A for AUTONOMY
2020
'A New Clayton' explores various modes of architectural autonomy, architecture with the ability to critically engage with its inhabitants, the natural environment as well as in between structures. Each building embodies a different interpretation of autonomy, whether it is an architectural one or the autonomy of the inhabitants: building 1 through its free articulation, building 2 through a fixated user experience, building 3 through its formal imposition, building 4 and 5 through their flexible modularity, building 7 through encouraging temporary structure with an empty framework. The project uses painting as its primary mode of representation, therefore acknowledging the similar historical trajectory in both fields' quest for autonomy. As a new mode of reflective representation, painting challenges the traditional architectural signifier produced by neo-liberalism and demonstrates an architect's autonomy in the form of interdisciplinary practice. It is simultaneously a critique of Clayton's suburban sprawl and positioning itself as a catalyst for a more eclectic urban development. It seeks better social justice within the intermingling of diversified programmes and occupants, both in one structure and the project overall, producing conflicting yet dialogical architectures. Together, it can self-generate critiques, promoting contrast and interactions across demographics by creating fields of encounters. Finally, the proposal respects the autonomy of nature and natural landscape by leaving the ground accessible for all life forms while elevating the built environment to return the land for future flora and fauna habitation. The project contains venues for the creative industry, commercial activities, community facilities and ample public space.
I believe that art and architecture share an intimate historical tie and an intertwining contemporary relationship. In my final studio for the bachelor’s degree, I have chosen oil painting as a tool for inspiration, formal or compositional analysis, and a method of representation for architectural gestures. I have also investigated how to fit the concept of architectural autonomy into the current urban discourse in my final proposal. By combining painting and architecture, this project established a bridge between 2 and 3-dimensional spatial languages. It also explored a shared history of autonomy between the two disciplines.
The diagrammatic oil painting extracts the core design intentions of this project. For example, the orange and yellow ribbons represent the circulation space with the detached free façade flying over in the bottom left corner. The three programs as independent spaces are shown on the side. The overall composition expresses a flowing movement since buildings are elevated above ground to allow the autonomy of nature. The painting itself is dialogical, complementary, and chaotic at the same time, representing the diverse nature of an urban environment. The painting’s independent aesthetic value is an echo of the architectural autonomy for self-governance and determination.
Moving across the site, the project’s inhabitants will experience a variety of atmospheres, spatial conditions, and materiality. Each structure’s funky and humorous form stands in direct contrast with the boredom of the suburbia. The heterogeneity of the architectural typologies and artificial landscapes leads to physical and visual stimulation for its inhabitants. Its goal is to encourage critical thinking using provocative spatial design.
Situated between two major highways, this proposal also emphasizes the free movement within itself and between the University and Clayton precinct. It contains six entry points, and each of them is designed with convenience and social interactions in mind. They utilize natural landscape whenever possible, with access leading to different levels of the proposal. Larger stair areas can also act as fields of encounter, points of gathering and even outdoor event space.
