Studio 41_Final Journal_Chhay Kourng Lay

Reflective Journal Studio 41 Create|Curate: Sensory (Re)treat Tutor: Yui Uchimura

Name: Chhay Kourng Lay ID: 1224215 Date: 05/06/22

Contents.

Week 1| Introduction- Reconnecting The Hand & Mind Pg. 4-7 Week 2| Project 01- Craft & Concept

Pg. 8 - 22

Week 3A| Rooting Craft & Concept in Site

Pg. 23 - 27

Week 3B| Creed of the Craft Week 4A| Artefacts in the Landscape Week 4B| Celebration of Craft (Workshop)

Pg. 36 - 46

Pg. 47- 55

Week 5| Celebration of Temporary Residences Week 6| Mid Semester Presentation

Pg. 28 - 35

Pg. 56-63

Pg. 64 - 80

Week 7| Refine the Concept and Narrative Pg. 81 - 85 Non Teaching Week| Pg. 86 - 89 Week 8| Landscape Review

Pg. 90 - 101

Week 9| Desk & Class Crits

Pg. 102 - 109

Week 10| Interim Presentation

Pg. 101 - 124

Week 11| Standard and Lighting Desk Crits Pg. 125 - 133 Week 12| Desk Crits Pg. 134 - 141 Final Submission Pg. 142 - 161

Week 1.

Reconnecting the Hand & Mind

Task Brief This week, we were tasked to create a series of abstract physical diagrams that reflect self-introduction. Then, in the second half, we designed a lookout through the diagram, a physical representation of our peers.

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Self Introduction- Abstract Physical Diagrams

Q: Do you have a craft you partake in or interested in? Capture the aspect which appeals to you the most.

I enjoy lego crafting in my spare time, where I reuse old pieces of lego blocks to renovate something new.

For example, I have recently structured a new piece of the abstract model from lego, focusing on the atmosphere aspect.

Q: What is one of your favourite buildings or architects and why? Capture the quality that stands out to you the most.

I personally interested in Kengo Kuma’s contemporary architecture work. It is unique how he integrates the traditional Japanese joinery technique and the twenty-first-century structure. The abstract model is carved out, so each cardboard piece joins together.

Q: How would you describe yourself/personality as one core word?

It was a tricky question to describe myself in one keyword to others. But I am a person who likes to explore and is always curious about things wherever I travel. In addition, I usually believe in the process and trust the journey that something great will eventually happen.

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JACK’S LOOKOUT

We were asked to create a lookout for our partner through diagrams, design, and physical models.

During the Q & A session, I noted down some of the key points that I picked up from Jack after knowing him a bit from his abstract physical diagrams previously taken in task 1.

1. He loves the idea of recycling and renewable materiality and wanted to translate that into the architecture lookout.

2. He has no particular interest in architectural forms or geometric, which has given me a hard time to decide it for him.

3. He likes his internal layout of the space to be in a rigid form that can be easily transformed.

4. He believes that architecture should respect the neighbour and mimic the surrounding site context.

5. The site is to occur in an open green space surrounded by nature.

Rough Sketch of Jack’s Lookout

After the conversation, the key points gave me some rough ideas on translating the lookout design for him.

I imagined the lookout point to be located surrounded by a natural environment. The lookout was situated in a neighbour context because I wanted to provide a sense of community and enclosure.

The vanishing point of the lookout was to frame the waterfront. Unfortunately, I could not finish the physical model mainly because I was too focused on the internal space arrangement. This reflects that I was too obtain myself within a particular area and may not have resolved the overall scheme.

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W1 Studio Reflection

What drove/informed design descisions?

In the first task, it was an interesting approach to how we get to work on physical model making to express our self-introduction. Honestly, it was challenging to think conceptually in a short period and under the pressure of others that I had never met before. However, despite challenges and pressure, I enjoyed myself again with physical model making because everything was done through digital formation over the past two years.

Were there any other iterations that you disregarded?

Due to the time constraints, I have no iterations I disregarded.

What was successful/unsucessful?

The task’s difficulty was representing my personality and creating a lookout for my peer. It was due to a limited amount of time, and it has forced me to have no time to think, which may not have been well translated in a physical form.

What did you learn and how might these inform you future designs?

It was very interesting to see how my interpretation of my ‘client’ lookout is not what my client would envision. During the model-making process, some of the decisions were made through my assumption of space. It reflects that the communication between what the client wants and the way I interpret the space will never be the same. Each of us has a different lens to what we desire.

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Week 2.

Project 01- Craft & Concept

Task Brief In this task, we must be fluent in the process of the craft, techniques, tools, spatial requirements, historical, material cuture—the research in a chosen craft present through a series of two-dimensional and three-dimensional artifacts.

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Craft Research

Source: Corter Leather Youtuber

The crafting process specifically looks at leather making (leather bag).

The process starts from sketching (dimensions, desired shape) to using specific techniques and tools to make the leathercraft.

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5 Critical Processes of Leather Making

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Tools + Objects + Products

Tools + Objects + Products

Round Head Knife

Round Head Knife

Sissors

Awl

Ruler

Knife

Neddle & Thread

Awl

Ruler

Diamond Chisels

Sissors

Neddle &

Rotary Punch

Mallet

Punch Knife StitchingDiamond Wheel Tools SwivelPunch Knife Stitching Wheel Tools Cutting Mat s MalletNeddleRotary & Thread ChiselsEdge Burnisher Rotary Mallet Swivel Knife Edge Burnisher Knife Neddle & Thread Diamond Chisels Rotary Punch Stitching Wheel Tools Edge Burnisher Mallet Swivel Knife

Cutting Mat

r

Pressing Button On Leather

SewingButton Machine Pressing On Leather Pressing Button On Leather

Sewing Machine Sewing Machine

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Products of Craft

Products of Craft

Jacket

Bag

Jacket

Wallet Watch Bands Shoes

Hat

Shoes

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Subjects in the Craft Process (Elevations) Subject in Process (Elevation)

rocess (Elevation)

1. Our craftsmen discuss the correct shape, details, material choice and how to bring it to life.

2. Our craftsman chooses and checks the leather’s quality in preparation to assemble.

3. Craftsmen use the sewing machine to stitch the leather bag. Nylon is a type of thread that is more elastic and will be used in the visible part of the handbag.

4. Our craftsman uses a button-pressing machine.

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5. Our craftsman keeps the products clean and ready for packing.

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Subjects in the Craft Process (Plans)

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Space [Subjects+Objects in Context]

The diagram demonstrates a relationship between the spatial space and the craft workshop. Leather materials themselves can have a bad smell after the tanning process. Therefore, the room must have adequate sunlight and natural air ventilation.

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Space [Subjects+Objects in Context]

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Material Research

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Material Research

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Parti as Artect (Essence of Craft)

The technique of stitching thread is a non-stop pro- The outcome of the final product is about slowly cess. Often the direction of the needle is continuously revealing the beauty of form and the shape of its looped from below or above to form a wale. exterior.

The leather materials come in a variety of types, texture finishes that can be found in nature (farm, wild)

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The leather’s flexibility, softness, and creasing become a unique work of art.

Parti as Artect (Craft as Architectural Aesthetic)

By manipulating the cutting and bending pattern of the leathercraft, it can be formed into a rhythm.

Making a leather bag, from start to end, is never a linear process; thereby, it slows down the journey to be precise and accurate.

The process of connecting, stitching, and gluing each part together results in the form of closely joining as part of a whole system.

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Contemplations on Creativity

Reflect on the in-class model making exercise, and diagram making exercise above undertaken in a different environment (e.g. in isolation at home, set up a workspace in a public space or in nature, etc). Consider—does anything change? How and why do you think the physical environment affects your productivity and subjective experience?

When exploring model making or diagram making exercises, I often confine myself to a mini desk in my study room. I usually have a better concentration in a quiet environment, which helps boost my productivity. But at the same time, I found it relatively isolated from creativity because you are not being exposed to any inspiration surrounding you. The physical environment significantly affects my productivity and creativity, especially in a public space where people make noise through conversation or footsteps.

What environments cultivate or allow you to exert your creativity e.g. solitude, collaboration + social interaction, natural white noise (e.g. insects, leaves rustling in the wind, water flowing through river)—do certain aspects / phases of the process flourish differently?

I would have calm sounds (nature) behind my background to help exert my creativity.

Occasionally I would have a group study with my close friends to share their thought or experience. But I would much rather develop my work to avoid distraction from others.

Does the productive space and creative space overlap?

Yes, I believe the interaction between productive and creative spaces has some overlap. For example, during the week 1 model making exercise, I was pressured to work in a public area because my mind was not fully concentrated due to external judgment.

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W2 Studio Reflection What drove/informed design descisions?

The studio was quite unusual in the sense that I had to pick a craft before I had to do any site analysis. Through doubt and uncertainty, I decided to pick leather craft as I have always been my deep interest. As I began researching leather making, the tanning process itself was intense, and it could be a project on its own, so I tried to scale back and focus on the leather bag craft. Although there has not been any design yet at this stage, the methods and tools of the craft could potentially translate architecturally. For instance, the textility of the leather (two sides: grain and flesh), cutting motion or pattern, stitching technique.

Were there any other iterations that you disregarded?

There were no iterations of design that were disregarded, as most of the concept was noted and translated during the model making.

What was successful/unsucessful?

The most challenging task of this project was the Parti as Artefact. Honestly, it was quite hard to translate some ideas into abstract physical forms. I was an attempt to challenge myself in making a quick model. I believe most of the models have communicated the ideas of my intentions, but some models (craft as the architectural aesthetic) could potentially improve and further flesh out.

What did you learn and how might these inform you future designs?

Through exploration of the craft, there was some interesting aspect about leather materials, and I would be interested in exploring further through tactility, ageing, the cutting pattern.

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Week 3.

Monday_Rooting Craft & Concept in Site

Task Brief As part of Group 3- Environment + Ecology, we were tasked to research the Environment + Ecology in Daylesford, which include Orientation, Wind, Rainfall, Climate, Microclimate, Geography, Native Fauna/Flora and Ecology. I was assigned to research and analyse the Orientation, Wind and Rainfall.

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Site Analysis

Environment + Ecology Orientation

N

C 37.50< 33.65 29.80

W

25.95

E

22.10 18.25 14.40 10.55 6.70 2.85 <-1.00

S Scale 1:1000 @A3 0

1km

2km

The sun path orientation of Daylesford was extracted from Ladybug.

- As the sun goes higher up along the curve, it is moving toward summer month, which is hotter, based on the drybulb temperature.

- Winter is much lower in the sky, which means the shadow is much longer.

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Site Analysis

Environment + Ecology Orientation (Solstices+ Equinox)

o

Summer Solstices (75 ) o

Equinox (52 ) o

Winter Solstices (28.5 )

N

WINTER

EQUNIOX

W

E

SUMMER

S Scale 1:1000 @A3 0

1km

2km

The diagram represent the angle of the sun.

- depends on the sunlight.

- According to the calculation, in summer the sun agnle is higher @ 75 degrees, winter sun angle is lower @ 28.5 degrees and in equinox the sun is at 52 degrees.

- The variation of the sun angle affects on the season, temperature of a specific location.

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Site Analysis

Environment + Ecology Wind Rose

N

m/s 18.60< 16.74 14.88 13.02

W

11.16

E

9.30 7.44 5.58 3.72 1.86 <0.00

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The wind rose diagram was extracted from Ladybug.

- According to the graph, North wind is quite strong and it is measure through wind speed frequency.

- North wind may experience hot air because itis coming come the mainland, while south may experience a much cooler breeze because of the ocean coast.

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Site Analysis

Environment + Ecology Rainfall: Monthly Averages

60mm 50mm 40mm 30mm 20mm 10mm 0mm

Precipation

Jan

Feb

Mar

Apr

May

Jun

Jul

Aug

Sep

Nov

Dec

Source: https://weather-and-climate.com/average-monthly-precipitation-Rainfall,daylesford,Australia

According to Weather and Climate website, rainfall graph shows that Daylesford is generally experiencing a much wetter season from may to september than the average months.

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Week 3.

Thursday_Creed of the Craft

Task Brief In this task, we were tasked to devise a series of architectural principles of craft worship’ summarising each as diagrams, endeavoring to preach the value and beauty of the craft to a series of sceptics.

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Siting, Circulation & Organisation

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Tectonics & Materiality

30

Tectonics & Materiality

31

Spatial Sequences & Planning

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Landscape

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Temporality & Atmosphere Lighting

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W3 Studio Reflection What drove/informed design descisions?

This week, based on the concept of stitching that was generated from last week, I was trying to mind map connection that may related to the architectural principles of ‘craft worship’.

Were there any other iterations that you disregarded?

Initially, when I thought of the word ‘worship’, I thought of the idea of symbolism or a symbolic place where people would pay respect to the craft. But it has proven to be difficult as I had so many floating ideas during the thinking process. As a result, MY IDEAS FADED AWAY when I tried to translate those into abstract parti-diagrams. I wish I had roughly sketched out the ideas that may have been explored further.

What was successful/unsucessful?

In this task, there were some successful pati-diagrams. Ie. the concept of temporality (ageing process), the materiality (soft and rough) tied strongly back to the core essence of the craft. However, some of the parti-diagrams were not successful in translating the core principle of the craft. I was confused myself between what is stitching and weaving. why leather is other type of fabrics. Taken one aspect of the leather craft was not strong enough to tied everything together with the value of the craft. The landscape does not relate at all to the essence of the craft. It was because I was too predominantly focus on architectural aspect that result in mistranslating the core concept of the craft. Perhaphs, I could look into the concept of temporality and how the landscape ageing or soften overtime.

What did you learn and how might these inform you future designs?

In future designs, I want to push deeper in reflecting on the textility of the leather craft because it has a very unique material property that other fabrics does not have. For instance, I could explore the concpetual ideas of sensory of touch (grain side and flesh side). The concept of stitching could relate to the tectonic and potentially celebrate the joins. The relationship between patterns of certain motion, gestures or cut/bend were also interesting in exploring in future designs.

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Week 4.

Monday_Landscape & Massing Review

Task Brief In this task, we were tasked to devise a series of architectural principles of craft worship’ summarising each as diagrams, endeavoring to preach the value and beauty of the craft to a series of sceptics.

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Craft Concept Translated leather craft into an Architectural & Landscape

CEPT eather Craft NCEPT ndscape ectural & Landscape eather Craft ectural & Landscape ndscape NCEPT eather Craft ape ectural & Landscape

and Massing

and Massing

1. Form and Massing

2. Spatial Sequence & Planning 2. Spatial Sequence & Planning

1. Form and Massing

2. Spatial Sequence & Planning 2. Spatial Sequence & Planning

Cutting/ Folding patternCutting/ Folding pattern

ing

1. Form and Massing Cutting/ Folding pattern Cutting/ Folding pattern

Cutting/ Folding pattern

riality

riality

Stitching 2. Spatial Sequence & Planning 2. Spatial Sequence & Planning Stitching

Cutting/ Folding pattern

Stitching 4. Temporality

3. Materiality

3. Materiality

4. Temporality

Internal- grain

InternalExternalgrain Flesh

External- Flesh

3. Materiality Internalgrain

Internal- grain External- Flesh

External- Flesh 4. Temporality

nics

onics

Ageing & Longevity

5. Tectonics Joining

5. Tectonics Joining

Joining

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Joining

Joining

Joining

Ageing & Longevity

4. Temporality Ageing & Longevity

External- Flesh

6. Landscape

5. Tectonics

Stitching

4. Temporality

Ageing & Longevity ExternalInternalFlesh grain

Stitching

4. Temporality

Ageing & Longevity

Internal- grain

Stitching

6. Landscape

6. Landscape

Ageing & Longevity

6. Landscape

6. Landscape Soften over time

Soften over time

6. Landscape Soften over time

Soften over time

Soften over time

Soften over time

Soft and Hard Landscape

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Native Plants

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Site Model

Rough Site @ 1:1000

Landscape Intentions

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CONCEPT BRIEF

CONCEPT BRIEF Brief (Occupancy) DESIGN OBJECTIVES: DESIGN OBJECTIVES: - To develop strategies that stitch environment and communities - To develop strategies stitch environment anda communities together, optimise placethat performance, and create destination that together, place performance, create a destination that makes theoptimise interaction between live andand works more inspiring and makes the interaction between live and works more inspiring and rewarding. rewarding.

- The design proposal should resond to the surrouding site context - Thepreserve design proposal should resond to the surrouding and its identity and neighbourhood quality. site context and preserve its identity and neighbourhood quality.

KEY DESIGN CONSIDERATIONS: KEY DESIGN CONSIDERATIONS: Environment Environment

Communities Communities

Architectural Architectural

- To celebrate the craft of leather making and -transferring To celebrate the craft to of the leather and knowledge localmaking community. transferring knowledge to the local community.

- Use of local materials, resource (timber, -leather) Use of local materials, resource (timber, leather) - Interaction between light and shadow in -evoking Interaction betweenand lightemotive and shadow in atmosperic qualities evoking atmosperic and emotive qualities - Having open space in combination with -built Having open space in the combination with space to minimise environmental built space minimise the environmental damage onto a larger scale. damage on a larger scale.

- Explore the interaction between indoor -outdoor Exploreand thesemi interaction between indoor open space. outdoor and semi open space.

- Enhance and perserve the cultural of the craft -inEnhance perserve the cultural of the craft the local and community. in the local community.

- To improve the secondary income to the local -community To improvefrom the tourism secondary income to the local sector. community from tourism sector.

- To contribute a social connection between -the Tocraftsman contributeand a social local connection community.between the craftsman and local community.

- A place to learn and share the knowledge -from A place to learn and share the knowledge peers. from peers.

- A place for healing and personal growth - A place for healing and personal growth Spatial Qualities Spatial Qualities - Appreciate the site context (any public -space Appreciate theramps site context (any public may use to be accessible) space may use ramps to be accessible)

BRIEF (OCCUPANCY)

PROPOSED FLOOR PLANS (m2 )

PERMANENT RESIDENCE (x4)

Mr. Leo Smith, his friends and two sons - Mr. Leo and his friend (head master) were passionate in leather craft, and they decided to start up a workshop in a regional suburb.

OWNER

SONS

-He is 64 years of age, soon retiring and wanted to live around the nature environment.

- Dining - Living Room - Laundry - Balcony - Outdoor Space

- His two sons were also eager to follow his father footsteps and potentially take over the business in the future.

HEADMASTER

Each unit include: - Bedroom - Bathroom - Study Space - Kitchen

LIFE

Residential Unit = 80m2

WORK

VISTOR/ TOURIST AIRBNB (x6)

- After retirement, an old couple has decided to moved to Daylesford.

1

OLD COUPLE

Each unit include: - Bedroom - Bathroom -Balcony - Private Study Space

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GROUP OF UNI STUDENTS

Communal Space - Kitchen - Dining - Living Room - Laundry - Outdoor Space

BRIEF (WORKSHOP) 1. Workshop (Public)- Tutorial & Lecture 2. Workshop (Private Space) - Meeting Space x4 - Storage Space (Leather, Tools, Loading Area)

2

Workshop (Public) = 50m2

- They were looking for a hobby and potentially learn a skill that could provide them a secondary income.

- A group of university students visited in the countryside to explore the rich culture that the community has to offer.

- They were keen to learn the craft of leather making.

Shared Space between 1&2

SHOP

Living =35m2

-Balcony - Private Study Space

- Laundry - Outdoor Space

- Private Desk - Workshop Desk

BRIEF (WORKSHOP)

*Note 1 & 2 Shared: Bathroom (M/F/D), Kitchen, Machine?, Living Space

1. Workshop (Public)- Tutorial & Lecture

3. Shop (Public Space) - Receptionist - Lobby - Display space - Showroom - Leather goods - Seatings (cafe/tea room) - Public Bathroom - Event Space?

Proposed Floor Plans

2. Workshop (Private Space) - Meeting Space x4 - Storage Space (Leather, Tools, Loading Area) - Sewing and Pressing Button on Machine - Private Desk - Workshop Desk PROPOSED FLOOR PLANS (m2 ) *Note 1 & 2 Shared: Bathroom (M/F/D), Kitchen, Machine?, Living Space

LIFE

3. Shop (Public Space) - Receptionist - Lobby - Display space - Showroom - Leather goods Residential Unit = 80m2 (cafe/tea room) - Seatings - Public Bathroom - Event Space?

Accomodation Typology 1 = 25m2

Accomodation Typology 2 = 45m2

Communal = 45m2

Private Desk = 20m2

Storage Space =30m2

SHOP

WORK

1

2

Workshop (Public) = 50m2

Workshop (Private) = 50m2

Meeting Space = 20m2 x4

Shared Space between 1&2

Living =35m2

Bathroom =35m2

Machine = 20m2

SHOP

Receptionist = 9m2

Showroom = 80m2

Cafe/Tea room =30m2

Lobby Space =20m2 Display = 9m2

Bathroom =35m2

Event Space = 50m2

Studio 41 Create|Curate: Sensory (Re)treat_Chhay Kourng Lay_1224215

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Massing Review

where leather products of the craft are displayed and collected. It is located near the main roads.

Board walk is connected with all the buildings

Monastery Quaters Where the owners and his friend live. The concept is to retreat from the workshop and more proximity to nature to heal.

where residential domitory are located. It is proximity to the worship and ambulatory, but still maintain a connection to surrounding nature.

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1 2

Legends 1. Worship/Ambulatory 2. Residential Dormitory 3.Circulation 4. Residential Monastery

SKETCH SECTION SCALE 1:500 0 1 2

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5

Physical Model (Conceptual Massing)

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Precedents

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W4 Studio Reflection What drove/informed design descisions?

Previously I was looking at the concept of ageing (softening over time) in leather material. Then, I began to investigate different types of species for soft scape and how it may soften over time (seasons, from seed to bloom, ageing). For hardscape, I was exploring the materiality reform and the idea of soft scape interacting with hardscape to soften the landscape.

What was successful/unsucessful?

There was some successful research on the type of growing conditions and where each species can sit on the site (intimate between dry and wet). The life cycle concept (seed, water, mature, flower, fruit) was very strongly related to the vital essence of the craft. But my biggest critique was that I used copper material as part of the scheme. Copper is a huge extraction of the ground that embodies many carbon emissions that significantly impact the environment. There is a potential that I could use a similar pattern and colour as a replacement for copper.

What did you learn and how might these inform you future designs?

In future development for landscape, I need to explore more of the native plants to form more diversity on the site. I need to justify whether my landscape temporality would be in a linear way (western) or spherical way (indigenous). For further investigation, if the concept is about vegetation overtaking the site’s elements, I should look into the seasons or the cycle of life (1 year vs 5 years vs 10 years). My intention was to plant some tall trees to provide a sense of privacy to the residents, which means I need to analyse sun shadow because it may change in size as the canopy grows over time, which may impact the architecture.

Reading Reflections- The Eyes of the Skins By Steven Holl The Eyes of the Skins is not just about vision but is more about the human sensory experience that occurs through the experience of sound, smell, touch.

As Ashley Montagu, has stated that [the skin] is the oldest and most sensitive of our organs. Touch is the parent of our eyes, ears, nose, and mouth. It is the sense which became differentiated into the others, a fact that seems to be recognised in the age-old evaluation of touch as ‘the mother of the sense. The quote is very interesting, and it true when our body interacts with the architecture, our sensory experience form a memory, imagination, or reference.

In this reading, I have learnt that architecture isn’t just about the aesthetic, form, or materiality, but all these spatial and experience qualities could interplay with our human senses.

My leathercraft has a lot to do with the idea of tactility, sensory of touch, I wish to integrate some of the sensory experience into my architectural space.

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Week 4.

Thursday_Celebration of Craft (Workshop)

Task Brief In this task, we were tasked to produce a general massing and map out the spatial planning of the workshop space in detail.

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Pati Diagrams

hop

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Pati Diagrams

m

49

Plan & Section

Key Location Map

5

7

4 6 1

8

Legends:

2

1. Approach 2. Entry 3. Exhibit 4.Learn 5. Work 6. Clean 7. Commute 8. Circulation

3

8

N

PLAN SCALE 1:200 0

1

2

5

A Leather Maker’s Monastry/ Place of Worship

Workshop Public

Workshop Private

Exhibit

N

SECTION SCALE 1:200 0

50

1

2

5

Key Moment @ 1:20 Plan of Key Moment

N

PLAN SCALE 1:20

Section of Key Moment

0

0.5

1

N

SECTION SCALE 1:20 0

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0.5

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Precedents (Materiality)

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Physical Model

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W4 Studio Reflection What drove/informed design descisions?

This week, the key essence that drives design decisions is the combination of the cutting/bending pattern technique and the circulation of the stitching pattern. I began to look deeper into the aspect of stitching and there are various type and styles that the crafters can stitch.

Were there any other iterations that you disregarded?

Due to the limited amount of time, I could not unpack or explore other process making (hammering, burnishing) that could potentially lead to something interesting.

What was successful/unsucessful?

At this stage, the concept is lining between the literal translation of the curvilinear form and the more abstract one is the stitching process. It would be better to emphasise which of the process is more critical because the two dialogues are in conflict. I need to be reconsidered on the practical issue of the floor plan. How does the unloading of the leather material occur at the site? Once the furniture, equipment and human figure are added on, some of the main circulations may feel congested. I also need to revise the positions of the windows (natural lights) or sun shading externally.

What did you learn and how might these inform you future designs?

There were a lot of opportunities that I needed to improve on my design process. If the stitching is essential and using the circulation brings different spaces together (blur boundary between indoor & outdoor), the form can become more straightforward. The architecture itself is more about materiality, threshold, primary space and circulation. In moving forward, I need to question: What is stitching means? How does that translate into the threshold and bringing programs/spaces together, landscape and interior, bringing people together?

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Reading Reflections- Atmosphere by Peter Zumthor

Peter Zumthor believes that the architectural atmosphere is composed of the emotional sensibility through the mood of the place, beauty, and harmony that is all influenced by the sensory effects of a particular building.

Peter Zumthor describes six points that generate a particular atmosphere of a building.

1. Body of Architecture 2. Material Compatibility 3. The Sound of the Space 4. The Temperature of the space 5. Surrounding Objects 6. Between Composure and Seduction I found the material compatibility point very interesting; the interaction between different materials and their interplay creates a sense of uniqueness in the users’ experience. Within my project on leather craft, the leather itself has a unique property profile. I am curious whether I could achieve this by using different materials types, weights, property profiles, ageing to provide a sense of presence to the user experience.

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Week 5.

Tuesday_Celebration of Temporary Residence

Task Brief In this task, we were tasked to design small temporary residence for an apprentice. The focus is to develop an understanding in both the architecture and the landscape so that human can interact in a macro-scale design.

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‘Quote’

As Ashley Montagu, has stated that [the skin] is the oldest and most sensititve of our organs. Touch is the parent of our eyes, ears, nose and mouth. It is the sense which became differentiated into the others, a fact that seems to be recongised in the age-old evalution of touch as ‘the mother of the sense.’

The Eyes of the Skin, Steven Hall

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Concept and Strategies

THRESH

ARCHITECTURAL STRATEGIES

LINK BETWEE PEOPLE ARCHITECTURAL STRATEGIES THRESHOLD

THRESHOLD

CORE ESSNECE OF THE CRAFT : STITCHING

PROGRA LINK BETWEEN PEOPLE

ARCHITECTURAL STRATEGIES

CORE ESSNECE OF THE CRAFT : STITCHING

LINK BETWEEN PEOPLE

LD

Threshold

PROGRAMS

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PROGRAMS

Link between people

Programs

Spatial Progression and Diagram

SPATIAL PROGRESSION/DIAGRAM

1. Approach/ Revelation 1. Approach/ Revelation

3. Cleanse/ Bathe

SPATIAL PROGRESSION/DIAGRAM

3. Cleanse/ Bathe

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5. Sleep

5. Sleep

2. Entry/ Arrival 2. Entry/ Arrival

4. Prepare/ Eat 4. Prepare/ Eat

6. Think/ Reflect/ Read/ Draw 6. Think/ Reflect/ Read/ Draw

Concept and Strategies

-0.75

4 5

3

Typology 1 2

NGL

6

8

7

1

Typology 2

NGL

1

Legends: 2

1. Entrance 2. Rest/Sleep 3. Toilet 4. Cleanse/ Bathe 5. Think/Reflect/ Read/ Draw 6. Communal Living 7. Communal Kitchen 8. Communal Dining

5

N

3 4

PLAN SCALE 1:50 0

1

2

The two residential is stitching by a communal space that allow people to engage to form a part of community.

3.

2.

1.

Legends: 1. Rest/Sleep 2. Cleanse/ Bathe 3. Think/Reflect/ Read/ Draw PLAN SCALE 1:50 0

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1

2

Spatial Progression and Diagram

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The internal courtyard acts as a barrier to seperate between two spaces. The multi sensory experience through hearing of water splash, smell of flowering are formed.

Massing Model @1:200

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W5 Studio Reflection What drove/informed design descisions?

The main driving of the design is to have two families live closely related to each other, have ample space (communal), and celebrate the idea of stitching.

What was successful/unsucessful?

The concept is somewhat working, but the design feature is still lacking, and it is not yet justified where the threshold opens up for two families to come together, other than just the entrance walkway. In addition, the materiality is underexplored for the external; the roofline is yet clearly defined.

What did you learn and how might these inform you future designs?

In moving forward, I should explore the concept of how stitching work and what kind of joining. ‘Threshold’ is part of the transition between two connecting spaces (i.e internal and external surfaces). In future design development, I need to think about the ground treatment (the pavement changes through texture) or the overhead canopy that provides a sense of welcome to the house and how the threshold connects to specific sites and landscapes. Bringing exterior vegetation in is interesting, but I need to consolidate the joining and how it celebrates. Overall, the macro perspective seems to work, and it relates to the concept, but not yet at a detailed stage.

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MID SEMESTER

Week 6

Task Brief The aim is to present all work completed this semester.

It is a great opportunity to reflect on the work and further strengthen the scheme proposal.

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Concept CONCEPTS OF LEATHER MAKING

Materiality

The tactility of leather craft has double sides The contrast of flesh sid (smoothness) vs the grai side (roughness).

MAIN ELEMENT OF LEATHER MAKING- STITCHING

G

ARCHITECTURAL STRATEGIES

Temp

CELEBRATION OF PROGRESSION IN TIME

CHING

E

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(Natural Lea crease, fade g time. Copper material chara it exposed to t conditions, it s it surface

Materiality

Spatial/Sequence/Planning

Programs

The tactility of leather craft has double sides The contrast of flesh side (smoothness) vs the grain side (roughness).

The celebration of the threshold transition between the inside and outside.

The interaction between place (programs) and people (private vs public) would enhance the experience.

Temporality

Landscape

(Natural Leather will age, crease, fade gracefully overtime. Copper has a unique material characterisitcs.When it exposed to the atmospheric conditions, it starts to change it surface patterns.

The cycle of life are celebrated through changing in seasons and soften the landscape overtime.

Concept

Materiality

The tactility of lea craft has double si The contrast of flesh (smoothness) vs the side (roughness)

MAIN ELEMENT OF LEATHER MAKING- STITCHING

G

ARCHITECTURAL STRATEGIES

Te

(Natural crease, fad time. Cop material ch it exposed conditions, it sur

CELEBRATION OF PROGRESSION IN TIME

CHING

E

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Materiality

Spatial/Sequence/Planning

Programs

The tactility of leather craft has double sides The contrast of flesh side (smoothness) vs the grain side (roughness).

The celebration of the threshold transition between the inside and outside.

The interaction between place (programs) and people (private vs public) would enhance the experience.

Temporality

Landscape

(Natural Leather will age, crease, fade gracefully overtime. Copper has a unique material characterisitcs.When it exposed to the atmospheric conditions, it starts to change it surface patterns.

The cycle of life are celebrated through changing in seasons and soften the landscape overtime.

sfo rd -Da yle llan Ba

Ridge Rd

Rd

Broader Context Site Plan

Dwans Ln

Wa lla

by Tra ck N

BROADER CONTEXT SITE PLAN SCALE 1:2000 0

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10

20

50

Local Context

N

LOCAL CONTEXT SCALE 1:1000 0

5

15

The main road travels at 80km/hr, while Dwan’s Lane is a much calmer lane convenient for people to park their car and drop off leather goods.

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Ba

llan

-Da yle sfo rd

Rd

Site Plan

3 4

5

2

1

Dwan s Ln

Legends: 1. Public Car Park 2. Workshop/ Gallery 3. Temporary Residence 4. Permanent Residence 5. Private Car Park

N

SITE PLAN SCALE 1:500 0 1 2

5

The site is seperated by the gully, the main intention is to have the public gallery and workshop proposal on the left side so it is visually seen from the main road. The right side is more of a private zone that is surrounded by tall and medium canpony trees.

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Site Section

A

B

3 4

A

5

2

B

1

KEY LOCATION MAP

MultiOccupancy Residecne

Temporary Residence

SECTION A-A

Workshop/Gallery

SECTION B-B

N

SECTIONS SCALE 1:500 0 1 2

70

5

Physical Site Model

SITE MODEL WITH PROPOSAL SCALE 1:1000

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Landscape

LANDSCAPE

Shrubs

Trees

Exocarpos Cupressiformis (Autumn, Summer)

Acacia Dealbata

Golden Bush Pea (Autumn)

Rough Hovea (Autumn)

Eucalyptus Radiata s.l.

Hardenbergia Violacea (Spring, Winter)

Wombat Bush Pea (Spring)

Eucalyptus Obliqua

Pennstripe Pennisetum

Gahnia Sieberiana

Eucalyptus Rubida

Different species of vegetation is introduced to provide diversity in the landcape and looked into different seasonality to forms a continuous life cycle. The shrubs are planted along the journey and ideally near water body.

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Leather Making Workshop

3 4

5

2

1

KEY LOCATION MAP

1

6

A

A

7

4 3

2

5

8

9

Legends: 1. Entrance 2. Gallery 3. Shared Workshop 4. Teaching Workshop 5. Private Workshop 6. Toilet 7. Storage Room 8. Tea Room 9. B.O.H Entrance 3

4

5

2

1

KEY LOCATION MAP

N

PLAN SCALE 1:100

0

5

4

3

2

1

2

5

1

Legends: 1. Gallery 2. Shared Workshop 3. Teaching Workshop 4. Storage Room 5. B.O.H Entrance SECTION SCALE 1:100

0

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1

2

5

Key Moment

PLAN OF KEY MOMENT SCALE 1:20

0

0.5

1

The leather is introduced through detailed joinery such as the door handle, table surface to enhance the tacility experience of the users.

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SECTION OF KEY MOMENT SCALE 1:20

0

0.5

1

Massing Model: the Workshop Massing Model Workshop @ 1:20

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Accomodation A

4 3 4

5

2

1

3 5

KEY LOCATION MAP

2

6

7

1

2

5 Legends:

6

1. Entrance 2. Rest/Sleep 3. Toilet 4. Cleanse/ Bathe 5. Think/Reflect/ Read/ Draw 6. Kitchen 7. Communal Living

3

4 N

PLAN SCALE 1:50

A

0

1

2

3 4

5

2

1

KEY LOCATION MAP

4

3

2

1

3

Legends: 1. Communal Living 2. Threshold 3. Sleep/Rest 4. Cleanse/ Bathe SECTION SCALE 1:50 0

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1

2

Key Moment

PLAN OF KEY MOMENT SCALE 1:20

0

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0.5

1

SECTION OF KEY MOMENT SCALE 1:20

0

0.5

1

SECTION OF KEY MOMENT SCALE 1:20

Private Residence

3 4

5

2

1

KEY LOCATION MAP

MASTER BEDROOM

1

4

3

5

BEDROOM 1

BEDROOM 2

2

2

Ground Floor

1

5

4

2

Section

Legends: 1. Master Bedroom 2. Bedroom 3. Communal Kitchen/Dining 4. Outdoor Firepit 5. Threshold MULTI-OCCUPANCY DWELLING (Artefacts in the Landscape)

0

78

Multi-Occu Massing Mo

SECTION SCALE 1:200 1

3

5

Massing Model

Multi-Occupancy Dwelling Massing Model

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Mid Semester Reflection Which drawing AND design feature you think was the strongest part of presentation?

The detailed drawings in the workshop and the temporary residences were the strongest features in convince the narrative. It is important for me to showcase this as part of the scheme, because my main concept was so strongly focused on the textile and texture.

I have begun to explore the interaction through the touch of the table, door handle, and chair to enhance the user’s experience.

Which design feature was the weakest; and will discarded?

The workshop roof and the storage room were the weakest aspects of the design.

Perhaps, I could explore through the interaction of lights vs shadow, the atmosphere. Also, the scale of the storage room could be larger because the leather is imported, and there are many types of leather. Furthermore, I was too focused on the architectural design and have not refined my main concept to fully convince the audience. As a result, it was hard to follow the narrative and the overarching concept of the scheme.

Outline how you might improve on these?

In the workshop, I need to explore a deeper understanding of how the lights interact in the space and materials to enhance the user. Precedent in Tongakushi by Kango Kuma was a good example of the lighting along the corridor and how it playout to enhance the atmosphere. The ideas of the threshold between internal and external could explore further through the tactility and the changes in form and textures.

Design Process: how does this work best for you?

Simplicity is often overlooked. Sometime the simple design workflow, allow me to tackle the issue at the early start and build up my complexity in design afterward.

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Design Process: biggest strength Details and tactility I find quite enjoyable and interesting area in architecture.

Design Process: biggest weakness At this stage, my main concept and overaching concepts are not yet resolve.

Week 7.

Thursday_ Refine the Concept and Narrative

Task Brief This week, we were tasked to structure our main concept, sub-concepts and design features in a written format and a graphical diagram.

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‘Reading Quote’

The hands are the sculptor’s eyes; but they are also organs for thoughts, as Heidegger suggests ‘the hand’s essence can never be determined, or explained, but it’s begin an organ which can grasp. Every motion of the hand in everyone of its works carries itself through the element of thinking, every bearing f the hand bears itself in that element.

Holl Steven, The eyes of the Skin, 2005, pg. 57.

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Revise Concept Project Title: Leather Making | Metamorphosis of the skin THE Concept: Materials of Metamorphosis - The transformation of physical form through appearance, or substance.

Forming a tactile sense through materials of metamorphosis.

Tactile Metamorphosis Positioning Statement: The site of the scheme is located in the outskirts of Daylesford, a place of establishing a connection with the local community to engage and be involved in celebration of the craft processes. The proposal comprises a gallery, leather craft workshop, and a range of temporary and permanent residences for craftsmans and visitors.

Leather materiality is the user’s relationship with the sense of touch that is mostly associated with hands. The tactility of the leather (animal) and the owner's skin creates an emotional bond through the value of its appearance. The overarching concept is tailored through three key concepts, the architectural transformation of the physical characteristics over time, the celebration of the transition and the spaces with contrasting tactile experiences.

Sub Concepts: The textural transition Leather products naturally form creases, fade, and crevasses gracefully over time. The intention seeks to celebrate temporality qualities through using materials that change over time.

Use material that change over time ie. the patina of a copper skin.

The landscape integrated within the architecture promotes the notion of growth and the grain of the landscape over time.

Native flora (characteristic) The Life cycle of seasonality hardscape - bluestone aging Architectural through Tactile experience The key essence of leather material lies in the tactility of different textures and finishes of the grain and it is used to define a new architecture of the site and enhance the individual sensuous spatial experience through touch.

-

It is through the juxtaposition of the plain polish vs the roughness of the copper finish Smooth timber vs roughness grain of the timber The detail of the leather material (door handle, cabinet)

Architecture should celebrate the transition space With the process of leather craft, stitching is a primary technique that is used to bring the finished product. The transition is what stitches each space/programme (between buildings, threshold, or the landscape network) as a collective whole, thereby it should celebrate the journey experience of individuals.

-

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Lighting: The contrast between soft and harsh shadow, bright and dark The intermediate space between internal and external The contrast between textile finishes of the ground

Diagram

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W7 Reflection What drove/informed design descisions?

This week, it was a good time for me to take a step back and reflect on all the mid-semester reviews to solidify the main concept. I was researching more into the theory and trying to search for more architectural elements that could enhance the value of the leather craft in the overall architecture.

What was successful/unsucessful?

The main concept and overarching ideas become much clearer. This task was very helpful for me to strengthen the main arguments and provide a much clearer vision of the overall scheme. However, I may need to work on my graphical ie. hand sketch, to emphasise the tactility. Because at the moment, the grain of the landscape or the texture of the material is quite flat.

What did you learn and how might these inform you future designs?

Because my main concept heavily focuses on hand tactility, I need to spend time testing out different mediums (hand sketch, coin rubbing) to enhance the quality of texture and give a sense of tactility.

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Non-Teaching Week

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Journal Iteration

The non-teaching week was an excellent chance to have my hands on leather and learn how to stitch leather. The touch of leather is wonderful with Side A, which is smooth and soft, while side B is much rougher. In addition, the leather has such a strong smell as I could further explore more through multi-sensory.

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Sketches

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Sketches

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Week 8.

(Landscape Review)

Task Brief This week, we were tasked to integrate and refine our landscape design from macro to micro scale. But unfortunately, Anna was absent, which turned into a standard crit.

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Site Plan

The vegetation is mainly located near the waterbody, while large trees are used to provide residents privacy.

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Workshop

The floorplan layout is now located near the waterbody to frame the view.

The floor dropping could cause a DDA issue.

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Accomodations

The residences are facing each other, which could be a privacy issue.

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Sketches

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Sketches

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Week 8.

(Class Crits)

Task Brief

This week, we were tasked to produce our spatial curation, creative living for permanent reisdences.

In class, we had the opportunity to have crits from our peers.

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97

Permanent Residence

98

Key Moment

99

Massing Model @1:100

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W8 Reflection What drove/informed design descisions?

This week, the workshop is now shifting closer to the waterbody to frame the view of the water body, and it faces to the North side to gain sufficient lighting. In addition, the design at a macro scale explores different layouts to ensure residentials are not having privacy issues.

What was successful/unsucessful?

Overall, the detail is working best in terms of showing the transitioning through materiality. However, the macro scale needs more work and how it could strengthen with the concept. From a macro perspective, the accommodation layer may not work best due to the privacy issues and overlooking other residences. While for the permanent residence, symmetry is not working best as each bedroom faces the other, which may lead to privacy issues.

What did you learn and how might these inform you future designs?

In moving forward, I need to justify more on who is going to live in the dwellings. The narrative of the residences is going to help explain and relate to the concept of the craft.

In addition, I need to explore and translate the two textures of the leather into an abstract concept (side A and side B). The Duality and the tactility and the discovery of the textures would be interesting for dwelling (ie. What kind of grain or tactility do social (side A) have vs private (side B).

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Week 9.

(Desk & Class Crits)

Task Brief This week I was primarily focusing on reorganising the layout of the accommodations and starting to think about the model making.

102

Sketches

103

Site Plan

104

Residences

N

PLAN SCALE 1:100

0

Temporary Residences

Permanent Residences 105

1

2

5

Key Moment

The bathroom changes through the texture of the materiality through the grain of the stone.

The skylight casting shadow in the bathroom.

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Key Moment

107

Key Moment

The lighting fixture is recycled from the leather workshop.

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W9 Reflection What drove/informed design descisions?

This week I started with the overall planning arrangement of both apprentice’s accommodation and craftsperson’s dwellings. The main intention was to make the craftsperson feel more like a house, while in contrast, the apprentice’s accommodations are separated to give each of them privacy.

What was successful/unsucessful?

When we think of a leather bag, it is often a smooth continuous skin. However, my roof design feature and forms are read as two different elements, and it does not have the same language as the craft. I totally agree with Yui; perhaps I was emphasising too much on the aspect of practicality and lost a big visionary of the overall concept. Yui suggested looking into MVRDV Hoge Veluwe, which uses seamless skin (monolithic style), but it is detailed through different materiality.

What did you learn and how might these inform you future designs?

After getting constructive feedback from Yui, my craftsperson’s design does not have enough room for two families. I need to list out a client profile and programs and design to tie back to my overall concept for future designs.

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Week 10.

(Interim Presentation)

Task Brief

This week, we were tasked to deliver a set of all drawings and aim to build upon the previous mid-semester and landscape presentations.

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Site Plan

Craftsperson’s Profile

111

Celebration of Craft - Workshop/Gallery Plan

Celebration of Craft - Workshop/Gallery Section

112

Celebration of Craft - Key Moment Plan

Celebration of Craft - Key Moment Section

113

Perspective

PERSPEC (WORKSH

114

Accomodations Dwelling- Plan

Accomodations Dwelling- Section

115

Key Moment

116

Perspective

PERSPECTIVE (TEMPORARY RE

117

Permanent Residence

118

Key Moment

119

Perspective

PERSPECT (PERMANE

120

Site Model @1:1000

121

Mood Board

122

Sketches for Model Making

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W10 Reflection What drove/informed design descisions?

The main concept is about the metamorphosis of the skin. The overarching concept is tailored through the transformation of the physical characteristics over time, the celebration of the experience between sides A and B and the stitching techniques to bring space/programs and landscape as a collective whole.

What was successful/unsucessful?

The overall concept of the scheme is well progressing so far, but I agree with Yui that I need to improve on the narrative (poetic) and the atmosphere of the space to add more value to the craft.

What did you learn and how might these inform you future designs?

The concept of transformation over time is good, but I need to express the design in multi-scales to strengthen the main concept, which is about the metamorphosis of the skin. The design at this stage only emphasises the linear process, which is the (annual cycle). However, there could be a good opportunity for me to explore the cyclical (seasonally) and diurnal (day and night) processes. For future designs, the landscape should be more integrated into enhancing the lighting quality than a different design to the architecture.

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Week 11.

(Standard Crits & Lighting Crits)

This week, we were tasked to refine our key moments and further develop lighting and architectural details in workshops and residences.

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Sketches

126

Sketches

127

Sketches

128

Precedent (Leffler Leather Supplies)

129

Lighting

130

Lighting

131

Lighting

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W11 Reflection What drove/informed design descisions?

With Yui’s precedents (MVRDV Hoge Veluwe) that she offered me, I refined my workshop massing and roof pitch to look monolithic style. The Aelto Experimental House is used as a precedent to enhance my conceptual design of side A (copper patina) and side B (connection to landscape). The Hungry Hands by Bloxas was also used as a precedent for my Accommodation and Appretice’s dwellings. The texture and sensory touch are used to indicate the change in space, hence informing the sensory journey.

What was successful/unsucessful?

After taking constructive criticisms from the interim presentation, the overall idea for key moments becomes much stronger that can strengthen and support my main concept.

However, my macro-scale design was the least successful; it was because I was focusing too much on the practical aspect, which caused me to ignore or struggle to tie the scheme of design with the concept.

What did you learn and how might these inform you future designs?

After a few discussions with Yui, I realised that my design was not yet solidified. However, the precedents were really helpful in strengthening my three main sub-concepts, and it became clear evidence across scales. In addition, before I had lighting desk crits, my architectural lighting design was just an additional design. However, it has now changed my perception of thinking about lighting and become a vital aspect that plays and interacts with the landscape both day and night time. For instance, The lighting, the smell of leather materiality, and the texture of perforated copper create a multi-sensory experience.

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Week 12.

(Desk Crits)

Task Brief

134

This week, we focused on presentation style and graphical layouts to make it graphically compelling and strategically curated. We were asked to print out the poster layout with all drawings indicated.

Perspectives (WIP)

Arrival

Approaching (Side A) 135

Perspectives (WIP)

Storage Room (Journey, Sense of Smell)

Internal (Reveal the Side B) 136

Perspectives (WIP)

Exterior Perspective (Approaching)

Internal Perspective (Social) 137

Perspectives (WIP)

Internal Perspective (Private)

Exterior Perspective (Revealing) 138

Stylistic Precedents

https://www.pinterest.com.au/pin/279856564337097140/

https://www.pinterest.com.au/pin/AVwC6QM3eYwG5_Gl5ODLHTQhMcaSdCkg7EIxxUUxcQPSMmEZZFqoK-k/

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Mock Up Poster Layout

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W12 Reflection What drove/informed design descisions?

This week, I focused on refining my overall design for the workshop and the materiality aspect. Thus, I was not well considered on the poster layout. I, however, manage to print out some of the drawings, starting from the overview of the concept to the site plan and then gradually following up with a workshop on dwellings. One of my main reasons for laying them in landscape layout was that my workshop and dwellings are long and worked best to represent my scheme.

What was successful/unsucessful?

Overall, the mockup layout has room for improvement, and it was not well prepared.

The drawings should consider trimming to give some gaps for each drawing. In addition, I need to consider the hierarchy of the perspective views, and they are hard to grasp the main aspect of the project.

What did you learn and how might these inform you future designs?

After mocking up crits with Yui, I realised it is best to work vertically so that it fits on three panels. The font size and scale bars need to be further refined to avoid distractions from the overall drawings. Mock around with different drawing layout sheets to give hierarchy to the drawing. I need to take into account of the human body heights when standing vs sitting.

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Final Submission

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ABPL 90115 - Architecture Studio E Journal Studio Leader: Yui Uchimura Student: Chhay Kourng (William) Lay