Studio 21 Final Submission Folio Wks 7-13 - Rowlands-Myers_George_758020

STUDIO 21 THE POOL LOOP SEM 2, 2020

WKS 7 - 12 + 13

GEORGE ROWLANDS-MYERS STUDIO C 758020

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WEEK 7

Circulation Program

Heat Battery

Coolsheet Panel

Solar PV

Filter

Excess

Heat Pump

Generator Turbine

Space

Water Pump Pool

Pre-Filtration Water (Post - Pool)

Ocean

Energy Loop

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MID-SEMESTER REFLECTION

Usually the design changes drastically between mid semester and the final and looking back now, mine is no different. Which is super interesting to look back on now!

The feedback I received for the first 6 weeks of work was largely positive, yet the hydro-electric scheme deemed not feasible due to the net-energy consumption it creates (due to pumping water up hill from the ocean and back down again) Otherwise, I think the best thing about this scheme was the circulatory connections I was making, as well as how these exterior flows cut through the building to create interesting interior effects, as shown in the below image. The actual formal arrangement of the project (I was not satisfied with at the time) leaves a lot to be desired, yet the conceptual ideas gave a good basis for the project going forward.

Pool Initial Visualization

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07

PRECEDENT STUDY Keller Fountain Park, Portland Oregan Angela Danadjieva 1970

I looked at a number of precedents that involved landscape architectural installations, most notably those that incorporated a multiplicity of volumes / planes sliding across each other - which ties into my project’s eventual focus on the overlap of various arrangements.

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PRECEDENT STUDY Keller Fountain Park, Portland Oregan Angela Danadjieva 1970

Whilst I didn’t end up using water as my overall design feature (instead swapping to Sunlight/solar), I did incorporate one section that is an outdoor water feature into the final design, which largely took inspiration from these works.

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GRID Following the Mid-sem, I attempted to try and fix the issue of the segregation between areas, here by trying to use the central circulatory node as a sort of grid that would go across the site. I think it ended up being more segregated though.

I see this is what happens when you skip a step forward and then retroactively place the grid down. Realistically I needed to start again form scratch.

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SEPARATE SPACES Similarly trying to incorporate all these different spaces into one big project, but again skipping too far ahead. There is no formal language that unifies all these forms.

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SCREEN I looked at how the screens may be broken up and better integrated within the site, attempting above to fold them in different ways, and playing with solid, frame, and void. I tried looking at how this may be integrated with water that could flow down these angled surfaces, like the angled walls of a dam.

I think while interesting., I was still trying to juggle too many ideas art once.

Cinema Visualization

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WEEK 8

PRECEDENT STUDY Kameha Grand Bonn , Germany Karl-Heinz Schommer

2010 • Aquifer stores • Geothermal Pipes run under Plaza • Store Heat / Coolth in aquifer underground • Potential for pool water heat transfer to ground > storage • Landscaping as drainage / filter • Water Features cool building / Potential for thermal mass heating • Recycling of black / grey water though aquifer + Filter > landscaping

Research took me to looking at thermal aquifer storage, which could also use geothermal piping within the pavement to store heat gained from the sun.

The engineers thought aquifers may not work for this site, but the geothermals were looked positively, and suggested they could be connected to the residential sewer to retain excess heat.

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• Geothermal Heat Storage

Paste Name Here

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MODEL MASSING I previously wanted to do more modeling but it was suggested that it would help my project make a unified system. This first iteration I was attempting to reconcile some of my previous 3D modeling iterations.

I find it hard to break away from a particular mindset and the ease with which i could cut up, crinkle, fold, flatten and join was extremely freeing. I think 3D modeling is great when you know what you want to create, but not so great as a generative design tool. This really helped my project and myself break new ground.

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08 PROGRAM MAP Trying to use of variety of mindsets each week. Following form finding and loop research, I went back to planning the space, and trying to think exactly where I want each program to be placed in order to interact the best way possible for the various users.

WC’s

OFFICE

CHANGE ROOMS GYM

RECEPTION SAUNA

POOL

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GALLERY COMMUNITY/ CULTURAL SPACES

CIVIC SPACES

OFFICES

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SITE ENTRANCE

POOL MEDIA Civic Spaces

CENTRAL PLAZA (GF) CIRCULATORY LANDSCAPING

CIRCULATORY LANDSCAPING

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GREEN WATER

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PLAZA

AMPHITHEATRE SOLAR PV

MEDIA

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LAND ART It was suggested to me to look at various land artists after doing some modeling. These two projects in particular were highly influential to my final. Michael Heizaer in particular, with his Double Negative, pushed me to look again at the positive and negative spaces that arise when something is deformed. This was something I was unintentionally doing in the first interim submission with circulation ramps entering the pool.

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Michael heizer

Dominique perault architecture Ewha womens university

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SKETCH BOOK Looking at various folding and deforming of forms in sketches.

Above Right: Influenced by Michael Heizer, looking at positive and negatives.

Middle right: I drew this section in which the light floods in though slotted pieces embedded within the roof. Though I didnâ&#x20AC;&#x2122;t realise it, this is exactly what my final design ended up using, just larger scale....I somehow returned to this idea...

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08 MEDIATEQUE Having a personal interest in cinema and video art, it seemed a great opportunity to incorporate this into the project, particularly when hearing of the siteâ&#x20AC;&#x2122;s historical significance in the production of the first feature film, The Story of the Kelly Gang. I did not know however how to make this integration not feel â&#x20AC;&#x2DC;tacked onâ&#x20AC;&#x2122;, and separated from the pool space. Below are some sketches in which I tried to reintegrate it into the site.

I looked at Nam Joon Pak, a video artist that uses a multitude of screens as one unified elements, as well as Diller + Scofidio, who blend various media with architecture in interesting ways.

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WEEK 9

PRECEDENT STUDY UFA Cinema Centre, Dresden COOP HIMMELB(L)AU 1998

Going back again to form finding, I started looking at precedents that used a montage like, constructivist form. The slicing, montage aesthetic crossed with the technicality of constructivism appealed to the idea of a building as a collage of various programs,

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PRECEDENT STUDY Seoul National University Museum of Art, Seoul OMA 2005

Additionally, I looked at the slicing of volumes and dialogue with the site in Koolhaas’ Seoul Museum, which also incorporates a ‘cinematic’, narrative of experience due to its rotated plan, which is in dialogue with the exterior but not predicable - thus creating this cinematic journey. Koolhaas and Tschumi’s works seem to be the most influential on my project, strangely enough being that they both have this interest in screen writing, narrative and cinema...

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FORM FINDING Going back again to form finding. I tried to integrate the dialogue with the site as seen in the Seoul museum into the project, But this was still utilizing the same thinking as week 6!

Looking back now, I can see the solution is clear, I should have started over again and tried to â&#x20AC;&#x2DC;wipe the slate cleanâ&#x20AC;&#x2122; - In this case , it would have been interesting to do this Seoul Museum site slice across the whole site as one topography surface.

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Site Plan

Aerial Perspective

Perspective

Perspective

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BREAKTHROUGH In thinking about how to integrate my project with the site, it was suggested that i just design the site first. In the below right sketch, I returned to that idea of slicing up the roof to allow light in, and then I made a breakthrough by trying this at a larger scale across the entirety of the site ( Marked by a big â&#x20AC;&#x2DC;eureka!â&#x20AC;&#x2122; circle.

Following this, i tried various sectional drawings to see how this would affect the ground plane and thus the user experience. _ This was my next challenge - maintaining a circulation and not again segregating each sections of the site with these slices.

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INTERIORS Returning to that idea of the interior/ exterior effecting the other through solid and void, positive and negative. In this case, the angled wall is not a circulation ramp this time but amphitheater seating on the outside.

Section A

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Pool Interior

Pool Interior

Section B

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SLICES With my form finding issues with 3D modeling it was suggested to draw the section freehand, as it is supposed to look, and then make the model afterwards.

This was a great idea that really helped me again. It allowed me to focus on the interior / negative space and the shape the poche created internally, rather than the concrete building elements that do this backwards.

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Perspective ELEVATION MATERIAL LEGEND

ELEVATION MATERIAL LEGEND

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ELEVATION FINISH SCHEDULE

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ABBREVIATIONS LEGEND AC AIR CONDITIONING UNIT COL COLUMN DB DISTRIBUTION BOARD ABBREVIATIONS DP DOWNPIPE LEGEND EF EXHAUST FAN / VENTUNIT AC AIR CONDITIONING EQ EQUAL COL COLUMN EX EXISTING DB DISTRIBUTION BOARD FE FIRE EXTINGUISHER DP DOWNPIPE FG FIXED GLAZING EF EXHAUST FAN / VENT FHR FIRE HOSE REEL EQ EQUAL HT HEIGHT OF AFL EX EXISTING INV SOLAR PANEL INVERTER FE FIRE EXTINGUISHER NOM NOMINAL FG FIXED GLAZING PA PUBLIC ADDRESS FHR FIRE HOSE REEL WL WIRLESS ACCESS HT HEIGHT OF AFL POINT INV SOLAR PANEL INVERTER ELEVATIONS LEGEND NOM NOMINAL PA PUBLIC ADDRESS Door Label - Refer Door Schedules D101 WL WIRLESS ACCESS POINT W101 Window Label - Refer Window Schedules

ELEVATIONS LEGEND D101 XX99 W101 XX99

Material Code (Refer to Material Legend)

Door Label - Refer Door Schedules

Window Label - Refer Window Wall Material / Finishes Label Schedules Finish Code (Refer to Finishes Legend) Material Code (Refer to Material Legend)

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ALL LEGENDS BELegend) READ IN C Finish Code (ReferTO to Finishes THE SPECIFICATION. CODES HA PRODUCT INFORMATION. ALL LEGENDS TO BE READ IN C 3

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CONTRACTORS MUST VERIFY ALL DIMENSION PRODUCT INFORMATION. COMMENCING WORKS ON SITE. ALL SHOP D SUBMITTED FOR APPROVAL BY THE ARCHITE MANUFACTURE PROCEEDS. CONTRACTORS MUST VERIFY ALL DIMENSIO COMMENCING WORKS ON SITE. ALL SHOP D ISSUE REVISION SUBMITTED FOR APPROVAL BY THE ARCHITE MANUFACTURE PROCEEDS.

ISSUE REVISION

MINX ARCHITECTURE PTY LTD

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7A-91 MORELAND STREET FOOTSCRAY, VIC. 3011 MINX (03) ARCHITECTURE PHONE: 9646 7000

PTY LTD

E-MAIL: info@minxarchitecture.com.au 7A-91 MORELAND STREET WEB: https://www.minxarchitecture.com.au/ FOOTSCRAY, VIC. 3011 PHONE: (03) 9646 7000 E-MAIL: info@minxarchitecture.com.au PROJECT WEB: https://www.minxarchitecture.com.au/

PROJECT NAME 000 Minx Road PROJECT NAME Footscray VIC 0000 000 Minx Road Footscray VIC 0000 PROJECT

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SLICING Looking again at angling the slice back the other way to create exterior amphitheater interior cave-like pool.

There are again seeds of ideas planted here, but a cohesive language is still elusive.

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Perspective

Perspective Section

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WEEK 10

FURTHER RESEARCH I began looking at various influences. Most notable was the prototype model for Grafton Architects Hospital, which used these solid and voids to create an interesting composition, that looks like some kind of sectional exploded diagram (which I ended up doing in the final). Additionally was Maneulle Gartrandâ&#x20AC;&#x2122;s Alesia Cinema, which uses an interesting vertical folding deformation on an exterior media display.

This pushed me to sketch the site as if it were a series of pieces sliced up then pulled apart, creating a cohesive whole as a result.

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new STudieS in euRoPean Cinema

The swimming pool frequently appears in film not merely as a setting but as a dynamic site where social, political, cultural and aesthetic forces converge. What is it about this space that has so fascinated filmmakers and what kinds of cinematic investigations does it encourage? This collection features essays by an eclectic, international range of film researchers. Amongst the works analysed are classics such as The Cameraman (1928), The Philadelphia Story (1940) and La Piscine (1969); cult hits such as The Swimmer (1968) and Deep End (1970); and more recent representations of the pool in Water Lilies (2007), Sea Point Days (2009) and Ausente (2011).

The pool is considered as a realm where artifice meets nature, where public meets private, where sexualities morph and blend; and as a space that reconfigures the relationship between architecture and narrative, in which themes of pollution, spectacle and reflexivity find unique expression. Approaching the swimming pool from a wide range of methodological perspectives, the essays in this collection stake a claim for the enduring significance of this exciting cinematic space.

ChRiSToPheR BRown is Lecturer in Filmmaking at the University of Greenwich, where he teaches film and screenwriting. His articles have appeared in publications including Film Criticism and the Quarterly Review of Film & Video, and he has won several awards as a screenwriter.

Brown and Hirsch (eds) The Cinema of the Swimming Pool

nSeC

Edited by Christopher Brown and Pam Hirsch

The Cinema of The Swimming Pool

Pam hiRSCh is Lecturer in English Literature and Film History and Theory at the University of Cambridge. She is the convenor of the undergraduate course Film, Culture and Identity and teaches on the MPhil in Screen Media and Cultures. Her most recent articles have appeared in publications including Feminist Media Studies and the Historical Journal of Film, Radio and Television.

ISBN 978-3-0343-1783-2

www.peterlang.com

Christopher Brown and Pam Hirsch - 978-3-0353-9807-6 Downloaded from PubFactory at 10/05/2020 11:37:26AM via University of Melbourne (CEIRC)

PeTeR lang

GRAFTON ARCHITECTS, PROTOTYPE HOSPITAL

MANUELLE GARTRAND ARCHITECTURE

LOS ANGELES RIVER, POINT BLANK

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MODELING Further modeling allowed me to quickly experiment with the number of panels and what happened when I shifted them closer or further apart, cut or folded them, and the various spaces that were left behind as a result. It additionally allowed me to experiment and visualise the light entering the interior and the atmospheric space that arose as a result.

In a round about way, modeling returned me to Michael Heizerâ&#x20AC;&#x2122;s land art way of thinking. In his work, once a hole is dug, there is always a pile of direct. Every action has an equal an opposite reaction.

(Thank-you Isaac Newton).

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MODELING It was also interesting to be able to simply mess up the design, flipping it upside down to see what it would create. Although it would not work for the project (the solar PV would be overshadowed) it nonetheless was highly freeing to be able to do this, and still created an interesting result.

Following this physical form-finding, I went back to rhino to create it digitally, which, no having a direction and knowing what it wanted to be, greatly improved the overall cohesiveness of the project.

I additionally began slicing circulation pathways back again as was down in the mid-semester submission.

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PROGRAM Returning to programming the various space.

This was an OK first attempt however, I donâ&#x20AC;&#x2122;t think I was really paying attention to the needs of the user of any kind of programmatic ordering, instead trying to jam everything retroactively into the exterior form.

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ENTRY

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MUSEUM SECONDARY POOL

RAMP OFFICE

MAIN POOL SPA SAUNA GYM

RECEPTION

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CAFE RESTAURANT

RAMP

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Program Ground Floor DIAGRAMMATIC PLAN 1:1000 @A3

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CIRCULATION

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FIRST FLOOR PROGRAM

DIAGRAMMATIC Program First FPLAN loor 1:1000 @A3

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WEEK 11

FURTHER MODELING Refining the 3d model. Experimentations with rhino again went back to Michael Heizerâ&#x20AC;&#x2122;s land art inadvertently, by lifting the panels up at Jack Boulevard as if they were part of the ground plane, and allow circulation to continue down onto the beach.

My plaza space remained to constricted by space however, as i was stuck between wanting the plaza on 1F and GF at once, and achieving neither.

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Perspective

Perspective

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PROGRAM Reordering the program according to the new design.

This still was not following a programmatic language, instead reordering the previous attempt to fit the new design. The feedback was that I needed to look at grouping the spaces thermally (or at least some kind of ordering system).

I think when you stare at your project for hours and hours you get stuck and need this exterior view to wake you up the extremely obvious little things.

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PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

Program Ground Floor

PRODUCED BY AN AUTODESK STUDENT VERSION PRODUCED BY AN AUTODESK STUDENT VERSION

PRODUCED BY AN AUTODESK STUDENT VERSION

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Program First Floor

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FURTHER MODELING Experimentations with various deformations of panels with circulation again.

Again, I think this is an interesting concept yet it seems half-done because there is no system of order in place before doing it.

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FURTHER MODELING Experimenting with going crazy and seeing how many of these panels could be fit into the site. This would be extremely difficult to make the roof walkable, and i think the interior would become a mess, however, it was good to experiment.

Sometimes less is more.

Below right; cutting paths through at a greater scale, creating both a circulatory ramp and an amphitheater seating space.

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FOLDS I went back to look at folding as a viable option, though I donâ&#x20AC;&#x2122;t think I really wanted to use these going forward. This was influenced by a variety of pieces, including the origami pieces from Blade Runner, Jean Nouvelâ&#x20AC;&#x2122;s Concert Hall in Paris (which happens to be right next to Park De Villette strangely enough...), and various brutalist forms from the trailer for the new Dune film.

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PAINTINGS Here I looked at Daniel Dociuâ&#x20AC;&#x2122;s painting for inspiration into various montage-like approaches I could use for the paneling.

They also have a constructivst-like visual, where forms reveal their interior structural works by folding away in various places.

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Transparent LED

ENGINEER CONSULTANCY I tried to quantify and dimmension my project so as to get feedback on the technical aspects from the engineers. Doing this also pushed me to further rationalize and question each aspect of the design and how it fits together. Mainly the feedback involved use of rainwater and loop systems, pv cantilevers and structural concerns.

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Attempting to actually draw the plan with the different wall thicknesses etc. It was advised that I should not try to jam everything in and instead let the interior form breathe, Which made me rethink this jumbled current plan.

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Additionally, the issue of the Palais back was the largest concern the needed to be resolved. (One that really stumped me for almost 12 weeks!!!)

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SECTIONS Mock Sections. An OK first attempt, bu the result still looks bland, flat and disinteresting.

It was suggested that the interior planning should be a STATEMENT, rather than an ordinary procedure.

This got me thinking about Koolhaasâ&#x20AC;&#x2122; Seoul Museum and the rotated, labyrinth of the experience.

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MOCK-UP PERSPECTIVES Looking at how the model appears visually when rendered with daylight etc. There still remained the issue of the Palais back, to which I tried to incorporate various slicing/folding methods akin to Peter Eisenman’s House 6 / 10, and Gordon Matta Clarke’s montage-like approach to deconstructing buildings.

Below right; experimenting with various PV panel layout. I ended up selecting the lower option as the width accentuated the horizontality of the site and the project, drawing the user’s eyes towards the ocean.

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FINAL PRESENTATION

In one of my other subjects, 21st Century Architecture, the major essay is a manifesto, which I am writing on Cinematic Narratives in Architecture. This is highly influenced by Koolhaas, Diller + Scofidio, and Bernard Tschumi, particularly his Park De Villette, which also highly influenced this project (unintentionally at first). Thus, it seemed fitting an visually appealing to utilize a Tschumi-like approach to the graphical layout, using red as a conceptual driver and visual magnet.

Additionally, it allowed to again use the cinema-like montage of overlaps in the graphics, akin to Gordon Matta-Clarke and Nam Joon Pak. It thus seemed fitting to call my project The Interlace Pool, in reference to the overlapping / interlacing of pixels within media screens, and referencing the overlap/ intersection of program in the pool/ cinema, and practical and theoretical approaches to the design.

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FINAL PRESENTATION

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FINAL REFLECTION

Looking back, it is immensely satisfying to see the overall progress of my project. At times highly frustrating due to the amount of issues I needed to resolve and the times I started over, in the end I think I found the best way forward for my project.

Of course, there are always things to be improved if I had more time, most notably I think I would take the time to look at various PV / Media paneling options, go into more detail with landscape design, as well as resolve the northern corner better.

I think the integrated design approach within Studio 21 highly benefited me.

In coming back from working for a year between degrees, I must admit I felt hesitation to re-orient myself solely towards design and

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conceptual thinking after the extremely concrete and quantitative approach within real world practice. However, the integration of engineer consultants within the studio and fostering a colleague relationship with them from the beginning has be a highly rewarding experience that perfectly blended the practical and theoretical aspects of my state of mind.

Realistically I think this should occur within all studios, as I think it highly benefited my project formally, spatially, visually, and in terms of the practical systems to actually run it.

Heading into the final presentation, whilst I can always do with more time to tinker away, I am excited to present my project and look forward to using the skills I learnt in Studio 21 moving forward.

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