Studio 41: Create | Curate: Sensory (Re)treat - Reflective Journal

Reflective Journal Nathaniel Foo 804903

Studio 41: Create | Curate: Sensory (Re)treat

Contents.

Week 1

Introduction - Reconnecting The Hand & Mind

1

Week 2

5

Project 01: Craft & Concept

Week 3

Planet XX - A knifemaker’s Site of Worship & Pilgrimage

Week 4

Rooting Craft & Concept in Site

Week 5

11

17

Curating Spaces & Landscapes ( Part 1)

21

Week 6

29

Part II: Spatial Curation - Rooting of Forms + Craft

Week 7

Rooting in Landscape

49

Week 8

55

Curating Spaces & Landscapes - Creative Living

Week 9

Curating Spaces & Landscapes - Key Moments

61

Week 10

65

Interim Presentation: Curating Key Moments

Week 11

77

Week 12

83

Acknowledgments

85

References

87

Design Refinement & Physical Diagram / Model

Graphic Layout Review & Physical Journal

Week 1.

Introduction - Reconnecting the Hand & Mind Activity 1 - Self Introduction: Abstract Physical Diagrams In this activity we were tasked to create multiple physical models which reflects on who we are as a self introduction for the entire class. The following guided questions are shown below:

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

2. What is your favourite building and why? Capture the feature that stands out to you the most.

3. What is your favourite place and why? Capture the features that stand out to you the most.

4. How would you describe yourself/ personality – as one core word, and two subsidiary characteristics?

5. What is your main interest/ hobby outside of architecture?

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I thought of stand up comedy as a craft I was currently interested as it often brought the energy of passion, humour and joy to people even if was for a moment as a form of release from all the worries and stress we go through everyday. This has always been my personality to bring others, in return giving me a form of satisfaction to my work.

One of the hardest questions to answer as I have multiple buildings which I adore. Oscar Niemeyer’s work has always inspired me due to his sense of representing architecture and how he relates it through a more romanticism approach.

I have always been fascinated with narrow walkways and alleys especially where the activities within the alley constantly changes.

The alley ways of Bangkok was my chosen reference for this question as it was a relatable to my yearly visits back in Bangkok. The notion of just piecing two cardboards parallel to one another on top of another cardboard was my way to describe its setting.

This was another question I could not answer instantly as I have always struggled describing myself to others. Often I feel that others would be a better judgement of who I am as a way to measure my personality and traits. I guess it maybe one of my ways to avoid acknowledging my own personal flaws. Something which I am aware I need to change and improve on.

The idea of the dice came from my experience over the summer break. As I attempted to move to Perth, WA for my masters course I had a lot of wait time in between due to COVID - 19 border restrictions, this lead to numerous rounds of board and card games where I enjoyed. The idea of you strategize in a game which is dependable on luck (through dice rolls) fascinated me and has been my interest every since.

Activity 2 - ####’s Lookout In this activity we were tasked to create a lookout to watch the world go by for our partner through model making.

Our design was to be based on our partner’s self- introduction model diagrams vice versa. We would take turns to critique each other’s work after presenting.

I was grateful to be partnered up with Bhadra, of whom after getting to know her, I felt I could also relate to. Some key points I picked up from Bhadra after knowing a bit about her through her model diagrams taken from activity 1: 1. Do you have a craft you partake in or are interested in? Capture the aspect which appeals to you most.

Bhadra loves to make music through Synthesizers. Her inspirations on music creations are channelled through the ambience and atmosphere of the moment she picks up from. She also relates colours to Sound as she has Chromesthesia.

2. What is your favourite building and why? Capture the feature that stands out to you the most.

She loves visiting Indian temples where the walls constructed out of stone could enclose her so that she felt safe, without any roofs, opened to the sky.

3. What is your favourite place and why? Capture the features that stand out to you the most.

Being in open, vast spaces such as oceans or fields gives Bhadra the feeling that she looks smaller, with the vast open space enclosing her and guiding her.

4. How would you describe yourself/ personality – as one core word, and two subsidiary characteristics?

5. What is your main interest/ hobby outside of architecture?

Solidarity. One word to simplify herself. It could be that she finds inner peace when she is with herself. A trait which I could also relate to when I need to be focused and determined.

Orchestra. Bhadra plays the flute in an orchestra. Giving me the impression that she also enjoys contributing in a team instead of being solidarity all the time.

Based on these keys points from her, I came to a conclusion that ambience matters for her. This prompted me to explore how ambience could affect my design of a lookout point for her to watch her world pass by.

Overall Perspective view of Bhadra’s Lookout.

Top view of Bhadra’s Lookout.

Back view of Bhadra’s Lookout.

Create | Curate: Sensory (Re)treat - Nathaniel Foo 804903

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Thought Process As a lookout point is usually located in a natural environment. I planned for the lookout point’s setting to be on a terraced field where Bhadra would have a good vantage point. The idea of wind chimes could help with generating sound for her to picture colours and give her the opportunity to visualise how she could perceive the world. I wanted to incorporate the walls of the Indian temples as she described within the lookout point to give Bhadra a sense of enclosure. The platform of the lookout point was to be wide and vast giving her a sense of being small within her environment.

Bhadra’s Critique The overall design fitted to her requirements. The idea of a wind chime also appealed to her heavily as she grew up with the wind chimes in her house.

Two key points which I missed out was that she preferred the open area to be of a water element rather than a field as she finds the ocean a much more calm and soothing setting.

The idea of incorporating the walls was also good however it created a sense of divide to the lookout space. Bhadra mentioned specifically during the critique that she prefers the lookout point to be viewed on all sides rather than just on one side.

Overall Perspective view of Bhadra’s Lookout.

Reflections on Activity 2 I missed out on the point where she mentioned that even when walls gave her a sense of protection and solidarity, it prevents her view on the lookout point to be from all sides.

In my attempt to try to incorporate all the aspects into this lookout point given the short period of time, i have left out the details and the deeper thought process on the incorporation of items such as walls and materials. Without much thought on these items, the items themselves provide other forms of design obstacles and issues needed to be resolved.

Front view of Bhadra’s Lookout.

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Activity 3 - Creative Critical Reflection In this activity we were tasked to individually, critically reflect on the following points of our previous project undertaken.

Key items to focus on our reflection: 1. Weakest Part of our project?

2. How would you like these aspects to be improved?

3. What was successful in your project?

4. Are there patterns you can identify in your creative design process?

5. What is the overall weakness in architectural design and overall strength?

I used the University High School project which I undertook in my last year of the Bachelor of Environments in 2018 as the precedent project to reflect on. The brief was to create a new VCE Centre and Sports Centre for the school. The site was located at the corner of Story Street and Royal Parade in Parkville, VIC.

My responses on my reflection are as followed: 1. Due to the time that we had to complete my final project, I lacked in further exploring the classrooms and learning spaces.

2. I would like to dive more in depth on the parts which requires more focus after the final critiques.

3. I was able to execute the overall design brief with a very strong concept. I was also able to address the major points of focus given in the brief which includes the circulation and overall spatial arrangement layouts.

4. Through trial and error, I often get my inspirations for a design project when I am not doing the work. This gives me a chance to take a break after constantly reviewing and attempting to refine my work, naturally helping me gain a higher perspective on the overall subject, helping me get inspirations and ideas from it.

5. My biggest overall weakness is being able to accept the critique as a whole by others and to work on improving my design idea with the given advice.

Reflections on Week 1 Courage & Clarity

What drove or informed your design decisions?

Often with design decisions, I attempt to relate the questions with my experiences acquired throughout my life and try to put myself in the position related to the questions itself. I find this incredibly helpful in informing my design. The ability to relate to a topic is a powerful tool to make informed design decisions. However, I note that with relating comes overthinking, which sometimes can prevent me from taking the next leap into the next stage as I spend too much time to conform with the question or scenario in play. Having to often relate to something also steers me away from venturing into the unknown, which often can be the solution to a certain design obstacle.

This sense of having to relate causes me to stick along the boundaries of my capabilities, which may prevent me from exploring and growing out of my comfort zone. I acknowledge that this is another challenge I am determine to overcome with this studio.

Were there any other iterations of design?

There were no discarded iterations for this week. I made up the ideas as I went during the model making session.

What was successful/unsuccessful?

The successful bits which I would like to note was that I was able to answer all the questions within the brief within the given time limit. However, I was also aware that my verbal presentation was not as refined and clear.

This may have led to misunderstandings within the class or the main points of my presentations may not have been clearly delivered. I would be able to overcome this through practice and self-awareness to speak with clarity and with truth.

Create | Curate: Sensory (Re)treat - Nathaniel Foo 804903

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Week 2.

Project 01: Craft + Concept Activity Brief Upon crafting an artefact, one must have the requisite skill and knowledge for the craft they are working with.

We as designers creating crafted spaces for living and making for a particular craft must similarly be fluent in its processes, techniques, tools, spatial requirements and historical and material culture, to the point as if we have participated in the craft, and this knowledge becomes intuitive. We will perform a week of intensive research in a chosen craft of our choice, and present our findings through a series of two - dimensional and three- dimensional artefacts.

Designing the knife

Forging the steel

Hammering to form the shape

Rough Trimming

Rough cut with a powered miller

Preparing the powered cutter

Rough Cutting

Designing the knife bolster and tang

Initial forging

Forging the Shape

Forging the shape

Refining and rough profiling

Quenching the steel

Sub critical anneal

Knife profiling

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Second quench

Tempering the steel

Futher knife profiling

Smothing out the knife edge

Designing the knife handle

Shaping and profiling knife edge

Further knife profilling

Final sharpening

Images from Alec Steele, Youtube

01. Steel forging

02. Steel hardening

04. Handle making

02. Sharpening

03. Steel tempering

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Graphic Craft Inventory

Tools Inventory - Plan View

Tools Inventory - Elevation View

Products inventory

Spatial Relationship between the bladesmith, workshop and process

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Historical Geographical + Environment Research The arts of bladsmithing has survived & thrived over thousands of years. The origins started off through the use of rocks, stones, bone and flint. These were creating out of the needs of survival. Due to the brittleness of stones and masonry, stronger materials were needed. Metal was further explored to the be used as blades. Many places of origin which includes, Japan, Middle East, Celtic, Chinese, Korean and Indian. India as the place of focus as they used a special type of steel known as the Damascus Steel, aka Wootz Steel. The high carbon alloy found in Southern India, present day Tamil Nadu was made possible to generate wavy patterns in knives, which made it possible to create different pattern. Due to its geographical locations and frequent war warring states, the need to create weapons was essential. This could be dated back between 500Bc. to 1600AD. In modern days, the patterns of Damascus steel is reproduced through the technique of “Pattern Welding”, where multiple pieces of steel are welded together before forging.

Parti as an Artefact Embodied Experience (Process)

Material Manifestations

Embodied Experience (Output)

[Re] Purpose

[Re] Cess

[Re] Fine

Rebirth

Subtle

Personalise

Parti diagrams

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Core Concepts

The concept of Rebirth

The concept of Subtle

The concept of Personalisation

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Contemplations on Creativity Reflect on the in- class model making exercise, and diagram making exercise above undertaken in a different environment (eg. in isolation at home, set up a workspace in a public space or in nature, etc). Consider does anything change? How and why do you think the physical environment affects your productivity and subjective experience? > Before diving into this question, I am a person who can be very easily distracted in disruptive environments, eg public environments. I often find that I focus better when the environment is quiet and familiar to help me organise my answers to the brief in a structured and systematic methodology. This gives me a repetitive setting for me to execute my ideas to a physical object. Often, the routine of constantly doing a similar activity helps me focus and to be productive (Even if the topics are different, the activity or action is still model making). During the in - class model making exercise, there was a moment of silence and deep focus when everyone was making their models, this helped me get into the routine where I am able to make multiple products or models by repeating the process: (Draw up an idea, start by cutting up pieces of cardboard/ Balsa wood, measure, cut and stick the pieces together to form the final model outcome). The idea of working at home during isolation is not the most ideal but workable as it is a setting where its quiet and familiar to me, giving me that sense of routine to execute my overall ideas. However, despite the fact that routine and quietness in isolation helps me focus in getting the job done, it can create staleness within my environment setting diminishing my productivity overall due to the loneliness that I will experience on the long run.

What environments cultivate or allow you to exert your creativity eg. solitude, collaboration + social interaction, natural white noise )eg. insects, leaves rustling in the wind, water flowing through river) - do certain aspects / phases of the process flourish differently? >Taking on my fondness of quietness, solitude and routine in order to be productive, I would also translate this setting as means to exert my creativity overall. I am also a person who highly value contributions of different ideas through collaboration to curate my creativity. I have moments where I am unable to figure out an idea or where I am absolutely stuck at a certain point of brainstorming, this is when collaborations The nature of the project task also highly determines the type of setting which I perform best in curating my ideas. As mentioned previously in my Critical Creative Reflection activity held in class during Week 1, I often get my inspirations and ideas by doing something completely different from the given task. This allows my mind to take a break from over exerting by doing something which I enjoy, such as meeting up with friends over a meal or even just going somewhere (as long as there is company, I found out that the location setting doesn’t really matter in this case). During this course, over a conversation with someone about this while doing something completely different, I have found that I am able to receive inspirations and ideas unexpectedly. Having the idea and creative concept on hand, I would further refine at a setting which is quiet, familiar and routine where I will be able to get into the momentum of executing the idea.

Does the productive Space and Creative Space overlap?

> For someone is works best through structures and routine during creative brainstorming and production, the spaces between productivity and creativity does overlap. This can be demonstrated through my working style which requires quietness and familiarity to achieve my focus in a certain task, be it through creativity or productivity.

Create | Curate: Sensory (Re)treat - Nathaniel Foo 804903

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Week 3.

Planet XX - A knifemaker’s Site of Worship & Pilgrimage Activity Brief In this activity we were tasked to create multiple physical models which reflects on who we are as a selfintroduction for the entire class. The following guided questions are shown below:

Methodology - Assumptions 1. This temple is not easily found but all but only those devoted to the craft.

2. Before entering the temple, on will need to pass through the barrier of fire to be “Initiated” into the temple.

3. What if the knives made within the temple only used the fire which was preserved since the beginning of time, the first fire used to forge the first blade and was never extinguished.

Methodology - The Pilgrimage

1. Fire

2. Forging

3. Moulding

+

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Crossing over the fire.

The “initiation”

Material offerings

Crafting the tool

4. Quenching + 5. Tempering

Tool testing

6. Sharpening

Blessings and tokens

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Rebirth Spatial Progression Diagram

Longevity

Personalization

Hand Drawn Sketch - Conceptual Design

Spatial progression layout iteration 1

Spatial progression layout iteration 2

Spatial progression layout iteration 3

Spatial progression layout iteration 4

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Legend 1. Entry - Fire Initiation 2. Fire - Offerings 3. Workshop - Crafting 4. Dormitory 5. Altar - Blessings and Tokens 6. Vegetable Garden

1.

A

4.

2.

5.

6.

3.

A

Hand Drawn Sketches - Plan

Hand Drawn Sketches - Section AA

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Physical Model Through The conceptual design of Rebirth

Physical Model Through The conceptual design of Personalization

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B

6.

1.

6.

3.

2.

4.

6.

5.

6.

B

Scheme - Floor Plan

Legend 1. Entry 2. Fire Ambulatory 3. Workshop 4. Kitchen 5. Altar - Blessings and Tokens 6. External Ambulatory 1.

2.

3.

4.

Scheme - Section BB

Legend 1.

2.

3.

4.

5.

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Entry External Ambulatory Relic Gallery Fire Ambulatory Kitchen Create | Curate: Sensory (Re)treat - Nathaniel Foo 804903

5.

2.

Scheme - Section BB

Hagia Sophia as precedent

Rough Site Model at 1:1000 Scale

Reflections on Week 3

Circular dome in Hagia Sophia as precedent

Atrium of Holy Angels Mausoleum

by Harmer Architecture. Photo by Jonathan Hadiprawira

Engagement & Site / Subject Relationship What was successful/unsuccessful?

I would say that this week’s activity had me very passionate in responding to the key tasks that were given to reimagine our craft to be an official religion of this planet. However, I did not take into much consideration on the overall site aspects as part of the factor within my architecture. I had only translated the spatial programs onto the site where I felt it was fit, hence not fully considering the site contours and gradient. This led my site to be elevated off the ground via stilts instead of it being grounded.

What drove or informed your design decisions?

Having a start with a few assumptions was a good way to drive my overall design concept for the project.

Eventually these assumptions formed my “Return Brief” to allocate the right spatial progressions within the place of worship. Giving myself the challenge to hand draw all the drawings throughout this week project also helped me fully understand the spatial relationships between the different programs to accommodate the pilgrimage process. This also help me in giving a sense of scale when designing within the site itself. Through the use of my craft’s process to analyse and translate the pilgrimage process was also helpful. This helped derived the overall spatial progression and requirements needed within the place of worship.

What did I learn? How will this inform my decisions in the future?

The idea of grounding my temple on the site itself should be considered as the main concept which I pitched: Rebirth, Longevity and Personalisation heavily revolves around the celebration of the hearth and fire which has a direct connection to the ground. This shall be deeply explored in the following weeks.

Create | Curate: Sensory (Re)treat - Nathaniel Foo 804903

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Week 4.

Rooting Craft & Concept in Site Activity Brief In this activity we were tasked to create a physical site model for the class as part of our presentation to describe the placement for our design propositions as part of Group 3 - Environment and Ecology. We were also tasked with researching the Solar Orientation, Rainfall, Climate, Microclimate, Geography, Native Flora and Fauna and overall Ecology of our proposed site, Daylesford. To which I was assigned to analyse the Climate and Microclimate aspect of the site.

Group 3 - Physical Site Model

Photos by Charensia and Sidney, Lauren and Mike and myself

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01. Timber selection and purchase.

02. Initial cutting.

03. Timber planks to be assembled.

04. Laminating process.

04. Scraping off excess laminate glue.

05. Dressing the bottom timber surface on the Planer Machine prior to dressing on the Thickenesser.

06. Further timber dressing on the Thicknesser.

07. Further timber lamination to achieve overall thickness for CNC milling 08. Timber arrangement before lamination and clamping.

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Deliverable 1 - Environment and Ecology Research Key Aspects of Climate Zone 7 - Cool Temperate • Low Humidity, high Diurnal (Day Night) Temperature Range

• Four Distinct Seasons: Summer, Winter, Autumn Spring

• Cold to very Cold Winters with majority Rainfall

• Hot and Dry Summers

Key Design Objectives • Requires more heating to achieve thermal comfort indoors. increasing energy intake to heat up the house.

• Requires sufficient cross ventilation to allow for passive cooling during hot summers.

• Maximise openings / glazing positions to the North end of the building.

How it informs the building requirements • Use lightweight wall construction where there is high diurnal and temperature areas.

• Use light coloured roof materials • Use low thermal mass walls on sites where there is no solar access • Earth coupled slabs are beneficial except where the temperature of the earth depth at 3m is below 16 degree • • • • • • •

celsius Insulate under floor slabs or use insulated lightweight floor systems.

Minimise and shade all glazing in the East and West Enable adjustable openings to west facing glass areas.

Locate Living Areas to the north and bedrooms to the south.

High level passive or active solar heating is highly desirable.

Pitched roof, vented to the exterior with a well-insulated ceiling.

Locate storage areas or garages on the side of the building facing the coldest wind to help insulate.

Overall climate analysis

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Surrounding Cafes, Restaurants, Galleries

Summer Wind

Warmer Temperature

Winter Wind

Cooler Temperature

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Deliverable 2 - Individual Propositions Rooting Craft & Concept in Site Concept and Design

To celebrate the hearth and preserve the craft of knifemaking through education

To enhance and elevate the cultural prescence through culinary and hospitality within the local community

To contribute to the local community through its social and economic growth

Spatial Diagram

Reflections on Week 4

Graphics, Graphics Graphics and Return Brief...

Overall reflections and What drove or informed your design decisions?

Apart from fabricating the physical site model, I was not very satisfied with this week’s presentation. I felt that there was a lack in the idea generation for my return brief as I encountered a stuck in my design . I was too fixated with the facts needed for the site analysis activity that I was not able to come up with an idea for the return brief which would be able to root my overall concept within the site for my craft: Knifemaking. I did however attempt to relate my craft with the richness of art, and culinary within the site which was a key character to my site, thus driving my craft to suit the culinary activity which was evident in Daylesford.

What did I learn? How will this inform my decisions in the future?

Key things I need to keep in mind for this week’s presentation which revolves around filtering what is necessary for my site analysis for my craft in order to filter and flush out my ideas for the return brief. The focus on fire which was heavily emphasized in the previous week: Planet XX, culinary and culture should be considered also as part of the driving factor to curate my overall design brief. Lastly diagrams, diagrams, diagrams. This is one approach which I must study and master in order to be able to deliver my overall design ideas for the class, rather than needing to explain it verbally.

What was successful/unsuccessful?

On the bright side, the physical site model fabrication was a fun exercise with my groupmates, Sidney, Charensia, Lauren and Mike. We decided to CNC mill hardwood timber to give the site model a more neutral palette to suit the aesthetic theme which Yui was looking for. More on that in the following week as we finalise the overall Site Model.

Create | Curate: Sensory (Re)treat - Nathaniel Foo 804903

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Week 5.

Curating Spaces & Landscapes (Part 1) Activity Brief In this activity we were tasked to produce a spatial progression sketch and 1 spatial / architectural diagram to clarify what we want for the experiences of: Approach/Revelation, Entry/ Arrival, Cleanse/ Bathe, Prepare/Eat, Rest/Sleep, Think/ Reflect/ Read/ Draw for the Apprentice’s house. Following the curation of these progressions, we were tasked to produce a spatial design which responds to our curatorial brief through a series of scaled drawings and massing model.

Group 3 - Physical Site Model (Final Touches before CNC Milling)

Further dressing on the Planar machine

Cutting off the edges to the right size with a Bandsaw

Sanding the edges through a Disc Sander

Balance check on the edges before Dressing the sides of the site model where the grains submitting for CNC are in the opposite direction

Photos by Charensia and Sidney

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Final model after CNC Milling. Prior to inserting our 3D Resin Print of the surrounding builings and surrounding trees Photo by Charensia

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Return Brief Client Profile

Mr. James Ashford and family

Mr. Douglas Langford and family

• Friends with Mr. Douglas.

• Joined Douglas on a venture to open up a

• Friends with Mr. Douglas as they know each

bladesmith workshop focusing on knives in the regional area to escape the hustle and bustle in the city.

• 60 Years old and is almost retiring.

• Son is keen to learn the craft of bladesmithing as he wants to follow his father’s footsteps.

• James values his work life balance, strictly

separating his leisure time with his family and work.

• Avid bushwalker and enjoys being around nature and taking long walks outdoors.

other since high school. They are in the same field however were previously with different companies.

• 55 Years old and is semi-retired.

• The family moved to Daylesford to also enjoy the

quietness in the countryside while Douglas took the opportunity to start his own bladesmithing workshop upon knowing that Daylesford has a rich culinary and cultural community.

• He specialises in kitchen knives and is also a trained chef.

• He is keen to have a workshop and kitchen within

close proximity however the workshop has to be separated from their residence.

• He and his family are food and wine enthusiasts.

• Children are based in the city but visits often

Other Profiling 2 Apprentices These members are high school graduates who are keen on the craft and are taking a gap year 2 Temporary Staff (Beginners) These members are freelance artists, knife enthusiasts who are keen on the craft and would like to take a short course on the basics of knife crafting.

2 Temporary Staff (Intermediate to expert) These members are knife makers who are looking to upskill their knowledge in the craft. Giving them the freedom and platform to network, exchange ideas and create within a shared common space.

Retail Visitors These members are temporary members just visiting the retail store and gallery as part of the tour, attractions to visit while in Daylesford.

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Secondary Income

Knife Gallery + Workshop Rental Space

Preliminary Sketches

Knife Retail & Repair

Preliminary Spatial Arrangement

Rebirth - Repurposing building materials and incorporating them onto the site. eg, recycled bricks, timber, weathered steel.

Primary and Secondary Workshop

Celebrating the hearth and fire as the centre focus to bridge the bond between communities and as a tool for education

Typical Residences for Apprentices and Staff Transition between craft and nature

Connection to the ground

Residences for Craftsman

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Part 1 - Spatial Curation

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Approach / Revelation

Entry / Arrival

Cleanse / Bathe

Prepare / Eat

Rest / Sleep

Think / Reflect / Read / Draw

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Part 2 - Spatial Design - Plans & Sections

A

A

The Loft Studio Floor Plan 45sqm

The Loft Studio Section AA 45sqm

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Part 2 - Key Moments

B

B

Bathroom Floor Plan Cleanse / Bathe - Ritual of Purification 7.8sqm

Bathroom Section BB Cleanse / Bathe - Ritual of Purification

Massing Model

Massing Model

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Massing Model

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Precedents

Cabin Lodges - Atelier Schwimmer, Canada Photo by Adrien Williams

Cabin Lodges - Atelier Schwimmer. Photo by Adrien Williams

6 Degrees Architect - Hanging Rock House, Victoria Photo by John Gollings

KTA - House at Hanging Rock, Victoria .

Photo by Trevor Mein and Sharyn Cairns

Reflections on Week 5

Details and Spatial Hierarchy...

What drove or informed your design decisions?

My focus on having the idea of the hearth as the centre of my concept: Repurposing and Rebirth drove my design decisions. Giving myself a clearer return brief from last week’s feedback gave me a better understanding on designing the overall spaces and atmosphere of the Apprentices house. As I also wanted to focus on repurposed materials such as chared timber, recycled brick and rammed earth, this informed my overall directions as to how to provide a space where my craft can be tied to the site. Researching on precedents also assisted me in the overall form and spatial planning.

Were there any other iterations of design?

There were no physical discarded models this week however there were a few discarded drawings which I felt, after drawing them, did not make the cut which represented my design intentions.

What was successful/unsuccessful?

The overall atmosphere and concept as an individual are workable and can be pushed further into the mid semester and final semester presentations. However the overall form of my design is fairly weak as I did not put much focus into this aspect this week.

What did I learn? How will this inform my decisions in the future?

The sense of room sizes must be also improved according to its hierarchy in terms of its program priorities. The hierarchy of drawing lineweights can also be improved upon for the following presentations, focusing on the external load bearing walls and then to the internal partitions.

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Week 6.

Part II: Spatial Curation - Rooting of Forms + Celebration of Craft Brief - Introducing the Craft

The arts of bladsmithing has survived & thrived over thousands of years. The origins started off through the use of rocks, stones, bone and flint. These were creating out of the needs of survival. The origins started off through the use of rocks, stones, bone and flint. These were creating out of the needs of survival.

Many places of origin which includes, Japan, Middle East, Celtic, Chinese, Korean and Indian. Today the art of bladsmithing can be categorised into the following based on the individual craftsperson’s skill and expertise: Swordsmithing, Knifemaking and Scythesmithing.

Celebrating the craft of knifemaking through its process

Steel Forging

Steel Hardening

Steel Tempering

Handle Making

Sharpening

The process of moulding raw steel rods to the overall shape of the knife

The process of quenching the steel in quench oil to harden steel after forging

The process of heat treating the steel to give it flexibility in addition to its hardened strength

Woodworking process to curate the knife handle

Final sharpening of knife for purchase, use and display

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Brief - Concept and Translation into Individual Brief Aim To transform and contribute to the site of Daylesford through its culinary culture.

To create, repair and repurpose knives for the chefs within the culinary community as means to support the community in its social and economic conditions.

To introduce and maintain the importance of the craft in knifemaking by training and educating enthusiasts of all ages through collaborations and experimentation.

Rebirth , Revitalise, Repurpose Through Fire.

Return Brief Client Profile

Mr. Douglas Langford and family

Mr. James Ashford and family Other Profiling

2 Apprentices These members are high school graduates who are keen on the craft and are taking a gap year 2 Temporary Staff (Intermediate to expert) These members are knife makers who are looking to upskill their knowledge in the craft. Giving them the freedom and platform to network, exchange ideas and create within a shared common space.

Retail Visitors These members are temporary members just visiting the retail store and gallery as part of the tour, attractions to visit while in Daylesford.

Dwelling Spaces Gallery Primary Workshop Secondary Workshop 2 Craftsperson’s Dwelling 4 Temporary Accomodations Materiality Gallery

Workshop

Dwellings

• Hot Rolled Steel • Refine Stoned • Recycled Brick

• Hot Rolled Steel • Raw Stone • Recycled Brick

• Raw Stone • Charred Wood

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Broader Context Site Plan - Craft and Concept

06 05

02 03

04

06 01

Surrounding Art Galleries

Surrounding Bazaars and Farmers Market

01. Bromley & Co (3 Minutes Drive) 02. The Convent, Daylesford (4 Minutes Drive)

06. Daylesford Bazaar (3 Minutes Drive) 07. Daylesford Farmer’s Market (3 Minutes Drive)

Surrounding Restaurants and Cafes 03. Wombat Hill House Cafe (5 Minutes Drive) 04. Koukla Restaurant (3 Minutes Drive) 05. Daylesford Hotel (3 Minutes Drive)

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Local Context Plan

Candlebark Crescent 0m 10m

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20m

50m

Site Plan

04.

01.

04.

Y

Y

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03.

Legend 01. Workshop (Celebration of craft) 02. Communal Fireplace For Private Members 03. Apprentice’s House 04. Craftperson’s Dwelling

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5m 10m 15m 20m

Site Section YY

Craftperson’s Dwelling

Apprentice’s House Beyond

Celebration of Craft (Workshop)

Entry

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Proposed Site Model

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Celebration of Craft (Workshop)

Design Strategies and Spatial Progression Sketches

Precedent: B Garden - Xin Yang, China 3andwich Design and He Wei Studio

Precedent: Wellness Plesnik - Slovenia Enota Architects

Visual connection from the Workshop overlooking the entire site. The Workshop space accommodates the public program while also forming a buffer for the private dwellings. The location of the Workshop is also set nearer on the higher ground for fire protection to the adjacent trees in the East.

Approach / Revelation

Work / Learn

Clean / Cleanse

Form tapering in line with the site boundary

Visual connection from the gallery space into the workshop

The use of horizontal shading to filter out sunlight

Entry / Arrival / Present / Exhibit

Commune / Collaborate

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Celebration of Craft (Workshop) Floor Plan

Workshop Location

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06.

03.

0m 1m 2m

Legend 01. Gallery 02. Primary Workshop 03. Craftperson’s Office 04. Woodworking bench 05. Grinding and Sanding Room 06. Secondary Workshop (For Rental) 07. Delivery Bay

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5m

10m

Celebration of Craft (Workshop) Key Moment - Plan

Key Moment Location

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Celebration of Craft (Workshop) Section XX

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Celebration of Craft (Workshop) Key Moment - Section

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Proposed Workshop Massing Model

01. View of Workshop looking West 02. View of workshop looking North West 03. View into Gallery and Delivery Bay looking North East 04. Arial view of workshop looking into Gallery and Delivery Bay

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Apprentices House

Design Strategies and Spatial Progression Sketches

Precedent: Hardwood House -

Daylesford,Adam Kane Architects

The notion of a dwelling as a private and breathing space to rewind, rejuvenate and revitalise after a day of work before repeating the process again.

Use of gabled or pitched roofs to symbolise the idea of a home

Austin Maynard Architects

Transition from public to private through the use of buffers by using a change in materials

Approach / Revelation

Prepare / Eat

Cleanse / Bathe

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Precedent: Brickface - Richmond

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The use of fire and heat as the central support system to provide comfort a dwelling needs.

Entry / Arrival

Rest / Sleep

Think / Reflect / Read / Draw

Apprentice’s House

Legend

Floor Plan

Appliance

01.

Living Area 02.

Fire Place 03 Kitchen 04.

Bathroom 05.

Bedroom 06.

Patio

P Pantry F Fridge S Sink ST Stove

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Apprentice’ s House Location

Spatial Layout

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Apprentice’s House Key Moment - Plan

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Apprentice’s House Key Moment - Section

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Proposed Apprentice’s House Massing Model

01. Front view of Apprentice’s House looking South West 02. Arial view of Apprentice’s house 03. Side view of Apprentice’s House looking North West 04. Perspective view of Apprentice’s House looking South East

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Craftperson’s Dwelling Design Strategies

Precedent: Vineyard Pavilion - Araras Brazil gru.a Architects

Precedent: Hardwood House - Daylesford Adam Kane Architects

The notion of a dwelling as a private and breathing space to rewind, rejuvenate and revitalise after a day of work before repeating the process again.

Precedent: B Garden - Xin Yang, China 3andwich Design and He Wei Studio

Precedent: Vineyard Pavilion - Araras Brazil, gru.a Architects

Use of gabled or pitched roofs to symbolise the idea of a home

Transition from public to private through the use of buffers by using a change in materials

The use of fire and heat as the central support system to provide comfort a dwelling needs.

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Craftperson’s Dwelling Spatial Progression Sketches

Approach / Revelation

Commune / Socialise

Think / Reflect / Read / Draw

Rest / Sleep

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Entry / Arrival

Prepare / Eat

Cleanse / Bathe

Reflections on Week 6 - Mid Semester Review Spatial Hierarchy, Pragmatism, Sense of Scale...

Design Process: How does this work best for me?

I started my design process from the feedback on the previous week’s activity designing the Apprentice’s House.

Taking on the critique and feedback from Yui based on my apprentice’s house, I started to redesign the internal spaces of the programs required for the apprentice and formed my overall layout of the four apprentice’s dwellings.

From there, I started taking on the overall form of the site boundary and started to locate and place my workshop where they are and how they are related between the Craftperson’s Dwelling and Apprentice’s House. This was with the heavy influence and obsession with the idea of symmetry which led to my individual spaces being out of scale, impractical and oversized. I would admit that this was not something which worked for me although it was a process which I was the most familiar and comfortable with. Overall I realise that it was not a process which worked out either way after the presentation.

Preliminary Materiality Ideas

Preliminary Design Process Sketches

Preliminary Design Process Sketches

Design Process: Biggest Strengths?

After the presentation and critiques which were given by Dhanika, Mitchell and Professor Donald Bates, I have to admit that I had a moment of belief where there were no strengths evident with my overall design and presentation during the Mid Semester presentation as I all i saw were weaknesses and failure which were drummed into my mind set based on the feedback that was given. I do acknowledge that one of the strengths during the design process which required building a site model and two massing model helped me visualise and scope out the areas needed to improve in my overall design of the Workshop and Apprentice’s House.

Design Process: Biggest Weakness?

The biggest weakness in the overall design process was the lack in considering the pragmatism and practicality within my overall design. As I was heavily constricted to the overall form of the site and constantly being obsessed with the idea of symmetry, I lacked the ability to represent and showcase the overall experience to the craft. This led to my overall drawings and graphics lacking in its specificity while also relying heavily on the use of texts to explain my work. By giving myself these restrictions I was not able to achieve the primary spatial programs which I was meant to achieve for this mid semester presentation which led to the overall failure of this presentation.

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Reflections on Week 6 - Mid Semester Review Spatial Hierarchy, Pragmatism, Sense of Scale...

Which drawing & / or design feature was the strongest part of the presentation?

The idea of the fire being the central space to commune and gather and its as the central support system to provide comfort a dwelling needs was perhaps the strongest design feature during the presentation. This was the idea which drove my overall concept and design and was starting point of my preliminary program and spatial layout on site.

Which drawing & / or design feature was the weakest part of the presentation?

The spatial configuration of my workshop was perhaps the weakest part of the presentation. This was due to the lack of consideration in the craft’s experience as a designer curating these spaces for the craft’s program. The lack of understanding in scale for the individual spaces also caused the overall workshop to be impractical as the workshop proportions were overdesign.

What did I learn? How will this inform my decisions in the future?

The sense of room sizes must be also improved according to its hierarchy in terms of its program priorities.

Starting out with a list of room sizes and requirements for the rooms, I should be able to position these spaces in accordance to their spatial relationships and priority in each space’s program. I would also start with a list of experiences which I would like to curate for the individual spaces, for example what do I want the visitors to feel when they walk into a gallery spaces? Or what experiences do I want to provide the visitors when they are looking down or into the workshop?) before planning out the spatial arrangements within the Workshop and Apprentice’s House.

A side note to myself on the future projects that I will work on...

After the mid semester critique and feedback given, I found myself having the need to detach from my project for the week. I felt that this was necessary as I realised that as the more invested I am in my project, the more I felt a form of emotional attachment to my work. In a way it is good as we are able to find that passion and drive into improving and refining our work. However as we find ourselves more emotional and attached to our work, we are prone to take feedbacks and criticisms, no matter how critical or minor, personally as the feedbacks pierces through our ego and pride towards our work.

Having the need to detach us from our projects helps us take a step back, reflect on our work objectively and process the constructive feedbacks as part of our effort to refine our project. Something which I have experienced and learned from this Mid - semester presentation. As a result, I am taking this week off from my project temporarily to properly process and work on the parts which I lacked during the presentation.

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“Never ever, in your career as an Architect design a bathroom which is 3m wide, even if it is one of the grandest bathrooms you can ever design.”

– Professor Donald Bates , 13 April 2021

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Week 7.

Rooting In Landscape Activity Brief In this activity we were tasked to provide design strategies to incorporate the surrounding nature which may amplify our craft and concept. This task also required us to provide a design approach and response to the existing ecological context of Daylesford. In addition, we were also taksed to provide a proposal on the landscape features which will compliment our architectural concept and overall spatial layout.

Landscape Strategies

Hidden From Plain View

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Direct Visual Connection to the Surrounding Nature

Vegetation Along Path

Central Fireplace

Water Feature

Basalt Rock Walls Along Path

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Native Plants & Plant Selection - Trees

Acacia Melanoxylon - Blackwood Size at Maturity

12 - 15 x 8 - 10m

Flowering Month

Spring Winter

Light

Full Sun

Growth Habitat

Evergreen

Drought Tolerance

Tolerates Frost and Drought

Soil PH

Acid, Neutral, Alkaline

Traits

Rural Shelterbelt, Windbreak, Attracts Birds

Accacia Dealbata - Silver Wattle Size at Maturity

12 - 15 x 8 - 10m

Flowering Month

Late Winter, Spring

Light

Full Sun

Growth Habitat

Evergreen

Drought Tolerance

Tolerates Frost and Drought

Soil PH

Acid, Neutral

Traits

Rural Shelterbelt, Windbreak, Attracts Birds

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Native Plants & Plant Selection - Grass & Plants

Austrostipa Scabra - Rough Spear Grass Size at Maturity

0.3 - 0.6m x 2m

Flowering Month

Spring, Summer

Light

Full Sun

Growth Habitat

Woodland, Grassland

Frost Tolerance

Tolerates Frost & Drought

Soil PH

Acid Soil Tolerant

Traits

Feature Plant, Screen, Food for Birds, Moths and Butterflies, Attracts Birds

Boronia Anemonifolia - Sticky Boronia Size at Maturity Flowering Month Light Growth Habitat Frost Tolerance Soil PH Traits

2m x 2m Spring, Summer Light shade, Half shade Evergreen, Dense Foliage Tolerates Light Frost Neutral, Alkaline Feature Plant, Screen, Fragrant

Boronia Nana - Dwarf Boronia Size at Maturity

0.8 to 25m high

Flowering Month

Early Spring, Summer

Light

Light shade, Half shade

Growth Habitat

Open Forest, Heath under slopes of Ranges

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Frost Tolerance

Tolerates Light Frost

Soil PH

Neutral, Alkaline

Traits

Feature Plant, Screen, Fragrant

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Site Plan

New Acacia Melanoxylon Tree New Acacia Melanoxylon Tree

Viewp oint La n

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New Acacia Melanoxylon Tree 08.

New Acacia Melanoxylon Tree

New Acacia Melanoxylon Tree

Existing Landscape Existing Landscape 09.

01.

New Landscape 02.

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New Acacia Melanoxylon Tree

New Landscape 08.

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05.

Existing Landscape

Water Feature

New Acacia Melanoxylon Tree Apprentice’s Courtyard 07.

07.

Existing Landscape

Apprentice’s Courtyard Apprentice’s Courtyard 07.

07.

0m

5m 10m 15m 20m

Legend 01. Carpark 02. Entry 03. Gallery 04. Shop 05. Workshop

05. Central Fireplace 06. Apprentice’s House 07. Craftperson’s Dwelling 08. Barbecue Pit

Precedents

Wootten Road Reserve - Tarneit Melbourne

Michale Bates Garden - Blue Mountains NSW

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Precedents

Precedent: Wootten Road Reserve - Tarneit Melbourne

Precedent: Fire Pit in Snowy Mountains - Michale Bates

Reading Reflections - Thinking Architecture

by Peter Zumthor Experience, Atmosphere, Key Moments

Key Takeaways And Reflection Upon reading a chapter: A Way of Looking At Things, I can’t help but realise the importance in an architect’s own personal experience and vision when designing a building. How he conveys this experience to others through design is the challenge to curating a good architectural work. Peter mentions about designing from a distant and half - forgotten memory of an architectural situation which he is familiar with yet with no direct reference to any former of work of architecture. This touches on one’s intuition of a natural experience when we are in a certain space which everyone is familiar yet distant with. Our role as designers and architects is to convey and delivery these atmospheric qualities of a space which are universal for people to experience but with variation in the design to suit also the natural site that the building is sitting on. This experience and skill is something which I need to acquire in order to express my vision on the experience of the Foundry for others to resonate with, thus making it a successful project.

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Reflections on Week 7 - Rooting in Landscape Resetting and Starting From Scratch

What drove or informed your design decisions?

What was successful/unsuccessful? What did I learn?

How will this inform my decisions in the future?

Taking on my mid semester feedback, I started looking into the workshop space from a smaller scale and think about the fire as the hearth as the space for all these activities before expanding out to represent my overall scheme in a more sensitive scale. As I realised my workshop design presented during Mid - semester was oversized and overdesign while not sitting well on site, I began sketching and drawing rough diagrams on the spatial relationships between visitors visiting and viewing the craft of kitchen knife making on an elevated level while also maintaining the sensitivity of scale. I had to remove the symmetrical and radial arrangement of the workshop’s form also in order to tie my design back to the proposed concept. Starting from listing out the processes of the craft and progression from one space to another, I gradually developed the overall site plan which looked very different from what was presented in Mid Semester.

Were there any other iterations of design?

The following sketches below were the first few iterations which I started with. However, as I was only roughly sketching based on the spatial progression of the craft process, these schemes did not fit the overall concept well as they did not have much synergy between each programs despite the fact that they were just a direct translation from the spatial progression taken from the craft process and experience for the visitors which I wanted to create.

Iteration 1

Iteration 2

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Week 8.

Curating Spaces & Landscapes - Creative Living Client Profile Mr. James Ashford and family •

Friends with Mr. Douglas.

•

Joined Douglas on a venture to open up a bladesmith workshop focusing on knives in the regional area to escape the hustle and bustle in the city.

•

60 Years old and is almost retiring.

•

Son is keen to learn the craft of bladesmithing as he wants to follow his father’s footsteps.

•

James values his work life balance, strictly separating his leisure time with his family and work.

•

Avid bushwalker and enjoyes being around nature and taking long walks outdoors.

Mr. Douglas Langford and family

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•

Friends with Mr. Douglas as they know each other since highschool. They are in the same field however were previously with different companies.

•

55 Years old and is semi retired.

•

The family moved to Daylesford to also enjoy the quietness in the countryside while Douglas took the opportunity to start his own bladesmithing workshop upon knowing that Daylesford has a rich culinary and cultural community.

•

He specialises in kitchen knives and is also a trained chef.

•

He is keen to have a workshop and kitchen within close proximity however the workshop has to be separated from their residence.

•

He and his family are food and wine enthusiasts.

•

Children are based in the city but visits often

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Precedents Precedent: Vineyard Pavilion - Araras Brazil gru.a Architects

Precedent: Hardwood House - Daylesford Adam Kane Architects

Precedent: B Garden - Xin Yang, China 3andwich Design and He Wei Studio

Precedent: Vineyard Pavilion - Araras Brazil, gru.a Architects

Design Strategies

The notion of a dwelling as a private and breathing space to rewind, rejuvenate and revitalise after a day of work before repeating the process again.

Use of gabled or pitched roofs to symbolise the idea of a home

Transition from public to private through the use of buffers by using a change in materials

The use of fire and heat as the central support system to provide comfort a dwelling needs.

Create | Curate: Sensory (Re)treat - Nathaniel Foo 804903

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Approach / Revelation Rejuvenation and comfort are the key priority in this space. Having a heat source such as a fire place and raised flooring for the bed provides the thermal comfort one desires.

Commune / Socialise

Rejuvenation and comfort are the key priority in this space. Having a heat source such as a fire place and raised flooring for the bed provides the thermal comfort one desires.

Cleanse / Bathe

Rejuvenation and comfort are the key priority in this space. Having a heat source such as a fire place and raised flooring for the bed provides the thermal comfort one desires.

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Entry / Arrival

Rejuvenation and comfort are the key priority in this space. Having a heat source such as a fire place and raised flooring for the bed provides the thermal comfort one desires.

Prepare / Eat

Rejuvenation and comfort are the key priority in this space. Having a heat source such as a fire place and raised flooring for the bed provides the thermal comfort one desires.

Rest / Sleep

Rejuvenation and comfort are the key priority in this space. Having a heat source such as a fire place and raised flooring for the bed provides the thermal comfort one desires.

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Think / Reflect / Read / Draw

Having a central fireplace indoors, one receives warmth and tranquility through the radiant heat and soft flints emitting from the fire place. This gives a sense of calmness for thinking and reflecting.

Craftsperson’s Dwelling - Floor Plan

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01. Entry 02. Laundry 03. Kitchen 04. Living 05. Patio

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06. Masterbed Room 07. Ensuite 08. Bedroom 2 09. Bedroom 3 10. Bathroom

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Reflections on Week 8

Avoid being too generic and tie your design back to your concept.

What drove or informed your design decisions?

I started with the overall spatial layout planning for both craftsperson based on the return brief and their client profile. Starting from the fireplace and locating the other rooms and spaces around the fire. The overall form of the floor plan however was rectilinear and simple as I wanted the overall dwellings to be simple. Taking Glen Murcutt’s Walsh House in New South Wales as precedent, I referenced the house to as a guide and starting point to design both craftsperson’s dwellings.

Were there any other iterations of design?

The other iterations for the craftsperson’s dwellings are documented on the following page as a preliminary sketch for feedback during the desk crits this week.

What was successful/unsuccessful?

After getting feedback from Yui, I realised that both preliminary plans for the craftsperson’s dwellings were too generic and simplified. The design and form of these floor plans were buildable however their schemes did not tie back to my overall concept of the fire being the key element. This led both preliminary drawings to be unsuccessful.

What did I learn? How will this inform my decisions in the future?

With Yui’s help and guidance in providing a marked up sketch, I decided to take a different approach to the design where I allowed the overall design and form of both craftsperson’s dwelling to follow its program’s pragmatism, relationship to one another and priority instead of restricting myself to a “rectilinear” form and forcing the programs to fit into this outline which I created for myself.

Reading Reflections - Atmospheres by Peter Zumthor Experience, Atmosphere, Key Moments

Key Takeaways And Reflection The title Atmospheres as described by Peter Zumthor towards architecture stems from the our perception of a certain building which touches our emotional sensibility. This emotional sensibility can either move us emotionally or cause us to reject it within a glance. This made me contemplate the importance of an atmosphere within an architecture to be able to capture the user’s interest, curiosity and appreciation when the scheme is first presented or described to them. Peter Zumthor explains multiple ways to be able to achieve this particularly through the use of different materials and how they synergise with one another to create an unique atmosphere for the user’s using it. He describes the combination of different materials as a kind of anotomy within a body, different and varying from one another but also fitting to generate an experience like no other. Within my project of the craft of kitchen knifemaking, I wonder if this could be achieved through the various materials I have thought of currently for the workshop, gallery and dwelling spaces.

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Preliminary Sketch of Doug’s Dwelling For Desk Crits As Part of the Initial Iteration for the Craftsperson’s Dwelling

Preliminary Ideas On Materiality for the Workshop, Gallery, Craftsperson’s Dwelling and Apprentice’s Accommodation.

Preliminary Sketch of James’s Dwelling For Desk Crits As Part of the Initial Iteration for the Craftsperson’s Dwelling

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Week 9.

Curating Spaces & Landscapes - Key Moments - Drawing Refinements Activity Brief We were asked to continue refining all of our projects as required and relevant for our own projects which included site plans, site sections 1:100 drawings to 1:20 details. We were tasked to select the weakest point of our project and refine this further. In addition, we were tasked to also develop lighting schemes and architectural details in the workshop and residences.

Rough Draft of A Work In Progress Site Plan. Not To Scale

Rough Draft of A Work In Progress Site Section . Not To Scale

Draft Render of Overall Site Layout

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Draft Render of Sectional Perspective Of The Foundry, Gallery and Workshop Looking South East

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Rough Draft of A Work In Progress Gallery, Workshop and Foundry Floor Plan . Not To Scale

Rough Draft of A Work In Progress Apprentice’s Accommodation Floor Plan . Not To Scale

Draft Render of Sectional Perspective Of The Foundry, Gallery and Workshop Looking North West

Draft Render of Sectional Perspective Of The Apprentice’s Accommodation Looking South East

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Reflections on Week 9 What is your concept?

What drove or informed your design decisions?

I started researching precedents for the gallery space as a starting point to develop my gallery design. With Yui’s guidance and precedent which she gave me, the Nousaku Factory in Toyama, I started referencing the low pitched roof of the gallery space and created a low pitch roof which spanned out into the entry site. The Apprentice’s Accommodation was design with Sean Godsell’s Green House as precedent. Referencing the Double Skin Roof of the Green House as precedent for my Apprentice’s Accommodation as some of the accommodations were sitting within the site.

Were there any other iterations of design?

Most of the iterations for the Apprentice’s Accommodation were initially rectilinear and too generic, similar to the Craftsperson’s Dwelling. It was a challenge for me to figure out a design to tie my design to the concept this week given that there were other assignments for other subjects that were also due on the same week. The following iterations below shows a work in progress of the alternate floor plans for the Apprentice’s Accommodation. All of whic I was not satisfied with.

APPRENTICE'S HOUSE FLOOR PLAN

1:100 SCALE rth

no

APPRENTICE'S HOUSE FLOOR PLAN

Iteration 1

1:100 SCALE rth

no

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2m

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Initial Apprentice’s Accommodation Plan

APPRENTICE'S HOUSE FLOOR PLAN

1:100 SCALE

Sketches Over The First few Iterations

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rth

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Iteration 2

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0m

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2m

5m

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2m

5m

What did I learn? How will this inform my decisions in the future?

After a numerous iterations which I was not satisfied with, I went to Dan, an ex - colleague of mine who was also a mentor for guidance. After a few conversations and discussions with him, I realised that my concept is not as solidified as I thought. We spent a while restructuring my concept in 3 brief sentences to highlight each points before I attempted to sketch over the iterations which I drafted. Starting from the fireplace where that is the center of my concept. I started to place the other rooms and dwellings around it diagrammatically before designing the overall external walls and partitions. I also started looking at the Apprentice’s Accommodation on a macro scale in relation to the Workshop, Foundry and the Craftsperson’s dwelling to capitalise on the external views and connectivity with the other buildings. This helped me get out of the generic and rectilinear floor plans which I have been designs since the start of the semester.

Apprentice’s and Craftsperson’s Dwelling Design Strategy

Preliminary Sketch of Craftsperson’s Dwelling Design Strategy

Preliminary Sketch of Apprentice’s Accomodation In Relation to the Site

Preliminary Sketch of Apprentice’s Accomodation Internal Layout

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Week 10.

Interim Presentation: Curating Key Moments Brief - Introducing the Craft Of Kitchen Knifemaking

Steel Forging

Steel Hardening

Steel Tempering

Handle Making

Sharpening

Graphic Craft Process

01. Designing the Knife

02. Steel Forging

03. Steel Hardening

04. Steel Tempering

05. Handle Making

06. Knife Sharpening

Utility Knife

Fish

Chef Knife

Filleting Knife

Vegtable

Chef

Kitchen Knife Product Inventory

Santoku Knife

Meat

Carving Knife Cleaver Boning Knife

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Brief, Concept, Sitting Parti Diagrams

Celebrate fire as the key element in the craft of kitchen knifemaking.

Embrace fire as a natural element contributing to the ritual of rebirth, revitalisation and repurpose.

Embracing the community to be more involved in the craft of kitchen knifemaking.

Craftsperson’s Profile Mr. James Ashford and family

• Friends with Mr. Douglas.

• Joined Douglas on a venture to open up a bladesmith workshop focusing on knives in the regional area to escape the hustle and bustle in the city.

• 60 Years old and is almost retiring.

• Son is keen to learn the craft of bladesmithing as he wants to follow his father’s footsteps.

• James values his work life balance, strictly separating his leisure time with his family and work.

• Avid bushwalker and enjoyes being around nature and taking long walks outdoors.

Mr. Douglas Langford and family

• Friends with Mr. Douglas as they know each other since

highschool. They are in the same field however were previously with different companies.

• 55 Years old and is semi retired.

• The family moved to Daylesford to also enjoy the quietness in the countryside while Douglas took the opportunity to start his own bladesmithing workshop upon knowing that Daylesford has a rich culinary and cultural community.

• He specialises in kitchen knives and is also a trained chef.

• He is keen to have a workshop and kitchen within close

proximity however the workshop has to be separated from their residence.

• He is a food and wine enthusiasts.

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Brief, Concept, Sitting Other Profiling

Dwelling Spaces

2 Apprentices These members are high school graduates who are keen on the craft and are taking a gap year

Gallery Primary Workshop Secondary Workshop 2 Craftsperson’s Dwelling 4 Apprentice’s House

2 Temporary Staff (Intermediate to expert) These members are knife makers who are looking to upskill their knowlegde in the craft. Giving them the freedom and platform to network, exchange ideas and create within a shared common space.

Retail Visitors These members are temporary members just visiting the retail store and gallery as part of the tour, attractions to visit while in Daylesford.

Broader Context Site Plan

The Craft of Kitchen Knifemaking

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Surrounding Art Galleries

Surrounding Bazaars and Farmers Market

01. Bromley & Co (3 Minutes Drive)

06. Daylesford Bazaar (3 Minutes Drive) 07. Daylesford Farmer’s Market (3 Minutes Drive)

02. The Convent, Daylesford (4 Minutes Drive)

Surrounding Restaurants and Cafes 03. Wombat Hill House Cafe (5 Minutes Drive) 04. Koukla Restaurant (3 Minutes Drive) 05. Daylesford Hotel (3 Minutes Drive)

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Site Plan

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Doctor’s

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Gully

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Legend 01. Gallery 02.Primary Workshop 03. Foundry 04. Secondary Workshop 05. Central Fire Pit

06. Apprentice’s House 07. Apprentice’s Fire Pit 08. Craftperson’s Dwelling

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Celebration of Craft - Gallery Plan

Refer Drawing 5

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True North

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Celebration of Craft - Workshop Plan

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Celebration of Craft - Section

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Celebration of Craft - Plan of Key Moment

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Celebration of Craft - Section of Key Moment

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Celebration of Craft - Spatial Progression

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Craftperson’s Dwelling - Plan

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Craftperson’s Dwelling - Plan of Key Moment

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Craftperson’s Dwelling - Section of Key Moment

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Craftperson’s Dwelling - Spatial Progression

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Apprentice’s House - Plan

Refer Drawing 13

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Apprentice’s House - Section

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Apprentice’s House - Plan of Key Moment

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Apprentice’s House - Section of Key Moment

Drawing 14 of 14

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Apprentice’s House - Spatial Progression

Reflections on Week 10

All about the concept, what is your overall concept?

What drove or informed your design decisions?

After receiving feedback from Yui to tie my design of the craftsperson’s dwellings and Apprentice’s house back to my concept of my craft being centered around the fire, I took a different approach by starting to design from the inside out. Starting from the fire as the centre of the craft, I started positioning the relative spaces around the fire to form a circular shape at the beginning, then adjusting the overall form to suit the site. This allowed the form to follow the spatial function guided by the return brief instead of restricting myself to a given outline which I set for myself before placing the spatial functions within this outline. Given the steepness of the site, I decided to set the first two Apprentice’s House into the ground, maintaining the accessibility for disabilities from the workshop space.

Were there any other iterations of design?

The other iterations for the designs were documented as part of the work in progress from week 7 to Week 9 as I spent the most time to refine all the key dwellings and workshop following the Mid Semester feedback and weekly desk crits.

What was successful/unsuccessful?

The overall form of the Foundry was successful in a way that it addressed the feedback and comments from the Mid - Semester Presentation where acoustics, visual and visitor viewing were the key importance of my craft and project. The ability for visitors to look down into the Foundry space where the craftsperson is hammering the forged steel on the anvil provides a form of theatrics to the craft, hence opening up the idea of reducing the amount of external lighting coming into the working to enhance the other senses such as smell and sound to amplify the theatrics of the craft. The executing in presenting the Craftsperson’s Dwelling and Apprentice’s House was not as successful as expected as the form of it varied distinctively from the overall workshop space. This would help with diagrams on how the overall form of the dwellings and accommodations are created.

What did I learn? How will this inform my decisions in the future?

Apart from the workshop, both Craftsperson’s Dwelling and Apprentice’s Accommodation needed to be carefully looked at in terms of the form and overall internal spatial layout. As the form and materiality proposed during the Interim Presentation of both craftsperson’s dwelling and Apprentice’s Accommodation varies from the overall workshop, it was advisable to drastically simplify the number of materials/ form used. Given the overall theatrics of the craft proposed during the Interim presentation, lighting layout is a vital aspect of my scheme to highlight the location of the fires. It was suggested that my entry ramp could be turned into an entry procession (taking on the Icarus Cell as my precedent), giving the visitors the experience of light slowly dimming during their entry into the workshop and being greeted by the sounds and smell of steel forging coming from the Foundry. The overall details of the 1:100 drawings should be reduced as well and expressed in the 1:20/ 1:10 details.

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Week 11.

Design Refinement & Physical Diagram / Models Activity Brief This week we were tasked to bring our drawings for the final design in for refinements. We were also tasked to determine where all our perspectives will be taken for review with and indicative hand drawn sketches.

Perspectives - Work In Progress

Overall Sitting of Buildings and Exterior Looking North West

Entry into the Gallery Space

Landscape Experience Key Moment Perspective

Gallery Space Interior Perspective

Sectional Cut Through Gallery, Foundry and Workshop Space

Overall Perspective of Apprentice’s Accomodation

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Refined Site Plan With Updated Entry into the Gallery Space

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Preliminary perspectives Draft project statement

Workshop, gallery and dwellings floor plans

Material precedents

Pin ups on Miro For Week 11 As Studio And Desk Crits Were Held Online on Zoom

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Material Precedents - Workshop and Foundry

Material • • • • • •

Recycled Brick (Foundry Exterior Walls) Core Ten Steel (External Cladding for Workshop) Exposed Structural Steel (Workshop and Gallery Ceilings) Smooth Trowel Concrete (Gallery Floor) Medium Trowel Concrete (Workshop Floor) Blackwood Timber (Interior Joinery, Cabinets and Linings)

Material Precedents - Craftperson’s Dwelling and Apprentice’s Acomodation

Material • • • • 79

Recycled Brick (Interior Retaining Walls) Smooth Trowel Concrete (Floor) Blackwood Timber (Interior Joinery, Cabinets and Linings) Charred Timber (Exterior Wall Cladding) Create | Curate: Sensory (Re)treat - Nathaniel Foo 804903

Reflections on Week 11

Simplificity and Circulation Hierarchy What drove or informed your design decisions?

The perspectives were initially chosen strategically to represent the overall form, look and feel of the buildings sitting on site. Starting with an overall aerial perspective showing the relationship between the Gallery, Foundry, Workshop, Apprentice’s Accommodations, and Craftsperson’s Dwelling. The perspectives continue with the entry procession, into external view of the Gallery / Foundry, to the internal perspective of the gallery, the cross section of the Workshop and Foundry and finally to the Apprentice’s Accommodation. The sequence of these perspectives are arranged like a story board as requested in the deliverables while also being able to show and demonstrate the journey across these spaces starting from the entry. The focus mainly for this week was to refine the entry ramp into the Gallery and Workshop space, thus I started adding a shade only at the third ramp into the gallery space as the level difference was distinct and high enough to add a shade above. Only adding skylights where the landings are, I found that I was able to achieve the dark atmosphere in reference to the Icarus Cell at Inujima Seirensho with the natural light coming into the landing and stair entries as guides into the Gallery and Foundry space.

Were there any other iterations of design?

Most of the iterations discovered in Rhino briefly before the design was finalised for the desk crit. I started to model in screens as the walls for the Entry ramp to create the dimming effect however I felt that if the ramps were surrounding by timber screens, it could create a distorting effect which may not be practical for the entry ramp going down into the Gallery. Hence I changed this to incorporate walls instead as the enclosure for the entry ramp into the Gallery.

Timber Screens Were The First Iteration for the Entry Ramp into the Gallery Space.

What was successful/unsuccessful?

After having the desk crits with Yui and through her feedback on the considering the planning hierarchy into the Gallery space. As there were two entries into the gallery and workshop, there wasn’t a defined hierarchy to enter the site. With people with disabilities needing to go out of the gallery into the Workshop through another entry ramp into the workshop, it enabled visitors to enter into the workshop without any control. With the feedback given during the crit, I spent some time trying to refine the circulation into the Gallery and from the Gallery into the Workshop, simplifying the entry and form of the workshop space.

What did I learn? How will this inform my decisions in the future?

Simplifying the overall form while also having only a single entry to the Gallery space creates a defined hierarchy in the planning. Often times with designing spaces, I learnt that by simplifying a design enables better clarity within a space. Hence, the following sketches and iterations for the entry pathway and circulation from the Gallery Space into the Workshop in the following two pages were some of the attempts for me to refine and simplify the overall scheme in order to create a better planning hierarchy.

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Preliminary Sketches of the Entry Ramp procession into the Gallery Space taking the Icarus Cell in Inujima Seirensho as precedent.

Refined Entry Ramp Procession Directly Into the Gallery Space, thus eliminating the other ramp directly from the entry into the Workshop.

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Sketch of refined planning of the workshop space, shifting the shower, bathroom and Sanding Room around the back of the Workshop. Overall sketch of circulation showing the craft process in the workshop.

Sketch of refined circulation from the Gallery Space into the Workshop. Sketches of Entry Gate Ideas.

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Week 12.

Graphic Layout Review & Physical Journal Activity Brief We were asked to prepare a mock poster layout for pinup with all the work in progress drawings and their locations clearly indicated with a drawing label. We were asked to print these mock up A2/A1 paper on standard copy paper with a test sheet textured paper which we will be proposing. The last desk crits before the final presentations took place after the mock poster layout.

Overall Site Plan and Site Section

Apprentice’s accomodation drawings and details

Workshop 1:100 Plans and Section

Test print on proposed textured paper

Workshop key moment details, lighting and joinery detail

Craftperson dwellings drawings and details Preliminary Graphic Mock Poster Layout

Workshop Long Section Markup

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Workshop Short Section Markup

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Craftsperson Dwelling Plan Markup

Site Plan and Section Markup

Refined Sketch Of Poster Layout For the Final Presentation

Reflections on Week 12

Specificity and Graphical Hierarchy What drove or informed your design decisions?

As I was focusing on refining the overall design for the Workshop and Foundry spaces, I was not able to carefully position and layout my mock up poster layout. I did however start with a large A1 sheet and started importing my work in progress drawings on to the A1 sheet, laying them in a sequence starting from the overall site plan to the Workshop / Foundry space and gradually progressing to the Craftsperson Dwellings and Apprentice’s Accommodation. Given my overall Workshop and Foundry layout which is long, a landscape poster was the best way to represent my scheme and thus chosen to be the preliminary poster layout.

Were there any other iterations of design?

There were no iterations for the preliminary poster layout design this week. This poster layout would be the first iteration before the final poster layout.

What was successful/unsuccessful?

The overall mock poster layout was not entirely successful as it did not represent my scheme very well. Some parts of the drawings looked a bit too cramped while some parts of the drawings looked a bit too small throughout the poster layout. From the mock poster layout pinups, the overall poster layout lacked graphical hierarchy which made viewing hard to comprehend. The text titles were also too big while having two different scale bars was also not ideal as it made the drawings loose specificity.

What did I learn? How will this inform my decisions in the future?

From the wall crits conducted with Yui, I found that A2 and A3 Sheets fitted my scheme a little better with having long A2 sheets to represent both my workshop ground floor and first floor plan, portrait A2 sheets for my overall 1:100 sections and A3 sheets for detail drawings. The text titles would be smaller and located on the bottom of each drawings to reduce the distractions from the overall drawings. Scale bars should be specific to only one scale on each drawings instead of having two different scale bars on a drawing sheet to create specificity. The play of different drawing layout sheets allows more graphical hierarchy within the drawing. Reducing the amount of drawings on each sheet also creates more specificity within the overall layout and prevents one to be distracted with the other drawings on the poster.

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Acknowledgments.

First and foremost, I would like to express my special thanks of gratitude to my tutor, Yui who has given me this opportunity to do such a project as part of my Studio C course. This project has been nothing but a great learning experience for me since transitioning directly from the workforce. I am grateful for your guidance and tutoring over the 12 weeks this semester.

My completion of this project would not have been successful and complete without the help from my Group 3 teammates: Lauren, Mike, Sidney and Charen. The weekly chats with them in studio and online gave me the courage and dedication to accomplish and overcome any challenges that were present every week when the deliverables for the next week were handed out. Giving me the friendship in my first years of the Masters of Architecture course. I also appreciate the opportunity which you gave me to be part of the group in fabricating the physical site model for the entire class.

My housemate and good friend Lester, who has unconditionally given me so much of his time to teach me the ropes around modelling and rendering on Rhino and Vray in addition to providing his input as a casual crit whenever I went to him for a second opinion. You helped me appreciate design and encourage me to press on when I was at my lowest throughout the semester. You have also taught me to be even more resilient than ever despite the hurdles and time constraints which I faced.

Daniel, whom you have dedicated so much of your time as well to provide feedback and encouragement to continue in my work. Your advices and teachings during our meetings have always given me the certainty and confidence to present my ideas without second doubting myself. From teaching me to properly document construction drawings to designing spaces, you have given me the skill and ability to produce drawings, schemes and sketches with great precision and detail within a short amount of time.

Lastly, to my family who have been my pillar of support throughout the course of this semester. Despite the distance and not being able to see each other for close to two years, you have given me unconditional support and encouragement to press on virtually through numerous facetime calls whenever I need it.

End

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References.

Knifemaking Research Websites

https://www.hunker.com/12003442/the-differences-in-mild-steel-tool-steel-and-stainless-steel https://www.youtube.com/watch?v=D35JnZHr3YI&list=PLWx61XgoQmqeSPea73vRKk2nte3m4QDqT https://www.youtube.com/watch?v=Qab84QKGzQs https://www.youtube.com/watch?v=Pq7Q7mWGzsA&list=PLWx61XgoQmqdRsQEl5ppy8ahvs1ApRTXh&index=13 https://www.popularmechanics.com/technology/infrastructure/a20722505/history-of-steel/ https://www.metalsupermarkets.com/metals-making-knives/

Tasked Reading

Pallasmaa, J. (2012). The Eyes of the Skin: Architecture and the Senses. United Kingdom: Wiley.

Pascoe, B. (1970). Landscape as Protagonist. Australia: Molonglo. ISBN: 9780987634412 Zumthor, P. (2006). Thinking Architecture. Basel: Birkhauser. ISBN: 13: 9783764374976 Zumthor, P. (2006). Atmospheres: Architectural Environments. Surrounding Objects. Basel: Birkhauser. ISBN: 13: 9783764374952

Images.

Site model images are contributed by Charensia, Mike, Sidney, Lauren and myself. https://www.archdaily.com/927458/atrium-of-holy-angels-mausoleum-harmer-architecture/5db8d1693312fd1433 0006fb-atrium-of-holy-angels-mausoleum-harmer-architecture-photo https://www.archdaily.com/951530/lakeside-cabin-atelier-schwimmer https://www.sixdegrees.com.au/5r_hanging-rock http://kerstinthompson.com/?id=18 https://asiatimes.com/2020/07/erdogan-misrepresents-history-of-hagia-sophia/ https://www.theguardian.com/commentisfree/2020/jul/12/hagia-sophia-is-too-complex-for-erdogans-cleansing https://archello.com/project/nousaku-office-factory https://www.archdaily.com/790107/seascape-retreat-pattersons https://www.archdaily.com/632154/green-house-sean-godsell-architects https://landscapeaustralia.com/articles/wootten-road-reserve/ https://landscapeaustralia.com/articles/the-new-australian-garden-landscapes-for-living/

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