monty & fairview 09

MONTY&

FAIRVIEW

Richard Price, Second House

Nicholas Ashby

www.montyfairview.tumblr.com

www.nickyashby.blogspot.com

[email protected]

Melbourne State of Design 2009

Space Re Place*

The proposal is to span as a wall across the whole of one of the smaller rooms,

A banner/flag/billboard/notice of presence/curtain/headdress/hat/gang patch/colour/jersey/logo/entry.

Made of liquid colour and lit from behind.At room scale made of hand scale pieces.

*

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D I YA studio in Hastings with Melanie Dodd

+ + + + + + + + + + + + + + + + + + + + + + + + + + + + +

We would like to imagine the housing out Hastings ways to be all beachy, quaint, timber, modest and simple.But really, I didnt think it look much different to the city suburbs.Lots of crappy new polystyrene houses with porticos and Bunnings water features out front, right next to thedouble/triple car garage.The old 60s housing is cool though, cute, plenty of asbestos, gardens, hills hoists, plenty of room to pitch a tent out back/front.but there doesnt seem to be that many of these..- Lots of lace curtains, everywhere, every window has them, no matter what the house is like, new, old, fancy, un fancy, they all have dolly granny lace in the window. People must really not want to see outside, of maybe they just dont want glare on the TV, maybe they are all grannies.. Everyone has at least 7 cars per person, and then at least 9 more either on blocks or just left in the rain with more rust than Wood Marsh.So for all these cars people seem to have big double/triple garages, but then they must fill their garages with junk and pool tables as all the cars are parked on the grass verge or the front lawn,Front Lawn, its also a pretty key suburban speciality for Australia.I couldnt see any evidence of any of these front lawns getting used for anything other than storing cars though, which just seems like a waste of space, but then maybe not, space is cheap out there and you have to put cars somewhere..I find myself constantly comparing what I see in West Park to the terrace house I live in here in Carlton, we dont have front lawns around here, we dont really have back ones either. But then half of us dont even have cars.My house doesnt have a front fence, and neither do half the houses in West Park, so thats one thing we have in common..At my house here in Carlton, there is only one way in, you come through the person sized gate and up to the front door, there is about 3m between the front door and the road.

Nearly all the houses in Hastings have big wide concrete driveways, and the fences wrapall round so the only way in is up the big drive to the garage, and then there is either a door just off to the side or some have access through the garage itself as well.By-passing the entrance altogether.The new plots are interesting as well, they are clear, obviously, but they have the driveways built already, so the whole house design starts with how the car arrives at it..The garages themselves, in the new houses are those odd

integrated ones

The houses that havent had them built from day one just have those prefab, kit-set steel ones made by Bluescope (Rainbow) down the road. Efficient, cheap, easy to build, can be erected by anyone. Butnobody parks in them anyway so it doesnt really matter,.Then there is the caravan park,

I visited one of them, great little houses on portable steel frames, their portability again seems ironic as it seems they dont move them very much,

Most people seem to stay close to 15 years.

And oddly enough the main complaint of one of the residents I talked to was that feeling of unease about the parks permanence, not knowing whether they will be there next month, concerns over rent increases, park sale etc. The people that live there took great care as well in building up their gardens perfectly around their caravans, in a way anchoring them, as you really cant move a caravan if youreimmaculately attended-to garden is in the way, then base boards to

cover up the wheels and plenty of seashell wind chimes and you wouldnt think they could move at all..And obviously corrugated iron is pretty popular,Its a bit of a stereotype now but its the perfect material really if it rains a lot, if youre going to put it together yourself, you dont have all that much money and you want a fancy clean colour.So why not just use it, using anything else would be like ordering the spaghetti from a Thai restaurant.And the Bluescope plant is next door.

*Big garages with big doors, big drives and big fore-shores.

He plays drums, Yea I made it last year, its a kangaroo.(letterbox)

Burt Munro lived in his garage and he had a lemon tree

My dog lived in the shed and Mum said he was part of the family

My housemate is a scientist.

She could always see me coming through that lace, if not, she would hear my car.

People make caravans feel like home

Eaves? na, we have awnings.

lemons Green.dishwashers distance,

laced station.

I wear leather.like flames and skulls,

drink red bull.

*

.//$329*$350(set) **$400$569*$619$290*/$155$59$135$50

$329

$3285

.somewhere around the $35,000mark.probably $50,000 ++ with concrete services etc.+ youll be want-ing some floor-ing probably and turf, drive fencing etc.

labour/D.I.Y.

www.selectsalvage.com.au

W04

Windows.

Doors.

W08 W06 W01

D04 D03 D01 D02 D05

D10D09D08D07D06

W02W05 W10 W03W09

$ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ $ //Single Garage with 1 x tilt/door- inclusive of all fixings, 3 x portal frames, super purlins, & cliplock colourbond cladding (full courbond colour range) /extra steel portal frame/extra tilt/door/AC face, outdoor grade treaded plywood from local + imported timber_2.4 x 1.2_$34.14/m/Pink Batts (Walls) 65mm_$47.36 per/pack (16)_$5.92/m//typical wall and ceiling area=59.6m2

.//W01W02W03W04W05W06W07W08W09W10/D01D02D03D04D05D06D07D08D09D10D11

Win-dows +Doors

.

.

.$3290...$320.$465.$1860 (full shed).$284.16

aprox $6250 x 5 +/- some stuff =$31,250

In a dumb attempt to domesticate this suburban

family of kit set garages, doors and windows, all sourced

from ebay, have been built in where required. For folk that prefer tiled pitched roofs and

mouldings on their doors, recycled fittings only seemed

appropriate.

Tell us about your lace?Lace speaks a lot for the obsessive privacy of much of suburbia. Residents tendency to cover a window even when they want it open or to decorate or fancy a view less picturesque. Lace is pretty none the less and the nostalgia of lace strung curtains above a kitchen sink is as important as the old sash frames they blow in front of. A house without eves needs eves, in this case awnings are easiest, only where needed, plus one for the front door. They are striped only because I like stripes.

World - Architecture - Workshop - 09

Post - Oil - Cities

World - Architecture - Workshop - 09

Post - Oil - Cities

Yes exactly - why not just take one step out of the process by using the wind to move yourself in the first place?It just seems stupid not to use wind when travelling over an ocean from country to country instead of relying on fuel, when the wind is there, its making the journey with you anyway.

Ah..... kinda, more the infrastructure for them.As soon as we had cars, petrol and tankers, the port became a changeover point, containers being taken straight from boat to truck to be delivered straight to warehouse. Before this the docks, would sell and distribute to sellers, store, warehouse, pack, exchange, sort etc, etc, etc.So Docklands became redundant because theres no holding and sorting in the city any more. Heaps of shit used to go down at Docklands - it was a dock, like in the movies, with gangsters and markets. So it was abandoned and the port slowly moves away from the city. If docks become important again, it seems obvious to use Docklands as a dock once more as its already set up for it.

So as a result, what was your architectural proposal? The architectural proposal was to reinstate Docklands as a port and at the same time to integrate what it is currently trying to be, a city. The idea of having the industrial and commercial port functioning at sea level going straight up into the city above. And it relates to everyones obsession with high density and mixing program, blending it up into one tight little nugget. I also dont see why it wasnt even just a little like that in the first place. I strongly feel they could have incorporated a bit more of Docklands history when they did the Masterplan, with a market, a ferry terminal, using the wharfs and the water etc.With a lot of big cities - the harbour is the centre. Sydney is a good example. Melbourne doesnt really have that. There was nowhere to look to, no crux, which was why Federation Square came about. Here the industrial marketplace is a dock and becomes the focus, as it was in history, and is commonly is the place of most activity. If a dock is active 24-7 it is always populated and busy and naturally becomes a focal point.So talk me through some of the images you generated as a result.Utopias, pyramids, grand scale epic interventions.Boats are fucking awesome. Thats a duck boat. Some Swedish guys started putting giant kites up the front of cargo ships to save something like 20 percent on fuel costs per trip.

Jacques Cousteau made a boat with two aeroplane wings, no sails to rip no rigging to tangle, he was a guru.In a timeline, 60 000 years ago we had boats, canoes and the likes. Romans had boats, Vikings, Eskimos, everyone had boats.500 years ago we (Australasia) had outriggers.When the colonists came we had sailing ships.Then ocean-going liners at the turn of the 20th century when we started using coal, oil and gas.Up until then we were solely relying on wind.Thats 60,000 years of wind dependent travel.

Then planes come in right at the end, in the last fifty or so years, we all get comfortable, then when the fuel runs out we all freak out, forgetting that we were fine before.

Yarra bank was landed in 1835, and the city grew out from that little dot.

So This is the site. For those like me that never go there its just west of the CBD on the other side of Southern Cross Station.

All you need is to put structure in, leave some warehousing space below, and zone the city to be built above.Trade goes down up up down down up down up.Its about bringing industry back to a useful distance from everyday life. The physical form is just the existing pier boundary lifted up but with the corners at each end pinned down to provide access to the city at the East and views over the water to the West.The result is a vast public space with a view to the city and one towards the rivers mouth.And then you have the land to build the city.Its not so much about Architecture as moving planning around, stacking things on top of one another. Bringing the grid from the city across and just testing it openly.Put some people in it and bobs your uncle. Its interesting - everyone is looking to these high-

tech responses and yet most are really forgetting the most basic responses to environmental problems.

I believe with this save-the-planet stuff that its about root-level planning and fundamental common-sense approaches to normal life rather than a high-tech end thing where everyone needs organic clothing and hybrid Hondas from Japan.

Docks L

and.

CBD.

So what are we talking about here?Well we did this design studio with Paul Minifie, and Jan Van-Schaik as part of the 2009 World Architecture Workshop. (WAW)The first half was run here in Melbourne, the second in Barcelona with participating schools from France, USA, Japan, UK, and Spain.So tell me about it, how did this project begin?Yeh the whole pretext for the project was A World Architecture Workshop- globally focused, we all had the same question, the same problem. The problem was post oil cities. A one liner, thats it. We had to imagine our city post oil.Of course each of these countries responded in a local way, so we responded in a Melbourne way.

And where was the site?We did some investigations, we could pick wherever we wanted. We had to find a problem/somewhere that responded to the concept of a city functioning post oil. Mine was Docklands because I had a specific response to the question which was relevant to Docklands.As well I chose it because its one of Melbournes more suffering, fledgling suburbs, with that optimistic, futuristic, idealist kinda aspiration, but totally battling. And I see Docklands as a bit of a wasted opportunity, and now all we have is burger joints below residential towers, public art, an ice skating rink and a giant Ferris wheel.So what was your response?

It wasnt even a response. It was really just a thought, that if we didnt have fuel, wed probably just use boats again, like the golden days.

I thought about what that would mean, for import and export, communication, passenger transport, and the general moving-about of the human race.Although it can come off as kind of silly and absurd, its intended to be totally realistic, plausible and true. I think we probably would just use sailing boats because wind is free and most of this world is driven my economic efficiencies so Im sure sails will be back with baggy pants. I was also quite drawn by the whimsy and nostalgia of cities in the past, the ideas that most cities were founded and landed by boat, colonies settled by ship. A healthy slice of our worlds cities have also developed around their ports, harbours or docks. Melbourne is no exception, Flinders banks being landed in 18???. It was a bit far to swim from the motherland. It almost sounds tongue-in-cheek, because we now have high-tech wind farms to generate power that we could use to drive electric hover boats that we control with our i phones via bluetooth, but it all seems so wasteful and indirect when you could just hoist a sail.

Cities post oil will grow

inwards.

So your response is

ships?

City

Dock

Ships

.

Ships

.

BORED IN / BARCELONASWIMMING LANES.

Ok so tell me about Barcelona...

INTERVIEW BY STEPHANIE POOLE

Well its completely different from Australia, in building fabric, history, and culture. We chose to do a response based in its centre in particular. We wanted to study everything that was there in as much detail as we could while we had the chance to do so hand to hand. We physically investigated buildings

How did you do this? (investigate the buildings)We just wanted to record as much information as we could while we were there, so we began by drawing the city. Starting at a human scale, the five of us intricately mapping every cut and groove in a selection of

Spanish doors. Theyre really beautiful in the buildings of Barcelona, because theres not solely residential program in any one block they normally have doors at the entrance large enough to accommodate a warehouse, shop, gas station house etc. They have these huge doors, and because the facades in the actual buildings arent necessarily all that different theyre often the point of interest. We made a catalogue of 25, drawing five each in full

detail in cad and illustrator, photographs and hand drawings, but the end result was a measured

technical drawing.We then chose a building from the old town. But because in the medieval centre there arent any stand alone individual dwellings, it became an entire block, which is extruded. Everything comes up to pretty much the same height - there is one height for the whole medieval centre which is six to eight storeys, because thats about what you walk up without an elevator. Any more than that and it gets tricky. Except of course church spires.There isnt really that in-between scale between a door and a block because the houses arent

individually articulated. The blocks were both in the heart of the El Born district - one was three sided and one was four sided. They are miniature islands, not very big but solid, literal hunks of rock. We drew everything. We drew the trees growing off the buildings, the water dripping, the wires and cables, the pipes, the mould and the signage, the posters in peoples bedrooms the graffiti and the gas meters.

Everything. It was the obsessive detail in which the drawings done that makes them interesting or relevant investigations.

It must have been interesting, documenting these buildings with photographs and hand sketches, which is so immediate and yet somehow unfocused when compared to mapping the textures in computer generated line drawing. Once you start committing to that level of detail, you begin to realize how much there is to draw, how much detail is in there, thousands of years of detail. It literally took us a week to draw each one, simply

because of how complicated, layered they were.

And what did you do after that?After studying and talking about how the fabric and program works within these ancient buildings, we thought it would be interesting to look at how these old centres could handle modern usage and contemporary living. Because they are still being used today and because they have to be able to accommodate what we need if we are to continue to use and protect them. So we each chose a building type not relevant to Barcelonas Medieval history and did our best to squeeze it in. Andys football stadium, Helens crematorium, Lukes car yard, Sams greenhouse and my swimming pool complex all had a similar absurdity, but were done in a relative seriousness towards finding a

solution to this real problem. A study in how the cities built heritage could slowly overlap. My proposal worked in-between the buildings, using the space above lanes.

Did everyone use the laneways?No, not really, because its all so dense some affected them quite severely though. Mine being a pool needed large length of space though, I opted for a large circular loop so you could swim around the whole suburb. At a level such that the swimming pools creates cover to the streets below, like arcades do. While also providing access through existing buildings and opening up a second layer of retail frontage.

How deeply did you go in resolving logistics and the practical aspects of the design? About Paddling / kiddy pool deep, it wasnt so much about proposing or creating a realistic solution but more just an investigation into ways of doing things.

How did it influence your approach to architecture?

It made me take the investigative observational side of design more seriously. The study has me excited about more urban scale projects - The greatest difference I read in the architecture abroad wasnt in the objects, structures or physical detail but in the planning and program mixture. In Barcelona, the fabric is all pretty much the same, so a butcher looks the same as an optometrist, a petrol station or a supermarket. Apart from signage there is not much by way of an architectural clue to program or use. While in Australia you know a office building is

an office building, a petrol stations a petrol station, and a factorys a

factory because formally the buildings are different typology. I dont think its better or worse either way, but interesting to think about how they (buildings) work within - why a petrol station actually looks like one, assumable for practical reasons. We do have a luxury (arguable) in that there is often a clean slate to design on here in Australia, freeing up the options for a buildings form and planning.

Wolf in / Tiger

Tussock

The task asked for a studio/retreat to be dropped into the mountains of New Zea-lands far south. Building in such a pristine and isolated setting in most cases de-mands a certain subtlety to a structures presence: hid-ing from view altogether, blending to surroundings in colour and material, or shrinking to a dissolvable scale.I found the dishonesty of this attitude to architecture frustrating: designing as if your building isnt there so not to tarnish your sites beauty. In response, my project was about a con-struction clearly embed-

ded, quite literally, in site, with a materiality overtly clashing bluntly in contrast to its context.Folding up with the moun-tains around but in tarmac, glass and timber, with an exterior that takes a beat-ing, walked over, nested in and snowed on, covering a polished and bare interior. The form has been gener-ated from postcard money shots of the surrounding fiords, heightfield data ex-tracted, then reduced to a buildable triangulated single surface that has been trimmed into site

Wolf in / Tiger

Tussock

For this exhibition we are investigating existing systems that can be adapted to create a pavilion.

We did not want to create or customize materials, rather adapt or manipulate an everyday product. We are proposing it be flexible in nature, reusable, temporary, easily assembled and disassembled.

We investigated the use of functional and practical everyday, every-job trade equipment that had potential to be re-used in a formal way.

Because of this, we wanted to use a product that was available for hire, traditionally unrecognised as architectural, and transform it into something that qualifies as functional and formal, touching on thematic instances of sustainability. A pavilion for adaptive re-use and everyday vernacular We want to investigate the broader possibilities of scaffolding in terms of its structure, and its ornamental and aesthetic properties.

Scaffolding is made up of a few standard components and presents many opportunities for generating a complex and provocative design.

We are seeking to transform the perceived use of scaffolding, and how it assists in sculpting the built environment, but more importantly how the material can become the architecture itself.

Parallax / Form & Function

Pavilion

FATTY& SKINNY

with a little bit of

BARRY

MELBOURNE UNIVERSITY

ARCHITECTURE BUILDING

COMPETITION with

NH Arch.

My competition entry is primarily concerned with understanding the universitys diverse and specific brief, to design a new building for its Melbourne School of Design. A 13 page dot pointed booklet sug-gesting what colour to paint the lift wells crunching the project down to a planning and costing shuffle. The construction eventually needed to, amongst other requirements, house lecture halls, studios, a library, faculty staff offices, academic staff offices, a cafe, specialist studios, computer labs and a workshop. All with the usual architectural require-ments, direct sunlight, views, ventila-tion, outdoor space, squeezed into a tight site, on a tight budget.

This is a very specific heritage laden piece of Parkville that includes some incredibly interesting and relevant existing built fabric.

My response to this complex brief is simple. I am proposing diagrammat-ic volumes that incorporate the high-ly specific spaces where required as well as flexible and non-specific spaces that potentially accommo-date a variety of program in a rapidly evolving degree. This design aims to avoid built in redundancies by not assigning highly specific parameters in the first place. Within this envelope are memorable moments or instanc-es of engagement. They may take the form of a distorted arched entry, the preservation and replication of existing adjacent lecture theatres or the incorporation of a steel fire stair from the soon to be excitedly demol-ished architecture building. All are instances informed by the intent to provide a simple spatial solution that incorporates built heritage where appropriate in a functional and cost effective way.

There isnt much to say about this proposal, I could draw it for hours but its a blunt idea, intended to be built as a obsessively considered and site specific diagram of practi-cality and the generic.

Lets not get too tricky.

cafe

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lecture theatres 1+2

lecture theatres 3+4

shoe workshop

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exhibition hall

sweet place for smokin ciggies

Roof plan

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First oor plan

courtyard of whirlwinds

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lecture theatres 5+

(6)

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Barry

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monty & fairview 09

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Transcript of monty & fairview 09