eawaken Fab-ric
Job warehouse
Design Journal
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Master of Design Thesis Semester 2, 2020 Design Thesis: Studio 5 - Job Yanxiang Yang 1008856 Studio Leader: Yvonne Meng
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Design Journal
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eawaken Fab-ric Job warehouse Master of Design Thesis Semester 2, 2020 Design Thesis: Studio 5 - Job Yanxiang Yang 1008856 Studio Leader: Yvonne Meng
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Conctent
P1 Thesis statement Reserach of history
P2 P12 Fabric precedents
Physical design test
P28 P32 Design Concept Suspension Continuity Liquid structure
Final design proposal
P58 3
Fig1. Conceptual image: spatial language communicating with fabric. Illustrated by author
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Thesis Statement
This thesis is to explore a design method to recover people’s emotions and memory from the old fabric store in Job Warehouse on Broke Street in Melbourne, as fabric has enriched the economic and cultural value of the site. People are encouraged to build strong association with this kind of ‘soft’ material as they enter with architectural language expressed by fabric. In this way, the design project will focus on re-evoking a material to try to evoke different spatial conditions and draw people’s attention to certain aspects which are important to link to Job Warehouse, combining with old and new impression.
1. How can fabric restore the heritage’s value and imporve it if fabric is quite important to Job Warehouse in history? 2. How can fabric link to space and make contribution to architectural meaning?
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Historical Business in 1847 1853 1856 1858 First section
First section
William Crossley
Mrs Anne Crossley
an English migrant and a successful butcher, managed a neighbouring slaughterhouse and trained numerous early Melbourne butchers.
1899 First section William Angliss
another butcher occupied.
Ownership passed No. 56
Eugene von Guerard
establishing career as a landscape artist.
Various industry a shoe shop Drapery Photographic studio Cafe Grocer Wine and spirit merchant Tailor and mercer
Second shopfront the same simple Georgian style as the first, designed by Joseph
R. Burns.
Source: The Crossley Building: past, present and future, https://blogs.slv.vic.gov.au/such-was-life/t 2
n JOB WAREHOUSE 1948 1956 1969
2012
Zeimer Brothers
Bookshop
David Zeimer
Max and Jacob arrived in Melbourne as Polish refugees. Their Jewish family had been Polish cloth traders for
a grocer and fruiterer until it was turned into, and remains, a bookshop.
The warehouse continued to trade until Jacob’s son David closed it down.
generations.
Jacob Zeimer purchase a section of the building and open his drapery business. bought up more space, eventually owning the entire terrace.
64 y
the-crossley-building-past-present-and-future/ 3
Over a long period of history, Job Warehouse has been used by various businesses. From a meat-preserving works started by butcher Wlliam Crossley in 1848, to fabric trade raised by Jocab Zeimer until the year of 2012, there were lots of people with a variety of identities coming and leaving. The shops here have been a shoe shop, drapery, photographic studio, cafe, grocer, wine and spirit merchant, tailor and mercer. This building contains a ‘Time Capsule’, which includes a huge amount of precious memories from people living in Melbourne. It experienced the gold-rush, the post-World War II, and left us with a picture of the evolving city, from early settlement to present day. Job Warehouse is a mix-story container. The fabric business has enriched the economic and cultural value of the heritage, which makes the Georgian building deserve to be preserved. Mr Zeimer has contributed a lot to look after the business in Job Warehouse, while this business and the heritage can also end up looking after him.
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Fig.2. Collage of Job Warehouse history, made by author.
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Note 1 -“I hope there was some comfort for these brothers in replanting a small piece of the family business in a new land after so much senseless trauma, it’s hard to imagine starting again after losing so much.”
Note 2 -“I remember in my 20s I’d often find myself drinking late at that end of town (so much more important than sewing at the time), and would end up at some strange hour of the morning, gazing hazily into those grimey windows with their hand-written A4 sale signs, wondering about the random displays of gorgeous wools and gawdy poly blends, all bathed in a light layer of dust, with dead flies and moths laced around the edges of the bolts. It was a dilapidated, slightly glorious mess.”
Note 4 - “I visited a couple of times (opening hours were hit and miss) and even bought some silk there once. The inside was a series of cavernous, poorly-lit rooms with walls and floor space stacked sky high with bolts of fabrics: beautiful Italian wools on top of crazy 70s chenilles and terry towel, on top of imported lace and brocade for brides and glittery poly knit for, well, everyone else.”
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Note3 - “We went to the last sale for 2015 at the warehouse in Brunswick and took some of the photos above and below. As you can see, there are still many, many rolls of vintage wool, linen, cotton and silk as well as damp old boxes crammed with vintage tapes, trims and bits and pieces. Some of the fabric is slightly faded at the folds after doing time in the original shop front window, other bolts have bits of water damage – apparently the brothers cared a lot more for the cloths than they did the leaking roof…. But for vintage fabric fans it’s well worth a visit and there are plenty of bargain treasures still to be hunted.”
Note-5 “I’m a shocking sentimentalist when it comes to cities – I love the old parts and the living history and grieve a little as they disappear. I think I’ll always kick myself that I didn’t get serious about sewing before Job Warehouse shut its doors, but at least with Crossley Job Lots there’s a last chance to buy a sew a tiny piece of Melbourne history. Now I just have to decide what to do with that pale blue wool…”
1.Kate’s Note Crossley Job Lots https://www.bombazine.com.au/notebook/crossley-job-lots/
Memory
Fig.3. Relics of current Job Warehouse. photo taken by author.
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Fig.4. Scene of fabric store.
Think rich fabrics. wall to wall fabric, double the amount you were just thinking of, double it again. then arrange the bolts from floor to ceiling, from back wall to shopfront display window, with the haphazard flair of a kid playing pick-up-sticks. Think poor fabrics. When Harry Potter goes to Diagon Alley to grab some robes. he goes to Job Warehouse. Think spectacular designs, as wild as you like. Think heavy chenille, think dungarees and drabbet, think gingham and pashmina. Think the finest and the rarest. Think dead flies and the odd stray sandwich. Think bridal. suits. opera. army. Think every type of material you've heard of and then double that too, Think of a building built before the gold rush. before Windex Think colour as far as the eye can see - Which in the dimly-lit clothy claustrophobia of Job Warehouse isn't very far. Think of a lighting scheme from an era before 7-Eleven fluorescence; a lighting scheme lo fall in love under.
'Job' is a terrific noun and an even better verb: I job, you job, it has its violent side-If you don't shut your face I'll job you one-but it can also be a verb of peace, a verb of commerce.1 ----------Tony Wilson, No looking with the hands.
The fact that the project can be developped based on a rich business of fabric provides an opportunity to use the potential of fabric to enrich the project. Job warehouse was managed by a successful Jewlish business man. Mr Zeimer, the salesman of fabric store, has looked after the heritage through his whole life. Today, although fabric shop has been closed for a long time, local people in different ages could still leave a lot of precious memory here. They cannot forget many rolls of vintage wool, linen, cotton and silk. Mr Zeimer has a strong skill of handwork and people cannot forget their evening grown, business suit and wedding dress, made by Mr Zeimer. Tony Wison wrote his article named ‘No Looking With the Hand’, trying to build an impression inside the Job Warehouse for decendents, and he imagind a dramatic scene inside Mr Zemire’s shop was fully filled with fabric products. Some tenants and Neiborhood, who ever lived with Mr Zeimer, have a positive impression of him. His fabric is not only a product but the soul of his life, and the soul of heritage.
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1. Tony Wilson, No looking with the hands. 2. Crossley Job Lots. https://www.bombazine.com.au/notebook/crossley-job-lots/
Fig.5. Imaginary drawing of Job Warehouse, made by author.
Sisto Malaspina
Sophie
co-owner of Pellegrini’s Espresso bar
a current tenant
“Not everybody loves everybody but I dearly loved my neighbour Mr Zeimer. His main thing was humility, He gave me my best ever business advice. Look after the business and the business will end - up looking after you.”
“I remember a strange negotiation for the space Mr Zeimer was then using as a storeroom He wanted us to find his wedding ring. It’d been lost for something like 30 years. and it was almost like it was part of the negotiation. We cleaned junk out for three weeks - broom brushes. pieces of lace. goggles, septic needles, buttons, car covers, blankets, boxes of old size-six shoes from the 1920s.”
Allan
the husband of a former tenant
“The fabrics were amazing, the best in the world, Every now and then there’d be these explosions out on the street, and brides and bridesmaids would be chasing three metres of pink material they’d ordered for the wedding. And Mr Zeimer would be out the front, trying to calm them, saying: ‘It doesn’t matter. I’ve got it here in powder blue. What’s the difference? This week powder blue. half-price.”
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Fabric as a material without a typical shape, It contains a wide range of properties. In Job Warehouse, old fabric was always kept in compact as cylinders to be stored. Unfolding the compressed fabric can increase the ways to express fabrics, which can be manifested in the diagram of fabric property. Perviously, old fabrics were mainly used to make living products such as clothes, bed sheets and curtains, while modern fabrics today can enhance the spaital arts, which contributes to architectural meaning. There is potentially a communication between architecture and fabric, and it depends on the way to store fabric, the scale of fabric and its artistic types. All kinds of fabric property could improve to Activite the relics on site. On site, the fabric has been used to decorate the building as graffiti. Some fabrics are still hang inside which can be viewed on window, reminding of local people. This is really an unforgettable fabric store.
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Folded
Half-unfolded
Compressed
Clothes
Bed sheet & cover
Half-unfolded
Unfold
Enlarge
Unfolded
Curtain
Exhibits
Fabric
Fully unfolded
Pavilion
Arts of fabric
Compacted
Cross-stitch
Storage Compacted
Graffiti
Spread
Hang
Fig.6. diagram of fabric properties.
Relics
Ritual
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Modern Fabric Variety of architectual arts
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1. Pattern
Fig.7. Fashion is Inspired by Architecture
Fashion inspiration between clothes and architecture.
2. Atmosphere
Fig.8. Tahari Showroom & Snarkitecture
An approach to split interior space with textile use in construction or blend the multiple spatial parts with furred ceiling.
Fig 6. Side by Side Images Reveal How Much High Fashion is Inspired by Architecture Fig 7. Tahari Showroom, New York(left); Snarkitecture creates warren of textile ribbons for COS(right)
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Modern Fabric Variety of architectual arts
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3. Pavilion
Fig.9. Covering of the courtyard
Intervention of Fabric, contrast with surrounding
4. Ritual
Fig.10. Performability of fabric
Fabric interwoven with each other to create a sense of ritual and people engaging with fabric in space.
Fig 8. Covering of the Courtyard. http://www. pinterest. com Fig 9. XOCHITL GONZALEZ QUINTANILLA WON THE BEST LIGHTING DESIGN AWARD AT WORLD STAGE DESIGN 2013 (CARDIFF) FOR HER WORK ON EX-STASIS, STAGED AT PLACIA DE BELLAS ARTES, MEXICO.
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Resilent Pavilion Covering of the Courtyard CarrĂŠ des Arts in Mons
The first case is to demonstrate how fabric construction can be existing with heritage building. Retractile membrane structure is one of the famous architectural elements in the present day and it can be used as temporary shelter to public space. The fabric structure was designed in order to allow a very easy and fast handling from the ground to integrate all structural reinforcements in the thickness of the existing concrete structure. The courtyard, the largest open air courtyard in the city center, is now covered by five large membrane vaults responding the arches and rythm of the building. Fabric can be a single cultural symbol which can build contrast with heritage and activate intangible value.
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Case Study
Fig 11. Courtyard CarrĂŠ des Arts in Mons
Fig 10. Courtyard CarrĂŠ des Arts in Mons. https://www.archdaily.com/555329/covering-of-the-courtyard-of-the-carre-des-arts-inmons-agwa-ney-and-partners.
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Space Choreography The Travelling Fabric, Shanghai, China / LUKSTUDIO
Fabric is not only an art craft but can also become a way to express a space in exhibition. The case of exhibition, organized by by the Textile Library during the Shanghai Fashion Week, which is to demonstrate the influence and potential of textile in product development, has extended the idea to the spatial experience. Fabric marks the exhibition and leads visitors through the entry into any part of the exhibition spaces. It is like a choreograph, host and performer, interacting with the audience everywhere at any time.
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Case Study
Fig 12. Exhibition: the travelling fabric.
Fig 11. The Travelling Fabric, Shanghai, China / LUKSTUDIO. https://www.gooood.cn/the-travelling-fabric-lukstudio.htm
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Weaving Art Weaving Architecture in La Biennale, Venice, Italy by EMBT
Fabric is woven to make clothes for body, however this body can be as large as a building or city. When weaving architecture comes out, it can contribute to a new material, a new tectonic and a new way to renovate public space. Progressing now in Clichy-sousBois and Montfermeil (in the outskirts of Paris) with the design of a metro station, a marketplace, an urban renewal, will be built with fibers, a delicate material resistant through time and climate. This architecure, like the infrastructure it represents, links territories and builds a sense of social inclusion by manifesting architecutre’s social role. It can be tectonic, and poetic with composition of various elements intertwined.
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Case Study
Fig 13. Weaving Architecture in La Biennale
Fig 12. Weaving Architecture in La Biennale , Venice, Italy by EMBT. https://www.gooood.cn/weaving-architecture-in-la-biennale%25e2%2580%25a8-venice-italy-by-embt.htm
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After Job Warehouse closed down in 2012, fabric and house both lost live, and memories disappear with that. In the past it saved a lot of memory, like an archive, but old version of fabric kept compact. As for potential materiality, patterns between clothes and buildings can be inspired and corelate with each other. Pavilions made by fabric could blend in surroundings or make a contrast to highlight with each other. Fabric is magic, it forms the atmosphere and create the speciality of space. Performing arts in the present day tend to use fabric to create a sense of ritual, building an abstract language and communicate with people and architecture. Modern fabrics has wide use of tense membrane. Considering exhibition, fabric can be an important element to guide the sequence of space, which lead a potential spactial choreography. Weacving art of fabric is promising to be used as creative material and texture, which enrich the skin of the Architecture.
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Framework Old
Modern Fabric
Fig 14. Diagram of research framwork
Questions:
1. In the present day, do people have as much need of fabric as they did in the past? 2. What new meanings does fabric have for people nowadays? 3. How can fabric restore the heritage’s value and imporve it if fabric is quite important to Job Warehouse. 4. How can fabric link to space and make a contribution to architectural meaning?
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Architecture
Fabric ‘JOB’
People Fig 15. Diagram of mutual interaction.
In conclusion, the thesis project will investigate the co-relationship between fabric, people and architecture. Considering the secnario on site, the project tends to create a intermittent exciting walking experiences for pedestrains. The way to store fabric could be dense or loose, following the rhythm of springs to organize the fabric space. This heritage can fully develop the advantage of both old and modern version of fabric, with the combination of multiple properties. People have different activities in different spaces based on different fabric feature in terms of materiality, elasticity and scale present in certain space. One question that what fabric features can contribute to the heritage will be explored through the whole process of project.
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Liverpool Street
Crossley Street Compact
Compact
Loose
Compact Compact
Loose
Brouke Street
Fig 16. Conceptual plan on the site
Fig 17. Narrative on the section of job warehouse 25
Impression of old Fabric Store
Fig 18. Inner space of previous fabric store. illustrated by author.
The old fabric store was caveneous. Fabric store and warehouse were in the same room. It was dizzy, dark and congested, which blocks visitors to engage in the space. Considering the realationship between fabric and people, fabric and space, there are four types to be compared. Fabric identities could be objects smaller than people or spatial elements as soft screen partions or background larger than people. This proposal tends to mix-use the relationships, constructing a positive interaction to engage people.
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Fabric with people and space
Space 1: High dense stack Fabric Identity: objects or products Spacial Efficiency: High Feature: Dizzy, Caveneous, Blocking
Space 2: Curtain decoration Fabric Identity: spatial elements Spacial Efficiency: Low Feature: wide, engaing but monotonous
Space 3: Multi-scale fabric Fabric Identity: objects & spatial elements Spacial Efficiency: Middle Feature: comfortable, interesting
Space 4: Exhibition space with light Fabric Identity: objects, spatial elements, decoration Spacial Efficiency: middle Feature: wide, open, engaging, positive
Fig 19. diagram of spatial relationship of fabric. illustrated by author. 27
Physical Test of Real Fabric
Fig 20. Condition of Fabric. Test made by author.
Fig 21. Interaction between Fabric and dinner table. Test made by author.
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Fig 22. Interaction between Fabric and hanger. Test made by author.
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Analysis of Force
Fig 23. Analysis of physical force to fabric. Test made by author.
The test of fabric is to explore the various ways that fabric can behave in the space. As a material to be prepared on later stage of design. A fabric has many flexibile ways to be exhibited, unfold or knead, hung or put on the ground. It can be a ball, a surface, with many different types. This sensitive material can be influenced natural physical force. Hanging fabric forms different shapes based on the length of fabric, the gap between anchor points. In this senario, suspending fabric can combine with wind force and water to create special inner or outdoor environments.
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Intervention with water
Intervention with wind
Fig 24. Analysis of physical force to fabric. Test made by author. 31
The relic of Job Warehouse should remain two elements: 1. Old fabric store. The facade is necessary to be kept, in order to remind people of old stories about the fabric business, as well as Mr Zeimer. The shopfront indicates the impression of old fabric store, which is precious for local people. 2. The graffiti wall. This facade contains old and modern art pattern, with characters written by fabric. The wall is essentially a collage of the old and the new, which could be a good reflection to the old history when it is blended in the new facade.
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Demolishment of relics
Fig 25. Diagram of intention to demolishment . illustrated by author.
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Design Concept
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Suspension
Fig 26. Atomosphere of hanging fabric, from Pinterest.
Concept design intends to select a special form and feature of fabric to express the space and convey emotions and memories to people. Suspending fabric will be the main way to express space in this project. This is an approach to conveying spatial language to create an environment to reappear old stories in Job Warehouse, evoking emotions with real or abstract elements.
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According to the concept of ‘Suspension’. This project is going to transfer two meanings with fabric. 1. A piece of fabric can reflect a piece of memory or emotion, suspensing fabric would the main spatial elements in this project. 2. Individual spaces could be suspended with little physically conncetion in this framework, while fabric can be a conncetion to build interactions with each other. This connection could be achieved physically or indirect perceptibly. Conceptually, the logic of space is formed by a series of vertical sections, each section. Each individual section is trying to include ideas and narrative, and overlay all of sections together.
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Soft space
Hard space Hard space
Fig 27. concept diagram . illustrated by author.
Fig 28. Textile exhibition, trying to convey communication between objects visually. Source: https://www.flickr.com/photos/goshdarnknit/6093279456/in/photostream.
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Design Experiment Typology 1
Based on the concept of ‘suspension’, first intervention is to design a single unit to fit the spatial language. Replaced solid ceiling with fabric can create a ‘soft’ space to construct the feeling of relaxing, both transparent or non-transparent fabric could influence. Normal boxy spaces are defined as ‘Hard’ space in this scenario. These two types of space are combined. For some voids between ‘hard’ spaces, fabric on the top could potentially form a sense of space. If we take multilayers and aggregation together, voids are physically voids but perceived not voids with the intervention of fabric conncetion, although the fabric could be transparent material. Therefore, the ‘suspension’ is trying to break the normal sequence of space with the intervention of fabric conncetion.
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Single Unit
Void
Multilayer and aggregation Fig 29. conceptual diagram of typology. illustrated by author.
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Design Experiment First proposal
Massing Design 40
Fig 27. parti diagram for first design proposal . illustrated by author.
Ground Floor
Third Floor
First Floor
Fourth Floor
Second Floor
Fiveth Floor
Fig 28. parti diagram of conceptual design . illustrated by author.
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Section Pe Slope rooftop is construct to guide the rhythm of hanging fabric, window or doors will set on rooftop to allow sunlight to get in. people have access to rooftop area.
Some spaces are suspended under the framework, these hard space could be solid space, while connected by fabric or ‘soft’ space.
Fig 29. conceptual section perspective. illustrated by author. 42
erspective
The logic of space is formed by a series of vertical Sections. Each individual section is trying to include ideas and narrative, and overlay all of sections together.
Previous facade of shopfront would become the main entrance of the building. It directly faces the Bourke Street. People seems to come back to the previous fabric store when they enter the building.
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However, ‘Suspension’ is one of the typical ways to evoke fabrics’ identity but it is just a single approach, while fabrics need to be expressed more flexibly. In the stage of design development, this project tends to make the most of fabric feature. Inspired from interesting exhibitions, fabric has multiple ways to identify the division of the space. One is transparency on hanging fabric, through this idea, the impression of Job Warehouse can be reflected on the surface of fabric, multiple layers with transparency could take on virtual images. Another method is to construct continuous surface, which can exhibits objects in multiple dimensions. Thus, this project generates the second concept, Continuity. In order to build a sense of rhythm, It could be better to create choreography for architecure. People is not just visitor or participants, they are also performer.
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Continuity
Fig 30. Hanging fabric in exhibition & spatial language expressed by fabric. Retrived from http://www.pinterest.com
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Design Experiment Typology 2
Fig 31. Basic Prototypes, in the concept of continuous surface. Illustrated by author
In this stage, we tend to find a prototype which can generate a continous space. The U shaped morphornogy is able to a natural relationship, and this continuous surface can become the floor, part of wall and ceiling, supported by an organic coloum. In this logic, floors on any level could connect in a certain way and it forms a half enclosed space. Continuing to develop the prototype, there are more interesting relationship between people and fabric. When the space becomes more complex through this aggregation, it is hard to ditinguish a special floor, which enrich people’s walking experience.
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Fig 32. Prototypes of space, covey fabric in this concept of spacial language in different scales, Illustrated by author. 47
Fig 33. parti diagram, the logic of space formation, Illustrated by author.
These spatial prototypes needs to be supported under a realistic structure. so it should be constructed under a specific feature. A new achievable structure system is the ‘umbrella’ structure, which is buildable by prefabricated concrete. Combining with the concept of suspension, the fabric can be expressed as a blind to split spaces, or hanging on the top to form a sheltered space. These methods are used in diffirent places. The way of draping should be more flexible, both transparent or non-transparent fabric can gererate interesting atomosphere. 48
Fig 34. Perspective to express the overview of the space, Illustrated by author.
Fig 35. Street view to express the overview of the space, Illustrated by author.
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Fig 36. Site plan & Ground floor plan in site context, Illustrated by author. 50
Fig 37. Third floor plan, to express the stairs embeded in ‘fabric’, Illustrated by author. 51
The plans and the section is to test the concept of continuous form, this form tends to become the main circulation, combining with the multiple functions and multiple spatial elements. It starts as a furniture in the centrel area on the ground floor and could become part of the staircase when it extends upwards. However, this idea is hard to be expressed in plans. This design experiment is more suitable to carry on vertically. It also needs to be controlled under a specific rule. Under this condition, an overall structural system needs to be constructed, but it can not be far from ‘fabric’ property. In this way, the project determined to be developped based on the physical force.
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Fig 38. Section, to express the stairs embeded in ‘fabric’, Illustrated by author.
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Concept for Fabric Reinforced Concrete This work exhibited in National Building Museum was featured in “Liquid Stone: New Architecture in Concrete” (Princeton University Press, 2006). The invisible forces forces (of tension and compression) that move through all material structures are in fact in curvilinear in nature, contrary to the rectilinear forms they are often contained by. The project of ‘Liquid Stone’ break the potential of fabric force. It examines the forms of tensile force-flow, allowing the hydrostatic pressure to generate the desired form. In reality, it could be a prefabricated concrete structure, but translate the potential ways of fabric meaning for this context. Source: http://lancelotcoar.com/concept-for-fabric-reinforced-concrete
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Liquid Structure
Fig 39. National Building Museum_Washington DC & Le MuseĂŠ des Arts et metier_Paris, (2004-2006)
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Fig 40. An inspiration from an interior exhibition, retrieved from http://www.pinterest.com
Concept of ‘Liquid stone’ could be tested in this site but the division, the scale and need to be reconfigured under a specific rule. Likewise, more interesting devices are installed like the picture above. The intervention potentially create more opportunities to build interesting interaction between people. However, in this framework, a new ‘fabric’ could create a rhythm in this space, which means this intervention of continuity can connect all places and it play different roles in different space. In addition, concept of Suspension and Continuity are still used in different floors to convey impression of Job Warehouse to evoke peoples’ emotion to certain aspects 56
Fig 41. Conceptual collage: connect all space with fabric meaning under liquid sturctural system. Illustrated by author.
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Design Outcome
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Fig 42. Final design progress. Illustrated by author. 59
Old shopfront
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The facade of shopfront fabric store. this shopfro remained to keep the me fabric business.
Central glass elevator The sightseeing elevator is covered by an organic form, which comes from the idea of liquid structure.
t of old ont is emory of
Fluttered glass The material of exterior facade is covered by fluttered glass, since the waved pattern corresponds to a physical condition of fabric is a way to reflect the concept.
Old graffiti wall In order to make the space along Liverpool street more open, This relic is embeded on the inner wall to be exhibited to re-evoke people’s emotion Liquid structure system This strcture forms the central public communal spaces and provide circulation for the project. The rooftop connect the top two level floors and it is accessible to people.
Fig 43. Exploded diagram of overall space. Illustrated by author.
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Fig 44. Street view. Illustrated by author.
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1
Fig 44. Ground floor plan. Illustrated by author.
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1
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Fig 45. Section 1-1. Illustrated by author.
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Fig 46. Section perspective. Illustrated by author. 68
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Fig 47. Detail drawing 1. Illustrated by author.
Elevator mechanism
Wood handrail Glass panel Coating Waterproof layer Prefabricated concrete Prefabricated steel frame ‘Liquid stone’ concrete Fluttered glass
Organic skin
Soft screen curtain Aluminium glass frame
0
1m
2m
4m
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Fig 48. Detail drawing 2. Illustrated by author. 72
Fluttered glass Aluminium glass frame
Hanger
Inner curtain Suspended silk
Wood handrail Glass panel Coating Waterproof layer Prefabricated concrete Prefabricated steel frame
Old fabric shopfront
0
1m
2m
4m
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75
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77
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This project consists of two part. The continuous prototyps form the overall framework, supported by concrete umbrella structure. The componets can be prefabricated. The facade is covered by fluttered glass, which is a way to express the abstract fabric condition. In central area, liquid structure form the main public communal space, there are two columns supporting the whole system and two elevators. The circulation is designed to spraw around the columns and lifts. 83
Reference
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1. Wilson T., (2005). No looking with the hands. The Nation reviewed, 16(1), 34-35. 2. Crossley Job Lots. (2013, July). Retrieved from https://www.bombazine.com.au/ notebook/crossley-job-lots/ 3. Jessica, S. (2017). Side by Side Images Reveal How Much High Fashion is Inspired by Architecture. Retrieved from https://mymodernmet.com/architecture-fashion-design/ 4. Dan, H. (2015). Snarkitecture creates warren of textile ribbons for COS. Retrieved from https://www.dezeen.com/2015/04/14/cos-snarkitecture-white-fabric-strips-installation-brera-milan-2015/ 5. The Travelling Fabric, Shanghai, China / LUKSTUDIO. (2017, May). Retrieved from https://www.gooood.cn/the-travelling-fabric-lukstudio.htm 6. Weaving Architecture in La Biennale, Venice, Italy by EMBT. (2018, May). Retrieved from https://www.gooood.cn/weaving-architecture-in-la-biennale%25e2%2580%25a8-venice-italy-by-embt.htm 7. Concept for Fabric Reinforced Concrete. (2017). Retrieved from http://lancelotcoar.com/concept-for-fabric-reinforced-concrete 8. Stephanie, R. (2018), Chiharu Shiota - Art Gallery of South Australia. Retrieved from https://indaily.com.au/arts-and-culture/2018/08/24/these-are-the-projectsthat-curators-hope-for-and-artists-dream-about/ 9. The Crossley Building: past, present and future. (2017). Retrieved from https:// blogs.slv.vic.gov.au/such-was-life/the-crossley-building-past-present-and-future/ 10. Nicole, L. (2014 August). ‘Jobs Warehouse Building offers Golden Opportunity’. Retrieved from https://www.theage.com.au/national/victoria/jobs-warehouse-building-offers-golden-opportunity-20140812-1037iu.html
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Design Journal Job warehouse Reawaken Fab-ric Master of Design Thesis Semester 2, 2020 Design Thesis: Studio 5 - Job Yanxiang Yang 1008856 Studio Leader: Yvonne Meng 86