Wednesday, November 5, 2008
ARCH1202 - Coogee Community Centre - Final Model Images
Community Centre Model on Site Model
Overall View:
Above - Facade facing oval
Below - Entrance; Facade facing streets and residential area
Entrance
Walkway
Ground Floor
First Floor
Friday, October 24, 2008
ARCH1202 - Coogee Community Centre - Assessment 3 - Physical Model Images
Overall Model
Plan (showing roof): Contrast of the 'solid' back edge of the building with the 'softness' of the curved front edge of the community centre. This denotes the transition from the built environment to the more natural environment (oval and beach).
Plan - Ground Floor (above): The main walkway in the middle allows individuals to move from one space to another (more specifically, from the streets onto the oval); the transition is translated into this shape to indicate the 'smooth' transition that is undertaken (the enclosure of residential buildings to the openness of the oval and beach).
Plan - First Floor (below): The curve is intended to mimic the natural coastline of the beach. This shape also allows individuals to have a pleasant view of the oval and beyond that point.
View of interest: Looking through the walkway, from the streets to the oval.
ARCH1202 - Coogee Community Centre - Assessment 3 - SketchUp Model Images
Overall view of the Community Centre; facade facing oval
ARCH1202 - Coogee Community Centre - (Proposed/Working) Theme
My theme refers to the idea of 'transition':
- Transition as a general idea, intended to symbolise the change and flux that is occurring within the Coogee community regarding the effects the new Community Centre may be having upon it.
- Flux from the built environment (residential area, etc) to the natural environment (starting with the oval, heading towards the beach). This point encompasses this idea about a 'view', thus developing a connection with that natural environment.
- The idea is interlinked with this 'bridge' idea (symbolic of a means to allow a transition, move from one place to another).
- Transition as a means of bringing the community together (through the program - distinct private and public spaces).
- The transition from the built environment to the natural environment is closely linked to the transition from 'rigidity' to the 'organic' nature of the natural environment.
- Transition as a general idea, intended to symbolise the change and flux that is occurring within the Coogee community regarding the effects the new Community Centre may be having upon it.
- Flux from the built environment (residential area, etc) to the natural environment (starting with the oval, heading towards the beach). This point encompasses this idea about a 'view', thus developing a connection with that natural environment.
- The idea is interlinked with this 'bridge' idea (symbolic of a means to allow a transition, move from one place to another).
- Transition as a means of bringing the community together (through the program - distinct private and public spaces).
- The transition from the built environment to the natural environment is closely linked to the transition from 'rigidity' to the 'organic' nature of the natural environment.
Tuesday, August 19, 2008
Coogee Community Centre - Between Architecture and Landscape - Conceptual Model
This is a 3D view of my conceptual model. I used some of my analysis (from the 22 drawings) to generate it. The two cylinder shapes represent the "organic" flow and ambience that is exhibited by the environment - in particular the relationship between the oval and the community. It is meant to represent the natural flow of nature, as well as emphasise that relationship, which I believe is not stressed enough.
The link between the two parts symbolises connection, and is intended to emphasise that communal bond. That section is also lowered to take into consideration the surrounding buildings, particularly the one situated behind the site so their view will still remain.
Plan view: the plan of the conceptual model is meant to mimic the shape of the drawing made under the name 'Informal insertion - recreational uses' for 'Insertion' from the 22 drawings, as well as the drawing 'Relationship between oval and beach' in 'Reciprocity'.
ARCH1202 - Coogee Community Centre - Between Architecture and Landscape - Drawings
22 drawings attempting to explore issues relating to the five key words: Reciprocity, materiality, insertion, infrastructure and threshold.
Site analysis:
Above - Access
Below - Solar analysis
Monday, June 16, 2008
PROJECT 3: Art Gallery - Changes?
After the critique I received last Thursday, I have quickly reconsidered some of the spaces in my art gallery/house:
- Second Floor: Removal of the two stairs leading from the first floor to the second. There is no point in having them there since the second floor is private use only and not public. The art dealer has his own staircase to get to the second floor (one is sufficient rather than have three).
- If I were to keep those two staircases, then I would need to create more gallery space on the second floor. However I don't like that idea because i) there will be too much gallery space, ii) there will no longer be a clear distinction between private and public spaces(which I initially wanted), iii) the private area might be too "restricted"
- Since the space will be cleared and bigger, I have considered the inclusion of a kitchen area/dining room/living room area to replace the stairs - that way the kitchen on the first floor will be dedicated to only the public (instead of being of both public and private use).
- Ground level: reconsider the maze-like walls and their widths. Perhaps widen the space between the walls but keep the towering walls.
- Second Floor: Removal of the two stairs leading from the first floor to the second. There is no point in having them there since the second floor is private use only and not public. The art dealer has his own staircase to get to the second floor (one is sufficient rather than have three).
- If I were to keep those two staircases, then I would need to create more gallery space on the second floor. However I don't like that idea because i) there will be too much gallery space, ii) there will no longer be a clear distinction between private and public spaces(which I initially wanted), iii) the private area might be too "restricted"
- Since the space will be cleared and bigger, I have considered the inclusion of a kitchen area/dining room/living room area to replace the stairs - that way the kitchen on the first floor will be dedicated to only the public (instead of being of both public and private use).
- Ground level: reconsider the maze-like walls and their widths. Perhaps widen the space between the walls but keep the towering walls.
PROJECT 3: Art Gallery - Model Analysis and Final Narrative
FINAL NARRATIVE:
A solemn, reflective space, with the sole intention of heightening and evoking an array of emotions and feelings, developed through the interpretation of unique, miscellaneous Aboriginal art and its glorification as well as through the spaces in which these are contained.
I had the intention of conveying the ideas I had gathered from the keywords mentioned earlier:
- Bohemian: My building, although "conforms" to the general 'box-like' structure of surrounding buildings, is non-conformist in the sense that its facade is made out of glass/glazing and that the rest of the building is made out of reinforced concrete. It also "challenges" the Art Deco style (by not mmaking use of it) and is mainly intended to allow the public to take notice of the Aboriginal mural (an integral element that contributes to my art gallery). The art gallery stands as an autonomous structure.
- Expressive stimulation: In order for the public to find an appreciation for Aboriginal art, an ambience needs to be created so as to enable one to experience some form of emotional stimulus. I find that today still, Aboriginal culture is not fully understood (and will probably never be completely comprehended), however, this "ignorance" should be minimised.
I tried to create a sequence of space that would make the public realise what Aboriginal people had endured in the past up until now. For example, on the ground floor, the maze-like circulation is intended to exhibit a sense of confusion (what Aboriginals would have felt upon determining the White people's real intentions). This confusion is heightened with the different heights of the walls. The spaces between the walls also fluctuate in terms of width.
This space then leads to the underground space (which is meant to symbolise the community succumbing to the White invasion), a very dark experience for them. This space can hold video installations dealing with those issues or small sculptures (David Malangi's 'Gurrmirringu and his wife') - the room is very dimly lit, with only spotlights on certain areas as either a form of display for an artwork or to lead the public from one place to another.
The first floor (with the courtyard) illustrates the positive change that has occurred between the Aboriginal community and the non-Indigenous Australians. the stairs slowly lead you up, the in-built display tables are in a t-shape, encouraging you to make your way to the courtyard - the open air - a new beginning.
- Purpose: “I have a dream” - what has been reflected and conveyed is justified with that phrase. The artists produced artwork as a means to speak out, feeling that they would be able to make people aware of their past. They persevered and never gave up.
- Solemn Monumentality: The use of different spaces (underground, courtyard/open space, different wall heights, the play with space height) all helped to convey that idea. This was emphasised with the neutral and Minimalist approach (the materials used were kept to a minimum - only reinforced concrete and glass).
- Glorification: Also similar to 'solemn monumentality', the artworks were glorified either through the use of light (e.g.: underground space) and through the Minimalist approach (only concrete was used so that in terms of colour, it was all subdued and neutral so that the colourful Aboriginal artworks could stand out.
A solemn, reflective space, with the sole intention of heightening and evoking an array of emotions and feelings, developed through the interpretation of unique, miscellaneous Aboriginal art and its glorification as well as through the spaces in which these are contained.
I had the intention of conveying the ideas I had gathered from the keywords mentioned earlier:
- Bohemian: My building, although "conforms" to the general 'box-like' structure of surrounding buildings, is non-conformist in the sense that its facade is made out of glass/glazing and that the rest of the building is made out of reinforced concrete. It also "challenges" the Art Deco style (by not mmaking use of it) and is mainly intended to allow the public to take notice of the Aboriginal mural (an integral element that contributes to my art gallery). The art gallery stands as an autonomous structure.
- Expressive stimulation: In order for the public to find an appreciation for Aboriginal art, an ambience needs to be created so as to enable one to experience some form of emotional stimulus. I find that today still, Aboriginal culture is not fully understood (and will probably never be completely comprehended), however, this "ignorance" should be minimised.
I tried to create a sequence of space that would make the public realise what Aboriginal people had endured in the past up until now. For example, on the ground floor, the maze-like circulation is intended to exhibit a sense of confusion (what Aboriginals would have felt upon determining the White people's real intentions). This confusion is heightened with the different heights of the walls. The spaces between the walls also fluctuate in terms of width.
This space then leads to the underground space (which is meant to symbolise the community succumbing to the White invasion), a very dark experience for them. This space can hold video installations dealing with those issues or small sculptures (David Malangi's 'Gurrmirringu and his wife') - the room is very dimly lit, with only spotlights on certain areas as either a form of display for an artwork or to lead the public from one place to another.
The first floor (with the courtyard) illustrates the positive change that has occurred between the Aboriginal community and the non-Indigenous Australians. the stairs slowly lead you up, the in-built display tables are in a t-shape, encouraging you to make your way to the courtyard - the open air - a new beginning.
- Purpose: “I have a dream” - what has been reflected and conveyed is justified with that phrase. The artists produced artwork as a means to speak out, feeling that they would be able to make people aware of their past. They persevered and never gave up.
- Solemn Monumentality: The use of different spaces (underground, courtyard/open space, different wall heights, the play with space height) all helped to convey that idea. This was emphasised with the neutral and Minimalist approach (the materials used were kept to a minimum - only reinforced concrete and glass).
- Glorification: Also similar to 'solemn monumentality', the artworks were glorified either through the use of light (e.g.: underground space) and through the Minimalist approach (only concrete was used so that in terms of colour, it was all subdued and neutral so that the colourful Aboriginal artworks could stand out.
PROJECT 3: Art Gallery - Model Images
Overall model/Front Façade
Images from first and second floor
The stairs (middle) are used by the art dealer/owner - for quick access to each level and particularly to his personal space (second floor)
Images from ground floor and first floor, the courtyard is also shown (top middle)
Plans (left to right): Second Floor, Roof
Second Floor (from the back the front): office, living room, bathroom + bedroom (left) and storage + bedroom + studio (right).
Plans (from left to right): Underground Level, Ground Floor, First Floor
Ground Floor: Reception, gallery space,work shop (far left), stock room (far right)
First Floor (from the back to the front): Gallery space, courtyard, kitchen
PROJECT 3: Art Gallery - Drawings
Rendered room plan and section - 1:50
Left: Section - 1:100; Right: Vignettes
Second floor plan - 1:100
Ground and first floor plan - 1:100
Site Plan - 1:500
PROJECT 3: Art Gallery - Model Progress - Images
Model completed
Roof
Second Floor - Private apartment
First Floor - Gallery Space with courtyard (centre)
Ground Level - Gallery space
Underground Level with site/base
Underground Level - Gallery space
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