Bachelor of Architectural Design RMIT - Portfolio - Aleks Naumoski

Collection, Appropriation, Discussion of Place Tutor: Richard Black

s3720534, Aleksandar Naumoski

PORTFOLIO 2018 - 2021 RMIT Bachelor of Architectural Design

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picture of studio

Introduction 4

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time spent at home, hub, library, site, other number of sleepless nights number of nights at the hub number of days in quarentine number of books read

F

or the last few years, the projects undertaken have each had an affinity to place - embodying an approach to sites that grapples with context, histories and culture to conceive architecture that will have a nurturing relationship with its surroundings - the past, present and future of these surroundings (the latter of which being explored in later works). This folio is structured as a discussion, providing a idiosyncratic lens into the study of each studio which endeavours to lay open the tales and philosophies of each place and operation. It then explores ‘appropriateness’ and ‘narrative of place’ as the fundamental compass for projects.

The flipping of lenses across Implementation, Destination, Comprehension and Transformation, is used to develop an appreciation of site and the curation of place by reincorporating the wider contexts of life into to our practice. The collection of stories seek to understand why different modes of acting within settings and places are appropriate, why a consideration and abstraction of cultural-historical context is essential in understanding place, and why transformations are sometimes destined by their own authorship or lack thereof. Between found and collected materials; inquisitorial written pieces and speculative thinking; spontaneous discoveries and critical investigations which all can lead to different outcomes, lies my fascination with the multifaceted existential basis of place and society; and the desire to sustain it through the appropriation of place.

Each story possesses unique processes in acknowledging the significance of place - and the immediate experience it provides of a particular ‘world’ - where our architecture is to take place.

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understanding situation 1

listening to

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Prologue

:

site

2

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1. Relating to site and place through its existential context.

The setting is the integral ontological structure essential for architecture to begin - to seek the classification and explanation of existing entities, their influences and histories. By taking an inquisitive reading into every case, site or project, our intention is to focus on immediate meanings and experiences of these places via a descriptive, qualitative discovery - and then to speculate and discover their contribution to the story of place. If this investigation does not start from the beginning, our process will skip over important memories and moments that sites carry and will not recall true experiences, thus establishing inappropriate interventions.

02

2. Breaking into a site with our existential understanding.

In dealing with the concept of ‘place’ and finding it within a ‘site’, there are difficulties in translating this via a prescribed recipe, for there is no single metanarrative of place that conditions every person in the same way - to think and experience the same way.

Architecture is interpreted in accordance with time and place, including the level of understanding of past time.

Therefore the codes of expression are received on different levels and may or may not deliver the intended understanding. In this regard, sense of place is not always very strong/clear and it may be acceptable and even necessary to further develop meaning to our initial understanding by undertaking an imaginative projection backward in time and/or gathering a collection of diverse observations, recordings, documentation and investigations that make sense to us.

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Collection, Appropriation, Discussion of Place

01

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implementation

p.10

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destination

p.38

Contents

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comprehension

p.64

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transformation

p.86

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Implementation

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Implementation Implementation

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STUDIO - Infidelity, led by Emma Jackson

Implementation means building the world of life in accordance with an understanding of place.

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1.

Implementation is tantamount to translating the landscape that has been understood into architecture so that the use of place can be attained, and a natural landscape can be transformed into a cultural landscape.

These studies draw upon Darwin’s country, calibrating an understanding of its diversity and its authorship in establishing a ground for the city to exist. Darwin appears as a little peninsula with a splatter of white roofs, and the predominant colouring of the land emerges from the blue water. It is a combination of ochres and puces. There are patches of green near its coasts, further out you cross over country which is burnt brown and patchy like tender sunburnt skin, with sections of darker brown and red.

The country speaks to its native characteristics, showing a dominant spread of native fauna, flora and untouched landscapes, enabling its biomes and its living to continue to exist. Yet the country is not untamed in appearance.

In this map, it feels like a subtle desert, insinuating itself into the background of suburban clusters. These clusters are footholds that man has created and outposts of southern Australian Culture - as an attempt to counteract the overwhelming scale of country and the natural extremes - heat, sun and all other discomforts of Darwin’s land. These clusters of the suburban reveal a tendency of infidelity towards Darwin’s native grassroots. Is this ok? Is it impeding or a

possibility for transition?

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How can we make a city more dynamic without completely reforging it?

Calibrating Coutry- Understanding the natrual, and built contexts of Darwin- with the intent to contrast the existing and the introduced behaviours of the city- whether that be urban clusters against the bush/desert or native species against the foreign.

STUDIO: INFIDELITY

Grown organically, out of the ground like native trees is to be our approach in implementing a new urban proposition. In taking the case study of birds and their occurence in relation to the characteristics of the landscape, as a tool for mapping the changing nature of Darwin’s country, we begin to understand the dispersion of what was and what is.

Through adopting the lens of a bird, and mapping a “birds eye” we see:

1. Where such clusters are located 2. How far they have rooted themselves into the footprint of Darwin 3. The development of theories and reasons to why and how their existence and growth is related to place- that world of life within that sector/radius - gives us clues towards the formations of these patterns -that these places have something in common: the development of urban sprawl, of city and suburb - of modern resources, needs and functions.

The birds not only provide an analytical understanding of change but propose a new means of inhabiting, of mobility and density. Their reading is to be an abstract translation for a new coding of urbanism, a new book of regulations that constitute the architectural language of Darwin. It is a potential for the slowing or stopping of “normal flow”, yet not creating inactivity but more of a state of equilibrium - enabling us to see a perspective on systems in a “natural” animation - that recalibrates ideologies of the urban (density, mobility, liveability , sustainability) and their interrelation with the country.

Minor population of species

Introduced Species House Sparrow 2010-2018

Significant population of species

Native Species Red-Tailed Black Cockatoo 2010-2018

- within 10 km radius

- within 10 km radius

Wetlands City Border

Shrub land

Red-Tailed Black Cockatoo 2000-2010

Red-Tailed Black Cockatoo 1990-2000 Red-Tailed Black Cockatoo 1980-1990

Grassland

- 5%-15% vegetation

Parks

Red-Tailed Black Cockatoo 1970-1980

Woodland

MAPPING OF NATIVE BIRD SPECIES AND INTRODUCED BIRD SPECIES, AND THEIR NATRUAL ENVIRONMENT IN DARWIN

MASTERPLAN DIAGRAM Diagram of the expansion of Darwin in 2050, according to the behaviour observed from the Thin Ice

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Post War Darwin, 1943 An early precedent of the unique military influence on architecture. (resourceful, protective or even hostile facade) STUDIO: INFIDELITY

FIRST AND FOREMOST KARAMA Learning From Kamara - an exercise of travelling through one of the outskirting suburbs of Darwin.

STUDIO: INFIDELITY

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2.

Secondarily, the existing context includes the works of man as well, and therefore every new building should be considered in relationship with those that already exist as well.

This act of implementation is related to the local or regional dialects that go to make up the traditions of construction.

Although it usually has most to do with popular or vernacular architecture, it also includes features that belong to this type of architecture, which is also bound up with styles, such as expressions of a vision or a belief typical of a specific period and place.

T, A CITY IS NOT AN ARRANGEMENT The discussion of sustainable cities and the metropolis generally is obsessed with transport and density. Mobility is so often a measure of both liveability and productivity, Density is viewed as both a measure of desirable consolidation of the city, and a threat to its liveability.

Within Darwin’s urbanism, there is a clear behaviour of distance and spreading out- the relationship of its “density” and the sense of liveliness, is relative to the amount that Darwinians move around in their city - Mobility is not secondary to the architecture of Darwin, the city proposes that travel and its diverse means, is what create a setting of its qualities and their placement. The populace coastal harbours are dense and intertwined. The centre of the city is an agglomeration of low rise buildings and parks looped by winding streets, the suburbs are commodious in program and have ample space, sometimes agricultural, sometimes bare. A suburb may be on a river, creek, open field or may face the green watered harbours, open to diverse means of infrastructure- entrances via open seas, wetlands to dirt paths and barron corridors.

It suburbs are made up of many free standing timber weatherboard stilt housing, footpathless nature stirps with dirt routes paved by the feet of the populace, mismatched chain link fences, s3720534 Aleks Naumoski

improperly fitted fly screens - architecture that is intended to serve the occupants as it is developed and continuously adapted by the occupants.

It is the people that have established their own architectural language - there is no prescribed code/regulationand therefore each street is a collection of diverging front of house aesthetic, resulting in a self organisation.The status quo is not like the suburban paradigm in Melbourne.

The elusive quality of Darwin’s design which can be identified as resourceful, protective or even hostile, provides an urban facade like no other Australian city, but it is the authorship of its inhabitant and crafting their own mobility, in design and navigation, that is its fundamental original quality. The absolute openness is the substance of everything peculiar in Darwin’s living practices and architectural habits. Both veneer and habits have strong effects on the aesthetic pattern which rims from a winding highway to a stilt house: certainly they currently have a stronger effect than the direct geographic or climatic influences.

Which came first, the habits or the veneer?

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What happens if these habits are to be amplified - writing an extreme version of Darwin’s local code? ...the next iteration

1. Boat and car 2. New and old 3. Openspaces 4. Stilt houses STUDIO: INFIDELITY

maps of winding road and paths

OF ROADS, BUILDINGS AND SPACES 1. Estates and the Established 2. Great divisons 3. Pockets of spacees 4. Agricultural living STUDIO: INFIDELITY

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REMOTE WESTERN EXPANSION NORTHERN DEADEND OUTER RESIDENTIAL RURAL AND ATTRACTIV

S,IT IS A SOCIETY

OUTLYING AFFLUENT SPREAD URBAN SPRAWL INTHE MOST SIGNIFICANT IS IN DARWIN, EXPENSIVE DEV GROWTH WHERE A BOOM IN POPULA- WHICH HAS DOUBLED RAPID ZONING TION SINCE THE EARLY 1980S TO AROUND 140,000 - HAS SEEN NORTHERN TERRITORY LOW DENSITY THE CITY AND ITS SUBURBS RAPIDLY EXPAND. FRAGMENTATIONW 10.02.1984 - 06.05.2016 OF REMAINING NATRUAL AREAS SPATIAL FOOTPRINT

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View of the warpping streets, creating movements and exploration between the built forms. The free land laying open, untouched for bush and desert.

STUDIO: INFIDELITY

IN ACTION. THE CITY IS A PROCESS (Lionel March in “Writ­ings on Wright,” on Frank Lloyd Wright Broadacre City)

“...forget the arbitrary delusions of order, taste and integrity,” like Las Vegas, Darwin “is ridiculously unique.”

The intent is not to shift to much in urban ideology- not to become a dispossessed city that chases modern habitat.

The process is to acknowledge the realisation of openness at the scale of an entire centre- that is made from partly the space the city should not become obsessed with intensification in the quest for introduced substance but is to receive an injection, a booster to its unlimited freedom from this alleged voids of land, bush and desert.

It is to grow the existing, not introduce patterns of migration and program.

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3.

Implementation reflects cultural works and arts. It is an association made as both medias- architecture and art - are cultural expressions concerned with place, time and people – addressing the human condition through narrative. It is a potential doorway to externalizing individual and unique perceptions of place that would have never been given life.

CRANKY FRANK

01 Aleksandar Naumoski won the Darwin Residential Proposal Design Competition with a design that seeks a closer connection to Darwins natrual elements 100 m

T

JUL / AUG 2018

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The house seems like it has been destroyed by the cyclone in Darwin but still stands strong after many tribulations. The roof of the house is crushed and is raked at a slight angle from the back to the front. The pieces of metal sheets that were being constructed again is a monument to the former establishment that was destroyed by the hurricane. All these 50 m broken fragmentations of the metal sheeting seems to be less shattered but rather complete when they are being assembled back together.

The house itself is like a centipede, with the two poles on the roof that represents the antennae, that seems to be heading towards a certain direction. The extruding wooden cladding is like the shell of the centipede that acts as protection towards the inner core. The forelegs is enlarged by 20% that act as a main driving force that pushes the house forward. Moreover, the legs which are the stilts lifted the house up, giving back the occupied space within the landscape.

Furthermore, to abide and assimilate into the Local Code of Darwin, the architect considers the rule that all structures are man made, the design is made up of materials that have been refined and skewed by humans to suit their application, such as the wooden panels, iron sheet roofing and metal supporting beams. The choices of materials allow the house to feel lightweight and gives off a floating illusion above the ground.

At first glance the stitches of the wooden panels appear be an error or an unfinished design. However, as one

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Becoming Commissioned - Taking authorship of the proposition and producing ealry evidence of its implementation.

STUDIO: INFIDELITY

truly appreciate the beauty of these imperfections, truly appreciatethe theelebeauty of these imperfections, the elements shall be perceived in a different ments perspective. shall be These perceived in a different perspective. These stitches become an enhancement tostitches the dwelling, become an an ornaenhancement to the dwelling, an ornamentation that adds character to the mentation house. The that architect adds character to the house. The architect further emphasized on the devastated further tragedy emphasized that happen on in the devastated tragedy that happen in Darwin by representing it in a raw and Darwin innovative by representing way. it in a raw and innovative way.

The contradicting nature of the building Thecan contradicting be obnature of the building can be observed with the change of scale of the served stilts with and the windows. change of scale of the stilts and the windows.

From afar, the orientation of the windows Fromseems afar, the to orientation be placed of the windows seems to be placed REVIEW: Megan Voo randomly but with closer observationrandomly they werebut arranged with closer in a observation they were arranged in a certain pattern. The arrangement always certain begins pattern. fromThe mediarrangement always begins from mediYoung and upcoming architect Aleksandar Naumoski has created um, big, small and vice versa. The same um, big, sizes small never and appear vice versa. The same sizes never appear together side by side. The juxtaposition together of theside square by side. and The juxtaposition of the square and a conceptial program for Darwin, winning the 2018 AIA Debutant rectilinear windows allows the houserectilinear to feel likewindows it is contrastallows the house to feel like it is contrastArchitecutal Award. ing itself, fighting for attention and position ing itself, to be fighting known forand attention and position to be known and stands out from the façade. Despite stands that, theout expressed from the joints façade. Despite that, the expressed joints use of scale and composition of varying use parts of scale somehow and composition add of varying parts somehow add up to a surprisingly unified form. up to a surprisingly unified form. SITE PLAN SITE PLAN 1:500 1:500 10 20 50 100 0 m 10 20 50 The awnings of the windows do not simply The awnings provideof the windows do not simply0 provide shade to the occupier but it follows the shade contours to theand occupier direc- but it follows the contours and directions of the roofline, extending its hands tionstowards of the roofline, nature. extending its02hands towards nature.

02 The two aspects of private space and shared The two aspects of private space and shared The City’s concept of harvesting a harmonious The City’s concept and of harvesting a harmonious and space, visually reads as a single concept, in space, visually reads as a single concept, in part due to the distinctiely connecting walls part due to the distinctiely connecting walls visible relationship to nature was considered visible relationship in the redesign. to nature waswhich considered in the redesign. flow free in and between these spaces. which flow free in and between these spaces.

The living cell has a close connectionThe to the living landscape cell has aasclose the connection to the landscape as the design allows nature to run and embed design itselfallows into the nature struc-to run and embed itself into the structure by growing within the openings and ture cracked by growing seams within of the openings and cracked seams of the wooden cladding and the roof rafters. the wooden This growing cladding algae and the roof rafters. This growing algae blurs the boundary between nature and blurs urban, the boundary which opens between nature and urban, which opens up to this controversial topic whetherup men to this made controversial is dominat-topic whether men made is dominating nature or vice versa. ing nature or vice versa.

The travel paths are where the publicThe move travel between paths are where the public move between spaces. It is used as a guideline for the spaces. travelers It is used to move as a guideline for the travelers to move between public and private spaces as between well as public leading and them private to spaces as well as leading them to the crocodile pit. These travel paths respect the crocodile both the pit. archiThese travel paths respect both the architecture and crocodile by not interfering tecture with each and crocodile individualby not interfering with each individual typology. It comes to a stop and continues typology. on It the comes opposing to a stop and continues on the opposing side when it intersects the buildings. side when it intersects the buildings.

The result of the Cranky Frank houseThe being result built of the Cranky Frank house being built created a memorial for people to mourn created about a memorial the cyclone forinpeople to mourn about the cyclone in he new house designed by Aleksandar Naumoski locatDarwin and also forming a connection Darwin between andpeople, also forming flora a connection between people, flora ed in Darwin, in the suburb of Karama, hints at a new and fauna. The mixture of men madeand material fauna.and Thegreenermixture of men made material and greenerform of architecture, a profoundly sensory architecture ies on the designed of the structure created ies on the different designed mood, of the structure created different mood, of the mind or more accurately the brain. The unconventional narrative and inner feelings to the public, narrative a subjective and inner take feelings on to the public, a subjective take on design create illustrates delight the mind as well as forming a PLAN FLOOR PLAN the definition of architecture in it’s relative the definition context.of architecture in it’sFLOOR relative context. symbiosis relationship with human, 1:100 0 10 20 1:100 50 mcrocodile 0 10 and nature.

20 5 5 The isolation of the house within the site allows the house to have serenity and tranquility from the hustle and bustle of the city. The house seems to be in meditation by detaching itself from other dwellings to create a close relaCRANKY FRANK CRANKY FRANK tionship to nature rather than man-made objects.

Megan Voo is a Professor of Architecture Megan at Voo the University is a Professor of of Architecture at the University of RESIDENTIAL POLICY RESIDENTIAL POLICY Its private front yard is closely integrated to the Royal Melbourne Institute of Technology Royal Melbourne Institute of Technology crocodile pit, which only occurs on an instance where two ARCHITECT ARCHITECT boundaries collide and creates a bordered area. The front Aleksandar Naumoski Aleksandar Naumoski yard, rather than being a figure between the house and the periphery, is a space that connects with the crocodile itself.

LOCATION LOCATION The party fenceDarwin between the front yard and the crocodile Darwin pit is a metaphor of the yin-yang symbol that finds balance YEAR YEAR between humans and crocodiles. The yin which is the brown 2018 2018 swirl mud is associated with nature whereas the yang which is the light swirl represents human territory.

The eccentric design of the typology allows the crocodile to be considered as a pet rather than a threat because they live in the dwellers own garden. This breaks apart the stigma of humans living along side with crocodile. Instead of distancing itself from this beautiful creature, the pathway creates a harmonious relationship between the crocodile and humans, striking a balance between danger as well as safety.

THE ARCHITECT, LIKE THE DIRECTOR, IS IN THE BUSINESS OF

MAKING REALITIES FROM FICTION

Glimpse of the iconic Australian materiality and figures found in Darwin’s regional dialect that have been amplified and appropriated for its new hosuing application.

STUDIO: INFIDELITY

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Comprehending the fictional realties of place.

Having studied post-apocalyptic Australia, as portrayed in Mad Max, we see individual and unique perceptions of Darwin. And allowed for implementing its radical visions: of the outback, of the people and its atmosphere, and of the design language: through the cars, to our collection of knowledge about the place, that would have never been tested.

Collection of Process Drawings: Comprehending the language and reasoning of the modification completed to the Mad Max car, and implementing its charactristcs to a standard dwelling from the case study suburb, Kamara.

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THE CONSTITUTION OF A CITY

Local Code - Documentations and Regulations defining the state, subdivisions and properties of the newly implemented proposition for Dawrin’s urban footprint.

STUDIO: INFIDELITY

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12.4011° S, 130.9169° E The City is also a Nation. Its space is secured by its boundaries and by the inalienability of its distinction.

Freedom, pleasure, community, progression are the reasons for the City.

Participation in these attributes is a fundamental civic right and shall never be restricted. The purpose of this code is to strike a balance between individuation and agreement.

The building of the City shall seek out certain satisfying relationships that shall characterize its collectiveness and institute its memory. Their fulfilment acts as stimulus to art, in its friendship with the private and collective imagination.

The City is in nature, of nature, and second nature. These relations are made manifest in the City’s elements. As an ecology, the City’s abiding interests are community and diversity. Its growth is merely unimaginable, due to its recursion, and has no an absolute end. It shall embrace the idea that the City is a artefact in a world of nature, and thus attempt to coexist with nature.

This is an iteration of the bird code. There will be no final version.

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[III-1]

Territory and the Vortex The city shall be called the Vortex

[III-1.1]

The entirety of the area occupied by the Vortex shall be known as its Territory.

[III-1.2]

The Territory of the Vortex shall emanate from the centre and continue to grow in a rotation after each decade as it progresses.

[III-1.3]

The Territory of the Vortex shall continue to grow and no contradiction to the vortex’s spiral pattern shall take place.

[III-1.4]

The centre of the Vortex’s territory shall be occupied by natural terrain and forest providing a preserved ecosystem for the birds of Darwin. It shall be known as the Birdland.

[III-1.5]

The generations of Vortex’s territory shall be known as districts.

They should each occupy one full layer of the vortex’s circulation and include cells (of all types), land, bird precincts and path systems. They shall be known as their numerical value.

[III-1.6]

No point of the outer perimeter of each district may be further than a 50 meter walk from the next district.

[III-1.7]

The Territory of the Vortex shall embrace sufficient agricultural land to support the needs of its inhabitants.

[III-1.8]

All other regulations having been observed, construction is not necessarily precluded on any site. The exception is that 30% of the territory shall not be infringed by cells, path systems, land, free terrain or bird precincts.

The Vortex is fundamental to the script as it organises the motion of the cities energy and is gateway into a from another realm.

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Cranky Frank- The typlical housing model for Darwin’s new urbanism. Dervied from qualites of the Cranky Frank vehicle in the Mad Max film.

STUDIO: INFIDELITY

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Interior View from the living quarters.

The dwelling opens up to the landscape and its native species, its birds. There is little to no division of out and in.

STUDIO: INFIDELITY

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POSTOnce acquiring an understanding, we have the ability to interact with the world we seek to operate in. The process is then without boundary, pushing its unique qualities to extreme outcomes through iteration and development.

This story advocates that our participation in curating place is to be an apparent manifestation of the world around it; a manifestation of its existing/preceding life since it ensures the spatial and temporal continuation and development of that world. Implementation is about our consideration towards sustaining the values and uniqueness of whereever we may practice. It is to practice with a responsiveness to the experiences of that place.

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Quesions from the studio to place.

RE FLEC TIONS

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Destination STUDIO - YIMBY, led by Kate Woodman and Tess O’Meara

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THE SYMPTOMS “LOSS OF PLACE” As discussed in the previous chapter, a place is to be an apparent manifestation of the world around it; landscape, architecture and culture- a manifestation of the surrounding life since it ensures the spatial and temporal continuation and development of that world. As an apparent manifestation, a place must have an identity of demarcation and of character.

However, what if a place does not have such a presence, a

location within the city?

The question as to just what constitutes a place having a presence is one which is being asked more and more frequently nowadays. Precisely because we take them for granted, our places are being rendered fruitless. The present condition has been described as that of a “loss of place,” and it is important to clarify- just what constitutes this loss, and what meaning it has for mankind.

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OF A •

When the demarcation and character of a place disappears and is no longer recognizable, we can perhaps presume that such a place has lost its identity, it is without a unified background which is a highly significant quality of association.

There is moreover every reason to suppose that this loss of place is evolving in tangent with the alienation of people, which is another distinctive characteristic of our times. People’s identity, in other words, is a function of their participation in the identity of a place. At Parkville, there is no association or indication to identify with the suburb as a place of origin, and this sense of localism should be one of the first connections with us and the place. This alienation towards its inhabitants and users entails the loss of a sense of belonging, and indeed it is not easy to belong to a place that is being thwarted and rendered fruitless.

•

Some places are desperate for a requisition, a rejuvenation of character to play a role within a city and a community. They need an initiation and a sense of direction to happen, to materialize into architecture. To become a destination and a place to reside.

There is no proximity that exists as in there is in other inner city suburbs.

There is no life, no linkage between life and place.

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In other words, it is necessary to explain the “use of the place”.

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collection of reminants that reveal an identity to the suburb

These considerations have to do with an interpretation of the environment as a resource suited to satisfy certain needs.

It is clear that we recognize our identity in the fact that life takes place, even though the specifics of this fact may change from place to place. To be Melbourian means both being a person and being from Melbourne, therefore the concrete roots must share a common denominator. And it is precisely these common denominators that offer a foundation for an understanding of place. As a result, we must analyse just which agencies and connections with sites hint at an action of “taking place”.

For architecture to take place we must seek to understand the outcome of collecting perceptions and items which shape our lives, specifically the lives of the people that this place is to resonate with. It becomes clear that belonging, which is implicit in the term identity, means something more than feeling at one’s ease. Identity means living in a world that comprehends both the place and the community in which one lives.

Therefore, studying our users to better understand their needs by taking cues from their identity as material for generating solutions, approaching design thinking as an assemblage of representations, cultures and experience is to hugely contribute to unlocking a place and finding what is embedded underneath, what in this case is lost.

We must take a look at society from a conscious and studied perspective to provide a pluralistic approach in finding ways in which we as architects can consider and hone in on our users to solve their needs without compromising expression and identity.

Parkville - site visit

“...TO TAKE PLACE”

Mapping sites of interest to Parkvilles demogratic based on locality and views of residence.

STUDIO: YIMBY

PORTFOLIO. JOUR NAL . ARCHIVE

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“...THE USE OF PLACE” We must ask what happens when we arrive in a place, when we stay there, when we meet people and when we perform tasks and run errands. In other words, it is necessary to understand the specific and unique ways people adapt space to serve their needs and be a reflection of them, as it will ultimately contribute to the use of place.

The use of a place, in any case, is not limited to arrival, encounter, meeting, and clarification; it also includes retreat and isolation, when we retire alone to our dwelling place. It is only when we cross the threshold of our residence that we are finally “at home.” This is the place that validates our individual identities, the place that offers security and safety.

Our place, that we reside, collects the personal and the private, and therefore it is a mirror of the soul.

The use of place here is looked at as a personal interpretation of the community context. And since it is in contact with the surrounding natural environment, it establishes a more direct relationship with a given place.

The use of a place, in other words, is directed toward the totality; indeed, we do not merely make use of social institutions, such as buildings, schools, and churches-we use the place itself to establish an existential point of support.

1.

Analysing the way people make a place their own through their use and adaptation of it.

PORTFOLIO. JOUR NAL . ARCHIVE 202 1

Activated Plan 1 - an early attempt of creating spaces for the user groups with figurative qualties of street in mind: the shape of graffiti, the use of skate bowls as movement between space.

STUDIO: YIMBY

ALEKSANDAR NAUMOSKI

Activated Plan 2 - final project - Streetmekka, plan. Capturing moments of figurative street language, behaviour and use of place. However, also having an interplay with the setting and surrounding language of the citylink wall and nearing bicycle route.

STUDIO: YIMBY

44

2.

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/

W04B

Bachelor of Architecture Studio - YIMBY

ALEKS NAUMOSKI // LEVEL 4

“The Dinning Experience” of Rowena Parade Milk Bar, Richmond.

Capturing the After/During/Before.

STUDIO: YIMBY

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Semes

02.

P O S T O C C U PA N C Y D R AW I N G S

ITH THE SPAC

TOOL OF MAKING ARCHITECTURE

Post Occupancy Drawings provide an outlook of place through

the narrative of use. It investigates the living condition of peo-

ple through a thorough and cogent process of design. It protrays architecture and its environments from a point of view of logical

behaviourism and allows for unique visual representations specific to the subject and scope at hand.

What emerges from such a drawing is sense of life, a discover y into architecture as a central means of practicing livelihood.

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“Cluster Neighbourhood” - taking an intimate and reflective approach to understanding what we map in our minds, what we take notice of and remember.

Precedent - Alison and Peter Smithson HISTORY - WESTERN ARCHITECTURE

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WIND RUSTLI

This mappi out the pro have relate local neighb es that are this area.

Who is the place for?

ALISON AND PETER SMITHSON’S URBANISMCLUSTER CITY - CLUSTER NEIGHBOURHOOD

INTERACTION

Alison and Peter Smithson firstly considered house types and their context, a result of the studying the Valley Section created by Patrick Geddes. The Smithson’s used this selection of work to devise a range of house types to suit different communities; the hamlet, the village, the town and the city. These designs were hugely influential, with a number of housing schemes taking inspiration from them. They used the ‘Cluster’ is used to avoid association with the concept of the ‘street’; a place that the Smithson’s felt was outdated, since the use of cars prevents the street from being a place for a resident to identify with their environment.

ING TREE LEAVES

ing exercise is an attempt to figure ocess of Smithson’s diagraming. I ed to the drawing by mapping my bourhood and identfing with passagsignificant to my experience within

WIND RUSTLING TREE LEAVES

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File : Interview-with-a -skater- (PublicSpace-Architectureand-Skateboarding) .mp3

AN: let’s start at the beginning how long of you been skating for ?

AF: yeah that’s always the question you actually get asked at a skate park when someone wants to get a gauge of how good you are. I was like 10 or 11 so,i guess it’s sort of eleven years now but I’m probably not that good AN: yeah yeah yeah right but I guess at that point you weren’t exactly thinking about the kind of act of skateboarding as something relational to architecture.

AF: yeah like not like today at all I started skating ‘cause my brother skated so I just always thought it was really cool and like the summer I finished primary school the weather was really nice and Bachelor of Architecture Studio I went out in and got really into it and at first I wasn’t that comfortable on the board so I had to be comfortable in the spaces I was skating. So I spent ages learning to ride the thing on my street or journey to school starting to do hills and go bit faster.

AN: So you already went thinking about it then but the space is you’re in seems to be really hung effect on how your skating and like when do you think you start to notice architecture in relation skating?

AF: Yeah so during where I was skating, we never really had a local skate park so it’s really out of the necessity to find places to skate that I got into street skating when I was like 13 and had a few tricks down I could do an early so basically jumping with the board up a curb and I felt like I was able to move through space on the board more fluently and get over some of the kind of obstacles in my local environment so a couple of my friends and I started leaving our streets and heading from Northcote downhill into Clifton Hill to find skate spots.

AN: So when you start looking at your city or something that’s skateable how does that change your experience of it?

AF: For those first few street sessions in the CBD where some of the most fun that we’d ever had in Melbourne but it wasn’t until I skated it that I really felt I knew what was down every side street.

My friends and I quickly developed what I later learned is called the skaters eye which basically means there’s always a part of you considering architecture in terms of how good it is for skating. So sort in terms of your potential action upon it is something that like you basically can’t turn off buy your if you’re always thinking about it.

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-

AN: It’s like such a profound idea to me and so the last couple of days like doing research I’ve been out with you and skating and like chewing some clips and I’ve noticed it and like when we’re in Parkville, at Melb Uni yesterday, all of the university and just kind of like night time but we’re looking for sports and you just instantly saw like you can’t get that like it’s got this certain texture on the ground that means you can’t do it like you just see it immediately but then you see that stare that we spent like half an hour doing that trick on. Like it’s … it’s so immediate, it’s amazing to me and you start to engage with the city in this very different way like its very active former vision so this case either way of using vision to predict how space would interact with a skateboard.

YIMBY

//

AN: That’s so fascinating to me, fascinating to be in like in North Melb, I think that’s even more visible because of the monitored property of the unis and collages. There was that spot we went to near the hub and you were like yeah it’s a cool spot but it’s such a bust like will get kicked out in two minutes and a guy comes out immediately it’s just like you know, you’ve just seen these thoughts and you’re immediately saying how you could use them to escape but you’re also seeing the power behind them and like whether they’re going to allow you to or not.

AF: yeah like that spot was on that and walking past every day and every time I see I really want to skate it kind of a brave one to go four and we did we got like two tries and then got kicked out.

FINAL AN: Something else with that is that

AF: yeah exactly like you’re looking the stair sets do tricks down ledges benches curbs to grind on banks on the side of buildings like weird sculptural bit of architecture always fun too and I also really like those little bits of space where the ground comes up to meet the height of a curb because you, they can really sort of launch you, and hand rails are also a big one but I’m not quite at that level yet.

Also, you’re also focusing on things like surface textures and densities and like the shape and form of the architecture. The slope of the ground that could completely mess with your speed these are all things you feel through the mediator of the skateboard.

AN: But like this use of space is in a real opposition towards designed for and maybe these different users faced by different people can cause conflict? You know like what we’ve been out again last couple of days, there’s something that feels innately wrong about being in a public space and using it for skateboarding. You feel looked at and you feel like you’re not prescribing to like the right way of doing it and you experience that often?

AF: yeah you get kicked out of spots all the time like in Melbourne I feel like I kind of know where to go now and went to go there but when I’m when I’m in another area I might not understand what forces are controlling different areas yet. So, in the South side, like St Kilda, South Yarra, it kind of feels like in some places you just get a window about two minutes in each spot before you get kicked out especially if you’re being really brave with what you choose to skate.

I think that active skateboarding in my city sort of gave me more awareness of how the city is controlled and owned and how the idea of public space doesn’t really include everyone. I start think of Melbourne is so split up into different portions of space or managed differently with some allowing you to skate and others not.

cities are constantly changing and developing and the powers that control certain land are constantly changing hands. Of course, people are aware that its changing because it changes how they experience it but do you think the skateboarding in your Melbourne made you notice those changes more, like in a different way?

AN: So these little indent so let’s hope that the counselors supposedly spent a lot of money installing their examples of skate stoppers right

AF: yeah there one of these subtle forms of hostile architecture that once you know what they are you’ll start seeing them everywhere they’re supposed to stop Marks and scratches from skaters but they’re also designed to keep the skaters themselves away from the area as a form of social control.

this space and felt like I hit the absolute jackpot ‘cause there are all these layers AN: it’s funny how isolating they are in and layers of wax on all the walls which that they’re aimed a very specific group meant that generations of skaters had of people. I guess maybe we’ll Bachelor come of Architecture Studio - YIMBY already used it. back, mostly to the basis of that social control idea in a minute, but first, I’m AN: That’s just is so sick to me. I 2,2019 love the interested in what kinds of scratches and Semester history of it and like those layers of wax marks that skating can make that you’re as if other skaters have like painted that talking about? mark into that space over and over again Why is that space so good for skating?

AF: Yeah, small wheel marks on walls where people form waves and you get AF: Well, this section of it was literally kind of blackened edges from people just a void, like a 5 meter deep portion of doing grinds and this is actually like another

SKATER

BALLER

ARTIST

AF: yeah I think in a different way for sure like I really remember when they demolished the old 60s post office in South Preston and for ages I’d thought of that building as really ugly and imposing but it was actually such a good skate spot. When they demolished it and built a new one across the tram stop that became the go to spot for a while because of all the stairs and seating that it had.

But I remember skating at the new post office area pretty soon after its built and looking across the stop watching the old one getting demolished, and it felt like a really big deal and a lot of people were happy to see it go but it was kind of ashamed to lose it. But at the same time, it feels like the city keeps presenting new obstacles for you AN: And when you’re saying obstacles are you talking about the features of the city’s architecture like what’s or obstacles were you finding as a skater in Melbourne ?

AF: well in the new passport office because a lot of people started skating at the council spent thousands as one like angry passerby once told me on replacing the entire top level of all the ledges in the space with ones that had indent to sell skateboarders doing grinds on them.

AN: That’s a good a good little reference there. An angry passes by reliable sources of knowledge.

AF: Fact check!

part of the skater’s eye, not only are you space that is filled with loot and rubbish looking to think about how you could and the rest is this really weird multi levskate a spot but you’re also looking to el area with all these small concrete walls see the marks of other skaters. So when I of about two feet high which separate was about 13 I went down this side street and move between different levels chanaround the back of this charity shop on neling rainwater for drainage. And, to North Road in Thornbury looking for add, the ground is really smooth, perfect somewhere to skate, the row of buildings for skating and my friends and I started with the charity shop dug into a hill so spending ALEKS NAUMOSKI // LEVEL 4quite a lot of time there. you can access the roofs from the back where the charity shop had their donation drop off point and I walked into

AN: Right...

AF: So if you’ve got something new built, it’s so exciting because everyone’s trying to sort of test the limits of the of the space and see what tricks they can get and it becomes like filming is very important in that and social media becomes quite fun in that dialogue with the space. It is a great way of sharing the space, as there is no real known retreat or place for skaters. And also the fact that once something’s just been built, they might not have had time to properly put skate stoppers in yet or have the security implemented and stuff like that. So, you have this sort of window of opportunity, which is really exciting.

And you know, I’d be really excited to find a spot that I felt like no one else had found before but at the same time it was so exciting to know that other people had skated it was almost like an affirmation of the skaters eye, of being a skater, that was like yes people actually skate this...my people...

AF: Yeah. Of course. So forums are really interesting ‘cause when I first started skating in Northcote, when I first started looking for street sports, I searched online like skate sports Melbourne North AN: yeah yeah

AN: I’d be fascinated to see when skate parks became apart of playground architecture, where is the first point, where we start ,you know, if you’re building a play park in a development you kind of pair that with a skate park, as it often happens. And when we look back at a lot of skate parks as kind of new labor, early 2000s era, I think you’ve identified those moments to me and you kind of touched on the idea of the skatepark removing skateboarders from the actual city and removing them from architecture, keeping their own defined space. So, I guess these appropriations are pretty powerful, what you’re talking about, this charity shop, this spot Thornbury, they’re

AF: yeah, you might pay for excess when you go in there might a little shop there.

AN: And let’s say you would break your leg and then had to follow up an insurance claim, AF: Yeah AN: Right so then the public office kind of took on that burden right like most outdoor skate parks at least now run by local councils?

AF: yeah AN: they’ve kind of taken on their burden because it’s easier for them to get both planning permission and insurance I guess AF: yeah so, I mean it’s such a kind of economically controlled thing, so therefore like street skating is kind of inherently anti capitalistic.

I remember this one time, it was rubbish day and everyone in the council was throwing junk out, like every nature strip had something large, or smooth or that you could step up on or grind. And we found this awesome spot, that had a curb, a driveway lip, and an old fridge, and I remember everyone loved this spot so much, that in a couple of days, for those evenings, people from other suburbs would come and skate us, and we actually ended up making it a post on Facebook, an event. But, the foreman from the offices across the street was so mad, after hours of threatening us, that he called the police and evicted us from the spot, without any sense or knowledge of which jurisdiction we were supposedly breaking.

AN: Such a big deal yeah?

AF: yeah yeah yeah, haha.

AN: There’s a big event just because there’s a fridge and everyone can skate on it, and its perfect!

When I hear that I think about like the land artists of the 60s and 70s in response to that like Walter De Maria and he wrote about his art as a way of making non meaningful spaces meaningful with really simple physical interventions and it sounds like skating does the same thing but with an action - the action of skating can make a non meaningful space into something really affecting an important element. I’m so fascinated by the idea of the temporality to this fridge that just appeared one day and everyone skates this new intervention in the space until it disappears again just like that it makes all the minor changes to city really like meaningful and impactful.

But skating shouldn’t and doesn’t exclusively happen in these forgotten space, it takes part in the life of the city too.

2. wax and wheel marks 3. grind and wheel scars

AF: ...and there was this big guide online called the nowhere guide and it’s forum, like you know late 2000s and I went on there and it was like post from sort of 2007 to 2009 kind of time, and its people saying like “Oh yeah there’s this spot”... and some of the spots I recognized then, they’re still there and others are totally gone and I found out like they used to be a skate shop near where I lived.. “oh wow”.

So it’s not this feeling that things are always getting better like there was in the past it might have been more of a sort of common thing in the area. Sometimes I look back and remember older bits of architecture that are no longer there that would’ve been so fun to skate, well then maybe now would be more able to skate. But looking on that guide was so amazing ‘cause I just thought what about these spaces now and it’s like such a window to the past.

AN: So, would a park be built like by private developers yeah so would you pay for access?

1. skater- Alec Ferguson (Fergo) STUDIO: YIMBY

AN: Sounds like there is a real attachment to this reading of the city and what it means to be a skater or known that you skate. Is there a central to this community, how does everyone meet up and choose a spot?

AF: yeah, well I actually recently discovered that there were so many more skate parks in the 70s and early 80s, cause people thought it was like a real opportunity to make loads of money alright then there were all these issues with insurance and people suing each other yeah so many of them were demolished and that’s when street skating really became a thing there was a huge boom in skateboarding back then , but its lost so much popularity afterwards.

And maybe that’s because of the isolation faced by skaters , with the crumble of skateparks, and the stigma associated with the culture as being reckless and menacing to society, that skating is sort of blurred, and therefore needs its own special ability to be created.

OF A PERSON’S

AF: Well, I suppose it’s really hard to ever say you are the first person skate something... unless it’s just been built.

using it for the purpose that it wasn’t intended for, to me is pretty radical.

space, event, movement of a skater

AN: It sounds like one of those weird out of the way like meaningless spaces and maybe that’s part of why it’s so good for skating and good for you and your friends as only you know about it and therefore it has a meaning to you - to be the first person is that the same for skaters?

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SKATING WITH PUBLIC SPACES ARE THEY PUBLIC? Using architecture for skateboarding is in opposition to the purposes that it was designed for, and these opposing uses of space often cause conflict. Alec says that frequently getting kicked out of skate spots gives another angle of awareness on how the city is controlled and owned, and how the idea of public space doesn’t truly include everyone.

Our city is filled ambiguous spaces in which who has ownership and control is uncertain, so they become almost noone’s responsibility. Skaters often make use of these spaces as street spots, or as sites for their own DIY skateparks.

These often involve simple skate features made out of poured concrete or wood, on disused land.

Alec says that a huge part of the creativity of skateboarding is in reappropriating architecture that’s designed for a certain use, in critiquing the elements of control and categorisation in the design of our cities, in seeing the city in a different, subversive way. Skateboarder and Professor of Architecture and Urban Culture, Iain Borden draws upon the sociologist Thomas S. Hendricks to describe these kinds of activities of play as ‘laboratories of the possible’.

But the fact is, skateboarding as an act is resisted by many in the city, particularly those with the power to shape public spaces. For skating to be facilitated,

do other users have to be excluded?

Skateboarding may well be a vehicle to a more effective form of public space, but to reach it, skaters and skate collectives will have to reach out to and understand the people who are most resistant to them.

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But there’s one final thought: Skateboarding has such a strong cultural identity: formed around the very idea of being in and appropriating spaces it’s not supposed to be in; of a radical use of architecture. By engaging and compromising with the people in power, to try to insert skateboarding into the local culture of a place, does skateboarding lose some its own defining culture?

ALEKSANDAR NAUMOSKI

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G AS A RESULT

Sketch of a local skate bowl. Drawing its geometry to understand its dynamic properties of movement and direction.

STUDIO: YIMBY

PORTFOLIO. JOUR NAL . ARCHIVE

“Activate section” of an early itteration proposition for a community center focusing on the interaction and behaviours within the setting.

STUDIO: YIMBY 840

1000

8500

8200

L3 4870

L2 2680

BABE!!!

Check out this sweet transition..

yeah, next weeks lesson we need to work on their footwork and timing... get them to move with the rythm

2200

Ryder, can you stop showing off for once ... ehhhhhhh...

450

750

320 6200

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815

QUIRED MEANIN

“PRACTICE OF LIVELY SPACE...

ARCHITECTURE THAT OPENS ITS EYES AND STRAINS ITS EARS TO THIS DIVERSITY OF SPATIAL PRACTICE, ENCOURAGING AND ASSISTING IT; THIS IS THE REDISCOVERY OF ARCHITECTURE ITSELF” 4860

we should have just got the s helves from ikea....

(Atelier Bow Wow).

2750

Hey Playa, what u think?

Looks sweet, man. love the editing, specially those low angle moving shots.

320

450

905 750

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identity is created

both internally in

there is no place without self,

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the mind,

CE THAT HAS AC

and through

the body’s interaction with the outside world-

and no self without place.

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It is from the first moment of arrival in a destination that we recognise and coalesce with a place. The arrival entails a transit from one zone to another, and it occurs by crossing a threshold. However, arriving has a meaning only if the place has a strong identity of its own.

This is now the case for Parkville and its people. The project reveals the suburbs true attitude toward street culture which confesses the desires of Parkvilles youth to take place, and have a setting which represents their identity.

The true encounter with this place occurs when one enters the realm of street projected by the phenomenon of its atmosphere. At that point expectations are satisfied, both in terms of discovery and in terms of recognition, because waiting means expecting something with which, oddly, one is already familiar- and Parkville can not wait no longer.

The project is about meaningful interventions, it is not entirely about agreement, but rather an array of possibilities that opens out, permitting choices, therefore comprising expression of freedom. Its place, represents the multiplicity of street culture- skaters, dancers, urban dwellers within the city, offers greater possibilities than does the surrounding environment, in which they have not yet been expressed.

Its identity is inevitably unified. In an encounter with a place, unity makes itself present first and foremost in the form of an “atmosphere.” It is a commonplace that the finest places are generally characterized by an ineffable atmosphere that emanates from every element, and that such a place therefore has a personality all its own, a soul, as it were. We may say that the encounter is a meeting place of diversities- of moments, exchanges and action. Agreement requires a place in which the meeting place becomes community, and community means sharing a certain number of things in common and allowing them to take place)

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Post Occupancy Render - Independent artist and dance studios populated with action and life.

STUDIO: YIMBY

GRAPHICAL SPA

A place that has no figural markings has a weak identity; and orientation and identification are rendered impossible. These markings serve as destinations, even when they are not the objects of lengthy journeys. This also shows that the use of a place cannot be reduced to the sum of its functions.

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PLACE IS A GEO 61

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POSTBeyond a presence, architecture becomes the stage set and context for our lives.

In creating a destination, a place, architecture can help bring comfort to people’s lives, and hints that the only way to do so is to considerately and carefully identify with who the architecture is for.

The use of a place is directed toward the totality; to “need”, “know, “be able” and “enjoy”. Indeed, we do not merely make use of social institutions, such as buildings, schools, and churches-we use the place itself to establish an existential point of support.

However, the moments and aspects of the use of a place are reassumed in the connection with whom the place is for. So far, the role of the architecture being discussed is specifically down to telling a story of its people and in creating a “destination” for such a story to take place.

And when we dwell, tarry, linger or abide in such place there are also issues of ownership, identity (or alienation), acceptance of change, accumulation (or loss) of belief and practice (habit). Sometimes place is specifically resonant, modulated, or otherwise reserved for others, that all cannot truly experience it, as our experience of place is affected by our comprehension.

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Can architecture be a meta-narrative of place that conditions everyone to think and judge in the same way?

Of course not.

However, it is our role as the architect to make narratives and associations that reflect a community’s aspirations and purpose through the communication of space.

“Architecture is a language. When you are very good, you can be a poet”

RE FLEC TIONS -Ludwig Mies Van Der Rohe

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3 Comprehension

STUDIOS - YIMBY, led by Kate Woodman and Tess O’Meara - SPENCER 2 SPRING led by Alonso Gaxiola & Rafid Hai

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PHYSICAL SPACE

LIVING QUARTERS - PROJECT SEEMINGLY TRANSPARENT

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Plan - Understanding the devlopment of Spatial ambiguity and transparency through implied grid systems, navigational paths and voids at a range of scales.

STUDIO: LOOSE

As architects we firstly express this through plans.

As inhabitants we experience this through a room.

The architect manipulates space of many kinds in many ways. There is first the purely physical space, which can be imagined as the volume of air bounded by the walls, floor, and ceiling of a room.

This can be easily computed and expressed as so many cubic meters.

From within the visual, as we look toward the “bedroom” , the view is defined by the lacquered timber walls, the concrete floor, and the floating ceiling. All the surfaces are solid entities and suggest a clear sensation of confinement and protection; the physical space is evident.

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Physical space

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is evident in every piece of architectue

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Is where the communication of architecture starts to reveal itself. It is do do with space that is percieved or seen. Especially in a building with walls of glass, this perceptual space may extend well beyond the boundary of the glass and reveal readings of inside and outside, of occupantion and interaction, or one that may be impossible to quanitfy. It is the most obvious means that an architect can frame certain readings and communicate value, represting ideas that are recognizably derived from the surrounding life.

Framing view of the city providing context and experiential qualities of the space and its relation with place.

STUDIO: LOOSE

PERCEPTUAL SPACE

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Villa Savoye ribbon window, looking out into the gardens revealing that its space of habitation exists beyond the interior walls.

PRECEDENT - LE CORBUSIER, VILLA SAVOYE

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14/09/2019 investigation of the perceptual qualities of The Commons

GROUP INCLUSION The space is not confined and limited visual by solid walls but bordered using framing and glass. It created an open environment that extends past a table and wall and out onto the street, however manages to still be its own entity without isolating its users. The space encourages visual intera tion between its users and outside world.

Rather than having a balustrade and making the balconies appear as an addition blocked onto the facade, the Commons building use chains and structure to create a boundary.

It is a consistent language that intercepts through the balcony slabs, ground to roof, projecting a thought that that wall has despaired and all is left if its structural, creating an opening and revealing its internal happenings. This to me is an appealing strategy to opening the project and revealing its use and program to the outside audience.

BUILDING ENTRY The Commons does not have an entry that is grand, impressive or particularly striking.

It does not need to be nor should it be, it is a private apartment building, and thus is primarily for its residence, its key users.

However, the entrance is not only boxed into a interior space but, for the commons, it includes its curb appeal and social program out front. Its exterior shared courtyard space is inviting. The space is an attractive and engaging setting which entices an outsider to consider the space and become drawn to entering and experiencing the space. This diagram attempts to capture an outsiders sense of wonder and how interaction and snippets of program may intrigue such a user to enter.

The Commons - site visit - STUDIO YIMBY

ACTIVATED BOUNDARY

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The plaze is an installation of Melbournes materiality is intended to merge the student area and public galleries and let visitors stroll through the different treatments and attempt to identify the location of the materiality as an engaging archive experience.

STUDIO: SPENCER 2 SPRING

Activated Section - Reveals a connection to its neighbouring figurative arhcitypes - the DCM Cheese stick and the Citylink Highway, an approach of relating to its context and site agencies.

STUDIO: YIMBY

THE FIGURATIVE The ideas of life are also made recognisable through form and the figurative qualities of our work.This post-modernist approach attempts to articulate meaning in architecture, taking “known” and familiar forms into use. It creates a satisfactory reference to our everyday world of things.

More or less representing a comprehensive understanding of the elements that constitute our society by means of imageable figures.

The aim of embedding a figurative reading into the design of our spaces, is to recover and evoke a connection to our society through the dimensions of memory, creating an association by the recognisable. The purpose is to make architecture intelligible and thereby human in the true sense of the word. And what is truly human is not the materials or the forms as such, but more the figures, the archetypes, and their interpretations, because they keep and explain our existence. They are a symbol of our society at each individual given moment of history, acting as timestamps.

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Together the figures constitute a language, which, if it is used with understanding, may make our environment meaningful. And meaning is the primary human need, it is what we all seek to understand.

It is a manifestation of being in space and, furthermore, that its identity is determined by its mode of standing, extending, compressing, rising, degrading, opening, and closing. They have to be understood as manifestations of dwelling and explained in terms of built form and organized space.These archetypes are the essences of architecture, corresponding to the names of spoken language.

To not clutter our architecture and thus confound our meaning of architecture, it is important to layer our messages. This may call for the abstraction of literal qualities into more of an expressive paradigm that captures their essence, their behaviour and intelligence to successfully present space.

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STUDIO: SPENCER 2 SPRING

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PRECEDENT STUDY - BUILDING 8 - EDMOND & CORRIGAN

“The best buildings talk to a whole range of people in many different ways.

Buildings are not value free.

They speak to us and the community.”

(Peter Corrigan, 2014).

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Corrigan and Edmond further showcased their post-modernist architectural deviation through the RMIT building 8.

The architecture firm did so by construing narratives therein the building with the intention to construct cultural-historical contexts between the building and its society. Edmond and Corrigan particularly struck the Postmodernist era of architecture in Australia with their RMIT Building 8, through staging narratives within their building to form a relation with society’s cultural and historical contexts.

The carnivalesque decoration, expressionist polychromy and monumental crooked contours are storytelling devices, referring to urban culture, and ranging from the iconography of football to that of subways. (Hamann, C, Van Schaik,L. Mitsogianni, V. & Callister, W.) The programs mercurial elevations, and labyrinthian constellation of stairs, escalators, and Byzantine corridor (FIGURE 12.1, 12.2 & 12.3) patterns further enrich such an experience, and unveils how Edmond and Corrigan designed the building with consideration of the building’s context by borrowing from local history and at the same time have its own unique look for a college building (Van Acker, W It’s theatrical flair and storytelling evoked meaning which allowed Edmond and Corrigan to herald new ideas on through an inclusive approach, which at the time was rare in Australian Architecture.

Expressionist tendencies of theatrical flair and storytelling evoked meaning within Edmond and Corrigan’s practice.

Their considertation and abstraction of cultural-historical context provided an inclusive reading of place.

The carnivalesque decoration, expressionist polychromy and monumental crooked contours of Building 8.

Building 8 RMIT - Figurative quaties of interior spaces ranging from the iconography of football to that of subways. Story telling devices that refer to urban culture.

PRECEDENT; EDMOND AND CORRIGAN BUILDING 8 RMIT.

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01. 01 DOCUMENTATION - DOORS

01. 02 DOCUMENTATION - ENVELOPE

01. 03 DOCUMENTATION - CANOPY

01. 04 DOCUMENTATION - MATERIALS

Our door of investigation consists of three doors which make up a collection to the entrance of the Old treasury building.

They are independent on their own however rely on each other for complete operation. These doors contribute to creating a confined narrowing space that regulates the traffic into the building and the systems of operation and their means of operation to correctly facilitate a path for its users. It is a threshold which embraces the old and utilizes the new, in terms of language; component 1 and 2 follow the traditional rules of the buildings envelope containing ornamental articles and detail and technology; addition such as the component 3 and operating mechanism allow the space to effectively operate.

Hiding in punch lane there is a building made from negative space between its two existing neighbours and shows off a key front envelope. The building harvest a strong scaffold language that delicately occupies the void within. We were interested in how a scaffold language can have two completely different effects on a space and its envelope , unlike building/ renovation scaffolding. Our documented envelope carefully consider its aesthetic and how it is perceived- the scaffolding is not a temporary program, but rather the first primary language in this setting.

A neat tent like structure rests lightly above Spring Street overlooking the streets busy corporate nature and traditional architecture. The canopy is simple in language being made up of a steel frame that is capped off with an arching top. The tartan pattern of the canopy surface allows for an operable folding panel system that is also permeable – the neon shades of pink, red, white and yellow glazing achieving a free-flowing aesthetic. The varying shades of panels enhance the texture of the rectangular pattern, to signify the stages of its operation in opening, each shade provides an interesting hue to the space transforming the environment at each stage, and when completely closed creating a gradient of hues reflecting off the space below.

The materials of sandstone, freestone and bluestone are commonnly used in the clasical buildings near Spring St. These materials are thick and heavy and are usually layed ontop of bluestone foundations. Some materials are maintained and manicured as if they were set yesterday, and others are left to age with time and reveal their treatment. By using different techniques of rustication, Spring St explores sclupter within architecture by detailing materialiatity. Rustication is a range of masonry techniques used in classical architecture giving visible surfaces a finish texture that contrasts in with smooth, squared-block masonry called ashlar. The visible face of each individual block is cut back around the edges to make its size and placing very clear.

26/03/2020 /// Spring St - Siglo Bar

02/04/2020 //// Spring St - Parliament House

18/03/2020 // Punch Ln - Sunda

In investigating their operation as individual components, we found that components 1+ 2 are static, being completely open most of the time, and heavily reliant on manual / user operationand on each other to be set in an open position. The third component is autonomous, only operating its sliding mechanism when it detects user motion.

10/03/2020 / Spring St - Old Treasury Building

1 - PRIMARY ENVELOPE DOOR 2 - FUNCTIONING ENVOLOPE DOOR 3 - AUTOMATIC MOTION SENSORED DOOR

3

2

SLIDING DOOR GEAR

1

PNEUMATIC DOOR CLOSERS

HOOK AND EYE LATCH

TASK 8

PNEUMATIC DOOR CLOSERS

AXONOMETRIC

HOOK AND EYE LATCH

TASK 8

TASK 8

PLAN

SCALE 1:50

0

1

2

3

4

5

10

ELEVATION

SCALE 1:50

EXPLODED AXONOMETRIC 0

1

2

3

4

5

10

TASK 8

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TOOL OF MAKING ARCHITECTURE

03.

THE DIAGRAM Diagrams provide an abstract model of materiality. A diagram can be derived from any dynamic system at any scale. It can be mapped as a gradient field that can be abstracted.

What emerges is a diagram of relationships, of operation and interaction, not scale. The diagram becomes a field of relationships awaiting a scale and materialuty. This elastic yet precise digram thus can acquire other material systems within architecture, such as behaviour, operation, use, time and space; and have the capacity to affect those systems in ways only specific to architecture.

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STUDIO: YIMBY FRONT OF STREET The Commons building shares an outdoor street curb social area with its neighboring building. Even though these spaces are outside and have no defining spacial boundary, they are understood as their own space. This is for two reasons: 1- its clear programmatic language through its furniture and use, 2- as it is elevated; the space sits on top of a floating platform that symbolises is disconnection from the street land and defines itself as a space.

BEHAVIOURAL SPACE The architect can also decisively shape behavioural space. This is how architecture preconditions our movement and use of a space, and thus our order of reading architecture. The architecture can establish conditions of space, such as compression, thresholds and voids from its archetypes, that dictate our behaviour to interact and inhabit a space in a particular way. Behavioural space can be imagined as a clearly defined room with four walls, a ceiling, and a floor—an easily calculated volume. But now picture a large hole that has been cut into the floor, with the opening covered by a cloth.

The physical space has not changed at all, but a person now must walk around the periphery of the room instead of diagonally across it. The behavioral space has been changed.

SECTION B SECTION- The shared degradable plaza evolves and advocates for the discovery and reading of space to be thoughfully inhabitated.

STUDIO: SPENCER 2 SPRING

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SECTION B

The perimeter library wall compresses into the heart ofwall thecompresslibrary and The perimeter library student hub providing immense es into the heart of the an library and threshold that contains sense of student hub providing an aimmense movementthat andcontains intrigue by the street. threshold a sense of The library gives in and movement and intrigue by the playfully street. opens to the footpath with cavities The library gives in and playfully that breach opens to the through footpath the withcompresscavities ing wall.

It opens to the where that breach through the street compressstudents library space may ing wall. Itwithin opensthe to the street where exchange books material with students within the and library space may their streetbooks neighbours, providing for exchange and material with an experience of sharing knowledge their street neighbours, providing for and educatingofthe city users of the an experience sharing knowledge learning and purpose the archive. and educating the cityof users of the learning and purpose of the archive.

STUDIO: SPENCER 2 SPRING

DIAGRAM - COMPRESSING GALLERY WALLS AND NEGATIVE GALLERY SPACE

CALLOUT INVESTIGATIONSPACE SPACE--COMPRESSING COMPRESSINGWALL WALL CALLOUT -- INVESTIGATION

DIAGRAM - COMPRESSING DIAGRAM - COMPRESSING WALLWALL

The perimeter library wall compresses into the heart of the library and student hub providing an immenseALEK threshold that contains ALSAN E K SAN D AR NM AU M OI SK I a sense of movement and DAR N AU O SK 2in DR AW GS 2. 2 2.

DR AWIN GIN Splayfully intrigue by the street. The library gives and opens to the footpath with cavities that breach through the compressing wall. It opens to the street where students within the library space may exchange books and material with their street neighbours, providing for an experience of sharing knowledge and educating the city users of the learning and purpose of the archive.

CALLOUT - INVESTIGATION SPACE - GALLERY TOWER

DIAGRAM - COMPRESSING GALLERY WALLS AND NEGATIVE GALLERY SPACE

CALLOUT - INVESTIGATION SPACE - GALLERY TOWER

Dispersed in a deconstructed language the gallery spaces create the need for negotiation between compressed and negative spaces. These negative pockets of archived works, are taken from the investigations of the entry to the Old Treasury Building- a vestibule of linking doors that resulted in threshold of negative space and intrigue of what is in those hidden spaces. The tower internals encourages its users to prevail past these tight spaces of tension by The tower internals encourages its users to prevail past these tight of tenteasing users thatspaces there is more to see on the other side. These negative pockets sion by teasing users that there is more to on the otherworks side. These negative ofsee archived can be seen at the narrowest moments and only through the pockets of archived works can be seen at the narrowest moments and only through lens of spring streets windows. the lens of spring streets windows.

Dispersed in a deconstructed language the gallery spaces create the need for negotiation between compressed and negative spaces. These negative pockets of archived works, are taken from the investigations of the entry to the Old Treasury Building- a vestibule of linking doors that resulted in threshold of negative space and intrigue of what is in those hidden spaces.

Dispersed in a deconstructed language the gallery spaces create the need for negotiation between compressed and negative spaces. These negative pockets of archived works, are taken from the investigations of the entry to the Old Treasury Building- a vestibule of linking doors that resulted in threshold of negative space and intrigue of what is in those hidden spaces.

The tower internals encourages its users to prevail past these tight spaces of tension by teasing users that there is more to see on the other side. These negative pockets of archived works can be seen at the narrowest moments and only through the lens of spring streets windows. streets windows.

streets windows.

DIAGRAM - DEGRADABLE THEATER SPACES

AL EKSAND AR NAUM OSKI 2.2 D RAW INGS The shared degradable sub plaza speaks to the rusticated masonry of Spring st and the degradable nature of its ageing stones. This has translated to an environment of everchanging space open to different appropriations. This reimagination evokes both a poetic ideal and the irrevocable condition of the passage of time in architecture; an installation whose presence in space is intended to let visitors playfully meander through this promenade as an engaging architectural experience.

DIAGRAM - DEGRADABLE THEATER SPACES

The shared degradable sub plaza speaks to the rusticated masonry of Spring st and the degradable nature of its ageing stones. This has translated to an environThe shared degradable sub plaza ment of everchanging space open to different appropriations.

This reimagination speaks to the rusticated masonry of Spring st and the degradable evokes both a poetic ideal and the irrevocable condition the passage of nature of its ageingof stones.

This has translated to an environment time in architecture; an installation whose presence in space is to let of everchanging space openintended to different appropriations. This revisitors playfully meander through this promenade asevokes an engaging imagination both a poetic architectural ideal and the irrevocable condiALEK SAN DAR experience. tion of the passage of time in architecture; an installation whose presence in space is intended to let visitors playfully meander through this promenade as an engaging architectural experience.

N AU M O SK I 2. 2 DR AWIN G S

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Space can determine or suggest patterns of behavior by its very configuration, regardless of barriers or hindrances. We speak of directional space, as distinct from nondirectional space. The project to the right, an archieve for the city of Melbourne, is a collection of gallery spaces stiched together by investigations and operations of architecture built through the language of bridges and paths.

There is no one obvious compelling path through the building but, rather, a variety from which to choose.

STUDIO: SPENSER 2 SPRING

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DIRECTION NON-DIRE SPACE

In contrast, the later development of the project contains clear and direct passages- as this example of the emphatic subway tunnel directs movement toward the single focus—the light at the end.

This gravitational pull seems especially strong with its superimposed and emphasized horizontal lines and movement from snaking path edges and the tactile floor indicators (that can be found at Parliament Station)- creating a strong visual focus on the relief in the distance.

NAL OR ECTIONAL

STUDIO: YIMBY

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POSTOur task, as architects, is therefore twofold: first, to understand the existential basis of place and society and, second, to explain how the existential content is sustained and communicated by the language of architecture.

Comprehension renders possible a meaningful use of place. The comprehension of place then provides clarification of its cohesiveness. However, as the world changes so does our comprehrension of it and we can lose sight of cohesiveness.

As the world changes, so do our buildings and our understanding of them, and in time they eventually become outdated and begin to fail in serving current needs.

They are no longer appropriated by use and perception.

Places that have served their pervious life or have become “redundent” call for transformation in order to become absorbed in human action again. According to Le Corbusier, architecture must open itself to any number of human actions. In his scenario, a well designed room either disappears in human action immediately or is so loose that it clearly enables individuals to mould it in multiple ways, as per their influence.

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“We pick up a book or a pen. In this mechanical, discrete, silent, attentive comfort [instinctive & commanding], there is [visual of] a very fine painting on the wall. Or else, our movements may take on a new assurance and precision among [different] walls whose proportions make us happy, and whose colors stimulate us.”

(Le Corbusier).

RE FLEC TIONS

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Transformation STUDIO - LOOSE led by Graham Crist + Tom Muratore

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This story revolves around the question of reshaping existing footprints with the task redesign. It explores the mix of resources, sites and events in an attempt to radically transform tired ways of ‘re-building’. This story works across sites of different found city types - tower and shed - with a single intent. It attempts to unpack how different places can be designed for future transformation by acknowledging the need for appropriation (so as to facilitate currently desired programs - whilst also maintaining the thoughtfulness for ‘how best to allow another (future) program to take place’).

It begins to define place as more relative to the future - to an understanding of ‘moment and function”, and therefore, how successfully ‘function’ is achieved.This means the measure here in this story is how well and by what means does the architecture cater to future moments and their needs.

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IMPORTANT TO ACKNOWLEDGE THE DIFFERENT FORMS OF TRANSFORMATIONS IT HAS GONE THROUGH OVER TIME. IN ORDER TO MAKE A SUCCESSFUL INTERVENTION THE PAST MUST OVERLAP WITH WHAT EXISTS TODAY. 91 ALEKSANDAR NAUMOSKI PORTFOLIO. JOUR NAL . ARCHIVE 202 1

PRESERVATION

Important to acknowledge the different forms of transformations it has gone through over time. In order two make a successful intervention the past must overlap with what exists today.

ETERNITY The design in the mind of the architect belongs to an order of eternal

SOUL

ELEVATION AND PLAN STUDIO: LOOSE

The ETA site has an existing treatment that reads into the need to preserve this great architecture.

Firstly, the remaining footprint of the ETA building has an unapologetic rigidity to it - not just that it is heritage listed but also extraordinarily difficult to break.

Secondly, and more importantly, its sheer mass and grid patterning have cemented an identity to its location.

We must expand on these languages the means of containing the curtain wall is a development of the curtain wall itself -- providing another skin to its body playing on the scale and patterning of the frame and its steel qualities.

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Is it the main character of former ETA building, its structural steel and tinited glass panes or the current industrial sprawl or its neighbouring residential claim. Allow the past to thrive by permitting its entry into the future.

The spirit in the architure lies in the human details. Monumental cultural constructions.

The ongoing relationship between human and materiality.

Its soul is where pressence is infused.

PERMANANT The rites of passage, architecutural identity of the site, are no longer intermittent - they have become permanent.

CONSTRUCTION Every constrcution is a construction only when the unification of the elements in that way can be rationally justified

REMONTAGE

The critical act will consist of a recomposition of fragments once they are historicized: on their “remontage” EMPTY Emptiness plays in the manner of a seekingprojecting, instituting of place. The empty a glass means: to gather the glass, which can also have contained something, and now is being freed to contain something again.

MASS A system that preserves itself through sheer size or quantity.

COPIED the fine line between inspired and copied appreciating the logic and wisdom of a project, demonstrating it through adaptation, homage, development and assimulation.

DISLOCATION The stylistic innovation of Moriyama House, is to some extent at least, a dislocation in the metaphysics of its architecture. The new of the site, the introduction of program is nessersarily a dislocation.

INTERVENTION

The architecture must intrsect in order for a successful intervention, be it social or cultural or experimential.

The life of the architecture rearely lasts a lifetime, and thus so that it can last, its is to be revived and preserved in order to retain the spirtit and experience the space has created over the space of time it has existed.

PROXIMITY As long as two buildings share the same space or are in each other’s proximity, they have a relationship. It’s not true to believe that a relationship depends on each enitity being like one another, or one thing has to adjust for the other.

The simple proximity - the simple juxtaposition of things - creates a relationship that is there, almost independent of the mutual will of their creators.

REMNANT

A part or quantity that is left after the greater part has been used, removed, or destroyed. The leftover wall is an endangered remnant of the current Amart langauge and ETA site development.

SURGERY through the use of operative manual and instrumental techniques to investigate or treat a condition. To help improve bodily function, appearance, or to repair unwanted ruptured areas.

CUT sectional treatment, to reveal, to frame.

WINDOW Does a window form part of the inside of abuilding or not? How we see the world.

We see it from the outside , and at the same time we only have our verison of it at that moment.

REINCARNATION To die and come back again. Better than exploding and falling, I think.

Therefore, there must be a consideration of its future by acknowledging it past with equal measure.

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PRESERVATION

Important to acknowledge the different forms of transformations it has gone through over time. In order two make a successful intervention the past must overlap with what exists today.

ETERNITY The design in the mind of the architect belongs to an order of eternal

SOUL

Is it the main character of former ETA building, its structural steel and tinited glass panes or the current industrial sprawl or its neighbouring residential claim. Allow the past to thrive by permitting its entry into the future.

The spirit in the architure lies in the human details. Monumental cultural constructions.

The ongoing relationship between human and materiality.

Its soul is where pressence is infused.

PERMANANT The rites of passage, architecutural identity of the site, are no longer intermittent - they have become permanent.

CONSTRUCTION Every constrcution is a construction only when the unification of the elements in that way can be rationally justified

REMONTAGE

94

The critical act will consist of a recomposition of fragments once they are historicized: on their “remontage” EMPTY Emptiness plays in the manner of a seekingprojecting, instituting of place. The empty a glass means: to gather the glass, which can also have contained something, and now is being freed to contain something again.

MASS A system that preserves itself through sheer size or quantity.

ALEKSANDAR NAUMOSKI

PORTFOLIO. JOUR NAL . ARCHIVE 202 1

COPIED the fine line between inspired and copied appreciating the logic and wisdom of a project, demonstrating it through adaptation, homage, development and assimulation.

DISLOCATION The stylistic innovation of Moriyama House, is to some extent at least, a dislocation in the metaphysics of its architecture. The new of the site, the introduction of program is nessersarily a dislocation.

INTERVENTION

The architecture must intrsect in order for a successful intervention, be it social or cultural or experimential.

The life of the architecture rearely lasts a lifetime, and thus so that it can last, its is to be revived and preserved in order to retain the spirtit and experience the space has created over the space of time it has existed.

PROXIMITY As long as two buildings share the same space or are in each other’s proximity, they have a relationship. It’s not true to believe that a relationship depends on each enitity being like one another, or one thing has to adjust for the other.

The simple proximity - the simple juxtaposition of things - creates a relationship that is there, almost independent of the mutual will of their creators.

REMNANT

A part or quantity that is left after the greater part has been used, removed, or destroyed. The leftover wall is an endangered remnant of the current Amart langauge and ETA site development.

SURGERY through the use of operative manual and instrumental techniques to investigate or treat a condition. To help improve bodily function, appearance, or to repair unwanted ruptured areas.

CUT sectional treatment, to reveal, to frame.

WINDOW Does a window form part of the inside of abuilding or not? How we see the world.

We see it from the outside , and at the same time we only have our verison of it at that moment.

REINCARNATION To die and come back again. Better than exploding and falling, I think.

Close up elevation - Within the enormous envelope of the existing building, the different programs can be established almost freely so that the buildings envelope plays its own role in the life of the city and openly answer questions with its transparency.

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architecture that only exists in the mind, architecture composed of sensations and perception, but also memory and imagination.

Film Precedent Wong Kar Wai - 2046 Wongs construction of spatial qaulities evokes a sense of eroticism through tactile and sensous environement, filled with textures and a stricking attention to surface.

Techniques of framing, through cracks and peep holes, the blurring of interior and exterir space, creates architecture that only exists in the mind, architecture composed of sensations and perception, but also memory and imagination.

The series of unusual visual distorions and spatial imbalances that Wongs filming techniques entail, display the porous and abstract nature of the film’s architectural settings and the manner in which voyeuristic desire is woven into the film.

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Mulholland drive derives intensity from a single,bubble like location. Lynch is “an engineer of atmosphere” who creates concentrated environments.

The fils are an experiment in mood manipulation and perception of space and happening, where conditions can be tweaked, variables changed, pressures hightened. The reoccurence of delineated areans where personal expression wrestles with spatial restriction. these stages are a response to the repression and concealment; they are perilous manifestos of the search for an unrestricted space.

An obsession with an ultimate framing device and space that both restricts and heightens its contents.

FILM ASSET: _ remembering 1MC NABB

& THE FACILITIES MANAGER

Film Precedent David Lynch - Mulholland Drive

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ods FActor

ted ETA Fo

vina of the reju Film shots ue.

Abb Aven cN M 1 d an LOOSE : IO D U ST

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y

TOOL OF MAKING ARCHITECTURE

04.

FILM The experience of architectural spaces and buildings is a kinaesthetic experience. We cannot feel the spatiality of places and things without moving through, around, behind, before, above, and below them, and a moving camera is an apparatus that captures the emotions of spaces through its motion.

Dealing with emotions and feeling is intrinsic to cinema: Robert Bresson once said that an encounter with a good film “arises feelings before intellect”. Film by nature is able to engender a sense of atmosphere, ambiance, milieu, and mood.

All of these concepts are very architectural, and from this perspective, the role of a filmmaker is very similar to what architects do: they both are involved in the business of creating atmosphere and ambiance.

Filmic elements such as temporality, movement, sound, montage, lighting, complexion, tone, texture, materiality, and above all, narrative and storytelling, reinforce the potential of film.

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1.clinic

2.energy

3.factory

4.farm

5.gallery

6.house

6.martket

7.office

9.school

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11.theater

12.

recycling and waste management

The idea of providing for flexible transformations enables us to design in a way that seeks to mediate between aspired permanence and inevitable change sustaining cultural meaning despite a short existence. Each of the 12 programs provide a fleeting experience and leave behind a memoryoffice, school, house, clinic, factory, farm, waste and recycling, energy and microgeneration, shop/market, theater, gallery or sports. No matter how large in scale or technical in operation, the space is to provide for its existence and development.

Activated Diagram - all 12 breifed programs within a single space. Testing the limits of that space.

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A HOUSE

• • • • • • •

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to dw to wo to ea to sle to wr to tal to dr

well ork at eep rite lk raw

• • • • • • • •

to learn to read to play to watch to make to wake to repeat...

... A FACTORY 103 ALEKSANDAR NAUMOSKI PORTFOLIO. JOUR NAL . ARCHIVE 202 1

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Floorplan of Moriyama House - disecting its user interaction and moments of inclusion and privacy- the blurring of divisions.

STUDIO: LOOSE

MORIYAMA HOUSE _ NISHIZAWASAN

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The project seeks equality between interior & exterior (Public and Private), an attempt to fade boundaries of division.

The dimensions and proportions between openings and solid bodies within the volums is related to the sensations and atmospheric relationships of the user with its surroundings and environments.

We, humans, belong to the same environment and therefore should not close ourselves. The moments of exposure through openings and frames are some of the most powerful. Ryue Nishizawa’s Moriyama House is deliberate in liberating the behaviour of humans through architecture- exalting the experience and considering it to be poetic.

1 Residence - captures of life within Moriyama House. IMAGES 1,2,3

IT IS ONLY THROUGH MOVEMENT THAT THE “LIVING A HOUSE EXPERIENCE OFRYUE P.E.NISHIZAWA T - MORIYAMA HOUSE PRITZKER PRIZE LAUREATE, RYUE NISHIZAWA THE OBJECT BEGINS”

The transparency of the project implies more than an optical characteristic. It impies a broader spatial order; a simultaneous perception of different spatial locations. Space does not only recede but fluctuate in a continuous activity.

(Petrie, 1974).

2

SEEMING TRANSPARENCY TRANSLATION - 1 MCNAB AV.

3 Diagram - Seemingly Transparent, Framed views and curation of intended moments.

STUDIO: LOOSE

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OBSERVATIO

to speculate in the realm of imagined space 108 ALEKSANDAR NAUMOSKI PORTFOLIO. JOUR NAL . ARCHIVE 202 1

INTER

ON

ability to visualise existing conditions

Rowe and Slutzky’s - Transparency - phenomenal transparency, that is, a conceptual transparency, a quality inherent in the spatial or volumetric organization - literal transparency, a type of perceptual transparency, is a quality inherent to substance or matter, such as in mesh screens, translucent walls

RPRETATION

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To provide for simultaneous perceptions of its spatial order through an empty nature and have the potential to abstract what it may hold as of its robustness.

Its composition. Its enormity. Its Simultaneity. Its Interpretation.

PROCESS:To break up these planes I have looked at Nishizawa’s circulation, in plan. My reading of the plan is that- the pathways serve as the primary program – as circulation and transitional programs into other planes, and the volumes/units serve as either important place of occupancy or translated into voids.

Volumes that are connected or have a relation with the chosen pathway are to be respected and treated with function and therefore remain as a plane footprint. Volumes that have no direct connection with the chosen pathway are to be treated as voids, and therefore excavated from the plane. The result has provided frames that reveal the fluctuating or oscillating planes and give a further spatial depth to the tower, allowing for multiple perceptions of the same spatial location and provoking thought of how a space can be repurposed according to the way it is seen.

STUDIO: LOOSE 110 ALEKSANDAR NAUMOSKI PORTFOLIO. JOUR NAL . ARCHIVE 202 1

-37.8033° S, 144.9000° E INTERSECTING, OVERLAPPING, INTERLOCKING… BUILDING UP INTO LARGER AND FLUCTUATING CONFIGURATIONS” (Rowe & Slutzky, 1982).

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OBSERVATIO

to speculate in the realm of imagined space 112 ALEKSANDAR NAUMOSKI PORTFOLIO. JOUR NAL . ARCHIVE 202 1

INTER

ON

ability to visualise existing conditions

RPRETATION

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Views from 1 Mc Nabb Avenue tower.

Programs include: (left to right) Kitchen/ Clinic, Farm, Office, Theater.

STUDIO: LOOSE

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“NO BOUNDARY BETWEEN

Views from 1 Mc Nabb Avenue tower.

Programs include: (left to right) House, Clinic/ Library STUDIO: LOOSE

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INSIDE AND OUTSIDE” (Ryue Nishizawa).

In Footscrary, it is enormous. Its largeness makes it empty, however its ‘emptiness’ is not ‘purposeless’. There is no deficiency. In the sculptural embodiment of the building, emptiness plays in the manner of a seeking-projecting instituting of places. It exists, and now the proposition is to reveal all and co- exist simultaneously in the same space and time. Within the enormous envelope of the building, the different programs can be established almost freely so that the buildings envelope plays its own role in the life of the city and openly answer questions with its transparency.

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Adapted to the ETA factory site, the proposal acknowledges the monumentality of the existing footprints; curtain wall, factory types and amart super structure, and introduces a system of sprawl into its existing super footprint. The introduced architecture utilises frontility and stratification, that is , the layering of frontal planes and columns, as a device to construct and articulate space in order to achieve phenomenal transparency and adaptability. The strategy aids in facilitating a shared proximity with the new and the old, by not imposing an end to the existing but ephemeral approach towards expanding its use and tightening its footprint.

Here buildings are no longer conceived as static objects, instead becoming places to stage change over short and long spans of time. The tectonics of the proposition will be telling of its mutable nature but also as a dynamic marker of place and time, showcasing the potential sustainable value in impermanence and the importance of the appropriation of space as forwarding our needs of society.

This loosening of space is to be achieved with the construction of lightweight materials and feasible technologies so as to be later reconfigured by everyman and woman to fulfil need and desire as it emerges.

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Within the sculptural embodiment of the building, emptiness plays in the manner of a seeking-projecting instituting of places.

“The empty a glass means: to gather the glass, which can also have contained something, and now is being freed to contain something again.” (Rem Koolaas).

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"THE MARK, OF A BUILDING WHICH IS TRULY ESTABLISHED IS THAT IT REMAINS INEFFECTIVE IN TWO DIMENSIONS...

PERSPECTIVE AND PHOTOGRAPHY.” 122 ALEKSANDAR NAUMOSKI PORTFOLIO. JOUR NAL . ARCHIVE 202 1

(Adolf Loos, 1910).

The result is a collection of spaces including ‘found’ , ‘open-ended’ ‘liminal’ and ‘threshold’. This offers to reveal ways in which formal spatial and temporal boundaries are regularly transgressed in the lived spaces of everyday life.

Views from ETA Foods Factory.

Programs include: (left to right) 1. House/ Gallery 2. Dwelling 3. School 4. Market Hall STUDIO: LOOSE 123 ALEKSANDAR NAUMOSKI PORTFOLIO. JOUR NAL . ARCHIVE 202 1

POSTfolio “Modernism is about space.

Postmodernism is about communicaiton.

You should do what turns you on.”

-Robert Venturi

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For future direction, my practice will continue to centre itself around ‘story telling’ via the curation of appropriate experience which considers current and near contexts. The architectural style in this folio is therefore fluid – based on cultural-historical contexts and narrative – and heavily guided by ‘cultural preservation’ – theatrical in style or otherwise – as true to context. When addressing the limitations of my work throughout this folio, it can at times be observed to lack distinction or a bold stylistic identity. This is because, sometimes, subtlety is more appropriate to the context if there has been or should be subtle shifts in cultural-historical narrative. However, there could be a sense of disconnect in works as there is no apparent feature or stylistic adornment. When we look at the works of post- modernist architects such as Louis Khan, Maggie Edmond and Peter Corrigan or Robert Venturi and Kengo Kuma .. and so on.. we can identify certain languages and stylictic developments of their practices. My works have dipped in and out of such distinctive characterisation as a result of adapting to various contexts. At this stage, my practice seeks to embody its surroundings rather than re-direct a narrative or impose new characterisation to a context of voices less heard. This reflection on my work has brought to light consideration of this for future works as we enter an age of many voices and regularly changing voices

RE FLEC TIONS

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