L o o k o ut Over

C o ve r e d Pat io

Wood Work sh op

/ ion bit hi y Ex ller t 3 Ga arke M

/ ion bit hi y Ex ller t 4 Ga arke M

Sunk en Garden

S unk en G a rd en

Pu bl ic Pl az a

50 m

Museum C af e

L o a d i ng D o c k / Ca no py Over

O f f i ce

Meta l Works hop

M a ter ial Storage

L aser Cut R oom

Mater ial Storage

3D P r i nt i ng Room

P r imar y Exh ibition Sp ace and L o b by

Sunken G a rd e n

n/ itio hib y x E ller 2 Ga rket Ma

Sun k en Gard en

Ma i n E nt ra nc e V 1

n/ itio hib y x E ller 1 Ga rket Ma

ing ist Ex mp Ra

P r o p o sed G r o un d Fl o o r Pl an 1 : 5 0 0

Museum Design Process and Realisation|

Summar y – The New Scheme – Mapping Illusions By considering the existing site condition and the relations between different par ticipant g roups, the proposed design integ rates par ticipants into a nested illusion mapping. In the mapping, the stor y between architecture and people is told by perfect illusional moments. They showcase architectural works on exhibition and their fabr ication process by professionals. Moreover, visitor s coming from one entr y including their reflections of seeing one illusional moment, in the meantime, are also being par t of the perfect illusional moment of the others coming from a d i f f e r e n t e n t r y. T h e d i a l o g u e b e t w e e n a r c h i t e c t u r e and people is mutual and live. The proposed design explores not only perfect i l l u s i o n a l m o m e n t s b u t a l s o t h e i l l u s i o n a l j o u r n e y. Wa l k i n g a r o u n d t h e m u s e u m b e c o m e s a r i c h realisation exper ience between the illusional space a n d t h e t r u e b u i l t i n r e a l i t y. T h e e x p e r i e n c e g a i n e d with time spending in the museum tells the story of each illusional space, and the views, scenes, activities it could br ing and how differently they all change when the illusion finally collapses into t h e r e a l i t y.

R oofscape L and scaping F itting into th e Ter rain of Domain P itc h es

P rod uction in House: A rc h itectural Fabr ication L abs = 6600 sqm

Main Hall for Large S c a le E x p er i ment a l A r c h i t ec t ura l P r o t o t y p e A ssembly = 1 4 7 0 sqm

S econdar y Exh ibition Sp ace/ Galler y Mark et in Sunk en Gard ens = 2650 sqm P r i ma r y E x h i b i t i o n S p a c e a nd L o b by = 2 5 0 0 sqm Covered Patio, Museum B o o k sh o p a nd Ca fe = 9 5 0 sqm

Landscaping Fitting into the Ter rain of Domain Pitc h es / P ublic Plaza Connecting with Existing F eatur ing Structure

Circulation of Museum Public V isitors Circulation of R esearc h ers/ P rofessionals/ S t ud ent s

A x o no met r i c D ra wi ng wi t h Ci r c ula t i o n a nd Z o ni ng o f t he Pr o po s e d D e s ig n

C h apter Four|

Landscaping Design and Re-access Domain Pitches|

Exi st i ng Ro o f t o p C o n d i t i o n

The rooftop of Domain Car Park is cur rently occupied by a full-size football court, a netball cour t and two touch ball cour ts. From obser vation, however, only a few are engaged with this vast green area per site visit. It br ings the question of – How effective are the outdoor spor t cour ts in engaging people in the middle of CBD?

E x i st i ng R o o f To p: A . To uc h bal l c o u r t B. F o o t bal l c o u r t C. N et bal l c o u r t

E x i st i ng R o o f P la n 1 : 2 0 0 0

Landscaping Design and Re-access Domain Pitches|

Potent i al D e s i g n P ro b l e m s

The ineffectiveness might come from the excessive number of outdoor sport courts in the nearby suburbs. The map highlights outdoor sport courts with similar settings as Domain Pitches in neighbour ing suburbs of Glebe, Camperdown, Sur r y Hills, Redfer n, Alexandr ia, Erskineville and Moore Park.

N ea r by Out d o o r S p o r t C o u r t s : A . S ydn e y Par k B. T h e Uni ver si t y o f Sydn e y C. E r sk i ne vil l e O val D. Went w o r t h Par k E . A lex a n dr ia Par k F. P r i nc e A l f r e d Par k G. R edf e r n Par k H . H yde Par k I . R oya l B o t a nic Garde n s J. T h e D o main Pit c he s K . M o o r e Par k

N ea r by Out d o o r S p o r t Co ur t s 1 : 5 0 0 0 0

Landscaping Design and Re-access Domain Pitches|

Another reason might be the fast-paced lifestyle in CBD makes it hard to gather the r ight number of people at the r ight duration of time for a game. Diving into the demog raphics of potential engagers and the most likely time of engaging, it comes to the question of – How to make the Rooftop of the site fit into the mood of Domain Pitches and meanwhile making this area as a whole more accessible and enjoyable to the major ity which are singles and traveller s, professionals and young families for the most of time?

Co mp a r i so n o f t he Le ve l o f E n g ag e m e n t : A . T h e D o ma i n Pit c he s, S y d ney , Au s t ral ia

B. Mo esg a a rd M u s e u m , A a r h us, D e n m ar k

12 pm

9 am

5 pm

Travellers

C B D Prof es s i onal s

Res i dents i n Da rl i nghurst and Wolloomooloo 56%

44%

Under 4 0

O ve r 4 0

79%

21%

R ent er

Owner

60% Sin g le

40% Fam il ie s

D emo g raphic s A n alys is

Landscaping Design and Re-access Domain Pitches|

The Propo s e d R o o f t o p D e s i g n

Accelerated per spective is a powerful concept to infor m a design from inside out. Looking at the roofscape design at a larger scale, the proposed design intends to create a str ip of public activated area to emphasize on the geographical and visual connectivity to the Finger Wharf and the nearby parks. Following the slope of the Domain Pitches, the roof of secondar y galler y space slopes down to the existing ramp taking visitor s down to the new P u b l i c P l a z a o n t h e s t r e e t l e v e l o f S i r J o h n Yo u n g Crescent. The Sunken Gardens scattered in between secondar y galler y spaces provide a soft transition from the Public Plaza to the Museum.

Ci t y sc a p e C o n t e xt : A . H yde Par k B. Co o k + P hil l ip Par k C. T h e D o ma i n - P h i lli p Pr e c in c t D. T h e D o ma in Pit c he s E . A r t G a ller y o f N ew S o u t h Wal e s F. R oya l B o t a nic Garde n s G. T h e F i n g e r Whar f

The C it ys c ape

Landscaping Design and Re-access Domain Pitches|

St M arys Road

T h e D o ma i n P i t c h es

E leva t o r t o t h e Museum

S ky li g h t

Skyl ig ht

S unk en G a rd en Sunk en Gard en

Existing Bridge to Cook + Phillip Pa rk

S unk en G a rd en

g in ist Ex amp R

Landscaping Fitting into the Ter rain of Domain P itc h es

P ubli c P la z a o n S t r eet L evel

50m

Ar t Ga ller y of Ne w Sou th Wa les

C a nopy Cover ing Loa di ng Doc k

Tu n n el P or ta l T 4 S yd n ey

El e va t o r t o th e M us eum

Tra in s Exis ting Brid Wo o ge to lloom oolo o

Sir Joh n Young Crescent P r o p o sed R o o f Pl an 1 : 1 0 0 0

Landscaping Design and Re-access Domain Pitches|

Browsing reviews of Domain Pitches g ives an idea of what people tr uly love about the area the most. The diag ram is a summar y of keywords people mention when talking about Domain Pitches. The size of words directly indicates its recur r ing f r e q u e n c y. I n g e n e r a l , p e o p l e l o v e t o e n j o y t h e sunshine and to do daily exercises here. As the second half of the answer to the design question pointed out from the beg inning of this Chapter, the proposed rooftop design addresses t h e p u b l i c ’s w i s h b y t u r n i n g i t i n t o a u n i q u e recreational area and viewing platform for the public to chase the sunshine.

P h o t o o f P hy si c a l Mo d el i n Co nt ex t 1 :1 0 0 0

Sit down

Soak up the Sun Get away from the busy city

Relax Kids roam around

Wo r k o u t Open area Public events R ev i ew o f t h e D o ma i n P i t c he s

Landscaping Design and Re-access Domain Pitches|

T h e P r o p o sed D o ma in Pit c he s

T h e P r o p o sed D o main Pit c he s - C l o s e u p

Landscaping Design and Re-access Domain Pitches|

C oncrete B uttress

Co nc r et e A nc h o r

S i li c o ne S ea la nt A lumi ni um S ub - h ea d

A lumi ni um H ea d Tra nso m G la z i ng G a sk et

A r c h i t ec t ura l L a mi na t ed G la ss

A lumi ni um Mulli o n

Outsi de

Outside A lumi ni um S i ll Tra nso m A lumi ni um S ub - si ll S i li c o ne S ea la nt

Ty p ical Exter ior Dic h roic Glaz i ng S y st em d et a i l 1 :1 0

A d h e s i v e high strength i nt erlayer Clear g lass

A d h e s i v e high strength i nt erlayer D i c h roi c fi lm

Clear g lass

Architectural Laminated Glass

Ultraviolet V isible L igh t S ol ar Energy

I nfrared

R eflection V isible

Tra nsmi t t ed V i si ble

Tra nsmi t t ed ener gy

R eflected Energy Tota l Solar Energy R ejected

S o la r H ea t G a i n Co effi c i ent

Th er mal R adiation

Conduction

Convection

A b so r b ed ener gy

U- Value

Gold-Blue Dichroic Film

Copper-Bronze Dichroic Film

In Trans m i s s i on (Show n) : Yellow - Magenta - Blue In Ref l ecti on : G ol d ( s tra i gh t) - Blue (angle) Re f l ecti on Vi s i bl e: 89% Trans m i s s i on Vi s i bl e: 11% Trans m i tted Energy: 56% Re f l ected Energy: 29% Ab s orb ed Energy: 15% T SER: 39% S HGC : 0. 61

I n Tra nsmi ssi o n ( S h o wn) : Ma g ent a - B lue - A qua I n R eflec t i o n : Co p p er ( st ra i g h t ) - B r o nze ( a ng le) R eflec t i o n V i si ble: 2 9 % Tra nsmi ssi o n V i si ble: 7 1 % Tra nsmi t t ed E ner gy : 5 5 % R eflec t ed E ner gy : 2 9 % A b so r b ed E ner gy : 1 7 % TSER: 41% S H G C: 0 .5 9

Landscaping Design and Re-access Domain Pitches|

50m

P r o p o sed E a s t E l e vat io n 1 : 1 0 0 0

Bibliog r aphy |

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