The Third Place_Master of Architecture Design Studio 6 Journal

WHAT IS NEXT? THE THIRD PLACE Melbourne School of Design Master of Architecture Studio 6 Studio Title: “What is Next?”, Semester 1, 2021 Studio Leaders: Jim Stewart, Katie Skillington, Adam Murray Zhuoqing LI (Eve) 886823 Studio E

Studio 6 - The Third Place - Zhuoqing LI (Eve)

ACKNOWLEDGMENT TO COUNTRY. We acknowledge the Traditional Owners of the land on which we work, and pay our respects to the Elders, past and present.

3

CONTENTS. 01 research and site analysis

2

the evolution of detail

94

the problem

3

date night

96

the concept

8

date night reflection

100

the site

10

complementary research

101

02 the manifesto

19

06 final design

120

03 the interim crits

26

concept & return brief

121

site analysis

the return brief

27

128

massing process

preliminary Massing

31

132

journey

submitted interim

40

139

final design reflection

64

161

interim reflection

04 design progress

66

08 reflection on sustainability 164

preliminary diagrammatic design

67

09 reflection on studio 6

168

the evolution of podium

72

the evolution of typical clusters

78

10 reference

170

the evolution of crown

91

07 reflection on Mega Hybrid 162

Studio 6 - The Third Place - Zhuoqing LI (Eve)

Zhuoqing LI (Eve) This is Zhuoqing Li, a level E student at Melbourne School of Design. I came from Yantai, a coastal city on the eastern side of China. Before I moved to Melbourne, I spent one year (2015-2016) studying landscape architecture at Nanjing Agricultural University.

The extensive learning experience at landscape architecture and architecture helped me develop a deeper understanding of the relationship between humans and environment. Therefore, I have always had a passion of delivering innovative and sustainable design outcomes.

I am currently living in one of the CBD residential towers. The brief of Studio 6 provided an inspiring frame for me to rethink the urban tower typology, not only as a resident, but also as a designer, to reshape the tower. During the design process, I cannot stop imagining my own life in the proposal. The design outcome is also a reflection of my 5-year living experience in Melbourne residential towers.

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Studio 6 - The Third Place - Zhuoqing LI (Eve)

01

RESEARCH AND SITE ANALYSIS. Week 1 - Week 12 (On-going Process)

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Studio 6 - The Third Place - Zhuoqing LI (Eve)

CHALLENGE IN BIG PICTURE: URBAN MONOTONY.

“Could you remember what happened two days before?”

In modern society, urban dwellers are set into an autopilot mode with the same routine and manners of life every day and lost track of the immediate moments in their lives. Routine is not always bad. It normalizes our life and saves time dealing with uncertainty and the unknown. However, the monotony reduces life to “a long series of dreary and dull moments”, making life less adventurous, less exciting and even depressing.”

(Jayaram,2020). Monotony reduces your zest for life and kills the opportunity for creative self-expression.

We are no longer considering what we are doing but just doing it.

Current residential towers in Melbourne are mostly designed to intensify the monotony instead of offering opportunities to rejuvenate it. “In high-rise living, analogous corridors and lobbies, stacked floor after floor, make the environment monotonous and boring.

(Modi,2014)” When people are stuck in a rut but do not have opportunities to break the monotony, they will feel even more depressed.”

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Studio 6 - The Third Place - Zhuoqing LI (Eve)

“I feel monotony and death to be almost the same.”

- Charlotte Bronte

Fig. 1 Co l l i ns S t, 5p .m . J oh n BR A C K ( 1 9 5 5 )

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Studio 6 - The Third Place - Zhuoqing LI (Eve)

“They are no longer thinking about what they are doing. They are just doing…”

- Jayaram, 2020

Home

5

Work

TWO-STOP MONOTONY

EVERYDAY MONOTONY

Two points: home, work, home, work….

Dulls creativity and thinking

Studio 6 - The Third Place - Zhuoqing LI (Eve)

LOCAL CHALLENGE: MONOTONOUS TOWERS.

+...

“Density has to be likable. (Hodyl, 2019)” Since the pre-2017 boom, high-rise towers “continue to dramatically reshape the city’s skyline, just as they are doing in other major capitals”. Like the Terrace house Boom, the tower is another version of capitalistic implementation. During the last 13 years, around 30,000 more people have moved into Melbourne CBD to enjoy the adjacent city amenities. Due to lack of performance-based guideline and desire of quick delivery, most of tower are constructed with unsatisfied environmental performance. In addition, the life in a tower almost terminated the idea of community. The over-enhanced privacy contributes to high risk or depression and loneliness.

Current residential towers in Melbourne are mostly designed to intensify the monotony instead of offering opportunities to rejuvenate it. “In high-rise living, analogous corridors and lobbies, stacked floor after floor, make the environment monotonous and boring. (Modi,2014)” When people are stuck in a rut but do not have opportunities to break the monotony, they will feel even more depressed.”

VER T I C A L ST A CKIN G

+

Destination

L I N EA R C I R C U LA TION

Lobby

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Studio 6 - The Third Place - Zhuoqing LI (Eve)

F ig . 2 M e lbo u r n e CB D T owers.

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Studio 6 - The Third Place - Zhuoqing LI (Eve)

THE OPPORTUNITY: THE THIRD PLACE.

NEUTRAL GROUND

LEVELING PLACE

CONVERSATION

ACCESSIBILITY & ACCOMMODATION

THE REGULARS

LOW PROFILE

PLAYFUL

A HOME AWAY FROM HOME

The Third Place is designed to enhance the lifestyle experience throughout a community, fostering social connections (Goosen, Z. et al., 2018).

The “Third place” is a term proposed by sociologist Ray Oldenburg in 1982 (Oldenburg,1982). If the home is considered the first place and the workplace is second, new social experience and encounters inserted between these two spaces are defined as the “third place.”

The proposed building should offer opportunities to encounter the “Third Place”. The “Third Place” is not a tangible building outcome, but it is an experience.

In my proposal, it is defined as the communal space encountering temporary or permanent maker activities.

Most urban dwellers are not “paid to think but paid to produce without thinking” (Tom, 2019). Our brain is a muscle that needs to be trained and activated. If we could not control our routine, our routine will control us.

Architecture should offer urban dwellers opportunities to snap out the auto-pilot mode and allow brains to learn new things and making new neural connections.

Ch a r a c t e r is t ic o f T h ir d P la c e . (Oldenburg,1982)

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Studio 6 - The Third Place - Zhuoqing LI (Eve)

SCALE

MOVEMENT

EVENT

THIRD PLACE FIRST PLACE

HOME

SECOND PLACE

WORKPLACE

Foster the opportunities for current urban dwellers to encounter with “Third Place” (Oldenburg, 1982) and transmute the monotonous “Two-Stop Model” between home and workplace.

9

CONCEP

Studio 6 - The Third Place - Zhuoqing LI (Eve)

SITE ANALYSIS.

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Studio 6 - The Third Place - Zhuoqing LI (Eve)

THE SITE: 130 LITTLE COLLINS ST, MELBOURNE. The site is located at 130 Little Collins Street, Melbourne, VIC 3000, a one-way Lane within the CBD Hoddle Grid along its long axis between Collin Street and Bourke Street. The site is within walking distances to many laneways with access to a range of boutique shops, galleries, and bars. The site is also adjacent to tram routes 86, 96, 11, 12, 48, 109, a convenient spot to be accessed by walking or public transport.

The adjacent Collin St is Melbourne’s financial, shopping and business heart with the most prestigious office blocks. Therefore, a mega hybrid building (living + working + playing) will be proposed on 130 Little Collins St to provide habitat for the urban dwellers and define a new CBD life mode.

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Studio 6 - The Third Place - Zhuoqing LI (Eve)

THE SITE: SITE VISITING NOTES.

Site Boundary and Location

Noise and Pollution

Edge Condition & Permeability

Solar Path & Overshadowing

Building Height

Vegetation and Laneway

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Studio 6 - The Third Place - Zhuoqing LI (Eve)

Collin St

Melbourne Pl

Coromandel Pl

WORKING

CHINA TOWN

LIVING

FOOD

PLAYING

BOURKE ST

BOURKE ST

FOOD NATURE

SHOPS

ART

ART

BAR

SHOP

OFFICES

SHOP

ART

FOOD

SHOP

COLLINS ST

COLLINS ST

SHOP

SHOP

EXHIBITION ST

CAFE

ART

BAR BAR

BAR LUXURY RETAILS +SHOP

BAR

CATERINGS

RUSSELL ST

FOOD HOTEL

EXHIBITION ST

CAFE

SHOP

RUSSELL ST

EVENTS

BAR

BAR

ART

LEGAL &

Bourke St

Hoddle Grids

SHOP

Public Places

Site Boundary

Laneway

5min Walk Radius (400m)

Unexpected Interaction High Emotional Intensity

Program

Emitional Intensity Low Emotional Intensity

0

Surrounding Programs

13

30

50

100

0

Unexpected Interactions

30

50

100

Studio 6 - The Third Place - Zhuoqing LI (Eve)

SITE OPPORTUNITIES: MELBOURNE LANEWAYS. The 30.2m wide “Hoddle Grids” began to take shape in 1837. The subdivision of allotments resulted in increasing the number of smaller laneways, which provides access to the property’s back entrance.

The laneways provide different experiences than the sense of order imposed by Hoddle’s grid, winding in all the directions through the city blocks.

During the early years, most of them are occupied by small businesses “providing rear service access for servants and carts carrying goods”. Nowadays, these laneways become the city’s icon and still play an essential role in carrying Melbourne’s rich culture and history (Public Record Office Victoria,2020).

Homogeneous, Urban-Scale, Open, Obvious.

Fig. 3 The Hoddle Grid.

Diversified, Human-Scale, Explorable, Mysterious.

Fig. 4 Victoria Laneways.

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Studio 6 - The Third Place - Zhuoqing LI (Eve) TRAM ROUTE 86,96

BOURKE ST TRAM ROUTE 86,96 1min Walk to Bourke St Stop

SITE ACCESS EXHIBITION ST

RUSSELL ST

LEGEND Site Main Road

Tram Route Tram Stops Potential Access Traffic Direction

2min Walk to Collins St Stop TRAM ROUTE 11,12,48,109

COLLINS ST TRAM ROUTE 11,12,48,109

0

15

30

50

100

Studio 6 - The Third Place - Zhuoqing LI (Eve)

BOURKE ST 15:00

12:00

17:23

9:00

BUILDING HEIGHT

7:10 15:00 18:00

R

EXHIBITION ST

RUSSELL ST

20:42

WINTE

12:00

9:00

5:54

LEGEND

SUMM

ER

Site 1-3 Storey 4-10 Storey 11-30 Storey >30 Storey

COLLINS ST

0

30

50

100

16

Studio 6 - The Third Place - Zhuoqing LI (Eve)

THIRD PLACES

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Studio 6 - The Third Place - Zhuoqing LI (Eve)

MAKER CATEGORY

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Studio 6 - The Third Place - Zhuoqing LI (Eve)

02

THE MANIFESTO. Assignment 1 (Week 3)

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Studio 6 - The Third Place - Zhuoqing LI (Eve)

THE CHALLENGE: URBAN MONOTONY.

Screenshots from the Manifesto Video 0:00 - 0:26

20

Studio 6 - The Third Place - Zhuoqing LI (Eve)

Screenshots from the Manifesto Video 0:26 - 0:48

21

Studio 6 - The Third Place - Zhuoqing LI (Eve)

THE OPPORTUNITY: THE MILIEU OF MELBOURNE.

Screenshots from the Manifesto Video 0:48 - 1:00

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Studio 6 - The Third Place - Zhuoqing LI (Eve)

THE PRINCIPLES: SCALE, EVENT, MOVEMENT.

Screenshots from the Manifesto Video 1:00 - 1:30

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Studio 6 - The Third Place - Zhuoqing LI (Eve)

THE SUMMARY: CONCEPT PARTI DIAGRAM.

Work

Home

‘PRESENT’

Work

Home

‘NEXT’

‘Scale’

‘Event’

‘Movement’

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Studio 6 - The Third Place - Zhuoqing LI (Eve)

REFLECTION: THE MANIFESTO. The process of creating the manifesto video is constructed in three parts: ‘Poison’, ‘Opportunity’, and ‘Principles’. Based on the feedback, the principles are supported mainly by site research and context research.

However, the question is, “Are laneways enough of an antidote? Are there more universal - or more specific - urban experiences or conditions you can draw on to help enrich this idea?”. Inspired by the feedback, the Laneway experiences could work as the starting point. However, when moving forward, the essence should be summarized and further defined.

The key of the proposal is not about copy-paste Melbourne laneways into the tower but to provide unexpected interactions for the occupants to break the monotony. This process needs to be achieved by a proposed architectural journey. Further analysis will be done to understand what might be relevant to the occupants and sustainability.

25

Studio 6 - The Third Place - Zhuoqing LI (Eve)

03

INTERIM CRIT. Assignment 2 (Week 6)

26

Studio 6 - The Third Place - Zhuoqing LI (Eve)

THE RETURN BRIEF

27

Studio 6 - The Third Place - Zhuoqing LI (Eve)

THE OCCUPANTS: MAKERS & YOUNG URBAN DWELLERS. “Bring two issues together and let one solves the other.”

Based on the “Make Art Work” research, that income of creative professionals from creative work in their chosen profession is far below that earned by similarly qualified practitioners in other professions”.

Most creative professionals are struggling to maintain a living wage by doing multiple jobs.

However, they are priced out from living in the city due to the gentrification process. Therefore, they must travel between suburban area and city to struggle between life and work. The Urban Antidote is proposed to provide affordable places for makers to live in Melbourne CBD, close to job opportunities and inspirations.

In return, the makers could offer the existing urban dwellers opportunities to engage in creative makers’ experiences and run a community Makerspace as part of rental agreement, which could be a perfect antidote for everyday monotony. The Makerspace could support creative self-expression and snapping out the auto-pilot mode to allow brains to learn new things and make new neural connections.

Fig. 5 Websites About Creative Professionals

Fig. 6 FAB9 Makerspace

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Studio 6 - The Third Place - Zhuoqing LI (Eve)

Suffering from the monotonous “Two-Stop Model”

Lack stability to make living wage in CBD

YOUNG URBAN DWELLERS (AGE: 20-39)

FUNDED BY CREATIVE VICTORIA

MAKERS

LOCAL

THE THIRD PLACE “Bring two issues together and let one solves the other.”

VISITING FINANCIAL SUPPORT &

BRING MAKER EXPERIENCES

TEMPORARY ACCOMMODATION

INTO THE “THE THIRD PLACE”

NEW ENCOUNTER. CREATIVE SELF-EXPRESSION.

29

CREATIVE CBD HOME. AFFORDABLE CBD HOME.

Studio 6 - The Third Place - Zhuoqing LI (Eve)

Site Address : 130 Little Collins Street, Melbourne

Clients:

Concept

Research:

Permanent Residents: (Duration: More than 1 year)

•

Urban Monotony: Urban dwellers are set to everyday monotony in an autopilot mode from two points: home, work, home, work…., keep repeating.

The monochromatic drabness leading to lose touch with immediate experience—both environmental (sensory) and social (Emotional). (John, B. ,1955)

•

Group A: Young Urban dwellers (Age: 20-39) who are working and studying in Melbourne CBD.

Inspired by the iconic laneway network in Melbourne CBD, the concept is bringing the Laneway Characteristics × Maker Experience from this creative capital to urban towers, providing opportunities to break urban monotony.

•

Group B: Local makers who are working in Melbourne CBD.

Current Tower Issues: Current towers in Melbourne are mostly designed to intensify the monotony instead of offering opportunities to rejuvenate it, including social suitabilities, mental health and life satisfaction issues. (Larcombe,2019 + Personal Experience+Interview to 5 urban dwellers)

•

•

Site Analysis •

•

•

Melbourne Laneway Experience: Melbourne’s laneways are world-renowned with an enviable mix of caterings, bars, and small boutiques, which challenges Melbourne CBD’s homogeneity and introduces Melbourne’s vibrancy culture and history.

Program Mix: Located in Little Collins street, the site is surrounded by caterings, luxury retails, hotels, and office towers.

The primary reason for people to visit this area is working, shopping, dining, and accommodating.

Site Access: The site is located at a oneway lane within the CBD Hoddle Grid along its long axis between Collin Street and Bourke Street. The site is also adjacent to tram routes 86, 96, 11, 12, 48, 109, a convenient spot to be accessed by walking or public transport.

Temporary Residents: (Duration: Up to1 year) Group C: Visiting makers who are traveling in Melbourne.

Functions: • • • •

Spaces Spaces Spaces Spaces

for for for for

living working playing service

LIVING PROGRAM PERMANENT LIVING

3750

TEMPORARY LIVING

1250

COMMUNAL LIVING

1000

OTHER SPACES

1200

TOTAL:

7200

WORKING + PLAYING

Defining the Unknowns Spaces for Living • • • •

Permanent living for people working and studying in CBD (workers and students).

Permanent living for local Makers.

Temporary living for visiting makers. (Shared Living with permanent residents or Capsule Hotels) Communal Living (kitchen, shared laundry, community garden)

Spaces for Working + Playing • • •

Private Maker Studios Co-Working/Making Spaces (Makers’ Workshop, Immersive Gallery, Library) Commercial Maker Shops (Pop-Up Makers Market, Maker shops)

Spaces for service • Vertical Services, Individual Services

AREA (m2)

PROGRAM LOCAL MAKER STUDIO VISITING MAKER STUDIO CO-WORKING MAKING SPACE

AREA (m2) 1000 500 3300

LIBRARY

300

WORKSHOP

1000

MARKER MARKET

1500

IMMERSIVE GALLERY

500

MAKER SHOPS

700

OTHER SPACES

1375

TOTAL:

6875

TOTAL GFA (m2)

14075

30

Studio 6 - The Third Place - Zhuoqing LI (Eve)

PRELIMINARY MASSING

31

Studio 6 - The Third Place - Zhuoqing LI (Eve)

32

Studio 6 - The Third Place - Zhuoqing LI (Eve)

REFLECTION: MASSING EXERCISE. The model-making exercise in week 4 Monday is a reasonable attempt at “ How big is my building, “ which helps me understand the proposal’s area and program size. By playing with the massing, I have tried four options based on the relationship between living, working, and playing, which works as a solid foundation of the interim’s massing iterations.

I tried three different colours to test the relationship between living, working, and playing programs.

Although testing in physical massing is different from my usual working methods (hand sketches or digital modelling), it offers new design perspectives.

It inspires me to shift thinking from concept to design. After testing on physical massing, I moved the options into Rhino modelling to further explore the potentials. However, some physical massing becomes too complex when it moved to the digital platforms and need to be simplified in a rational approach for future development.

33

Studio 6 - The Third Place - Zhuoqing LI (Eve)

‘Base Case’

‘Screen’

‘Surrounding’

‘Side’

The existing building on site is an 8-storey double brick building, occupying the whole site. The base case is put 7200 sqm living program on the top of the existing building with 5m set back on south and west.

Further set back is applied with an external screen. The in-between space between the screen and inner part is populated with circulation.

Compared to the ‘SCREEN’, this option is removing the screen but only keep the circulation.

The “living” and “Working + Playing” are separated on two sides. The advantage will be the working space facing Little Collins Street to provide a more engaging street interface.

34

Studio 6 - The Third Place - Zhuoqing LI (Eve)

MASSING EXERCISE: INSPIRATIONS.

Fig. 7 Antilia by Perkins and Will

35

Fig. 8 Arakawa Building by Nikken Sekkei.

Fig. 9 Torre Cuajimalpa by Meir Lobaton Corona + Kristjan Donaldson

Fig. 10 HA Tower by Frontoffice + François Blanciak Architect

Studio 6 - The Third Place - Zhuoqing LI (Eve)

MASSING EXERCISE: FROM PHYSICAL TO DIGITAL.

36

Studio 6 - The Third Place - Zhuoqing LI (Eve)

MASSING PROGRESS: REFINED ITERATIONS. Characteristics: The “living” and “Working + Playing” are separated on two sides.

Pros: • More engaging street interface • Better natural light access by terraces • Offer occupants choices for interactions

del P

Lit

l

Co llin

man

tle

Coro

sS

t

Cons: • Limited interaction between “living” and “Working + Playing”.

• Maker spaces only have access to western or southern light

ITERATION A- SIDE Living Working + Playing

37

ITERA

Studio 6 - The Third Place - Zhuoqing LI (Eve)

Characteristics: The “Working + Playing” are inserted in the middle of “living” and attached to vertical circulation.

Pros: • Better natural light access for ‘Living’ part • More opportunities for interactions

t sS

del P

l

ITERATION A- SIDE

Co llin

man

tle

Coro

Lit

l

Lit

del P

Co llin

man

tle

Coro

sS

t

Cons: • Less engaging street interface • Maker spaces only have access to western sunlight • May fall into a pitfall of forcing people to interaction

ITERATION B- IN-BETWEEN

Living

Living

Working + Playing

Working + Playing

ITE

38

Studio 6 - The Third Place - Zhuoqing LI (Eve)

Characteristics: The “Working + Playing” are flowing into the ‘Living’ part from side to middle.

Pros: • More engaging street interface • Better natural light access by terraces • Offer occupants choices for interactions

ITERATION A- SIDE

39

ITERATION B- IN-BETWEEN

t

del P

l

Co llin

man

tle

Coro

Lit

l

sS

t sS

del P

Co llin

man

tle

Coro

Lit

l

Lit

del P

Co llin

man

tle

Coro

sS

t

Cons: • Less efficient floor plates • More stairs are required for circulation

ITERATION C- COMBINATION

Living

Living

Living

Working + Playing

Working + Playing

Working + Playing

Studio 6 - The Third Place - Zhuoqing LI (Eve)

SUBMITTED INTERIM.

40

Studio 6 - The Third Place - Zhuoqing LI (Eve)

INTERIM CRIT: CONTENT STRUCTURE.

Contents

41

03

01

02

‘POISON’ & RESPONSE

‘ANTIDOTE’- INGREDIENTS

URBAN RESPONSE

Challenges, Conceptual Response

The Return Brief

Site Analysis to Massing

04

05

06

SHAPE OF ‘ANTIDOTE’

SUSTAINABLE ‘ANTIDOTE’

WAY FORWARD

Massing Iterations & Process

Triple Bottom Line

Next Steps: Zoom-in MICROS

Studio 6 - The Third Place - Zhuoqing LI (Eve)

INTERIM CRIT: THE CHALLENGE. URBAN MONOTONY “They are no longer thinking about what they are doing.

They are just doing…(Jayaram,2020)”

The ‘Poison’

URBAN MONOTONY = ‘POISON’

Big-Picture & Local Challenge

Auto-pilot Mode from two points: home, work, home, work….

Everyday Monotony dulls creativity and thinking Collins St, 5p.m. John BRACK (1955) John, B. (1955). Collins St, 5p.m., [Oil on Canvas]. NGV. https://www.ngv.vic.gov.au/explore/collection/work/3161/.

5

6

“In high-rise living, analogous corridors and lobbies, stacked floor after floor, make the environment monotonous and boring. (Modi,2014)”

“Current towers in Melbourne are mostly designed to intensify the monotony instead of offering opportunities to rejuvenate it.”

“I feel monotony and death to be almost the same.”

- Charlotte Bronte VERTICAL STACKING

LINEAR CIRCULATION

7

8

9

Contents from Interim Submission Page 4-9

42

Studio 6 - The Third Place - Zhuoqing LI (Eve)

INTERIM CRIT: THE CONCEPT.

Strategies from ‘Laneways’

Bring the “Melbourne Laneway Characteristics × Maker Experience” to urban towers, activating interactions and providing opportunities to break the Urban Monotony.

Contents from Interim Submission Page 11-12

43

12

Studio 6 - The Third Place - Zhuoqing LI (Eve)

INTERIM CRIT: THE OCCUPANTS. “Bring two issues together and let one solves the other.”

-

Suffering from Monotony

Financial Support & Temporary Accommodation

Trade of Makers’ Skills & Experience

Lack stability to make living wage in CBD

Urban Antidote Maker Experience

Urban Dwellers Opportunities for breaking Monotony and creative self-expression

+

CBD Home Creative Home – Make + Inspire Physical Home – Job Opportunity + Affordable Living

Makers (Visiting + Local)

Clients Analysis

16

Contents from Interim Submission Page 16

44

Studio 6 - The Third Place - Zhuoqing LI (Eve)

INTERIM CRIT: PROGRAM MIX. ‘Creatively Compacted Living’

25 sqm

Living

Per person

7200 sqm

5000 sqm

Permanent Living: 150 people 50 workers +50 students + 50 Local Makers

150 people Permanent Living + 50 people Temporary Living

Temperary Living: 50 people 50 Visiting Makers (share dwelling with permenant residents)

Living

70%

Floor Plate Efficiency Cairo Flat Renovation by Architecture Architecture (2012)

18

19

20

‘Maker experience breaks monotony’

10/16 sqm

Working + Playing

Co-Working /Makerspace

6875 sqm

2600 sqm + 2900 sqm

Maker Studios/Shops: 100 people 50 Local Makers + 50 Visiting Makers

Makerspace + Podium

Co-Working/Making Space: 100 people 50 Students + 50 Workers

Working + Playing

80%

Floor Plate Efficiency

Maker’s Studio (2020)

21

22

Contents from Interim Submission Page 18-23

45

23

Studio 6 - The Third Place - Zhuoqing LI (Eve)

7200m2

LIVING

Public 500 m2

Dwelling (Temporary + Permanent)

Communal Living

500 m2

Communal Living

2000 m2

Communal Living

Makers’ Pop-up Market, Gallery

Temporary

350 m2

350 m2

Pop-up Makers’ Shop

Makers’ Shop

1250 m2 Temporary Living

3750 m2 Permanent Living

6875m2

WORKING + PLAYING

Outdoor Space

Maker Studio

1200 m2 Outdoor Space

Co-Working/ Making Space

500 m2

1300 m2 CoWorking/ Making Space

1000 m2

Permanent

Local Maker Studios

Visiting Maker Studios

Commercial Shops

1000 m2 Outdoor Space

Outdoor Space

Private Contents from Interim Submission Page 25-30

46

Studio 6 - The Third Place - Zhuoqing LI (Eve)

OUTDOOR SPACE LEVEL 30 ROOF TERRACE

CORE COMMUNAL LIVING

DWELLING

LEVEL 5,10,15,20 LIVING

MAKER STUDIO

CO-WORKING /MAKING SPACE COMMERCIAL SHOPS

Little Collins St

LEVEL 3,8,13,18,23 MAKER PLAZA

Coromandel Pl

N

GROUND LEVEL LOBBY+ URBAN PLAZA

0

47

5000

10000

20000 (mm)

0

5000

10000

20000 (mm)

Studio 6 - The Third Place - Zhuoqing LI (Eve)

INTERIM CRIT: URBAN RESPONSE.

Program Mix: Informed the program mix of Urban Antidote

Interaction Level: Informed the program distribution

Laneway Program Mix

Unexpected Interactions 32

•

Laneway programs will be analyzed to inform the programmatic mix.

•

The traffic and access points of the site will inform the potential entrances of the building.

The surrounding building height will influence the volume of the building and natural light access.

33

Program Mix

Interactions

• Building Height: Informed the volume and sunlight access

Access: Informed the potential access points of the building.

Building Height

Access

35

34

Access

Building Height

Contents from Interim Submission Page 32-35

48

Studio 6 - The Third Place - Zhuoqing LI (Eve)

INTERIM CRIT: MASSING ITERATIONS. Iteration A – ‘SIDE’

Iteration B – ‘IN-BETWEEN’

Characteristics: The “living” and “Working + Playing” are separated on two sides.

Characteristics: The “Working + Playing” are inserted in the middle of “living” and attached to vertical circulation.

Pros: ● More engaging street interface ● Better natural light access by terraces ● Offer occupants choices for interactions

Pros: ● Better natural light access for ‘Living’ part ● More opportunities for interactions Cons: ● Less engaging street interface ● Maker spaces only have access to western sunlight ● May fall into a pitfall of forcing people to interaction

Cons: ● Limited interaction between “living” and “Working + Playing”. ● Maker spaces only have access to western or southern light 37

Iteration A

38

Iteration B

Iteration C – ‘SIDE’ + ‘IN-BETWEEN’

Iterations

Characteristics: The “Working + Playing” are flowing into the ‘Living’ part from side to middle.

Pros: ● More engaging street interface ● Better natural light access by terraces ● Offer occupants choices for interactions Cons: ● Less efficient floor plates ● More stairs are required for circulation

39

Iteration C

Selection

Contents from Interim Submission Page 37-40

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INTERIM CRIT: FORM-FINDING PROCESS.

0. Existing 42

Contents from Interim Submission Page 42

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1. Grid 43

Contents from Interim Submission Page 43

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2. Setback 44

Contents from Interim Submission Page 44

52

S H A P E OF ‘ ANT I DOT E’

Studio 6 - The Third Place - Zhuoqing LI (Eve)

Refer to WEEK 4,5 Contents

3. Mix 45

Contents from Interim Submission Page 45

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4. Access 46

Contents from Interim Submission Page 46

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Studio 6 - The Third Place - Zhuoqing LI (Eve)

Arakawa Building - Nikken Sekkei

5. Volume 47

Contents from Interim Submission Page 47

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6. Lightwell 48

Contents from Interim Submission Page 48

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Final 49 1:500 Massing Model Contents from Interim Submission Page 49

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INTERIM CRIT: PERSPECTIVES.

51

Contents from Interim Submission Page 51

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52

Contents from Interim Submission Page 52

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Contents from Interim Submission Page 53

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INTERIM CRIT: SUSTAINABLE TRIPLE BOTTOM LINE.

Level 1-30: Prefab CLT + Fly Ash Concrete Hybrid Structural System

Podium: Prefab CLT + Recycled Brick Veneer & Timber Frame

05

Materiality: Laneway “Controlled Chaos” flows into the tower.

SUSTAINABLE ‘ANTIDOTE’ Triple Bottom Line From Existing Building MAS Museum in Antwerp by Neutelings riedijk Wood Innovation Design Centre / Michael Green Architecture

Environmental

Environmental 64

Energy: Passive Design + Production

Community Cohesion: Share + Support

Job Opportunities: Proximity + New Skills

Water: Rainwater + Grey Water Recycling

Affordability: Creative + Physical CBD home

Maker Movement: Supporting Creative Industry

Environmental

Social

Economical

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67

Contents from Interim Submission Page 62-68

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65

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INTERIM CRIT: WAY FORWARD.

Moving Forward

Roof terrace

Typical Dwelling Cluster (5 storeys)

Selected ‘MICROS’

STEP 1

STEP 3

STEP 5

REFLECTION ON THE MACRO

REFLECTION ON THE MICRO

BENEFITS EVALUATION

Podium / Urban Plaza

STEP 2

STEP 4

PICK THE MICRO AND DEVELOP

COMBINE THE MACRO AND MICRO

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71

Three parts of the building will be further developed to achieve human experiences. The whole process will follow ongoing reflection and evaluations.

Contents from Interim Submission Page 70-71

62

T H IS I S ‘ U RBAN ANT I DOT E’ Be creative. Be Brave.

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Studio 6 - The Third Place - Zhuoqing LI (Eve)

REFLECTION: INTERIM CRIT. As an urban dweller living in one of the CBD towers, I am a monotonous person with an everyday routine, as I mentioned in the week 1 ‘Poison’ section. Living with everyday monotony, I always lose track of daily interactions and memories. Every day for me is just another same day.

The starting point of the concept is empathy. Life is too long to be monotonous, so I want to bring opportunities for people suffering from the monotony with opportunities to break the routine at some points.

During the design process, the biggest challenge I was facing was balancing “creating surprise” and ‘rationality’.

I was confused that “creating surprises to break monotony” must equal a super complex building. At week 4, my Massing was totally out of control. At that point, based on tutors’ feedback and precedent research, I realized that architects are not here to create ‘chaos’ but to create a controlled frame for ‘chaos’. Therefore, I shifted my design direction to a more rational, modular approach to bring the 3D Massing back to control. When working on a comfortable scale, I feel more connected with the concept and start to have ideas for the MICRO architectural moments.

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05

DESIGN PROGRESS. From Interim crit to final submission. (Week 7-14)

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PRELIMINARY DIAGRAMMATIC DESIGN.

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PRELIMINARY DIAGRAMMATIC PLANS: GROUND FLOOR.

The diagrammatic plans set up a foundation for program distribution. In GF, the two entrances are defined (main entrance & Resi-bike entry). The arrangement of permanent makers shops and pop-up maker market space are prepared to incorporate with “Yatai” (Japanese food cart).

BACK OF HOUSE STORAGE

LOADING DOCK

LOADING DOCK

BIKE REPAIR STORE

RESI BIKE ENTRY

WASTE CHUTE?

RESI BIKE ENTRY

BIKE REPAIR STORE

BIKE PARKING

VISITOR BIKE PARKING

SERVICE & STORAGE

RECYCLE & VERMI COMPOST

COROMANDEL PL

LOBBY

POP-UP MARKET/EXHIBITION

Terrace to B1 Gallery

MAKER SHOP 2

POP-UP MARKET/EXHIBITION

MAKER SHOP 1

Coromandel Pl

MAKER SHOP 5 TO B1 STORAGE

MAKER SHOP 4 POP-UP MARKET

MAKER SHOP 3

STORAGE RECEPTION & CAFE

MAKER SHOP 4

MAKER SHOP 1 MAIN ENTRANCE

OUTDOOR SPACE

INSTALLATION GARDEN

TO PODIUM TOP PLAZA

POP-UP MARKET/EXHIBITION

MAKER SHOP 3

MAKER SHOP 2

TO PODIUM PLAZA

MAKER STUDIO CORE

POP-UP MARKET UNDERCOVER

MAKER MARKET

POP-UP STRUCTURE

COMMERCIAL SHOPS

Little Collins St

WEEK 7 Diagrammatic Plan

LITTLE COLLINS ST

Final Plan

1: 500@ A 5

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Studio 6 - The Third Place - Zhuoqing LI (Eve)

In the final plan, the orientation of stairs is changed based on Adam’s feedback to expand two one-room dwelling into twobed room dwellings to achieve a more diversified dwelling mix and a cluster lobby with natural sunlight.

PRELIMINARY DIAGRAMMATIC PLANS: TYPICAL CLUSTER. SECTION A-A

SLEEPING

LIVING

MAKER PLAZA

SHARED TERRACE 2-BED

“ART WALL”

“ART WALL”

MAKER STUDIO 1

LIVING

SLEEPING

1-BED

1-BED

‘CLUSTER’ STAIRS

‘CLUSTER’ STAIRS

CLUSTER LIBRARY

SECTION B-B

SECTION B-B

CLUSTER LIBRARY

MAKER STUDIO 3

SLEEPING

1-BED

LIVING

SLEEPING

LIVING

MAKER STUDIO 4

CO-WORKING WORKSHOP

OUTDOOR SPACE CORE

2-BED

2-BED PRIVATE MAKER STUDIO MAKER TERRACE

DWELLING

MAKER STUDIO 6

MAKER STUDIO 5

WEEK 7 Diagrammatic Plan

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2-BED

SHARED TERRACE

MAKER TERRACE

MAKER STUDIO PRIVATE MAKER STUDIO

CO-WORKING /MAKING SPACE

SECTION A-A

Final Plan

1: 500@ A 5

Studio 6 - The Third Place - Zhuoqing LI (Eve)

PRELIMINARY DIAGRAMMATIC PLANS: COMMUNAL ROOF TERRACE.

At the diagrammatic stage, the programs of the roof terrace are too complex. The final version of crown part is simplified to be a rooftop bar and a growing urban farm to celebrate the verticality.

ROOF TERRACE

URBAN FARM

COMMUNAL KITCHEN

‘CLUSTER’ STAIRS

“ART WALL”

COMMUNAL DINNING

COMMUNUAL GARDEN

OUT DOOR BAR TERRACE

COMMNUAL MAKER STUDIO

ROOF TOP BAR & RESTAURANT

ROOFTOP BAR

OUTDOOR SPACE CORE COMMUNAL LIVING CO-WORKING /MAKING SPACE

COMMERCIAL SHOPS

WEEK 7 Diagrammatic Plan

Final Plan 1: 500@ A 5

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PRELIMINARY DIAGRAMMATIC SECTION: TYPICAL CLUSTER ARRANGEMENT.

NORTH

URBAN DWELLER LIVING + TERRACES

URBAN DWELLER LIVING + TERRACES

“SOCIAL CONDENSER”

“LIGHT WELL”

URBAN DWELLER LIVING + TERRACES

MAKER LIVING + STUDIOS

“THRESHOLD”

URBAN DWELLER LIVING + TERRACES

“COMMUNITY LIBRARY”

LIFT LOBBY

MAKER LIVING + STUDIOS

TYPICAL DWELLING

TYPICAL DWELLING SOUTH CLUSTER MAKER PLAZA

MAKER LIVING + STUDIOS

MAKER LIVING + STUDIOS

TYPICAL DWELLING

TYPICAL DWELLING

The makers’ dwellings are located on the southern side of the building to have filtered southern light flowing into their private working studios. The urban dwellers are located on the northern side of the building with a north-facing terrace. A maker plaza is included within each cluster with public access, including threshold layers to direct the encounter with the “Third Place”.

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THE EVOLUTION OF PODIUM.

#

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PRELIMINARY STORYBOARDS AND PRECEDENTS: A WELCOMING PODIUM.

Fig. 11 Nightingale Village by Kennedy Nolan Architects Materiality: Red Bricks with Arches, Fabrics (shopfronts), Vegetations.

Scale: Introducing range of edge conditions with interactive human scale.

Access: A Combination of Shop Front/ Arcade/ Display

Seeing

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Walking-in

Exploring

Studio 6 - The Third Place - Zhuoqing LI (Eve)

PODIUM FORM EXPLORATION MATERIALITY & GEOMETRY.

BRICK

WHITE CONCRETE

GREY TEXTURED CONCRETE (GEO-POLYMER)

In the first version, red bricks from the current building are reused for the podium to form the arches, making the building too flat. It conflicts with the complex forms and makes the podium unreadable. In the second version, I took a step back to render it as pure white concrete, making the building readable but lost the touch of craft.

In the end, I applied the grey textured geo-polymer concrete, which is not only a good solution for sustainability but also brings a touch of crafting into the building. The bricks recycled from the existing buildings are applied to the ground paving.

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PODIUM ACTIVITY EXPLORATION POP-UP MAKER MARKET & “YATAI”.

Fig. 12 Yatai By Note Architects.

Final Render of Yatai

Yatai is small-scale, mobile food carts in Japan typically selling food. Based on Katie’s suggestion, I introduced Yatai to the podium as a device for visiting makers to form pop-up shops. The Yatai scattered in the entry garden invites the public into the journey of “Third Place” and set up an energetic atmosphere.

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PODIUM FORM EXPLORATION INTERFACE TO COROMANDEL PLACE.

ARCH

FABRIC

PLATFORM+ TRELLIS (Selected)

The interface to Coromandel Pl is tested in different geometrical forms to achieve a journey for residents to interact with the shops on their way home. The arches are designed in response to the current shop front in Coromandel Pl. The fabric and the platform versions are designed in response to the program of the building (textile & fashion). The “Platform and Trellis” is selected to activate the laneway without affecting the amenity of adjacent buildings.

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THE EVOLUTION OF TYPICAL CLUSTERS.

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PRELIMINARY STORYBOARDS AND PRECEDENTS: TYPICAL CLUSTERS.

Fig. 13 Miguel Quismondo pavilion

Fig. 14 OMGEVING CVBA CENTR’AL by B-ARCHITECTEN

Materiality: Charred Wood, Polycarbonate, Glass.

Scale & Spatial: The display through transparent material and the shadow behind translucent material contribute to different human scale experience.

Solid

79

Translucent

Transparent

Studio 6 - The Third Place - Zhuoqing LI (Eve)

TYPICAL CLUSTER EXPRESSION EXPLORATION PRELIMINARY RENDER TESTS.

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TYPICAL CLUSTER FORM EXPLORATION LIGHT & VOLUME.

“SHARED TERRACE” “URBAN DWELLER”

“CLUSTER LOBBY”

“MAKER”

“MAKER STUDIO + TERRACE”

“MAKER PLAZA”

SECTION A-A 0

3000

5000

10000mm

0

3000

5000

10000mm

Based on the function explored in the diagrammatic design stage, void and terraces are designed to incorporate thresholds further and create a more dynamic relationship between different levels.

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TYPICAL CLUSTER FORM EXPLORATION GEOMETRY & MATERIALITY.

A

2-BED

2-BED

PRODUCTIVE GARDEN COMMUNAL DECK

SHARED TERRACE WINTER DECK

KITCHEN WORKSHOP 1-BED

CLUSTER WASTE & COMPOST

COMMUNAL LAUNDRY

CLUSTER LIBRARY SHOWCASE GALLERY

SECTION B-B

CO-WORKING WORKSHOP

MAKER TERRACE 2-BED

2-BED

VISITING MAKER STUDIO

MAKER TERRACE

IVATE MAKER STUDIO

A

1 :5 0 0 @A 5

Curved terraces, metal screens and polycarbonate… too many architectural languages make this building too complex for readers. They will not be able to see the critical part of the design.

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TYPICAL CLUSTER FORM EXPLORATION GEOMETRY & MATERIALITY.

2-BED

SHARED TERRACE

PRODUCTIVE GARDEN COMMUNAL DECK

WINTER DECK KITCHEN WORKSHOP

CLUSTER WASTE & COMPOST

1-BED

COMMUNAL LAUNDRY

CLUSTER LIBRARY SHOWCASE GALLERY

SECTION B-B

CO-WORKING WORKSHOP MAKER TERRACE

2-BED

VISITING MAKER STUDIO MAKER TERRACE

O

1 :5 0 0 @A 5

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Materiality and geometry are simplified, and the highlight parts are lit up with polycarbonate. These changes make the building form more ordered, and the highlight program makes it easy to convey the concept.

Studio 6 - The Third Place - Zhuoqing LI (Eve)

DWELLING LAYOUT EXPLORATION PRELIMINARY MODULES.

+ 200.00

+ 0.00

+ 0.00

“ SHARED BOUNDARY”

“ FEEDING & LANDING” “ THRESHOLD”

“ THRESHOLD”

+ 200.00 + 0.00

+ 200.00

“ FEEDING & LANDING”

+ 0.00

+ 200.00

+ 400.00

+ 400.00

+ 0.00 + 200.00

“ SLEEPING/ LIVING”

“ WORKING/DINING”

“ WORKING/DINING”

0.5

1

2(m)

“DESIGNING”

+ 200.00 + 0.00 + 400.00

“SHOWCASE”

0

“STORAGE”

“ SLEEPING/ LIVING”

“MAKING”

0

0.5

1

2(m)

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DWELLING LAYOUT EXPLORATION LEVEL-CHANGE PRECEDENT.

FIFGURE 15. Yojigen Poketto / elii Micro apartments are introduced to provoke a creative lifestyle (when the space is limited, you need to be creative in using the space wisely). The fundamental concept of the dwelling layout is to use level-change to divide spaces instead of hard partitions, which is for a more flexible interior flow and saving materials of construction (sustainability).

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INTERIOR EXPERIENCE EXPLORATION ENTRY & THRESHOLD.

Fig. 16 Thom Mayne by Peter Zumthor

Prelieminary Interior Render

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INTERIOR EXPERIENCE EXPLORATION SLEEPING/LIVING.

Fig. 17 Darlinghurst Apartment by Brad Swartz

87

Prelieminary Interior Render

Studio 6 - The Third Place - Zhuoqing LI (Eve)

WORKING LAYOUT EXPLORATION SMALL-SCALE MAKERS.

“SHOWCASE”

“STORAGE” “MAKE”

“HANGING CLOTHES”

“DESIGN”

“STORAGE” “MAKE”

“SHOWCASE” “DESIGN”

0

“HANGING CLOTHES”

0.5

1

2 (m)

1:100@A5

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WORKFLOW EXPLORATION FABRIC/YARN & TAPESTRY.

F ABR I C / Y A R N MA KER

89

TAPESTRY MAKER

Studio 6 - The Third Place - Zhuoqing LI (Eve)

MAKER SPACE VOLUME EXPLORATION IMMERSIVE MAKER WORKSHOP.

0

0.5

1

2 (m)

1 :100@A 5

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THE EVOLUTION OF CROWN.

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PRELIMINARY STORYBOARDS AND PRECEDENTS COMMUNAL ROOF TERRACE.

Fig. 18 PON­T KADE by NDSM Materiality: Timber, Vegetations. (Create more open, natural environment.)

Light: The volume is subtracted to create series of open terraces with light.

Event: Rooftop Bar/ Community Garden

Terrace

Roof-top Bar

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CROWN FORM EXPLORATION MATERIALITY & GEOMETRY.

WEEK 8

WEEK 9

WEEK 12

The crown is designed signage of the building to celebrate the verticality of the tower. However, in week 8, when I just extended every element from the tower body, the roof became a real mess. The week 9 and 12 version still follow the same idea of “extension”, but I also played with materiality by applying photovoltaic (became white when exposed to sunlight) into the crown part. When the crown is lit up at night, it could work as signage of the tower.

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THE EVOLUTION OF DETAIL.

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CONSTRUCTION DETAIL DEVELOPMENT

RL +159.2 LEVEL 34

MARK-UP PROCESS.

15MM CEMENT SHEET EXTRUDED ALUMINUM ANGLE TRIM

REMOVABLE TIMBER JOIST FLOOR PANEL FOR FUTURE ADAPTABILITY

PRIVATE MAKER STUDIO

“ I LIKE THE SOUTHERN LIGHT FLOWED INTO MY STUDIO.”

ARGON GAS FILLED LOW-E COATING DOUBLE GLAZED WINDOW

EXTRUDED ALUMINUM ANGLE TRIM

CONCRETE SCREED (THERMAL MASS + EXPOSED CEILING)

TIMBER JOIST FLOOR

IN-SITU SCREED WITH INLAID UNDERFLOOR HEATING PIPES (1MM THICK WATERPROOF MEMBRANE ABOVE SCREED)

RL +155.6 LEVEL 33

ARGON GAS FILLED LOW-E COATING DOUBLE GLAZED WINDOW)

CLT FLOORING (200MM)

RIGID INSULATION

IN-SITU SCREED WITH INLAID UNDERFLOOR HEATING PIPES 1MM THICK WATERPROOF MEMBRANE 1MM THICK WATERPROOF MEMBRANE ABOVE SCREED

3 DEGREE FALL

CLT FLOORING (200MM) RL +152.0 LEVEL 32

RIGID INSULATION

15MM CEMENT SHEET

1MM THICK WATERPROOF MEMBRANE

PLYWOOD PLANTER BOX

WINTER GARDEN / MAKER TERRACE

WINTER GARDEN ENVELOPE: 4MM TRANSLUCENT POLYCARBONATE PANEL

200*200MM GLULAM COLUMNS

“ YAAAAAAY”

SLIDING PANEL: 4MM TRANSLUCENT POLYCARBONATE PANEL

1

FACADE SECTION

RL +148.4 LEVEL 31

SCALE 1:10 @ A1

A1.1 0

100

300

500 (mm)

WEEK 10 0

95

0.5

1

2 (m)

1 :1 0 0 @A 5

WEEK 13 0

0.5

1

2 (m)

1:100@A5

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DATE NIGHT.

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PROJECT NAME CHANGE FROM “URBAN ANTIDOTE” TO “ THE THIRD PLACE”.

URBAN ANTIDOTE: Suggesting a tangible outcome THE THIRD PLACE: More about the experience of space

“The third place in community building is the social surroundings, which are distinct from the two usual social environments of home (“first place”) and workplace (“second place”). Environments such as churches, cafes, clubs, public libraries, bookstores, and parks are examples of third places. “(Oldenburg, 1982).

When preparing the date night package, I tried my “elevator pitch” with a couple of friends. I received feedback that the name “Urban Antidote” suggests a physical, tangible outcome and raises people’s expectations. Considering the intention of the design is to break the monotony of life (which is an experience in itself), I am proposing Maker activities & communal living as an alternative experience. These experiences could be well represented by the term “Third Place”.

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DATE NIGHT FEEDBACK PART A. Nayan and C l a r e: •

•

• •

The bal con y m a yb e t oo w i n d y a f t e r t h e hei gh t pass t h e sur r oun d i n g b ui l d i n g – urban wi n d i n f l ue n c e – m a yb e st a r t s t o create gl azi n g a f t e r c e r t a i n l e v e l s?

The heatin g a n d c ool i n g syst e m c ou ld b e i ntro duce d b y t h e sc a l e of c l ust e r t o s e e k hi gh er ef f i c i e n c y, n e e d t o f i n d p l a c e f o r cl uster pl an t r oom s.

Put fo o d m a k e r i n t o l ow e r l e v e l , b e t t e r co n n ecti on t o g r oun d , p od i um t op pla z a restauran t .

Precedent s: T h e G r e e n Sp i n e b y C ox S t u dio – Mi x used/A r t p r e c i n c t

Adam and Ross: •

• •

P in k Lig h t S o la r G r e e n H o u s e a t t h e c r o wn, ma y b e s c a t t e r e d a r o u n d t h e t e r r aces a s we ll. + M a ke t h e Cr o wn a s a s ig n age, ma ke it t a lle r .

Co n s ide r in g Food Waste and W ater R e c y c lin g P r e c e de n t s : 2 - 5 F iv e S t a r H o t e l a t J a p an ( S a u n a & S le e p, Ca ps u le H o t e l)

Si d a n d J i m : • •

S ma ll- s c a le M a ke r ma r ke t c o u ld be in t r o du c e d t o c lu s t e r lo b by , a lig n e d wit h t h e g r o u n d f lo o r ma ke r ma r ke t .

P r e c e de n t s : Co - o p K y o s a i – M e t a l S t ring wit h V in e s .

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DATE NIGHT FEEDBACK PART B. J e ss ica & Sarah K:

Sa r a h S & Y i :

•

•

• • •

S ho wi n g spac e f l e xi b i l i t y c oul d usi n g bubbl e di agr a m w i t h r e n d e r t o sh ow h o w th e space wi l l b e oc c up i e d i n d i f f e r e nt ti me. – eg: i f your a p a r t m e n t i n t e r i or h a v i ng di fferen t l ev e l s, you c oul d i n c or p or a t e l evel change i n b ub b l e d i a gr a m a s w e l l .

Detai l ed sec t i on i s n e e d e d f or i n t e r n al l evel change a n d t h e t r a n si t i on of sp a c e .

Co l o urful l i ght of f a ç a d e c oul d b e d e r i v e d fro m the co l our f ul sp i n d l e s.

Preceden ts: T a p e st r y St ud i o a t Sout h Mel bo urne. C ol l i n w ood Y a r d .

• • •

M is s in g D e mo g r a ph ic in t r o du c t io n and ma ke r c a t e g o r y s it e a n a ly s is G F : M o r e A c t iv e La n e wa y F a ç a de c u r r e n t ly like do me s t ic r e s ide ntial bu ildin g , n e e d t o s h o w t h e t h ir d p la c e in t he f a ç a de .

U n de r s t a n d wh a t is in t h e a p a r t me nts.

M is s in g t h e lin k t o t h ir d p la c e a n d v o lu m e, s h o w a s e c t io n wit h dia g r a m a n d more in t e r io r r e n de r s .

Pl a n a f t e r Da t e N i g h t : • •

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V is it o r r e s e a r c h o n t h e pr e c e de n t s u g g e s t e d by g u e s t .

F ix t h e p r o ble ms a n d f u r t h e r in c o r p o r a t e t h e o ppo r t u n it ie s .

Studio 6 - The Third Place - Zhuoqing LI (Eve)

DATE NIGHT FEEDBACK REFLECTION. Nayan and C lare: • • •

Co n si deri n g w i n d p r ot e c t i on a f t e r p a ssin g t h e hei gh t o f surr oun d i n g b ui l d i n g .

Fi n d po tenti a l l oc a t i on f or c l ust e r -sc a l e pla n t ro o m.

Put F o o d Mak e r i n t o l ow e r l e v e l a n d i n t r o du c e wi th po di um t op r e st a ur a n t .

J e s s i c a & Sa r a h K : • • • •

Adam and Ros s: • • •

Exten d th e c r ow n a n d a d d e d p i n k l i g h t ( s o la r green h o use) , w h i c h c oul d a l so b e sc at t e r e d aro un d no rthe r n t e r r a c e s.

Add verti cal m e t a l st r i n g t o t h e w e r st f a ç a de .

Lo o k at J apa n 2 -5 St a r H ot e l .

B u bble dia g r a m to e x p la in the M icro e x p e r ie n c e a n d f le x ib le u s e .

Cr e a t e de t a il s e c t io n f o r in t e r n a l s pa ce.

G o t o v is it Co llin g wo o d y a r d.

F in d t h e c o lo u r p a le t t e o f b u ildin g f r om the c o lo u r f u l s p in dle s ( n a t u r a l in g r e die n t s grown in t h e g a r de n ? )

Si d a n d J i m : • •

I n t r o du c in g t h e po p - u p s t r u c t u r e t o clust er lo bby o r c lu s t e r ma ke r p la z a .

A dd v e r t ic a l me t a l s t r in g t o t h e we s t f açade.

S ar ah S & Y i:

Ove r a l l R e f l e c t i o n :

•

D a t e N ig h t pr o v ide s u s wit h a n o p po r t u nit y to p r a c t ic e o u r e le v a t o r pit c h f o r pe o p le with dif f e r e n t ba c kg r o u n d. T h e g u e s t s o f f e r e d us t o le a r n t h e n e w pe r s p e c t iv e o f o u r p r o je c t and give u s n e w dir e c t io n s t o de v e lo p in t h e f in a l stage.

W h e n mo v in g f o r wa r d, I wo u ld like t o t a ke t hese o pin io n s o n b o a r d b a s e d o n my r e f le c t io n to give t h e pr o je c t a f in a l p u s h .

• •

Mo re di agram t o e xp l a i n c on c e p t a n d wh a t is the thi rd pl ac e .

Need to def i n e t h e t h i r d p l a c e b y i n t e r n a l renders.

Need to dra w a se c t i on sh ow i n g v o lu me change.

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COMPLEMENTARY RESEARCH.

Studio 6 - The Third Place - Zhuoqing LI (Eve)

MATERIALITY CROSS LAMINATED TIMBER.

“Sustainable Alternative to Concrete” Cross Laminated Timber (CLT) is an engineered material consist of several timber layers stacked at right angles.

The benefit of CLT is summarized from ‘THE CLT Handbook’

by Borgström et al. (2019) and Embodied Carbon Primer

by London Energy Transformation Initiative (2020). The standardized nature allows CLT to be prefabricated, reducing construction time, on-site pollution, air pollution, and noise pollution. The high durability and low carbon footprint determine it is a sustainable alternative to the Portland cement concrete. As LETI (2020) stated in the publication, timber construction stores carbon that mature trees are already removed from the air and a carbon-negative material. When the CLT is left exposed, it could improve interior spaces’ air quality and indoor humanity.

Furthermore, the natural texture and thermal resistivity determine its warmth and softness (LETI,2020). At the end of its life cycle, CLT also has high salvageability to be recycled. Therefore, CLT could be an excellent restorative material to work as an “environmental antidote”.

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Lower Carbon Footprint

Low-Waste /Quick Construction

Fig. 19 Wood Innovation Design Centre

Modular/ Flexible Components

High Salvageability & Durability

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MATERIALITY CHARRED WOOD. “Shou Sugi Ban” Charred wood (Shou Sugi Ban) is produced by a traditional Japanese technique consisting of burning the surface of the timber to create a charred appearance as adequate protection. This protective layer (3-5 mm thick) prevents the timber from insects, UV rays and moisture. It also improves the fire resistance ability of this material (Ebner et al., 2019). The current Australia National Construction Code (NCC) allows timber construction to reach a 25-meter height regarding fire regulations. As we are designed for What is NEXT?”, the scenario of higher timber construction is expected.

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Lower Carbon Footprint

Resistant to UV, moisture and insect

Fire Retardant

High Salvageability & Durability

Figure 20. Charred timber lake house.

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MATERIALITY GEOPOLYMER CONCRETE.

“Sustainable Alternative to Portland Cement Concrete” Aluminate and silicate bearing materials are combined with a caustic activator to create geopolymer concrete.

Waste materials from iron and metal processing, such as fly ash or slag, are commonly used, resulting in a cleaner atmosphere. The waste material is encapsulated inside the concrete and does not need to be disposed of (Jaclyn, 2018). Geopolymer concrete is more corrosion and fire-resistant, has high compressive and tensile qualities, and quickly reaches maximum strength (cures entirely faster). It also has a lower shrinkage rate than standard concrete (Hardjito et al., 2004). Its low carbon footprint and higher durability determine the success of working as an “environmental antidote”.

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Lower Carbon Footprint

Improved Workability

Figure 21. Economics and Business Faculty.

Cost Effective

Increased Durability

Studio 6 - The Third Place - Zhuoqing LI (Eve)

MATERIALITY PHOTOVOLTAIC GLASS.

“Glass that produces energy” Since solar cells must absorb sunlight (photons) and turn them into electricity, a transparent solar panel is a counterintuitive concept (electrons). The solar glass that is translucent allows sunlight to pass through, defeating the intent of using sunlight. However, solar cells absorb light is evolving because of this emerging solar panel technology (Solar Mag., 2020). As the tower has a limited roof area to place the traditional photovoltaic panels, the photovoltaic glasses will be installed for the northern and western façade to achieve on-site energy production.

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Easy Installation

Figure 22. The Dawn of Solar Windows.

On-site Energy Production

High Durability & Salvageability

High Thermal Performance

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MATERIALITY RECYCLED POLYCARBONATE.

“The Second Life of Polycarbonate” Over the last ten years, polycarbonate (PC) has grown in popularity and applications. Manufacturers may use it in various applications due to its solid, rigid, and translucent properties (Plastic Experts,2020).

Polycarbonate is so heavy that it is less impact resistant; but, since it is made from a renewable resource (oil), it is entirely recyclable and offers excellent yields for plastic recycling plants. Polycarbonate is usually recycled by sorting, shredding, and washing it before granulating it for reuse by manufacturers (Balart, 2006).

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Low Carbon Footprint

Translucent Quality

Figure 23. CONTROLITE INTELLIGENT DAYLIGHTING SYSTEM.

High Durability & Salvageability

High Thermal Performance

Studio 6 - The Third Place - Zhuoqing LI (Eve)

MATERIALITY UP-CYCLED FIBRE CEMENT SHEET.

“An Alternative For Asbestos-Based Construction” James Hardie invented fiber cement construction materials in the early 1980s as an alternative for asbestos-based construction materials. Fiber cement is a composite material comprised of sand, cement, and cellulose fibers. Fiber cement cladding comes in various shapes, though it is most typically seen in sheet form and horizontal boards. It is generally used for the exterior cladding of the building for fire resistance. It requires low maintenance once installed and painted.

At the end of the life cycle, fiber cement sheet could be crushed and up-cycled for future reuse to achieve sustainability.

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Easy Installation

Figure 24. Fiber Cement Cladding.

Fire Resistance

High Durability

Low Maintenance

Studio 6 - The Third Place - Zhuoqing LI (Eve)

THE THIRD PLACE PRECEDENTS.

Collingwood Yards, 35 Johnston St, Collingwood VIC 3066 Based on Jessica’s suggestion on Date Night, Sandra, Carla, and I visited Collingwood Yards to experience the maker space. Collingwood Yards encompasses about 6500 square meters and is located on the old Collingwood Technical School site. Collingwood Yards provides a new, permanent, and affordable home for diverse artists and independent arts organizations in music, visual arts, performance, digital media, creative industries, and beyond. Collingwood Yards turns these areas into small to medium artist clusters, contributing to Collingwood Arts Precinct and providing a creative destination for the public. (Collingwood Yards, 2021).

The central courtyard is surrounded by art shops and café, providing the “Third Place” experience for the users.

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Fig. 25

Fig. 26

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THE THIRD PLACE PRECEDENTS.

Arup Melbourne Office. Sky Park, 1 Melbourne Quarter, 699 Collins St, Docklands VIC 3008.

Arup Melbourne office is a three-level workplace designed by HASSELL in collaboration with Arup, which embraces the ideals of sustainability, health, connectedness, and flexibility. Arup provided design and engineering services for One Melbourne Quarter across 12 disciplines. The 13-story structure aims for a 6-star Green Star certification and a 5-star NABERS Energy rating. It also has an airtight building envelope and a 200 kW PV roof array (Jennifer, 2018).

The internal partitions of the space almost dissolve to allow flexible use of the workplace. The use of indoor plants improves the indoor environment quality. The central gathering place and the surrounding thresholds provide different ways of involvement.

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Fig. 27

Fig. 28

Studio 6 - The Third Place - Zhuoqing LI (Eve)

SPACE & FORM INSPIRATIONS.

These are the imaginary inspirations inspiring me in the design process, linked with the following topics.

Hybrid

Translucent Transparency

Threshold

Modular

Facade

Green Shading Makers

Display Flexibility

Activity

Timber

Light Light-Weight

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Fig. 29

Fig. 30

Fig. 31

Fig. 32

Fig. 33

Fig. 34

Studio 6 - The Third Place - Zhuoqing LI (Eve)

06

FINAL DESIGN. Final submission. (Week 13-14)

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CONCEPT & RETURN BRIEF.

Studio 6 - The Third Place - Zhuoqing LI (Eve)

THE THIRD PLACE CONCEPT.

“I feel monotony and death to be almost the same.”

As an urban dweller living five years in Melbourne CBD, I am trapped into this two-stop model, home, work, home, work… and repeating. This monotonous two-stop model dulls creativity and thinking. Every day for me is just another same day.

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05

THE CHALLENGE

CHALLENGE

Urban Monotony Two-Stop Monotony

Collins St, 5p.m. John BRACK (1955) John, B. (1955).

Dulls Creativity & Thinking

Studio 6 - The Third Place - Zhuoqing LI (Eve)

THE THIRD PLACE DESIGN PRINCIPLES.

So, what is next? The Third Place.

The proposal is incorporating three design principles.

• •

•

The first one is SCALE. The tower is breaking into smaller clusters to introduce human scale and more explorable experiences.

The second is MOVEMENT. Different layers of thresholds from public space to semi-public are introduced into the tower. Third places are there for you to explore.

The third one is EVENT. During the Movement, the occupants could encounter communal spaces with regular or temporary events.

These points foster current urban dwellers’ opportunities to encounter “Third Place” and transmute the monotonous “Two-Stop Model” between home and workplace.

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08

CONCEPT SCALE

MOVEMENT

EVENT

THIRD PLACE FIRST PLACE

HOME

SECOND PLACE

WORKPLACE

Foster the opportunities for current urban dwellers to encounter with “Third Place” (Oldenburg, 1982) and transmute the monotonous “Two-Stop Model” between home and workplace.

Studio 6 - The Third Place - Zhuoqing LI (Eve)

THE THIRD PLACE OCCUPANTS.

“Bring two issues together and let one solves the other.”

Current urban dwellers are suffering from monotony while makers are priced out from City. “THE THIRD PLACE” brings two issues together and let one solve the other.

Urban dwellers will provide financial support for the maker community and temporary accommodation for the visiting makers, and makers will bring making experience into the tower as part of the rental agreement.

Together, urban dwellers have new encounters with creative self-expression. Makers are provided with a home in the City, both a creative home where they can continue making and inspiring and a physical home where they can access job opportunities and affordable accommodation.

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10

OCCUPANTS

Suffering from the monotonous “Two-Stop Model”

Lack stability to make living wage in CBD

YOUNG URBAN DWELLERS (AGE: 20-39)

FUNDED BY CREATIVE VICTORIA

MAKERS

LOCAL

THE THIRD PLACE “Bring two issues together and let one solves the other.”

VISITING

FINANCIAL SUPPORT &

BRING MAKER EXPERIENCES

TEMPORARY ACCOMMODATION

INTO THE “THE THIRD PLACE”

NEW ENCOUNTER. CREATIVE SELF-EXPRESSION.

CREATIVE CBD HOME. AFFORDABLE CBD HOME.

Studio 6 - The Third Place - Zhuoqing LI (Eve)

SITE ANALYSIS.

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THE SITE 130 LITTLE COLLINS ST, MELBOURNE. The site is located at 130 Little Collins Street, Melbourne, VIC 3000, a one-way Lane within the CBD Hoddle Grid along its long axis between Collin Street and Bourke Street. The site is within walking distances to many laneways with access to a range of boutique shops, galleries, and bars. The site is also adjacent to tram routes 86, 96, 11, 12, 48, 109, a convenient spot to be accessed by walking or public transport.

The primary access is from little Collins St. The current “Third Place” experience with 5-min walking is analyzed to bring the city’s milieu into the tower.

Based on the data from Makers Melbourne, the tower will accommodate small-scale makers working within the urban environment.

Studio 6 - The Third Place - Zhuoqing LI (Eve)

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MASSING PROCESS.

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THE THIRD 17PLACE

MASSING

18

FORM-FINDING.

O2

EXISTING BUILDING SETB

Based The existing building on site is an setbacks eight-storey (39m) double brick building. and We the grou EXISTING BUILDING

SETBACKS

CLUSTERS

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THE THIRD 20 PLACE

21

MASSING

FORM-FINDING.

O4

MOVEMENT

O5

TERRA

The building is divided into clusters.

Modules ar The “working & playing” programs create te are mixed with the “living” programs penetration to activate interactions.

MOVEMENT

TERRACES

CONNECTION

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THE THIRD PLACE PROGRAM DISTRIBUTION. 24

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26

PROGRAM

O7

O7

MAKER MARKET & SHOPS

MAKER DWELLING + PRIVATE CO-MAKING MAKER STUDIO (SOUTH-FACING)

PROGRAM

MAKER MARKET/SHOP

DWELLING

PROGRAM

CO-MAKING WORKSHOP

PROGRAM

O7

PROGR

FARM/ROOFTOP BAR

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THE THIRD PLACE ESD INITIATIVES. 28

29

ESD

O8

O8

CONSTRUCTION

PASSIVE DES

ESD INITIATIVES

CONSTRUCTION

PASSIVE DESIGN

ESD IN

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THE THIRD PLACE ESD INITIATIVES. 30

31

ESD

O8

O8

ENERGY

RECYCLING

ESD INITIATIVES

ENERGY

RECYCLING

ESD IN

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THE THIRD PLACE RETURN BRIEF SUMMARY. 32

SUMMARY

A PLACE FOR NEW ENCOUNTER. A PLACE FOR 200 PEOPLE TO LIVE, WORK AND PLAY. (7200 SQM FOR LIVING, 6875 SQM FOR WORKING & PLAYING) A PLACE TO ENHANCE SOCIAL, ECONOMICAL AND ENVIRONMENTAL SUSTAINABILITY.

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JOURNEY.

Studio 6 - The Third Place - Zhuoqing LI (Eve)

THE THIRD PLACE A WELCOMING PODIUM.

LOADING DOCK

BIKE REPAIR STORE

RESI BIKE ENTRY

VISITOR BIKE PARKING

SERVICE & STORAGE

RECYCLE & VERMI COMPOST

MAKER SHOP 5

COROMANDEL PL

TO B1 STORAGE

MAKER SHOP 4 POP-UP MARKET

MAKER SHOP 3

STORAGE RECEPTION & CAFE

MAKER SHOP 2

MAKER SHOP 1 MAIN ENTRANCE

TO PODIUM PLAZA

POP-UP MARKET UNDERCOVER POP-UP STRUCTURE

LITTLE COLLINS ST

1 :5 0 0 @A 5

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A WELCOMING PODIUM The edge of the building is speaking to the surrounding public. The shops and pop-up market are celebrating the rhythm of regular and temporary, attracting residents and newcomers.

Studio 6 - The Third Place - Zhuoqing LI (Eve)

THE THIRD PLACE TYPICAL CLUSTERS. SECTION A-A

SECTION A-A

SECTION A-A

SHARED TERRACE 2-BED

2-BED

SHARED TERRACE

2-BED

SHARED TERRACE

PRODUCTIVE GARDEN COMMUNAL DECK

WINTER DECK KITCHEN WORKSHOP 1-BED

1-BED

CLUSTER WASTE & COMPOST

1-BED COMMUNAL LAUNDRY

CLUSTER LIBRARY

CLUSTER LIBRARY SHOWCASE GALLERY

CLUSTER LIBRARY

1-BED CO-WORKING WORKSHOP CO-WORKING WORKSHOP 2-BED

2-BED

2-BED

MAKER TERRACE

PRIVATE MAKER STUDIO

VISITING MAKER STUDIO MAKER TERRACE

MAKER TERRACE

MAKER TERRACE

PRIVATE MAKER STUDIO

SECTION A-A

TYPICAL DWELLING LEVEL

SECTION A-A

FABRIC/YARN CLUSTER

SECTION A-A

TAPESTRY CLUSTER

MAKER PLAZA 1 :500@A 5

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AN IMMERSIVE WORKSHOP This place is neutral ground, accepting all types of individuals from various walks of life. In this place, the only thing matters is [Making].

Studio 6 - The Third Place - Zhuoqing LI (Eve)

A HOME AWAY FROM HOME The communal place is designed to fulfill the needs of its occupants, provoking a feeling of warmth, possession, and belonging.

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THE THIRD PLACE FABRIC/YARN CLUSTER SECTION.

COMMUNAL GARDEN

COMMUNAL LIVING ZONE

IMMERSIVE MAKER WORKSHOP

MAKER WINTER TERRACE

1:250@A5 0

3

5

10(m)

Studio 6 - The Third Place - Zhuoqing LI (Eve)

THE THIRD PLACE TAPESTRY CLUSTER SECTION.

COMMUNAL GARDEN

COMMUNAL LIVING ZONE

IMMERSIVE MAKER WORKSHOP

MAKER WINTER GARDEN

1 : 2 5 0 @A 5 0

3

5

10(m)

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THE THIRD PLACE A GROWING ROOF TERRACE.

ROOF TERRACE

URBAN FARM

OUT DOOR BAR TERRACE ROOFTOP BAR

1 :5 0 0 @A 5

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A GROWING TERRACE The top edge of the building is extended by the power of life. The physical parapet stops in its position, but life in the urban farm will keep growing.

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A MICRO-HOME FOR LIVING CREATIVELY.

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THE THIRD PLACE URBAN DWELLER DWELLING PLAN.

+ 200.00

+ 0.00

“ SHARED BOUNDARY”

“ FEEDING & LANDING” “ THRESHOLD”

+ 200.00 + 0.00

+ 400.00

“ SLEEPING/ LIVING”

“ WORKING/DINING”

0

0.5

1

2 (m)

1:100@A5

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THE THIRD PLACE URBAN DWELLER DWELLING SECTION.

SHARED TERRACE

URBAN DWELLERS’ HOME

+ 400.00 + 200.00

0

0.5

1

2 (m)

1:100@A5

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THE THIRD PLACE MAKER DWELLING PLAN.

+ 0.00

+ 200.00

“ FEEDING & LANDING” “ THRESHOLD”

+ 0.00

+ 200.00 + 400.00

+ 0.00

“STORAGE”

+ 200.00

“ SLEEPING/ LIVING”

“ WORKING/DINING”

“DESIGNING”

+ 200.00 + 0.00 + 400.00

“MAKING”

“SHOWCASE”

0

0.5

1

2 (m)

1:100@A5

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THE THIRD PLACE MAKER DWELLING SECTION.

MAKERS’ HOME

+ 400.00

PRIVATE MAKER STUDIO

+ 400.00 + 200.00

+ 200.00

0

0.5

1

2 (m)

1:100@A5

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THE THIRD PLACE

RL +159.2 LEVEL 34

FACADE DETAIL.

15MM CEMENT SHEET EXTRUDED ALUMINUM ANGLE TRIM

REMOVABLE TIMBER JOIST FLOOR PANEL FOR FUTURE ADAPTABILITY

PRIVATE MAKER STUDIO

“ I LIKE THE SOUTHERN LIGHT FLOWED INTO MY STUDIO.”

ARGON GAS FILLED LOW-E COATING DOUBLE GLAZED WINDOW

IN-SITU SCREED WITH INLAID UNDERFLOOR HEATING PIPES (1MM THICK WATERPROOF MEMBRANE ABOVE SCREED)

RL +155.6 LEVEL 33

CLT FLOORING (200MM)

RIGID INSULATION

1MM THICK WATERPROOF MEMBRANE

RL +152.0 LEVEL 32

PLYWOOD PLANTER BOX

WINTER GARDEN / MAKER TERRACE

WINTER GARDEN ENVELOPE: 4MM TRANSLUCENT POLYCARBONATE PANEL

200*200MM GLULAM COLUMNS

“ YAAAAAAY”

SLIDING PANEL: 4MM TRANSLUCENT POLYCARBONATE PANEL

MAKERS’ HOME

PRIVATE MAKER STUDIO

RL +148.4 LEVEL 31

+ 400.00

+ 400.00 + 200.00

+ 200.00

SOUTH ELEVATION

CONSTRUCTION DETAIL 0

0.5

1

2 (m)

1:100@A5

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ARRIVE Taking off the shoes is the moment provoking a sense of arrival.

Step up, and here is home.

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THRESHOLD The functions are overlapped, and the edge is blurred.

Light is on the other end.

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LIVING OR SLEEPING? The internal partitions dissolve. The level changes and curtains act as transient boundaries to allow program-restructuring.

Studio 6 - The Third Place - Zhuoqing LI (Eve)

LIVING OR SLEEPING? The internal partitions dissolve. The level changes and curtains act as transient boundaries to allow program-restructuring.

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SHARED TERRACE The edge of this space is determined by the negotiation between users and experience. This is more than a balcony. This is “the third place” within “the first place”.

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PRIVATE MAKER STUDIO Volume is reframed to accommodate the maker program. This is a stage of making. It is all about making.

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REFLECTION FINAL DESIGN. At the beginning of the final design, I was lost in the overcomplex form. Although the concept was clear in my head, it was not readable in architecture. After the feedback session, I decided to take a step back by pulling the design back to the massing stage (It was a hard decision I made at 2 am). By reviewing the white card model in the massing stage, I found out ways of simplifying it. During this stage, I always thought about Katie’s feedback “what do you want people to see from the façade?”. In my opinion, the simplified version is way more potent in speaking concept language than the old version.

I have learned from the process is that designing is a dynamic process of adding and subtracting things.

Suppose I keep adding without reflecting on “Do I need this?”. In that case, it will quickly lose track of the initial design intention.

I always had a passion for playing with narrative and thresholds, which is intentionally added to the final design and created the architecture layers. My building tells a story, and I could feel connected to the story, which is the best part of the design.

“I am pretending to be a maker”

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07

THE MEGA HYBRID. What is Mega Hybrid to me?

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REFLECTION THE MEGA HYBRID. When the city is looking for density, they divided the lot into a smaller version (terrace house) (Howard,2018) or kept stacking blocks into the sky (the tower).

The boundaries are solid, and the interactions are minimum. Does the city need interaction? Why the city need interaction? If the city needs interaction, what should we do to offer the opportunities? It is the Mega-Hybrid.

Mega Hybrid is about the intensity of programs and the chemical effect and journey between those programs to break entrenched paradigms.

Mega Hybrid is not a tangible building outcome. It is a new way of inhabiting and experiencing.

By integrating different programs, the mega-hybrid building could fulfill the needs of inhabitants in one stop to save time and energy for traveling between different locations. In addition, it also could provide the potential to reuse and recycle the resources between different programs.

In terms of future livability, the concept of mega Hybrid could inspire the architects to integrate the resources to create an environmentally sustainable building and provide opportunities to enhance social and economic sustainability. The occupants of the megahybrid building are provided more opportunities for social interactions, bringing economic prosperity, and enhancing the idea of communal living. For example, in my proposal, the mega-hybrid incorporates makers group to bring the makers back to the city, contributing to the public realm and creative economy.

Architecture cannot resolve everything, but it could provide opportunities for a more enjoyable living environment. That is why we go Mega-hybrid.

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08

A REFLECTION ON SUSTAINABILITY. What is sustainability to me?

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REFLECTION SUSTAINABILITY. “As ‘a loss’ in one place cannot be compensated by ‘a gain’ in somewhere else, it means a mind shift from ‘doing less bad’ to ‘doing more good’ is required.” (Hes. et al., 2014).

Over the past few decades, sustainable design in the built environment has focused chiefly on the technocratic approaches, including low energy construction, water harvesting and so on. Current rating tools emphasize the quantifiable aspects, enhancing the idea that sustainable design is like a tangible building outcome that ticks all the boxes. However, sustainable development is a holistic system including social, environmental, and economic sustainability, which should be measured quantitatively and qualitatively.

Firstly, it is essential to consider the living experience within the building. We are not only designing for saving more energy, but also for a more enjoyable inhabiting experience. The well-being of occupants is an integrated system that is unquantifiable. For example, we could integrate passive designs strategies to introduce natural shading, light, and ventilation to save energy and contribute to the comfort and well-being of occupants.

Moreover, living experience also emphasizes a broader picture of social sustainability. In future development, we should reinforce community in the built environment, encouraging sharing resources and achieving positive development. For example, the Venny is an excellent example of applying positive development environmentally and socially. Located in Kensington of Melbourne, The Venny is a staffed communal backyard and adventure playground facility built to support the “local high-density, low socioeconomic neighborhood” (Hes. et al., 2014). It achieves high performance in both environmental and social sustainability by collaborating with the community.

Secondly, it is critical to raise environmental awareness of the public to inspire more people to act for sustainability.

Sustainability is not a short-term investment to get quick profit but a long-term beneficial consideration.

More educational events need to be held to suggest a better understanding of current challenges and future opportunities. A single group of people cannot achieve sustainability. Sustainability needs attention from every single inhabitant on this planet.

Studio 6 - The Third Place - Zhuoqing LI (Eve)

SUSTAINABILITY LECTURE SUSTAINABLE ISSUES. E NVI RONMENTAL

Population Growth

Urban Growth

Low/ Unsustainable Performance

Loneliness and Depression

Social Justice

Depersonalized

S O C I AL

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WEEK1 READINGS SUSTAINABLE HYBRID. • • • •

A New Normal – pages 1-12 + Conclusion Garden City Mega City – pages 1-23 Soft City – pages 1-7 This is Hybrid – pages 1-15

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REFLECTION ON WHAT’S NEXT STUDIO. The Journey of 2021 Semester 1.

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REFLECTION STUDIO 6 WHAT’S NEXT? In the first year of my MArch Program, I did series of research about sustainable design and one technical ESD studio. I chose Studio 6 because the brief of this studio set up a goof frame for me used what I have learned to develop the mega hybrid building (which is a typology that has not been covered in my portfolio). The new experience for me in this studio is that we have three tutors from different backgrounds to provide feedback from different aspects. In all the hot desk sessions, I appreciate that tutors provided us with opportunities for discussions instead of only instructions, which helps me a lot during the design process.

By looking through the previous studios designing towers, I was thinking Studio 6 is also doing “Crazy Towers” (like highly conceptual, forgetting about gravity). However, I found that Studio 6 makes a perfect balance between the conceptual and practical. We are still designing architecture that is buildable with an emphasis on conceptual thinking as well. As I am a studio level-e student, studio 6 (even the structure of this journal) is beneficial for me to be prepared for my thesis.

I have learnt how to conduct proper research from the concept development to the final design. Moreover, thank Katie for showing us excellent examples of doing a digital presentation clearly and creatively. My PowerPoint skill is improved a lot during this semester. I have also learned how to keep being passionate about design when you feel lost. Adam inspired me to use “Massing” as an effective tool when you get stuck, and he showed us how to be a passionate designer. The mark-up process with Jim helped me understand that structure is a practical aspect and could be linked with façade expression and the concept.

Finally, I would take the opportunities to thank you all for keeping the studio well-organized even in this challenging time. As we are a smaller group this semester, all of us are working closely to support each other, and we had an incredible journey this semester. If someone asked me about Studio 6 in future, I would like to say, “I highly recommend”.

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REFERENCES.

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REFERENCE & READINGS PART A. • • • • • • • •

ABIS. (2021). Fibre Cement. Retrieved 4 June 2021, from https://www.abis.com.au/fibre-cement.

Artscape. (2010). Trails of the City: Melbourne Laneways. https://www.youtube.com/watch?v=w6xVe8GgxRc&feature=youtu. be Balart, R., Sánchez, L., López, J., & Jiménez, A. (2006). Kinetic analysis of thermal degradation of recycled polycarbonate/ acrylonitrile–butadiene–styrene mixtures from waste electric and electronic equipment. Polymer Degradation and Stability, 91(3), 527-534.

Charlotte Bronte Quotes. (n.d.). BrainyQuote.com. Retrieved March 19, 2021, from BrainyQuote.com https://www.brainyquote. com/quotes/charlotte_bronte_378058 Collinwood Yards. (2021). What is Collingwood Yards. Retrieved 4 June 2021, from https://collingwoodyards.org/about/.

Drawn to Cities. (2019) Revitalizing Melbourne’s Laneways. Retrieved from http://www.drawntocities.com/melbourneedition-1/2015/revitalizing-melbournes-laneways.

Ebner, D., STELZER, R., & BARBU, M. C. (2019). Study of wooden surface carbonization using the traditional japanese Yakisugi technique. Pro Ligno, 15(4), 278-283.

Goosen, Z., & CILLEIRS, E. (2018). Third places for social sustainability: A planning framework based on local and international comparisons. International Journal of Urban and Civil Engineering, 12(3), 260-264.

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Hardjito, D., Wallah, S. E., Sumajouw, D. M., & Rangan, B. V. (2004). On the development of fly ash-based geopolymer concrete. Materials Journal, 101(6), 467-472.

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Hes, D., & Du Plessis, C. (2014). Designing for hope: pathways to regenerative sustainability. Routledge.

Hodyl, L. (2019). “Density has to be likeable”. Retrieved from https://insidestory.org.au/density-has-to-be-likeable/.

Howard, M. (2018). A history lesson on Australian terrace houses. Domain. Retrieved from https://www.domain.com.au/living/ahistory-lesson-on-australian-terrace-houses-20180208-h0ujmi/.

Incomes of Artists. From MAKING ART WORK: AN ECONOMIC STUDY OF PROFESSIONAL ARTISTS IN AUSTRALIA. http://www. australiacouncil.gov.au/research/making-art-work/, Copyright 2017 by making art work.

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Studio 6 - The Third Place - Zhuoqing LI (Eve)

REFERENCE & READINGS PART B. • • • • • • • • • • • •

Jaclyn, F. (2018). What is Geopolymer Concrete? https://hipages.com.au/article/geopolymer_ concrete#:~:text=Geopolymer%20concrete%20is%20a%20type,lead%20to%20a%20cleaner%20environment.

Jayaram, V. (2020) Are you Bored with Your Life? HindoWebsite. Retrieved from https://www.hinduwebsite.com/selfdevt/ mental/monotony.asp.

Jennifer, S. (2018). Arup’s new Melbourne office puts quality and sustainability on show. Retrieved 4 June 2021, from https:// www.arup.com/news-and-events/arups-new-melbourne-office-puts-quality-and-sustainability-on-show.

Larcombe, D. L., van Etten, E., Logan, A., Prescott, S. L., & Horwitz, P. (2019). High-Rise Apartments and Urban Mental Health— Historical and Contemporary Views. Challenges, 10(2), 34.

Modi, S. (2014). Improving the Social Sustainability of High-Rises. CTBUH Journal, (1).

Murray, Clare et al, ‘LETI Embodied carbon premier: Supplementary Guidance to the Climate Emergency Design Guide’. https://www.leti.london/ecp.

Oldenburg, R., & Brissett, D. (1982). The third place. Qualitative sociology, 5(4), 265-284.

Plastic Experts. (2020) How is polycarbonate recycled? https://www.plasticexpert.co.uk/plastic-recycling/polycarbonaterecycling/.

Public Record Office Victoria. (2020 March 26). Little Latrobe Street and the Historical Significance of Melbourne’s Laneways.

Retrieved from https://prov.vic.gov.au/explore-collection/provenance-journal/provenance-2011/little-latrobe-street-andhistorical.

Solar Mag. (2020) Transparent Solar Panels: Reforming Future Energy Supply. https://solarmagazine.com/solar-panels/ transparent-solar-panels/#:~:text=Photovoltaic%20glass%20is%20probably%20the,car’s%20sunroof%2C%20or%20even%20 smartphones.

The Venny. (2019). The Venny Communal Backyard & Play Space. Retrieved from https://www.weekendnotes.com/vennycommunal-backyard/.

Tom, S. (2019) Monotony Will Kill Your Creativity. Tom Stevenson. Retrieved from https://tom-stevenson.medium.com/monotonywill-kill-your-creativity-1c7834ac466a.

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FIGURES PART A. • • • • • • • • • • • • • •

Figure 1. John, B. (1955). Collins St, 5p.m. [Oil on Canvas]. NGV. https://www.ngv.vic.gov.au/explore/collection/work/3161/.

Figure 2. Melbourne CBD Towers. https://twitter.com/mahsiewlee/status/991493642547183616.

Figure 3. James K. (1855). Melbourne and its suburbs [Printing on cartographic material]. https://theurbananalyst.wordpress. com/2014/10/17/the-hoddle-grid-as-the-emergence-of-modernity-in-melbourne/.

Figure 4. Robert, B. (2019). Victoria Laneways [Photograph]. https://www.timeout.com/melbourne/things-to-do/the-bestlaneways-and-arcades-in-melbourne.

Figure 5. Websites About Creative Professionals. https://www.abc.net.au/ news/2019-09-07/australian-artists-on-making-a-living-wage-inmusicfilm-theatre/11482260. https://www.australiacouncil.gov.au/research/making-art-work/.

Figure 6. Unknown. (2021). [Website]. FAB9. https://www.fab9.com.au/tour/learn-more?utm_source=google&utm_ medium=ad&utm_campaign=google-ad-learn-more&utm_content=melbourne-best-makerspace.

Figure 7. MakerCity. (2019). 3D Printed Antilia. [Video]. Youtube. https://www.youtube.com/watch?v=l4pCkh106gc&t=15s.

Figure 8. Arakawa Building by Nikken Sekkei. (2018). [Photograph]. ArchDaily. https://www.archdaily.com/957254/arakawabuilding-nikken-sekkei.

Figure 9. Torre Cuajimalpa by Meir Lobaton Corona + Kristjan Donaldson. (2019). [Photograph]. ArchDaily. https://www. plataformaarquitectura.cl/cl/02-21034/torre-cuajimalpa-meir-lobaton-corona-kristjan-donaldson.

Figure 10. HA Tower by Frontoffice + François Blanciak Architect. (2011). [Photograph]. ArchDaily. https://www.archdaily. com/173031/ha-tower-frontoffice-francois-blanciak-architect?ad_medium=gallery.

Figure 11. Nightingale Village by Kennedy Nolan Architects. http://www.kennedynolan.com.au/nightingale-village.

Figure 12. Maki H. (2019) bonnie coffee stand. [Photograph]. Note architects. https://www.ndsm.nl/en/location/pontkade/.

Studio 6 - The Third Place - Zhuoqing LI (Eve)

FIGURES PART B. • • • • •

• • • • •

Figure 13. Miguel Quismondo pavilion. https://www.designboom.com/architecture/miguel-quismondo-small-pavilion-charredwood-04-17-2019/.

Figure 14. B-ARCHITECTEN, OMGEVING CVBA CENTR’AL. https://divisare.com/projects/439270-b-architecten-omgeving-cvbalucid-maxime-delvaux-centr-al Figure 15. Danae S. (2017). Yojigen Poketto / elii. [Photograph]. Archdaily. https://www.archdaily.com/884577/097-star-yojigenpoketto-elii?ad_source=myarchdaily&ad_medium=bookmark-show&ad_content=current-user.

Figure 16. FABRICE F. (2019). THOM MAYNE THERMES VALS AT 7132 HOTEL. [Photograph]. DIVISARE. https://divisare.com/ projects/388269-peter-zumthor-morphosis-architects-thom-mayne-fabrice-fouillet-thermes-vals-at-7132-hotel.

Figure 17. Katherine L. Darlinghurst Apartment by Brad Swartz Architect. [Photograph]. Archdaily. https://www.archdaily. com/772121/darlinghurst-apartment-brad-swartz-architect?ad_source=myarchdaily&ad_medium=bookmark-show&ad_ content=current-user.

Figure 18. PON­TKADE by NDSM. https://www.ndsm.nl/en/location/pontkade/ Figure 19. Wood Innovation Design Centre by Michael Green Architecture. [Photograph]. Archdaily. https://www.archdaily. com/630264/wood-innovation-design-centre-michael-green-architecture.

Figure 20. Charred timber lake house. https://www.abodo.co.nz/resources/articles/how-long-does-charred-wood-shou-sugiban-last.

Figure 21. Unknown. (2014). Economics and Business Faculty. [Photograph]. Archilovers. https://www.archilovers.com/ projects/137254/economics-and-business-faculty.html.

Figure 22. Andy E. (2018). The Dawn of Solar Windows. [Photograph]. Ieee spectrum. https://spectrum.ieee.org/energy/ renewables/the-dawn-of-solar-windows.

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FIGURES PART C. Figure 23. Unknown. (2019). CONTROLITE INTELLIGENT DAYLIGHTING SYSTEM. [Photograph]. DANPAL. https://danpal.com/ applications/facade-solutions/?utm_source=Pinterest&utm_medium=referral&utm_campaign=pinterest-001&utm_term=pinterest001&utm_content=pinterest-001.

Figure 24. Unknown. (2020). How to Specify: Fiber Cement Cladding. [Photograph]. Architizer. https://architizer.com/blog/practice/ details/how-to-specify-fiber-cement-cladding/.

Figure 25. Collingwood Yards Photo took by Zhuoqing LI during site visiting.

Figure 26. Collingwood Yards Photo took by Zhuoqing LI during site visiting.

Figure 27. Arup Melbourne Office photo took by Zhuoqing LI during site visiting.

Figure 28. Arup Melbourne Office photo took by Zhuoqing LI during site visiting.

Figure 29. Jessica, M. (2016). Joanne Chen designs factory for London artisans based on the teachings of William Morris.

[Photograph]. Dezeen. https://www.dezeen.com/2016/06/27/joanne-chen-reimagined-factory-graduate-architecture-bartlettlondon-william-morris-socialism/.

Figure 30. Iwan, B. (2020). Office, SANAA, Japan and Tokyo. [Photograph]. Iwan Baan. https://iwan.com/portfolio/shibaura-tokyokazuyo-sejima-sanaa/#8187.

Figure 31. Dan, H. (2014). SANAA’s Dior Omotesando store receives Peter Marino refit. [Photograph]. Dezeen. https://www.dezeen. com/2014/11/16/sanaa-dior-omotesando-store-peter-marino-interior-refit/.

Figure 32. Peter, M. (2017). Co-op Kyosai Plaza – Tokyo. [Photograph]. Flickr. https://www.flickr.com/photos/64210496@ N02/49358078597.

Figure 33. Unknown. (2011). Nolitan Hotel. [Photograph]. Grzywinsky+Pons. http://gp-arch.com/blog/2016/3/17/ nnrs1u8xgj7iorlxbyyp0gi90578pu.

Figure 34. Shinkenchiku, S. (2014). Nest We Grow / Kengo Kuma & Associates + College of Environmental Design UC Berkeley.

[Photograph]. https://www.archdaily.com/592660/nest-we-grow-college-of-environmental-design-uc-berkeley-kengo-kuma-andassociates.

Studio 6 - The Third Place - Zhuoqing LI (Eve)

THANK YOU FOR READING. FIND THE THIRD PLACE, LIVE A FULFILLING LIFE.

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