NAME: JERRICA LIAU APPLICATION ID: 64864
CONTENTS 1. STUDIO FIRE (2015) : THE RECURRENCE
2. STUDIO AIR (2015) : zymogenous
3. STUDIO WATER (2014) : RICHARD MEIER
4. VIRTUAL ENVIRONMENTS (2013): NATURE
BACHELOR OF ENVIRONMENTS MAJORING IN ARCHITECTURE
2013 - 2015
WORK EXPERIENCE ; 10:10 DESIGN
STUDIO FIRE (2015) : 2145; THE RECURRENCE INDIVIDUAL WORK
The brief of the studio implied that the architecture had to be placed 30 years in the future, whilst accomodating a yoga foundation, visual arts and architecture firm. Using the factor that the building is to be placed 30 years in the future, I wanted the building to be able to last for a hundred years after, therefore taking into account a possible flood occuring in 2145. SITE ANALYSIS: The background represents a flood occurance in the year 2100. Flood levels reach AHD of 7.5 while the site is on an AHD of 9
1. SECTION 8 - OUTDOOR YOGA
7 - INDOOR YOGA 6 - BEDROOM (UPPER) 5 - BEDROOM (LOWER) 4 - BEDROOM (UPPER) 3 - BEDROOM (LOWER)
2 - OFFICE
EIGHTH FLOOR - OUTDOOR YOGA SPACE
FOURTH FLOOR - MOTEL ROOMS (UPPER)
SEVENTH FLOOR - INDOOR YOGA SPACE
THIRD FLOOR - MOTEL ROOMS (LOWER)
GROUND FLOOR - LOBBY/RECEPTION
LOWER GROUND FLOOR - GALLERY
1 - RESTAURANT
G - LOBBY
LG -GALLERY SIXTH FLOOR - MOTEL ROOMS (UPPER)
SECOND FLOOR - OFFICE
BASEMENT FLOOR - CARPARK
B - CARPARK
FIFTH FLOOR - MOTEL ROOMS (LOWER)
FIRST FLOOR - RESTAURANT
CONCEPT: Floods are usually noted with a negative connotation, however the building aims to change the negative connotation through increasing positive relationship with water. In the "hydrolic cycle", water is explained to be constantly changing in a vicious cycle: 1. Evaporation from sea 2. Condensation in form of rain 3. Water runs down from higher to lower altitude The building aims to achieve its aim by guiding users from the top floor towards the lower floor imulating water cycle properties and atmospheres. Based on studio exercises of determining idealised programs in a single day, the programs were arranged through each floor where early day activities were placed on top floors while late day activities at the bottom.
IMAGE 1: Yoga Room Stairs
As people make their way downwards, the experience of water increases through creating different atmospheres. The few factors are: 1. Water level 2. Light penetration
Image 1 reflects the highler altitudes; mountains where users can experience ariel view; hence the floor has no walls; noth floors incorporate relationship with mist as users can relate its surroundings with mountain tops. Image 2 is the office area;I wanted my office to be a fun one; the concept of walking on water came to me as a motto to cross a river that seems impossible to cross. The knee deep water beneath a glass floor reminds me to work towards impossibility. As the depth of waters increase, the ceiling height increases as well creating a more relatable sense of being in the deep ocean.
IMAGE 2: Office Space
IMAGE 3: Bedroom Layout
Image 3: The bedrooms were made with a small split river to propel occupants to walk across the ankle depth water. The rooms are made with two stories; having to enter through the top/upper level then make their way down to the lower level bedroom. In contrast to the top floors, this floor has pathways that split; as an image of a splitting river. Image 4: The deep sea is also known as the abyss where light is unable to penetrate through. Water from the top floor flows down through the water walls end its journey in the gallery where all four corners and the floor is filled with water ; the only material separating human contact with water is glass.The ceiling height is again doubled in aid for an atmosphere in the deep open sea.
IMAGE 4: Gallery Space
GROUP WORK : JERRICA LIAU, KE XIN ANG & WEI CHERN SOON
STUDIO AIR (2015) : ZYMOGENOUS
site consideration: ceres park The structure was originally built to replace two existing buildings in the site which were the performance stage in decaying stature with the a meeting building that is two meters within the stage distance. The stage lifespan was predicted to last no more than a few decades, as its current condition is not desirable for users as well. We decided to take upon the challenge on remaking a space where users can be invited easily to the site while experiencing the site within the structure. The initial design was to replace the meeting building and also the stage.
The name of the structure is name Zymogenous as this is a type of classification for a bacteria that is essential in breaking down nutrients in soil for feeding of vegetation. The â€œbreaking downâ€? cycle is repeated in the natural process once trees decay to the ground where microorganisms would then again break the nutrients for other living organisms to feed on the food chain. This chain is responsible in keeping the ecosystem alive therefore, the inspiration deriving from the repeated cycle from the surrounding environment.
The site circulation, vegetation and a few other factors were considered in placement of the field lines. After consideration from the presentation critics, the site was reevaluated, entrances, circulation and pathways were noted, and presented in the diagram for better explanation to site and designed performance. Initially there were four starting points to create field lines covering a vast amount of land. However this scale is reduced in order to limit the area of coverage. The meeting building is also kept in place while the structure would replace the stage. In the first diagram, the indicated lines are possible circulation pathways into the site as well as out of the chosen site. Within the circulation pathways, points were placed where the structureâ€™s column would be constructed so as not to obstruct the circulation pathways. Once the anchor points were placed, the field lines would be generated to better distinguish the amount of area that the structure would cover. In figure four, four repelling points were placed on pathway openings in the site to create an entrance to the structure. Spinning force points were placed where trees are to create sunlight paths and to enable the structure would wrap around the tree instead of obstructing its view. The number of field lines were reduced to form a more realistic construction process.
STUDIO WATER (2014) : RICHARD MEIER INDIVIDUAL WORK
SITE: STUDLEY PARK BOATHOUSE The brief of the studio required an architecture that is retracted from a master; Richard Meier. The architecture had to incoporate a restaurant, kiosk, boat storage, workshop, office and public ammenities. Richard Meier takes inspiration from circulation paths, iconic landmarks, architectural orientation and areas that recieve direct sunlight. Using these characteristics, the building takes place in its form and placement.
1. CIRCULATION PATHWAYS
4. MELBOURNE CBD | YARRA RIVER
2. ARCHITECTURAL ORIENTATION
5. DESIRED VIEW
3. AREAS OF DIRECT SUNLIGHT
6. SHADOWED AREAS
IMAGE 1: Interior Spaces
IMAGE 3: Ramp
IMAGE 2: Kiosk Area
IMAGE 4: Outdoor Walkway
The inclusion of ramps cannot be excluded as Meier follows Le Corbusier's five principles of architecture. Hence, the inclusion of pilotis, ramps, and open rooftop areas. The building plays with double height space and single height space as both public and private areas respectively. The private and public areas are also separated into the back and front of the building respectively. The offices and workshops are placed in the back of the building slowly involving public access such as the kiosk and restaurant and finally the outdoor areas where the deck is placed. Meier also plays on circulation enabling the public to enjoy a journey with outdoor views such as the circulation pathways of the ramp, and outdoor deck area. Meier successfully achieves framing outdoor views in walkways through intentionally subtracting square cut windows all through the walkway from the boathouse to the deck and the featuer wall next to the ramp.
VIRTUAL ENVIRONMENTS (2013): NATURE INDIVIDUAL WORK
IMAGE 1: Prototype 1
IMAGE 2: Prototype 2
IMAGE 3: Prototype 3
The brief was to design a lantern solely drawing inspiration through nature. The inspritation holding the form throughout this design was a dragonfly wing. Modelling clay were used to desired form, cut and brought to life through Rhino. Rhino and Grasshopper were used to design the form and structure of the lantern leading to the birth of several prototypes. The final prototype was chosen based of its properties to create diffused light as a dragonfly wing would through the penetration of sunlight. The curved form also generates an enhanced organic feature further encased into nature..
PROCESS OF FORMATION:
WORK EXPERIENCE(2014): 10:10 DESIGN
INVOLVEMENT: Digital Design & Drafting The Project is for MMM Australia, a company branch placed in Chiang Rai, Thailand. The project was digitally modeled in Sketchup for a presentation proposal.
OTHER/MISC. INDIVIDUAL WORK
INVOLVEMENT: Designing Membership Card 2015 The Malaysians of Melbourne University membership card was inspired by the connection to home from Melbourne. The people and familiarity of places can keep Malaysian members in tune to their homeland and hence the card places iconic symbols sucj as the KL Twin Tower and Petronas Tower. Once the card is flipped, the Melbourne skyline is outlined at the back, illustrating that the only form of connection through both places is the Malaysian club itself.
INVOLVEMENT: Designing Emotion Prints 2015 Each design is from a Printmaking Studio hosted by The University of Melbourne, taken in Winter 2015. The brief involved creating emotion in the form of prints. The left image represents joy, in bright tones of colour; yellow, green and pink, while the right image represents peace, in more dense purple, blue and turqoise.