A5, A4, A3

dynamism that sustains complexity? novelty in form → merit

attempts:

(i) architecture to establish empathetic complexity

(ii) the value of fragmentation and assemblage as process → what gets assembled? → what is the hierarchy of assemblage? → how does fragmentation not become just notations?

(iii) what is the self-critique? layout index:

(analysis of my project)

297 x 297

(my project)

A3 A5

A4

(skin)

(analysis of (precedent)precedent)

S: reference, precedent M: diagramatic analysis, explaination of theory, L: observation across projects XL: project overview

process of portfolio class

content:

C

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n

c

e

p

t

S

t

a

t

e

m P

(foreplay →) (method i. →) (ii. →)

→ framework setup remoteness demystification

Fragmentation

Sequential Events Artifactual Objects Normative Condition

(Site →)

(iii. →)

Cultural Reading Urban → narrative Social identity Artistic value etc Gestural Process

→ assemblage hierarchy “knot notations”

e r

n o

t j

/ e

A c

t

t

i

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u

d

e

R

e

f

e

t

Codex Sisters Hotel Towers Atlas Earthly Gardens Artist’s Residence LHM Pavlova The Eating Machine The City Junktion The Pleasure Centre

Manhattan 2030 Mackenzie Street Station Tower

r

e

n

c

e

Shan-shui: 沈周 廬山高 (明)

. lvl 1 . . . . . . lvl 2 . . . . . . lvl 3 . . . . . lvl 4 . . . . lvl 5 . .

Bernard Tschumi John Hejduk Victims (1986)

仇英 漢宮春曉圖 (明) John Hejduk, model of cathedral Pewter Wings, Golden Horns, Stone Veils (1996) Paul Cézanne,

Still Life with a Curtain OMA Agadir Palm Bay Hotel and Convention Centre (1990)

ARM National Museum of Australia (2001) Tangled Destinies Dimity Reed (2002)

Bernini, Cathedra Petri,.

Rome, St. Peter’s

(1/5)

Fragmentation

fig. 1: Shen Zhou, Lofty Mt.Lu (Ming dynasty, 1467)

沈周 廬山高 (明 成化丁亥)

This is only when the observer steps within close range of any one of the drawings, close enough for the regulating propriety of the rectangular frame to be dismissed, that he becomes aware of the demonic energy of line within.

Robin Evans 1983

Fragmentation is used in Chinese Shan-Shui Paint-

... intertwine in complex knots

ing for the gradual unfolding of mountain space in perspective of foreground to background (fig. 1).

... float together in loose formation or condense into tight fibrous bunches

This involves both disjunctions of pattern clusters within the painting, but also an inherent bondage that simultaneously exists

fragmentation at borders

as the counter-force of fragmentation. pattern clusters

(foreplay → fragmentation) (method → i. ii. iii.→ → →)

ST

TON ST

E GOU EU VERN R SLIP

IP NEUR SL

N ST

RY ST MONTGOME

ERSO JEFF

W GOUVER

WATER ST

SOUTH ST

Pier 42

Pier 36

Pier 35

Project: Manhattan 2030 “Occupying the Underbelly” (exchange to NYC) Studio: 4 Supervisor: Eva + Alison Mears Image: Ground Floorplan from Final

Project: Centre for the Repatriation and Distribution of Pleasurable Times Studio: 3 Supervisor: Dr. Michael Spooner Image: Ground Floorplan from Final

Project: The Eating Machine Studio: 1 Cycle 3 Supervisor: Ed Carter + Patrick Macasaet Image: Section from Final

Project: The Codex Sisters Studio: 1 Cycle 1 Supervisor: Anna Johnson + David Brodziak Image: Section from Final

→ coherency → empathy → merit

Project: Residence, Gallery and Studio for an Outsider Artisit Studio: 1 Cycle 2 Supervisor: Dr. Michael Spooner + Bahmann Image: First Floorplan from Final

I use (→ Fragmentation) to identify the method of disrupting a consistent condition or element and re-arranging it with new lights. The term thereby characterises not only the somewhat chaotic aesthetics, which differentiates it from highly-authorised formal approaches, but also a reinforced tension to re-organise. This vigorous re-organisation allows geometry that gives rise to new systems or logics of space arrangement, and possibly strategies for understanding complex systems itself such as the everyday life in a metropolis city. (→ “an imaginative overspill” - Werner Oechslim)

Image: Ground Floorplan from Final

Project: The City Junk-tion Studio: 2 Supervisor: John Doyle Image: Process Section from week 10

Fig. 2: Pablo Picasso, "The Architect's Table," 1912

→ cubism

→ constructivism (↘ figurative) (↘ recognisable) (→ “objectless”) (→ “remoteness”)

Fig. 3: Alexander Rodchenko Dance. An Objectless Composition, 1915.

fig. 4: Two seagulls Moving in Time and Space, sketch of observation at Melbourne Arts Precinct, Codex Sisters, Studio 1 Cycle 1 (2015)

Tschumi’s concept of disjunction manifests in a manner to explore relationships between space, movement, and events. The outcomes are architectural tools that set out to incapsulate the

The photographs show post-rationalised seagulls captured at a different time (much later) and different location (St. Kilda beach, near Luna Park).

sequential dimension of daily life, or as Tschumi may note, “events”.

This was already established in his Screenplays (1978), where hypotheses of events taken from films were made visible in a diagrammatic architectural space. The hypothesises are necessarily legitimising “what happens in space”.

fig. 5: Two seagulls Moving in Time and Space, sketch of observation at Melbourne Arts Precinct, Codex Sisters, Studio 1 Cycle 1 (2015)

Two seagulls Moving in Time and Space was an observational sketch I did at Melbourne Arts Precinct for the Codex Sisters Project. It records their change in location in relation to each other, but also to my understanding of them in the architectural space surrounding us. The linear traces overlap at moments creating tension between the protagonists and its effects on the architectural space. In this case undefined. (→ Space, time collapse) (→ fragmentation & unity:) prominent theme for 20th Century art and architecture

fig. 6: Bernard Tschumi, The Manhattan Transcript 3: The Tower (1976-1981)

The third focuses on the outlines of Tony and the model. This attempts to clarify the complex relationship between elements by

fig. 7: Reflection Model by Japanese artist Takahiro Iwasaki

The Manhattan Transcripts (19761981) was further developing this method of disjunction to describe an architectural interpretation of reality. The transcripts see any sequential segment of an event as a “stage set” and explicitly records its protagonists with usages of

This tool can be particularly useful in an urban context when using built forms to translate observations and critiques of living. Disjunction offers to analysis a context in observatory manner by diverging its totality into fragments of units.

setting up boundaries and disjoining

fig. 8: Old Tony with Japanese Wood Exhibit, sketches and photograph of observation at NGV International, Codex Sisters, Studio 1 Cycle 1 (2015)

them from their usually constant manner. These are mostly initial phases of fragmenting (or in Tschumi’s case, disjunction) any architectural interest.

Similarly, Old Tony with Japanese Wood

space. In this manner, space, move-

Exhibit sketches was a group of spatial

ment, and event were understood

studies, with a photograph of a gallery

individually and independently, “so

guard Tony watching over the delicate

that the conventional components

Japanese model. The second one is the

of architecture were broken down

gallery space re-imagined in plan view

and rebuilt along different axes”.

with indications of Tony, the model, myself and other relevant protagonists.

(→ “fragmentation assumes the possibility... putting together the busted vase.”

- Robin Evans)

(→ → An Urban Trajectory)

(→ → An Urban Trajectory) (→ Assembled section)

→ cubism (→ Exploded section)

→ constructivism

(→ → Project: Codex Sisters) My work acknowledges Tschumi’s reflection on movement and disjunction, yet rearranges the independent elements in varied manners. The means of de-fragmentation is the process of reorganisation. My work sets free the assumption of rearrangement into one-to-one corresponding grid form, but an emergence of fluidity that at maximum echoes the previous state of fragmentation.

In Tschumi’s account of Parc de La Villette, the additional device Superimposition of lines, points, and surfaces overrun the effort of disjunction. This is justified in its advantage of large-scale park planning, yet downplays the emerging notions of movement in the previous projects mentioned.

My strategy for de-fragmentation is a rearrangement in light of empathy. This demystifies the effect of a modernist grid and appoints more dynamic forces to test the formal outcomes. In a sense, I use dynamic systems to test dynamic forces.

In my project Codex Sisters, (→ fragmented) information on Melbournes streetscapes merged into a visual pilling of shards. The hotel tower housed adjacent to the Lyon House Museum (LHM) in Kew displays twohalves carved from a single block of balsa. Its facade represents a literal fragmentation of an unsettling experience of city living.

Studio 1 Cycle 1

The Codex Sisters i

(→ Section) (→ dynamic relationships reflected in form) (→ facade)

ii

(2/5)

Sequential Events

fig. 9: Qiu Ying, Spring Morning in the Han Palace (Ming dynasty)

仇英 漢宮春曉圖 (明) 37.2cm×2038.5cm

→ divergent linage → adjacencies

fig. 10: Eisenstein's Alexander Nevsky (1938) storyboard Turns out that the bottom row was a Diagram

This particular painting is 574.1 cm long and 30.6 cm wide. This hand scroll work is a representation of various daily activities in the palace in the early spring, such as enjoying the zither, watering and arranging flowers, and playing chess. There are 115 characters in the painting, most of them concubines.

original painting “scroll”

ground line

“events”

infrastructure & landscape

a line of sequence

Project: The Restless City, Views from Week 10 &11

(→ relationships of “Crono-chaos) (→ theatric setup of events)

Studio 5 Year 3

The Restless City (current studio → week 12) SITE Mackenzie Street (Mackenzie St x Lt LaTrobe St x Russell St x Exhibition St) SITE AREA 45m x 50m (?)

PROGRAMME Civic Tower (Aged Care, Archaeology Archive etc) PROJECT DURATION 12 / 14 weeks STUDIO The Restless City Supervisor Ian Nazareth

i

COX Architects Approved Proposal

Folding Method block context

“The Conservatory”

1:250 A3

37 levels, 124 metres 473 apartments 123 car spaces 392 sqm retail space

1:250 A3

9 Mackenzie St

tower component iteration 4

(Section) of Folding Method used as (Plan) of Diagram

cord

iii Merging into a Diagram

iteration 3

profile of tower

Mackenzie Street Site Mapping: Services

1: 6000

SITE

Mackenzie St location plan at border of Melbourne CBD and Carlton Mackenzie Street Site Mapping: Services

patterns of context projected onto block Clinics Health / Fitness Medical facilities Pharmacies Libraries Childcare School / Education facilities Laundries

Clinics Health / Fitness

iteration 2

The demolished Mistletoe Hotel which opened in 1855

Medical facilities

Existing site condition - excavation

A rusted hand gun unearthed from underneath the pub.

ground treatment

Pharmacies Libraries

Childcare

School / Education facilities Laundries

ii

Mapping Method Metropolitan Melbourne (Plan) of Mapping Method used as (Section) of Diagram

iteration 1

Section AA’ 1:250 _A1

N

(→ Process of “Folding” and “Mapping” into a diagram) (→ odd adjacencies)

Section from North (Midsem Week7)

lower back ramps

intermediate glazing

lower front ramps garden pod projections

entry stair ramp

red core

archaeology carpark pod archive projeciton museum (AAM) glazing

rental spaces existing walls

carparks

wall texture

i

pets

escalators AAM

liftcore

ii

Au Ap thor pr ise oa ch d es

Ne u

tra

lN eg

oti

Po s

t-r

ati

on

ali

se

dC

on

dit

ion

s

ati

on

s

(→ Section) (→ assemblage of events sourced from metropolitan systems (→ exploded axon)

fig. 11: John Hejduk, model of cathedral Pewter Wings, Golden Horns, Stone Veils (1996), painted wood, 61 x 121.9 x 43.2 cm

John Hejduk’s Victim drawing houses a series of events that interfere in various ways and draw adjacencies with a time span of two 30-year cycles. These interlocking events are completely enclosed by two hedges and a trolley running clockwise. The drawing presents one stagnated outcome for the time-span of infinite possibilities. I was attracted to this project in terms of its formal configuration and a sentimental rapture towards structural events tied together with not necessarily singular but a continuous narrative.

Formal Authority Suburbs as strategy

Richmond

CBD Melbourne

Folding of contextual block

→ divergent linage → odd adjacencies / outcasts

Projection of excavation ground

(→ spatial organisation → events) (→ formal experience)

Time-span of Program + potential of over-layering

Day Flexible Residence, Residental Carpark 7-4 Cafe 9-7 Archaeology Archive, Library, Research Centre, Chapel, Retail, Gym, Language School 12-3 Chinese Restaurant, Fine-dining Venue, Internet Cafe 24 hrs Age-care, Carpark, “Living Room” Plaza, Convenience Store

Night

Program Overlap

9-7 Research Centre 9-7 Library 9-7 Circulation (Escalator) FX Residence 9-7 Gym*

9-7 Stadium 9-7 Circulation (Escalator) FX Residence

?

Gym 24H Residence FX Circulation (Ramp) 9-7 Cafe 7-4

24H Age-care FX Residence 24H Gym* 9-7 Circulation (Escalator)

?

9-7 Circulation 9-7 Chapel FX Residence

Orthogonal Garden Pod 24H Carpark Linking 24H *Circulation (Ramp) 24H

FX Carpark Linking 9-7 Grocery Store

24H “Living room” Plaza 9-7 Archaeology Archive 7-4 Cafe 24H Circulation (Ramp)

(→ conjunctions → “pets”)

?

(3/5)

Artifactual Objects Normative Condition

fig. 12: Paul CĂŠzanne, Still Life with a Curtain

Cezanne famously claimed “All form in nature can be reduced to the sphere, the cone and the cylinder”, a doctric which unconciously invented cubism.

“light transform momentarily the appearance of the surface”

“exists also the local or inherent colour, moudling and holding the forms”

“form attaining its plentitude”

“reducing scattered elements of a scene to a definte rhythmic order”

fig. 13: OMA, Palm Bay Seafront Hotel and Convention Centre

condition: → irregular orthogonal grid → “Tapestry” (weaving the hotel with pockets and voids)

(→ problematizing the threshold) objects: swimming pool

gymnasium

royal chamber “hill” “service”

Void to base men t

Voi d

to v era

nda h

The agenda of is project is framed by methods of problematizing the threshold between artifactual objects and a normative condition. The proposition lies within the broader pole of Culture Architecture. The process of this undertaking started with intensively redrawing artistic references and modeling the physical site, distorting or smearing them to compose a collage. An archaeological drawing was then derived from the collage. From around the second week onwards, I used various digital operations and combinations to emphasise specific architectural qualities within the drawing. This was an extensive search for objects that project empathy with one another.

The means of precedents and site responses were used in similar manners towards digital operations, hence different from before and after. The resulted project was a covering of main proportions of the magazine with bursts of noises appropriated within its thickness. These artifacts include a reception deck to enter the orthogonal shed from water, a drainage, a courtyard and various extravagant rooms. The space revealed within the magazine can also be read as the extension of the profile of the shed, which traces the bluestone wall around the magazine. In the earlier plans and diagrams, there’s a grand surface that also sets out to arrange these disjointed found object into a colonial sequence. The wireframe diagram shows a method different from the boolean we saw in ARM’s project, but a slight distortion of the surface to form a fixture which each object can somehow conveniently fit in. In this case, the section itself retains its thickness.

1

6

2

(→ express a free dynamic interaction between mass and the surface)

6

3

6

4

5

artifacts:

(→ display a quasi-theatrical scenory to intergrate conflicting elements into a spatial ensemble)

1 → a reception deck to enter the orthogonal shed from water 2 → an Uluru carved from ground 3 → a drainage 4 → a courtyard 5 → a garden 6 → various extravagant rooms.

(→ osmotic interrelation between exterior and interior spaces) (→ ext. plan → int. view)

(4/5)

Site: A Cultural Reading

fig. 14: National Museum of Australia, ARM Architecture 2001

VI. Loop VII. Visible + Invisible Spaces VIII. Affirmation / Negative Object + Surfaces V. Pixelated Tiles IV. Supergraphics III. Zig-zag IX. Red Verandah + Wound

“a bloody boolean spoon”

(string of centingent facts)

II. Boolean String

Romaldo Giurgola stands outside Parliament House.

I. Junktion (gather) (embrace)

The Great Knot

“Who is my neighbour?” (words) “Mate” Temporary Exhibition Hall

I. Junktion i. Comma

I. Junktion iv. An Unwarranted Conviction (transitional spaces) Children’s Anthony Bond, Body, 'Embody(cut) Centre ing the Real', pg. 11-80, Sydney, (slice) I. Junktion 1997, 55. cat.no. 147 (launch) ii. Awaiting Rapture (invisible)

I. Junktion iii. Verisimilitude

Arthur Stace Photo: Trevor Dallen, Fairfax Photos

Street suspension, (1984) by Stelarc

The next precedent is ARM’s national museum of Australia in Canberra.

Its method “intense adjacency” is a series of programmatic objects gathered around the incomplete circle of dreams, threading through curved axes that are at moments boolean out and at other moments added on as if it were a jigsaw puzzle. The word “puzzle” they use explicitly to describe this is what I’ve adapted to my method of puzzling complexity. The project attempts to respond to a substantial amount of forces, (the politico-culture participation of Australian architecture, the Griffin’s three axes, the friction between Aborigine and non-Aborigine culture, and also Canberra as a site that offers little political promise and its sombre built environment.) But to me, the precedent mostly displayed an opportunity of housing these diverging forces and attitudes in a harmonious but in-progress sequence. Both the formal complexity or the various feelings projecting in the outcome could be joined into a thick in-complete sphere. This is the figure-ground sort of outlook in comparison to the previous chapter, where the thin section was the final touch for interlocking sequences, and in this case, the section and its depth could submerge complexity. Again, the project also outlines itself as a site to evolve over time and experience holding hopeful and tender anticipations.

(→ insert value) (→ less symbolism, more stories) (→ cultural self-education)

1A BOSCH’S GARDEN OF EARTHLY DELIGHTS

1

1B SUSHI TRAIN BLIND BEAST GOLDEN CHINA AND GO CRAZY...

2A YOUR DRAWING NEEDS CLARITY! I NEED TO BE ABLE TO READ IT! okay...

2

:(

3

2B on the nature of group work

3A Burning!

Here is the lifting concept model that our peers were surrounding before. The main idea came from research of the film ‘s context and it’s contradictry Roman emperor Nero. The caption

4

:)

“He was rumored to have had captured Christians dipped in oil and set on fire in his garden at night as a source of light” was graphically interesting to

3B Final Project Model

both Jasmine and I, henced formed the idea of growing up motion and little people pouring out of the biulding.

5 cultural “readings”

half-weekly outcomes

6

Studio 1 Year 2

Residence, Gallery and Studio for an Outsider Artist

Artist’s residence

Black box

the only few with direct referencing:

First Floorplan

White box Black box

(→ translated / authorised) (→ non linear correspondence)

(→ critique: more or less?)

Ground Floorplan

Studio 4 Year 2

Manhattan 2030 (exchange to NYC) “Occupying the under-belly”

Instead of a formal intervention for the site, I would start with a series of observational judgements that would contribute to a social identity of 135th street. I was told to be “careful” before visting the site; I understood this along the way, the inherent risk quality of the streets, hierarchy, community ghetto urban issues and the shore-to-shore relationship. The comparison between the West and East shores is a universal (→ geographical components of site upon visit)

one. The west (top of the

(→ theory through observation)

collaged image) has evenly spread housing compo-

(→ scenory)

nents, showing an adaptive communal behaviour with residents chilling on the doorsteps. The East (bottom of the collaged image) has developed into autority organised commision flates (government public housing) and infastructural facilities at the shore edge.

(yellow→ religious/worship) (red→ education/institution)

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P ier 36

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Ground Floor Plan 1/64’’ = 1’-0’’

Second Floor/Roof Plan

First Floor Plan

Ground Floor Plan

Section AA’ 1/64’’ = 1’-0’’

Section BB’ 1/32’’ = 1’-0’’

Detail Section CC’ 1/16’’ = 1’-0’’

Elevation from Booklyn towards Manhattan

F.D.R

Elevation from Manhattan / Two Bridge Community towards Hudson River / Brooklyn

T

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(5/5 )

Gestural Process

fig. 15: Bernini, Cathedra Petri,. Rome, St. Peter’s

... an imaginative overspill

Werner Oechslin

... (Bernini) turned something provisory and mobile into something stable, strong and gigantic, and finally united into two qualities which might seem irreconcilable - lightness and hugeness - without impairing either.

Victor -L. Tapie

“ a conflict of antagonistic forces merging into a subjective unity�

provisory and mobile stable and strong

X

HANNAH JADE _ ZHU

RMIT ARCHITECTURE UNDERGRADUATE ___

END-OF-YEAR PORTFOLIO PROJECT

SITE White Box Gallery Lyon House Museum (219 Cotham Rd, Kew VIC 3101) SITE AREA 8m x 6m x 4m PROGRAMME Installation PROJECT DURATION 4 weeks

FIRST YEAR SEM 1

STUDIO Pavlova (Foundation Studio) TUTOR Edmund Carter + Patrick Macasaet

7.5.2015 _ 25.6.2015

PART 3 UNIVERSITY STRATEGY / CITY BATHS + A’BECKETT APARTMENT

what’s next?

yup.