Week 15 - Project 3 - Presentation: Howard Smith Wharves Design Proposal

I then rendered and detailed all the elevations and sections in Photoshop, which were originally drawn by Joel in CAD. Alyssa assisted in the process by giving opinions as she worked on the 3D Revit model. Again I decided it was important for all the drawings to form a strong relationship between each other so I used the same materials that we used in the site plan and 6 1:1000 section cuts. I also took some inspiration from renders which were quite simplistic yet effective as I believed this would not only compliment our "clean" building design, but would allow easy expression of the operational parts of the design. Below are all 4 elevations which demonstrate the relationship to the site, including access from the boardwalk. 

ELEVATIONS

West Elevation

East Elevation

North Elevation

South Elevation

Below are all 4 sections which I rendered in Photoshop. The sections were detailed in a way which relates back to the elevations to show union. 


SECTIONS

Section showing foyer, cafe, level 2 projection room, separated general performance space & separated aerial silks space

Section showing opened general performance space, non-programmed public space and opened aerial silks space

Section showing combined general performance space and aerial silks space

Section showing general performance space opened on one side and backstage room

As I was completing the renders Alyssa remained working on the 3D Revit model which I assisted her with where I could. She worked off 2D drawings which were compiled by Joel to help with dimensioning. The building was also inserted into the site along side the bridge to show context. We decided that it would be best to render the 3D images in Photoshop to add materiality and lighting so I supplied Alyssa with the materials I used in the elevations and sections so she could place them in the 3D views. This would also assure consistency throughout all the groups images. 

3D views of the Revit model: building and site context

External View: Looking towards the main entrance

Internal View: Looking into the general performance space

Internal View: High angle view into the foyer, cafe and level 2 staff kitchenette

External/Internal View: Looking towards Administration Desk from outside

Alyssa then began rendering the 3D views from the Revit Model by editing them in Photoshop. She used the same material palette which was consistent throughout the remainder of the drawings. Below are perspective shots from the exterior looking towards the foyer. I helped by rendering the internal view of the foyer which is located below.

Looking into the building from the boardwalk

Foyer and alongside building leading to life drawing room

Foyer, administration desk & cafe

Internal View of foyer, cafe and level 2 walk way

After completing the elevation/section renders I finished Photoshopping the 3D physical model photos by inserting a white river to remain consistent with the remainder of the model as is shown in the re-edited photos below. 

Updated riverside pictures

I also created a 3D zoning diagram which displays the relationship between all spaces in both the closed and open building position, and also shows how circulation is altered during the transition. The important thing to note here is that our building is able to strongly manipulate the user by controlling how they access and experience the building. In the open position, a whole new section of the building is opened which invites guests into the experiences being endured by performers such as the aerial silks artists and allows 360 views of the showcase, by extending circulation space around the performance.

3D Zoning Diagram

 Joel then comprised the A1 panel that the group was to use during the presentation. It was decided to include both level plans, 2 operative sections, 2 elevations, 2 3D views and a site plan, along with an abstract which both Alyssa and I assisted Joel with. The panel layout was simplistic and clean, responding to our design directly. Along with this, Alyssa created a digital Prezi file that we would also use during the speech. After our presentation we received feedback from both our tutor Zuzana and guest critic Simone. Overall I believe we did quite well with statements such as "beautiful design" and "strong continuation from project 1 through to 3" from both our tutor and critic. The physical model also proved to be our strongest selling point as it helped to visualise the proposal realistically, and I am glad that Alyssa and I agreed to construct one. The group's downfalls were reflected in the sections and operative details, where it was recommended we apply more detail to the finer segments to show how the large and quite heavy timber bi-fold walls would realistically operate. In my next design I will consider this constructive criticism and decide how it will be possible to best communicate such requirements, as well as apply the techniques which were noted as successfully selling our design.

A1 panel used during presentation

ABSTRACT SUMMARY DESCRIBING DESIGN

"The Wharf School of Arts aims through flexibility and adaptability, to bring people to the site to learn and explore the human body by means of drawing, photographing, educational classes, and or watching the body on stage or in the air.  In this way the Howard Smith Wharves site is not only a transition space but also a destination. The building coincides with the existing heritage wharf decking merging the theatre to the history of the Howard Smith Wharves. The external timber cladding will age with the decking further emphasising the connection to the site. In its closed position the building appearance forms a connection to the pre-existing air-raid shelters. Furthermore, the simplicity of the exterior prevents the building from over powering the historical buildings and cliffs.

The uniqueness of the building is emphasised by the large vertical bi-fold doors, hydraulic floor, and rail track system that allows clever rearrangement of space to adapt to the diverse needs of the school. The vertical bi-fold doors open to reveal floor to ceiling views out from all directions, inviting people to the site and into the building. This allows the exterior of the building to be adjusted according to the time of day, weather and climate. The general performance space features a hydraulic floor system which is set out on a grid that allows for customisable settings thus allowing a wide range of activities to occur within the space. Adaptability and flexibility is also achieved by the rail track system that runs parallel to the heritage wharf. The aerial silks and life drawing spaces move on top of the tracks providing an opportunity to reorganize programmatic requirements. The mobile flexibility allows the school to adjust for larger performances, festivals and educational classes."

Week 14 - Project 3 - Design Discussion + Consultation

The time has now come for final design alterations and for the commencement of presentation drawings. The group has decided to split the work up into sections so that each member is responsible for a fair portioned section. Joel was to draw up all 2D drawings and details on CAD, whereas Alyssa and I were responsible for all rendering of the drawings, 3D views and physical model making. To begin this process Joel supplied Alyssa and I with the 6 1:1000 section cuts which he re-drew on CAD. We then inserted the building and applied detail to the sections, such as natural "materials" surrounding the building, as is shown in the example of 2 of the sections cutting through the building below. 

2 rendered section cuts through building

Next task was to complete the physical model. Alyssa and I agreed to construct the base site contours out of a paper mache base which we filled with bubble wrap and scrunched paper to give a realistic land texture. After the base layer was dry we draped stark white tissue paper over the top and later painted the entire base white to give an even pure white finish so that the 2 physical models would stand out against their simplistic site. Below are some images of both the site model and our working in progress.

The site model in process

Constructing the site

Whilst the site model was drying, we started to construct the closed configuration of our building. I suggested selecting fine base materials such as thin card to allow neat and tight gluing of the facade, which we then decided to clad in balsa wood. I then constructed the operational model where I opened most external bi-fold walls and left one in motion to show how they operate. Below are some images of both the closed and open operational model which I edited in Photoshop. **Editing of the river bank has been left to the end intentionally.

View 1

View 2

View 3

View 4

View 5

Next task was the site plan and site analysis which Alyssa and I completed. We both agreed it would be interesting to incorporate an image of the site contours from eBimap into the site plan to portray realistic variation between land heights on the 2D image. Both site plan and analysis were created in Photoshop and show a strong relationship as we considered using similar techniques to complete the images to show relation. 

Site Plan

Site Analysis: Heritage listed buildings, bunkers, entry points to area, board walk, surrounding suburbs

Week 13 - Project 3 - Design Discussion + Final Check-up

After further group discussion, Joel compiled a plan in CAD. Discussion with the tutor led to her recommendation that site variation had to  be considered as the building continues along the ground. This was one aspect which the group had initially overlooked during the process of the design. Although we did decide where to locate the buildings, we did not specifically pin point contour changes along the building exterior. We discovered that there was a 1000mm height increase from the top of the timber board walk (where the building would be placed along side of) and ground, meaning that our design would be located 1000mm too low. 

Changes made to the plan by the group

Zuzana also noted that upon entry into the foyer, the user would be viewing a quite awkward space ahead of them, which was the space that lead into the general performance space. I suggested that this area become a moveable module that can be slid in and out and transformed to allow people to sit as they wait for the performance to start. This space would represent the integration of our folie into the current design and would allow those who enter the foyer an aesthetic view of the design. As a group we improved the noted design issues on the plan. Alyssa outlined the layout of a basic cafe design which her and I further defined in order to correlate to the required cafe area that we had to stick to. The layout was slightly widened in order to allow easy flow between workers.

Cafe kitchen design and dimensions

We also discovered that the location and sizes of administration offices and the projection room on level 2 created awkward spaces on the level below, and walls did not line up, meaning plumbing from the toilets below did not directly link to the kitchenette above. Alyssa suggested rotating the toilet block to face the opposite side which would line up plumbing services and create a coordinated relationship between the walls and walkways on the upper level and the spaces below. However the rotation and current location of toilet block did not not allow access into the general performance space. I suggested possibly removing one toilet from each block or changing the entrance locations into the toilets. I also advised inserting an extra partition wall between the toilet block and cafe/administration desk wall to allow private circulation of guests into the toilets, and to conceal toilet entrances. These design issues were then solved as a group as is shown on the plans below.

Refined Ground Level

Refined Upper Level

After the floor plans were improved, the group decided to start defining the elevations and sections. Alyssa and I hand drew all external elevations and located entrance points and windows which would then assist Joel in the 2D CAD drawings. We struggled with the North Face as this is where we decided the main entry point was to be located. Alyssa proposed a design which I then slightly altered when I developed the entrance furthermore. 

West Elevation

South Elevation

North Elevation

East Elevation

Below are several sketches I completed whilst locating the main point of entry into the foyer/administration/cafe space. It was originally agreed that the door was going to located on an angled wall that cut into the building, so I attempted to design an internal (glass) facade that was slightly offset. As a group however, we agreed that this floor plan shape would not remain consistent with the remainder of the building design. I turned to some inspirational designs to gain more of a visual of what was possible. I liked how the Life and Power Office bulding (Unsangdong Architects) almost gave the impression of a double facade. The offset glass exterior is concealed by the timber chunks, yet simultaneously it stands out. I used this as a reference when designing the entrance. Joel and I then agreed that a double door would be located on the facade facing the CBD as it was believed the building would receive its highest traffic flow from this point. 

Exemplar buildings I used as a reference

My Initial Entrance Proposal

Final Decision: Main Entry Point

Upon completion of a section cut through general performance space and aerial silks, we discovered that the vertical bi-fold walls between these 2 spaces could not operate in the same manner as the others, as when the building was to be in its closed position, they would fold into each other. 

Section identifying space relationships and problem with bi-fold between aerial silks & general performance

 

Week 12 - Project 3 - Design Discussion

Design deconstruction of the floor plan become priority this week. It was decided the non-programmed public space would play key role in allowing the main performance space to become larger by allowing additional seating space or performance room. The main performance space was also designed with segments of hydraulic seating/stage that are able to lift according to required performance/visualisation heights (shown below). I suggested that the hydraulic blocks also have back supports which could be ejected when a user is sitting - meaning that chairs were not needed. In order for the non-programmed space to accommodate the performance space's area, we had to think of a way to actually combine the spaces but also make it possible for them to be used individually. Proposals of sliding curtain walls which could have a track system located on the ceiling, became evident. Additionally, we decided to include a bi-folding wall system which is able to completely close off or open the building at different periods of day. Once fully opened horizontally, the walls could also provide guests shelter as they circulate around the building. Several zoning issues arose which are represented in the below drawing (Plan 1). Firstly it was believed that the location of the storage had to be near the general performance stage in order to allow efficient flow from loading dock to internal area.

Plan 1: Approximation of adjacency and sizing

Hydraulic stage/seat 'blocks'

Secondly, we discovered that the max sq meterage for the drawing rooms was quite small, so it was still agreed that space had to be borrowed from aerial silks. The current configuration did not allow this relationship to work particularly functionally nor aesthetically. I then started to question how borrowing this space vertically would affect the room and if this method could be a possible solution. The height of the aerial silks room (6-9m approx) gave ample vertical space to play with. The idea of placing the drawing class rooms below ground level arose, allowing the floor board from aerial silks to form a partition wall between aerial silks and the new and increased sized life drawing room. 

Possibility of vertically combining aerial silks & life drawing

Possibility of vertically combining aerial silks & life drawing

Further development of the plan altered some things. Location of the life drawing rooms was changed in order to allow them to slide in and out of the non-programmed space, allowing more floor space if required. The storage space was located along side the backroom, to allow props and alike to be transported easily between the spaces and general performance area. The section cut of the zoning spaces reveals the location of not only the spaces discussed, but the group's proposal of where the cafe and administration offices should be located. It was originally thought that the 2nd level would be an ideal location for the cafe as it's balcony would allow beautiful views of the river. However, it was agreed that a more appropriate location would be on the lower level near the performance space and foyer, allowing guests to enter the building, purchase tickets and indulge in a coffee while they wait for the performance to start. 

Refined proposed plan and section

Once more, the design was altered. The cafe was now located on ground level near the entrance to allow guests easy access after ticket purchase. A vast portion of the building is stationary, apart from aerial silks and life drawing rooms which can slide away from general performance space on a track system located on the ground - directly relating back to the concept of our folie design. It has not been determined how far exactly these 2 rooms will slide, however thought must be given as to how guests will reach the space. Aerial silk performances are now able to be showcased individually as the walls encapsulating will be designed in a way so they are vertically bi-folded - inviting guests into the magical performance experience whilst surrounded by Howard Smith Wharves site.

Altered ground floor plan

E.g: Vertical bifold wall which connects and separates spaces

Week 11 - Project 3 - Design Discussion

The group decided that by the next class each member would bring some ideas about basic configurations and concepts to possibly explore. My understanding of both architecture and body modification automatically associates with the idea of fragmentation. This concept was also apparent in our folie design for Project 2 - which was able to be connected by separate pieces (fragments) to form one total body. I started researching architecture that represented the operative nature and discovered several designs that I found to be interesting, particularly the structure displayed in Image 4 below. 

Image 1

Image 2: The Dome House - Melbourne

Image 3: Commercial building fragmentation

Image 4

The chunky, cubist-like pieces that make up the design are arranged in a way which give the illusion of movement, however the structure remains completely stationary. I decided to transform this concept to create an operable piece. I played with the ideas of moving floors, which could theoretically shift from one space to another, forming a completely new area. Areas where classes were intended, such as drawing rooms and aerial silks were grouped together so that it was possible to borrow space from one class to the other. Performance areas such as aerial silks, the main performance stage and the public space were also placed adjacent to each other so that these areas were able to expand and contract depending on how many users were occupying the spaces.

Stratification: Operable floors which are able to combine Aerial Silks and Life Drawing spaces

The Parti/'Pattern': floor plan concepts and moving platform configurations

Rough Sketches: 'Block' theme

Internal room adjacency

Cubic Stratification: Building Envelope