AAVS final journal 710821 shengran zheng

AA VISITING SCHOOL LANEWAY ISOPTERA Shengran Zheng (710821) Goup member: Leila Mottaghizadeh, Ruby So 819381, 538299

Midterm Crits Exhinbition Photo Credits to Leila

CONTENT 0.0 INTRODUCTION 1.0 PRECEDENT STUDY 2.0 SITE ANALYSIS 3.1 DESIGN METHODS I 3.2 DESIGN METHODS II 3.3 LANEWAY ISOPTERA 4.0 REFLECTION 5.0 APPENDIX

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0.0 INTRODUCTION Interior Urbanism This project is an exploration in a design method which uses several techniques, tools and materials forming the design and spatial outcome.

Through this project a design process starting from physical modeling and with a focus on Materiality was explored, which later defined the specific way of approaching the design for the prototypes.

Several materials, their specific qualities and interactions have been studied and experimented.

These materials can be categorized in Three groups of solid, transparent and temporary materials that in this case are plaster, Epoxy casting resin, polystyrene and acetone. The materials and the way they interacted leaded to a unique form, texture and technique.

This project is proposing a new laneway which is providing a context for public, in a location that has a high potential for being occupied by a variety of programs and events. This design is providing a quality space with potential programs, open to public access and is letting them decide when and how to occupy it in different occasions.

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1.0 PRECEDENT STUDY Truffle House & Swiss Pavilion Our group looked into 2 different case studies as inspiration. Case studies are chosen from Ensemble Architects and Venice Biennale . The projects are focus on two interesting fabrication method with concrete and materialized the spaces with mass, which is quite inspiring. We learnt the fabrication process and the idea of mass and voids.

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La Trufa by Architect Anton Garcia Abril image: Š Roland Halbe

Fabrication process and interior space image: © Roland Halbe

1.1 Truffle House Project: Truffle House Architects: Anton García-Abril Date: 2010 The Truffle House is a project located in Spain and designed by Ensemble Studio in 2010.

The project is created by pour concrete into the gap space between piles of grass and land. “The land provided the concrete texture and color, form and essence, and the land has given concrete strength and internal structure.” by the Ensemble Studio. The whole construction process is unique and mind-blowing. The mass and voids are defined by grass, gap and land. Concrete has materialized the voids volume with special texture during construction. After empty the interior glass, the voids and mass are redefined.

We have learnt from this fabrication process and applied the positive volume and negative volume into our design with plaster and form.

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Swiss Pavilion in Venice Biennale 2016 image: Designboom

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1.1 Swiss Pavilion in 2016 Venice Biennale Project: Swiss Pavilion Architects: Christian Kerez Date: 2016 The project called “incidental space� (Known as Swiss Pavilion) is built for Venice Biennale in 2016. The installation explores how the use of digital processes can be employed to create built spaces. The structure is designed with digital tools and reveal the complexity of architectural spaces.

What we found interesting in this project is the complexity of spaces and the materiality of concrete. The projects has explore some intricate small spaces within the limit of a cloudlike envelop. Those shows an infinite extension of interior space and materiality of complex spatial system Views from outside and entrances image: Designboom

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Project site Location

2.0 SITE & ANALYSIS QUEEN VICTORIA MARKET, MELBOURNE This project is a proposal for several spaces within the Queen Victoria Market, as a part of the collective proposal for this area. The Market will experience restoration, renewal and upgrades in infrastructure, while reserving the heritage listed elements of it.(2017 City of Melbourne) exploring the existing conditions and the way people engage with it, leaded to our proposal of a new lane-way for the very particular site.

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SCENE 01: Shed B 10:05 Am

10:10 Am

10:15 Am

SCENE 02:

Vehicle Access to sheds B & C

10:20 Am

10:21 Am

10:21 Am

10:35 Am

10:40 Am

SCENE 03: Crafts Sheds 10:30 Am

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SCENE 01:

This scene was a narrative of everyday life and how people occupy and use the same space in many different ways. As pictured in the first frame, a mom with two kids is waiting for her son to take a rest on the bench, while different groups of people are doing their everyday shopping. This particular scene was occupied with people from a wide range of groups and was safely accessible for pedestrian only.

SCENE 02:

The second scene is the main loading and unloading lane. While it is located only a few meters away from the first scene, it was interestingly acting as a secondary vehicle only lane and not preferred by the public or pedestrian for circulation around the market.

SCENE 03:

Third scene explored was the crafts section, where was changing in terms of number of people visiting based on the time. As it was expected the attention to this section of market was increasing in the later hours of morning and noon.

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SCENE 04 11:07 AM

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11:12 AM

11:08 AM

11:09 AM

11:12 AM

11:13 AM

11:10 AM

11:11 AM

11:14 AM

11:14 AM

11:15 AM

11:16 AM

11:17 AM

11:18 AM

11:19 AM

11:20 AM

11:21 AM

11:22 AM

11:23 AM

11:24 AM

SCENE 04:

The Fourth scene which we explored further was the intersection of market area, carpark area and the main entrance axis.

This particular space was simply defined with a boundary created by the elevated tree boxes and back to back benches for public use.

This space provided a highly demanded facility within the area for public use.

Several groups of people occupied the space for different amounts of time and this was changing in different times periods. As shown in diagrams on the left, the number of occupants in the space was increasing as the time was closer to lunch time.

Diagrams also showed us how the circulation routes were changing from going towards market from the car park and main entrance, to a different routes leading to the facilities such as these benches.

The idea of the “remedy space� started to shape at this point which proposed a space for public to remedy.

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The project site as is highlighted in the diagram, is surrounded by buildings on all sides with an opening towards North (Therry St.). The entrance from north side has the potential to lead the public inside and help them reach the neighboring buildings. Moreover, this particular location was functioning as the main access to the market from CBD for pedestrians.

Therefore, the project site had a high potential for turning into a new public space with a variety of purposes.

Firstly, these lines derived from the possible human behavior in terms of circulation formed the baseline of the design.

Project site Scale: 1:2000

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Project site Scale: 1:300 Source: Nearmap.com.au 21

0_D

EROSION RULE SET NUMBER & DIRECTION OF EROSION

1_D

2_D

3_D

4_D

3.1 DESIGN METHODS I DEVELOPMENT OF MATRIX The matrix is developed upon a rule set of erosion, which explores the intensity and direction of erosion. The matrix is adopted as a tool to visualize the possible outcomes as the agent, acetone, react with the reactant, the cube of styrofoam. A range of 1 - 4 dimensions of the cube was eroded and explored with different magnitudes.

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TAXONOMY OF EROSION I

MAGNITUDE OF EROSION DIRECTION OF EROSION

1. VERTICAL 1

1. VERTICAL 1 2. HORIZONTAL 1

Amount of Particle: 0.1 Motion Streak: 0.1 Particle Radius: 0.3 Duration of Erosion: 7 sec

2_D1 Amount of Particle: 0.6 Motion Streak: 0.1 Particle Radius: 0.3 Duration of Erosion: 4 sec

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1_D2

1_D1 Amount of Particle: 0.1 Motion Streak: 0.1 Particle Radius: 0.3 Duration of Erosion: 4 sec

1_D3 Amount of Particle: 0.1 Motion Streak: 0.1 Particle Radius: 0.3 Duration of Erosion: 10 sec

2_D2 Amount of Particle: 0.6 Motion Streak: 0.1 Particle Radius: 0.3 Duration of Erosion: 5 sec

1_D4 Amount of Particle: 0.1 Motion Streak: 0.1 Particle Radius: 0.3 Duration of Erosion: 15 sec

2_D3 Amount of Particle: 0.6 Motion Streak: 0.1 Particle Radius: 0.3 Duration of Erosion: 7 sec

2_D4 Amount of Particle: 0.6 Motion Streak: 0.1 Particle Radius: 0.3 Duration of Erosion: 12 sec

1_D5 Amount of Particle: 0.13 Motion Streak: 0.1 Particle Radius: 0.3 Duration of Erosion: 19 sec

1_D6 Amount of Particle: 0.17 Motion Streak: 0.1 Particle Radius: 0.3 Duration of Erosion: 27 sec

2_D5 Amount of Particle: 0.6 Motion Streak: 0.1 Particle Radius: 0.3 Duration of Erosion: 14 sec

1_D7 Amount of Particle: 0.4 Motion Streak: 0.1 Particle Radius: 0.3 Duration of Erosion: 27 sec

2_D6 Amount of Particle: 0.7 Motion Streak: 0.1 Particle Radius: 0.3 Duration of Erosion: 16 sec

1_D8 Amount of Particle: 0.6 Motion Streak: 0.1 Particle Radius: 0.3 Duration of Erosion: 27 sec

2_D7 Amount of Particle: 0.75 Motion Streak: 0.1 Particle Radius: 0.3 Duration of Erosion: 18 sec

1_D9 Amount of Particle: 3.0 Motion Streak: 0.1 Particle Radius: 0.3 Duration of Erosion: 27 sec

2_D8 Amount of Particle: 1.5 Motion Streak: 0.1 Particle Radius: 0.3 Duration of Erosion: 19 sec

2_D9 Amount of Particle: 3.0 Motion Streak: 0.1 Particle Radius: 0.3 Duration of Erosion: 19 sec

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TAXONOMY OF EROSION II

MAGNITUDE OF EROSION DIRECTION OF EROSION

1. VERTICAL 1 2. HORIZONTAL 1 3. HORIZONTAL 2

3_D1 Amount of Particle: 0.3 Motion Streak: 0.1 Particle Radius: 0.2 Duration of Erosion: 6 sec

1.

2.

3.

4.

VERTICAL 1 HORIZONTAL 1 HORIZONTAL 2 DIAGONAL 1

Amount of Particle: 0.3 Motion Streak: 0.1 Particle Radius: 0.2 Duration of Erosion: 16 sec

4_D1 Amount of Particle: 0.6 Motion Streak: 0.1 Particle Radius: 0.3 Duration of Erosion: 4 sec

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3_D2

3_D3 Amount of Particle: 0.35 Motion Streak: 0.1 Particle Radius: 0.2 Duration of Erosion: 16 sec

4_D2 Amount of Particle: 0.6 Motion Streak: 0.1 Particle Radius: 0.3 Duration of Erosion: 5 sec

3_D4 Amount of Particle: 0.45 Motion Streak: 0.1 Particle Radius: 0.2 Duration of Erosion: 16 sec

4_D3 Amount of Particle: 0.6 Motion Streak: 0.1 Particle Radius: 0.3 Duration of Erosion: 7 sec

4_D4 Amount of Particle: 0.6 Motion Streak: 0.1 Particle Radius: 0.3 Duration of Erosion: 12 sec

3_D5 Amount of Particle: 0.6 Motion Streak: 0.1 Particle Radius: 0.2 Duration of Erosion: 16 sec

3_D6 Amount of Particle: 0.7 Motion Streak: 0.1 Particle Radius: 0.2 Duration of Erosion: 16 sec

4_D5 Amount of Particle: 0.6 Motion Streak: 0.1 Particle Radius: 0.3 Duration of Erosion: 14 sec

3_D7 Amount of Particle: 0.8 Motion Streak: 0.1 Particle Radius: 0.2 Duration of Erosion: 16 sec

4_D6 Amount of Particle: 0.7 Motion Streak: 0.1 Particle Radius: 0.3 Duration of Erosion: 16 sec

3_D8 Amount of Particle:1.20 Motion Streak: 0.1 Particle Radius: 0.2 Duration of Erosion: 16 sec

4_D7 Amount of Particle: 0.75 Motion Streak: 0.1 Particle Radius: 0.3 Duration of Erosion: 18 sec

3_D9 Amount of Particle: 1.5 Motion Streak: 0.1 Particle Radius: 0.2 Duration of Erosion: 16 sec

4_D8 Amount of Particle: 1.5 Motion Streak: 0.1 Particle Radius: 0.3 Duration of Erosion: 19 sec

4_D9 Amount of Particle: 3.0 Motion Streak: 0.1 Particle Radius: 0.3 Duration of Erosion: 19 sec

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ITERATION MODELS

Fabrication Process

Prepare for the form mold.

Drop and pour acetone From the top to create the voids

Pour plaster to capture the form

Physical Iteration 1

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Remove the mold and form with acetone.

Physical Iteration 2 Drop acetone from 2 directions and control the speed of adding acetone.

Physical Iteration 3 Drop acetone from 3 directions and control the speed of adding acetone to create fine columns

Physical Iteration 5

Physical Iteration 4

Drop acetone from the top and control the speed of adding acetone to create casting drops from the top.

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SPATIAL INDEX POINTCLOUD ILLUSTRATION OF THE 3D SCAN OF PHYSICAL MODEL

A-A

SPATIAL QUALITY OF EROSION 1 Direction of Erosion: 1_D Magnitude of Erosion: D7 Duration of Erosion: 15sec

SQE 1_INDEX 30

SPATIAL QUALITY OF EROSION 2 Direction of Erosion: 4_D Magnitude of Erosion: D8 Duration of Erosion: 20 sec S_A

S_B

SQE 2_INDEX 31

3.2 DESIGN METHODS II APPLICATION OF MATRIX The erosion rule set of the matrix was applied to the site. The area of the site was extruded to form the spatial volume and the boundary of where the reaction occurs. Aspects of circulation, light and programs are considered within the site boundary and acted as the avoidance which directs the erosion path.

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D

b C’

D’

D

d E’

E’

C’

c

D’

EROSION OF SITE AS A VOLUME B

B

A’

E

B’ a

C D C’ D’

A’

E C

C’ D’

C

c

A

B’ DEVELOPMENT OF SITE C

A’ EXPLORATION OF CIRCULATION, D LIGHT & PROGRAMS E’

L2

L4

L4

E’

D C’

C

A’ D

E

B’ D

E’

E’

C’

C’

D’

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A’

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E’ C’

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B’

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B’ A’

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E C

D’

E

MASSING TRANSFORMATION 4 Programs allocation B

B’

C’

L3

D’

A

A’

A L2

E’

C’

MASSING TRANSFORMATION 3 Introduction of Light channels

E

B

B’ A’

L3

D

D’

B

D

D’

C

C’

C

E’

B

B’

E

B’ A’

D

A L1

A’

E

L4

C’

B

E

L3

C

E’

MASSING TRANSFORMATION 2 Connection of Circulation Routes

B

L1

L2

D’

A

D’

A

B’

C’

E’

C’

B L1

A’ D

E

L4

D

D’

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d E’

MASSING TRANSFORMATION 1 Major Circulation Points

E’

B

B’

L3

C

A’

C’

A

A’ D

b

A

D

c

L2

B’

C

d E’

A B’ a

L1

E

B’

B

B

A

A’

b

A

B

A

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C

E D

E’

A

E’

A’

C’

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C’

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B

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B A

A E

B’ E

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A’

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A’

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A’ D

A’ E’

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MASSING TRANSFORMATION 5 Adjustment of Programs

E

D’

MASSING TRANSFORMATION 6 Creation of Structural Curves & Avoidance of Programs

MASSING TRANSFORMATION 7 Transformation of avoidance curves into Structural & Circulative Volumes

B

B

A

A

E

E A’

A’

E’

E’ C’

C’

D’

D’

B

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A E

B’

B’

C

A’

D

B’

C

A’

D

E’

C’

C

A’

D

E’

C’ D’

E’

C’ D’

D’

TAXONOMY OF EROSION III BB

BB

AA

BB

AA B’B’

A’A’

AA

EE CC DD

B’B’ A’A’

EE CC

C’C’

B B

Amount of Particle: 30 Dimension of Erosion: 1

B B

B B

E E

D D

A A

B’ B’ A’ A’

E E C C D D

E’ E’

C’ C’ D’ D’

A’ A’

D D

D’ D’

Amount of Particle: 30 Dimension of Erosion: 2

BB

BB

AA EE CC DD

AA B’B’

A’A’

EE CC DD

E’E’

C’C’

B’B’ A’A’

D’ D’

C’C’ D’ D’

Amount of Particle: 10 Dimension of Erosion: 3

Amount of Particle: 10 Dimension of Erosion: 3

B A

CC DD

D’ D’

Amount of Particle: 10 Dimension of Erosion: 3

EE

E’E’

C’C’

B

E’ E’

C’ C’ D’ D’

BB

A’A’

E E C C

E’ E’

Amount of Particle: 20 Dimension of Erosion: 2

AA B’B’

B’ B’

C’ C’

Amount of Particle: 10 Dimension of Erosion: 2

A

D’ D’

A A

C C

E’E’

C’C’

Amount of Particle: 20 Dimension of Erosion: 1

A A

A’ A’

DD

D’ D’

Amount of Particle: 10 Dimension of Erosion: 1

B’ B’

EE CC

E’E’

C’C’ D’ D’

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A’A’

DD

E’E’

B’B’

B A

E’E’

NORTHERN ENTRANCE VIEW

1 to 200 PHYSICAL MODEL EASTERN ENTRANCE VIEW OF 1 TO 200 PLASTER PHYSICAL MODEL 37

3.3 DESIGN METHODS III LANEWAY ISOPTERA Laneway Isoptera is the final product of the boolean process between the reactants of acetone and styrofoam. It is a redefinition of the laneway in 3 dimensions, featuring interweaved spatial volumes (outcome of the erosion paths) that serves as structure, to provide circulation and flexible functional uses. “Isoptera� refers to an order of social insects consisting of the termites. Here, we combined spatial characteristics of isoptera and the laneway, which created a new complex architectural arcade organization for the Queen Victoria Market.

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SPATIAL QUALITY POINTCLOUD ILLUSTRATION OF THE 3D SCAN OF PHYSICAL MODEL

SQ1

SQ1_INDEX

SPATIAL QUALITY OF LANEWAY ISOPTERA 1 Code: SQ1 View: Northern Entrance Program: Entrance Lobby 40

V1

V1_1 to 50 PHYSICAL MODEL VIEW 1 OF 1 TO 50 PLASTER MODEL, EASTERN ENTRANCE 41

IS1

INTERNAL SPACE_LANEWAY ISOPTERA Code: IS1 View: Eastern Entrance Program: Rock-Climbing Area & Facilities 42

V2

V2_1 to 50 PHYSICAL MODEL VIEW 2 OF 1 TO 50 PLASTER MODEL, OVERALL & PARTIAL MODEL 43

SQ2

SPATIAL QUALITY OF LANEWAY ISOPTERA 2 Code: SQ2 View: Eastern Entrance Program: Rock-Climbing Area & Facilities 44

OS1

OCCUPATION OF SPACE_LANEWAY ISOPTERA Code: OS1 View: Eastern Entrance Program: Public Hall & Rock-Climbing Area 45

4.0 REFLECTION PROCESS, DEVELOPMENT & FABRICATION

Form-finding

In this winter session, I have explored a very unique form-finding process with plater, foam and acetone.

We started from a chemical reaction. The research process of trying to control the parameters of generating the form is more like a scientific experiment. We tried to control the form, however, it is not completely controllable, which gives us more surprising results and unpredictable forms. The intersections of each columns have great spatial potentials in further development. I believe this formfinding process is quite successful through the whole experiment.

3D Scanning

This is the first time, I used the 3D scanning. It is a great tool to capture the physical form and translated into digital model. 3D scanning and point cloud has challenged the traditional idea of mass and voids.

Although 3D scanner can only scan the surface of physical objects, the interior can be showed by point cloud. The boundary between mass and voids are showed by the points, but mass are no longer exist. We can see through the structure without being blocked by the material and we can find more opportunities inside the structure.

Fabrication

The fabrication process is very challenging. This is my first time casting models with plaster. I have come across several failure of making plaster paste, due to the wrong ratio of powder and water. We have tried many materials during the fabrication process, including resin, rubber, plaster, foam and acetone. I believe that fabrication is very meaningful and useful ways of learning architecture. In the last 2 year of architecture study, I have learnt to design mostly by digital tools and drawings. Through the making a real models with real material, the touch and feeling the material and space in the physical model can directly influence the perception of a design.

Final Model

I really enjoyed this experiment process, however, not really satisfied with the final outcome. The most interesting points of our iteration models are the karst-cave forms and materiality of corrosive reaction between acetone and foam. We didn’t transform those special characteristics from the iteration models to the final model successfully. In the final model, the scale has changed greatly.

The amount and the size of the voids in the foam mould we created still remained the same as the previous iterations, which result in the failure in the final model. How to remain the features we have in the smaller models is a big problem we are facing now.

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5.0 APPENDIX SKETCHES FABRICATION BIOGRAPHY BIBLIOGRAPHY CREDITS

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1)

2)

INITIAL SKETCHES

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1) Lighting consideration and levels difference 2) Initial plan and section over site 3) Initial sections and parameters 4) Initial plan and section over 1:200 model

3)

5.1 SKETCHES INITIAL IDEAS, DRAFT PLANS & SECTIONS

4)

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5.2 FABRICATION PHYSICAL MODELLING & PROCESS

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1)

FABRICATION PROCESS

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1) Deconstruction of styrofoam mould 2) Deconstruction of 1 to 50 final model of Laneway Isoptera 3) Lighting conditions of casted resin 4) Construction of plaster and resin mould

2)

3)

4)

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EARTH STUDIO

AIR STUDIO

branches

5m

15m

egrets habitation

volume

3m

Design Intent Analysis

volumes inside is for humnan activities

5.3 BIOGRAPHY SHENGRAN ZHENG I am Daisy, a third year architecture student in Melbourne University. Through three years study, architecture gradually become part of my life. In my opinion, Architecture is not only about forms and functions but also about how ideas can shape the world and how to understand the world through different methods. I really enjoy the poetic and dramatic aspects of architecture. Architecture to me is not a cold and static object but a living creature or and dynamic system.

I believe architecture is a complex field. It is about spatial arrangement and organization. It is also about material, emotions, social issues and construction techniques. It allows individuals to have distinctive perception towards to the design and idea.

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5.4 BIBLIOGRAPHY 1. Page 11, figure 1: Dubuis, Oliver 2016, entrance into the ‘incidental space’, photograph, viewed 28 July 2017, <https://www.designboom.com/architecture/venice-architecture-biennale-2016-swiss-pavilionchristian-kerez-05-26-2016/> 2. Page 11, figure 2:Dubuis, Oliver 2016, ‘incidental space’ , photograph, viewed 28 July 2017, <https://www. designboom.com/architecture/venice-architecture-biennale-2016-swiss-pavilion-christian-kerez-05-26-2016/> 3. Page12: Dubuis, Oliver 2016, Swiss Pavilion, photograph, viewed 28 July 2017, <https://www.designboom. com/architecture/venice-architecture-biennale-2016-swiss-pavilion-christian-kerez-05-26-2016/> 4. Page 11: The Ensemble Studio, The Tuffle, Image, < http://www.archdaily.com/57367/the-truffle-ensambleestudio/5008ee4a28ba0d27a7000d38-the-truffle-ensamble-estudio-photo > 5. Page 10, Figue1: The Ensemble Studio, The Tuffle, Photography, <http://www.archdaily.com/57367/thetruffle-ensamble-estudio/5008edd928ba0d27a7000d18-the-truffle-ensamble-estudio-photo> 6. Page 10, Figure2: The Ensemble Studio, The Truffle, image, < http://www.archdaily.com/57367/the-truffleensamble-estudio/5008ee5f28ba0d27a7000d3c-the-truffle-ensamble-estudio-section-01 > 7. AA, 2017, AA Visition School Melbourne, viewed 20 July 2017, http://melbourne.aaschool.ac.uk/?page_ id=25

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5.5 CREDITS SHENGRAN ZHENG Drawings

Computational

Model Fabrication Model Assembly

Photography

Writing

Cover

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