Project 3 : Part C : Final Submission

Theoretical Premise

 

A.      Spatial theory; hence expanding upon previous study which suggests spatial containment exists as a continuum not a singular volume defined by a perimeter. Therefore defining architectural space within the context of the project as individual buildings, defined on the functional requirements. Utilising the spaces between to create seamless transitions between internal and external spaces while allowing endless circulation possibilities.

B.      The scheme engages with the site directly in a spatial manner, thus defining the manner in which the responder is engaged in the continuum of space of the site within the context of the greater city. Such is explored further through the manipulation of levels and divisions in the site, contorting the external boundary of the site (inner footpath boundary) drawing the responder into the site. While with regards to engagement with the greater urban fabric, the scheme utilises sculptural form to connection in a physiological manner, engaging the responder in the manner in which they interpret the form. Therefore, not defining the manner in which the responder interprets the form on the premise of physical and variable morphological elements but rather purely architectural interpretations.

C.      The contortion of internal and external boundaries is further manipulated through details such as lighting, utilising not singular artificial sources but rather natural lighting wrapping each buildings perimeter therefore lighting the internal space from the boundary through natural illumination therefore creating a lit environment similar to external space. Details including the pools of water placed around the site, defining individual external spaces without the requirement of vertical physical elements. While further manipulating the contortion of reflected light upon the sculptural form, engaging with the materialistic properties. Hence the titanium cladding, reflecting light to illuminate external spaces darkened by the form of the building, while shimmering light to capture the attention of responders moving along the street, drawing them into the site and therefore the building.

Poser Page One

 Poster Page Two

1:500 Model

1:100 Model

Conceptual Poster Models

Project Three : Part B : Masterplan

The premise of this master plan is based upon the development of my scheme regarding the morphological development of Parramatta with regards to spatial theory. This project portrays the development towards a scheme which engages the site through a conceptual forest, a forest represented by the architectural form itself. A form consisted of individual pavilions manipulating not only the responder’s nature of engagement but furthermore the nature of circulation through the site. Such a form is defined through the previously suggested theories outlined in other projects within this studio, while detailed elements such as internal planning are yet to be defined.

Project Three : Part A : Preliminary Concept

 

Project one provided an analysis of Parramatta’s morphological development from a historical state to a projection of the future state. Achieved through a deconstruction of the urban fabric, considering the hierarchical structure of elements and characteristics, thus considering theories of spatial dynamics. Explored the notion of spatial theory and the relative development from a preconceived understanding which defined space as individual volumes bound by a perimeter of built forms to the current understanding which suggests it to be rather a series of interconnected continuums, positioned within Cartesian space via reference points or particular built forms and areas. Project two; Zumthor’s Swiss Sound Box explored an understanding of such notions, creating a series of blurred continuums which aimed to engage and manipulate the responder’s experience. Continuums defined upon the functional requirements and capabilities of the spaces and surrounding environment, extending to consider the influence of secondary characteristics, such as the manipulation of light and sound with regards to the original theory. Overall defining a unique and developed volumetric correlation between the performance, responder and the architecture. Returning to the context of the project I began to explore such theories and concepts, examining how a scheme may effectively respond to such while exploring a correlation between urban form, space and infrastructure patterns. Considering such in not a static state but rather one of a dynamic nature considering the inhabitants influence and the development overtime for example. It is evident through analysis that Parramatta reflects an organic or deformed nature of development, one which although utilising in small sections regular ideal morphological patterns, is overall defined by incremental growth patterns of pedestrian movements and topology for example. Therefore began by considering the topological nature of the site within the immediate greater urban fabric defining the site within the contours, attempting to gain an understanding of the depth etc. and considering how the organic nature of the context is reflected. Approach therefore considers the individual spaces and elements of the scheme in terms of swarm theory thus by defining the spaces as irregular organic forms a unique spatial arrangement is able to be defined independent of standard visual constraints removing the standard hierarchical division of spatial arrangements allowing  form of continuity to emerge. Further considering the presence of architecture we consider that the character and immediate existence of the context defines the character of the architecture, directly reflected within the internal form, while vice versa the functional response of the inhabitants inside is reflected with regards to the external character. Thus the irregularity of form allows such to exist independent while ensuring spatial continuity exists between the two. Further explored and considered with regards to layered elements blurring the internal and external in a fragmented manner through the manipulation of sound and light.



Project Two : Peter Zumthor - Swiss Sound Box



 

Peter Zumthors ‘Swiss Sound Box’ is far more than simply a temporary pavilion; it is rather a series of interconnected spaces which aims to blur the boundary of individual spatial regions, to hence manipulate the standard experience of a responder. Spaces defined within 12 staples of an apparently random cross gridded nature; each space is in fact meticulously designed and constructed via the constraints and parameters of its function within the greater scheme. The overlapping of space creates a unique spatial environment which engages the responders complete range of senses in direct response to the architecture and the performance. The architecture begins to manipulate the responders experience further through the contortion of light for example in a natural, artificial and projected manner. Whilst the structural scheme portrays a sense of instability, as supported via the natural emphasis of the timbers materialistic properties; the overall scheme begins to convey a volumetric correlation. A correlation which simply portrays the direct relation between the responder, performance and architecture.

Concertina Book Page Sets

 

Project One : Concertina Book & Set

Set Model

A representation of two ideas. One, which suggests a notion of spatial theory and the manner in which space is no longer a definable volume but rather a continuum, thus the nature of development within Parramatta. Two, that Parramatta River is the life line of the city, supporting all within; a support system however extending further than the perceivable river through a series of arteries. Combining both, our model suggests that the development of Parramatta and the definition of such may potentially exist as a result of spatial definition, defined by the organic formation of Parramatta River and the sub sequential development of said arteries.