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GENUINE

FAKE

WEEK4 STEPHEN HAWKEN


CRITIQUE OF EXCERCISE #1 It was generally agreed upon that the design was far too conventional in that it took an existing car park and altered it rather than designing a whole new space.

Our site is relatively untouched so it makes little sense to practice altering existing carparks when our project has to literally start from scratch.

Positives were drawn from the research and precedence that was delivered before the final design concept. The strength and attachment to this work may be a reason why the design appears so conventional.

The step between the strong research and the design has clearly failed. Whilst strong design intentions were evident throughout the process, perhaps they were not the correct intentions.

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THE PURPLE BRICK ROAD

The car park did function as a carpark and would most likely stasify the needs of a small retail strip which would (obviously) keep the developers happy. SOLUTION 1:500

The plan below was developed before the pedestrian view to the left. A 3D model was not used at all. This fault (perhaps) in the way of design may explain the pragmatism of the design.

neRKFake Looking towards the next week DESIGN

The dramatic use of colour and critiques were made to push the markingshouldnotbedismissed. rules and the brief that we were Whilst it isn’t strong here, there is handed in an attempt to generate a lot of potential for it to be exa more successful public space. ploited in further excercises.

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CRITIQUE OF EXCERCISE #2

Without a doubt this concept was an improvement on the previous one. It related to the precedence and research very well and was generally more fun and exciting.

The main view below was also more successful that last weeks as it was alot more believable, standing where a pedestrian would stand and looking up towards the site.

While it presented an interesting urban model, a number of the main issues that were meant to be addressed were side steppedin order to keep the design less complex.

Furthermore the idea of putting the entire car park underground was not entirely practical. Perhaps in a moredense urban site it would have made sense, in Epping North it does not.

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NORTH EPPING CARPARK(PARK) A number of the rules in the brief were broken to achieve the result below. Surface sizes were reduced, then increased and the whole concept of a supermarket frontage was disgarded. That was probably the biggest mistake.

EPPING ROAD

RAMP DOWN RAMP UP

LIFT

ALLOWANCE FOR FUTURE PEDESTRIAN CROSSING

PARK RAMP DOWN

‘FLIGHT PATH’ 800M IN LENGTH

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RAMP UP

Going into the next few weeks this idea presents some exciting potential that could be manipulated into the final project. The struggle will be to keep the design intentions shown here strong whilst including the supermarket and retail frontage. Not to mention bringing the car park above ground again.

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COLLINS PLACE

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Side entry condition

Main entry canopy

Interior plaza condition

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MELBOURNE CRICKET GROUND

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Interior condition

Closing Ceremony 2006

Exterior condition

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AAMI PARK

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Exterior condition

Interior event condition

Exterior condition

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QV

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Shopfront treatment

Wall treatment

Interior lighting

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MELBOURNE CENTRAL

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Roof treatment

Wall treatment

Main entry condition

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GERTRUDE/SMITH STREET

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Wall treatment

Corner condition

Seating/ Garden

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TIMES SQUARE

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Times Square is a major intersection on the island of Manhattan. Characterised by hundreds of brightly lit billboards littered across the facades of every building. Below is Bjarke Ingels Times Square Valentine. It pulses and reacts when two people touch the love heart together. Whilst adorably cute, it plays upon the light culture already existing in Times Square and exploits it by making it interactive with the passer by. Light does not always have to be static. Light that reacts to people can be friendly and warming, even if it is sited in quite an intense location.

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JAMES TURRELL

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“I feel my work is made for one being, one individual. You could say that’s me, but that’s not really true. It’s for an idealized viewer.” - James Turrell

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JULIEN BRETON

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“Julien Breton’s art is a cry in silence. Everything is silence. It’s movement, the light that cuts through the air, the ephemeral words, the darkness that envelops it, the evanescent traces of its shadow, the electric colours and the geometry that dissolves into nothingness” Testimony - Jacopo Perfetti

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DAN FLAVIN

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“One might not think of light as a matter of fact, but I do. And it is, as I said, as plain and open and direct an art as you will ever find.� - Dan Flavin

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CREATION OF THE WORLD Colours become moods, moods colours: the blue and gray of winter, the green and lavender of spring, the red and yellow of summer, the umber and amber of fall. The dance of shifting shadows and the astonishing colour of the hills create a light that is actually palpable. When appearance is dissapearance, illumination does not illuminate but creates an obscuritymore impenetrable than the darkness it displaces without eliminating. We found our conversation was punctuatedby long stretches of silence, as we struggled to absorb what surrounded us. To see seeing is to grasp the world as a work of art and to apprehend vision as a cosmogonic act once attributed to the gods. 26

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MARC C TAYLOR

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EPPING STATION

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AT ODDS WITH ARCHITECTURE

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SOUTH MORANG STATION

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AT ODDS WITH ARCHITECTURE

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DESIGN DEVELOPMENT

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DESIGN DEVELOPMENT

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DESIGN DEVELOPMENT

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DESGIN DEVELOPMENT

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DESIGN DEVELOPMENT

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EPPING ROAD FACADE

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SITE PLAN 1:5000

Side Entrance/ Exit

Proposed Road

Pedestrian Entry Retail Strip

Epping Road Entrance/Exit

‘Flight Path’

Epping Road

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FLOOR PLAN 1:1000 Side Entrance/Exit

Pedestrian Entry Retail

Carpark Retail Supermarket Carpark

Epping Road Entrance/Exit

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LOOKING NORTH 1:1000

Side Entry

Supermarket Carpark

Retail

Epping Road

Supermarket Carpark

Retail

Epping Road

Section

Side Entry

Elevation

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LOOKING WEST 1:2000

Epping Road Entry

Retail

Proposed Road

Retail

Proposed Road

Section

Epping Road Entry

Elevation

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CORNER ENTRY

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THE END STEPHEN HAWKEN


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