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Plans and siting
Some elements of the ground floor I didn't draw in such as the WC as these could be replicated in Photoshop. There was also an extension from the silks area which got deleted in edits, but are shown here anyway for process.
Pencilled plans on trace:
Inked in plans:
Final Photoshop edits with materiality added:
As mentioned earlier, I kept materiality true to site context, using concrete, wooden flooring and corrugated sheet roofing. I also used an exposed decorational steel skeleton to replicate the internal structure of the sheds. I'm pretty happy with how the collaged images turned out - pretty similar in style to the Diller and Scofidio exemplar:
Location on the site was based primarily on the fact it would be most visible and inviting to pedestrians using the reinvigorated walkway. Traffic is indicated in the second diagram, with nodes of activity in the building identified. Additionally, the layout allows for a smooth transition in, out and around the school.
Pencilled plans on trace:
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| Ground floor plan with pool exposed |
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| 2nd level plan with classroom in use |
Inked in plans:
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| Ground floor plan |
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| Ground floor plan |
Final Photoshop edits with materiality added:
As mentioned earlier, I kept materiality true to site context, using concrete, wooden flooring and corrugated sheet roofing. I also used an exposed decorational steel skeleton to replicate the internal structure of the sheds. I'm pretty happy with how the collaged images turned out - pretty similar in style to the Diller and Scofidio exemplar:
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Final plans and conceptual parti seem to fit well together. The spaces weren't that difficult to connect in order to achieve this.
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Location on the site was based primarily on the fact it would be most visible and inviting to pedestrians using the reinvigorated walkway. Traffic is indicated in the second diagram, with nodes of activity in the building identified. Additionally, the layout allows for a smooth transition in, out and around the school.
Sections: Aerial silks and life-drawing
The next operable component of the building after designing the brace was the divisible life-drawing class. I didn't quite understand the purpose of having the room split in two, and wanted to avoid just having a simple sliding door or partition just for the sake of fulfilling that requirement. For this reason, I went back to my previous projects and brought the rolling canvasses in to the equation, giving this wall a purpose now. My idea was to have rolls of canvasses embedded within the wall that could be pulled in and out. This was a practical idea for the space's purposes, but then I thought about how this idea could be pushed to really take advantage of this. From project 1, the purpose of the moving canvasses was to display the work of students to the public, so I redesigned this sliding wall to move vertically so it could be used in the cafe space beneath. It was angled to follow the geometry of the building and also to not completely block off space beneath. In the cafe section, visitors could then pull out these canvasses (which I made at different heights to accommodate different kinds of spaces to be created), and they would act as partitions to create nooks and semi-private spaces for patrons to sit in.
Here are the final operative plans collaged:
From the parti diagram, this space would have been awkward as the entry to the building, so I adjusted it to make the movable space the silks area in front of this to also double as a foyer.
Basic research about aerial silks suggested that different heights were required for different skill levels, so again, I used the basic expansion/contraction system from the public seating to make the height adjustable. Below are the operable sections through the building to show both the life-drawing class and silks area (I didn't bother with a plan for the silks area as it wouldn't change form):
Here are the final operative plans collaged:
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| Partition raised with canvases used in life-drawing class. |
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| Partition lowered with canvasses used in cafe seating area |
From the parti diagram, this space would have been awkward as the entry to the building, so I adjusted it to make the movable space the silks area in front of this to also double as a foyer.
Basic research about aerial silks suggested that different heights were required for different skill levels, so again, I used the basic expansion/contraction system from the public seating to make the height adjustable. Below are the operable sections through the building to show both the life-drawing class and silks area (I didn't bother with a plan for the silks area as it wouldn't change form):
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| Section with partition raised in drawing class. Ceiling structure is also lowered in silks area for practice. School acts as a private building for education. |
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| Section with partition lowered into cafe with canvasses pulled out to create nooks for patrons. Ceiling structure is retracted for silks performances as the school takes on a more public building nature to display its work. |
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| Layered sections in operation |
Operative section: Performance class, stage, and synchronised swimming pool
This is the basic movement diagram I developed, noting how a positive motion in one direction creates an opposite reactional relationship:
Here I also started to think about the mechanical requirements of this system, realising there'd need to be a sliding system incorporated into the joint of the frame and floor/ceiling systems to allow for the movement (represented by the navy circles). This is great as it brings back the sliding movement I explored in project 2.
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This room would be the performance class but also double as a stage for open air performances. I was left with an unused expanse of space under the flooring that wouldn't be appropriate for public use as a recreational space due to the imposing nature of the roof (class room floor) so I turned it in to a pool for synchronised swimming. I then added a 1m concrete wall around it with retractable glass so it could double as a footing for the stage to rest on.
To really make it believable, I researched some mechanical systems but they were all a bit too complicated to break down so instead I looked to the Story Bridge for inspiration for the steel structure. Pile footings and slabs were also added, with the pool section having some level of detail by including a central drain, sloped bottom, ladder and tile overhang at the edge. In the flooring systems I used a basic bearer and joist configuration with wood panelling on the top. This didn't show in the section cut as it all became blacked in, but thought I would mention it anyway. All of this rested upon 3 steel I-beams with the sliding system attached to the ends, and then these were connected to the diamond brace. I thought about how the floor and ceiling might lock in place inside the frame to stop unwanted movement, so added little latches/grooves within indicated by the tiny rectangles running centrally through the frame. These stop halfway along as this is the maximum expansion allowed for the closure of the space. From my technologies units, I considered geometric stability, as this structure runs along one plane. In plan, I have added a triangular steel structure at a 90 degree angle to connect the ends of the brace to make it a rigid structure. I thought about showing this in section (along with the building behind it) as an indication of context and how it connected to the main structure, but thought for representational purposes it would be clearer to isolate this.
Finally got my hand-drafted sections done on trace. Some elements I
didn't bother re-inking as it'd be easier to copy/paste in Photoshop for
the final panel, such as the pool and ceiling section.
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| Brace contracted, room height expanded to become stage (graphite on trace) |
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| Brace expanded, ceiling and floor contracted to enclose class space(graphite on trace) |
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| Inked in section |
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| Inked in section |
I took a photo with my phone with the trace overlayed instead of scanning to get a grittiness to it. Played around with layering in Photoshop and decided that the pencil version worked best with a filter and came up with this. I'm really happy with it and the filter really gives it an evocative, ephemeral feel.
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| Original overlay taken with phone camera |
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| Final image with filter |
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Next in the operative section was the public space. Out of necessity, it had to accommodate raised viewing for the stage. This was simply achieved through a simpler diamond expansion/contraction system attached to concrete slabs, allowing the platforms to be utilised as general adjustable seating for the parkland when not used by the school:
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| Seats raised for viewing of stage |
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| Seats lowered for everyday use. Heights can be adjusted accordingly. |
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| Operative section of seats |
Visual representation exemplars
Thought I'd explore some architects' works and see how different forms of presentation can evoke different reactions to a design, and also how mobility can be shown.
LEBBEUS WOODS
Light but precise flurries of penciled linework indicate potential movement of parts in the buildings. The second image particularly does not seem to be of a static structure at all.
DILLER SCOFIDIO + RENFRO
Not having an image dead centre of the page seems to work well. Layering and leftover guidelines are also very effective. I think I'll hand draw my final images and digitally collage over them in the style of Diller and Scofidio.
LEBBEUS WOODS
Light but precise flurries of penciled linework indicate potential movement of parts in the buildings. The second image particularly does not seem to be of a static structure at all.
DILLER SCOFIDIO + RENFRO
Parti, form, and performance art
Continuing the drawing element from my initial designs, I think Carolee Schneemann's performance art piece Up to and Including Her Limits would be a fitting way to tie the projects together.
For this reason, I decided to experiment with her form in creating a suitable parti diagram and seeing if kinetic spaces of the building could be identified from this process. Below are my results using the first image. I initially noted that her whole body was in movement via a single dashed line, but it became apparent that in that instant, her legs, hips and one arm would be doing the movement. I then indicated the vertical motion of her legs and arm via a thinner purple dash. The final geometry seems to be very simple (a connection of squares and triangles), but perhaps this will work well in the site context in relation to the Story Bridge and sheds. I'll most likely explore this configuration.
For this reason, I decided to experiment with her form in creating a suitable parti diagram and seeing if kinetic spaces of the building could be identified from this process. Below are my results using the first image. I initially noted that her whole body was in movement via a single dashed line, but it became apparent that in that instant, her legs, hips and one arm would be doing the movement. I then indicated the vertical motion of her legs and arm via a thinner purple dash. The final geometry seems to be very simple (a connection of squares and triangles), but perhaps this will work well in the site context in relation to the Story Bridge and sheds. I'll most likely explore this configuration.
Inflatable enclosures
As a response to site flooding and a development of the transparency of materials I explored in the canvas structure of project 1, I've decided to look in to inflatable architecture as an element of my proposal. Obviously it will only be used in a certain area as the structural qualities create a limitation of its application.
From exemplar studies, there appear to be 2 kinds of inflatable spaces:
1. Inflated structural element:
Pros: Forms can be manipulated and highly controlled, allowing for the creation of walls and multiple spaces.
Spaces inflated/deflated independently of each other.
Cons: Flooring would be too delicate and impractical if it were to be inflatable.
As a roofing structure it wouldn't be entirely weatherproof.
2. Inflated enclosures:
Pros: Inhabitants can respond to form in high and low pressure undulations of the material. Large expanse of space.
Cons: Form seems to be very limited to a bubble or 'packet'-like shape.
The structural inflation seems most practical in terms of the activities taking place, and also allows for the spaces to be changed (inflated independently), removed (deflated), and also even attached to another moving element to create two volatile spaces in one.
From exemplar studies, there appear to be 2 kinds of inflatable spaces:
- Inflated structural elements with occupiable space in between;
- Inflated enclosure.
1. Inflated structural element:
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| Alexis Rochas' Aeromads installation |
Spaces inflated/deflated independently of each other.
Cons: Flooring would be too delicate and impractical if it were to be inflatable.
As a roofing structure it wouldn't be entirely weatherproof.
2. Inflated enclosures:
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| Clean air pod performance at Rolling Stones concert |
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| Top to bottom: 1960s inflatable by Jersey Devil 1965 Environment Bubble by Banham & Dallegret 1967 Pneumakosm by Haus-Rucker-Co 1970 Clean Air Pod by Ant Farm |
Cons: Form seems to be very limited to a bubble or 'packet'-like shape.
The structural inflation seems most practical in terms of the activities taking place, and also allows for the spaces to be changed (inflated independently), removed (deflated), and also even attached to another moving element to create two volatile spaces in one.
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