Melbourne University Masters of Architecture Design studio 32: â€˜Clusterfcukâ€™ Semester 1 2013 directed by James Murray + Tim Hill, Tandem Design Studio.
contents Forward by James Murray 5 Studio Projects
Bella Bower 6 David Cardamone 8 Emma Chrisp 10 Alison Coy 12 Nicole Doedens 14 Bianca Eglington 16 Andy Fergus 18 William Hallett 20 Ricardo Hernandez 22 Kara Kim 24 Maggie Lokic 26 Jade Marlick 28 Ben Miller 30 Cicero Nguyen 32 Tyron Nohr 34 Emmy Seymour 36 Jordan Simcock 38
Image credits 40
forward We began this Masters studio after a provocation from David Walsh, “I’m building a hotel and may get an artist to look at it.” As architects we live in our narrow design domain and rarely venture outside it; when we work with others it is usually constrained by conventions, niceties and the need for clear demarcation. These boundaries are very present and reinforced by our cultural institutions in particular museums and galleries. The “contained” is primary and the container secondary. Ever since the writings on the white cube there has been a notion that art needs to be housed in featureless white rooms. MONA pushes back on this notion both through the particularities of the spaces and the way some artists have engaged directly with them. Our question was how could this be applied to a hotel – could we explore new relationships between the contained (occupants) and the container (hotel)? Linked to this was an interest in revealing other definitions of an “art hotel”. We were keen that in the same way the current MONA accommodation incorporates exhibits our hotel spaces were intertwined with artwork – perhaps attempting to capture an experience or quality of an artist’s work rather than merely providing a wall/space to hang it on. To this end this clusterfcuk attempted to push candidates to explore notions of representation in physical form of qualities, effects, experiences – could we take some of the space occupied by art work, could architecture explore these possibilities? The intent was less to try and make artists out of architects than architects who could explore the processes and conceptual frameworks artists work within. We looked at 6 artists and tried to understand what motivated them, how they worked and what if anything we could transfer to our own design approach. Patricia Piccinini, Michel Blazy, Daniel Crooks, Cornelia Parker, Tara Donovan and Callum Morton were researched as were other hotel precedents, the site and our client David Walsh. The most successful projects somehow connected these elements in unexpected, subtle and perverse ways. One of the joys of teaching is being able to push and pursue ideas (through the candidates) that you would never let in to the office. Two candidates, Ricardo and Ty, took the opportunity to design buildings that as Ricardo put it “push back on their occupants” the intention being to force users to rethink their relationship to the built environment, themselves and those around them. That these projects on first appearances are refined and believable pieces of architecture makes them all the more intriguing. Other tactics included using the hotel as a catalyst for change across the site; master-planning machines that could unlock some of the current issues with the site such as circulation, waste, expansion. Emma went as far as to cohabit the neighbouring sewerage facilities to create a new hybrid hotel type that embraced the mechanics of waste and vehicles solving a number of real and potential issues. Why not take the hotel off site completely and create new destinations? Will pursued this question through a flotilla of HOMO houseboats and destination eating and leisure facilities – perhaps these could also be used to help cure the poisoned Derwent? Andy took this notion and pushed it through as a series of purification pools that flushed with the tides and were incorporated into a spa complex that created a new cluster on the sites northern promontory. Sitting on the pink MONA beanbags sun setting, flushed from several glasses of pinot, talking to David about his visions for the hotel with the clusterfcuk crew will rate as one of the highlights of this studio as will final presentations where my expectations and predictions were exceeded and challenged. Thanks to the crew and David for sowing the seed.
James Murray. Director Tandem Design Studio.
David Cardamone studio C
Emma Chrisp studio D
reduce floor depth
tilt for circulation
MONA hotel: an alternate proposition. Emma Chrisp
public programs cafe/bar/spa/theatre
Cameron Bay sewage facilities, laboratory/ tertiary treatment/turbine
primary double helical public acces car-parking
secondary private car-parking staff/VIP guests
Circulation + program.
The hotel is an immersive experience which exists beyond people’s normal lives. Beyond normal life the hotel presents unique opportunities to challenge conventional systems of organization and perception. Yet hotels tend to reflect consumer desires for safety, order and control rather than exposing visitors to new experiences. MONA is adjacent to Cameron Bay wastewater treatment plant. The plant is barely visible and most people would rather ignore it. Our waste is a renewable resource but the subject of human excrement is as taboo now as sex was in the time of Freud and Kinsey. To view waste with disgust is a luxury unbecoming of our time.
Section B-B’ through spa 1:200
What if you married the new hotel with the existing sewage plant? Use the water as thermal mass, burn the methane for fuel. Let them be disgusted.
Alison Coy studio C
A clusterfuck of influences including evolutionary psychology, Artist Daniel Crooks, Museum Owner David Walsh, Jaguar Land Rover
edge conditions Concept Program Diagram
Proposed Hotel Location @ MONA Site
Model Showing Entry from Site + 99 Steps
Tandem Architects and Nassim Talebâ€™s Antifragile variability stressors.
This is a proposal for a hotel with strips of unconventional hotel program and adjacenies exposed throughout the interior from the offset levels and edge conditions. These create opportunities for unexpected views, encounters and circulation. Birthing suites with ramp access for emergency hospital transfers overlook the hotel lobby; you can crawl out of the library through the shelves; the auditorium seats and bar mezzanine cut into the corridor with a sloped green roof above so you can peek in; a floor plate cantilevers out to form a bar with interesting views into the communal showers. The compliant circulation route is supplimented by an adventurers path marked out by Tasmanian blackheart sassafras timber.
Nicole Doedens studio E
Bianca Eglington studio E
Andy Fergus studio E
mercury spa treatment
site plan: northern peninsula hill town
clean water released
function / exhibition space
office / reception
mercury filtration & geothermal plant
not one heroic building in the landscape, but a collection of smaller buildings and spas set in a village configuration woven between existing vegetation
“I just want to swim in it, but its in the top 10 most polluted rivers in the world due to mercury contamination” Keisha
“ a great site for anything, thats what puts me off.... constraints force the mind” David Walsh
William Hallett studio C
C LU S T E Rfcuk
HOMO x+ CLUSTERfcuk William Hallett 625645
Ricardo Hernandez studio C
HOMO This HOMO attempts to imagine a building that continues, through architectural techniques, certain themes and characteristics which are often perceived in the MONA and its progenitor. In doing so, the project also attempts to precipitate that conflict which some see between space and program, thus questioning perceptions of the relationship between the two.
In that underlying tug-of-war between developing an architecture (for architecture’s sake), and fulfilling a program, it is more often than not the program, starting with the human inhabitation of a building, which comes out on top. In fact, to some, architecture is defined (not necessarily in a negative manner) by its address of the “outside” constraints of program (and context,
and budget, and site, etc.), distinguishing it from “art”, which responds to self-imposed constraints. If this is the case, then what happens to architecture if a building refuses to address those “outside” constraints, at least in the accepted manner (see: Perversion)? This HOMO, thus seeks to allow the devel-
This HOMO seeks to give guests the opportunity to stay a night inside David Walsh for an average rate of $230.
opment of the building’s spaces to supersede conventional and expected programmatic requirements, allowing the building to push back on the body and treat it as a material which can be manipulated to express what the building wants to express: to raise certain questions about architecture (re art and program), and pursue the interests and themes of the MONA .
(noun, pər-ˈvər-zhən, -shən) A deliberate behavioural deviation from that which is accepted as normal or orthodox.
The building slices are spliced into the landscape at an angle to accentuate the gesture. As a result, guest rooms are essentially located along ramps, favouring aesthetic integrity over conventional notions of a comfortable inhabitation. While these rooms feature vistas of the River Derwent, they are mostly indirect as the building focuses eyes upon itself and its condition.
& the Catacombs.
Glass ceilings for sleeping capsules have been inserted into a lobby floor, revealing a spatial relationship between sleeping guests below and spectating guests above. Guests are thus invited to become, both, exhibition and viewer of the building’s manipulations.
The slicing and splicing of the building and its programmes produce spatial relationships that challenge perceptions of habitation and use.
This HOMO has self-mutilated in a desperate attempt to rebel against the body.
& the Drama Queen.
Competing for attention, this HOMO has sliced and pulled apart its auditorium. It has also spliced in other functions, the weather, and the river. Notwithstanding the “distractions”, this HOMO presents a challenge to performer and viewer to overcome and take advantage of the particularities of the space; for example, rooms along the side could be integrated as part of the performance as secondary stages, while other acts might only be peformed when it rains.
& Art & the Body.
The building has spliced together the gym with the exhibition space, combining the circulation of both programs and allowing both sets of users to observe one another while still maintaining full use of each facility. Those sculpting their bodies can replace mirrors and windows with the eyes of those there to appreciate art, thus obtaining instant gratification for their efforts. Gallery users, in turn, can observe first hand the sculpting of works in progress sure to become future statues of
+ the HOMOner.
Upon arrival, guests may be HOMOgenised through the issue of official HOMO garb. Designed the same for all guests, this lounging attire symbolises all guests’ transition into HOMOners.
Example: sleeping capsules can be fitted with sensors so that the capsule is only (dimly) illuminated, and thus visible, once guests fall asleep; or conversely when heart rates or activity inside the capsule rise above normal.
+ a Better You.
As all sleeping arrangements have been encapsulated, added value can be provided by aclimatising the capsules for optimal sleep and relaxation. Additionally, guided meditation imparted during sleep can take advantage of subliminal messaging to help guests find a better, more HOMOnious selves.
& the Spa.
It offers guests the opportunity to adapt to the building so that they might be able to comfortably relax within it. Plates of glass have been arranged to form structures against which guests may be pressed and sliced (just like the building has been sliced). If guests do not whish to be sliced, a silicone pad can be placed on top of the plates so that they may still be massaged without significant physical alterations. Below the pad, guests would still be albe to feel the plates as the building attempts to slice them, adding to a more conventional manner of pleasure through pressure. Ricardo Hernandezfirstname.lastname@example.org/2013
Kara Kim studio C
MONA STAGE II
BY KARA KIM
MONA Stage II is a hotel as an extension of the existing museum, where private hotel rooms have been designed to be used interchangeably with public museum spaces. This interchangeability enables maximal efficiency of hotel/museum spaces, which can be used to address long-term and short-term needs (such as peak tourist season) so that a maximal profit can be earned to keep the museum running and ensure its longevity. MONA Stage II also incorporates additional program such as open auditorium and art-learning studios to further encourage participation of the local community, not just art and wine enthusiasts and tourists. The extension aims to not only ‘extend’ but to improve and enhance the existing. Viewers can look but they can’t touch
Viewers can come up-close and personal with artworks in enclosed ‘cave’
Mezzanine space ideal for families
Intimate, enclosed caved-in bed space or ‘love cave’ for sleeping
One of various hotel/museum space layouts - building intimate bedroom spaces, and new and evolving relationships between viewer and artwork
Auditorium with openable skylight - can be used for the community activity such as moonlight cinema, local festivals
Kara Kim 358111, Clusterfcuk Studio 32, Melbourne University
Maggie Lokic studio E
× + HOTEL MONA _ HORIZONTAL SKYSCRAPER
× + HOTEL MONA_HORIZONTAL SKYSCRAPER / Studio E | Clusterfcuk | Semester 1 2013 // Magdalene Lokic | 334874
Jade Marlick studio C
jade marlick - HoMo
Ben Miller studio C
Cicero Nguyen studio C
name: cicero email: email@example.com
Tyron Nohr studio E
Emmy Seymour studio C
HOMO CLUSTERFCUK EMMY SEYMOUR firstname.lastname@example.org
Jordan Simcock studio C
The Hotel as a Virus This design for the hotel reacts to the brief by comsuming the existing buildings instead of working with the suggested site. These buildings are somewhat vague in their language, they are the host, and living off that host while being careful not to kill this host is the hotel, the virus. Taking a form directly influenced by the current attributes of the site, the new structure takes what it requires from the existing
and disregards the rest. This design aims to function in a manner comparable to virus, circulation is a priority and is mostly influenced by an initial study of the desirable paths of passage. This circulation also dictates the functional spaces while creating a more effective and efficient form in which the occupants act as cells transferring the pathogen as they move throughout the host and the attached virus, the differentiating lines of which have each become intentionally blurred.
North Elevation Scale 1:500
East Elevation Scale 1:500
Bar / Lounge / Prefunction Internal Exhibition/Void Space External Acess for Adjoining Rooms
South Elevation Scale 1:500 Local Beer / Wine Club
Spas and massage rooms
Level 1 Plan Scale 1:1000
Function Space Outside Area
Overlay of Old and New
Existing Elevator Extended
Image credits. Patricia Piccinini, Michel Blazy, Daniel Crooks, Cornelia Parker, Tara Donovan, Callum Morton and Wim Delvoye.
Student photos. Tyron Nohr, Maggie Lokic, Ricardo Hernandez, Nicole Doedens, Kara Kim, Jordan Simcock, Jade Marlick, Emma Chrisp, Emmy Seymour, William Hallett, David Cardamone, Ben Miller, Andy Fergus, Bianca Eglington, Bella Bower, and Cicero Nguyen. Edited by. Emma Chrisp. 40