Final Act - Presentation

 

 

Act 13 - Scene 3 - Working on comic/storyboard format

Trying to work out what drawings I need to include, draw up, model for presentation.  And how the presentation will work.  So I am currently mocking some up in photoshop.

Act 13 - Scene 2 - Tutorial feedback

Feedback from Murray on Friday went well with what I have proposed so far.  Some things to consider are:

- drainage of roofs, many design for failure.  Have areas where the gutter can overflow without too much damage to internal spaces. For example, having gardens with drainage underneath.
- The facade of the 'back of house areas', kitchen and storage.  What do these look like when there is no festival on, tents in front of it.
- Entrance has storage area directly opposite, what can this become so it is not detrimental to the design.
- Flow out from dining area, can have tables spilling out into public square.  Tables with umbrellas.
- Need some more thought on accomodation units. Show these when they are linked together.  What is the internal space like?
- How long do they stay? up to one year?
- Include program on presentation boards.
- Consider the interior of accomodation units, or have less focus on them as part of the design.
- Show plans/ sections full of people in different modes.
 -- festival mode
 -- market mode
  -- dining mode
- Masterplan of festival and then no festival, market time?
- Combine/ using different colours?

Act 13 - Scene 1 - change of direction

So far I attempted two designs for a food hall, both of them similar. Both terrible and boring.  If i get the courage i will upload, but am too embarrassed.  I think too many years of working drafting conventional buildings has made me automatically go for construction methods i am familiar with.  I need to understand this is about exploring ideas, not getting full construction documentation done.  It is hard to break out of.

After getting some design advice from a graduate work friend it has helped me abandon my design and get onto another approach for my food hall design.  After reassesing, I was stuck looking at a box to fit 250people, rather than considering how they move, sit and eat in the space.  The large hall with a two story void and mezzanine tended to feel too huge and less personal. So I going back and breaking the space into smaller eating areas that you can journey through, areas to queue, areas for different groups. Try to mesh this with roofs and columns to the larger public square space which could double as a replacement stage.

.. i hope I can get this done in time...

Act 12 - Scene 3 - More design blog later

Act 12 - Scene 2 - More design blog later

Act 12 - Scene 1 - Traditional arcades

Murray recommended that I look at Doje's Palace in Venice for a traditional arcade type architecture relevant to the marketplace/stalls columns beneath the refugee accomodation.

These are quite beautiful and inspirational however in my attempts to replicate the feeling of these, I feel it is inappropriate to the use of the site.  It fits into the idea of permanence through its heavy and expensive structure, although I'm sure this can be achieved another way.  Refugees lives have been in turmoil for a number of years, and the repetition of a massive colonnade of an arcade seems to not reflect their lifestyle.  It seems quite institutional, which it what I am trying to avoid.  A finer grain might be appropriate in this instance.

Act 11 - Scene 2 - Presentation ideas

I have been considering how to present a narrative.  I enjoy sketching so the clearest way may be a story board type look, or a comic.  The image below is a rough mock up of what I'm thinking.

own image - sketches and format

 

 

own image - sketch of photo of Malala Yousufazai

 

Recent news on the brutal attack on Malala Yousufzai has made it all the more important to be considering humanitarian causes such as accomodating refugees in a positive way.  It is such a shame that people in similar situation to this young girl live in fear of something we take for granted by being born Australian.  I would like to add her image into the story to allow people to be more sympathetic to the refugee cause.

 

own image - sketches of photographs & quote from Courier Mail Weekend magazine\



Act 11 - Scene 1 - Trouble designing

Things to do:

-Finish site model, try to do some massing of overall plan
-Sketch ideas in section/perspective of Accomodation units above with Stalls at ground level underneath.
- Sustainable material use/ construction to use for building
- Define actual spaces/walls/windows etc in plan


add sketches of ideas - 3d tent city of lanterns - accomodation types

Act 10 - Scene 5 - 1:200 Site model & masterplan

 

Reworked 1:1000 materplan - Town Centre Design for Gathering space

Own Image of Location of Town Centre at axis of Festival

1:200 Ideas Masterplan sketch - Admin, Dining, Town Centre, Residents Accom. Stage

Own Terrible Sketch of ideas for Worldfordia Town Centre

The beginnings of a working site model to test form

 

Overlay of sketch to understand scale and footprint of buildngs

Act 10 - Scene 4 - Town Centre design

TOWN SQUARES - PATTERNS

"A town needs public squares; they are the largest most public rooms, that the town has.  But when they are too large they look and feel deserted. "
 

"The life of a public square forms naturally around its edge. If the edge fails, then the space never becomes lively"
 

"A public space without a middle is quite likely to stay empty...a place where people can protect their backs, as easilty as they can around the edge...perhaps there is an even more primitive instinct at work" (A Pattern Language, Alexander, C, 1977)

"Between the natural paths which cross a public square or courtyard...choose something to stand roughly in the middle: a fountain, a tree, a statue, a clock tower with seats, a windmill, a bandstand. Make it something which gives a strong and steady pulse to the square, drawing people in toward the centre.  Leave it exactly where it falls between the paths; resist the impulse to put it exactly in the middle." 

"Perhaps related to the mandala instince, which finds in any certally symmetric figure a powerful receptacle for dreams and images and for conjugations of the self.

MANDALA IN RELIGION

"Maṇḍala (मण्डल) is a Sanskrit word meaning "circle." In the Buddhist and Hindu religious traditions sacred art often takes a mandala form. The basic form of most Hindu and Buddhist mandalas is a square with four gates containing a circle with a center point. Each gate is in the shape of a T.  Mandalas often exhibit radial balance

These mandalas, concentric diagrams, have spiritual and ritual significance in both Buddhism and Hinduism. The term is of Hindu origin and appears in the Rig Veda as the name of the sections of the work, but is also used in other Indian religions, particularly Buddhism. In the Tibetan branch of Vajrayana Buddhism, mandalas have been developed into sandpainting. They are also a key part of anuttarayoga tantra meditation practices.

In various spiritual traditions, mandalas may be employed for focusing attention of aspirants and adepts, as a spiritual teaching tool, for establishing a sacred space, and as an aid to meditation and trance induction. According to the psychologist David Fontana, its symbolic nature can help one "to access progressively deeper levels of the unconscious, ultimately assisting the meditator to experience a mystical sense of oneness with the ultimate unity from which the cosmos in all its manifold forms arises." The psychoanalyst Carl Jung saw the mandala as "a representation of the unconscious self," and believed his paintings of mandalas enabled him to identify emotional disorders and work towards wholeness in personality.

In common use, mandala has become a generic term for any plan, chart or geometric pattern that represents the cosmos metaphysically or symbolically, a microcosm of the universe from the human perspective" Wikipedia - Mandala
(text and images from http://en.wikipedia.org/wiki/Mandala#Bora_ring)

 

 

Act 10 - Scene 3 - Turning sand into architecture

Magnus Larsson - Preventing Desertification, turning dunes into inhabitable stone caverns.

 

 

 

Professor Ginger Dosier - Metropolis Next generation Winner 2010 - Sand Bricks

 

http://throughthesandglass.typepad.com/through_the_sandglass/2010/07/sandbacteriaurinebricks-continuing-performances-of-bacillus-pasteurii.html

"Brick built the ancient citadels and hypocausts of the Indus Valley and ornamented the Chrysler Building, that great monument to the machine age. But in recent years, it has had a more sinister legacy: environmental menace. Tossing a clay brick into a coal-powered kiln, then firing it up to 2,000˚F, emits about 1.3 pounds of carbon dioxide. Multiply that by the 1.23 trillion bricks manufactured each year, and you’re talking about more pollution than what’s produced by all the airplanes in the world. The winner of the 2010 Metropolis Next Generation Design Competition proposes a radical alternative: don’t bake the brick; grow it."

"In a lab at the American University of Sharjah, in the United Arab Emirates, Ginger Krieg Dosier, an assistant architecture professor, sprouts building blocks from sand, common bacteria, calcium chloride, and urea (yes, the stuff in your pee). The process, known as microbial-induced calcite precipitation, or MICP, uses the microbes on sand to bind the grains together like glue with a chain of chemical reactions. The resulting mass resembles sandstone but, depending on how it’s made, can reproduce the strength of fired-clay brick or even marble. If Dosier’s biomanufactured masonry replaced each new brick on the planet, it would reduce carbon-dioxide emissions by at least 800 million tons a year. “We’re running out of all of our energy sources,” she said in March in a phone interview from the United Arab Emirates. “Four hundred trees are burned to make 25,000 bricks. It’s a consumption issue, and honestly, it’s starting to scare me.” http://www.metropolismag.com/story/20100512/the-better-brick-2010-next-generation-winner

It seems such a great solution however there have been conflicting discoveries that the bacteria can cause high ammonia levels and sometime nitrous oxide which cause massive damage to the environment.

(http://throughthesandglass.typepad.com/through_the_sandglass/2010/07/sandbacteriaurinebricks-continuing-performances-of-bacillus-pasteurii.html)

 

Solar Sinter - Markus kayser - Solar Powered 3D printing in Sand

Act 10 - Scene 2 - 1:200 Space Planning

The image below is my initial calculations for space requirements for each area rquired: These are based on Neuferts Architects Data.  However I think it will be wise to check these with my tutor, to see if they are appropriate.

 

Own sketch of areas required

Act 10 - Scene 1 - Design ideas

"in every region and every town, indeed in every neightborhood, there are special places which have come to symbolise the area, and the people's roots there. These place may be natural beauties or historic landmarks left by ages past. But in some form the are essential." (A Pattern Language, Alexander, C. 1977)

Special places of woodford:
Duck pond - Clyde's pond , and surrounding shady area.
Hilltop - Ceremonial chanting in the first sunrise of the new year
Amphitheatre - The big bang live perfomance for the new year countdown

New Special place that connects them -
Welcome gate, Town Centre and Eating hall

"Give every sacred sit a place, or sequence of places, where people can relax, enjoy themselves, and feel the presence of the place. And above all, shield the approach to the site, so that it can only be approached on foot, and through a series of gateways and thresholds which reveal it gradually." (A Pattern Language, Alexander, C. 1977)

Image from: 101 things I learned in architecture school

"People cannot maintain their spiritual root and their connections to the past if the physical world they live in does not also sustain these roots" (A Pattern Language, Alexander, C. 1977)

Mecca? Locate physically on ground? show with Qibla.  280.67 degrees North from Woodfordia Site. Direction of Islamic holy city of Mecca shown in red below:

Act 9 - Scene 3 - Development of masterplan

Following feedback from Murray, I have decided it would be better to develop a close knit masterplan, where residents are incorporated into the festival, by a direct and physical presence.

2020 WOODFORDIA MASTERPLAN IDEAS DEVELOPMENT

REFUGEE / FESTIVAL COMMUNITY

1:1000@A3 - NORTH = UP THE PAGE

The eating hall used by residents throughout the year, becomes a stage/dining area for the festival. To replace either the the Bazaar or the Parlour.

The residents can be high set dwellings where residents sleep at night, and work at stalls or volunteering during the day.  The undercroft of these dwellings can form the permanent roof over stalls. The design of these could be quite interesting, testing a range of traditional and new design technologies.

It would seem impractical to have a large ablutions block in the middle of the festival, so sharing 1 shower and WC between 8-12 people would be far more reasonable and private during the festival. 

The dwelling units could have shared walls to save on materials, or single units can allow for expansion at a later date.

I have a feeling there is too much random-ness about the planning of this.  This is to allow a sense of discovery and low density for when the festival is in progress.  But what about when the festival is not on? Are they too far apart? Does it create meaningless spaces during the year?  Perhaps i need to think about figure-ground theory to arrange the figures to create meaningful spaces.  I might work on the eating area and welcome areas to begin with and the residences masterplanning can be dealt with later if I have time.

Act 9 - Scene 2 - Tutorial feedback

Last weeks tutorial was very helpful, despite not having time to show Murray my ideas on the small scale details, I received feedback on siting and further developed my program for design.  By bringing together my isolated communities into the festival site it could build a more close knit society and become a real feature of the woodford festival.  The challenge will be helping the two functions, refugee accomodation, ritual, and festival activities to work together.  If we incorporate the refugees as active participants in the festival, such as store holders are currently, this seems to work well... in an ideal world.  The key will be in sensitive design.

Act 9 - Scene 1 -Reading - Fuction follows Form

add reading analysis

Act 8 - Scene 4 - Character Analysis - 1:10 scale

CULTURALLY SENSITIVE DINING

Own sketch - Variety of Utensils used by different cultures

One issue I am undecided about it how to be culturally sensitive to different cultures when dining.  Allowing people to be uphold their religion and engage with others.  After much internet research about how different religions eat, I must say there is much conflicting information. Some devout religious beliefs are very strict on the manner in which they dine, not only with prohibited foods, but the way the must eat and the ritual or prayer or ablution beforehand.  Islam, Judaism and Christianity have the most rituals, all are varied, and all have its extremists.  Hinduism and Buddism tend not to practice ritual and are more contemplative about their beliefs.

 

 

Own sketch - 1:20 sketch of Variety of Dining seating used by different cultures - not to scale -
see dimensions from Neuferts Architects data below for accurate scaling

I think the only way to deal with this is to dine in a typically Australian way, which will allow a variety of cultures to become accustomed to typical Australia dining experience.

I had considered a Islamic Ablution area (a place to wash hands, feet, & face before meals) on approach to the dining hall, which could be used by others. I am unsure if this is permitted or sensitive, so I think by adherely to one religion it may cause discrimination within another.  Very risky.  A place to wash hands may be appropriate and any additional washing can be done in personal facilities prior to dining.

image from: http://www.flickr.com/photos/marcoflicker/6560322321/

 

Perhaps an outdoor, public one, such as this, or a pond/fountain, could be more appropriate than an indoor one which takes up valuable space, and excludes others.

 



Space for prayer at Mosque- image from Neuferts Architects Data, 2000 - dimension in centimetres

 

EXPLORATION OF DINING LAYOUT

 

Image from Neuferts Architects Data, 2000 - dimension in centimetres

 

The diagram above seems to be the most space efficient solution as round table configurations take up more space.  As open, flat, space is at a premium, and a compact floor plan is efficient use of materials, i think this layout is important.  The diagonal tables can be moved togther for larger seating arrangements which are also more efficient and offers flexibility.

 

Image from Neuferts Architects Data, 2000 - dimension in centimetres

 

The diagram above proves that the square table is most efficient.  However the flexibility and multiple variations of the trapezoidal tables could offer some better dining experiences. This would be in terms of easy communication accross the table when in large groups.  The circular format tend to be too far a distance for communication when table size is increased.

 

Image from Neuferts Architects Data, 2000 - dimension in centimetres

 

Image from Neuferts Architects Data, 2000 - dimension in centimetres

Image from Neuferts Architects Data, 2000 - dimension in centimetres



Act 8 - Scene 3 - Religion exploration

image from: http://upload.wikimedia.org/wikipedia/commons/7/79/Prevailing_world_religions_map.png

The major religions of the world are:

 

Christianity, Hinduism, Buddism, Islam

 

All of these have different rituals which define their behaviour and activities during the day;  praying, ablution, contemplation, meditation, even the manner in which they eat.  How do we ensure that our design will be sensitive to these, but ensuring everyone is respectfull to each others beliefs, and non believers.  Perhaps the eating area becomes a place where their beliefs are witheld temporarily to a communal belief of reconciliation.  Action and ritual can assist in this.

 

"Rituals, not shared beliefs, provide the glue that holds together religious communities over a long period of time, says a Penn State sociologist.

"Members of a congregation may assume that they hold common religious beliefs, but it is religious ritual that creates and sustains continued fellowship," says Dr. Daniel B. Lee assistant professor of sociology at Penn State's DuBois Campus.

"This is a key point for understanding the social structure of religious communities and the relationship between ritual and belief," Lee notes. "While an individual may sincerely hold religious beliefs, a group does not have a common mind and cannot hold any belief. Faith becomes socially relevant through action. Until there is action, religion is socially meaningless." "

http://www.connexin.net/culture-beliefs-religion-rituals.html

Act 8 - Scene 2 - Community Analysis - 1:1000 Footprint & context

 

How do we allow the festival to continue whilst the refugees are accommodated? Where are their dwellings?  In order to avoid disruption to their daily lives, their dwellings could be dispersed throughout the site onto eastern facing hill slopes, away from festival noise/people.  Is this too exclusive?  Does this make travel distances too far and segregate people?  See 1:5000 site map below for locations of eating hall and dwellings for Woodfordia 2020:

 

Potential 2020 Woodfordia 1:5000 Site plan @ A3

 

Own image

Potential 2020 Woodfordia 1:1000 Site plan @ A3

Own image