Eidetics - Leon van Schaik - RMIT Architecture End of Semester Exhibition Semester 1 2020

EIDETICS LEON VAN SCHAIK RMIT ARCHITECTURE END OF SEMESTER EXHIBITION SEMESTER 1 2020 BELINDA SMOLE BRIONY EWING DAVID HASLGRUBER DAVID VEIDT HIEN LE LIA FERNANDA GRIMMER PEREZ NIKOLCE NIKOLOVSKI WILLIAM ALEXANDER YADANA KAY KHINE

Welcome to the Eidetics Exhibition We suggest that visitors to this exhibit start with the introductions and then click on each student’s folder in turn

Link to EIDETICS in National Library of Australia

http://catalogue.nla.gov.au/Record/7375685

https://www.lyssiotisvanschaik.com/

• EIDETICS (2016) • • EIDETICS concerns the vivid arousal of recollections triggered unexpectedly during the course of normal living. Without elaborating on the science or the theory the headings, essays, fragments and poems in this volume present eidetic moments in their full richness, as they occur.

• • The texts use interactions between the loves, friendships and places to evoke parallel eidetic recall in the reader. The science and theory are referred to in an appendix on pages 108 and 109. This corresponds to Leon van Schaik’s book Spatial Intelligence: New Futures for Architecture (John Wiley & Sons, 2008, Chichester).

The physics • Saccades – Blurred Segmentation = partial observation, • Granularity of everything (a valley under cloud, a marble slab) • Point of view – We are histories of ourselves. We are stories contained in the complex 20cm behind our eyes.

• Relativity: time and space have their only existence within each one of us, within the relation between our memory of the past and our anticipation of the future; and then between us • Generosity: opening up options not closing them down • Particularity – entropy, the passing of energy from one state to another – Specificity = time and space

Spatial intelligence, one of the seven acknowledged human capabilities, is the result of millions of years of evolution...

Spatial intelligence is the most under-appreciated of the human intelligences because it is non-verbal, difficult to quantify, and - using all of our senses - is more than visual. Spatial intelligence is early to be deployed, mastered as we learn to navigate in the world, and is soon relegated to our unconscious.

Linguistic, mathematical, kinetic, natural and musical intelligence are more consciously applied in daily living, as are inter and intra personal intelligence.

Spatial intelligence underpins kinaesthetic expertise in sports but it is an unrealised key to our well-being and our ability to perform because -as we are now able to support with evidence - a good spatial environment stimulates well-being and happiness (CABE)

When aware we discover that the mental space that we grow with our spatial intelligence is specific to our situation in space‌

I thus think architectures must reconcile canonical experience with our specific mental space, individual and communal‌

When we export our work we export our mental space…

Unconsciously …creating zoos

Or consciously…in imperial fashion…

…for we are as Xenakis said: “Prisoners of ourselves.”

And thus we export - to those who have not lived them “the drawings that we have lived…”

Unless…

We reconstruct our practice around awareness of our own histories in space, and understand how the people we seek to serve construct their own mental space… “province speaking unerringly to province…”

Your (digital) Green Box • Marcel Duchamp captured every thought that he had about a project on scraps of paper, menus, tickets – anything at hand. He dropped these into a green box. Years later the box for “The Bride” was turned into a book…

• Do this, starting now. Scan or photograph your scraps into a digital ‘box’.

• Work out how you will present your findings.

Could be a small book? A short video? A Cornell model?

Emailed Instruction

Task 3 For Thursday everyone should email me a pdf of their favourite personal design with an analysis of why it is their favourite.

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Emailed Instruction

Task 4 You will recall that I argued in the introduction that architectural education privileges canons of architecture over our personal histories in space.

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In TASK 4 you select an exemplar from a canon of architecture and examine your selection in the same way that you examined your own design in TASK 3.

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EIDETICS ELECTIVE: TASK 3: examine a cannon of architecture through the lenses of your personal history in space (Task 1) and your eidetic triggers (Task 2) In this task you examine a cannon and select the building that appeals to you most.

The cannon is any work of architecture located on the civic spine of Melbourne, as described in Design City Melbourne. (See next slide, slide 2) Slide 3 Ideogram of some of the buildings along the spine.

Slides 4 & 5 show some of the buildings I commissioned for RMIT â&#x20AC;&#x201C; all in this cannon Slides 6Ͳ10 give thumbnails of some of the architects along this spine Slides 11 is another book giving thumbnail descriptions of practices.

Understanding your province, defining your metropolis

+ Building local architectural culture through criterion based selection since 1990â&#x20AC;Ś

Criterion based selection

Because: While Geoffrey Westâ&#x20AC;&#x2122;s statistics reveal the commonalities, Architecture differentiates cities

MELBOURNE MASTERS ARCHITECTURE NOV 2004ͲAPRIL 2005 TarraWarra Museum of Art (TWMA), Healesville, nr Melbourne, Allan Powell (2004)

Firmness

Commodity Delight

Melbourne Masters Architecture TWMA Nov 2004 Ͳ May 2005

Civic Narrative

Commodity

Techne/Firmness

Poetics

Delight

Modernism PostͲModern CoͲexistence

the individual the group integration

Emailed Instruction

Final Presentation :((.

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Eidetics Making sense of our mental space

Eidetics Elective: Leon Van Schaik Belinda Smole / s3779463

1. Spatial history

My early developmental understanding of space and the childhood memories that have informed by spatial intelligence seem intrinsically linked to my sense of home.

They are grounded by a sense of â&#x20AC;&#x2DC;presentnessâ&#x20AC;&#x2122; in understanding my position within the environment around me.

Cathedral ceiling One of my most vivid earliest memories, where I feel particularly conscious of the constructed space around me, was from my childhood home in Sydney. I remember laying down on the couch and facing the ceiling, tracing the JSPHW SJ XLI VSSƽMRI

I had a strong awareness of my physical self being upside down and looking at the ceilings surface from a new perspective, sending my imagination into day dream; wondering how we would use the space if the ceiling became XLI ƽSSV XLI JYVRMXYVI GSQTPIXI] VIEVVERKIH to stack ontop of itself and the sloped ceiling becoming a slide.

Bedroom floor Another memory from my childhood, again from my house, was waking up one morning LEZMRK VSPPIH SYX SJ FIH HYVMRK XLI RMKLX XS ƼRH Q]WIPJ SR XLI ƽSSV % WIRWI SJ GSRJYWMSR ERH disorientation followed. In that moment there was a distinct awareness of gravity and the ground, and an understanding of my place within the room and in relation to the furiture in it.

Sandstone stairs Some of my earliest memories exploring the neighbourhood around my childhood home involved going on adventures down the street via these concrete stairs. The stairs are built into the sandstone rock face. I remember playing up and down the stairs and being fascinated at how the land had been carved away so precisely, creating an awareness of undulating topography of the area. From the top of the stairs youâ&#x20AC;&#x2122;re able to see above the rooftops of houses below across the ocean as to the horizon. Being able to see the sea, and to feel and smell the sticky, salty air is home to me.

Sandcastles at Lake Conjola Many early memories I have are at the beach, where I was often much more interested in digging up the sand than swimming. I remember spening hours playing with the sand and making sandcastles, with an awareness of this new, rough texture, and being able to forming it into different creations. Digging deep holes in the sand, there was a real fascination with the ZEWXRIWW SJ XLI PERHWGETI ERH E WIRWI SJ MRĆźRMX] trying to understand it was impossible to reach the bottom and that the hole would be endless.

My most vivid early memories of spatial understanding seem to correlate with being aware of a new perspective, often literally, within a known environment. Maybe these instances are so poignant as they provided a contrast to the mundane, and my everyday perception of space.

2. Eidetic triggers

Fireworks at the Rocks Seeing this sandstone facade took me back to being at the Rocks in Sydney, and reminded me SJ XLI SƾGI Q] TEVIRXW LEH XLIVI 8LI [MRHS[W in particular trigger a memory of New Years IZI EW E ƼZI ]IEV SPH WMXXMRK YT SR XLI WMPP ERH [EXGLMRK XLI ƼVI[SVOW

Strand Arcade & Christmas time Repetition and patterning of the framework of the exposed truss roof structure in this shopping arcade was particularly evocative to me. Vivid contrasting light from the sky outside against the dark tiles triggered a memory of walking through the Strand Arcade during Christmas time.

Paddys market & Yum cha Densely packed racks with clothing and objects at the Queen Vic markets triggered a claustrophobic feeling. Despite being under the roof of a large warehouse, the volume and scale of the repeated objects was overwhelming to take in. For me the space referenced memories at Paddyâ&#x20AC;&#x2122;s markets and family yum cha sessions; bustling crowds moving through the tightly stocked corridors and moving trolleys of food a sense of urgency and intimacy.

Long nights at UTS The austere, brutalist concrete facade of this building triggered a memory of the university I was studying at in Sydney, The rough surface of the facade, and pattern like repetition of openings very similar to my mood when studying there; a feeling of entrapment, and a disassociation with the natural world outside.

Gardens at the Lahambra Light patterns through the vines at the NGV gardens took me back to a memory at the gardens at the Lahambra during a trip to Spain.

I remember wandering around the gardens there and feeling an overwhelming presentness in observing my surroundings from this perspective; of being among the vines and looking out. It was particularly memorable and instantly gave me a sense of deja-vu while standing at the NGV.

During our walk around the city, I felt constantly aware of being relatively new in Melbourne, ERH MX [EW HMĆžGYPX RSX XS FI VIQMRHIH XLEX WIIMRK QER] WMKLXW ERH WXVIIXW JSV XLI ĆźVWX time. Mentally, I was conscious of the fact that things were unfamiliar, and in processing the experience I felt the need to compare these new places to ones in Sydney that were recognisable to me. In light of this, my eidetic moments during my walk were triggered by spaces that appeared quite visually similar to places I was familiar with, as shown in my analysis

3. Favourite design

Milroy Avenue

Highlight window

This alterations and additions project located within a heritage conservation area, restores the existing Federation style house while proposing a contemporary addition whose folding form and materials sympathetically contrast the original building.

Void / double height space

Ground stepping

MILROY AVENUE / WEST ELEVATION

SOUTH ELEVATION

Key spatial moves that drive the design are; the changes in ground level from the existing

01 Bedroom 02 Bathroom 03 Powder 04 Dining

residence to the addition, as a way of signifying the new and also in responding to the natural slope of the site, the double height spaces that EGGIRXYEXI XLI JSPHW SJ XLI VSSƽMRI ERH TVSZMHI interaction between the living spaces and the mezanine above, and the highlight windows that frame the sky and allow light to penetrate into XLI GIRXVI SJ XLI ƽSSV TPEXI

05 Kitchen 07

10

06 Lounge 07 Study 08 Garage 09 Workshop 10 Master bed 11 Laundry

01

02

FIRST FLOOR PLAN

6IƽIGXMRK SR XLI WTEGIW SJ QIQSVMIW XLEX QEOI up my spatial history and that are eidetic triggers to me, there are commonalities in the way light is controlled, an integrity in the way the buildings exterior form is read throughout the interior, and

02 08

05

09

11

in providing a connection to the greater context

06

01

01

and its siting within the outside environment.

03

04

01

GROUND FLOOR PLAN

0

1

2

3

S P A T IA L HIS T ORY

EI DETI C TRI G G ERS

home

bed

fireworks at the rocks

dis ori en tat ion ground condition

open , free

ure ext y, t alit i r te ma pace tive s nega

ion ntat orie

vivid con tras t, hy per satu ratio brutalist building n

ed

los

enc old house marbles

ite inf

light, shade

pe ca ds lan

double height ceiling void space a feeling of having space, openess and freedom within the open plan / high ceiling environment of my family home contrasts the claustrophobic environment apparent in the eidetic triggers I’ve identified

hilight window vista a need to feel orientated, a connection to the sky, and a sense of being able to understand my placement within a greater context

sandcastles

vines at NGV

event

I MAGINARY

input

REAL output

experience memory

superficial

recurring locations

bic pho stro clau

poignant

My analysis considers my early spatial history, how I’ve process those memories and the spatial qualities that have been triggers in creating an output in the way I’ve designed.

stairs

reflection of ground condition, connection to landscape. I feel particularly conscious of needing to understand the environmental conditions around me

strand arcade

paddys market

Considering my spatial history and triggers, it’s FIIR MRXIVIWXMRK XS VIƽIGX ERH HMWWIGX Q] S[R design to understand how the spatial moves that drive the project have come to be. Incorporating a double height space into the living area,

stepped floor

elevation

cathedral ceiling

FAVOURITE DESIGN

4. Architectural canon

Image: limelightmagazine.com.au

On previous trips to Melbourne before moving here, I had visited the Australian Centre for Contemporary Art. Itâ&#x20AC;&#x2122;s a building that resonates with my early impression of the city, and has been particularly notable for me.

Australian Centre for Contemporary Art

Milroy Avenue, double LIMKLX WTEGI VSSƽMRI

Angles of roof refected within interior of space

Ground plane

Childhood home cathedral ceiling, presence and understanding of geometry Interlocking geometries

Geometries

Tactile

Light and shade

Folded roof form Simple geometric volumes overlapping, creating shadows [LMGL JYVXLIV HIƼRI XLIMV JSVQ

Tactile

Understanding of horizon as reference for location at childhood home

Materiality, texture

The Rocks, sandstone texture triggering eidetic moment Sandstone cliff near childhood home

7MXIH SR E ƽEX KVSYRH plane, building becomes its own topography

Ceiling shadows, clovelly house Rough, grain of corten steel referencing earth, nature

Angled ceiling at Milroy Avenue

Milroy Avenue, selection of facade material

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Dappled light through vines at the NGV

Vivid brightness and light against dark shadows of interior

Contrast

Surroundings

High gloss, steel panelling MRWMHI VIƽIGXMRK PMKLX ERH scenery from outside

Strand arcade, glimses of the sky, nature Hilight window, skyline at Milroy Avenue

S PAT I A L Q U A L I T I E S

Immediate / conscious

Folding form

Interlocking geometries

Materiality, texture

Ground plane

As a result of these mapping and analysis

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S PAT I A L H I S T O R Y

TRIGGERS

Fireworks at the rocks

Cathedral ceiling

Vines at the NGV

Bed

Material texture

Hilight windows

Double height space

Stepping levels

DESIGN MOVES

Secondary / sub-conscious

Strand arcade

Stairs

Paddy’s markets

Sandcastles

exercises, I’m able to understand a little more clearly the degree to which these spatial qualities have impacted me. I consistently have a need to feel orientated and to understand my position in relation to the elements around me; the ground, the sky and the horizon. I feel this relates strongly to my spatial history, where my most vivid memories relate to understanding my own perspective.

Spaces that create an awareness of elevation and the framing of views are something I particularly VIWTSRH XS ERH EPWS VIƽIGX MR Q] S[R HIWMKRW At the same time, design moves which alter light to produce highly contrasted environments or EGGIRXYEXI PMKLXMRK GSRHMXMSRW [MXL VIƽIGXMZI surfaces are also something I react to.

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Folding form

Interlockin

g geomet

ries

and light ightness ows of Vivid br ad dark sh t ns ai ag interior

As a result of these mapping and analysis exercises, I’m able to understand a little more clearly the degree to which these spatial moves have impacted me. I feel I consistently have a need to feel orientated and to understand my position in relation to the elements around me; the ground, the sky and the horizon.

Spaces that create an awareness of elevation and the framing of views are something I TEVXMGYPEVP] VIWTSRH XS ERH EPWS VIƽIGX MR Q] own designs. At the same time, design moves which alter light to produce highly contrasted environments or accentuate lighting GSRHMXMSRW [MXL VIƽIGXMZI WYVJEGIW EVI EPWS something I react to.

Simple geometric volumes overlapping , creating WLEHS[W [LMGL JYVX LIV HIƼRI JSVQ

Ground plane

0MKLX VIƽIGXMZMX] Materiality, texture

Rough, grain referencing earth, nature

'SRXIQTPEXMRK XLI [E] Q] S[R I\TIVMIRGIW ERH QIRXEP WTEGI LEZI MRƽYIRGIH Q] designs and how I respond to design, has been a really enlightening process. It’s something that prior to this course, I feel I’ve not even particularly considered or been aware of. Being conscious of my own mental space and predisposition to certain spatial qualities is important in understanding my unique perspective in responding to a design brief. Moving forward I feel more in touch with how I might be projecting these biases onto the design and consequently the user.

This journey has highlighted the idea that our spatial experiences are extremely TIVWSREP ERH WYFNIGXMZI EW E VIWYPX SJ FIMRK MRƽYIRGIH F] SYV S[R FMEWIW FEWIH SR SYV memories, emotional and mental space.

Architects have a responsibility, with training and highly developed spatial intelligence, to foster the discourse around people’s knowledge of space, and be able to understand other people’s spatial predispositions.

Generally, I feel there is a need to involve users in the design, through participatory TVSGIWWIW 6IƽIGXMRK SR XLMW GSYVWI QE]FI [I RIIH XS GSRWMHIV MR QSVI HIXEMP XLI psychology of spaces, and the spatial preferences of the user to be able to create more human focused design; design that speaks to and is directly tailored to its users to engage with them on a deeper level. Potentially too often the architectural result is informed too strongly by the spatial knowledge of the architect themselves, without consideration of the spatial preferences of the people the architecture is intended for.

Eidetics Briony Ewing s3713312

5HÀHFWLRQ

Eidetics

It has become clear that my spatial intelligence stems from the framing of moments through time and through history.

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Task 01

My Spatial History

My Spatial History.

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Task 02

Eidetic Triggers

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Task 03

My Favourite Design

Individual Design:

Floor Plan

Individual Design:

Floor Plan Individual design description: - The project is formed by a series of small scale activations that synchronise with a new metric for the site. The new metric for the sanctuary consists of 5 varying insulate cycles manifest and orchestrate temporal and transient activations of the site.

- The traditional civic clock tower, Like the Eight Hour Day Monument saluting capitalist organisation of time, will be reimagined to display and mechanicalize the analogue polyrhythms of natural and cultural phenomenon.

- As a series of layers deposited on each other - the architectures are experienced as a kind of archaeology of events The building is experienced as a renovation and addition to the NGV. it is activated periodically and sporadically through the manifestation of natural phenomena to inform a series of conditions in which the consumption of food and art are experienced simultaneously to recondition and rehabilitate visitors to become conscious of their consumption.

The events are in a constant state of syncopation - Fast kitchens activate the exterior wall projecting and distending throughout the day from the shifts in climate whilst the slow reveal and concealment of the dining hall is informed by the rise and trough of the tides.

Controlled dining rooms in which art, food or visitor interchanges as subject/object to recondition thought processes during consumption.

It reconsiders the notion of a visual event, at the core of the dining experience, as a complex interaction between the viewer and the viewed, to interchange the various subjects of food, art, UH LQWURGXFHG Ă&#x20AC;RUD IDXQD DQG YLVLWRU WR PDQLIHVW UHODWLRQV EHWZHHQ QDWXUDO SKHQRPHQD DQG WKH notion of complacent consumption.

Individual Design:

Model

Individual Design:

Architectural â&#x20AC;&#x2DC;eventsâ&#x20AC;&#x2122;

Individual Design:

Architectural â&#x20AC;&#x2DC;eventsâ&#x20AC;&#x2122;

Individual Design:

Architectural â&#x20AC;&#x2DC;eventsâ&#x20AC;&#x2122;

Individual Design:

Architectural â&#x20AC;&#x2DC;eventsâ&#x20AC;&#x2122;

Individual Design:

Why I like it.

Time is a condition designed in to the experience of it.

It successfully posits unconventional, unhabitual modes of interaction & relations to the architecture and the consumption of art and food.

It taps in to the experiences in which all senses play a part in the constructs of ‘seeing’ the architecture

Whilst the basis of the studio was set in the speculative realm and presented through unconventional mediums, the design holds strong my attitude and preferences of architecture and the experience of architecture. The ideas underpinning this project have remained relevant for my future understandings of architecture

No two experiences are the same. The renovation to the NGV is in constant ÀX[ 7KH V\QFRSDWLRQ RI LWV FRPSRQHQWV and polyrhythmic activations mean that experiences are variable.

The design is underpinned by the desire to make apparent the phenomenonogical & ephemeral qualities at the convergence of architecture and the ‘natural world’ to re-condition and resensitise the user to a series of new relations

Personal History & Design

Individual Design:

Architectural â&#x20AC;&#x2DC;eventsâ&#x20AC;&#x2122;

Task 04

Canon of Architecture

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Canon of Architecture

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Melbourne Central - Atrium

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Melbourne Central - Atrium

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Melbourne Central - Atrium

Through the Lens of my Eidetic Triggers

Melbourne Central - Atrium

Task 05

Summary Box

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Eidetics David Haslgruber

Task 1:

My Spatial History

TERRITORY CHILDHOOD BOOKS

2

From the image of a worldmap through childhood books, to the image I thought how the inside of a barrack looks and now to the image of how buildings are supposed to look like.

All those images in my head shaped my spatial history in its own way and made it to what it is now.

1 DISTANT VIEW

3

CULTURE

4

Task 2:

Eidetic Triggers

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Task 3:

My Favourite Design

Sport and Wellness park Location: Zell am See (Austria)

Context: The project is about Thumersbach, which is a small part of Zell am See (around 2000 inhabitants) on the other side of the lake. Thumersbach has got one big problem. No social live exists ther except of the time between June and September, when thousands of people go there every day creating a huge chaos in the town to swim in the lake. From September to June, Thumersbach is almost empty and there is no reason especially for young people to live there.

Task: The task was to make an invention, in the town, that revives Thumersbach and makes young people want to stay there.

I immediately liked the he idea of the project as soon as I heard it for two reasons.

1. I live about ten minutes away form Thumersbach and spent a lot of time especially in Zell am See. 2. I am one of the people creating the chaos every year by going there by car (there is no other option), therfor it was very much in my personal interest to improve the situation.

Project: (Sport and wellness park) My project turned out to be very different then I initially thought but changed to the better.

My main idea was to let the visitors park outside thumersbach (where there is a lot more space) and make Thumersbach a „car free zone“ for visitors. The parking lot was about 1 km away and a highline above the street lead the people from the ´new´ parking area to the sport and wellness park. During our research we found out, by providing E- Bikes and other transportation possibilities such as shuttle busses visitors would actually be at the park quicker and easier then having to look for a parking spot for a long time somewhere in the town.

With almost removing the parking area in Thumersbach, we had a huge beautiful area in between trees to design a sport and wellness park.

existing parking area now existig lakeside existing sports area

Why is it my favourite design?

Because I really feel connected and affected by the problem Thumesbach faces and therefore I have taken the task a lot more serious than the previous ones and you can see it in the end result. The problem Thumersbach has is a very common problem in this region just because the Alps around western Austria occupy a large area and therfore ther is not a lot of space left.

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Task 4:

Canon of Architecture

State Theatre Melbourne

State Theatre Melbourne Location: 100 St Kilda Rd Opened: 1984

Why did I choose the State Theatre: spatial history & eidetic triggers The reason why I chose the State Theatre clearly has to do with me visiting Melbourne almost 10 years ago.

When I was 12, my parents my brother and I travelled to Australia and spent our holidays there. We also visited Melbourne for one week. I was a young boy without any idea about architecture but one bilding stood out for me as it had a high spire and looked a little bit like the Eiffel Tower. I absolutely canâ&#x20AC;&#x2DC;t agree with my inspections back then but looking back I understand where it came from as the Eiffel Tower was pretty much the only landOCTM + MPGY 1PEG + Ć&#x201A;IWTGF QWV VJCV KV YCU C VJGCVTG + TGCNN[ YCPVGF VQ IQ VJGTG UQ YG OCFG C VQWT VJTQWIJ + ECP still remember that I was very impressed by the fact that you can understand people talking on stage when you sit on the other side of the concert hall. Since then I am fascinated by acoustics in architecture and every time I visite a new city I have a habit of going to least one theatre.

As my family is very interested in Arts and Culture we visited a lot of museums, theatres and landmarks in Australia but strangely enough this was the only building besides the Sydney Opera House that I remember of my holidays in Australia.

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I think i know now.

Task 5:

Summary Box

sectional perspective

sectional perspective

I like this project, because of its well resolved design in relation to the brief.

Having to design accommodation for migrant construction workers in Marina Bay â&#x20AC;&#x201C; Singapore.

My response was to the negative view and treatment these people receive while they are the ones building and propping up the city. The design achieves a playfulness public zone seen among Marina Bay which is shrouded by angled and coloured columns to reveal two large sized pillars holding up the accommodation above. Itâ&#x20AC;&#x2122;s a symbolic gesture of the hidden truth revealing to the bourgeoise and tourists, allured to the space, that these migrant workers are the ones holding up your city. I really like the use of colour, how they define the rooms, levels, spaces. Or just the playful use to brighten up the space. The axial response and open boundary on the bottom incorporating a green landscape also.

I also like bold striking monolithic buildings which is achieved here and the idea that its floating makes the building more remarkable.

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The building that appeals to me most: RMIT Building 8, Edmond and Corrigan

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Eidetics NIKOLCE NIKOLOVSKI

1

WEEK 01

C H A N G E . C O N S T A N T.

2

WEEK 02

EVOKING MEMORIES.

3

WEEK 03

FAV O U R I T E D E S I G N .

Metamorphosis: from modernist blocks to anthropomorphic buildings

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Nikolce Nikolovski S3715684

The vividness of the project makes it quite contrast to the surrounding buildings. It has colour palette and references to the human anatomy which would make it quite unique and serves as reminder to Melbourne the out health should not be forgotten.

The project rejects the common Melbourne grid and creates its own paths that optimal for people to travel through as they create a â&#x20AC;&#x2DC;short cutâ&#x20AC;&#x2122; to keep surrounding areas.

Bottom Floor Plan

OFFICE Queen Vistoria old Hospital

Ground Floor Plan

The amphitheatre has been placed at the front to invite the public to enter the space, the amphitheatre takes advantage of the library lawn and allows the public to protest or watch performances in a positive environment.

Typical Floor Plan

OFFICE/exhibition Ampitheatre/concierge Winter Garden Workstation

Interior Plan

Interior Section

This idea of anthropomorphism was taken to the granular level and used to create furniture DQG DQ RIýFH OD\RXW WDNLQJ SUHFHGHQW IURP D human cell on the shapes forms colours and program.

The project respects the human scale that is needed on Swanston St and is slowly morphing the modernist buildings in to humanistic buildings.

1

Site Section

4

WEEK 03

D E S I G N A N A LY S I S .

Metamorphosis

I can see in this design I gravitate to using natural movements within the architecture.

Similarly I was captivated by the vines when going on the walk to the NGV.

5

WEEK 03

D E S I G N A N A LY S I S .

Metamorphosis

The train gates gave me fond memoryâ&#x20AC;&#x2122;s as a child. They felt like a wonderful new exciting world. Now as an adult it remind of going to and from work. The cellular building can be a key marker which can remind people of excitement and similar feels of going to and from work.

6

WEEK 03

D E S I G N A N A LY S I S .

Metamorphosis

7KH RIýFH FDPSXV creates a new urban fabric by purposely rejecting the Melbourne grid and creating something new.

This reminds me of the urban fabric in Macedonia which contrasts the Melbourne grid and the urbanism grew organically based on farms houses and key points.

7

WEEK 03

D E S I G N A N A LY S I S .

Metamorphosis

The colour of fruits vegetables in a market excites your curiosity, it draws you to certain places to look touch and feel items. With WKH ĂžRRU SODQ LQ this project I try to take similar ideas by creating vivid colours and interesting shapes which will draw different people to different spaces to work in.

8

WEEK 04

CANON ARCHITECTURE.

MY SWANSTON STREET 1

9

WEEK 04

CANON ARCHITECTURE.

N AT I O N A L G A L L E R Y

OF VICTORIA

HONESTY OF ARCHITECTURE SILENT ARCHITECTURE ON THE EDGE OF A BUSY CITY P L AY O F F O R M C R E AT I N G S P E C I A L M O M E N T S SUPER HIGH CEILINGS CREATING ZEITGEIST FIRST IMAGE CREATES AND ILLUSION OF WATER BUY PLAYING WITH LIGHT AND FORM THE SILENCE OF THE ARCHITECTURE REFLECTED ON THE CALM WATER, CONTRASTING VEGETATION COLOUR STAINED GLASS PICKS UP REMNANTS OF A CHURCH AND CREATES AND ILLUSION OF A FOREST IN MY MIND

THE NGV TO ME EVOKES TO ME THE INITIAL TASK THAT WAS COMPLETED IN WEEK 1. THE NGV HOLDS ITS GROUND IN A CITY OF ARCHITECTURE THAT SCREAMS. IT SUCCESSFULLY DOES THIS AS IT AN ARCHITECTURE OF HONESTY AND CALMNESS. WITH OUT DIRECT REFERENCES, THE PLAY ON SPACE AND FORM CREATES AN EIDETIC MEMORY OF MYSELF BACK IN MACEDONIA AS A CHILD RUNNING THROUGH THE FOREST WITH MY FRIENDS, BATHING AND PLAYING IN A RIVER AFTER EXPLORING THIS FOREST YET THE CITIES CONTAINING ARCHITECTURE THAT HONESTY IN MATERIAL YET THE GEOMETRY WAS UNFORGIVING UNLIKE THE NGV.

10

WEEK 04

CANON ARCHITECTURE.

RMIT BUILDING 80 BREAKING THE MELBOURNE CHAINS ARCHITECTURE OF LIES P L AY F U L INTENSE BUILDING ALTHOUGH RESPECTS SURROUNDINGS FUNCTION OF THE BUILDING NOT APPARENT THROUGH ARCHITECTURE HOLES AND EXTRUSIONS IN THE FACADE ENTICE CURIOSITIES COLOUR AND FORM REJECTS TYPICAL MELBOURNE GRIDDED ARCHITECTURE

UPON WALKING PART BUILDING 80 I HAD NO IDEA WHAT THE FUNCTION OF THE BUILDING WAS. IT WAS ASTOUNDING COLOURFUL AND EXCITING. THE UNUSUAL CANOPY AND INGRESSED ENTRANCE SPARKED MY CURIOSITY OF WHAT WAS INSIDE THE BUILDING. ONCE ENTERING IT WAS NOT EVIDENT WHAT THE FUNCTION WAS THE PATHWAYS LEADING TO SOMETHING ENTICED ME TO DIG DEEPER OF THE FUNCTION OF THE BUILDING IS. THIS BUILDING HAS SIMILAR QUALITIES TO THE OFFICE CAMPUS BUILDING I HAD DESIGNED FOR ONE OF MY STUDIOS. THE BUILDING DOES NOT INFORM THE PUBLIC OF WHAT THE FUNCTION OF THE ARCHITECTURE IS, CREATING MOMENTS OF CURIOSITY BY CREATING PLAYFUL, VIBRANT ARCHITECTURE AND CREATING PATHWAYS THAT WILL ENTICE PEOPLE TO TRAVEL AND EXPERIENCE THE BUILDING. IF BUILDING 80 DID NOT HAVE ANY SIGNS INFORMING ME IT WAS AN RMIT BUILDING I WOULD NOT HAVE THE SLIGHTEST IDEA THAT IT WAS AN EDUCATION BUILDING. 11

WEEK 04

CANON ARCHITECTURE.

S T. PA U L S C AT H E D R A L ORDER AND SYMMETRY I CO N O F S WA N S TO N S T R E E T S H O C K A N D AW E PROMINENT BUILDING IN THE CBD YET NOT THE LARGEST NOR LOUDEST EVEN WITH THE GOTHIC DECORATION IT IS QUITE CALM SCALE OF THE BUILDING RADIATES A MAJESTIC FEELING INTENSITY OF PAT TERN AND DECORATION DOES NOT EVOKE BUSYNESS IN MACEDONIA THERE ARE ALMOST NO PROTESTANT CHURCHES AS THE MAJORITY OF THE CITIZENS THERE ARE ORTHODOX AND WITH THIS ROMANESQUE CHURCHES HAVE REMAINED. WHEN EXPLORING THE CITY. I WAS QUITE CURIOUS TO SEE WHAT WAS INSIDE THIS BUILDING, INITIALLY I FELT UNEASY AS THE CATHEDRAL WAS HUGE IN SCALE COMPARED TO HUMAN SCALED CHURCHES I WAS FAMILIAR WITH. UPON ENTERING I WAS IN SHOCK AND AWE AT INTRICATE DETAIL IN EVERY ELEMENT OF THE CHURCH, IT WAS EVIDENT THAT EVERY THING HAS BEEN CAREFULLY CRAFTED FOR THIS CHURCH. AFTER A FEW MOMENTS OF TAKING THE SPACE IN I FELT THE SPIRIT OF THE PLACE, NOT RELIGION. THE ORDER AND HOW THE WONDERFUL COLOURS,LIGHT ENTERING THE SPACE THE ECHOING OF THE PRIEST PREACHING CREATES A SPACE OF CALMNESS. THE ARCADE ON BOURKE STREET GAVE ME A SIMILAR FEEL OF SHOCK AND AWE ALTHOUGH CONTRASTING TO THE LARGENESS OF THE CATHEDRAL. THE T WO SHARE A COMMON CARE IN AT TENTION TO DETAIL OF DECORATION AND INTRICACY. AS THE 2 STATUES BY THE CLOCK AND THE EXTERIOR OF THE CATHEDRAL BOTH EVOKE THE SAME EIDETIC MEMORY AT DIFFERENT SCALES. 12

WEEK 05

THE BOX.

13

WILLIAM ALEXANDER (S3510616)

EIDETICS

Personal Experience.

MY SPATIAL HISTORY

Melbourne CBD walk.

MY EIDETIC TRIGGERS

My Spatial History & Eidetic Triggers

FAVOURITE DESIGNS + INFLUENCE ON DESIGNS

Melbourne Architecture x Spatial History x Eidetic Triggers

MELBOURNE CANONS

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EIDETICS

The Final Box / My Identity / My Subconscious Space / The Intangible

MY EIDETIC MOMENTS.

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