ERICA CHEN by RMIT Architecture

Deciphering Perception

Major Project Sem 2 2020 Erica Chen

s3716325 Supervisor: Peter Knight

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Contents

Defining the Proposition

Program Distribution

Reflection Piece

----------------------------------------------------------------------pg. 4 Psychology definitions - Rev A ----------------------------------------------------------------------pg. 5 Mind Map ----------------------------------------------------------------------pg. 5 Psychology definitions - Rev B -------------------------------------------------------------------pg. 6-7

Precedent Studies

Precedent X Program Studies ----------------------------------------------------------------------pg. 9 Mock Collages ----------------------------------------------------------------pg. 10-11 Perception Analysis 1 - Scale: Port (Coode Island) --------------------------------------------------------------------pg. 12 Perception Analysis 2 - Scale: Suburb (Coburg) --------------------------------------------------------------------pg. 13 Perception Analysis 3 - Scale: Building (Richmond Power Station) --------------------------------------------------------------------pg. 14 Perception Analysis 4 - Scale: Village (Saltaire) --------------------------------------------------------------------pg. 15

Site Analysis

Scale studies of site --------------------------------------------------------------------pg. 16 Maps: Precinct, Rail and Future of site --------------------------------------------------------------------pg. 17 Portâ&#x20AC;&#x2122;s future --------------------------------------------------------------------pg. 18

Program Allocation --------------------------------------------------------------------pg. 22 Program Rationale --------------------------------------------------------------------pg. 23

Sketch Concepts

Personal Critique --------------------------------------------------------------------pg. 25 Mind Maps --------------------------------------------------------------------pg. 26 Scale tests with precedents --------------------------------------------------------------------pg. 27 Form tests --------------------------------------------------------------------pg. 27 Storyboard - narrative of programs --------------------------------------------------------------------pg. 28 Program Matrix - drafts --------------------------------------------------------------------pg. 29 Form Concept & Program Matrix - final ----------------------------------------------------------------pg. 30-31

Conceptual Development

Personal Critique --------------------------------------------------------------------pg. 32 Program Concept Tests --------------------------------------------------------------------pg. 33 Architectural Configurations --------------------------------------------------------------------pg. 34 Views - test --------------------------------------------------------------------pg. 35

Urban Environment

Siteâ&#x20AC;&#x2122;s Machines --------------------------------------------------------------------pg. 36 Recontextualising site to architecture - program --------------------------------------------------------------------pg. 37 Ferry Routes Map --------------------------------------------------------------------pg. 38 Proposed Green Spaces --------------------------------------------------------------------pg. 38 Pedestrian access --------------------------------------------------------------------pg. 39 Vehicle access --------------------------------------------------------------------pg. 39

Precinct Concept

Design of Fence - Site trajectories --------------------------------------------------------------------pg. 41 Comparative Views - architecture vs site --------------------------------------------------------------------pg. 41 Tectonics of Architecture- operability ----------------------------------------------------------------pg. 42-43 Programs ----------------------------------------------------------------pg. 44-45 Sequence of spaces (presentation) ----------------------------------------------------------------pg. 46-47

Methodology

Distribution Maps --------------------------------------------------------------------pg. 20 Site rationale & Programs --------------------------------------------------------------------pg. 21

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MAJOR PROJECT SEMESTER 2 2020 WEEK 01 MAJOR PROJECT SEMESTER 2 2020 WEEK 01

MAJOR PROJECT SEMESTER 2 2020 TOPIC EXPLORATION

Perception Psychology The way sensory information is organized, interpreted, and consciously experienced.

Cognitive Biases:

Bottom-up processing refers to the fact that perceptions are built from sensory input.

What should we remember?

Top-down processing is how we interpret those sensations is influenced by our available knowledge, our experiences, and our thoughts.

Memories stored differently based on how they were experienced. How we reduce events and neglect certain elements is they aren’t primary in terms of information. Thus discarding the specifics, which forms generalities, as we edit and reinforce some memories after the fact.

DEFINING the PROPOSITION

MAJOR PROJECT SEMESTER 2 2020 WEEK 01

We store memories differently based on how they were experienced.

We reduce events and lists to their key elements.

We do this out of necessity,

Our brains will only encode information that it deems important at the time, but this decision can be affected by other circumstances (what else is happening, how is the information presenting itself, can we easily find the information again if we need to, etc.) that have little to do with the information’s value.

It’s difficult to reduce events and lists to generalities, so instead we pick out a few items to represent the whole.

The impact of implicit associations, stereotypes, and prejudice results in some of the most glaringly bad consequences from our full set of cognitive biases.

Picture superiority effect, Levels of processing effect, Testing effect, Absent-mindedness, Next-in-line effect, Tip of the tongue phenomenon, Google effect, Self-relevance effect

MAJOR PROJECT SEMESTER 2 2020 WEEK 01

We edit and reinforce some memories after the fact. During that process, memories can become stronger, however various details can also get accidentally swapped. We sometimes accidentally inject a detail into the memory that wasn’t there before. Misattribution of memory, Source confusion, Cryptomnesia, False memory, Suggestibility, Spacing effect

Week 0 Reflection/ proposition The propositions explored all studios I’ve taken compel me to critique a city, through the lens of various scales, from global development (Planet Maker II 2019), to a suburban perspective (Terminal Drive 2019) and to the confines of Melbourne CBD (We are The Word). All construct narratives of human reaction as a mechanism, in critiquing our socio-political surroundings and consequently the expansion of our city. Familiarising with principles regarding urban growth, and applying trends of current data, cultural affairs and personal bias. The dialogues

Peak–end rule, Levelling and sharpening, Misinformation effect, Duration neglect, Serial recall effect, List-length effect, Modality effect, Memory inhibition, Part-list cueing effect, Primacy effect, Recency effect, Serial position effect, Suffix effect

Implicit associations, Implicit stereotypes, Stereotypical bias, Prejudice, Fading affect bias

MAJOR PROJECT SEMESTER 2 2020 WEEK 01

Inattentional blindness, how our attention determines our perception, and how it completely tunes out certain

Motivation: detect a meaningful stimulus can shift our ability to discriminate between true sensory stimulus and

information.

background information.

Our perceptions are built from sensations, not all sensations result in perception. We lose awareness of perception as our senses adapt to an environment over prolonged periods of time.

Our perceptions

are built from sensations, not all sensations result in perception. We lose awareness of perception as our senses adapt to an environment over prolonged periods of time.

explored illustrate various contradictions, the attempts to contest ego against eco by simulating various urban scenarios, the concept of injecting precincts into the site of an airport car park, and finally debating between an idea’s purest manifestation in form against the influence of endless interpretations. This leads to my pursue to understand the psychology of architecture, and how do our beliefs, values, prejudices, expectations, and life experiences alter or amplify our perception? How does an environment influence our sensory input,

yet simultaneously interpret our surrounding on the basis of pre-existing intelligence, and memory? O ur constant pursue for confirmation, to reinforce our thoughts and beliefs, and discount any contradictory evidence that supports an alternate view. This radically affects issues on all scales, mass political divide and individualistic thoughts. Can we embrace both spectrums without forming generalities?

Desires

COGNITIVE ARCHITECTURE

Top-down

Materialism Future?

We interpret those sensations is influenced by our available knowledge,

Inattentional blindness,

how our attention determines our perception, and how it completely tunes out certain information.

New Language

our experiences, and our thoughts. SYSTEMATIC POLICIES

Perception Psychology Bottom-up

The way sensory information is organized, interpreted, and consciously experienced.

Perceptions are built from sensory input. HUMAN EXPERIENCE

Motivation:

detect a meaningful stimulus can shift our ability to discriminate between true sensory stimulus and background information.

Typology study

What should we remember? Memories stored differently based on how they were experienced.

SOCIETY

Mass industrialisation/ indoctrination VS Subject’s mind: a mental space where ideas have no boundaries

VS INDIVIDUAL

Mass audience to witness urban pattern (eg. Eiffel Tower)

Cognitive Biases: Endless Contradtion

There is never a right side POLITICAL DIVIDE

Confirmation Bias

Confirmation bias shows up most blatantly in our current political divide, where each side seems unable to allow that the other side is right about anything.

What should we remember? Memories stored differently based on how they were experienced.

Freedom to distort, see beauty in savagery/ unconventional (eg. Cubism)

Unknown experience First time exposure

Peak apathy to dull subconscience

Heightened mental sense to stimulate emotion

Biological Process

We reduce events and lists to their key elements

Human Memory

What are the limitations: Sensory Adaptation, difference threshold

What should we remember? Memories stored differently based on how they were experienced.

We discard specifics to form generalities.

Micro in large presence Relationship between individual and mass (eg. Ai Wei Wei Flower seeds)

We edit and reinforce some memories after the fact

Relative size/height, linear perspective, texture gradient, interposition/overlap cue.

What is the threshold detecting stimuli?

Believing is also seeing, psychological factors that determine how you perceive your environment, depends on context.

What does our brain encode?

VISION

Form/depth/motion/color Wavelength/frequency

CONTEXT

Proximity, closure and coherency,

we organise our own world, smooth continuity is what we prefer as well as closure. We often fill in the voids ourselves with own information

Cultural Motivation

We store memories differently based on how they were experienced.

Figure ground relationship,

we reinterpret the information into what we want them to be, reassess the actors into subject, object, and environment. Continue reversal of the object/site and this becomes the mind not being able to distinguish.

Information important at the time, What else is happening How is the information presenting itself Can we easily find the information again if we need to

EMOTIONAL NARRATIVE

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Objective and execute: triggers a sense of place, speculate approaches to create a certain type of change, to make something function for the better, a somewhat positive impact.

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Biological process

Bottom-up processing refers to the fact that perceptions are built from sensory input. Top-down processing is how we interpret those sensations is influenced by our available knowledge, our experiences, and our thoughts.

What does our brain encode? The brain has boosted ability to concentrate on subjects that they at attentive to, however this can change to adjust to the current conditions: sensory adaptation. This ability also seems quite interesting, simultaneously we are compelled to use vision as a tool. Vision becomes imperative in design, as it dictates meaning to our brain.

Contradictions

It is impossible for all subjects to react in the same manner. Believing is also seeing, psychological factors that determine how you perceive your environment, depends on context. Culture also affects our perceptual set, sways by emotions/motivations – leads you to mislead or reasonable conclusions, contradictory emotions. Wavelength & frequency = colours, (blur is short, red are higher waves) This detects colours as projections of information, pixel points of lights and energy that are received into our retina then brain. (PIXEL) Feature detection: shapes, angles, movements – form, depth, motion, colour

Inattentional blindness, how our attention determines our perception, and how it completely tunes out certain information.

Our perceptions are built from sensations, not all sensations result in perception. We lose awareness of perception as our senses adapt to an environment over prolonged periods of time.

Perception: Our perceptions are built from sensations, not all sensations result in perception. We lose awareness of perception as our senses adapt to an environment over prolonged periods of time.

Motivation: detect a meaningful stimulus can shift our ability to discriminate between true sensory stimulus and background information.

1. Figure ground relationship,

2. Proximity, closure and coherency

3. Features:

relative size/height, linear perspective, texture gradient, interposition/overlap cue

we organise our own world, smooth continuity is what we prefer as well as closure. We often fill in the voids ourselves with own information

Objective - What lies between the biological process of understanding information consequently resulting in human behaviour and functions Rather than studying the behaviour and thinking process, I should think of an objective and execute, speculate approaches to create a certain type of change, to make something function for the better, a somewhat positive impact

Human Memory

What is the relationship between ind. & society?

What should we remember?

Architecture that unfolds into a story, where emotion triggers a sense of place

Factories and prisons have a fixed language, however once they’re placed together how do we presume a new language for it. Both have a industrialisation sense to things, the mass manufacturing of technology to be used by certain sectors, and the mass control and indoctrination of certain individuals to overcome their mistakes Form making: deep-rooted metaphysical polarities presence and absence, being and non-being, place and non-place and the solid and the intangible.

Cognitive Biases:

That’s the effect that leads us to look for evidence confirming what we already think or suspect, to view facts and ideas we encounter as further confirmation, and to discount or ignore any piece of evidence that seems to support an alternate view. Confirmation bias shows up most blatantly in our current political divide, where each side seems unable to allow that the other side is right about anything.

We store memories differently based on how they were experienced. Our brains will only encode information that it deems important at the time, but this decision can be affected by other circumstances (what else is happening, how is the information presenting itself, can we easily find the information again if we need to, etc.) that have little to do with the information’s value. Picture superiority effect, Levels of processing effect, Testing effect, Absent-mindedness, Next-in-line effect, Tip of the tongue phenomenon, Google effect, Self-relevance effect

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We do this out of necessity, The impact of implicit associations, stereotypes, and prejudice results in some of the most glaringly bad consequences from our full set of cognitive biases. Implicit associations, Implicit stereotypes, Stereotypical bias, Prejudice, Fading affect bias

We reduce events and lists to their key elements.

We edit and reinforce some memories after the fact.

It’s difficult to reduce events and lists to generalities, so instead we pick out a few items to represent the whole.

During that process, memories can become stronger, however various details can also get accidentally swapped. We sometimes accidentally inject a detail into the memory that wasn’t there before.

Misattribution of memory, Source confusion, Cryptomnesia, False memory, Suggestibility, Spacing effect

We’re used to the conventions of representations. Car sculpture vs human sculpture – warmth of the body vs warmth of the machine

Cubism began perspective in art, to illustrate

to witness large scale, the patterns of the city. Culture was reinventing itself everywhere through emerging technology Sound recording, to extend cultural memory following printed book First human utterance retrieved.

Picasso: Lack of acknowledge in history and study of Africa/Oceanic culture yet continues to own African carvings and masks unaware of its purposes. A time of irony as the French empire seized various African counties. The freedom to distort, formal vitality of carvings, literal emblems of savagery. Paintings looked more convulsive, this was his intention to introduce the new (from something that was already existing). See primacy effect?

Eiffel Tower: first time allowing mass audience

our knowledge of an object from various views, synthesise various times into one painting

Ai Wei Wei: Sunflower Seeds

Each piece is a part of the whole, a commentary on the relationship between the individual and the masses. The work continues to pose challenging questions: What does it mean to be an individual in today's society? Are we insignificant or powerless unless we act together? What do our increasing desires, materialism and number mean for society, the environment and the future?

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MUSEUM 1

V&A Dundee

MUSEUM 2

Museu de Agua

Dundee, Scotland 2018 Kengo Kuma & Associates

Lisbon, Portugal 1880 Carlos Mardel

PRECEDENT STUDIES MUSEUM 3

Peggy Guggenheim Museum Venice, Italy 1951 Lorenzo Boschetti

Works:

Precedent X Program analysis Mock Collages Perception Analysis 1 - Scale: Port (Coode Island) Perception Analysis 2 - Scale: Suburb (Coburg) Perception Analysis 3 - Scale: Building (Richmond Power Station) Perception Analysis 4 - Scale: Village (Saltaire)

V&A Dundee

Dundee, Scotland 2018 Kengo Kuma & Associates

Public Entrance Delivery Entrance Staff Entrance Lobby Main Hall Information Centre Shop Cafe Objects Preparation Workshop Collection Office Hall Foyer Resturant Design Studio Auditorium Learning Suites Temporary Exhibition Permanent Exhibition Bathroom

Museu de Agua Lisbon, Portugal 1880 Carlos Mardel

Reception Permanent Exhbition Loreto Gallery Historical archive Photo Collection Library Engineering and Hydraulics drawings collection Garden Subterranean galleries Bathroom Barbadinhos Steam Pump Station Mae d’Agua das Amoeiras resevoirs Patriarcal reservoir Aguas Livres Aqueduct

Peggy Guggenheim Museum

Public Entrance Delivery Entrance Staff Entrance Lobby Foyer Marino Martini Terrace

Public Entrance/Lobby Back of House Entrance

Public Entrance/Lobby Back of House Entrance -A dock/jetty/deck -Bridge over Moonee Ponds Creek to have pedestrian access -Boat? might disrupt the current channel

Main Hall

Main Hall Collection Temporary Exhibition Permanent Exhibition Library Garden Loreto Gallery Subterranean galleries Nasher Sculpture Garden Scholhof Collection Peggy Guggenheim Collection

Main Hall Temporary Exhibition Permanent Exhibition Library Garden

-Open space with water as centrepiece, marshlands/water on ground. Entering the architecture once as it was, understanding the beginning of the places’ memory -Anchoring Bias?

Temporary Exhibition -Embodys a ship or its function, or a vessel that is always in transit. There is no anchor to its purpose as it simply it relies on a greater agenda.

Permanent Exhibition -Ties to the site, artefacts of the island/dock. The artefacts would be the containers and crane, its systematic form driving the entire building

Library -new framework for the current island, isolated from the island too, raised, so that it stands out as a new language that critques the existing system.

Garden Objects Preparation Workshop Design Studio Auditorium Learning Suites Office Historical archive Photo Collection Engineering and Hydraulics drawings collection

Workshop Auditorium Office Historical archive

-concrete yard, surrounded by structures monumental to the industry of Port Melb -the ground is arrayed and overlayed with rail yards, and cotaniner parks.

Auditorium -Facing towards the water, otherside of Fishermen’s bend, where the ever-changing landscape becomes the performance to witness

Office -admin

Historical archive Marino Martini Terrace Public Entrance Lobby Main Hall Information Centre/Ticket office Shop Museum Cafe Nasher Sculpture Garden Workshop Scholhof Collection Peggy Guggenheim Collection Permanent Exhibition

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-left over of the site

Reception Information Centre Shop Cafe Resturant Bathroom

Reception /Information Centre Shop Cafe/Resturant Bathroom

We are drawn to details that confirm our own existing beliefs. This is a big one. As is the corollary: we tend to ignore details that contradicts our own beliefs.

Anchoring, Contrast effect, Focusing effect, Framing effect, Weber–Fechner law, Distinction bias We notice when something has changed. And we’ll generally tend to weigh the significance of the new value by the direction the change happened (positive or negative) more than reevaluating the new value as if it had been presented alone. Also applies to when we compare two similar things.

Workshop -similar to library, or it can extend into an existing shed, where musuem blends into a warehouse, understanding current working procedures and conditions.

Venice, Italy 1951 Lorenzo Boschetti

Confirmation bias, Congruence bias, Post-purchase rationalization, Choicesupportive bias, Selective perception, Observer-expectancy effect, Experimenter’s bias, Observer effect, Expectation bias, Ostrich effect, Subjective validation, Continued influence effect, Semmelweis reflex, Bucket error, Law of narrative gravity

Reception /Information Centre Shop Cafe/Resturant Bathroom

Group attribution error, Ultimate attribution error, Stereotyping, Essentialism, Functional fixedness, Moral credential effect, Just-world hypothesis, Argument from fallacy, Authority bias, Automation bias, Bandwagon effect, Placebo effect We fill in characteristics from stereotypes, generalities, and prior histories whenever there are new specific instances or gaps in information. When we have partial information about a specific thing that belongs to a group of things we are pretty familiar with, our brain has no problem filling in the gaps with best guesses or what other trusted sources provide. Conveniently, we then forget which parts were real and which were filled in.

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COGNITIVE ARCHITECTURE

Our perceptions Inattentional blindness

Perception Analysis 1

Top-down

Perception Psychology Typology study

Motivation

Bottom-up

Industrial precendents

Endless Contradtion

Tradition in Architecture

Perception Analysis 2

Inattentional blindness

Top-down

Perception Psychology Bottom-up

Endless Contradtion

Tradition in Architecture

Typology study

Motivation

Industrial precendents

Mass audience

Cognitive Biases:

COGNITIVE ARCHITECTURE

Our perceptions

Mass audience

Cognitive Biases:

Micro in large presence

Unknown experience

Unknown experience Biological Process

Biological Process

Relative size/height, linear perspective, texture gradient, interposition/overlap cue

Human Memory Threshold detecting stimuli?

Relative size/height, linear perspective, texture gradient, interposition/overlap cue

Human Memory Threshold detecting stimuli?

Proximity, closure and coherency

Figure ground relationship

Bottom-up

Top-down

Bottom-up

processing is how we interpret those sensations is influenced by our available knowledge, our experiences, and our thoughts.

processing refers to the fact that perceptions are built from sensory input.

The water itself is the primary actor in conducting our senses, with the supporting agents of the ships, containers, cranes and dock workers.

The development came about by altering the course of the yarra river by placing an artificial island.

The site itself was rich with sources and immediately assumed its fucntion for agriculture and mining.

They define the environment as a physical dock visually, and acoustically capturing the activity of the assembling and dismantling of freight.

This was acted by what is now known as the Port Melbourne Corporation who is the figure of authority, and responsible for the surrounding redevelopments of the shipping industry.

processing refers to the fact that perceptions are built from sensory input.

processing is how we interpret those sensations is influenced by our available knowledge, our experiences, and our thoughts.

Hoddle marked out a 327 acre village reserve with two roads for the district – Bell Street West and the other, later called Sydney Road. In 1840 the place was named Pentridge.

Human Memory

What should we remember? Memories stored differently based on how they were experienced.

The most notorious event that shaped the memory of coode island was the 1991 explosion. The petrochemical storage tanks was ignited due to natural phenomena, despite this occurance the island remains home to six major petrochemical storage facilities of Victoria.

Quarrying of bluestone began and by 1875 there were 41 quarries in Coburg. Despite the abundance of the resource, residents felt shame in the place they label home due to its name Pentridge, as it had a stigma that indicated lower social status due to its association with stockades and gaols.

The event was remembered lightly as time passed despite its ramifications, and the demand for such amenities persisted. Proving the solidarity in coode island’s industralisal strength, and how memories can lose their indelibility.

The material itself symbolises the embarrassment of its occupants, used for the infamous prison.

Study: Coode Island

Study: Coburg

Region: West Melbourne, Victoria Area: 97 hectares

Local Government: City of Moreland (& Darebin) Area: 7 km2

Date: 1887

Date (first surveyed): 1937-38 COGNITIVE ARCHITECTURE

Our perceptions Inattentional blindness

Top-down

Inattentional blindness

Top-down

Perception Psychology Typology study

Motivation

Bottom-up Endless Contradtion

Tradition in Architecture

Mass audience

Cognitive Biases:

Inattentional blindness

Top-down

Typology study

Bottom-up Endless Contradtion

Micro in large presence

Endless Contradtion

Mass audience

Cognitive Biases:

Typology study

Cognitive Biases:

Threshold detecting stimuli?

Perception Psychology Bottom-up

Endless Contradtion

Micro in large presence

Tradition in Architecture

Typology study

Motivation

Mass audience

Cognitive Biases:

Micro in large presence

Unknown experience

Unknown experience Biological Process

Relative size/height, linear perspective, texture gradient, interposition/overlap cue

Human Memory

Top-down

Unknown experience Biological Process

Biological Process

Tradition in Architecture

Mass audience

Micro in large presence

Unknown experience

Inattentional blindness

Perception Psychology Bottom-up

Tradition in Architecture

COGNITIVE ARCHITECTURE

Our perceptions

Top-down

Motivation

Perception Psychology

Motivation

COGNITIVE ARCHITECTURE

Our perceptions

COGNITIVE ARCHITECTURE

Our perceptions

Human Memory Threshold detecting stimuli?

Proximity, closure and coherency

Threshold detecting stimuli?

Proximity, closure and coherency

Biological Process

Relative size/height, linear perspective, texture gradient, interposition/overlap cue

Human Memory

Relative size/height, linear perspective, texture gradient, interposition/overlap cue

Human Memory Threshold detecting stimuli?

Proximity, closure and coherency

Figure ground relationship Figure ground relationship

Figure ground relationship

Figure ground relationship Figure ground relationship

Inattentional blindness

we reinterpret the information into what we want them to be, reassess the actors into subject, object, and environment.

The storage tank facilities are the main attention agents, they act as a source to fuel the manufacturing industry which stereotyped Port Melbourne.

The site/environment would be the water, the subject is the docks where object is casted in order to perform a routine. The object being the ships, cranes and containers, who follows the orders and system of the dock, utilising the environment an a transition point to continuously feed this commercial routine.

how our attention determines our perception, and how it completely tunes out certain information.

Their presence and function shadows the city’s ecological future, and breaks further away from its marsh land past as it succumbs to commercial demands.

Proximity, closure and coherency

we organise our own world, smooth continuity is what we prefer as well as closure. We often fill in the voids ourselves with own information This also refers to the figure ground relationship, where this routine-based action of the docks begin to define the placement of the architecture, with the peripheral taking responsibility of the most action and it is where all objects/actors converge (crane dismantling containers from ships), and the subject itself claiming the objects - accumulating their efforts to further engage with their exisiting presence.

Features

Relative size/height, linear perspective, texture gradient, interposition/overlap cue The cranes become essential to its ocunterparts, the containers and ships. They do not belong anywhere, however they do belong with other objects. This begans to play with its flexibility, can they can manipulated formally to be context specific? Would this make them serve another purpose?

The Merri Creek becomes a label that identifies that place with more detail, it also is place where crimes were committed, with women murdered in 2019. This led to a walking demonstration, where its residents demand to reclaim Coburg as a safe community.

we reinterpret the information into what we want them to be, reassess the actors into subject, object, and environment. The site being Melbourne as a city, with Sydney road as the object, and Coburg as the actor, each agent corresponds to and relies on one another to understand its demographic purpose as a suburb.

Safety becomes the actor where it centres the spotlight of the suburb’s image, and subtly frames all its environments in the same light. Is this safe place to be around?

we organise our own world, smooth continuity is what we prefer as well as closure. We often fill in the voids ourselves with own information The division system of the prison itself, it is organised depending on the crime intensity.

Features

Relative size/height, linear perspective, texture gradient, interposition/overlap cue The linearity of a prison corridor lined with the cells show a coherent composition of geometry, spatial program, material and function.

This is one of the most pure examples of how our behaviours can result in a certain reaction, and the crimes are categorised specficailly as we act depending on our cultural upbringing, past occurences and self interest towards certain affairs.

The Pentridge Prison is the main agent that the general public know Coburg as, it became the main gaol after the relocation of prisoners from the Melbourne Gaol. The panopticon system was integrated, however it fell out of use due to overcrowding.

Under the public realm’s perspective, the organisation of the containers and the array of cranes further anchors on the port’s industrial indentity.

detect a meaningful stimulus can shift our ability to discriminate between true sensory stimulus and background information.

how our attention determines our perception, and how it completely tunes out certain information.

Confirmation Bias: the tendency to search for, interpret, favor, and recall information that confirms or supports one’s prior beliefs or values.

Motivation:

Inattentional blindness

Proximity, closure and coherency

Cognitive Biases:

The grid that in which the containers are arranged in show endless rigour and tenacious flow in product demand, mirroring the continuity of consumer desires in a production line, assembled in mass ready to move onto the next stage in consumption.

Proximity, closure and coherency

The remains of the panopticon shows that resistance of Coburg maintaining its reputation in security and discipline.

Mass Audience

A desire for technological utopia and a mechanism similar to the production of industrial machines The industry itself is the mass here, it strives and feeds on commercial infrastructures and its demands. Without this desire, the port would cease to exist and the site itself would serve a whole different purpose.

The Yarra river’s course was changed over time, as the coode canal was implemented to drive the rapid infrastrutural works of Melbourne.

Micro - subject

Individual’s perspective - new abstract nature where ideas have no boundaries The individuals/subjects would be the swans. Where Port Melbourne has always been their home and they have witnessed this change, and subconsciously vicitmised by the mass audience (industrial development) as they now ahve relocated to albert park, however they remain loyal to the site (water)

Motivation:

detect a meaningful stimulus can shift our ability to discriminate between true sensory stimulus and background information. The eventual industrialisation of Melbourne encouraged the development of coburg. Introducing a shire where various services and amenities, with the railway station being a leading factor of its urban and infrastructural growth.

Mass Audience

Micro - subject

The prison system mirrors the mass, as it houses individuals who all have been framed under the same, criminal label and wishes to indoctrinate or cure them all, in masses.

La Rose is Victoria’s oldest private dwelling, its tenacity shows resilience in heritage, and allows it to stand out amongst the large redevelopments occuring in the suburb.

The classical brutality in its form exerts dominance and restraint on those who are deemed “abnormal” or “dangerous”

The idea of signifiying a singular house amongst all other homes highlights its presence amongst the mass.

Classical Architecture

Unknown experience

A desire for technological utopia and a mechanism similar to the production of industrial machines

Individual’s perspective - new abstract nature where ideas have no boundaries

Industrialisation was the belief in the settler’s vision, this was the predisposition, the motivation in their perspective. It was enough reason for them to follow through even if it meant digging out land, disrupting the natural topography to inject their developments in.

Classical Architecture

Builds a strong attachment to and relationship with traditional cities.

Contradictions

Culture also affects our perceptual set, sways by emotions/motivations – leads you to mislead or reasonable conclusions, contradictory emotions. The development of the past wetland into a heavily industrial site, settlers’ vision which supercedes indigenous agricultural management. Terra Nullius.

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Previously home to Aerodome, sanatorium and was briefly abandoned.

Builds a strong attachment to and relationship with traditional cities.

Unknown experience

First time exposure, injection of new language The idea of excavating land, then singling it out to form an island. That was the new language to the exisiting context. This carving gesture to serve a greater purpose shows a linkage between two forces, and a means to concentrate on one particualr area.

Contradictions

Culture also affects our perceptual set, sways by emotions/motivations – leads you to mislead or reasonable conclusions, contradictory emotions.

Bluestone was sourced from Coburg itself, and used in many old artefacts, roads and the prison itself. The stigmatised material was quarried by prisons, which accumulated to the architecture and consequently the suburb’s reputation. It embodied the past, in which Coburg was built on, and with.

First time exposure, injection of new language The prison was closed in 1997, and is now undergoing large-scale redevelopments in order to commercialise on its site. If the prison were to remain as a shell, how could it motivate the functions and design of a contemporary public space?

Sydney road - the main urban arterial that leads to the city from the prison. The internment, and isolation of a gaol juxtaposes with a main road that encompasses capitalism, and economic liberty of Melbournians, which leads to this greater realm of commercialism - the CBD.

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COGNITIVE ARCHITECTURE

Our perceptions Inattentional blindness

Perception Analysis 3

Perception Psychology Bottom-up

Industrial precendents

Endless Contradtion

Tradition in Architecture

Typology study

Motivation

COGNITIVE ARCHITECTURE

Our perceptions

Top-down

Mass audience

Cognitive Biases:

Inattentional blindness

Perception Analysis 4

Top-down

Perception Psychology Bottom-up

Industrial precendents

Endless Contradtion

Micro in large presence

Mass audience

Cognitive Biases:

Micro in large presence

Unknown experience

Unknown experience Biological Process

Biological Process

Relative size/height, linear perspective, texture gradient, interposition/overlap cue

Human Memory Threshold detecting stimuli?

Tradition in Architecture

Typology study

Motivation

Relative size/height, linear perspective, texture gradient, interposition/overlap cue

Human Memory Threshold detecting stimuli?

Proximity, closure and coherency

Figure ground relationship

Bottom-up

Top-down

Bottom-up

The current state of the power station shows this omnipresence of past power, and a space that was formerly responsible for long range electricity.

The plan for this building was purely functional, it was the first AC electricity generation plants in Victoria, with very few competitors, it became responsible for powering Richmond, Prahran, and South Melbourne. Social significance: improved the working conditions as past power plants limited its service due to proximity, provided readilyavailable lights to streets, prompted safety and effective workflow.

The working conditions and productivity of the workers were the fundamental drivers in mill houses’ designs. The intention was to improve the workers’ lives, reduce pollution of the site as well as the health and safety features of the workplaces.

The textile industry in Bradford was the main agent, with the mayor Titus Salt having an interest in health issues, it naturally led him to invest in various sources of wool (alpaca) which resulted in success and wealth.

This led to creating the model village with housing services and amenities for the mill workers.

The main intention for Titus here as the authoritative figure is to engage with his social and humanitarian conscience in order to improve the lives of his workers.

processing refers to the fact that perceptions are built from sensory input.

It was once the beating heart that fuelled people’s everyday lives and now abandoned, showing a subconscious of past significance in its present ruins.

Generator of Power.

What should we remember? Memories stored differently based on how they were experienced.

What should we remember? Memories stored differently based on how they were experienced. The station itself held strong heritage fabric in its purpose to the city, its operations imperative to its surroundings, establishing a presence of authoritative power literally and figuratively. The space is evidence of numerous expansions which made it a mechanism that mimicked the evolution of the city’s development, its eventual closeure was a result of excessive operations, underappreciation (pollution) and subsequent redundency of its services.

The innovation of steam power increased productivity and profit, but ultimately made a lot of workers redundant. In order to sruvive from the exisiting poverty, there were attacks on power looms at Horsfall Mills in order to save their jobs. Thus showcasing the complicated relationship between industry, techonology and humans, there is a limitation between each actors and their dependence.

Eg. building height raised to accomodate vertical steam engines, engine/boiler houses enlarged due to post war demands of electricity.

Location: Bradford, West Yorkshire, England Area: 20 Hectares Architect: Lockwood and Mawson Date: 1853

Location: Church St, Cremorne State: Victoria Date: 1891

COGNITIVE ARCHITECTURE

Inattentional blindness

Perception Psychology Typology study

Bottom-up Endless Contradtion

COGNITIVE ARCHITECTURE

Our perceptions

Top-down

Motivation

Tradition in Architecture

Mass audience

Cognitive Biases:

Typology study

Bottom-up Endless Contradtion

Micro in large presence

Biological Process

Mass audience

Cognitive Biases:

Biological Process

Threshold detecting stimuli?

Proximity, closure and coherency

Society is constantly pursuing the next best thing, the most efficient and cost effective method. The station kept up with the technological advancements all the way till 1982 as it modified itself to accomodate for newer installations and services to provide electricity.

Endless Contradtion

we reinterpret the information into what we want them to be, reassess the actors into subject, object, and environment. Materiality proves reminiscent of the past, with the use of bricks, and corrugated steel to revisit the former space of the turbine hall and power station. The mash of new cladding over an existing artefacts creates a new framework in order to preserve the industrial aesthetic.

This shows how easily we abandon something that was once significant to our routine, as it falls short of efficiency and quickly left behind in our agenda of modern pursuit.

Proximity, closure and coherency

we organise our own world, smooth continuity is what we prefer as well as closure. We often fill in the voids ourselves with own information The actors would be past and present. The tendency to retain its exisiting shell whilst incorporating new supporting structure shows this coexistence of two timelines. A modern workplace that re-engages with its industrial past by adding to the steel frame with iron cladding.

Cognitive Biases:

Biological Process

Threshold detecting stimuli?

Features

Relative size/height, linear perspective, texture gradient, interposition/overlap cue The current open plan office is driven by the vast space of a factory, where it is a collective realm for its subejcts, the machines and humans. The space is simply for machinery, plants and engines to operate endlessly and generate electricity. Similar to the docile minds of corporations, to work nonstop in order to reach an outcome.

Inattentional blindness

how our attention determines our perception, and how it completely tunes out certain information. The living and working conditions of the workers were still terrible – pollution from the mills: smog, sanitation which affected mortality rate.

See ‘Inattential blindess’. The predicted outcome where we neglect the old to embrace the new, follow technological trends.

A desire for technological utopia and a mechanism similar to the production of industrial machines The city itself is the mass here, as it fed on power. It’s rapid growth and obedience to current trends consequently led to the power station’s physical evolution, the building and its purposes kept restructuring in order to succumb to the ongoing requirements and new models to generate electricty.

Micro - subject

Individual’s perspective - new abstract nature where ideas have no boundaries

Micro in large presence

Unknown experience Biological Process

Relative size/height, linear perspective, texture gradient, interposition/overlap cue

Human Memory Threshold detecting stimuli?

Proximity, closure and coherency

Figure ground relationship

Proximity, closure and coherency

The Village is the object, Bradford being the environment, and the mill workers as the subject. All are defined and relied on one another.

we reinterpret the information into what we want them to be, reassess the actors into subject, object, and environment.

we organise our own world, smooth continuity is what we prefer as well as closure. We often fill in the voids ourselves with own information

Features

Relative size/height, linear perspective, texture gradient, interposition/overlap cue The composition of the village architecture are similar elements, in terms of the structure, materiality, window arches and all share the same Victorian industrial style.

detect a meaningful stimulus can shift our ability to discriminate between true sensory stimulus and background information.

Geometry of roof line & glazed arched openings expressed grandeur in its scientific and technological path.

The entire village model acts as a motivation for the workers, the masterplan itself including school, church, park, library and housing.

Mass Audience

Micro - subject

The wool/textile industry is the mass here, using the Mill as one of its instruments, what it produces encompasses mass consumerism and its significance in not just the industry, but an iconic heritage for Bradford.

The remaining parts of the village illustrate the human in this context, they represent institutions, caretaking, housing and recreation, with encouraging initatives.

A desire for technological utopia and a mechanism similar to the production of industrial machines

Individual’s perspective - new abstract nature where ideas have no boundaries

Shown through almshouses, allotments, boathouses.etc.

This becomes a greater responsiblity and impact on the subjects, not just their working conditions are considered but also their living situations.

Classical Architecture

Builds a strong attachment to and relationship with traditional cities.

Pg. 14

Motivation:

The station itself becomes the subject. Its form dictated by the context, as it controlled its performace and functions.

The progression of our workflow as individuals and societie will subconsciously discriminate on less effective services, bias in preference.

This transition from an industrial power generator into a retail think tank shows underlying ironies.

Cognitive Biases:

Confirmation Bias: the tendency to search for, interpret, favor, and recall information that confirms or supports one’s prior beliefs or values.

Mass Audience

The latest redevelopment of the station is now the HQ for Country Road.

Tradition in Architecture

Mass audience

This can be shown through the eventual change in the warehouse heights, so that the chimney accomodate the pollution and exhuast.

The predicted outcome where we neglect the old to embrace the new, follow technological trends.

Culture also affects our perceptual set, sways by emotions/motivations – leads you to mislead or reasonable conclusions, contradictory emotions.

Endless Contradtion

Figure ground relationship

See ‘Inattential blindess’.

Contradictions

Typology study

Bottom-up

Relative size/height, linear perspective, texture gradient, interposition/overlap cue

Human Memory

Cognitive Biases:

The nature of techonological evolution, this was the main factor that rendered the redundency of the building and all its functions that defined it.

Perception Psychology

Motivation

Micro in large presence

Proximity, closure and coherency

Confirmation Bias: the tendency to search for, interpret, favor, and recall information that confirms or supports one’s prior beliefs or values.

detect a meaningful stimulus can shift our ability to discriminate between true sensory stimulus and background information.

Top-down

Unknown experience

Cognitive Biases:

Motivation:

Tradition in Architecture

Mass audience

Figure ground relationship

Figure ground relationship how our attention determines our perception, and how it completely tunes out certain information.

Typology study

Bottom-up

Relative size/height, linear perspective, texture gradient, interposition/overlap cue

Human Memory

Inattentional blindness

Perception Psychology

Motivation

Micro in large presence

Figure ground relationship

Inattentional blindness

Tradition in Architecture

COGNITIVE ARCHITECTURE

Our perceptions

Top-down

Unknown experience

Relative size/height, linear perspective, texture gradient, interposition/overlap cue

Threshold detecting stimuli?

Inattentional blindness

Perception Psychology

Motivation

COGNITIVE ARCHITECTURE

Our perceptions

Top-down

Unknown experience

Human Memory

A struggle between human employment, and subconsciously workers reformation - humanitarianism.

Study: Saltaire

Study: Richmond Power Station

Inattentional blindness

processing is how we interpret those sensations is influenced by our available knowledge, our experiences, and our thoughts.

Human Memory

Our perceptions

Top-down

processing refers to the fact that perceptions are built from sensory input.

processing is how we interpret those sensations is influenced by our available knowledge, our experiences, and our thoughts.

Style: Italian Romanesque Industrial Architect: Henry Gibbs

Unknown experience

Classical Architecture

First time exposure, injection of new language The new facade on a new volume, it mimicks the form of the exisitng factory yet the material suggests a contemporary version of the past. To retain its industrial image whilst promoting commercialism and and anticipating its future. The silhouette of old, ornated with the new.

Contradictions

Culture also affects our perceptual set, sways by emotions/motivations – leads you to mislead or reasonable conclusions, contradictory emotions.

Unknown experience

First time exposure, injection of new language

Builds a strong attachment to and relationship with traditional cities.

To establish a village surrounding factories introduced the new language. In its intention, urban planning and form.

The mill houses still ressemble the traditional link to its context thorugh its functional intentions, however it can be argued that expansions and renovations were made to change and improve the working conditions.

Now that its a Heritage Site, various protections were made such as buffer zones, traffic changes through bypasses

Its past and present. It used to house large mills to produce wool and simply a place for the workers to have their satisfy their working and living conditions - to meet simple and fundamental necessities. Now its transformed into a commercialised place, where luxurious services such as hotels and galleries are developed against its manufacturing, labourous past.

Pg. 15

1. Storage Facilities

Sorting goods ready to be transported out

2b. breakbulk

Goods that donâ&#x20AC;&#x2122;t fit in containers, vehicles, logs, steel etc.

2c. liquid bulk Petrol, crude oil, chemicals Carried by tankers

2a. Dry bulk

Grain and wheat to be transported/stored

2d. Queued containers

Organised by weight and final destination

1. Storage Facilities

Sorting goods ready to be transported out

SITE ANALYSIS Works:

3. Dock

Goods ready to be shipped

2a. Dry bulk

Grain and wheat to be transported/stored

Breakbulk Grain/wheat exports

Breakbulk Dry exports

Warehouse Facilities

Liquid Bulk

International Container Facilities

Coode Island, West Melbourne

Port of Melbourne

Scale studies of site Precincts of the port Future of the port

Main train routes

Victoria Dock Shed

Rail Terminals

Pg. 16

Museum

Neighbouring Facilities

Proposed elevated rail

Pg. 17

Swanston Dock

and

l ock

Victoria Dock

Potential multi-use port land

Urban redevelopment

Main container terminals

Break bulk

Port related activities

bD Web

ock

Museum

Pg. 18

750

1500

2250

3000 m

Pg. 19

Past

Top-down/Bottom up

Global Distribution

Shipping industry and its trade to elevate the city’s economic status- mass production

Process/methology that shaped the port Past infrastructural developments Artefacts of the site

Australia’s role in exporting local sources to maintain trade power

Port of Melbourne

Present

Cognitive Biases

Confirmation Bias, the subconscious traits we associate the port with

Conditions of the port, distribution of goods Earn

Human

Biological Process

Innate to certian qualities Recreate analogies with scale

Future

Demand

Architectural outcome

Purchase

Consume

METHODOLOGY

Narrative

Journey from City

Arrival on island

Turning circles of the vehicles Circulation, loops to adjacent spaces The limitations of the machinery, and endless rearrangment/ ciruclation

Entry to museum Beginning of narrative with the water

Series of paths, angulated ramps, change in ground condition/texture The motions of moving containers, lifting and manoeuvering.

Leftover voids, pockets, spaces within a space

Grid organisation system, ID code

Bottom-up processing

Program:

Port storage facilities

Further organisation of goods/storage

Freight train Vehicle transportation

Scale:

Occupants

-Visitors -Building Staff -Academia/museum guests

-Visitors -Building Staff -Dock workers -Professional curators

-Visitors -Dock workers (to aid transportation of ‘artworks’) -Building Staff -Professional curators

-Study spaces -Research centre -Lecture/presentations -Visitors to roam throughout entire space -Collection space

Activities:

-Exhibition spaces -Performances -Outdoor installations -Visitors to roam throughout entire space

Exhibition of works, artefacts -Transportation of artwork -Visitors to roam throughout entire space

Neighbouring Spaces

-Entry Hall -Main Exhibition -Temporary Exhibition -Garden -Workshop -Auditorium

-Entry Hall -Main Exhibition -Temporary Exhibition -Library -Workshop -Auditorium

-Entry Hall -Temporary Exhibition -Garden -Library -Workshop -Auditorium

Illumination

-Natural daylighting where possible -Lighting levels should be even. -Keep reflections, shadows, and glare to a minimum.

-Lighting during dark hours

-Bright (visually appropriate) -Electric lighting to complement

Temperature

N/A

18-22 degrees 20 degrees being the optimum temperature

Humidity

N/A

45-55% 50% being the optimum relative humiidity

Acoustics -Quiet environment -Acoustically separate from other spaces

Pg. 20

Distribution

Equipment Shift in scale/mode of transport

-Floor area TBC -Height TBC

Occupants

Humidity

The port

-Floor area TBC

natural light. -LED light source to have 30004000k color temperature -Spotlights to complement artworks

Recommence distribution

Nodes of staticity

Program:

Exhibition Spaces

18-22 degrees 20 degrees being the optimum temperature

Nodes of staticity

Program:

Outdoor Garden

Activities:

Shift in scale/mode of transport

Consumerism cycle

Library

-Floor area TBC -Height TBC

-Accessible ramps/elevators -Integrated technology -Public Seating

Spatial Qualities -Open floor plan unless specified -Flexible space that opens up to other spaces -Enclosed for staff or meeting rooms

Consumers

Intermodal Transportation

Hoddle grid, role of shipping industry

refers to the fact that perceptions are built from sensory input

Internal system of tranferral

1. Current trends 2. Marketed product 3. Consumer engaged 4. Purchase and arrival 5. Increase of demand

Circulation

Cities within Cities

Container yard

Economy

1. Shipping Vessel 2. Gantry Cranes 3. Rubber tire gantry, reach cranes, terminal trackers, trucks 4. Freight trains, trucks

Goods & Services

Container yard

Top-down processing

Large scale transportation

Forward Freight

Manufacturers

is how we interpret those sensations is influenced by our available knowledge, our experiences, and our thoughts.

Rubber tire gantries Reach stackers Terminal tractors

1. walk or movement 2. nodes of staticity

Productive resources

Museum Program Clusters

Distrubtion map Program X context comparison

Gantry cranes

User path

The way sensory information is organized, interpreted, and consciously experienced.

Large, wide entry deck Carve into land to mimick dock

Works:

Cargo/container ship

Perception Psychology

Architectural Encounter

Ramps at different heights In between spaces

Acoustics

N/A

-Quiet environment -Acoustically separate from other spaces

Equipment

-Accessible ramps/elevators -Structural support for outdoor displays -Public Seating

-Stands to support artwork -Additional structure to reinforce artefacts -Appropriate display cases -Public Seating

Spatial Qualities

-Assigned space to bleed with site surroundings

-Open floor plan unless specified -Flexible space that opens up to other spaces

Existing Program:

Context:

Scale:

Coode Island -97 ha

Occupants

-Freight Forwarders -Warehouse Operatives -Harbour Masters -Stevedores -Vessel traffic services operatives -Port operatives/managers -Engineers -Marine Pilots

Activities: -Load and unload cargo through gantry cranes -Trucks to transport cranes to warehouse or other places of distribution -Monitor environmental standards, manage leisure activity within the harbour -maintain and repair machinery and equipment within the port

Neighbouring Spaces -Victoria Harbour/Central Pier -North Melbourne Station -Fishermans Bend -Maribyrnong Rivers -Yarraville -North Melbourne

Illumination -Natural Sunlight -Electric lighting for night works

Temperature Natural temperature

Humidity Natural humidity

Acoustics -Operators voices -Machinery sounds from crane -Vehicles noises from vessel,trucks and train

Equipment

Coode Island (Swanston Dock) -97 ha

Former island at the convergence of the Yarra and Maribyrnong Rivers Location: 4 km west of central Melbourne, Australia Year formed: 1887 Original site: Wetlands First use Excavation of the Coode Canal to connected to the mainland in the 1930s, allow access from the Port of Melbourne to Yarraville.

Current use The Port of Melbourne, to accomodate Swanson and Appleton Docks and their associated container storage and rail yards, as well as a number of chemical storage facilities. First Authority: Melbourne Harbour Trust Engineer: John Coode Current Authority: Port of Melbourne Coporation Past programs: 1909 - Animal quarantine station 1915 - Sanatorium for contagious plagues and diseases 1920 - occupied by hermits in huts and abandoned ships 1927 - Larkin Aircraft Supply Company to

set up a factory and aerodrome

-Container Gantry Cranes -Grid for container stack -Petrochemical Facility Storage -Truck trailers/chaisses

1960 - Petrochemical storage

Spatial Qualities

Significant events:

-Large open space with designated grids to organise containers for distribution -Periphery of the port to operate cranes -planned roads between container stack and warehouse

1991 St Elmo’s fire - Coode Island explosion at the Anchor Tank facility

1968 - Swanston Dock container terminal

Pg. 21

TESTS

Works:

Program allocation Program rationale

-Ties to the site, artefacts of the island/dock. The artefacts would be the containers and crane, its systematic form driving the entire building

Public Entrance Back of House Entrance -A new form of access, away from industrial/ restricted area -Bridge over Monne Ponds Creek to have pedestrian access -20m clearance, removable

Library New framework for the current island, isolated from the island too, raised, so that it stands out as a new language that critques the existing system.

Main Hall -Open space with water as centrepiece, marshlands/water on ground. Entering the architecture once as it was, understanding the beginning of the places’ memory -Witnessing the first state of the place, pre-colonisation.

Temporary Exhibition

Auditorium -Facing towards the water, otherside of Fishermen’s bend, where the ever-changing landscape becomes the performance to witness -The change in industrial infrastructure obtains spotlight, as it the port’s presence relies on it and will follow its trends.

ON DOCK SWANST

APP

LET ON

CT OR

Workshop Similar to library, or it can extend into an existing shed, where musuem blends into a warehouse, understanding current working procedures and conditions.

AEG Turbine Hall

AUDITORIUM

Richmond Power Station

TEMPORARY EXHIBITION WORKSHOP

COURTYARD

LIBRA

GARDEN

EN 2

GARD

Ventilation - Acoustics - View - Scale

HOP

WORKS

ARY TEMPOR ION EXHIBIT

GARD

ENT PERMAN ION EXHIBIT

IUM

AUDITOR

TYARD COUR

HA MAIN

PEDESTRIAN ACCESS FROM DOCKALANDS

Pg. 22

Garden Concrete yard, surrounded by structures monumental to the industry of Port Melbourne. The ground is arrayed and overlayed with rail yards, and cotaniner parks.

-Embodys a ship or its function, or a vessel that is always in transit. There is no anchor to its purpose as it simply it relies on a greater agenda.

TESTS

PROGRAM DISTRIBUTION

Permanent Exhibition

Pg. 23

Entry via walking Entry via water

Entry via driving Entry via station

Main entry hall

Lobby/reception

Main exhibition space

What are the psychological consequences of the project?

SKETCH CONCEPTS 1 Works:

Temporary Exhibition

Auditorium

Personal Critique Mind Maps Scale tests with precedents Form tests Storyboard - narrative of programs Library ProgramGarden Matrix Workshop

Amenities

In a routine-like environment, the workers are often invested in the activity they’re performing with particular motives in their thoughts. There seems to be a gap between the action they’re performing and the emotions they’re experiencing, this bridge is a segment that I would like to explore. To translate the pattern of work, and manufacturing into architectural language, and extract the cognitive sensations from the outcome. Eventually, the project intends to expose the port as a realm that can be experienced by the public, to break the barrier between an authorised land, and individual curiosity. How can we make a hazard zone habitable? A critique at first, to witness the circuit schemes that dictate the port, and to ingest these traits under a positive light. To see the human within the machine.

Support the human scale? This goes into how things become revealed.

Pulling back the layers so the curiosity triggers people to visit, more reason to be added. The further visitors travel, and the more time spend, the curtains reveal more and more what the port can offer. The truth behind the machineries and to witness and immerse themselves into the systems, to unite the various scales by bringing consumers into the production of their demands.

Pg. 24

What kind of scales are you interrogating the spaces with? Contextualise what the elements are for, the common narrative.

Beyond just the macro and the micro, there are more layers beneath the surfaces. The scale of the city, supported by the scale of the island in the presence of a human is compared against the scale of distribution at a global measure, which further refines into the operations of the port, and the dock worker’s roles. These proportions are quite immense, and often various urban developments do not have the luxury of creating such spaces, this then leads to the lack of insight and access the public has on such lands. The commonality within the language would be distribution, this underlying power both literally and figuratively. From the workers who operate on the island, to the role of the ports and its imperative significance to a city’s trade, and finally the political relationships of the governments on a global scale. The trade communication between countries to maintain positions as allies, the importing and exports of products to retain economic status of cities, and the consumerism of citizens on an everyday basis. These become the scales that can be investigated, and how to architecturally express them in my proposition. The scale of the island plays at an advantage, its uncanny scale and vast presence is not usually afforded for museums. The port’s system: The cargo ships rely on the gantry cranes to unload the containers,

which are then further transported by reach cranes of lift trucks, these machineries have certain constraints in movements, its inability to travel beyond the XY axis and large turning circles. The storage of goods within yards and facilities are dictated by the International Standard of Organisation. One of the many invisible systems that run the industry. The continuation in processing the goods into warehouses in other suburbs or to mass transport them through rails is evident beyond the boundaries of the port. This loop of supply and demand forces the port to operate 24/7, 365 days a year, establishing a profound presence and marking the island itself as one of the machines. The mechanisms that contribute to the distribution of goods go beyond its traditional form, such large machineries are housed and contained under regulatory purposes, making the shelter itself imperative to the overarching process.

How can the architecture ingest the existing, maintain the current system but be a catalyst to strive for different futures? How can it embody the first phase, the first building of a new idea/ masterplan? To pioneer a civic experience within such an industrial environment, we have to change its accessibility. The arrival of the building is be public friendly, and to ignite a curiosity to pursue the spaces further. The docklands face will be the main entry as there is already an existing road and carpark, as well as future developments to further devise its

publicness. A deck will be another platform for visitors on the other side of fisherman bend, the experience over the water provides a perspective of how the cargo reaches the dock. The museum would feature the same qualities as the facilities on the port, so that it can operate small scale distribution in designated spaces after opening hours. This brings the project back into the current situation so that it remains truthful to the information its showing. The recognition of the port is significant upon the arrival, it should be further emphasised through the architecture, where there are objects placed for comparison (balustrade, seatings, human scale toys) within an immense backdrop. The scale of a turbine hall, or the height of the gantry cranes, so that it dwarves the users into a universe that can only be appreciated in their visits.

Choreograph a series of experiences that vary in order to articulate the brief.

The common languages are the machines, this is assessed on a few levels. How they function, and what qualities they produce can be translated spatially so occupants gather the sense that they are within the machines. The outcome would be an interface, between an industrial megastructure and its urban environment (the city) against the human.

Pg. 25

S T S

Pentridge Prison Exisitng Divisions Coburg,Victoria, 1851 Pentridge Prison Main Gate and Administration Building Coburg,Victoria, 1851

Richmond Power Station Turbine Hall Cremorne,Victoria, 1891

E T AEG Turbine Factory Internal Hall Berlin, Germany, 1909

Spatial Proportion Week 06

Surrounding warehouse

Project form

Scale comparison

Programmatic Proportion Week 06

Spatial Rationalisation Week 06

Motions of large vehicles Turning circles at loading bays

Project form

Internal circulation Follows container yard

Programmatic Proportion Week 06

35000

Turbine Hall Tate Modern

Main entry hall and exhibition Sits in between the secondary spaces

Pg. 26

Library to follow height Sits at periphery of the dock

Spatial Proportion Week 06

Spatial Rationalisation Week 06

Ramp from entry Angulation of ground conditions

Gantry Cranes

Varying roof heights

Further fluctuate roof heights

Openings for freight delivery Warehouse re-distribution

Openings to replicate for entire wall Conceptual facade

Turning circles applied at edge conditon

New facade option to be openings

Rotation of turning circles to bring back the walls

Apply corner condition to design

Pg. 27

Utilising elements of immense scale that resembles the city skyline, tointroduce the users as micros in a large universe.

The space should be immensely giant, in order to mirror the uncanny qualities of the port

These structures could simply support the architecture rather than being habitable

The water can be a port, but it’s simply a view where the reversed in internalised.

Grand gestures that celebrate the ground condition.

Container yard. The grid system to display works on a plinth etc. Parts of the machine. Some groups/stands are taller or change in ground level. Constant play of scale.

The continuation of lifting motions transferred through the form of elevated pathways

The peeling of multiple layers until we reach the nature from the artificial.

The deck is to show various pathways that narrow off, the action of lifting, linear motions and play with the ground.

A disruption in built infrastructure, to allow natural reclamation to seep through.

A transition space that further distinguishes one space from another, permanent to temporary.

The grid system of the structure could aid in its way finding

Bleeding in from the main entrance, the various angulated paths, it would dissolve in the land.

Entry via walking Entry via water

Entry via driving Entry via station

Docklands entry

Pedestrian path

Carpark

Main entry parallel to river

Pedestrian paths from river

Deck entry

Reception atrium

Auditorium

Garden - rail yards

Container yard

Rather than using artificial elements, it should rely on its natural intentions to stand out so there is a relationship between the natural reclamation of the port.

Views hold value from the garden as it gives more insight to the functions of the island

The garden could be completely hidden before exiting the building

T F

Temporary exhibition

View from docklands

View to island

Turning circles

Gradual enlargement of spatial features, as the entry opens up to the stage/scene. Seating to follow grid system. Entry via walking

Entry via water

The library sits separate to the island, on its own structure that is raised from the water.

The openings or remain the same, for the freight and goods to be transported

Pg. 28

Various levels and modes of transportation throughout the large spaces.

Applying the same spatial intention to all faces of the building.

This shed to be to fully operational as it remains true to its function after the museum’s opening hours

The space is to be dynamic, immersive as if its within a machine

The formal outcomes can stray from the port’s existing language.

The circulation to continue its flow from the museum to the warehouse

Entry via driving

Temporary Exhibition

Auditorium

Garden

Library

Entry via station

T F A

An array of walls that are orientated to lead occupants all to the one place

R D

Workshop

Amenities

Main exhibition space

Using the containers to create a structure of its own, a pavilion

24 Entry via walking

This view is paramount as it’s the only space where viewers can witness the most instruments of the entire island.

Main exhibition space

Main Hall

Main entry hall

Using the ground level so there is a sense of discovery as passengers walk out onto the concrete garden.

Lobby/reception

Main entry

A R

Main entry hall

A detached volume to protrude from the overall infrastructure

Bolte Bridge

Entry via water

Victoria Dock

Following the existing shed on Victoria dock.

Entry via station

Footscray Road

Moonee Ponds Creek/North Melbourne Station

Main entry hall

Continuation of a large presence

First memory

TEXT

Small stand that in the centre of the first half. Rather than using artificial elements, it should rely on its natural intentions to stand out so there is a relationship between the natural reclamation of the port.

Container yard. The grid system to display works on a plinth etc. Parts of the machine. Some groups/stands are taller or change in ground level. Constant play of scale.

TEXT

Circulation: large groups

Circulation: groups

Circulation: individuals

Circulation: staff

The large groups are to follow the grid arrays of West Melbourne array, in junction with the Hoddle Grid.

These intersecting pathways branch out to particular spaces, exhibiting various individual perspectives to purse the path they desire.

The pattern of the circulation could bleed outwards, in the form of concrete pathways with landscaping.

The motions of the machinery to reflect the secondary ground conditions. This is done through the floor levels and certain ramps.

The research lab and library to show evolution in its system, an elevated design approach that captures the port’s innovation but leaps further (automation, intensification of distribution, future methods)

The hand railing and narrow passageways allow for individuals to make sense of their journey.

Using the city as an analogy to accommodate such groups, these visitors would be part of guided tours.

Pathways that play with verticality, shifting up and down, over and under.

A corridor like space for the BOH, its an unseen tunnel behind the publicness.

New material and design approach, a hybrid from the warehouse typology, perhaps keeping the tall space but its internal and facade approach suggests something beyond fundamental uses. The path leading to the library should be quite distinct, subtle transition from present to future.

The staff of the museum would have their own entry, which corridors behind the main spaces, these spaces are purely industrial, stripped of décor and should imagine that they’re in one of the machineries themselves.

This creates a sense of isolation and perhaps invokes them to stay on this path longer or to quickly join more visitors.

These paths extrude from the same space, before branching out through various forms of distribution.

They have their own characteristics, pushing various spatial boundaries of their own.

Under bridge experience.

The deck entry.

Carpark layout to follow container yard

The rail would have its own terminal, separate to the public entry where only the dock workers or museum staff can access.

The new entry is a marriage between the two ideas, an open yet confined space which dwarves the users. Utilising elements of immense scale that resembles the city skyline, to portray the users as micros in a large universe. Prepare for the industrial spaces.

The deck is to show various pathways that narrow off, perhaps with various ground conditions too so that they mimic the actions of cargo that are being sorted and delivered into the container yard by various machines. The action of lifting, linear motions and play with the ground.

The carpark should operate under the same system as the organisation of goods. The registration number to mimic the container codes. Use the grid as a carpark system

Allowing visitors to witness live the process of distribution, freight from train, to be sorted, packaged, processed, then sent off again for further handling.

Bleeding in from the main entrance, the various angulated paths, it would dissolve in the land, exposing the marshlands and further emphasised by applying artificial bodies of water to continue the maze-like circulation.

Temporary exhibition space

Auditorium

Library

Library #2

Due to the non-permanent works displayed, it should be separate to the land. On a suspended structure on the water, perhaps play with ground so the idea of water is further emphasised.

A space to perform or display animated works. This stage is metaphorical, as the water itself becomes the screen and the ships and the machinery are the actors.

This becomes a space that studies the existing, the surrounding and pursues further with a new language. It should be the most distinct to the museum’s overall character.

A bridge or small pedestrian tunnel could separate them, showing the distinct separation between the permanent and impermanence. Ephemerality to show in its architecture.

Can be separate to the island, somewhere distinct from the boat entry. To showcase a deck perhaps facing the cranes and Appleton port.

The space itself becomes uncomfortable, harsh in its environment. It has a scaffolding nature that surrounds the entire building, as the architecture itself is temporary.

Gradual enlargement of spatial features, as the entry opens up to the stage/scene. Seating to follow grid system.

Port as stage

Confined by machinery

Main exhibition space

Turbine Hall. The idea of the ramp creates a dramatic transition as they enter this tall space. Large open space, with gradual addition of columns. Span, then just vertical columns without any beams.

Driving through the industrial structures. Special entrance from Footscray road, the observational journey of the large machinery. Add a road from either end that can capture this certain view.

The entry platform would be a deck, joined to the land as its own feature, but will blend into the vernacular.

Point of attention.

Main exhibition space

The marshlands bleeds into the ground, to show that it’s the land once as it was. Relationship with the port.

Utilising the dock as a tourist transit. To enter via water would require a ferry to transport the passengers, utilising the dock true to its function.

The space under the bridge illustrates the otherworldliness, the calm below the chaos. It is simply grasslands separated by the Moonee Ponds Creek, showing the power of a large presence in a different context.

Lobby/reception

Should follow a filtering system, as the system of distribution becomes more complex thus further refining of the displayed objects.

The suspension over a larger presence. The bridge’s character is distinguished by the two hollow concrete towers, they are merely ornamental, but they act as a frame to scale the city.

Its proportions bring back the human perspective, as it becomes an object visitors compare to

Entry via driving

The road would then lead straight to the museum, with a designated carpark sorted in the same fashion as the container yard. Use of car stackers.

The delivery of freight would continue its operations, keeping the existing rails as one of the sheds remain in operation.

It becomes a centre node that dictates the paths of the users; a point of distribution before everything spurts out to various programs.

T F

The perforated roofs would then be cladded in glass, then more steel structure before being covered in steel, this order can flip throughout the main hall as the exhibition simply displays artefacts of the dock which are heavily durable.

A R

Separated to the land but further raised.

The initial reaction would be from the outdoor entries, a continuation of a grand scale but there would be a gradual addition of solid material.

Information guide, where there should be sunlight directly over, acting as a pitstop precautionary to one’s journey.

TEXT

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CHASSIS

STRADDLE CARRIER

RUBBER TIRE GANTRY

WIDE SPAN GANTRY

Standard container dims. 20ft x 8ft x 8ft

Entry via walking

Bolte Bridge

No. of containers daily approx. 8000

Restacking of volumes

Entry via water

Entry via driving

Entry via station

Main entry hall

Lobby/reception

Main exhibition space

Temporary exhibition space

Auditorium

Victoria Dock

Footscray Road

Moonee Ponds Creek/North Melbourne Station

Continuation of a large presence

Point of attention.

Confined by machinery

First memory

Due to the non-permanent works displayed, it should be separate to the land. On a suspended structure on the water, perhaps play with ground so the idea of water is further emphasised.

Port as stage

A space to perform or display animated works. This stage is metaphorical, as the water itself becomes the screen and the ships and the machinery are the actors.

This becomes a space that studies the existing, the surrounding and pursues further with a new language.

It should be the most distinct to the museum’s overall character.

A bridge or small pedestrian tunnel could separate them, showing the distinct separation between the permanent and impermanence. Ephemerality to show in its architecture.

The marshlands bleeds into the ground, to show that it’s the land once as it was. Relationship with the port.

Workshop

Amenities

Separated to the land but further raised.

Reading as a new language

Disguised as a warehouse yard, its openings could suggest the sorting of goods as it enters a warehouse.

A framing effect could be added by arraying structures of multiple scales then soften the edges with some landscaping. This reiterates the unwieldy size of the port when humans occupy it.

The studio or workshops are an extension of the existing shed, this warehouse functions as a distribution facility where visitors can witness up close how freight is processed.

Small scale interventions throughout the site, these are further ideas that break the circulation and spatial pattern. These zones can be for retail or hospitality, or some breakout spaces.

Can be separate to the island, somewhere distinct from the boat entry. To showcase a deck perhaps facing the cranes and Appleton port.

The research lab and library to show evolution in its system, an elevated design approach that captures the port’s innovation but leaps further

Encompasses the future (automation, intensification of distribution, future methods)

Could use the Moonee Ponds Creek as a feature, but maintain the industrial, as it’s a bridge between natural and human developments. This is the most civic part, perhaps the port infrastructures could be deconstructed or reimagined into a vague pavilion.

A concrete garden, sculptures become parts of the machinery, monumental in its function to the port.

There are zones within the workshop that allows visitors to enter without breaching any authorised regulations. Perhaps a stand, or some interaction in a shallow foreground to emphasise the role of the facilities in a port.

The amenities are to provide a scale comparison to the overall space, a place for users to reflect on their presence.

The space itself becomes uncomfortable, harsh in its environment. It has a scaffolding nature that surrounds the entire building, as the architecture itself is temporary.

Gradual enlargement of spatial features, as the entry opens up to the stage/scene. Seating to follow grid system.

New material and design approach, a hybrid from the warehouse typology, perhaps keeping the tall space but its internal and facade approach suggests something beyond fundamental uses.

The path leading to the library should be quite distinct, subtle transition from present to future.

Another important role of the garden is that its orientation faces the mains docks and the rail yards. This view is paramount as it’s the only space where viewers can witness the most instruments of the entire island.

This view is paramount as it’s the only space where viewers can witness the most instruments of the entire island.

The workshop operates in west end, as it becomes a blurry boundary between museum and shed, the user activity to blend between observing and working.

These back of house areas are both internal and external, subtle gestures that bring everything to perspective.

The deck entry.

Carpark layout to follow container yard

The rail would have its own terminal, separate to the public entry where only the dock workers or museum staff can access.

The carpark should operate under the same system as the organisation of goods. The registration number to mimic the container codes. Use the grid as a carpark system

Allowing visitors to witness live the process of distribution, freight from train, to be sorted, packaged, processed, then sent off again for further handling.

Entry via walking

Entry via water

Entry via driving

Entry via station

Main entry hall

Lobby/reception

Main exhibition space

Temporary exhibition space

Auditorium

Library

Library #2

Garden 1

Garden 2

Workshop

Amenities

Large structures, walls that fade in terms of materiality from open to enclosed.

Layering transition of materiality, and circulation as humans leave the water for the land.

The roads can have a similar function to port, with certain thresholds for the cranes to move up and down, similar to a bike lane or fencing for pedestrians.

The rails to have their own shelter, gradually change in materiality

A steel cage as if users are enclosed in a machine that can be transported.

A void in the lobby that is sliced through to show its presence from exterior

A carved void within a larger volume, this is where scale becomes more confined and perhaps plays with comfort.

The space should be immensely giant, in order to mirror the uncanny qualities of the port

The continuation of lifting motions transferred through the form of elevated pathways

The missing wall in the room to act as a screen, using current surroundings as the topic

The library sits separate to the island, on its own structure that is raised from the water.

A push in spatial feature that transitions into a different experience through the unconscious.

Various pathways that frame the circulation outwards

The rails can be manipulated to form some kind of pattern or gesture that merges into one cluster

Following the existing shed on Victoria dock.

Compressed and narrow corridors, they only accommodate the staff or small number of the public

Grand gestures that celebrate the ground condition.

The deck should blend with the architecture yet remain operable.

The turning circles to continue the intention of buffer zones.

Another alternative is for the shelter like tunnel to change in size.

Gradation effect from the roof to ground.

The view is framed by irregular angles that all direct to the one space

The non-linear objects in the building draws attention amongst the existing pattern

Raised pools in the grid like system to further define circulation

These structures could simply support the architecture rather than being habitable

Rather than a closed room, the walls can continue until they reach a breaking point.

This marks the foundation of the space as its own, distinct from the rest. A new machine.

Applying the same spatial intention to all faces of the building.

Views hold value from the garden as it gives more insight to the functions of the island

The balustrade of the pathways could also play with scale

The openings or remain the same, for the freight and goods to be transported

Spaces to be a smaller version of the current

The continuation of a framing effect from exterior to interior.

Similar to the walking entry, it shares the same language

The grid like clusters for the cars to follow the organisation of containers

A roofing structure to narrows in size as the outside space transitions to inside.

The space that celebrates the grandness of industrial buildings

The grid system of the structure could aid in its way finding

An array of walls that are orientated to lead occupants all to the one place

Utilising water to push the visitors to further reflect on the scale of the space

A transition space that further distinguishes one space from another, permanent to temporary.

The water can be a port, but it’s simply a view where the reversed in internalised.

The overall form shouldn’t dwarf the other spaces as there is still an underlining consistency to scale.

A detached volume to protrude from the overall infrastructure

The garden could be completely hidden before exiting the building

Using the containers to create a structure of its own, a pavilion

This shed to be to fully operational as it remains true to its function after the museum’s opening hours

Its proportions bring back the human perspective, as it becomes an object visitors compare to

The path can be broken off to narrower walkways to certain destinations.

A subtle play in paths around the carpark to play with ground height levels.

The entire shelter of all the rail lines to flow with the building design.

The open-endedness of the programs to reflect the architecture.

An atrium like space where subtle lightings define its location

Similar to the idea above, however the walls are distorted to agitate the experience.

Playing with ground levels through large ramps throughout the main hall

This scaffold is to be distinct, to have light contrasted to the solid

The peeling of multiple layers until we reach the nature from the artificial.

The formal outcomes can stray from the port’s existing language.

Formation connection to the building’s main body.

Using the ground level so there is a sense of discovery as passengers walk out onto the concrete garden.

This creates the gaps and slits between the heavy volumes to show their quintessential presence

The circulation to continue its flow from the museum to the warehouse

Its components can be deconstructed to fit with the strangely large structures.

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The entry to reflect the main spaces as occupants continue their journey.

The road would then lead straight to the museum, with a designated carpark sorted in the same fashion as the container yard. Use of car stackers.

Information guide, where there should be sunlight directly over, acting as a pitstop precautionary to one’s journey.

Should follow a filtering system, as the system of distribution becomes more complex thus further refining of the displayed objects.

Garden 2

Under bridge experience.

The entry platform would be a deck, joined to the land as its own feature, but will blend into the vernacular.

It becomes a centre node that dictates the paths of the users; a point of distribution before everything spurts out to various programs.

Garden 1

Utilising the dock as a tourist transit. To enter via water would require a ferry to transport the passengers, utilising the dock true to its function.

The delivery of freight would continue its operations, keeping the existing rails as one of the sheds remain in operation.

The initial reaction would be from the outdoor entries, a continuation of a grand scale but there would be a gradual addition of solid material.

Library #2

The suspension over a larger presence. The bridge’s character is distinguished by the two hollow concrete towers, they are merely ornamental, but they act as a frame to scale the city.

Driving through the industrial structures. Special entrance from Footscray road, the observational journey of the large machinery. Add a road from either end that can capture this certain view.

Library

Turbine Hall. The idea of the ramp creates a dramatic transition as they enter this tall space. Large open space, with gradual addition of columns. Span, then just vertical columns without any beams.

The rapid industrialisation of the island used a majority of its space for storage and transportation hubs for goods.

Container yard. The grid system to display works on a plinth etc. Parts of the machine. Some groups/stands are taller or change in ground level. Constant play of scale.

A disruption in built infrastructure, to allow natural reclamation to seep through.

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MAIN HALL

LIBRARY

CONCEPTUAL DEVELOPMENT Works:

Personal Critique Program concept tests Architectural configuration Iterative Views - tests

If the island is a machine itself, how should you unfold it in a fundamental/critical way?

This needs to be illustrated in various scales, the island (first scale: west Melbourne) is partially artificial, so its origin post-colonial is manmade. This is the beginning of its purpose as a machine, soon it was a generator for power and was instrumental in developing the city. This trait continues to develop today leading to the second scale: the port, the equipment on the port are literal machines, from the ships to containers, they are all vessels that transport consumerism goods. Their functions can be emulated into the project as they serve the same purpose but a bigger purpose. This then frames the museum as a machine (third scale), with the humans as the product, its architecture to invoke psychological impacts as they progress spatially. The fourth scale would be the city of Melbourne and its contribution to our country, this is more conceptual as we require ports to continue to drive industry, and Australia’s import of products through containers whilst we export raw goods using bulk cargo ship. A two-way distribution system that perhaps can be translated conceptually.

Define the invisible system that already exists. What is your understanding of a “machine” in this context?

The systems are in different contexts, there is the industrial chain, then the consumerism chain. The industrial chain is a nod towards the third industrial revolution, with the three methods of running

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our economic activity. New communication technologies to manage, new energy sources to power and new transport modes to move our economy. These three virtues are considerations that power the building, and consequently power the island. Thus, this becomes the machine, the local planning of the building is also critical rather than focusing on the literal elements that are scattered on the site.

What is the museum’s role if the island is a machine, can it contribute or become its own entity?

The museum acts as a vessel, emulating its surrounding functions and routine to communicate its industrial character. It should power the island as it is one of the components and subsequently power the city. As a museum it’s perhaps a think tank, or emotion generator, to expose the general realm the light and dark of the machines which is normally restricted or hidden. This may repaint the architecture as civic and its intentions are romantic to evoke sympathy or curiosity within a purely utilitarian realm. Circulation will be the driving point of the narrative, as it represents the new mode to transport the cognitive sense of the occupants in order to pursue a variation of results.

AUDITORIUM

TESTS GARDEN

distribution warehouses, ports and industrialised agriculture, grand spaces that define the very nature of who we are today. Manned by logistics bots and mobile shelving units, autonomous cranes and container ships, the sites, architectures and infrastructures are not built for us, but its form, materiality and purpose are configured to anticipate the patterns of machine vision and habitation rather than our own. Our world is constructed by technology and there is this hidden beauty amongst the machines’ presence for the humans to appreciate.

Produce a spatial sequence (list the psychological narrative)

The spaces should vary, with pivotal climaxes as certain designs are addressed. It should overall shine the idea of distribution positively as it’s a public museum, and the spaces that are used as port facilities after hours lead users to critique the port’s system and the larger industry.

WAREHOUSE

TESTS TEMPORARY EXHIBITION

To unveil the potential of the ports future as it inevitably becomes a more powerful machine. The spaces follow the primary functions of a machine, swapping between the amplification of force or the modification of motion: inverse ratio. The motion is constantly modified, if it does not move, the component is a structure, this can be a rule in design.

Proposition thoughts

There seems to be a battle between human and machine of who is the dominant force. The site represents a place we can never visit, consisting of data centres, telecommunications networks,

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TESTS East of Museum

West of Museum

Warehouse - Garden 01 - Garden 02

Garden 02 - Garden 01 - Warehouse

Main exhibition hall

Auditorium - Temporary exhibition- Library

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Main exhibition hall

Library - Temporary exhibition- Auditorium

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STORAGE

TRANSPORT HUB

BREAK BULK

CONTAINERS

LIQUID BULK

URBAN ENVIRONMENT

YB DR

FUTURE USE

Works:

Site’s machines Recontextualising the site to architecture - program Entries:

MEDIA THEATRES STUDIOS

MAIN HALL

Ferry rotues Proposed green spaces Pedestrian/car/tram entry

Ship

Train

Truck

LIBRARY

OUTDOOR GALLERY

ARRIVAL OF FREIGHT

Crane

EXPORTS

VISITORS TO ARRIVE

STORAGE

CONTAINERS

TRANSPORT HUB

AUDITORIUM

CONTAINER YARD

STORAGE WAREHOUSE

ORGANISATION

DISTRIBUTION

MAIN EXHBITION HALL + CORRIDORS

FUTURE USE

STORAGE

SURROUDNING ART SPACES

LIQUID BULK

EAT

THEATRES

MEDIA STUDIOS

ERY

/PA VIL

ION

BREAK BULK FUTURE USE

MAIN HALL

CONTAINERS

DRY BULK

Bridge:

The pedestrian bridge would retract into two vertical structures when passengers arrive and leave from the museum’s designated deck. The idea to retract makes the museum exclusive under certain hours so that it can also accommodate port operations and restrict the public with the port’s authority. Its form mimics the tall structures that dwarf humans throughout the journey, from passing the Bolte bridge to the atmosphere beneath bridge, they all reference the literal machines that manoeuvre on the island, its immense scale to move masses of freight around – constant distribution parallels to the endless human movement within the environment.

Fencing:

The fencing around the museum signifies the site as a separate entity, isolating itself from the pure industrial site as its presence signifies a future between Coode island and docklands, industrial manufacturing and civic municipality. From afar it blends with the port’s vernacular, with its layout and program to work with its surroundings to frame certain views for particular events.

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LIQUID BULK

TRANSPORT HUB

BREAK BULK

STORAGE

DRY BULK

LIBRARY

OUTDOOR GALLERY

AUDITORIUM

PAVILION MARKET

The entry to the museum should be staged from all orientations. From Docklands and other parts of Melbourne. The museum collaborates with other water vehicle corporations to bring visitors who wish to travel to and from via the Yarra river, creating an extra pitstop along existing routes. This doesn’t affect the current waterways as the stations are nearby and designated berths for the water vessels.

Tectonics:

The shed does not necessary to reconfigure as an entire object but rather in a systematic way that operates internally. Perhaps only the footprint edges will modify. The spaces can remain vast and empty, its contents temporary to accommodate the dual uses of a storage facility and museum. Entries to flow through all spaces, the walls in between can open, introduce smaller spaces.

Map

Identify various regions and how its used, how does the rail yards translate in an arts precinct, an elevated pathway throughout the site, its presence seen from afar like the alarm when freight passes through. This is an agent to aid in curating the museum.

Island

The system should be studied further; a map of the precincts would be good. This can be the masterplan of how the project fits itself in. Model in an elevated rail and write notes for the port’s future. Re-envision the entry.

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Museum Melbourne Tramboat Cruises

Westgate Punt Ferry Services

Existing tram stop

a tra

te vi

Rou

New tram stop ext.

Route via water

St Kilda Ferry

ek re ds

Checkpoint

rid or

Exisitng carpark

Arrival Deck

Pr op

oo M

assi Bar Ron ark P r n S

Po n

Fencing Arts precinct

s land ock bD rk Mel rn Pa te Wes

Retractable bridge

d pa

pose

Pro

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a ca

te vi

Rou

ra Yar

er Riv

Route via walk

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PRECINCT CONCEPT Works:

Trajectory design of fence Comparative views Tectonics of architecture Programs Sequence of spaces (presentation)

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Analyse urban spaces of production directly from the inside and to understand the ongoing phenomena in constant mutation.

STUDIO SPACE

THEATRE SPACE

Large identifiable elements populate the space,sculptural forms that reference the container yards. The pallets, barrels and bundles, such units of containerisation is to be realised through building. (cement, sugar fertiliser, vehicles)

Undercover theatre in the garden. Auditorium as outdoor music venue to collaborate with market layout.

Layout of space to reference container yard, soft landscaping in the perimeter, or layout of seatings

MARKET

At the entry on particular occasions, the market opens for visitors to enjoy local produce. Referencing the Melbourne wholesale market that was relocated to Epping.

OPEN

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ENCLOSED

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PAVILIONS

Follow the form of silo containers or cylindrical shapes, the stands and pavilions are displayed on the exterior. As these spaces hold our country’s exports of grains and coal, as well as crude oil, petroleum products and chemicals. Reminiscence of our farmlands.

CIVIC SHELTERS

They act as pitstops, perhaps bars, restaurants, retail. Referncing the rail terminals that specifically end the activity of cargo.

AUDITORIUM/MARKET

During the day, the Docklands facing facade lifts to accomodate a trading market for occupants. At nighttime the space becomes a host for an outdoor cinema, viewing the yarra as a backdrop.

ENCLOSED

SMALL GALLERIES X THEATRE

The gaLLERIESs have mezzanines, highlighting the staircases at either the centre of on the periphery, reimagining the occupants as they enter the mouth of the dock surrounding by structures that dwarf them.

OPEN

MAIN HALL

The main entry is aligned with docklands drive, marking the subconscious of visitors who travelled from the city, acknowledging the beginning of the journey. The main hall has a water feature as visitors enter experiencing the site’s first memory, west Melbourne as a swamp, the displayed works are artefacts of the site, as these machines will eventually evolve and become redundant. Switching the museum into a storage facility, the hall serves a purpose similar to the warehouses on site.

TEMPORARY EXHIBITION

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For visitors that enter via water, they would pass the temporary exhibition space in the form of scaffolded structures, the continuity in ramps where users who travel between levels reference the lifting motions of containers as they disembark the cargo ships and are stacked in various heights.

LIBRARY

The library reads a language of its own, a learning centre that reframes the port’s hostility as a civic environment.

STUDIO/OPEN GALLERY

The existing warehouse is retained, used as a storage facility with the roof penetrations reflecting the layout of container yards.

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