Design Journal Architecture Design Studio FIRE

2014. Yanyi Leong.

00 INTRODUCTION

The University of MelbourneABPL 30037: Architecture Design Studio FIRE

Semester Two 2014

STUDIO AThe University of Melbourne Archive

Studio 9Peta Carlin

STUDIO BThe Outre Gallery

Studio 10Luis Zapta

Produced by Yanyi Leong

Special thanks to Tutors;

Peta Carlin and Luis Zapataand

Kaldi the Ethiopian goatherd and his dancing goatsfor the discovery of the coffee plant

00 INTRODUCTION

00 INTRODUCTION 3 000.1 DESIGN BRIEF STUDIO A 000.2 DESIGN BRIEF STUDIO B

01 RESEARCH 8 01.1 SITE 01.2 ARCHIVES 01.3 CABINETS OF CURIOSITY 01.4 F.L. WRIGHT 01.5 A. AALTO 01.6 HELSINKI MAIN LIBRARY 01.7 MOVEMENT 01.8 MATERIALS 01.9 LANDSCAPING

02 STUDIO A 44 02.1 DESIGNING 02.2 PLANS 02.3 SECTIONS 02.4 ELEVATIONS 02.5 RENDERS

03 STUDIO B 66 03.1 DESIGNING 03.2 PLANS 03.3 SECTIONS 03.4 ELEVATIONS 03.5 FURNITURE 03.6 SIGNAGE 03.7 RENDERS

04 PHYSICAL MODEL 90 04.1 SITE MODEL 04.2 STUDIO A 04.3 STUDIO B

00 CONTENTS

four 00

00 fivE

six 00.1

In Studio A this semester we will be designing a new building for the University of Melbourne Archives. Currently the archives are housed in a rather uninspiring-looking warehouse at 120 Dawson Street, Brunswick West.

An archive is an intriguing hybrid of a library, a museum and a warehouse. The objects housed in archives sometimes have unique associations, such as the typewriter owned by a famous author, rather than, say, just any old typewritter. While the works on paper housed in archives are usually unique, i.e. drawings, diaries, letters, manuscripts, original photographs etc.

The following brief for the University of Melbourne Archives, compiled with the assitance of Dr. Katrina Dean, the University Archivist, and the staff of the University Archives, is a mini-mum guide only. By all means add to it if you consider something is “missing” or is too small.

The building will require specialized services, such as air conditing, humidity control, fire pro-tection, etc. Allow ample space for such services within ducts running throughout the build-ing. in false ceilings, etc.

00.1 STUDIO A

DESIGN BRIEF

Proposed University of Melbourne Archives building, 1960, by F.H. Fulton, Architect

The Outre Gallery is decibed on its own website as “Australia’s orginal alternative gallery dealing in contemporary interational pop, lowbrow, pop surrealism and underground art”. I would also add “hipster art” to that list. The Outre Gallery principally sells artworks, but it also publishes books on various related quirky topics. Currently, the company has galleries in Melbourne, Sydney and Perth.

In Studio B this semester we will be designing a new gallery/showroom/offices for the Outre Gallery to be located on the corner of Sydney Road and Albert Street in Brunswick, which will be adjacent to the new University of Melbourne Archives that you will be designing in Studio A. Th same ideas that you will be exploring through the Archives equally apply to this project, but, of course, at a smaller scale and perhaps a finer level of detail.

STUDIO B 00.2DESIGN BRIEF

The exisiting Outre Gallery at 249 Elizabeth Street, Melbourne.

The exisiting exhibits at the Outre Gallery at 249 Elizabeth Street, Melbourne.

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01 RESEARCH

ten 01.1

01.1 SITEBrunswickStudio A: 278, 282, 284, 290, 296 Albert StreetStudio B: 363, 365, 367, 369 Sydeny Road

The site of which The University of Melbourne Archive and the Outre Gallery is proposed to sit on is at the intersection of Albert Street and Sydney Road, Brunswick. The land was originally inhabitated by the Wurundjeri people. However, when British started to settle in Australia, Thomas Wikinson, the ‘Father of Brunswick’, led the construction for housing making use of local brickwork industries. Hence most of the buildings in the area is made up of brick. However, after the diminsh of the brickwork in the area, there was a rise of textile factories. Shops in Brunswick sold mainly fabrics.

Today, Brunswick is the major hub for nightlife, music and art. Every late Feburary, Sydney Road would be closed and there would be a major street party. This is a prelude to the Brunkswick Music Party in March which features Blues, Roots and World Music.

Site Analysis.

1:1000 Site Plan. The site has a direct assess from the Melbourne CBD from Elizabeth Street which leads to Sydney Road. Tram 19 runs along that road.

The alley that seperates the link from Studio A to Studio B.

A picture that looks at both Studio A and B.

The street scape from Sydeny Road.

The street scape from Albert Street.

The street scape from Albert Street.

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01.2 ARCHIVESArchives are an accumulation of historical records. They are usually the prima-ry sources of materials and are stored for permanent preservation. The records that are to be placed in an archive are selected on the grounds of their endur-ing cutural and historical value.

HISTORY OF ARCHIVES The first form of archive could be dated back to the 3rd and 2nd millennia BC. Clay tables with important inscriptions carved on them were the main records stored. These slowly changed to making use of paper and papyrus as seen in ancient Greeks, Romans and Chinese. The idea of preserving import-ant sources was mainly for educational and religious purposes. Modern archi-val thinking can be traced by from the French Revolution. The main purpose for storage was for war and celebratory purposes. These ideas slowly expanded to the modern archives we have today.

There are five major types of achives, academic, business, government, non-profit and others. As the client for this project is The University of Mel-bourne, the main purpose of this archive is academic.

The main storage for an academic archive is to preserve and celebrate the his-tory of the institution. The archive may contain items such as the administa-tive records, papers of former professors and presidents, memorabilia related to school organizations and activities, and rare book or thesis copies. Access to these archives are usually appointment only.

Archival materials needs to be stored in an area that reduce exposure to light, pollutants, change in temperature, oils of human hands and risk invovled with movement. This is to limit damange to the records. This is because the records are often very old and fragile already or the material are expected to be kept for a prolonged period of time, hence extra care is required to maintain it.

Beinecke Rare Book & Manuscript Library, SOM, 1963. Manuscripts in this library is located at the central of the building with controled climate that is sealed off from the rest of the building.

Old Main Library in Cincinnati, 1874-1955. It features five tiers of cast-iron alcoves that housed over 200,00 books. The library has since closed in 1955 when the library outgrew the space and the building was demolished.

Vetican Secret Archives. These archives were first built in the 17th century and was only open to the public in 1881. The archives conatin state papers, correspondence, papal account books, and many other documents from the church.

Bauhaus Archives, Darmstadt, 1979. The archives are a collection of works from architects and artist. There is a comprehensive graphic col-lection which includes drawings, watercolours and prints.

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01.3 CURIOSITYCabinet of curiosity is a room of a collection of variouse objects. These ob-jects can vary from natural history (can be a fake or made believed history), enthnography, archaeology, religious/historical relics, works of art and antiq-uities.

They can be seen as microcosm, a theater of the world, a memory theather. It is the patron’s control of the world through an indoor, microscopic repro-duction. Each cabinet of curiosity would vary from patron to patron as they would reflect the patron’s main interest. They are intended to work like plays or stories, representing a particular theme or idea. For example, an archeolo-gist’s cabinet would contain more fossils and rocks while an engineer’s cabinet would conatin more engines and mechanics. Hence, no two cabinets are the same.

Cabinets of curiosity originally started out as large rooms of seamingly ran-dom items placed in a haphazard way. Hences, the wealthy are usually the only people that were able to have these rooms. However, as the gap between rich and poor started to disappear, more people attempted to adopt this room as well. Since not everyone was able to afford an entire room, large furniture was created. This furnitures would be later known as cabinets.

The items in these cabinets seems to be placed in a hapazard manner but there is a degree of internal order amongst the mess. Generally, the objects in a cabinet of curiosity are broken down to three types of objects, naturalia, ar-teficialia and scientifica. Naturalia refers to products of nature which could be a various number of objects ranging from animal skins to different plant life. Arteficialia are objects that are a product of man. These can be a range from human skull or any internal organs. Scientifica are objects that are the testa-ments of man’s ability to dominate nature. These objects range from clocks, automotors and scientific instruments.

Some might further group them in terms of color and visual interest but most are than organically arranged in their groups. The context of which it orrigi-nally exsisted are usually non-exisitent. The organic arrangement provides a surpising juxtaposition between objects and ideas that usually do not belong together.

CABINET OF

A cabinet showing different organisation in an organic way.

A small cabinet belonging to an archeologist.

A portable cabinet.A small cabinet belonging to an artist.

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01.4 F.L.WRIGHTFrank Llyod Wright is one of the most influential architect of all time. He has designed a variety of buildings including shops, museums, residences, hotels and offices.

The Guggenhem Museum is one of Wright’s prominant work. Build in 1934, located in Manhattan, New York. It currently houses a colletion of Impres-sionist, Post-Impressionist, early Modern and contemporary art.

The V. C. Morris Gift Shop was influenced by the Guggenhem Museum, adopting similar ramp around the building.

The Guggenheim Museum with exhibitions around the ramp.

The V.C. Morris Gift Shop with the similar ramp. The entrance of the V.C. Morris Gift Shop.

A section drawing of the Guggenheim Museum.

A ground and first floor plan of the V.C. Mor-ris Gift Shop.

A ground floor plan of the Guggenheim Museum.

01.4 seventeen

Wright seperates his building in 2 main areas with users entering the building in between the two. For the Morris Gift shop, though there isn’t much of an open space between the two main areas, there is still evidence of 2 distict spaces on the ground level.

The two buildings are, however, not kept completely seperated. They are than connected through multiple levels above or below ground.

eighteen 01.4

A section and circulation plan of the Guggenheim Museum.

The central area that the building pinwheels from is the main gallery and circulation space. Wright integeration of gallery and circulation spaces ultimately removes the concept of the ideal circulation and the dictation of movement an architect has over the users of their building.

The main building is connected to the other smaller building through different platforms, creating the flexibility for users to enter and exit the gallery at whichever point they choose to.

A. AALTO 01.5Alvar Aalto was an architect that was heavily influenced by the work of Frank Llyod Wright. I looked at his work primarily to study the way he interpreted

Frank Llyod Wright’s work but was soon influenced by his architectural style.

The Saynatsalo Town Hall was one of Aalto’s greatest work. It is a multi-function building complex which contains a town hall, shops, a library and a

flat. The town hall follows some of Wright’s ideas of the main building and a secondary building connected together not at the ground level. However, the

work of the art in the Town Hall is in it’s detail.

The first floor plan of the Saynatsalo Town Hall.

A sectional perpective of the Saynatsalo Town Hall.

The building was layout in zones. Public to private spaces are distributed according to accending levels in the building.

01.5 twenty-one

Similar to Frank Lloyd Wright’s designs, there is a seperation between the main building and sub building with a connection between the two on a different level. On the entrance level, however, they are connected through a circulation space.

A rough sketch section of the building showing a large courtyard at where the cirula-tion space is on the entrance level. Aalto designed the building such that the entrance level is not located on the ground level.

01.6 LIBRARYThe University of Helsinki is developing its library structure by joining togeth-er the five faculty libraries of its central campus, which are presently dispersed around different parts of the city center, to form a single administrative unit. The largest academic library in Finland will be created in the historically im-portant Hirvi [Elk] city block in the very heart of the city center.

The site is located in the heart of an important historic city, Helsinki, Finland. It directly faces the Senate Square which is the main focal point of Helsinki. Helsinki is famous for their Art Nouveau style architecture.

There is three varying sizes of the arched openings as a response to the three different types of street space. It integrates the adjacent buildings by integrat-ing the street-line while including setbacks. The arches also directly reflects the three internal ceiling openings. It also allows a lot of open spaces to encourage large groups of people.

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HELSINKI MAIN

The east facade of the library shows 3 arches which flushes with the streetline.

The west facade of the library consist of one main arch which flushes with the streetline.

Openings facing the street.

Open study areas.

Ceiling openings to allow for natural light and create an open study area.

Cirular stairs is one of the main features of the library. It consist of an opening in the middle to allow for natural light to enter the building.

01.6 twenty-five

01.7 MOVEMENTMovement is a complex notion which contains a lot of ideas to be explored. Some simplistic notion of movement detonates circulation as the key idea of movement. However, deeper digging would see ideas such as the materiality, composition of wall, floor and ceiling, time and choreography.

Many ideas of movement in architecture includes many layering facade to create illusions that the building is moving. However, with new technology, ideas of movement in architecture have changed to a more literal ideas. Ned Kahn and UAP have designed a facade on the Brisbane Airport Carpark that allows for the facade to move according to the wind.

I have deconstructed the notion into 4 different parts. (1) Circulation (2) Time (3) Wall & Floor (4) Materials

twenty-six 01.7

Brisbane Airport Carpark has a kinectic art facade designed by Ned Kahn + UAP.

circulation MOVEMENTCirculation spaces have be part of architecture design. By designing circulation spaces, architects are dictating the way a person would move through a build-

ing.

As Frank Llyod Wright said in regards to designing his Broadache city, humans should not be restricted to a set movement as it goes against the basic rights

of a human. This idea of circulation contrasts the typical idea of set movement through a space.

It is not possible to completely remove circulation spaces but we are able to combine these spaces with other spaces to blur the areas between circulation

spaces and the rest of the building.

time MOVEMENTMovement in terms of time can be seen in specific items. I’ve looked at indus-

tries at the area and how it transformed over time. Brunswick initally started with brickwork factories and it later changed to textile factories. I wanted to

make use of these materials to show some notion of movement through time.

Brickwork used in architecture. Textile used in architecture.

Alvar Aalto created his circulation spaces areas where people are able to gather and enjoy greenery.

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thirty 01.7

MOVEMENT wall & floor

Typical wall and floor conections woulld be completely perpendicular as seen in the two sections views.

The walls can be connected such that it is slanted. However, this connection is not very useful as it there is a lot of wasted space where the wall and floor would meet.

Walls can be suspended such that there is a gap between walls and floors.

The typical walls can be removed by com-bining floor and ceiling. This would creating floors that are slanted.

However, how can these connections be different?

materials MOVEMENT

01.7 thirty-one

I explored the different ways that the two materials would be able to come together to create a different composition. Firstly, there is the smooth connections between the two materials.

The materials can be placed next to each other neatly without any protution, creating a smooth transition between the two materials.

Smooth connections can be created through making use of brick cloumns and fabric to tie them to create a wall. It can also be used to be placed in front of the brick wall to create a

different effect.

Textile can be overlaid on top of the brickwork with gaps in the textile allowing bricks to be

protruding out. This show the tension between the two materials, showing how textile have taken over the brick

work industry in Brunswick.

The two materials can be placed together to create a rougher connection between them. This would allow for a more interesting connection between the two.

Textile can replace mortar, allowing pieces of textile to protrude out of the brickwork. This shows how the brick work have helped shaped the textile in-

dustry in the site. However, this may not be structurally stable, other methods have to be used to ensure the structure integrity.

The brickwork can also follow the flexible shape that is bounded by the fabric. This would be able to show

how the structure of the site is ever changing and does not stay rigit. The structure integrity of this have

to be considered as well.

MATERIALS 01.8The primary materials I’ve chosen to use for the projects are bricks and textile. There are many traditional uses of these materials in construction. However, I am looking at ways to push these materials further and not conform to their

typical use.

01.8 thirty-three

Textileas a building material. Brick work in architecture.

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MATERIALS brickBricks are typically used as both a structure and cladding. Usually as walls. Openings in these structure are usually small. As they are rigid objects, there is very little ways that brick work that conform to. They are usually placed with a certain form of repetition and designs to these brick work are usually done through the provision of gaps or the turning of bricks.

Though not as conventional, bricks are used to make arches and columns as well. It is very rarely seen in buildings due to it’s poor tensile strength. It is often more economical to make use of other materials to create these struc-tures.

These bricks are used to make arches. These bricks are used for structural purposes only.

Brickwork walls with patterns. Brickwork walls as cladding and structure.

textile MATERIALSTextile on the other hand, are usually used as roofing material or cladding.

They are not able to hold anything structurally. They are completely not rigid and would fail under compression. Hence they are only used as a cladding ma-

terial in order to ‘dress’ the building or for temporary roofing material where there is no need for the roof to hold much load.

Textile are hardly used as building materials. However, they can be used as protective elements, similar to the use of glass. However, with it’s high flexi-

bility, textile can also be used for scuptural purposes.

Textile used for temporary purpose only. Textile used for sculptural purpose.

01.8 thirty-five

Textile making use to clad the structure with metal structure. Textile cladding the building.

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MATERIALS bricklaying

Basketweave Basketweave variation Basketweave variation 2

Basketweave & stack bond Stack bond Stack bond variation

Stack bond variation 2 Stack Bond variation 3 Running bond variation

Running bond 90 Herringbone Herriingbone

weaving MATERIALS

01.8 thirty-seven

Check Twilled twos Hexagonal

Wrapped Twined Latticework, twined and wrapped

Mad weave Seaweed coiling Bee skep

Furcate Crossed figure of eight Cycloid

01.9 LANDSCAPINGLandscaping is much more than just planting trees on the site. It an escape from the vuild world and help create another sense of purpose from an otherwise, baren space. There are aspects of landscaping which would include plants, water, stone and other natural features. These natural like features may not necessarily be all solely from nature, many of these are usually man-made object in order to mimic the natural.

Landscaping, like architecture, comes in many forms which usually has some connection to it’s function. I have narrowed down to 4 different types of landscaping to study. (1) water features (2) succulent (3) shelter (4) stone

Landscaping shows the intergration of greenery and water features in a built environment.

Landscaping done in complete contrast with the built enviornment.

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Landscaping incorporated together with built environment.

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LANDSCAPING water featuresWater features have been used as part of landscaping for different effects. They are intergrated as part of the landscape as ponds or mainly features that would allow people to enjoy.

succulent LANDSCAPINGSucculents are part of Melbourne’s natural landscape. They are able to survive

harsh weather conditions such as dry weather. They do not reqire much water. This would make them to be excellent plants to be on roofs.

01.9 fourty-one

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LANDSCAPING shelterNatural landscape have been used as forms of shelter since the beginning of human civilization. Landscaping shelter can be done in many different ways.

stone LANDSCAPINGStones have been used as part of landscaping as they are found

naturally. However, many landscaping projects make use of stones that are carefully craved or placed.

01.9 fourty-three

02 STUDIO A

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02.1 DESIGNING Bubble diagram linking the spaces and rooms required.

02.1 fourty-seven

Sketches showing a fortified look to the building. Fortification provides a more secure appearance to the archive.

Ideas of zoning adopted from Aalto through different levels was applied

in the plans.

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DESIGNING sketch plansSome inital sketch ideas.

Ideas of zoning adopted from Aalto through different levels was applied

in the plans.

02.1 fourty-nine

The pinwheel effect was adopted from Wright’s buildings. The gallery and archive was the main foucs of the building.

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Sketches showing a the pinwheel with the gallery and archival space ‘sinking’ due to the weight.

02.1 fifty-one

I changed the form of the building to make it fit to the site and the pinwheel effect and creating the idea of two sperate building on the ground floor,

merging into one on different levels.

new form DESIGNING

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Sketch plans of how to the final form of the building with the inclusion of the spaces.

DESIGNING sketch plans

02.1 fifty-three

Sketches of the entrances and the intergration of the brick and textile.

sketches DESIGNING

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The archival space does not have much connection to the rest of the building. There is importance to make a connection between the archival space to the rest of the building.

DESIGNING archival space

Connection to the archival space can be made through exploring the negative spaces of the site and buildings. However, since it is underground, the connection would not be clear.

In order to show the connection, lights can be illu-mitating from the archival space. This can be done through laying bricks on the ground level and leaving gaps to allow for light from the archive to highlight the activities underground.

The archival space has to have a translusent ma-terial to prevent the light to be too intensive for the archival space.

02.1 fifty-five

I have divided the areas that are to be landscaped. Each area are to be land-scaped in a specific way.

landscaping DESIGNING

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02.2 PLANS

Basement Two 1:500

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Basement One 1:500

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Ground1:500

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Level One 1:500

Roof 1:1000

02.3 SECTIONS

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Section XX.011:500

Section XX.021:500

02.3 sixty-one

Section YY.011:500

Section YY.021:500

02.4 ELEVATIONS

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North Elevation1:500

East Elevation1:500

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West Elevation1:500

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02.5 RENDERS

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03 STUDIO B

03.1 DESIGNING Bubble diagram linking the spaces and rooms required.

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03.1 sixty-nine

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DESIGNING sketch plans

The main entrance would make use of revolving bookcases. This enforces the idea of the mixed used spaces and enourages more of the free flow of movement.

Some inital sketch plans.

03.1 seventy-one

Some inital sketch plans.

There would be wall that makes use to textile. These places would double up as gallery spaces where art works can be hanged in place. The textile building material would also allow light to enter the building creating a glowing effect around the art work. This would cuase viewers to be able to see blotches and forces them to foucs on certain art work.

seventy-two 03.1

The facade design was intended to be something simple but on the other hand, create something unique to attract people to the shop.

DESIGNING facade planning

The initial facade on Albert Street was a series of brick arches, arching in a three dimention direction. It is fairly simple and would retain a box like structure to the shop.

I tried playing around with other curves to create a less rectangular facade but all of them looks like it was forcibly place. Thus, I tried to create something that would flow with the inital design more by ex-tending the curve on the top, allowing it arch more.

03.1 seventy-three

furniture DESIGNINGThe furniture in the shop has to reflect the ideas of the mixed use concept and I wanted it to reflect the facade of the building to make it more specific to the

site.

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The signage was done through reflecting the outre colours and encourgage a more pop art effect to go with the gallery.

DESIGNING signage

003.1 seventy-five

The signage is placed on the floor around the arch. As this signage is pretty big they create a pop art feel in contrast with the colours of the arch. They would also not take away much focus of the arch as it placed below and the colours are simple.

seventy-six 03.2

03.2 PLANS

Ground1:200

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Roof1:500

Level One 1:200

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03.3 SECTIONS

Section YY.011:200

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Section XX.011:200

Section XX.021:200

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03.4 ELEVATION

North Elevation1:200

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East Elevation1:200

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03.5 FURNITURE

Section and Plan1:50

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Section and Plan1:50

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03.6 SIGNAGE

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03.7 RENDERS

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04 PHYSICAL MODEL

04 PHYSICAL MODEL

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04.1 SITE MODEL

04.1 ninety-one

ninety-two 04.2

04.2 STUDIO A

04.2 ninety-three

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04.2 ninety-five

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04.3 STUDIO B

04.3 ninety-seven

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04.3 ninety-nine

Yanyi Leong

2014. 565975