Design Methods + Approaches - Journal 2

ABPL90236 Design Approaches & Methods - Semester 1 - 2018 Subject Coordinator: Gregory Missingham Tutor: Stephanie Liddicoat

Interim Submission - Journal for Weeks 3, 4 and 5 David Gerber - 774234

March 12, 2018 - Workshop The first exercise of the workshop was to create a list of different design approaches as a group of 4, and discuss the positives and negatives of said approaches. This was a useful way of generating ideas, and to use this list down the road when you get a mental block, which stops you from continuing your design.

POSITIVES:

DESIGN APPROACHES:

NEGATIVES:

- Accurate Data.

- Different Approach.

Environmental Analysis.

- Grasshopper.

- Parametric.

- Time Consuming.

- Adjustments need to be made to final design outcome.

- Working out what not to do/ doesn’t work.

Research.

- Overwhelming amount of information available.

- Inspirational.

- Get into shoes of client.

Think like a child.

- Ability to fulfill desires.

- Used throughout process.

- Ability to categorize into folders - library of ideas.

Pinterest.

- Understand language of site.

- Develop relationships.

Site Analysis.

- Expand perspective/horizons.

Travel.

- Quickly test/manipulate.

01

Model making.

- Limit innovation.

- Can direct you away from core concept.

- Difficult to include all aspects.

- Expensive.

- Time consuming.

POSITIVES:

DESIGN APPROACHES:

NEGATIVES:

- Understanding of space through different senses.

TV / Movies.

- Can get lost in the abstract.

- Meditative, informative.

- Descriptive language may inform phenomenological approach.

Books / Written Material.

- Boring (sometimes).

- Helps with exploration.

- Easier than sketching (for some).

3D modeling.

- Limiting depending on skills / software.

Analyzing behaviours.

- Budget constraints.

Designing for a problem.

- Can be limiting.

- Never one answer.

- Good structure, cost effective, and efficient.

Structurally-led design.

- Limited knowledge.

- Depth of design thinking.

Writing, poetry, narrative.

- Difficult to translate to design.

- Depth of contribution.

Interdisciplinary.

- Communication/management.

- Becomes real-world responsive.

- Customized.

02

March 12, 2018 - Workshop PRE-DESIGN:

CONCEPT DESIGN:

- Environmental Analysis.

- Modeling (physical / 3D).

- Research.

- Sketching.

DESIGN DEVELOPMENT:

DESIGN PRESENTATION:

- Thinking like Client.

- Drawings (sections, etc).

- Pinterest.

- Site Analysis.

- Aesthetics.

- TV / Movies.

- Diagramming.

- Books, Written Material.

- Working with Scales.

- Experimentation.

- Writing, Poetry, Narrative.

- Renders.

- Travel.

- Models

- Collage.

- Video.

- Lists.

- Zoning, Council Regulations, Heritage.

- Scribbling.

- Scrunching Paper (Gehry).

- Interdisciplinary.

03

- Collage.

This exercise brought to light how many different approaches there are that my group used. A lot were similar, but there were some (think like a child, TV/movies, books, structure, poetry) that I have never used, nor even thought to use. Even looking back at it now, I’m not sure if I would use those types of design methods mainly due to the fact that my way of thinking doesn’t align with those types of methods.

I tend to take a very practical approach to designing and learn through contextual analysis, precedent research, and testing with software. This just seems to be a streamlined approach that I have adopted and generally helps me stay on course and produce an outcome for my design.

I noticed that my group did not rely on computer-aided design processes, they found it difficult, and thus, turned to sketching or writing as their form of design development. I used to draw a lot when I was younger, but as I began my studying in architecture, I was quickly told that I would need to learn different software. I focused a lot of my attention on that type of approach and have now found myself basically stuck there. I don’t sketch because I see the 3D images in my head and can quickly replicate it on the software and develop my design that way (I have been trying to change this approach this semester).

The next exercise was designing the Grattan Street Subway. We had a handful of methods to choose from after making our exhaustive lists in the previous exercise. Our group, minus myself, took to creating a paper model. It’s not so much that the group dynamic was not right, but I believe there tends to be that “awkward” phase at the beginning of group projects when you are thrown into something new. Neither of us really knew each others’ strengths/weaknesses, and our task was to create something rather quickly. We decided as a group to try the paper approach as it was something neither of us every engaged with at first.

Me, being me, I was unable to think about that paper exploration until I knew the site and the plot of land that I was able to work on. I started drawing a section since the underground area of the subway, as well as the context around that plot of land, would dictate where and how the building above ground would sit/function.

Me

Group

04

March 12, 2018 - Workshop

By the time we all came to some sort of a design (working individually), and putting it all together, the time was up. What I noticed was that the sense of scale for everyone was different, and where one individual thought of their model to be a certain scale, when put together with another persons, their model ended up having to take on a different scale in order to suit. I think perhaps with agreeing to a set scale to work with and thinking about the site first, perhaps it would’ve been beneficial in speeding up the concept design phase. The overall design ended up being interesting anyways, but just thinking about if we were to progress the design further, that a more coherent set of rules to abide by may have helped everyone in the initial phase, as well as moving forward.

THOUGHTS AFTER EXERCISE: What I learned from the subway exercise is to try different techniques in the initial phases of design because it can produce interesting designs that I would not have thought of had I used my typical approach. Although I still did slightly go back to my old practices, I gauged the type of building we were going to design and designed in section first, which I do not normally do, but have learned from previous experience in Studio B and thought it would be appropriate here.

I believe that the paper models were beneficial in exploring the building typology, but I would not take to it right away before knowing the parameters/constraints in which I am working with.

The workshop was beneficial in that I was able to step into the minds of other creative designers and see what they use in different phases of the design process. I believe the lists that our group created will be very beneficial to me if I ever come up to a road block in my design. The list provides me with different types of approaches that I can test out, and can potentially spark something and help get over that design block.

05

PLACE LOCALITY

PATTERNS

RESOLUTION OF FORCES

CONCEPTS

EXPERIENCES + AFFECT

YOUR DESIGNING

Appropriate design for context that it is in.

Elements found in nature - wind, sun, water, materiality.

A place which activates the community and is a transitional space.

Using biophilic and biomimicry ideas as inspiration to create a design.

A building that heightens all of the senses.

DESIGN APPROACHES

Creating a health building, retrofitted into a increasingly changing community.

Connection with patterns found in nature.

Environmentally friendly and engaging.

Connection with nature in an otherwise artificial environment.

Creating a comfortable and productive environment.

DESIGN METHODS

Demographic, topographic, access, environmental, and site regulation analysis.

Use of natural materiality internally, facade and internal spaces that respond to natural systems.

Making the users constantly aware of natural elements both internally and externally.

Play with landscape, spatial orientation, views, internal experiences.

Built forms that have the user in mind and cause constant interactions to make them aware.

DESIGN CONJECTURES

Testing potential overshadowing on the site due to change in zoning regulations.

Testing environmental systems and how the site/building is affected by them.

Lighting conditions, change in temps at random intervals, sounds.

Non/Visual connection with nature, diffused lighting, sounds, smells, natural systems, non-rhythmic sensory, etc.

Constant interaction and variants in feelings mentally/physically.

DESIGN IDEAS

Mediator between mix-use and residential zoned sites.

Blending of inside and outside.

Facade that dictates the way the internal spaces feel (closed/ open systems).

Use of courtyard and views - flora, fauna, visual seasonal changes.

Curved spaces which create a sense of mystery and sense of exploration. Prospect (views) and Refuge (shelter).

06

March 12, 2018 - Workshop

THOUGHTS AFTER HOMEWORK: - Why was it so difficult to fill out a seemingly easy chart?

- Was it because I did not understand the elements of the chart itself?

- Perhaps I do not fully understand how my concept can link to my building?

- Maybe it’s still too early in the design phase and I don’t ask myself the critical questions until later in the process?

- What can I learn from this chart?

- A way to thoroughly understand my concept and why I am designing the way I am.

- Push the limits and experiment. Experimentation leads to unique results.

- Do more research into Biophilic patterns so that I understand it fully and can create a design that reflects that knowledge.

07

March 14, 2018 - Lecture

Key Take-Aways: - Analogy: - Something that is meant to represent another thing.

- A design that makes you think of something.

- Metaphor: - A bridge is classical metaphor in architecture.

- A threshold.

- Allegory: - Layered building with levels of meanings.

- Other Tactics - Exercise.

- Designing according to human feelings/experience.

- Architectural Archetypes.

- Posses simply understood forms, memorable in themselves.

- Able to suggest narrative associations.

- Provoke ramifying associational resonances with other, only half similar, forms.

- Have forms equivalent to formations known from nature.

- Have symbolic content related to instinctual fantasies.

- Draw on other existing systems of meaning.

- Pop Culture, Innate human predilections, Architectural archetypes, Drama + Story, Haiku.

08

TRAVERSING STIMULI

March 19, 2018 - Workshop

Vegetation

Social Interaction

Animal Encounters

Evoking the Senses Through the Built Environment

1

WEEK 4 - 5 FAVOURITES EXERCISE: An Experience - Studio E For studio, I started with an “experience” and used that to guide my conceptual ideas.

TRAVERSING STIMULI

Vegetation

Social Interaction

Todays society has become emotionally numb and have developed a learned deafness.

If our brains do not perceive something as a threat, it does not focus it’s attention on it after time, and we only become aware of our surroundings when our environment changes.

Only then do we recognize the change because of the two contrasting elements.

09

1

Animal Encounters

Evoking the Senses Through the Built Environment

Emotional experiences

1

I noticed that I would begin to become numb to certain sounds/environments/feelings after a certain point.

The concept that emerged was in regards to the temporal and phenomenological associations throughout my journey.

Auditory Connection to Nature

Private vs. Public

2

Auditory Connection Visual/Physical Blurring the Boundary to Nature Connection toExterior Nature Between Interior and

Private vs. Public

Vegetation

Social Interaction

Animal Encounters

1

3

1

Emotional experiences

3

A

- Auditory, visual, materiality.

- Evokes memories and feelings.

-P e

A Sense of Journey.

AC

2

2

Auditory Connection Visual/Physical to Nature Blurring Connection to Nature the Boundary

Private vs. Public

Between Interior and Exterior

1 1

visual, materiality.

3 -- Auditory, 2 Evokes memories and feelings.

3

- Paths promising the unknown excites our curiosity.

Beyond Biop

2

Auditory Connection Visual/Physical to Nature Connection to Nature Blurring the Boundary

Private vs. Public

A Sense of Journey.

A Choice in Outcome.

Between Interior and Exterior

1

-H e

2

- Auditory, visual, materiality.

- Evokes memories and feelings.

3

- Paths promising the unknown excites our curiosity.

- Human emotions evoke with either threats or rewards.

WEEK 4 - 5 FAVOURITES EXERCISE: Pick key experiences to be had or key events that will take place in the current project. Represent these through your artistic media. Consider atmosphere, form, user engagement, etc.

- The key experiences I hope to evoke in my current studio design is the awareness of the users surroundings. The way in which I can do this is through materiality, changing of the heights in spaces, shapes of walls (curves), differentiation of environment (light, sounds, temperature), and blurring the boundary between interior and exterior (courtyards, exterior paths coming inside).

List five users of your current design project. What kinds of experiences/moments might be meaningful/important/useful in your current project? How would they continue to be so over time?

- The main users of my building would be those that are coming for health purposes, whether check-ups or being active. The experiences/moments that I would like to create is a constant reminder of a healthy and active lifestyle, as well as the importance in the connection with nature. I also have to be aware that there will be different age groups using the building facilities, and thus, they have different interpretations of the spaces, as well as different ways in which they engage with the spaces. Safety of the users is something that needs to be carefully considered.

What is the governing metaphor underpinning your current design project? At how many scales can it prove informative?

- The metaphor that I am using is the green laneways. I have extended the greenery from neighbouring sites and have proposed to have them follow through the building. This would be in various scales, whether through materiality, visual lines, or the built environment creating a reflection of the greenway.

What is the story you are trying to tell in your design? How is that different to the story people would experience in your project?

- The story I am trying to tell is that the built environment is able to evoke emotions/memories/feelings in a user, and in a society that is numb to their surroundings, sometimes it is good to have step away from civilization (in a sense), and reconnect back with nature. Everyone experiences the same space in different ways, so it is difficult to gauge whether or not my story will translate to the people experiencing the spaces, however, if careful consideration is put into these threshold spaces, the users will have some sort of experience due to us not being used to dealing with spaces like these in our everyday life.

10

March 19, 2018 - Workshop DESIGNING A UTOPIA: Some things to think about: - What is a utopia?

- Who are your users?

- Describe them (age, activities, emotions).

- Context?

- Future - tech, refugees, AI. - Past - WWII. - Certain users?

Our group decision: - Set in the future.

- Always dissatisfied with the present.

- Architecture student utopia.

- Holographic projections - create 1:1 models.

- VR Sets.

- Take parts from Pinterest and transfer it to model.

I had to take on the leadership role due to our group having so many ideas. At a certain point I just said that we should just pick any idea out of the numerous ones we had. It really didn’t matter what the idea was, we just needed one to use as an example and to start to design it. Eventually we settled on the architecture student example due to the fact that it hit so close to home.

Reflections while working: - A lot of our ideas came from movies/shows.

- Sci-Fi. - Utopia generally means we don’t think about budget or realistically.

- MSD doesn’t have personal desk space.

- Could this be a fix for it?

- Sharing studio space in VR. - Rhino-style, but outdoors.

11

- Environment is whatever you are comfortable working in.

- Our group agreed that we all work best at home and where our idea creation is best.

- Adding in restrictions/limitations/boundaries - Is it a place to escape? Or a real location?

- What are the plug-ins they can use?

- Escape to a meadow to relax? Dual purpose?

OUR UTOPIA USERS/IDEA:

QUESTIONS TO THINK ABOUT:

Architecture students.

- Want an escape.

- Need desk space.

From narrative to design.

- A potential design approach to help aid ideation.

Interactive studio.

- Both collaborative and individual.

- Learn from one another.

What is the opposite?

- Think about a dystopia and reverse-engineer.

Focus on yourself to solve your problems.

- This is the tactic that our group undertook.

Next exercise: Draw the narrative of your utopia - I wish we did this earlier, it would’ve been an easier way to develop the idea further. Our group just wrote down ideas using words instead of sketching our ideas. I did a few sketches, but they were explanatory sketches to show my group my thought-process for our utopia idea.

12

March 19, 2018 - Workshop

2.

1.

4.

5.

3.

6.

7.

Drawing the narrative helped us hash out the finer details of our utopia and helped us isolate the key principles that we wanted our utopia to have.

We wanted a utopia that is in VR that allows you to have full control over your designing, a collaborative space with other students (from the comfort of your own home), and the ability to learn from famous buildings.

13

4.

5.

These narrative drawings were broken down even further where we individually picked one of the images from our group narrative sketches, and developed the idea further.

This proved to be beneficial because we were able to present a deeper concept of our utopia, as well as everyone having the freedom to create what they envisioned during our group discussion/brainstorming session.

6.

7.

My sketch was showing how we would be able to use VR to dissect famous buildings and learn from them by isolating the structures, windows (for views/lighting exploration), and control the environment so we can learn from the site.

14

March 19, 2018 - Workshop IDEAS FROM NARRATIVE: A few ideas that sparked during the narrative exercise: - Is it potentially a dystopia?

- People sitting alone in their rooms, all wearing VR goggles and collaboratively working on a design in a Utopia.

- Loading in famous buildings.

- Walk through them to experience what it’s like inside.

- Take away details (see only the structure) for educational purposes.

- Loading Grasshopper.

- Control the sun and test the shadows.

WHAT DID I LEARN TODAY? - Utopia is difficult because of the broad parameters.

- Narrowing down and setting restrictions was helpful.

- Our group was pretty similar, but thought a bit differently.

- Jason needed more constraints.

- I imagined a blank, Rhino canvas.

- Know your users!

- Once we narrowed down the needs/feelings, it was easy.

- To what degree is it important to show the journey/feeling?

- Does the audience do their own journey?

- Some buildings have a particular journey to follow, so the linear narrative works here.

15

- The way in which you present the narrative matters.

- The one groups idea benefited from not having a linear narrative journey. Their story was of two opposite worlds converging into one. I found this a very interesting way to show their concept, whether they realized it or not.

Our Narrative

A+B=C

Their Narrative

A

C

B

- Storyboarding was very beneficial.

- Have never done it before, but it was super helpful for us.

- Great way to present conceptual ideas.

- A way to show the design journey.

- I would use this technique for the primary phase of the design process because I found it to be very helpful in hashing out ideas and working through the overarching ideas, as well as

Key Take-Aways: - Think about how the user moves through a space.

- How do they feel? How do you feel?

- Architecture of the senses.

- Vision (fire + light).

- Hearing (air).

- Smell (vapour).

- Taste (water).

- Touch (earth).

March 21, 2018 - Lecture - Light + Shadow.

- Sunlight will impact the space differently throughout the day.

- Spatiality of Night.

- Buildings aren’t only visible 9-5, how does it look/feel at night?

- How do we design a space where sometimes it’s always dark (northern cities)?

- Palasma.

- Architecture involves seven realms of sensory experience that interact and infuse with each other.

- Ear, Eye, Nose, Skin, Tongue, Skeleton, Muscle.

- How is technology changing how we experience space?

- Analysis of consumption, building usage, movement.

- Can be used to help evoke feelings (temperature, smells, sounds, etc.)

- Space of Scent.

- The strongest memory of a space is the smell.

- Re-enter a space that we forgot about.

- There is a store in Canada (Hollister) that has a distinct smell. As soon as you enter the shopping mall and are in close proximity, you know that there is a Hollister near by.

- Virtual tour through spaces - Student Video.

- Warm colours, nice sounds.

- Had a sense of warmth come over me.

- Cool colours, loud wind sounds.

- Felt cold, glass floor made me uneasy.

- Dark hallway with echoes.

- Scary, felt alone, horror movie-like, spikes on the wall.

- The Space of Touch.

- The skin reads the texture, weight, etc.

- The surface of an old railing polished by hands.

- Reconnection with the past.

- Space is a cohesive, experiential continuum.

- Think carefully how we move through space.

- Speed of movement - car vs. bike vs. walk.

- How will this affect my building that is adjacent to a high-speed road?

- Interesting how the audio gives you a clue of the visuals and how the spaces feel. They weren’t real spaces, but felt extremely real and evoked different feelings while watching it.

- Interesting projects I want to look more into.

- The Sound of Space - Otto, 2006.

- Tower of Winds - Toyo Ito, 1986.

- D-Tower - Nox, 2005.

16

March 21, 2018 - Lecture

THOUGHTS AFTER LECTURE: - There are so many great concepts covered in this lecture that I will need to revisit for my studio design.

- I am in the Biophilia studio and all of the concepts covered are very beneficial in me being able to create the experiences that I want the users to have while in my building.

- I will have to revisit this lecture a few times.

- What can I learn from the examples?

- The Sound of Space - Otto, 2006.

- Merging the inside/outside.

- Sounds of the outside recorded and played inside.

- Tower of Winds - Toyo Ito, 1986.

- A building that changes shape/colour based on the environment.

- D-Tower - Nox, 2005.

- Collects data of the community and projects a different colour based on the average mood.

- Interactive spaces.

- Participatory spaces.

- Grandes Lignes - HeHe, 2007.

- Only lights up as people walk across it. Only lit up where you are.

- Perhaps after-hours path lights for my building?

Is phenomenology important in your design process? Why/why not?

- Until this semesters’ studio, I have never thought about phenomenology. All of the studios that I picked were very practical (not saying phenomenology isn’t practical), but there was never any emphasis on focusing on those types of methods. I have only recently realized not only the importance, but my extreme interest in this type of designing.

What does phenomenology mean to you?

- The way in which the built environment can elicit subconscious feelings, emotions, and memories in the user.

17

WHAT ARE MY SOURCES FOR DESIGN IDEAS?

- ZONING

March 26, 2018 - Workshop

GENE POOL TO OPTIMIZE POINTS ON LOFT

MOVE POINTS ON Z-AXIS

CREATE NURBS CURVE TO CONNECT POINTS

LOFT NURBS CURVES TO CREATE SURFACE

- ENVIRONMENTAL IMPACTS

LADYBUG

- CONTEXT

GRASSHOPPER GALAPAGOS

SSW S

SUMMER SOLSTICE JUNE 21ST

C

SW

35.30<

WSW

33.17

SSE W

31.04 28.91

SE

RHINOCEROS

SUNRISE: 7:42AM SUNSET: 9:14PM SUMMER MONTHS: APR - SEP

- IMPACT

WNW

25.78 24.65

ESE NW

22.52 20.39

E

18.26

NNW

16.13

ENE NE

N

NNE

<14.00

- OVERSHADOWING

WIND ROSE DIAGRAM GUANGZHOU, CHINA 1 APRIL - 8:00AM -> 30 SEPTEMBER 9:00PM HOURLY DATA: DRY TEMPERATURE (C) CALM FOR 10.45% OF THE TIME = 458HRS EACH POLYLINE SHOWS FREQUENCY OF 1.0% = 42 HOURS SSW

M/S

SW

S

10.80<

WSW

9.72

SSE

W

8.64 7.56

SE WNW

6.48 5.40

ESE

- CONSIDERATIONS

NW

4.32 3.24

E NNW

- SOLAR

2.16 1.08

ENE NE

NNE

N

<0.00

WIND ROSE DIAGRAM GUANGZHOU, CHINA 1 APRIL - 8:00AM -> 30 SEPTEMBER 9:00PM HOURLY DATA: WIND SPEED (M/S) CALM FOR 10.45% OF THE TIME = 458HRS EACH POLYLINE SHOWS FREQUENCY OF 1.0% = 42 HOURS

SITE ANALYSIS

N

ENVIRONMENTAL ANALYSIS

PINTEREST/ PRECEDENT RESEARCH

3D MODELING

HIGH RISE

MEDIUM RISE LOW RISE

- IDEAS

- EXPLORATION

- DO’S/DONT’S

- VISUALIZATION

- CULTURE

- TESTING

N

18

March 26, 2018 - Workshop

VERY (TOO) PRACTICAL - USE “REAL-WORLD” SCENARIOS AS MY CONSTRAINTS.

VERY COMPUTER/ TECH DEPENDANT

- FIND IT EASIER TO TRANSLATE MY IDEAS FROM MY HEAD INTO A 3D ENVIRONMENT.

VISUAL LEARNER

- USE REALIZED PROJECTS AS INSPIRATION

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STUDIO B

David Gerber - 774234 - Studio B

Semester 2 - 2016 | Dennis Prior

Master of Architecture 300pt

PRECEDENT RESEARCH “i” Plan Down “i” Plan L Plan Down “L” Plan

PRECEDENT RESEARCH

David Gerber - 774234 - Studio B

- LEARNING THROUGH TAKING APART THE PRECEDENT BUILDING HELPED ME UNDERSTAND IT BETTER.

Semester 2 - 2016 | Dennis Prior

Master of Architecture 300pt

- RESPONDING TO SITE/CONTEXT/ ENVIRONMENT.

ConceptEnvelope Generation Building 1.

4.

3.3.

2.

- MINDFUL OF SURROUNDINGS.

- COMPARING WITH OTHER PRECEDENTS ON SIMILAR GROUNDS.

title

title

N

Building Volume

title

N

N

- IMPLEMENTATION OF PRECEDENT CASE STUDIES.

Void Creation

Sun Cuts

Neighbouring Building Heights

Site Area: 480m2 Site Area: 480m2 Building Footprint: 330m2 Site Area: 480m2 Site Area: 480m2 Site Area: 480m2 Building Footprint: 330m2 Building Footprint: 330m2 Building Footprint: 330m2 Building Footprint: 330m2

title

N

Gross Floor Area: 1480m2 Gross Floor Area: 1480m2 Building Footprint: 330m2 Gross Floor Area: 1480m2 Gross Floor Area: 1480m2 Gross Floor Area: 1480m2 Building Footprint: 330m2 Building Footprint: 330m2 Building Footprint: 330m2 Building Footprint: 330m2

Envelope Envelope Total surface area: 1820m2 Envelope Envelope TotalEnvelope surface area: 1820m2 Total volume: 3920m3 Total surface area: 1820m2 Total surface area: 1820m2 surface area: 1820m2 TotalTotal volume: 3920m3 Total volume: 3920m3 Total volume: 3920m3 Total volume: 3920m3

Down “L” Plan “L” Plan

Down “i” Plan

“i” Plan

title

“i” Plan | Down “i” Plan | “L” Plan | Down “L” Plan

Apartment Types

4%

54%

21%

N

scale

title

title

building footprint | site area

site occupation

N

Building Volume

1:500

21%

68%

330m2

David Gerber - 774234 - Studio B

Semester 2 - 2016 | Dennis Prior

CONTEXT ANALYSIS ST DAVID & BRUNSWICK

AA

HODGSON & SMITH

200 TO BULLEEN TERMINUS 207 TO DONCASTER SC

ST VINCENTS PLAZA

Even after building it according to plans, I had to reconfigure the apartments because I made them go down instead of up for example. This was a great exercise and helped me wrap my head around the project and its various complexities and intricacies.

MELBOURNE CENTRAL

PARLIAMENT STATION

BOURKE ST MALL

LITTLE COLLINS & QUEEN

ELIZABETH & COLLINS

SOUTHERN CROSS

18202

N

title

gross floor area | total footprint

floor area ratio

Unit Divisions

3920m2

449%

1480m2

330m2

CREATION OF PLANS

David Gerber - 774234 - Studio B

JOHNSTON & BRUNSWICK

BELL & NICHOLSON

The biggest contributor to my understanding of the building was digitally building it through Rhino. Based on the plans TO HARBOUR TOWN alone, it was very difficult to understand86which way apartments spanned and which floor they landed on. It is a very confusing building with multuple interlocking and multi-level apartments.

11 TO VICTORIA HARBOUR

45%

Void volume: 347m3 Circulation: 80m2 Void volume: 347m3 Circulation: 80m2 Total volume: 3920m3 Reflection pool: 70m2 Void volume: 347m3 Circulation: 80m280m2 Void volume: 347m3 Circulation: volume: 347m3 Circulation: 80m2 TotalVoid volume: 3920m3 Reflection pool: 70m2 Total volume: 3920m3 Reflection pool: 70m270m2 Total volume: 3920m3 Reflection pool: Total volume: 3920m3 Reflection pool: 70m2

Master of Architecture 300pt 11 TO WEST PRESTON 86 TO BUNDOORA RMIT

96 TO EAST BRUNSWICK

surface area | total volume

void area ratio

N

Building Envelope

480m2

Number of units: 8 total beds: 22 Number of units: 8 Number of units: 8 Number of units: 8 Number total beds: average beds per unit: 2.75 22of units: 8 total beds: 22 2.75 total beds: 22 total beds: average beds per22 unit: average beds per unit: 2.75 2.75 average per unit: average beds perbeds unit: 2.75

CASINO

96 TO ST.KILDA University of Melbourne

title

N

scale

1:25,000

PT CIRCULATION & STOPS

Studley Park

- PROVING THAT CAR PARK MAY NOT BE NECESSARY FOR THIS APARTMENT BLOCK DUE TO DEMOGRAPHICS, LOCATION TO PT, AND LOCAL PARKING SITUATION.

bb

Semester 2 - 2016 | Dennis Prior

CC

BED

N

dd

Unit Types

bb

AA

CC

total bedrooms | number of units

average beds per unit

2.75

22

8

Master of Architecture 300pt

KITCHEN

SKYLIGHT

title

title

dd

void volume | total volume

internal void area ratio

N

BED

Internal Voids

BATH

9%

347m2

title

circulation area | total volume

circulation ratio

N

Public Circulation

3920m2

SKYLIGHT

2%

LOUNGE

3920m2

80m2

LOUNGE

KITCHEN

SKYLIGHT

BED SKYLIGHT dd

WC

KITCHEN

BED

BED BED

dd

LAUNDRY

BED

BATH

LOUNGE

THREE USES OF SPACE BELOW 1500MM

SKYLIGHT

JOINERY

2000mm

SKYLIGHT

BATH

TILES

KITCHEN

LOUNGE

WC

MINI HOT HOUSE FOR HERBS

0mm

BATH

SKYLIGHT

KITCHEN

BED

BED

KITCHEN

BED

BED

BED

LAUNDRY

2000mm

2000mm

SKYLIGHT

BATH

BATH

BATH

LOUNGE

0mm

KITCHEN

0mm

BATH

KITCHEN 2000mm

BED

BED

STORAGE

BED

2000mm

AMBIENT LIGHT SPACE / VOID

LOUVRES

0mm

70% Transparency LOUNGE

BATH

BATH

0mm

100% Transparency 50% Transparency

STORAGE

2000mm

BED 30% Transparency

0-1m 15m2 0-1m : :15m2 1-2m :: 50m2 1-2m 50m2 2-3m : 970m2 2-2.7m : 970m2

0mm POOL

title

title

N

Roof Plan and Materiality

Queen Victoria Market

title

N

Ceiling Heights

POOL

N

BED

Sloped Moments KITCHEN

BED

LOUNGE

PUBLIC FOYER

GARAGE

- IN THEORY, PLANS WORKED. WHEN APPLIED TO 3D MODEL, QUICKLY REALIZED THERE WERE NUMEROUS INHABITABLE SPACES.

BATH

LOUNGE

BED

EE

Melbourne CBD

EE

KITCHEN

BED

BATH

LIFT

LAUNDRY

BED

Building upon what we learned from the first assignment, diagramming was very useful in describing our design, especially since it definitely pushes the boundaries in terms of possibility and practicality. We believe it could stand up, but the emphasis wasn’t placed on the practicality of the building, but rather spatial GARAGE

MCG NGV

PUBLIC FOYER

Docklands

CC

bb

EE

BATH

BED

LAUNDRY

LIFT

Site Occuptation ¼ P Bike Paths

Title

Greeves St 5K Range: CIRCULATION - BICYCLE ¼ P Dedicated Lanes: Urban Context 75% Segregated Cycle Lanes:

Footprint/ Site Area

N

1:25000 1:1-

40

LOADING

¼P

BED

SECOND FLOOR PLAN

FIRST FLOOR PLAN

ST

RES. PERMIT

EXHIBITION

1P

St 2P EXHIBITION

40

ST

Young St

Bell St

CC

GROUND FLOOR PLAN

LIFT

LIFT

C

bb

BED

40

Brunswick

2P

RES. PERMIT

B

AA

Scale scale

RES. PERMIT

LOUNGE

BATH

LOUNGE

AA

EE

A

title

LIFT

composition and creating interesting spaces within a difficult envelope. The diagrams were used to explain different aspects of our building and proved to be invaluable and helped show the amount of thought that we put into the resolution of this project.

LIFT

RES. ONLY

N

title

typical unit size

Floor Plan

105sqm - 185sqm

scale

- DESIGNING IN SECTION HELPED - TRANSFER FROM 2D TO 3D HELPED

scale bar - 1cm = 1m

1:100 @ A1

0

5

10

15

60 RES. ONLY

40

St David

2P

St

1P

David Gerber - 774234 - Studio B

1P

Semester 2 - 2016 | Dennis Prior

Master of Architecture 300pt

LOADING

Context Research Assignment: Circulation Group: Anna Kilpatrick, David Gerber, Mitchell Stewart, and Shane Ridley

APPLYING TO SITE N

FINAL PRESENTATION

scale

The next assignment was the Context of 44 Greeves site we would be using for the following Esquisse David Gerber - 774234 - Studio B Research Semester 2 - 2016 |the Dennis Prior Master of Architecture 300pt assignment and the Final assignment. All of this information was collected 1:1000 into a research document that was then distributed throughout Cycling, and Cars. This gave us more insight into the context of the class, which proved invaluable to all of our designs.

Street, and my group was assigned the circulation around the VEHICULAR CIRCULATION area. This was divided into Walking, Public Transportation,

3

STUDY

VOID

2

007

Ground Floor FFL SCALE

1 : 200

VOID BED

VOID

BED

BATH

BATH

BED 2

BED 2

TO TERRACE

TO TERRACE

VOID

ENSUITE

BATH

2 007

Level 1 FFL SCALE

1 : 200

VOID

BED 3

BED 1

ENSUITE

BED 2

LIVING

LIVING

KITCHEN / DINING

SERVICE / STORAGE

GARAGE /LIVING

1

LIGHT WELL

LIGHT WELL

BATH

VOID

BED

KITCHEN / DINING

GARAGE /LIVING

SERVICE / STORAGE

VOID

GARAGE /LIVING

KITCHEN / DINING

BED 1

SERVICE / STORAGE

LIVING

LIGHT WELL

KITCHEN / DINING

SERVICE / STORAGE

GARAGE /LIVING

VOID

VOID

KITCHEN / DINING

BED 1

BED 2

BATH

BATH

KITCHEN / DINING

LIVING

LIVING

LIGHT WELL

LIVING

SERVICE / STORAGE

GARAGE /LIVING

LIGHT WELL

LIGHT WELL

SERVICE / STORAGE

GARAGE /LIVING

VOID

BATH

BED 2

TERRACE

BATH

BED 1

GARAGE /LIVING

VOID

KITCHEN / DINING

LIVING

1

3 007

Level 2 FFL SCALE

1 : 200

TITLE:

1 007

Level 3 FFL SCALE

1 : 200

1 Level 3 FFL NORTH:

Building Plan

008

SCALE:

SCALE 1 : 200

1:200

Typical apartment module A

Light well

Typical apartment module B

Green space Void

2 008

Rooftop FFL SCALE 1 : 200

- FITTING 7 UNITS ON SKINNY SITE, ALLOWING LIGHT FOR EACH (LIGHTWELLS), IMPLEMENTING DOUBLE HOUSE PRECEDENT TO CREATE INTERESTING SPACES, COMMUNITY ROOFTOP TO MAKE UP FOR LACK OF GREEN IN SURROUNDING AREA

East Elevation

North Elevation

EAST ELEVATION 1:100

EAST ELEVATION 1:100 EAST ELEVATION 1:100

NORTH ELEVATION 1:100 EAST ELEVATION 1:100

N

NORTH ELEVATION 1:100

NORTH ELEVATION 1:100 NORTH ELEVATION 1:100

Section CC

scale

Elevation

1:100 @ A1

- LIGHT IN EACH APARTMENT.

East Elevation

North Elevation title

scale bar - 1cm = 1m

0

5

10

15

hit-and-miss brick windows

void pool

External Materiality

hit-and-miss tiles

N

Section DD

Section EE

brick facade

This project reflects the rustic masonry qualities of Greeves Street surrounding area as well as the broader Fitzroy factory warehouse aesthetic.

However the bold glazed cuts and more ambiguous hit-and-miss brickwork present a more contemporary break with tradition.

heritage facade

title

typical ceiling height

scale

scale bar - 1cm = 1m

We had a Section lot of challenges with and@ A1 had multiple 1:100 2.7m this volume variations of the cuts when trying to figure out spatial compositions that will work. We finally landed on one and this was a great opportunity to put what we learned about multiresidential building and spacial composition, to the test. We 0

started by making plans on AutoCAD but quickly realized that most of the rooms did not work because of head clearance when importing and extruding in Rhino. This created a great learning environment and I learned so much from all of the problems we had during the planning phase. glass louvres

5

- AWKWARD SPACES WERE DEVELOPED AND MADE USEFUL.

10

15

concrete

Internal Materiality brick

The modern approach to the industrial facade is continued in the interior. The materials are representative of the warehouses and factories in Fitzroy with a focus on natural surfaces, warm tones and light. white plaster

- RESPONDED WELL TO ENVIRONMENT AND SITE/CONTEXT. - NOT PRACTICAL. (CRITS)

wood

1 007

Ground Floor FFL SCALE

1 : 200

2 007

Level 1 FFL SCALE

1 : 200

TITLE:

Parti Diagram The Parti Diagram shows the spacial composition and our attempts to implement the double house features. There is a push and pull effect in each townhouse which creates interesting spaces within each household. We also decided to impelement double-height spaces to make the townhouses more spacious

3 007

Level 2 FFL SCALE

1 : 200

4 007

Level 3 FFL SCALE

NORTH:

1 : 200

SCALE:

1:200

because they were quite narrow. Since there was no space for green space and an overall lack of parks in Fitzroy, we decided to make a community garden and shared green space on the top floor, which everyone could enjoy (each with individual, secured, access).

When we moved onto the materiality of the building, we quickly realized that we need to continue our approach of the monolithic form in order to preserve the original intent of the design. We landed on using the same brick to preserve the heritage aspect of the existing building, but also implemented hit-and-miss brick throughout the exterior. This created privacy, but also created

a monolithic form during the day, and an interesting exterior facade during the night as light passed through the missed bricks; the roof was also a hit-and-miss tiling system. This type of facade also played with the sunlight and created interesting lighting conditions inside the building.

20

March 26, 2018 - Workshop STUDIO D SITE ANALYSIS

MASTERPLAN CREATION

ENVIRONMENTAL ANALYSIS - TESTING OUR LAYOUT.

- GRASSHOPPER, RHINO.

CULTURAL ANALYSIS

MORE SITE ANALYSIS

PRESENT TO CLIENT/FIRM

- A LOT TO TAKE IN/LEARN.

- SITE VISITS.

- FEEDBACK, DISCUSSIONS.

- GOOGLE/ARTICLES.

- BOOKS, AUTHORITIES.

- CLIENT/DEVELOPER/ GOVERNMENT DO NOT AGREE ON ONE TYPOLOGY.

PRECEDENT CASE STUDY - HELPED VISUALIZE CULTURAL ANALYSIS PHASE.

PRESENT IN CHINA

CHANGE IN SCALE - HELPED CLARIFY DIRECTION.

- STARTING TO WORK ON ONE BLOCK INSTEAD OF WHOLE MASTERPLAN.

- IDEA CREATION.

FINDING MIDDLE GROUND

21

- NEW SET OF CHALLENGES TO DEAL WITH.

ENVIRONMENTAL ANALYSIS

MICRO SCALE - UNITS

- IDEA GENERATOR.

- KEY EMPHASIS BY FIRM.

- PLANS WORKED SPATIALLY.

- PROS/CONS.

- GRASSHOPPER, RHINO.

- EXTERNAL FACADES DID NOT REFLECT THE SAME AMOUNT OF CULTURAL DETAIL.

STUDIO D SITE ANALYSIS

MASTERPLAN CREATION

ENVIRONMENTAL ANALYSIS - TESTING OUR LAYOUT.

- GRASSHOPPER, RHINO.

CULTURAL ANALYSIS

MORE SITE ANALYSIS

PRESENT TO CLIENT/FIRM

- A LOT TO TAKE IN/LEARN.

- SITE VISITS.

- FEEDBACK, DISCUSSIONS.

- GOOGLE/ARTICLES.

- BOOKS, AUTHORITIES.

- CLIENT/DEVELOPER/ GOVERNMENT DO NOT AGREE ON ONE TYPOLOGY.

PRECEDENT CASE STUDY - HELPED VISUALIZE CULTURAL ANALYSIS PHASE.

PRESENT IN CHINA

CHANGE IN SCALE - HELPED CLARIFY DIRECTION.

- STARTING TO WORK ON ONE BLOCK INSTEAD OF WHOLE MASTERPLAN.

- IDEA CREATION.

FINDING MIDDLE GROUND

- NEW SET OF CHALLENGES TO DEAL WITH.

ENVIRONMENTAL ANALYSIS

MICRO SCALE - UNITS

- IDEA GENERATOR.

- KEY EMPHASIS BY FIRM.

- PLANS WORKED SPATIALLY.

- PROS/CONS.

- GRASSHOPPER, RHINO.

- EXTERNAL FACADES DID NOT REFLECT THE SAME AMOUNT OF CULTURAL DETAIL.

22

March 26, 2018 - Workshop

ANALOGY

- USING ANCIENT CHINESE ARCHITECTURE TECHNIQUES AND APPLYING IT WITH A MODERN TWIST.

USE OF LIGHT - NGV - VERY IMPORTANT WITH SETTING MOOD/FEELINGS. - COLOURS CAN CREATE CERTAIN ENVIRONMENTS. - DIFFUSED LIGHT. - INDIRECT LIGHT. - PROJECTIONS ABOVE INSTILLATION.

23

THOUGHTS AFTER PRESENTATIONS: How does the rest of the cohort design? Different? Similar?

- I noticed that all of us rely heavily on Pinterest in the early stages of our design process. I think this seems to be the go-to due to the ease of which we are able to gather ideas into categorized folders and is easily accessible throughout the design process.

- I seem to be the only one who heavily relies on computer software during the initial phase as well.

- It seems to me that my undergraduate degree in History, Geography, and Environmental Ethics has had an impact in the way I approach my designs. I am very environmentally focused and tend to use that to propel my design. Also, due to my undergrad degree being only “right” or “wrong”, I have become accustomed to not experimenting and just doing what I know will work and that makes me very practical and straight-forward. I would love to be more conceptual, but it seems as though I have been “institutionalized”.

How can I change from practical to conceptual?

- I think I just need to step out of my comfort zone and just try different approaches and slowly break free from that practicality mold.

Feelings in Architecture.

- Models; Mood board/collage (materiality, form, composition); Pinterest/Precedents (how architects made that atmosphere); Threshold (doorway - one environment to another).

Methods to try out.

- Take Brief -> Choose an Element -> Research It -> Design Idea - Rendering to test at earlier stages.

- Diagram at each stage to have a clear idea and direction.

- Activity Analysis - Haven’t used that before but I think it will be very useful for this semesters’ studio.

Other students’ exhibition experience.

- Interactive instillations; water curtains; how does architecture create the atmosphere?

Something that really stood out to me.

- Jason mentioned that he tends to stay away from Pinterest during the initial phases of his design and brought up a great point that sometimes the precedents you find can actually end up leading the way in which your design goes, rather than you leading the design and using Pinterest later on for additional elements (materiality). I never thought about it in that way before.

24

March 26, 2018 - Workshop Ways to combat design block.

- Back track (re-check if your design aligns with your initial concept).

- Change scales. (world -> country -> city -> plot of land.

- Model making (design a room, not building).

- How you enter, what do you see?

- Interior atmosphere models.

- Talk to people (discussions lead to breakthroughs).

- Construction (how it’s constructed).

- Change media.

- Storyboarding to inform the plan.

- Can be handy for Studio E (experiential narrative).

- Precedents.

- Get away for a bit and refresh yourself.

- 40 Iterations - No site, no context, just quick design.

- Take your concept and see if film/art has dealt with that before.

WHAT DID I LEARN TODAY? - The power of discussion.

- Extremely insightful to see how everyone approaches design and the different ways in which they break the design blocks that we all face in the design process.

- Different methods of designing / presenting your design.

- How much my previous degree has impacted the way in which I design now.

- I never took the time to think why I design the way I do, I just thought that’s just how it is. It wasn’t until my peer asked me what my background degree was. Now it makes sense why I design the way I do.

25

March 28, 2018 - Lecture

Key Take-Aways - Dr. Margaret Grose: - Excessive site analysis and planning rules leads to: - Analysis paralysis.

- Boring, cookie-cutter designs.

- McHargian â&#x20AC;&#x2DC;overlayâ&#x20AC;&#x2122; technique.

- Bringing ecology into planning.

- Identifying the critical aspects of the site.

- Bad - Expect site analysis to provide the design.

- Lots of useless data.

- Stuck describing present site conditions.

- Useful approach by Randall G. Arendt.

- Design from the ground up.

- What are the important bits, no matter how small (scale from wetlands to single trees, an old fence, a rock).

- Identify the preservation of valuable bits; identify poor bits.

- Good suburb design: - Identify what should be preserved (local character).

- Locate house sites (the actual house, not the lots).

- Design street alignments and trails.

- Put in house lot boundaries last.

26

March 28, 2018 - Lecture Key Take-Aways - Australian Architecture: Pavilions in the Park: - What are the characteristics of Australian architecture?

- Corrugated iron, metal, elevated.

- Gabriel Poole.

- Elevated houses on his invented, inverted-pyramid, metal supports - Touches the ground lightly.

- Design Principles: - Choose a beautiful site; engage with the landscape and views; engage with the climate (need breezes, overhangs for the rain); touch lightly on the land; use materials in their natural state (timber/corrugated iron; don’t paint); use resources parsimoniously (don’t use a lot of everything you use).

- Glen Murcutt.

- Good with proportions, look right just as they are.

- Simple, rectangle shape.

- Shape of roof to suit the environment (rain, sun).

- Design Principles (added to list): - Planning should be rectilinear + elegant (simple box floor plans).

- Detailing should be inventive.

- Provide calm and comfort for audiences, users, and inhabitants of buildings.

- Peter Stutchbury.

- Very “cool” designs (one roof over another roof); emphasis on breezes.

- Troppo Architects.

- Rozak House - Awards won for this house.

- Hyperbolic paraboloids in the roof system; pulled apart and more dynamic.

- No downpipes - saves money.

- Design Principles (added to list): - Choose a beautiful site - if you can, otherwise, suburbia is okay.

- You can have a political agenda.

27

March 28, 2018 - Lecture THOUGHTS AFTER LECTURE: Can you see any Design Principles in these works that ought to have been identified?

- The shape of the roof. I noticed that a lot of the houses have a similar roof shape as industrial-zone buildings in Melbourne.

How could you transform your current design project (or your immediate previous one), using the Design Principles of this “Pavilions in the Landscape” tradition?

- I am currently “engaging with the landscape and views”. I have used this design principle to inform my building footprint.

- I think that engaging with the climate, and using materials in their natural state will be beneficial to me in not only being a more “Australian” design, but also helps with the Biophilic concept as well.

Is this your sort of Approach? Why/why not?

- I tend to try and make sure my design respects the context and the surrounding sites, but they seem to be an after thought. For example, my previous studio, I kind of knew about the different Chinese architecture elements, but I did not engage with them until I got to that point in the design phase. Even for my current studio, I have not began to think about the building design because we are still in the master plan phase and I am still grappling with how my experiential journey will be translated into the landscape of the site.

28

March 28, 2018 - Lecture

The site as a selected piece in/from greater wholes.

- I took the surrounding built forms, vegetation, and circulation, then over layed it onto the site to see if any interesting elements/formations arise.

Incorporating Public Transport.

INCORPORATING PUBLIC TRANSPORT

- Improved / Easier Access to Facilities.

SUTTON STREET

BUILT FORM

Integrating Greenery from Neighbouring Sites.

BUNCLE ST

BOUNDARY

REET

ROAD

- Catalyst for future redevelopment to the west.

VEGETATION

Improved Circulation Through the Site.

- Creating an unrestricted flow.

GREENWAYS

MARK STREET

CIRCULATION

DAVID GERBER - 774234

Accommodating proposed Storm Water Collection.

- Improved user experience due to presence of water.

Integration into site.

-Variation in levels following the natural topography.

29

TOPOGRAPHY

CIRCULATION

March 28, 2018 - Lecture

THOUGHTS AFTER HOMEWORK: - Looking at the greater context.

- Unfortunately I was unable to pin-point any key elements from the surrounding context that could potentially inform my landscape design and building footprint. I had to settle for using the neighbouring plots of land because they all spoke a similar language. The site just happens to not have any external elements that lead into it. The best I could come up with was the greenways that link from the east neighbours, cutting through my site in hopes to act as a catalyst for the west side of the site which will be redeveloped into mixed-use. The C190 plans to upgrade Moonee Ponds Creek Reserve, and this could be a way to bring the public to that location. I also incorporated the sight lines towards Royal Park.

- Did environmental analysis.

- I did some environmental analysis, but there was nothing significant enough to note as the site is not overshadowed and the current building (that will be upgrade), is far enough away from the neighbours as to not affect them.

- What did I learn?

- There is an overwhelming amount of information that I can add onto the site, but itâ&#x20AC;&#x2122;s picking the key elements that relate to my concept that will be the strongest and should be used to support my design.

30