New set of deliverables in accordance with clients needs

1 x Master Bedroom with ensuite and walk-in robe 

1 x Formal living room with Fireplace

1 x Formal dining room

1 x Kitchen with attached informal family area 

1 x 'Kids play room' 

1 x Library 

1 x Laundry

1 x Pool

1 x Courtyard

1 x Gallery Space

1 x Small Guest House (2 x Double Bedroom with Ensuite and Shared Bathroom)

2 x Working Spaces, 1 semi-sunlit 'workshop' with 2 parts, and 1 enclosed 'study'

Stage 1 Assignment 2: DA submission

DESCRIPTION

The 713 square meter site is located at 5 Wyargine Street, Mosman NSW 2088. It is part of a low-density suburban area, surrounded by existing residences standing no taller than two stories (8.5 meters), and minimal tree density. 

South Westerly winds and rainstorms occur quite frequently throughout both the Summer and Winter months, with, of course, the temperatures varying respectively. The current standing construction at the location is, as expected, facing East due to the beautiful views of the water available. 

The site is conveniently situated no more than 50 meters from a handy bus stop, and only 100 meters away from Balmoral Beach; as well as shopping areas a mere 600m from the site. Parking is available on either side of the two-way street.

The site in context

https://maps.google.com

PLANNING CONTROLS

Heights:

Maximum building height 8.5m (Mosman RDCP 4.2 Objective 1,2,3 PC 1 LEP)

Maximum wall height 7.2m (Mosman RDCP 4.2 Objective 1,2,3 PC 1 LEP)

Council may allow additional stories, if architect adheres to cited restrictions (Mosman RDCP 4.2 Objective 1,2,3 PC 1 LEP)

Council may accept petitions to pitch roof beyond the cited building height restriction, if important to character consistent with local residences (Mosman RDCP 4.2 Objective 1,2,3 PC 1 LEP)

R2 Low Density Residential (Mosman RDCP 1.3 LEP)


Location and Weather:

Sun oriented from North Side

Easterly views and sea breeze

Rainstorms from South and South West

Hot winds from West

Topography:

Constructions should related to the topography with minimal cut and fill, preserving existent trees, vegetation, rock outcrops, water courses, natural features and promote new vegetation links (Mosman RDCP 4.2 Objective 9 PC 21,22,23,24 LEP)


Setbacks:

From sewage 2m (Mosman RDCP 4.2 Objective 5 PC 7 LEP)

From street Appropriate to surrounding residencies

To neighbours 1 story: 900mm, 2 story: 1.5m (Mosman RDCP 4.2 Objective 6 PC 8(a)(b) LEP)


Trees and Vegetation:

Existing established trees that contribute to the amenity of the areas and trees listed on Council’s Urban Forest Management Register must be retained and incorporated into the overall design of a site. (Mosman RDCP 4.4 Objective 4,5 PC 3 LEP)

Streetscape character, context and curtilage of heritage items and conservation areas must be maintained through appropriate landscaping (Mosman RDCP 4.4 Objective 7 PC 5 LEP)

Vegetation and landscaping should soften the built form, be consistent with residential theme of vegetation, and contribute to forming a part of the overall streetscape (Mosman RDCP 4.4 Objective 6 PC 4 LEP)

Prohibited trees can be found on page 46 (5.9 Preservation of Trees or Vegetation of the LEP)

REFERENCES

Class Collaboration 13/09/2013

Mosman Council, Residential Development Control Plan, February 2013

Parramatta City Council Urban Design Unit, Urban Context/Site Analysis Plans, August 2011,  http://www.parracity.nsw.gov.au/__data/assets/pdf_file/0019/93250/Urban_Context_Analysis.pdf

John de Bruyn, Site Analysis + Project Info, September 2009, http://www.debruyn.com.au/website%20documents/010_Gloucester_DA%20rev%201.pdf

Lake Macquarie City Council, Site Analysis Guideline, February 2012, http://www.lakemac.com.au/downloads/Att%2020%2012STRAT005%20Site%20Analysis%20Guidelines.pdf

Week 7 Task

PART 1: Do some research on your selected architect / artist / designer to determine what they might look for in the design of a home for themselves.

Can you find any information on family?

• Brother Andrea, who introduced him to Latin and the ancient civilisation 
• Uncle Matteo Lucchesi (a Venetian engineer who specialised in excavation) mentored Piranesi as an architect 

What about their cultural roots?

• Born in Mogliano, Veneto (then part of the Republic of Venice) 
• Lived in Rome from 1740, with 
• Studied under Giuseppe Vasi who introduced him to the art of etching and engraving 
• In the 1740’s he collaborated with his (French Academy in Rome) colleagues, producing varying perspectives of the city (Prima parte di Architettura e Prospecttive in 1743, and Varie Vedute di Roma Antica e Moderna in 1745) 
• 1743-1747 lived in Venice 
• 1748 returned to Rome – opened a workshop in Via del Corso and devoted himself to the measurement of ancient edifices 
• 1761 became a member of the Accademia di San Luca, opening his own printing facility 
• 1763 commissioned by Pope Clement XIII to restore the choir of San Giovanni in Laterano 
• 1764 started solo architectural work – restored a church of Santa Maria del Priorato in the Villa of the Knights of Malta in Rome (buried here) 
• 1767 created a knight of the Golden Spur 
• 1769 created Piranesi Vase – best known for his work as restorer of ancient sculpture (derived from interest in ancient artefacts) 
• 1777-78 published a collection of views from Paestum 

What can you say about their design style? (analysing Carceri only)

• Style influenced Romanticism and Surrealism 
• Doesn’t focus on the ‘beauty of the sunlit place’ 
• Kafkaesque*, Escher*-like distortion, labyrinthian structures, epic volume 
• Described as ‘monumental architecture in ruin’ 
• Series started in 1745 – living in Venice at the time, and publicised in 1750 – workshop erected and interest in ancient edifices realised 
• Thomas De Quincey in Confessions of an English Opium-Eater (1820) wrote “the scenery of his own visions during the delirium of a fever…representing vast Gothic halls, on the floor of which stood all sorts of engines and machinery…the walls you perceived a staircase, and upon it…Piranesi himself.”

PART 2: BRIEF

Design a living space for Piranesi, and brother Andrea. There will be small guesthouse attached for Uncle Matteo. It will display various neo-classical and kafkaesque, Escher-like features, as well as early Romantic, Baroque and Surreal qualities. It will be monumental in size, but extremely private and enclosed; only small portions of the structure will be sunlit. The style living will be fit by Venetian standards. The space will feature ancient edifices, labyrinthian structures, as well as centrepieces not dissimilar to Piranesi’s Vase.


Overall details include:

1 x Master Bedroom with Ensuite

1 x Bedroom with Ensuite

1 x Kitchen

1 x Library

1 x Pool

1 x Courtyard

1 x Gallery Space

1 x Small Guest House (Double Bedroom with Ensuite)

2 x Working Spaces, 1 sunlit and 1 enclosed


Specifics:

Master Bedroom will be detailed in varying European styles. Extremely surreal and grandiose in size and style.

Bedroom will be decorated in strictly Venetian style.

Kitchen will be underdeveloped, not modern or high-tech, just basic appliances and simple (if any) electronics.

Library will be extensive, but limited to ancient styles/forms and history, art history, art styles, architecture styles, home decorations (vases, centrepieces). Predominantly Latin and Italian literature.

Pool will be Romanic in style, as will the courtyard. Very European, decorated in a neo-classical and even classical style. Ancient decoration present.

Guest house will also be decorated in a Venetian style, but more specific to the Baroque period of Art.

Working spaces very specific to Piranesi’s practice, littered with etching utensils.

Gallery displaying all work by Piranesi, including early works done with art school colleagues.

Staircases prominent.


*SEE ALSO: Frank Kafka, M.C. Escher

Assignment 1 Submission

https://drive.google.com/folderview?id=0B-uik3L7LOqYa2dra3BWbGZESzA&usp=sharing

How the spaces fit together

Week 3: Experimenting with spaces within the prisms

GUIDE:

Red = Master bedroom

Orange = Garage

Yellow = Living Room

Green = Kitchen

Blue = Bedroom 2

Pink = Bedroom 3

Purple = Study / Guest Room

Grey = Dining

Black = Children's bathroom

White = Guest bathroom

Turquoise = Laundry

First attempt at arranging: Not a huge success, but gained a bit more of an insight into the assignment and what's required. I think for my next attempt I'll either work within a smaller space (as I didn't fill even 2/3 of the envelope), or just think outside the stair pattern and create a more interesting creation. I think if the space were in fact more constrained, the latter will hopefully happen naturally.

Week 2 Exercise and Reflection

The dimensions for each of my spaces are as follows: Based on Stephen Peter's guidelines. It was extremely helpful in guiding me to create the basic spaces. Although I may not use them in my final project, I thought it would be appropriate in familiarising myself with the spaces. Ultimately I will end up changing the respective dimensions to fit into my geometric envelope.

3 bedrooms: 8x4 + 2x3, 3x4, 3x4


Study / guest room: 3x4


Kitchen: 4.5x4


Living Room: 6x4


Separate dining room: 3x4


Childrens bathroom: 2x3

Guest toilet: 2x3


Laundry: 2x3


Parking for 2 cars: 6.1x6.2


Arrangement of spaces: I thought that this arrangement would be appropriate in recreating Piranesi's Prison Etchings. They feature stair-like patterns, however I will have to try and figure out a way of incorporating something arch-y. I haven't yet considered public and private spaces, but rather composed the spaces in a way I deemed appropriate (for example, the children's bedrooms separated by the shared bathroom).

Prism "Envelope": SketchUp didn't really work out for me regarding the movement and rotation of the prisms. I coloured them differently to make the orientation clearer. It is based upon the organisation above. Box (red), Pyramid (blue), and cone (yellow). The pyramid on the top should really be much larger in order to engulf the private rooms shown in the arrangement above. The cone should also be rotated much further so when facing the house, all that will be seen is its circle base. 

I can't say I'm too happy with my prisms. I think I was focusing too much on Piranesi's spaces and the arrangement of spaces I had previously constructed. For my assignment, I think by focusing on different prisms (to the ones I have already used) and spaces I can increase my envelopes volume to work within and, in doing so, construct a far more interesting house.

Based on Cone, Box and Pyramid (from main course blog) below

Complete Collection of The Prisons (Carceri) by Piranesi

I Title Plate

II The Man on the Rack

III The Round Tower

IV The Grand Piazza

V The Lion Bas-Reliefs

VI The Smoking Fire

VII The Drawbridge

VIII The Staircase with Trophies

IX The Giant Wheel

X Prisoners on Projecting Platform 

XI The Arch with a Shell Ornament

XII The Sawhorse

XIII The Well

XIV The Gothic Arch

XV The Pier with a Lamp

XVI The Pier with Chains

Research Exercise 2

General info:

• Published 1750-1760
• Inspired by an opera set
• No people in majority of scenes
• Used monumental scale as a means of creating large gothic atmospheres
• Huge emphasis on light vs. dark
• Each print feels trapped thanks to intricacy and attention to space/proportions

Prevalent in every etching: Steps, Archways, Pillars

This influenced both folded sheets. I attempted to incorporate all 3 architectural implements, while providing unique shapes and ideas in each respective creation. I hoped the 2 folded formations would be different in order to easier construct a house within the envelope of opposing geometrical prisms. I therefore approached the first sheet in a more rigid mindset, and the second (although not a key feature in Piranesi's work) in a rather spherical fashion.

As a part of my research, I thought I'd look at other examples of Origami Architecture, and if only I had a utility knife! They all happen to represent exactly the same qualities I pathetically attempted to in my Piranesi foldings.

http://www.neatorama.com/2008/02/24/origamic-architecture-stunning-sculptures-cut-out-of-paper/

References
Art History Blogger, "The Imaginary Prisons of Piranesi", Accessed Aug 9 2013, http://arthistoryblogger.blogspot.com.au/2011/08/imaginary-prisons-of-piranesi.html

Folding Exercise

1. Based on XI The Arch with a Shell Ornament

2. Based on XV The Pier with a Lamp
  



3. Based on X Prisoners on Projecting Platform

References

Takaaki Kihara, "Stairs: Origamic Architecture using Scissors", http://www.youtube.com/watch?v=9hrUWHKro1c

Elod Beregszaszi, "Origami Architecture", http://www.youtube.com/watch?v=MLAjkS7ysk8

Recommended videos on Vimeo, from Lawrence King Publishing: http://vimeo.com/23804390; http://vimeo.com/41072878; http://vimeo.com/23792529

Research Exercise 1: Design Influence

Piranesi, the Prison Etchings

References
All Images: Mortensen C, "Piranesi's Carceri as Inconsistent," University of Adelaide, November 2007, Accessed August 2 2013. http://www.hss.adelaide.edu.au/philosophy/inconsistent-images/piranesi/