N i c h o l a s C h e u n g

c i n e m a t h e q u e m o n o l o g u e e v e l e i g h N S W

T h e c r e a t i v e p r o c e s s t h a t c a r r i e d t h e f o l l o w i n g m o n o l o g u e d r i v e n b y t h e a n a l y s i s o f t h e s e l e c t e d f i l m s t i l l s g e n e r a t i n g a s e r i e s o f d i a g r a m s , d r a w i n g s a n d m o d e l s t o e q u a t e t o a n a r c h i t e c t u r a l i d e a .

T h i s p o r t f o l i o i s t h e t h o u g h t p r o c e s s f r o m a 1 0 s e c o n d d a n c e s e q u e n c e f r o m t h e f i l m ‘ m e t r o p o l i s ’. T h e s c e n e b r o k e d o w n i n t o 5 s t i l l i m a g e s . E a c h i m a g e a n a l y s e d s y s t e m a t i c a l l y i n s e q u e n c e w i t h o v e r l a y s a n d d i a g r a m m i n g v a r i o u s e l e m e n t s e x t r a c t e d f r o m t h e i r i n d i v i d u a l i m a g e q u a l i t i e s . I d e n t i f y i n g t h e s u b j e c t s h u m a n f o r m w i t h a s c u l p t u r a l p e r s p e c t i v e a n d c r e a t i o n o f f o r m t h r o u g h p r o f i l e s d r a w n f r o m t h e s t i l l s i n t r o d u c e d a t h r e e d i m e n s i o n a l q u a l i t y t o b e g e n e r a t e d . I t i s t h r o u g h t h e m i x o f s k e t c h i n g a n d c o m p u t e r m o d e l l i n g t h a t a l l o w e d t h i s p r o c e s s t o o c c u r.

M o v e m e n t , t i m e , c i r c u l a t i o n , w e r e e x p l o r e d t h r o u g h t h e w o r k . T h e i n i t i a l f o r m a t o f t h e d a n c i n g s e q u e n c e a l r e a d y s i g n a l l e d a d y n a m i c m e t h o d o l o g y t o t a k e p l a c e . B y t h i s I m e a n i t w a s n e v e r a s t a t i c i n v e s t i g a t e ( o n e e l e m e n t a n d m o v e o n ) . E a c h i d e a w a s l i n k e d a n d w a s a c o n t i n u a t i o n o f t h e p r e v i o u s . E a c h s t e p w a s a s s e q u e n t i a l a s a d a n c e r o u t i n e , e a c h s t e p i n f o r m e d t h e n e x t , a n d e a c h i d e a p a v e d t h e n e x t .

T h e a s s e m b l a g e w a s p i e c e d t o g e t h e r t h r o u g h a n a n t h r o p o m o r p h i c c o n t e x t w h e r e t h e s c u l p t u r e s e x t r a p o l a t e d w e r e m a n i p u l a t e d t o f o r m e x p e r i e n t i a l q u a l i t i e s t h e s p a c e m a y p e r s i s t . T h i s b e c a m e t h e f o u n d i n g i d e a t h a t p u s h e d t h e a s s e m b l a g e . T h e q u a l i t i e s o f c h a n g i n g h e i g h t s i n f l o o r s a n d t a p e r i n g w a l l s t h a t c r e a t e d n a r r o w a n d t h e n e x p a n d i n g w a l k w a y s a n d r o o m s w e r e p u l l e d a w a y f r o m s e v e r a l s c u l p t u r e s t o f o r m t h e b a s i s o f t h e g a l l e r i e s a n d a r c h i v e s . A s e e m i n g l y p e r p e t u a l m o v e m e n t o f l i n e a r y e t o s c i l l a t e d m o v e m e n t s . H o w e v e r p r i o r t o t h e m a n i p u l a t i o n i m a g e s t o s c u l p t u r e s t h e b a s e p r o f i l e s w e r e d r a w n a r o u n d t h e h u m a n b o d y. T h i s d e e p e n t h e t h o u g h t o f h a v i n g t h e l i n e a r m o v e m e n t a n d d r e w u p o n t h e m e t a p h o r o f t h e v a s c u l a r s y s t e m w h i c h d r e w b a c k u p o n t h e a n t h r o p o m o r p h i c i d e a . T h e m a i n a c c e s s f r o m W i l s o n S t a s t h e m a i n a r t e r y t r a n s p o r t i n g t h e t r a f f i c i n t o t h e c i n e m a a n d d i s p e r s i n g t h e t r a f f i c i n t o t h e n e t w o r k o f c i r c u l a t i o n p a t h s t h a t d o n o t s i t l e v e l w i t h e a c h o t h e r e a c h o f f s e t t i n g o n e a n d h a l f m e t r e s f r o m o n e a n o t h e r i n t h e a s s e m b l a g e m u c h l i k e t h e c o m p l e x i t y o f t h e v a s c u l a r s y s t e m a n d h e a r t .

I N I T I A L P A R T I M O D E L

Initial functional diagram consists of a horizontal element that sits over the top of the lower programs . This element defines the archive spaces.

This element was carried across to entire process, which pushed for the l inear formation.

I N I T I A L P A R T I M O D E L

I N I T I A L P A R T I M O D E L

I N I T I A L F U N C T I O N M O D E L

shared workshop

living space

retail

workshoparchives

video viewing cubes

library work areas

sound booth

theatrette

conservation

compactus storage

Multimedia Gallery

multimedia gallery workshopMultimedia

gallery o�ce

exhibition gallery

exhibition gallery workshop

private external space

Exhibition gallery o�ces

exhibition conserva-tion

bioboxes

sta� o�ce

cinema

candy bar

common areas

cinematheque o�ce

commerical tenancies

entrance gallery

box o�ce

public access and browsing

A 13 second dance squence, reformatted to 5 frame shots from the fi lm ‘ Metropolis’ was analysed systematically with the themes of movement, the body and time as key ideas throughout the analysis. An anthropromophic concept stemmed from the investigation process. D I A G R A M M I N G

Series One: The First Overlays.

Line 1: Referencing the human form via adding points to outline a form.Line 2: Mapping of subject to the frame (foreground vs background).Line 3: Massing the negative and positive space within the subject.Line 4: Shading the brightness and contrast of the frames.

D I A G R A M M I N G

Series Two: Overlaying Series One.

Line 1: Giving the reference points a sense of area.Line 2: Mapping in plan view the movement of Line 1 in series one.Line 3: Combining the mapping of the subject within the frame and the spaces within the subject (l ine 2 + line 3 from Series One).Line 4: Giving Three dimensionalit y to reference points in Line 1 of series one. D I A G R A M M I N G

Series Three: Mapping Movement and Reference Relationships.

Line 1: Combining overlays from series one.Line 2: Mapping the net work of the references points around a geometr y.

D I A G R A M M I N G

Series Three: Movement and Reference Relationships

Line 1: Mapping the movement the actions of the dance with the reference points in Line 1,series one through the use of positive and negative space.Line 2: Mapping the movement the actions of the dance with the reference points in Line 1, series one through the use of positive space.Line 3: Plan view of the actions of the human body. D I A G R A M M I N G

Series Three: Mapping the ‘Movement and Reference Points’ With a Spatial Relationship Intent.

Line 1: Inver ting the negative massing from series three Line 1 resulting in a series of spatial par ti diagramsLine 2: Intersection of l ine and massingLine 3: Outling the negative space with no fi l l. D I A G R A M M I N G

D I A G R A M M I N G

D I A G R A M M I N G

In order to translate the diagrams into a 3 dimensional form, I transferred the drawings into rhino and drew profiles of each diagram. By stacking them and creating a surface between them on the computer I created the an transistion between each profile.

R E L I E F M O D E L

3 D M O D E L

Deploying a contour technique to transform the digital model into a physical model gained insight into the theme of an anthropromorphic approach to the design. Manipulating human elements into the design through the form of the moving subject.

M O D E L

A B S T R A C T M O D E L

Stepping back to create a series of different sculptures around the idea of using the diagrams profile to stretch and manipulate into architectonic elements. The models resemble a sort of vein that circulates within a building.

Further abstraction of the diagrams led to the generation of the model. This progressed itself into forming the overlap of various space in the building.

Through the creation of the negative volume from the previous model various architectonic elements were drawn out through the model. It is through the construction of this model that articulated an experiential flow, that has been adapted into the movement of the building.

S P A T I A L M O D E L

S P A T I A L M O D E L

Extracting key ideas derived from previous exploration. Models demostrate idea the idea of ramp or flowing ground planes with tapering walls and maniupulating circulations.

Mapping of various movements around the site. These movements consist of motorist, pedestrian, cyclist and trains movement. M A P P I N G

M A P P I N GMapping of road access around the site .

M A P P I N GMapping of unutlised access thoroughfare for pedestrians and cyclists.

M A P P I N GMapping of local land levels.

A4 40m 200m

N

P R O P O S A L

void

Level One

Level Two

Level Three

P L A N S

B U I L D I N G O V E R V I E W

A X O N O M E T R I C

Cinema

Retail

Private Archive

Exhibition Gallery

Cinemaa1: Staff Officesa2: box office/candy bara3: Cinema1a4: Cinema 2a5: Cinema 3

Private Archiveb1: Compactus Storage b2: Conservatorb3: Workshop

Public Archiveb4: Archiveb5: Public access and browsingb6: video viewing cubiclesb7:Theatretteb8:soundboothb9: Library workareas

Exhitbition c0: Entrance Galleryc1: Exhibition Galleryc2: Exhibition Workshopc3: Exhibition conservationc4: Exhibition Offices

Multimediac5: Multimedia Galleryc6: Multimedia Workshopc7: Multimedia Offices

Artist Residenced1: Shared workshopd2: Residenced3: Private external space

Officese1: Cinematheque Officese2: Commerical Tenanciese3: Common Areas

Retailf1: Shopf2: Cafe

Offices

Artist Residence

Multimedia Gallery

Public Archive

a1

a2

a3

f1

f2

a4

a5

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b3b6

b7b8

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F U N C T I O N D I A G R A M

P L A N S L E V E L 1

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gallery entrance

ground entrance

exhibition conservationexhibition workshopexhibition o�cescommerical o�cescommerical tenanciescommon areas

cinemas

cinema 1

cinema 2

cinema 3multimedia gallery

exhibition gallery

commerical o�ces

gallery entrace

multimedia workshopmultimedia o�ces

cinema o�ces

Candybar/ ticket o�ce

shared workshopartist residence

common areas

P L A N S L E V E L 2

archive public access

compactus storage conservator workshop

video viewingthreatrette

library work areas

P L A N S L E V E L 3

Private Archive

Cinemas

RetailOffices

Artist residence

Public Archive

Multimedia galleries

Exhibition galleries

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a2 a3f1f2

a4

a5

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Cinemaa1: Staff Officesa2: box office/candy bara3: Cinema1a4: Cinema 2a5: Cinema 3

Private Archiveb1: Compactus Storage b2: Conservatorb3: Workshop

Public Archiveb4: Archiveb5: Public access and browsingb6: video viewing cubiclesb7:Theatretteb8:soundboothb9: Library workareas

Exhitbition c0: Entrance Galleryc1: Exhibition Galleryc2: Exhibition Workshopc3: Exhibition conservationc4: Exhibition Offices Multimediac5: Multimedia Galleryc6: Multimedia Workshopc7: Multimedia Offices

Artist Residenced1: Shared workshopd2: Residenced3: Private external space

Officese1: Cinematheque Officese2: Commerical Tenanciese3: Common Areas

Retailf1: Shopf2: Cafe

Private Archive

Cinemas

RetailOffices

Artist residence

Public Archive

Multimedia galleries

Exhibition galleries

a1

a2 a3f1f2

a4

a5

b1

b4

b3

b6b7b8b9

b2

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B U I L D I N G Z O N I N G

A T M O S P H E R I C S E C T I O N

A T M O S P H E R I C S E C T I O N

I N T E R I O R P E R S P E C T I V E

A T M O S P H E R I C S E C T I O N