Week 4 - Reading 2

"Whether she works on the computer in the direct way she once did with foam brushes I have no idea. Certainly, the new method of drawing has done nothing to diminish the intensity of her architecture, though it has changed it as a visual presence and a philosophical proposition. The forms gather energies around them and retain them. The contained energy contorts simple forms into complex ones. They are tightly wound, or bundled, and seem ready to explode – though they do not"

"Visionary New York architect Lebbeus Woods reviews the evolution of Zaha Hadid’s work from the 1970s to the present. Tracking the shifts in her work from a Suprematist-informed fragmentation in the 1980s to a more contemporary fluidity and a preoccupation with complex curvilinearity, he throws light on the relationship between Hadid’s drawing and her architecture".

"This has been crucial to her thought because she sees architecture as an integral part of the wider world. She was a global architect long before the term acquired its present meaning"

This reading was one of my favorites so far because I am a BIG fan of Zaha Hadid! Her work has been the inspiration to my folie and many designs I have done so far. 

 s, L. 2008. Drawn into Space: Zaha Hadid. Architectural Design. 78(4): 28-35.

Week 4 - Reading 1

" The AADRL was created out of a belief that the conditions under which architects work, think and learn today are changing in profound and unprecedented ways, and that these demand above all a willingness to experiment with the most basic assumptions that guide not just how architects think, but also how schools, offices and other seemingly stable architectural forms are themselves organised and operate. To miss this challenge is to be threatened not by abject failure as much as by something more threatening: outright irrelevance"

Steele, B. 2006. The AADRL: Design, Collaboration and Convergence.Architectural Design. 76(5): 58-63.

Week 4 Lecture - Reflection

This weeks lecture was about approaching the folie design in a larger scale. We were introduced into the next project and were shown possible ways of extending our folie idea and design into a larger design.

Project 2&3 Guidelines


1. You must continue to develop concept and ideas you developed for Folie project – you are not allowed to abandon them.
2. Buildable Site Area is 1,000m2
3. Minimum Floor Area Ratio (FAR) is 0.5. (500m2)
4. Maximum Floor Area Ratio is 1.0. (1,000m2)
5. You can consider area outside of buildable site area is landscaped park – you do not need to design it.
6. Warehouses are heritage listed and therefore you are not allowed to demolish it. You can, however, identify a part of it as your building site area and utilise it as a part of your design proposal.
7. Your Theme Leader will have an ultimate say and specific interpretation of guideline will be provided by your theme leader.
8. Your project development logs have to be uploaded twice a week.

The final A1 poster

This is my final A1 poster of the Folie design. 

Folie design - Generating ideas

DESIGN CONCEPT

•     WHAT is my design concept?

To create a Folie as a metaphor of destruction during the World War II.

•    WHAT is my own interpretation and description of folie design?

To capture the sounds created by the vehicles above the Story Bridge and create a space that echoes these sounds. 

•     WHAT is my project statement?

Design concept: This proposal includes creating 11 folies to guide the pedestrian movement and activate the abandoned Howard Smith Wharves. This folie called “World War II disrupted construction” is a metaphor for destruction. In 1941-42 the Brisbane City Council constructed five air-raid shelters as the site was a prime target during the war time.

The form of the folie was inspired by bombs and the tectonics were inspired by listening sea shells. The large organicsteel folie allow people to act, react, interact and remember. It takes over the centre of the site, just like how the wartook over.

While listening to the shell various sounds are created due to the movement of air through the shell. Similarly, the use of Steel in this enclosed dome like structure allows capturing the loud sounds and creates echoes and vibrations.The 'thud' sounds created by the pedestrians and vehicles at various speed levels are a reminiscent of the tanks, bombs, terror and destruction the site underwent during the World War II. 

The Checkerboard floor symbolizes war. In both it is move and countermove, with each player's move influenced by the opponenent's previous moves. Strategy, tactics and psychology is involved. The Red colour of the folie holds a fierce nature that relates back to the war, death, anger and symbol of red flag. Red has the power to raise the heartbeat of the visitor evoking the sense of chaos during the war. 

The small opening towards the Brisbane River creates a focal point under the pylons. The site has visual qualities which have significant aesthetic values. The low scale waterfront folie uses the cliff face as a dramatic visual back drop. The visitors can sit inside the folie and have lunch, read whilst listening the sound projections as they please. Tension and compression, solids and voids, brightness and darkness (play of shadows) and soft architecture are key aspects of creating this folie

SITE CONTEXT 

•  WHAT is the history of the site?

World War II air raid shelters, 2011 Floods

•  WHAT is the folie’s relationship with its immediate surroundings?

The location close to the water captures the view under the arch shaped columns. Positioned between the two air- raid shelters.

• WHAT is it’s relationship with Howard Smith Wharves at large?

The Folie connects to the history of the Howard Smith Wharves and the views. Connects at the central point of intersection between the Clem 7, Story bridge, CBD and northern suburbs, Southern suburbs.

DESIGN TECTONIC

•  WHAT materials am I going to use?

Possible options : Steel (sound vibration), Concrete (echo of sound) or fiberglass or some sort of a sound proof material

•   HOW does this particular material add creativity to my folie design?

Adds compression and keeps the sound vibrating

DESIGN FUNCTION

•   HOW does the folie create a unique space for users to do something?

It is a space for users to sit and listen to the music/disturbing sounds of the story bridge, bringing back the memory of World War II.

•   HOW does the folie allow to read, rest or eat etc.?

Seating space/ laying down/ viewing space provided inside.

DESIGN EXPERIENCE

•   WHAT makes the folie a unique possibility to experience Howard Smith Wharves?

A Place that allows action, reaction, interaction and memory.

•     HOW does the space achieve both functionality and sensation?

The acoustic qualities of the space and the organic form

 

DOES IT ADDRESS

1.     tension and/or compression ?  -Compression and tension

2.     heavy and/or light ?- Heavy yet light

3.     solid and/or void ? Solid with voids

4.     bright and/or dark ? Bright outer appearance but dark interior

5.     natural/artificial ? Natural form but artificial space

6.     soft/hard ? Hard

7.     comfortable/disturbing ? Disturbing

8.     choice of materials ? Concrete

Week 3 - Reading 1

"Our subtropical climate gives a perception of Brisbane as a ‘green and relaxed’ city where the interface between inside and outside is blurred. Public space in the CBD must reinforce this perception."

 Week3 reading:Brisbane City Council. (2006). Public Space Guideline. In Brisbane city centre maste rplan 2006. pp195-208.

Week 3 Lecture - Reflection

PEOPLE AND EXPERIENCE
 People - What, When, Where, Who?

•  Childern, grop, exciting, playful, parents, wealth, sun, water, security
• Break, relaxing, view, sky, sleep, friends, comfort, open, view
• strangers, sharing, relaxing, break, commiucation, individual
• Activity, playful, gam, friends, community
• Intimate, study, activity, comfort, protection
• Students, individuals, laptop areas, focus, quiet, concentration
• Commuity, thoroughfare, fast, dangerous, parking, weather
• Something for people passing by?

• Who will use it? 
• Where do people come from? 
• Better at night?
• When do they use it?
• How do they use it?

ACTION, REACTION, INTERACTION and MEMORY

Remember to create something special, something new! BEYOND REPRESENTATION

When doing the A1 poster, is there an abstract way of communicating ideas?
- BE and the ARTIST, the CRAFTSMEN and don't forget the ARCHITECT!

Folie design material experimentation

The folie design was experimented with various materials and colour types to see what is most suitable aesthetically and functionally.

Progress model images of Final Folie design

Week 2 - Reading 2

This weeks reading 2, was written by a PhD Student Schwartz. He talks about his PhD experience as a science student in this short essay.I found this reading to be one of the most interesting so far. It is actually nothing to do with the Folie design, yet everything to do with it! Some of the quotes motivated me a lot. It make perfect sense not to know what I am doing for my Folie design 100% and to explore various possible methods. I think this reading directs us to a thinking pattern of looking outside the box. Below are some of the quotes I found VERY inspiring: 

•  How could I possibly frame the questions that would lead to significant discoveries; design and interpret an experiment so that the conclusions were absolutely convincing; foresee difficulties and see ways around them, or, failing that, solve them when they occurred?
• If our ignorance is infinite, the only possible course of action is to muddle through as best we can.
• We just don’t know what we’re doing. We can’t be sure whether we’re asking the right question or doing the right experiment until we get the answer or the result. Second, we don’t do a good enough job of teaching our students how to be productively stupid – that is, if we don’t feel stupid it means we’re not really trying.
• That kind of stupidity is an existential fact, inherent in our efforts to push our way into the unknown.
• Productive stupidity means being ignorant by choice. Focusing on important questions puts us in the awkward position of being ignorant.
• education might do more to ease what is a very big transition: from learning what other
  people once discovered to making your own discoveries.

"The more comfortable we become with being stupid, the deeper we will wade into the unknown and the more likely we are to make big discoveries".

Source:

The importance of stupidity in scientific research
Martin A. Schwartz
Department of Microbiology, UVA Health System, University of Virginia, Charlottesville, VA 22908, USA
e-mail: maschwartz@virginia.edu
Accepted 9 April 2008
Journal of Cell Science

Week 2 - Reading 1

As Sheil put it, "most architects do not make buildings - they make information for buildings."

Ian David, Intensive Care, Queen Elizabeth Hospital, London, 2004 (Reading one, week 2)

"The work presents a dense cluster of unique fragile plaster-castings where each piece
is either suspended or supported from precarious stainless-steel rods.The work
recognises the present sense of delicate decay as the hospital slides into a weak
and hazardous condition. The castings randomly smash to the floor as slight changes
in temperature or air circulation disturb their environment".

In this reading, Bob Sheil, guest-editor of Design Through Making, outlines the
ideas behind the issue and how they have prompted intriguing and impassioned
responses from a diverse array of contributors.It investigates how making is associated
with definitions and methodologies of architectural practice.

TECHNIQUE 

•  When the ideas turn into built form the transition can cause some ideas to be change, to be included or excluded.

EXPERTISE 

• With the new technology of digital fabrication the making and design process is broadened. Mass industrial to Hand making techniques are now reappearing alongside as a new complex automation technology offering exciting potential to readdress everything. The digital expertise of designers and practitioners must also be revolutionised with the evolution of digital fabrications. The principle aim is to change in a broad context of theory, culture, history and craft. 

DRAWING

•  Histories in the practice of architecture based upon drawing as the primary product of the architect. Hill highlights the multiple applications that drawings serve, the drawing as analogue,drawing the immaterial, and drawing through making.

TOOLING

• In some instances, such as the torque ellipse forms by Richard Serra, the production of form is entirely dependent upon finding the right tool. Chard implies that in order to act as innovative designers, we must design appropriate tools as a continual by-product of the investigation.

ADAPTATION

• The catalyst of change, building fabrication indicates to us that the drawing and making buildings are both inseparable entities. 

"If architectural designers do not grasp the centre of building production by taking command
of the art and craft of construction, when now they are offered the chance, who will?"

Week 2 Lecture - Reflection

This weeks lecture was about site, context, interpretation & (beyond) representation.


Key points brought up by Yasu during the lecture:

• Site and project context - Must be what is given
• She sheds have to remain because they are heritage listed
• We need to find a suitable position within our sites for the Folie design

Some ideas for the A1 poster:

• Have a heroic image of the Folie? Something attract the viewer from far away.
• Font reasonable size (not too small or too large).
• Site context needs to be given on the poster - WHERE? 
• Think about structural elements - HOW can we actually stand the building?
• Choice of materials - WHY?
• Colour? - be true to the materials and utilise its propertise?  Use paint or texture to cover its 
• Make sure the Folie fits at least one person
• Cold, warm? What feeling to people get from visiting the Folie? possibly show this on the poster?
• Use diagrams to explain the concept.

Some of the interesting exemplars shown in the lecture: 

• Jen Nouvel - Serpentine Gallery, Summer Pavillion
• Kennett Snelson - Needle Tower 
• Good example of tension and compression done well.
• Transparency through the structure.
• Daniel Libeskind - Memory machine  (Lebbus Woods have done a log entry about this design)
• Tado Ando - Church of light
• Richard Serra - Intersection 2.
• Idea about presence and how the house can be installed on site.
• How a house could be brought into the site.

Folie idea three

Folie idea two

Folie idea one

Site Analysis

The images below are from the site analysis conducted after visiting the Howard Smith Wharves. Aspects such as vehicular movement, pedestrian movements and wind levels were analysed. Furthermore, various zones within the site were identified. 

Howard Smith Wharves located in junction of four inner city districts : Fortitude valley, New Farm, Spring Hill / Brisbane CBD and and Kangaroo point.

The above diagram indicates all the major transport systems and the surrounding environment of the Howard Smith Wharves.




ACCESS ROUTE

This diagram explores the pedestrian access points through the site

The vehicular access levels through the site illustrate that there are no major interruptions. The vehicular access (on ground level) is only to the car park which will not be used as a site for the Folie design. The main thing to consider when designing is the level of noise produced by the cars travelling on the Story Bridge (above ground level). 

WIND LEVELS

The diagrams below illustrate the wind levels for Brisbane during the morning (9.00am) and afternoon (3.00pm). The data was derived from bureau of meteorology: http://www.bom.gov.au/. The wind roses illustrate how the site receives wind mostly from north-east during the morning and from south-west during the afternoon. The wind levels will be significantly higher than indicated in the wind rose at this particular site due to its location next to the river. 

The above wind diagram illustrate the wind levels of Brisbane during 9.00am .

This wind diagram illustrate the wind levels of Brisbane during 3.00pm. 


ZONING DIAGRAM 

The diagram illustrates the various zones within the site of Howard Smith Wharves. 

Photos from the Walk-shop

Site analysis - Investigaton of a Folie concept

After out site visit I decided to visit the site again on a quiet day and see the atmosphere. I went up to the cliffs and noted down some of the important factors that could form my Folie concept

• The Howard Smith Wharves is mostly used by commuters, for walking, for jogging, for cycling and for site seeing. I think a Folie design to benefit the majority of the users will be very effective.
• The Story Bridge acts as a transition space between the city and the outer suburbs (making an end of the city boundary)
• The area is a peaceful space to study, read, relax and reflect by the Brisbane River
• The noise created by the Story Bridge creates a continuous melody.
• The repetitive triangular pattern of the structure of the Story Bridge is quiet interesting. It could be something to be incorporated into my design 
• The Howard Smith Wharves were a place of industry. The remaining sheds located on the site are a reminder of the history associated with the site. Perhaps construct a Folie of remembrance? 
• Enhance the lookout points - bridge, river, kangaroo point peak?

These are some thoughts running through my mind after the visit. Next step is to research on exemplars of Folie designs to come up with a concept design.

Week 1 - Reading

Bernard Tschumi

Swiss (Lausanne, Switzerland, 1944)

Parc de la Villette (folie explosée - madness exploded)

1984

architectural drawing | enamel on paper

 

Reference: San Francisco Museum of Modern Art. 1998 - 2011.

Bernard Tschumi. http://www.sfmoma.org/artwork/18397 (accessed 5 March, 2011)

Howard Smith Wharves - A look into the cultural heritage significance

The Howard Smith Wharves are located in Boundary Street, Brisbane 4000. It was constructed in the 1930's and play a major part of illustrating the development of the Queensland history. It also demonstrates a range or employment generating and infrastructure building project which commenced by the Forgan-Smith government.

Unlike any other known surviving air-raid shelters in Brisbane, the Second World War air-raid shelters on the site are important as the most intact group of shelters surviving in Brisbane. These shelters were located adjacent to the Howard Smith Wharves and Story Bridge portraying the significant importance of the wharves and bridge during the period of 1941-1942. The site still shows the impact of the war upon the Brisbane workers.

As the last surviving wharfage in the central city, the Howard Smith Wharves illustrate how the port of Brisbane was before 1940's. The practicality of the site is demonstrated by the series of sheds, and former air-raid shelters. The former Howard Smith Company offices in the hierarchy of structures on the site portray the well-mannered structures on the site.

 Today, the various sturctures provide asethetic significance as well as contributing to the site as a whole. The overgrown cliff face provides a dramatic backdrop to the site and act as support for the northern end of the Story Bridge. The site has links with Howard Smith Co. Ltd, one of Australia's principle coastal shipping companies during 19th and early 20th century.

  

Image1:  of Howard Smith Wharves taken during 1996. The State of Queensland (2009)

Image2:  of Howard Smith Wharves taken during 1996. The State of Queensland (2009)

Reference:

The state of Queensland (Department of Environment and Resource Management).2009. Howard Smith Wharves. http://www.epa.qld.gov.au/chims/placeDetail.html?siteId=16518. (accessed March 5, 2011)