Page 1

Site Analysis

Residential Childcare TAFE Pub

On site observations revealed that the site is prone to flooding. The vegetation consists of man made fill and Elm trees.

N

Kings Cross Train Station (450m)

Sun Study highlights how the site receives adequate sunlight at all times of the year. However, early morning sunlight is limited due to a cliff due east of the site.

ViewPoints Circulation

William St Bus Stops (550m)

Topography of the site varies as the site has been built up with a man made fill to accommodate steep gradient.

N

N

Red Brick

Plaster and Brick Brick

Australian Fern

Natural Stone


Precedent Studies: Cafe

For the designers of El Moro Churreria, when they thought of a desert bar, they thought of sugar. This primary design theory has perpetuated throughout their design scheme to create a holistic, minimalist and innovative piece of architecture that speaks to it’s users and adheres to the past. Blue and white tiles, illuminated by LED lights, create a stark contrast to the concrete city surroundings, drawing in by-passers to experience the ambient atmosphere. This innovative take on graphic design translates into endless compositional opportunities for branding, communication and creating a place for identification. I believe this homogenization of the design not only has a dramatic effect, but allows users to easily recognize, and hence come back to, the “blue and white tiled cafe”. The sweet graphic creates a playful atmosphere, concurrent to the function of a desert bar, reflecting its importance in creating the brand. And indeed, the designers have user this custom made geometric pattern to create a brand by cladding the floors, walls, roof and facade in tiles, creating a simple and effective monochromatic spatial envelope. The art deco style tiles acts as a point of reflection upon the cafe’s humble beginnings in 1935 but also stand look to the future through the modern aesthetic. The space is divided into three main sections; the kitchen, take away and order counter, the seating area, and the external seating area, each pertaining to the notion of gathering along. The outdoor furniture frames the take away counter creating a urge to gather along. The order counter, perpendicular to the take away counter, is compressed by the linear organization of the surrounding furniture, encouraging users to gathering against the wall. These two linear arrangements enforce gathering in a such a way that it does not intrude upon the existing seating arrangements, developing the circulation of the cafe. Long tables, placed along the central axis of the cafe allow groups of all sizes to gather , and additionally promotes a sense of community with the shared table approach. The designers have also considered the opportunity to be alone and recluse from other by providing rocking chairs along the external membrane of the cafe. Not only does the seating create a boundary, but allows individuals to look into the cafe and observe others. Ideas of gathering along have been considered in the design plan in order to encourage a circulation appropriate to the size and function of the cafe. Atmospheric qualities of the cafe are also stimulated by the cafe’s form. The playful and relaxed atmosphere of the cafe is enhanced by the takeaway and ordering bar, efficiently connected to the kitchen, removing the formalities of serving and served. Boundaries between private and public space are reduced by expanding the entrance to a door, eliminating a sense of privacy and replacing it with an inviting form. Further, the furniture spills out the spatial membrane onto the street, and chairs face in from the side walk towards the cafe. Private and Public relations become integrated as one, reducing the formalities of the cafe to create a relaxed atmosphere.

Project Name: Centre Pompidou Architect: Renzo Piano Structural elements are displayed on the exterior facades allowing structure and functionality to be celebrated as aesthetic qualities.

Project Name: Ginza Onsen Fujiya Architect: Kengo Kuma Permable structure maintains privacy through the varying proximity and transparency of materials in order to distort vision.

Other inspiration: Luna Park Shadow Screen

Other inspiration: Plato's Allegory of the Cave


Project Name: The Glass House Sculpture Gallery Architect: Philip Johnson How we receive a piece of art greatly changes our perception of it. In Philip Johnson's glass house sculpture gallery, light and perspective are put at the forefront of the design, as the museum uses levels and a unique roofing system to create an artistic effect. The radiating plan cascades down in a spiral motion, providing a view of the sculptures. The plan reflects a level of integrity for the art, as it recognises that it should not be viewed from a single perspective, but instead appreciated from all points of view. The plan further directs users along a selected path, forcing them to view one peice of art before the next, and introducing an inital perspective. Hence, the plan shapes the user's knowledge as they pass through the mueseum, shifting the context in which the art is received. The artistic lighting effect created by the ceiling structure luminates the space in strong linear lights. As the day passes, the shadows pan over the sculptures such that each viewinig is unique, highlighting different parts of the art. It is questionable whether this effect then distracts from the art, as the architecture takes centre stage, or enhances it, as the artist would have to recognise the context his work would be given. Johnson's Glass house displays the unique way architecture shapes our perception of art through directing our sight and path. Further, the gallery challenges if a gallery space should be sculptral in itself or simply act as a the background for the art presented.

Project Name: Louisiana Museum in Humlebaek Architect: BO JĂ˜RGEN Vilhelm Wohlert "It's uniquness is a part of the uniquness of the single place where it is" Art never stands in void, but is informed by the context and our personal knowledge before and during the process of reception. The Louisiana Mueseum in Humlebaek highlights how the space around an artwork is equally as important as the art itself, as it informs the peice and changes it's context. Unlike the hueless, monochromatic backgrounds found in most mueseums, the museum aligns linear rooms to project towards piteresque scenes, creating seamless backgrounds for the sculptures. The shifting natural light and ever changing background constantly changes the art's presentation, creating a new experience each viewing. These rectalinear elements guide the user through the space in such a way that they are forced to engage with the art in a unique way. Shorter rooms present the sculptures close up and intmatly personal in an instant. While long rooms allow the user to initially engage with the work from a far, to view it as a whole, before gradullay zooming in on finer details to gain a greater understanding. It is the architecture, and how it directs the user's circulation, that shapes the understanding of the sculpture as a whole.


Principles

Optimum positioning for social situation Shaded Area

Preferred position for entrance

N

Trees = Privacy

View Inwards

Differentiate materials = Differentiate sense of space

Social Interations at front

Bring Community Together


Responses

Children's Play Area in Sheltered Position

Progression through different senarios

Linear form + Gradient = Sheltering

Distortion

Diagonal roof encourages movement towards Cafe entrance and main walkway

Facade encourages movement into Gallery

Pattern of Facade eneveloping courtyard


The Site

Untitled Downling Street's Park With the increasing intensity of the urban jungle, and the impending pressures of work, family, friends, there is little to no opportunity to escape from the reality around us. Whether this be the intensity of the city center, it's density and fast pace, the night life at Kings Cross, or the cultural attractions in Surry Hills, it is human nature to seek shelter and take rest. Dowling Street's Park aims to provide workers, children, students, parents and families a like, an opportunity to escape from reality and find shelter in a peaceful environment. Notions of sheltering have been translated into to the scheme by pairing the linear form with a unique gradient. Further, trees and vegetation have been used to provide privacy with additional cognitive and environmental benefits. The water feature in the park provides aural relaxtion while also extending out to a children's play water fountain in order to allow children to play in the heat of summer in the city centre. The lowered stage and formal gathering space allows users to view the performance from all angles and additonally provides privacy. Private booth seating provides room for informal gatheirng and a quite space for individuals. The main walkway lines tthese spaces, providing a glimpse into the local senarios as the users proceeds along their path. The park connects the Tafe, Dowling Street and McEholne Street providing effient circulation. The surrounding art gallery and cafe provides opportunities for cultural enrichment and indulgence respectively. The park aims to be an Oasis in the city center for locals to escape and find shelter.

Plato's Ca(f)e “Prosaic habits are not rituals, but in the case of a meal, ordinary practice may transcend itself into a rite” ... And for each individual, the rite is unique and personal to them -formed by the experiences of past. Plato’s Ca(f)e aims to celebrate the individuality of our habits which we have come to believe are ordinary and mundane through the experimentation of light and materiality. By-passers and users of the public park act as the audience for the cafe scenarios and interactions that have been distorted through materiality, creating a cinematic effect. This distortion also creates anticipation, as the audience questions the individual’s identity based on the silhouette they have seen. The diagonal roof encourages users to enter the cafe, creates a visal vector towards the McEholne St entrance and directs users towards the stairs to the park. The unique materiality and use of materials creates visual interest inside different shadows and lighting scenarios are developed over the span of the day. The cafe is comfortable and peaceful space for users to escape and presents our identity to the world when we are at our most comfortable state.

In the 21st century we have seen art as it has never been seen before. The camera has allowed us to take art out of the context in which it resides, and even more so, it provides a static perception, sometimes cropped or from a far, that shapes our understanding. A large part of seeing is dependent on habit and convention, and hence, everything around the image, and the experience in which we see it, is a part of its meaning. Its uniqueness is a part of the single uniqueness of the space where it is. The gallery aims to create a space where photos do not do justice to the experience of the art. The shape of the rooms guides the users as the sculptures are viewed from afar and then up close, and sometimes as a whole before focusing on finer details. At times the user is brought intimately close to the sculpture immediately, and at other times the journey towards the art creates the experience. The linear roof pattern is continued in the walls, and alludes to the aesthetic of Project 2. Furthermore, like project 2, the permeability of the slated walls, creates anticipation for by passers, as they are provided a glimpse into the gallery scenarios and the work on display. Further, the facade enveloping the main walkway encourages users to enter the gallery by closing off views to the park near entrances and opening up where the space aligns with vegetation or water features. In summation, the intimate and comfortable gallery space is appropriate for the Tafe Students and provides both interior and exterior spaces for the work to be showcased. The gallery aims to create visual interest in itself, but never to injustice the art, but to enhance the experience in which it is viewed and the relationship formed between art and viewer.


6 5 3

2

1

C 4

8

7

9

B

10

19 11 21

12

14 20

15

13

A 16

Floor Plan: Upper Level

Location: Dowling St Woolloomooloo

Scale: 1:200

N

1. Kitchen 2. Public Counter 3. Waiting Area 4. Balcony / entrance 5. Booth Seating 6. Outdoor Seating 7. Outdoor Sculpture gallery 8. Public booth Seating 9. Children Play Area 10. Children water fountain 11. Water Feature 12. Vegetation 13. Stage 14. Formal Gathering 15. Seats / Stairs 16. Vegetation

17

19

21

18

20

E

Floor Plan: Lower Level

Location: Dowling St Woolloomooloo

Scale: 1:200

N

17. Indoor Showroom (5m) 18. Indoor Showroom (3m) 19/20. Permable Showroom 21. Main Walkway

D


Scale: 1:100

Section: C

Scale: 1:100

McEholne St Entrance

Outdoor Seating

Indoor Booth Seating

Main Walkway

Indoor Showroom (3m)

Balcony Cafe entrance

Public booth Seating

Section: B

Waiting Space

Children Play Area

Scale: 1:100

Public Counter

kitchen

Section: A Outtdoor Sculpture Gallery

Permable Showroom

Stairs Public Seating

STage


Section: E

Scale: 1:100 Water Feature

Public Counter

Entrance to Tafe

Stage

Section: D Scale: 1:100 Green Roof

Indoor Showroon (5m)

Main Walkway

Permablle Showroom


1

5

6

2

7

3

4

1. 2. 3. 4.

Main Circulation Vegetation Timber Masonry

5. Park Circulation 6. Cafe Circulation 7. Art Gallery Circulation


Final project folio  
Final project folio  
Advertisement