siying wong
BACHELOR OF ARTS (INTERIOR ARCHITECTURE) (HONOURS)
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contents constructed memory 321 3 spatial enclosures 322 5 explorations and manisfestations 322 11 ia research studio 422 15
3 DESIGN BRIEF: the Constructed memory studio consisted the topics of conservation, restoration, adaptive re-use and reinterpretation. a site survey and analysis of the female division of the fremantle prison were first conducted with investigations and photographic analysis of the condition of the building. heritage values and policies on conservation, such as the burra charter, were examined and applied into restoring and adapting chosen sections of the female division of the prison into a backpackers’ accommodation. these conservation policies were adhered to to maintain the cultural and historical significance of the structure’s fabric, to preserve and maintain its original facades and also to restore and reinterpret its heritage significance. The prison represented confinement and repression, where the convicted were forced into a life of conformity. a punishment that became a routine for the prisoners, yet in a sense, a community was formed. Defined as an assemblage of interacting populations or individuals occupying a given area with no limits to scale, a community represents a group or society that is united by locality, cultural, historical, political, religious, social, occupational, interest and heritage.
Zone 2: Partial Ground floor Plan
to re-introduce and re-interpret the idea of community into the project, the idea of individuality allowed a sense of belonging into a community, allowing it to strive. The design of the backpackers’ accommodation conveyed the juxtaposition of a community and the individual, encapsulating and adapting to both.
not to scale three separate spatial functions: the reception, break-out space, and internet cafe were explored, and the break-out space was chosen to be further developed. the communality of a break-out space required spaces of interaction and privacy, hence the idea of centrality was used for the dining hall and kitchen was developed. the concept of community was further developed by the light fixtures which were adapted from the columns that remained in the space, DRAWING UPON THE HERITAGE VALUE AND IDEA OF SYNCHRONISM OF A COMMUNITY WITHIN THE SPACE.
Fremantle prison: female division longitudinal section not to scale
fremantle prison: female division backpackers’ accomodation
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4 Significant Conservation Policies: Policy 7: items identified as having exceptional significance should be retained and conserved. they may be modified in keeping with the overall aims of the conservation policy. policy 28:the impact of visitors and visitor numbers should continue to be monitored and evaluated to ensure that the impact of visitors is minimised while enabling as many people as possible to visit the site.
Elevation 1
Elevation 2
not to scale
not to scale
policy 48: the determination of conservation options and any subsequent action affecting a particular element of the place should be preceded by an assessment of the levels of significance of its component parts. intrusive elements should also be identified. policy 61: the provision of new services should be undertaken with the minimum interference to significant fabric and the character of significant spaces. If new services are installed, existing spaces should be consolidated and redundant ducts removed. policy 71: conservation and compatible use of existing significant structures should take precedence over new development.
section 1
section 2
not to scale
not to scale
perspective chill-out area
policy 72: conservation of the fabric and spaces of the precinct is the primary importance to the program of interpretation.
fremantle prison: female division backpackers’ accomodation
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5 INTRODUCTION: The exploration of spatial enclosures in consideration to the skin and bone of a space was undertaken to develop the building identity, spatial occupation, site suitability, alternative and/or mix-use accommodation of building 201, otherwise known as the department of built environment in curtin. Given six past projects from previous students, the students were to choose one and take ownership and develop the chosen project into a comprehensive building solution. The project chosen focused on growth: ‘A design of the physical manifestation of growth caused by human occupation and infrastructural shifts.’ -Jack Tooley further development of the concept started with a photographic study of building 201, a Building Identity Statement was produced: ‘The architecture building is a body Where the central axis meet in the middle at the core of the building, that acts as the spine of the building, the nervous system of the body.. ’
. .Occupied by students and staffs of four different departments, it is segregated into different parts, dislocated from one another. Hence, there needs a further distinction with the spine of the building, where like a nervous system in the body, allows students and staff to collaborate and connect with one another. By creating more spinal space around the core/central axis of the building, it allows the different faculties to “come in contact” with each other’s works, ideas and activities.
. .It “feels” its occupants as they move through the building internally and externally, “touching” and “embracing” the building. The spine/backbone of the body protects one of the main parts of the nervous system, the spinal cord, and in this case, its main function is to allow networking and cooperation between different parts of the “body”. The spine, also known as the vertebral column is also the main support for the skeletal system in the human body. The nerves in the body, winds and wraps itself around the structure of the building, conforming to the site..
Design Explorative Exercise Images
skinsurface + boneframe
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6 Design Brief: To allow collaboration between the different departments of
“My body is truly the navel of my world, not in the sense of the viewing point of the central perspective, but as the very locus of reference, memory, imagination and integration.”
level 2
“The essential mental task of architecture is accommodation and integration.” taken from “The Eyes of the Skin” by Juhani Pallasmaa
level 3
the building: Architecture, Interior Architecture, Urban Planning and Construction Management. The spine will strive to create opportunities across the departments to connect with each other, where this will take place around the central core axis of the second, third and fourth floors. An exhibition space, a central common room and private rooms would be created along this axis to accommodate this effort for collaboration. Instead of skin cells, an investigation of nerve cells were undertaken. From the reading “The Eyes of the Skin” by Juhani Pallasmaa, he emphasized the importance of the tactile sense of our human bodies and how it is now underestimated and underused as vision has been regarded as the most noble of the five senses, especially in this era, technological advances has allowed vision to dominate and be strengthened with the commercial imagery of today. From the investigation of the nervous system, the concurrence that circulation of Building 201 is indeed like the spine of a human body, yet it is greatly underdeveloped with much segregation between the different faculties. Therefore, To generate and enhance collaboration across the departments of the building, an open and functional space will be created along the central core axis of the building similar to the function of the spine of the body, This too, allows for better access points from the north and south entrances of the building.
Chosen areas in building 201 : floor plan not to scale
level 4
Using the concept of the spinal curve being the core of the building, spaces were arranged for different functions yet all for the objective of collaboration.
the Spatial Accommodation, Mix-use Accommodation & Site Suitability: Distinct entrances from the north and south end of the building will be extruded and created, and common areas will be established in between the entrances. An open exhibition space would be at the south entrance, which is the main entrance, to allow for students and staff to “come in contact” with the works and aspirations of faculties other than their own. This also opens up the facade of the building to students from the campus, allowing the building to reflect and showcase much of what the built environment faculty is about. At the north entrance, these would contain a central common room that allows for students to relax, learn and collaborate in an informal atmosphere. There would also be cell-like pods in the space, allowing for privacy and quiet for smaller groups.
Chosen areas in building 201 : Section n-s not to scale
skinsurface + boneframe
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level 1
level 2
level 3
level 4
building 201 spatial programming : floor plan
Process: the levels one to four were spatially developed with the intent of maximising exhibition spaces and areas for collaboration. Public zones like a student lounge on level two and a cafe on the fourth level were added, whilst private study areas were added on level one.
not to scale the north and south facade of the building were extruded with glass facades to allow more light, thus opening up the space to allow mobility and communication between the north and south of building 201. The stairs were used as a medium to communicate the movement through the space, and to depict the concept of the spine being the central point of transition and support of the ‘body’. The perspectives show how the exteriority and interiority portrays the developing concept of the spine and how it is interacting with the exisiting space.
Building 201 spatial programming: section north-south not to scale
skinsurface + boneframe Student lounge on level 2
exhibition space on level 4
exhibition space on level 3
north facade
south facade
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level 1
level 2
level 3
level 4
Floor Plan: levels 1-4 not to scale Final Design Development: At this stage, a final complex solution has been identified and hence informs of the inhabitation and identity of the building 201. The focus area has been redesigned with responses to the light and spatial quality, enhancing the movement and activity within the space.
skinsurface + boneframe
site plan: building 201 not to scale
spatial enclosures 322
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elevation: north facade not to scale
elevation: south facade not to scale
The exterior skin of the new insertions of north and south facades consist of louvre screens, and are made of aluminium and glass, This provides shading in summer, while allowing for adjustments of different lighting qualities for different spatial functions. The section shows the movement and activity through the focus areas of levels one through four.
skinsurface + boneframe
section: north-south not to scale
spatial enclosures 322
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the perspective of the public common area depicts the occupation and highlights the materiality of the space. the perspective of the exhibition space illustrates the flexibility of its spatial functions.
Interior Perspective lounge - Common Area on level 2
Interior Perspective exhibition space on level three]
skinsurface + boneframe
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Spatial Enclosures: floor plans | section not to scale based on the previous project, a light piece was designed to encapsulate the concept and essence of that project. Design Generative: This design generated from the the form of a vertebral column, based from the concept of the spine which began with exploration of the nervous system. The spinal cord acts as one of the central nervous systems in our body, connecting the different functions and parts of the body together. This form allowed much exploration of light and shadow as it is an undulating and permeable form, defining a sense of spatial enclosure. The form creates a framed structure in the space with darkness and light, also acting as a central axis through the space.
Process Sketch Models part 1: exploration of a spinal curve through different materials part 2: exploration of light and shadow through form
skinsurface + boneframe + light
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Plan 1:10 initial construction and installation details: Fixing: the anodized aluminium strips are bonded to the frosted glass using epoxy. Light Fixing: LED strip lighting attached to the first layer of glass. Materiality: Aluminium (anodized), frosted glass
section 1:5
skinsurface + boneframe + light
perspective initial anticipated outcome
explorations and manisfestations 322
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sectional perspectives not to scale final construction and installation details Light Fixing: LED strip lighting mounted to the second layer of glass with screws Materiality: tyvek paper - 105 gsm & frosted glass - 3mm/1mm Size: approx. 800mm x 300mm x 200mm each
light fixture detail 1:2
skinsurface + boneframe + light
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Final Light Piece stage illutmination final anticipated outcome of light piece: THE FINISHED LIGHT PIECE COULD BE EXHIBITED HORIZONTALLY ON THE GROUND OR ATTACHED TO THE WALL.
perspective
skinsurface + boneframe + light
prototype insitu
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15 “Hunger pangs, the chills of winter, the fear of violence, and the disturbance from noise are all facts of human consciousness. It makes little sense to distinguish between them by attributing some to the body and others to the mind. The hunger, the chill and the fear are on equal footing with the need for peace, privacy, space, harmony, order, or colour. To the best of a psychologist’s knowledge, the priorities are by no means self-evident. Dignity, a sense of pride, congeniality, a feeling of ease – these are primary needs, which must be seriously considered when the welfare of human beings is under discussion.”
“One defines it as a way of life typical of a group, the second as a system of symbols, meanings, and cognitive schemata transmitted through symbolic codes, the third as a set of adaptive strategies for survival related to ecology, and resources.”
CULTURE/ ACCULTURATION
Rudolf Arnheim (Malnar 2004, 27)
IDENTITY/ DISPLACEMENT
It is “a space of belonging and alienation, intimacy and violence, desire and fear, the home is invested with meanings, emotions, experiences and relationships that lie at the heart of human life.”
Identity is defined as “people’s concepts of who they are,
of what sort of people they are, and how they relate to others.” It is the “relatively stable, role-specific understandings and expectations about self.”
figure one Venn diagram of Culture, Identity and Home
HOME/ ADAPTATION
Project description: The Karen people have undergone persecution and involuntary displacement due to thier ethnicity by the burmese government, with many fleeing to refugee camps on the border of burma and thailand. in recent years, many have been relocated and resettled to third countries due to the meagre prospect of never returning to their native country again. since 2001, new communities have been established and resettled in Australia, and more particularly, Western Australia. In the first volume of the dissertation i questioned how displaced communities regain their sense of belonging and adapt to new environments and also, how the design of an internal space can affect the nurturing of a sense of belonging in a home. Following the first half of the dissertation undertaken in research studio 421, the ethnographic research and theories of home, identity and cultural adaptation has driven this design phase to be focused on exploring meaningful spatial experiences of spaces and the home. From the ‘typical’ Australian domestic housing that was investigated, it was found that the occupation patterns and value of importance are different, and the original function of the rooms were found to be misused, hence the new ‘homes’ occupied by these groups were considered inadequate, culturally and structurally. The research findings concluded that the process of adapting and integrating into a new environment is integral for newly-arrived refugees or humanitarian entrants – that holding onto their original culture allows them to maintain and preserve their sense of identity as well as cultural identity when in a new socio-cultural and physical environment. The design phase of this research focuses on developing an interior spatial environment that is safe, supportive and community-orientated, allowing the newly-arrived Karen refugees to adapt and integrate into the Australian environment, while maintaining their cultural roots and practices. The design proposal shall create an integrative space that allows for spaces of healing, learning and adapting for the Karen community. This will be undertaken through the adaptation of an existing site, where the development of the space shall involve a considered approach and incorporation of the cultural significance of the Karen people, and how the pragmatics and the spatial qualities of a space can form responsive and positive experiential environments.
cultural integration: the karen refugee community of perth
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“Due to the involuntary and traumatic nature of their departure, most had little chance to prepare themselves psychologically for life in the new country. Particularly during the initial resettlement phase, many suffered from a deep psychological dislocation and sense of loss.” (Kim 1988, 5)
figure 2 Analysis of Karen and WA housing
“The bamboo steps led up into a living room on the left, and to the right was a bedroom. We used to sleep on rush matting laid out on the bamboo floor. To the right of our bedroom was a spare room, with a couple of bamboo-framed beds in it, for guests. At the back of the house was the kitchen. It had an earthen floor for a hearth, and three stones arranged in a triangle. Firewood would be pushed into the space between the stones, and a cooking pot balanced on top. Above the hearth was a shelf for drying foods – chilli, vegetables, meat and mushrooms.” (Phan and Lewis 2009, 33)
spatial analysis of the traditional vernacular Karen house was undertaken to further establish how the spatial experience could be translated into a ‘typical’ Australian house. Housing typologies of western australian and karen homes: further analysis of the context and spatial qualities of the ‘typical’ WA domestic housing for Karen refugees, emphasizing on the issue of unfeasibility of adapting the WA house to suit the cultural needs of the Karen refugees. alternative adaptations were investigated and analysed to meet cultural needs of a Karen family, here are four different design responses to the ‘typical’ Australian house that is occupied by a Karen family.
Figure 3 alternative Adaptations of the karen household
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research question: To create an integrative community centre that provides an opportunity for Karen refugees to acclimatise and integrate into the Australian society in a safe, supportive and community-orientated environment.
Objectives: Identify the responsiveness or adaptability of internal spaces for Karen refugees in typical Western Australian housing and how a sense of belonging and cultural identity can be translated and fostered in a different setting Provide an experiential design language to allow gradual integration into the Australian society whilst allowing the continuity of cultural domestic practices Allow for the re-establishment of a sense of identity and belonging for Karen refugees by creating a design scheme that provides a culturally sustainable and efficient integration centre
alternative response: An initial survey of typical housing stock in Balga, Girrawheen and Cannington was undertaken to determine the feasibility of adapting the existing house to fully suit a Karen family’s needs. It was concluded that through testing and re-adapting the existing model, although renovation and adaptation is possible, it is an expensive choice and the housing environment would still not be fully responsive, culturally and structurally, for new Karen refugees. Other building typologies were then examined, like, the possibility of designing new modular housing, which however, was deemed to be too complex as It requires extensive knowledge of the BCA. Another possibility of addressing the need of a transition space to assist newly arrived Karen refugees with the process of integration into the Australian society arose, and was determined as a better alternative. To fully represent one’s cultural heritage and identity, the notion of integration, where the synthesis of two cultures allows for cultural integrity to be maintained, needs to be addressed and applied. Integration was found to mitigate better social and psychological well-being, and While Australian national policies for refugees and humanitarian entrants support of their integration into the Australian society, the housing situation forces them to assimilate into the new domestic structures, losing their old habits, customs and ways of life. As Buttimer (1980, 166) puts it, an individual’s cultural and personal identity correlates with their place-identity, and losing one’s home, whether physical or psychological, are perceived as an impeding threat to a person’s identity. Places that allow for rootednesss allow for positive “attachment, retention and development of selfimage”, hence concluding that physical settings play an essential part in the sense and experience of well-being (Godkin, 1980, 83).
design response: integration -noun the act of amalgamating a racial or religious group with an existing community. 1 The idea of an integration centre, an amalgamation of a halfway house and a community centre, emerged, which therefore drove the design language for the project.
cultural integration: the karen refugee community of perth
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18 theoretical precedents: From the ethnographic approach that was employed last semester, this semester, a phenomenological approach was used, where instead of merely producing a specific design that incorporated only the cultural research findings; this approach allowed me to explore and deepen my understanding of lived spaces. A study of the meaningful spatial experiences –the idea of the threshold, the home and journey and phenomenology – was undertaken.
the idea of the threshold “Thresholds are where transformations begin, where exchange between unlikely things occur, and where identities are declared. Thresholds hold the potential of an inclusive realm, where the introduction and maintenance of difference is possible. Unlike an idea of inclusion as “melting pot”, where identities are blurred to create a compromised whole, threshold as an operation entails the preservation of differences, as well as the creation of something new from their coexistence” (Geel 2005, 53).
Tucker (1994) described migration as a means to ensure survival, that “homesearching is a basic trait of human nature”.
Figure 5 In-between the experience of the home and journey “The experience of migrants and refugees claim that ideas about staying, leaving and journeying are integrally associated with notions of home. These ideas are in turn linked to notions of dependency, interdependence and autonomy, continuity and dis/location.” (Mallett 2004)
Figure 4 Threshold, journey and senses
Figure 6 Journey from home
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“Light’s shadow and shade, its different sources, its opacity, transparency, and conditions of reflection and refraction intertwine to define or redefine space.”
“The sound measures space and makes its scale comprehensible. We stroke the boundaries of the space with our ears.” (Pallasmaa 2005, 51)
(Holl 1989, 11)
“A particular smell makes us unknowingly re-enter a space completely forgotten by the retinal memory; the nostrils awaken a forgotten image, and we are enticed to enter a vivid daydream. The nose makes the eyes remember.” (Pallasmaa 2005, 54)
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“The most archaic origin of architectural space is in the cavity of the mouth.”
“Our touch senses the weight, resistance, and gestalt of materials.. ”
(Pallasmaa 2005, 59)
(Pallasmaa 2009, 50).
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the sensitisation of space and experience Pallasmaa (2005, 11) states that architecture should stimulate all the senses and thus “fuse our image of self with our experience of the world” before architecture can become life-enhancing. He suggests that architecture strengthens a sense of self and reality by articulating our experience of “being-in-the-world”. Steven Holl (1996,11) states that, “phenomenology concerns the study of essences; architecture has the potential to put essences back into existence. By weaving form, space, and light, architecture can elevate the experience of daily life through the various phenomena that emerge from specific sites, programs, and architectural on another, structure, material, space, colour, light and shadow intertwine in the fabrication of architecture.” Phenomenology addresses all the senses and transcends experience to become an unconscious connotation, giving depth and intensity to an experience. It is a study of experience or consciousness through the awareness of one’s senses. It is the ‘study of phenomena’, of how we experience things as they appear from a subjective view, and hence how we place meaning upon things we experienced in our lives. The use of our sensorial elements gives depth to an experience, these being sight, sound, touch, taste, smell and scale. Our bodies, “are moving, changing, permeable and fluid… the bodies we are require different spatial and physical conditions depending upon the task or activity at hand, depending upon characteristics of age, gender, size and culture, and depending upon the passage of time” (Malnar 2004, 42). These experiences are perceived by our senses and are interpreted by our minds. Our sensory selves need to be embodied and acknowledged in designing an environment as design results from considerations of human qualities, introducing essential, intrinsic meanings and values to the human experience, hence creating an intimacy between person and environment.
Jan Smut proclaimed that “the whole is more than the sum of its parts.” A sensorial environment cannot be abstracted into individual elements, and it is vital that a holistic view of the experience of the space is undertaken, as they all contribute to the experience. This would derive a threshold experience of change that allows “The experience of space is multi-sensory, for healing and learning, and also bringing meaning to the spaces and its occupants. architecture strengthens our senses. Space and scale are measured through the eye, ear, noise, skin, tongue, skeleton and muscles.” (Pallasmaa 2005, 28).
“Phenomenology proclaims that the sense should be stimulated by the design and not just the visual stimulus like many buildings are doing today. “By using the entire stimuli the architect is creating a journey through each threshold This journey is a memorable one where the traveller through the architects design could incept a positive idea.” (Dernee n.d.)
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Figure 8
Figure 7
Site plan
Site map Site selection: The site is located along Welshpool East Road, southeast of Perth city. The first existing fabric of the building only consisted of the main hall, which was constructed during the second World War, but was only completed after the war due to the lack of materials. The building it has been renovated three times during its life span, with the most recent renovation finished in the early 1980s. The church is currently not listed under the heritage council of Western Australia, and there have been recent plans of renovations on the existing site. This site was chosen due to the nature of the existing building and site, where the adjacent site would allow for an extension of the existing building to fit the design pragmatics of the integration centre. The original existing fabric from the 1940s was kept intact for the new design, where it will be used strategically as the critical point of entry of the integration centre.
cultural integration: the karen refugee community of perth
Figure 9 Existing building plan
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21 Week 1 Introduction phase Week 2 Inductive learning phase Week 3
Week 4 Integrative phase Week 5
Week 6 Week 7 Week 8
Week 9 Completion phase Week 10
Site tour of the integration centre Welcome briefing to integration centre, and settling into accommodation whether family or singles Introduction to integration centre staff, volunteers and other occupants Go for medical check-ups and finalise immigration and proper identification papers Demonstration workshops on basic Getting Preventive Kindergarten household services: Security, electric, acquainted education and primary water, gas, ventilation, lighting, heating/ with other workshops on school aged cooling, cleaning and waste management families, public children to go host transportation, to nearby Visit to neighbouring shopping centre tenancy, leases, schools Demonstration workshops on domestic families, volunteers, motor vehicles household services: Kitchen, bathroom, staff and hire Middle school laundry, bedroom purchases, or high school Introduction to public transport system Counsellin finance banks, aged children Perth city tour by taking public g sessions taxes, jobs to go for transport, to the city, banks, cultural can be intensive centre held if English classes, Jobs and responsibilities for adults/ Preventive needed and Australian young adults to start working small jobs education culture classes and tasks around the centre workshop on government Young adults services, social Perth city tour to places like train station, cultural and adults to services centre, state library, and government buildings enrol into (Centrelink, TAFE/ high Multicultural schools with services, vocational Medicare, learning Household classes assistance package) Start to look for permanent accommodation – single Preventive male or female (shared house or host family) and education workshop on family (single storey/townhouse in suitable suburb) Start application for jobs, education courses or training law courses enforcement – police, healthcare, fire service, insurance Preparation for move into permanent accommodation – visit to allocated suburb, public services nearby, public transport, schools Transfer to permanent housing
Start selfsustaining activities around the centre – gardening, planting fruits/ vegetables, cooking, rearing livestock Language classes to learn basic English speaking, writing and reading Australian cultural classes
Design brief: To formulate a cohesive design language that provides gradual integration into the Australian society for the Karen refugees, whilst allowing the continuity of the cultural identity, which includes their strong community practices and cultural housing, enhancing their integration into the new environment. A culturally responsive space that would also provide a sense of identity and place, providing positive spatial experiences to enable the refugees to connect to the new environment and hence foster and nurture the well-being and self-identity of occupants. A few long-term strategies of integration have been identified: to support the Karen community in Western Australia in the process of integration to achieve their full potential; to contribute to the Western Australian society, socially, economically and culturally; and, to encourage the Karen people to access resources, establishing strong networks and communities. Design pragmatics: an occupation cycle chart was revised to depict the integrative activities of the centre over a ten-week period. these spatial functions were then derived to meet the cultural and pragmatic needs of the centre for the Karen refugees. To fully realise what each space requires, the experiential and physical qualities of the main spaces in the centre are synthesised and illustrated
Craft workshops – sewing, jewellery design classes Mechanical workshops – cars, bikes Electronics/ computer workshops
Figure 11 Spatial diagram
Figure 10 Occupation cycle There will be an estimated three or four staff members on site permanently, while the rest are part-time staff or volunteers. A host family will be present on site to meet caretaking needs of the occupants of centre. As according to sources, there is at least one new family arriving cultural integration: the karen refugee community of perth to Perth every month, along with approximately 3-8 single people, male or female. The occupation period of 10 weeks will allow for a turnover of a new family every 4 weeks, which totals up to approximately 40 people after the first three months.
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Entry
dining
physical requirements
physical requirements
Foyer; waiting area; meditation garden
Dining hall; outdoor courtyard
Design Approach: the combination of the theories of spatial experience and the research findings from the previous semester were used to create a multi-sensory and positive experience within the integration centre, focusing on the entry, dining, cooking, living/communal and sleeping spaces. A Pattern Language’ by Christopher Alexander will also be used to derive certain design approaches. The emphasis will be held on the sensorial experiences in these chosen spaces, aiming to provide an enriched experience that will be able to positively influence the occupants of the space.
“The entrance must be placed in such a way that people who approach the “A feast is of such a nature that it draws people to itself, and makes them building see the entrance or some hint of where the entrance is, as soon as leave everything else in order to participate in its joys. To feast together each of these spatial functions are defined, driven and influenced by the theoretical is to bear witness to the joy one has at being with his friends. The mere precedents and the cultural needs of the Karen refugees. they see the building itself” (Alexander 1977, 541). act of eating together, quite apart from a banquet or some other festival occasion, is by its very nature a sign of friendship and of “communion” (Merton experiential and sensorial requirements
1956, 126).
Different intensities of natural light; welcoming odours and sounds; familiar textures and materiality; warmth; hospitality; fitting scale and volume experiential and sensorial requirements Pools of light and darkness; familiar aromas of food and spices and sounds “The sequence of preparatory experiences we pass through to approach, of familiar language and music; familiar organic textures; warmth from the enter and use a building do more than affect our experience of it. They fire; closeness to the ground change our inner state which can both enhance our receptiveness to health giving qualities in our surroundings, and trigger transformative processes “When there is a soft light, hung low over the table, with dark walls in our inmost being” (Day 1990, 23). around so that this one point of light lights up people’s faces and is a focal point for the whole group, then a meal can become a special thing indeed, a bond, a communion” (Alexander 1977, 844).
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“We appreciate a place not just by its impact on our visual cortex but by the way in which it sounds, it feels and smells. Some of these sensual experiences elide, for instance our full understanding of wood is often achieved by a perception of smell, its texture (which can be appreciated by both looking and feeling) and by the way in which it modulates the acoustics of the space.” (Architectural Review 1991)
dining
living/communal
physical requirements Kitchen; Halal kitchen; outdoor cooking area; space for demonstration workshops
physical requirements Outdoor courtyard – “fireplace”; living area in family quarters and singles quarters; playground; vegetable gardens; laundry
experiential and sensorial requirements Natural lighting; familiar smells of food and spices and sounds of familiar language “Provide a fire, as the hub of one activity” (Alexander 1977, 447). and cooking; familiar organic textures; warmth from the fire; social experiences . .the “fireplace”, the hearth of a home, as it “provides a natural focus for talk and “Place the most important part of the working surface in the sunlight.. ” (Alexander dreams and thought” (Alexander 1977, 842). 1977, 856). experiential and sensorial requirements Natural lighting and different light intensities; welcoming smells of food and spices and sounds of familiar language and music; familiar natural materials; warmth from the fire; closeness to the ground and nature “No social group - whether a family, a work group, or a school group - can survive without constant informal contact among its members” (Alexander 1977, 618).
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sleeping physical requirements Sleeping quarters for the family; single males and females; host family “In many traditional and primitive cultures, sleep is a communal activity without the sexual overtones it has in the West today. We believe that it may be a vital social function, which plays a role as a fundamental and as necessary to people as communal eating� (Alexander 1977, 861). experiential and sensorial requirements Pools of light and darkness; familiarity of materials; closeness to the ground; warmth and comfort; possibility of sight and sound of one another design outcome: Through a series of interrogations of the spatiality and how one might feel and experience in the space, the following design outcomes have been derived. The focus areas include the foyer, the dining area and the outdoor courtyard and family quarters.
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ground floor plan not to scale
first floor plan not to scale
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ELEVATION SOUTHEAST 1:200 ELEVATION SOUTHEAST 1:200
elevation south-east not to scale
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meditation garden
foyer
sectional elevation: foyer, dining hall and kitchen not to scale
dining hall
kitchen
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office
reception
meditation garden foyer
waiting area
floor plan: entry - foyer not to scale
entry
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PERSPECTIVE: ENTRY RECEPTION AND WAITING AREA
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fridge freezer
cooktop
fire pit
chicken coop vegetable garden
halal kitchen outdoor coutyard
freezer wok stove
fridge
prep area
fireplace
main kitchen
cooktop
dining hall sink
dishwasher
waste disposal
floor plan: dining hall, kitchen, outdoor courtyard waste disposal
not to scale
31
PERSPECTIVE: DINING HALL DAY AND NIGHT
32 chimney flue vent
combustion air in
exhaust air out
heat transfer system to other vents
heated room air comes out sealed combustion chamber reverse air circulation fan pushes air up cool room air enters
DETAIL: FIREPLACE 1:25
33
office
communal outdoor courtyard
halal kitchen
SECTIONAL ELEVATION: OUTDOOR COURTYARD DAY AND NIGHT
34
wc master bedroom
storage bathroom shared stairway
shared stairway children bedroom
kitchen
living room
void
bamboo walkway
GROUND FLOOR
FIRST FLOOR
FLOOR PLAN: SLEEPING AND LIVING - FAMILY QUARTERS NOT TO SCALE
35
PERSPECTIVE: SLEEPING AND LIVING FAMILY QUARTERS