Project Matrix
Key Concept
Broadacre City is a city envisioned by Frank Lloyd Wright, containing his idea of decentralising the city, creating a city that sprawls across the United States[1], unlike the one we are so familiar with. Broadacre City is in a way a reaction to the rise of technology in the 20th century, predominantly the automobile, recognising its ‘emancipatory potential’[2], an invention that would allow easy transportation for the individual, bringing about a new found freedom for men, represented by a new form of movement that allows for a city sprawl across a larger area. It also emphasises the right for every person to own an acre of land, allocated with self-sustaining amenities such as agriculture, freeing the individual from reliance on others.[3]
Selected Design Element
I have selected to model the highlighted section of Broadacre City in the figure below.
Figure 1: Highlighted Selection of
Broadacre City
I have selected the highlighted portion as it illustrates a
part of Broadacre City that contains both public/commercial spaces along with
housing plots. This area represents a more diverse part of the envisioned city
that showed how the private domain would interact and coexist with small
schools, industrial areas, and communal areas.
Along with the selected portion of Broadacre City, I will be
creating an array of additional plots for houses above the existing ones in the
highlighted portion. Broadacre city was not fully conceived and only a 3.7 M x
3.7 M plan was drawn out. The additional housing plots that would be added above
shows how the envisioned city sprawl would potentially develop as it progressed
further, with additional land allocation to individuals for housing and
personal agriculture.
How is the Key Concept Reflected in the Design Studio?
My design studio research question is How Can the Australian Dream be Reinterpreted. Although Broadacre City was never fully conceived, the rise of suburbs in the late forties to sixties mirrored what Frank Lloyd Wright envisioned. The idea of the Australian Dream is conceived, mainly due to the early part of Australia’s history, where immigrants sought for a new beginning in the ‘new world’, the idea of a house within nature evolved to the suburbs we are so familiar with. Along with other conditions such as Nostalgia, and certain lifestyle benefits, Australia quickly suburbanised.
The arrival of the late 20th and early 21st
century, the effects of a suburban sprawl is evident, and quickly revealed to
be unsustainable. The current market provides consumers with the option of a
big lofty house in the suburb that requires long commute hours, that is
detrimental to the environment, or a cramped apartment that is the complete
opposite of the envisioned ‘Australian Dream’.
This model allows me to firstly, better understand the scale
and relationship between private and public in a well-known suburban plan that
has influenced the suburbs we live in today. And secondly, demonstrate the
significance of my idea in creating a vertical suburb, showing the capability
of reducing the carbon footprint of an individual, while retaining similar
living conditions.
Geometrical Description of the Shape
In consideration that the original plan of Broadacre City is a 3.7 M x 3.7 m model, the highlighted area will be modelled retaining its similar square ratio. Along with this, the intended addition of extra plots of houses towards the north will be added in rectangular plots similar in size to the housing plot in the highlighted area. This allows easy identification of which portion of the model is part of the original scheme as the added shortened rectangular housing plots would stand out.
The communal planes of the model (vineyard and school) will
be modelled upwards, represented as a vertical block for communal activity.
Along with this, houses would be modelled in a generic housing shape and placed
along the allocated plots of land. The intention of the model is to demonstrate
the idea of a reduced footprint achieving a similar outcome in the city scheme
if it was planned vertically, this means the additional housing plots that I
will be adding would be detachable and can be stacked above the original plot
of housing in the highlighted area, bridging between the two communal blocks
mentioned above.
Proposed Scale, Material, Technique.
Since the original scale of the model was not defined. I have allocated the area of 4000 m² (1 acre as intended by Frank Lloyd Wright) to each housing plot, and traced over each of the communal planes in the same scale.
Figure 2: 1:1 Scale Dimension of
Broadacre City
With the dimensions of the site sorted, the next step is to
figure out the appropriate scale of the physical model that would convey my
ideas. The current plot of lands is relatively big as intended; however, this
would mean the scale of the houses would be relatively small and hard to
produce. I will be modifying the overall scale of the model, specifically the
housing plots, in a ratio of indoor to outdoor spaces similar to that of the
suburbs we are familiar with.
Figure 3: 1:1 Dimension of
Modified Broadacre City to be Modelled
The scale will be modified to fit a suburban house floor
plan so as to retain a more intimate scale. The overall model with the
additional housing plots would result in a relatively long model in a 1:500
scale. The overall length would be approximately 67.6 cm, with a height of 4.2
cm (a height of 3.5 metres per floor, two floors per house, a total of 6 floors
totalling up at 21 metres).
The next step is consideration on how the additional floor
plates can be stacked up.
The base of each plot will be composed of ply, with veneer
to accent the roads and landscape. The intention is to slot the detachable
housing plots in between the communal blocks.
Figure 4: Diagram of Detachable
Housing Plots
The base of the housing plots will be made with laser
cutting, and as previously mentioned, hatched to allow veneer finishes.
The communal spaces will be made of two different materials,
with the vineyard portion of acrylic. This is to convey an outdoor communal space
whereas the other block would be made by 3D print, with slight minor façade
details to convey a indoor communal space.
Time Commitment, Budget.
Cad and 3D model files for both laser cutting and 3D printing, laser cutting time, 3D printing time, and model assembly time needs to be considered carefully to understand the time commitment required.
Firstly, computer preparation, would take the most
significant amount of time in making this model. The landscape will need to be
thought out carefully, to understand which portion of the plots require hatch
engraving. Taking into account the large scale, the amount of design work for
the landscape would not be in great detail, an expected time of 3-4 hours will
be required to produce the initial base. A generic suburban house will also
need to be designed; this would require approximately 4-5 hours. With the
generic suburban house designed, multiplying the numbers for 3D printing
wouldn’t take long. Finally, for this phase, the indoor communal space would
require approximately 3-4 hours to design a vernacular façade that can be
conceived in 1:500 scale.
Laser cutting could be accomplished within one full weekly
session. However, accounting for dimensional, and production errors, it is safe
to expect two full laser cutting sessions for this model, amounting up to 2
hours. 3D printing would require the longest amount of time; however, time
would not be a factor for this as preparation for this and the other two models
can be done while waiting for the print to complete.
An expected assembly time of approximately 8 hours would be
required, from gluing the veneer, to sanding and creating an appropriate
finish.
The model is expected to require approximately 23 hours of
contact time to reach completion (barring from any major mistakes).
The expected cost of the model would be;
3 pieces of 3mm ply: $90
2 pieces of 3mm acrylic: $50
2 laser cutting sessions: $60
estimated 10 hours 3D printing: $30
2 pieces of 3mm acrylic: $50
2 laser cutting sessions: $60
estimated 10 hours 3D printing: $30
Total estimate cost: $230
[1] Michiel Dehaene,
"Broadacre City: The City in The Eye of the Beholder," Journal of
Architectural and Planning Research 19, no. 2 (2002): 92.
[2] Dehaene, " Broadacre City: The City in The Eye of
the Beholder," 95.
[3] Dehaene, " Broadacre City: The City in The Eye of
the Beholder," 95.
Glenn Murcutt’s Walsh House
Key Concept
One of the most well-renowned architects in Australia, Glenn Murcutt’s designs are often recognised for its sustainability, and embracement of the surrounding landscape. Finnish architect Juhani Pallasmaa claims that Murcutt’s architecture ‘creates human horizons for the reading of geography, landscape and natural phenomena’.[1]
Figure 5: Walsh House. 2005. Glenn
Murcutt
The Walsh House located in the Kangaroo Valley, embraces
Murcutt’s philosophical approach on architecture. It features Murcutt’s
signature linear form along with contrasting facades that strategically
responds to the surrounding context. The strategic responses of Murcutt allows the house to be more environmentally sustainable, reacting to the wide range temperate climate of Australia. Along with the carefully designed façade, the Walsh House captures the views of the landscape surrounding brilliantly, bringing about a light touch to its context.
Selected Design Element
I will be modelling the entire building specifically the façade to as much detail as possible. Glenn Murcutt’s designs shows brilliantly how a building can integrate and react with the surrounding landscape and modelling a portion of is not enough to demonstrate the effectiveness of the overall design.
Figure 6: Walsh House West Facade. 2005. Glenn Murcutt
Figure 7: Walsh House East Facade. 2005. Glenn Murcutt
Modelling the façade allows for better understanding of how Murcutt is able to utilise different materials to their maximum benefits, while understanding how they are strategically placed to not just respond to the climate of Australia but to capture views of the surrounding landscape, and bringing about a light touch to architecture in sensitive areas.
How is the Key Concept Reflected in the Design Studio?
Even though the Walsh House has an environment and context that vastly differs from the typical suburban house. The house demonstrates admirable qualities in its response to the site context and how it is achieved through different strategically placed façades. The design embraces its natural surrounding instead of disrupts it and brings about a balanced environment for the user. Through a detailed model of the Walsh House, these qualities can be identified to a deeper level and can be adapted into the unit design of my Research Studio project.
Geometrical Description of the Shape/Proposed Scale, Material, Technique.
The model will retain its rectilinear form, and will be modelled as close to the original as possible. The overall model can mostly be replicated in similar materials in a smaller scale, however, certain elements such as the corrugated roof might be hard to replicate. The outcome of the model might not be as identical, however, representational materials will be used if a close replication cannot be achieved.
The scale of the model will be modelled in 1:100 to retain as much detail
as possible. The overall dimension of the project is approximately 44.2 m x
5.2m, which translates to a 44.2 cm x 5.2 cm model.
A 3D model will be produced on rhino by stitching
elevations, sections, plans, and pictures to create a model that is as accurate
as the real one. It is important to be doing the model in the correct scale to better
understand which details of the model will be too hard to produce in the scale,
keeping in mind that not too much details are omitted to the extent where the
design loses its intent and strategies.
Figure 8: Walsh House Plan.
2005. Glenn Murcutt
Walsh House composes of a rich array of materials which I
will be attempting to replicate as realistically as possible, using steel or
aluminium to represent metal elements in the design, acrylic to represent glass
elements, ply and veneer for walls, also I will be attempting to cast the floor
slab out of concrete similar to the original design.
After the production of the 3D model, the main structure of
the house will be developed in the selected materials above to ensure that the
main building retains a strong and stable structure. This will be followed by
interior walls and doors which would be produced to minimal detail as the main
focus would be the exterior façade. Acrylic windowpanes and walls would be
achieved using the laser cutter, while the metal frame would be made from the
metal workshop. Throughout this whole process, the model will be cross
referenced with the original developed 3D model to ensure the highest accuracy.
Time Commitment, Budget.
Producing the 3D model would be the most complex part of this model as each element is being drawn, an idea of assembly must come along with it. An estimated time of 8 hours is expected to produce the 3D model to an acceptable standard.
Laser cutting materials of the required materials for this
phase would be straight forward and an expected time of 2 sessions would be
sufficient to produce the cuts necessary.
Being new to the metal and ceramics workshop, I am expecting
a number of failures on this portion of the model, which would take up a
considerable amount of time. With the lack of experience, I am unable to
estimate an approximate amount of time I would require for this portion of the
project.
Finally assembling the model, would be easier with the 3D
model as a reference, I would estimate a total of 6-8 hours.
The model is expected to require approximately 20-25 hours
of contact time to reach completion (barring from any major mistakes).
2-3 pieces of 3mm ply: $60-$90
1-2 pieces of 2mm acrylic: $21-$42
concrete cast: -
2 laser cutting sessions: $60
metal materials: -
1-2 pieces of 2mm acrylic: $21-$42
concrete cast: -
2 laser cutting sessions: $60
metal materials: -
Total estimate cost: $192 +
Josef Albers’ Bauhaus Nesting Tables
Key Concept
Josef Albers was a German-born American artist who believed that ‘in art-making, ideas are borne of material and perceptual possibilities and limitations.’[1] His perception of art helped shape the modern art discipline of the 20th century to what it is today.
Figure 9:
One of his most notable work, the Bauhaus Nesting Tables was
designed and produced between 1926 and 1927 while he was serving as the
artistic director of the furniture workshop at the Bauhaus. Albers uses the
table as a canvas for his exploration of the relationship between colours in
simple geometric shapes. By using tables as his canvas, he achieved an elegant
modernist furniture design, creating a set of tables that work independently and
interdependently. The table design heightened his ability to convey his philosophical
views towards art, while creating a modular design that has influenced many
modern furniture.
Selected Design Element
The set of tables works together flawlessly and to design and model a portion of it would lose Albers’ design intention of exploration between colours and the intended modularity. The original table is composed of four different sized tables of different coloured tops, that would slide and stack under one another seamlessly. The sleek modernist design along with its modularity and fine craftsmanship would be the intended outcome.
How is the Key Concept Reflected in the Design Studio?
Despite its simplicity, the Bauhaus Nesting Tables allowed Albers to bring about a different canvas for his artistic visions. He portrayed his work of art in an unconventional method, that created a furniture set that has redefined our perception of furniture design. The Nesting Tables allows me to draw inspiration on how an object can be reinvented to redefine an object. My research question of how to reinterpret the Australian Dream, requires me to reinvent the idea of the suburban sprawl, to create a new housing typology that would suit the growing environmental dilemmas of the 21st century, while catering to the needs of the residents. Though the concepts are not closely linked, Albers' brilliant furniture design allows me to better understand his frame of mind, bringing a sense of simplicity to a reimagined furniture which can benefit my understanding or bring about inspiration to my work in design studio.
Geometrical Description of the Shape/Proposed Scale, Material, Technique.
The tables will be modeled it their original shapes and sizes with four different table sets of different sizes. The dimensions of each table are as follows;
Table 2 (Yellow): 54 cm x 40 cm x 55 cm
Table 3 (Orange): 48 cm x 40 cm x 47.5 cm
Table 4 (Blue): 42 cm x 40 cm x 40 cm
Since the dimensions of the table are relatively small, the scale will be
retained at 1:1. The original materials used for the tables are Oak and an
acrylic finish for the tabletop, it will be replicated as close to the original
as possible, using wooden materials that can be found in the workshop for the
overall structure and an acrylic finish for the tabletop.
The thickness of the table legs will be dependent on the
type of wood that is available at the workshop and preferably do not exceed 25 MM as to not affect the stacking of the smaller tables.
Figure 10: Table
Assembly Diagram
The tabletop will be composed of 3 MM plywood along with 2 MM acrylic
to finish. Leeway has to be given so as
the tabletop will be flushed with the top level of the table legs.
Figure 11: Table
Nested Diagram
Time Commitment, Budget.
A lot of the work for this model will be done via the workshop with exception to laser cutting the plywood and acrylic for the tabletop. Due to my inexperience with the tools. A time and cost estimation for this model is hard to arrive. However, an expect contact time of 20 hours would be expected to complete the overall model. Hopefully scrap materials will be available to produce the table legs and tabletop sides which can significantly lower the overall cost.
[1] Anoka Faruqee, “Search Versus Re-Search: Recollections
of Josef Albers at Yale, a film by Anoka Faruqee,” 2 July 2016, video, 33:20, https://www.youtube.com/watch?v=cC7671N76_Q
Bibliography
Dehaene,
Michiel. " Broadacre City: The City in The Eye of the Beholder." Journal
of Architectural and Planning Research 19, no. 2 (2002): 91-109. http://www.jstor.org/stable/43030603.
Lynch, Patrick. "Glenn Murcutt" The Architects' Journal
227, no. 2 (Jan 17, 2008): 46-47, https://search-proquest-com.wwwproxy1.library.unsw.edu.au/docview/200818193?accountid=12763.
Faruqee, Anoka. “Search Versus Re-Search: Recollections of Josef
Albers at Yale, a film by Anoka Faruqee.” 2 July 2016. Video, 33:20. https://www.youtube.com/watch?v=cC7671N76_Q.
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