Seeking to trace the Urban Interior as a point of origin and departure for Cinema

27. 09. 21

Developing documentation to communicate my design project…

For our online studio session this week we were briefed with a context talk surrounding continuing to develop our documentation in preparation for our Co-Design Workshop, as well as given in overview of how the workshop would run and which designer we would be working with. For the workshop, we were to establish a series of documentations of our current design in progress in order to get the most valuable feedback from experts within the field. With their advice, help and guidance we have the ability to get their feedback surrounding either our overall project or instead specific aspects within it. They are able to help us develop and build on our design proposition, but most importantly help us to shape our documentation so that it is the most cohesive and expressive that it can be. What aspects of our documentation are working well? What parts are well communicative and what parts need further clarification or extra detail?

However in order to fully prepare for this workshop I must continue making these crucial design decisions as a means of gathering, creating and enhancing the relevant documentation for my design project. How can I best showcase my project narrative and design intentions at this stage? Even though these documents will not be my final designs or outcomes, it is still important that I work to develop and produce what is most relevant for these communications to happen, both with feedback and expressing my clarified ideas. In our context talk we discussed the importance of details within our documentation. Even though these details might not be inclusive for our workshop presentation, it is important that we aim to ensure they are well considered for our final outcomes. These details include: figures, viewpoints and constraints. For our perspective images it is important we take considered detail of what figures we use, how they are implemented into the image and the viewpoint at which the image is taken. Are we capturing the most relevant and captivating moments of our design? Do our figures add to this animation and inhabitation of our design? Along with this it is also crucial we set some constraints for ourselves so we are focusing on the critical parts of our design and aren’t overcrowding or complicating the documentation.

As a continuation on my current design project documentation and using my developed plan, I began to further develop and map out what else needed to be created, clarified or refined in order to start building up my workshop presentation. By doing this it allowed me to fully recognise and understand what components still need to be completed, created, developed or even reconsidered in order to be included in each document. It helped me to clarify an almost to do list of what needs to be established to build up this array of imagery.

Detailed Plan of Documentation and its Relevant Elements

For the workshop, my aim is that these documents will be inclusive of a studio identity (for programming, performance space, awareness and establishment within the dance community/industry), contextual relevance through a site map and site location in context, my discoveries and developed process work, a set of drawings containing floor plan, sections and elevations, a series of perspectives to show inhabitation of design and a journey through proposed spaces (key moments in design narrative), along with design details and materiality elements. However if not every element is crafted then I will make sure to further develop it for my final documentation.

Building a Visual Language.

A major part of producing an expressive, evocative and captivating series of design documentation is through building a strong visual language that collates each document to create an overall coherent body of work. For my visual imagery and language I wish to uphold an aesthetic relative and supportive towards my proposed design, driving conceptual narrative, along with my self influential design decisions and approaches. Drawing from all my previous site studies, observations, conceptual frameworks, explorations, interests and aesthetics, it is conclusive that my design proposal was fascinated and stemming towards a more unexpected, radical approach which I aim to evoke within my communication methods and visual language. My documentation style is already informed by avant-garde performance art events that established this approach to space making as an art form. So as part of my visual language, I wish to adapt a more playful style, one that is suggestive towards this avant-garde way of making but with a minimal, monochrome palette throughout. One that utilities drawing, image, montage, layering, collage and texture.

Firstly in order to prepare for the Co-Design Workshop, I referred back to my digital models of my proposed design intervention into Imperial Lane and Fort Lane. With my constructed digital models I would be able to adapt an array of crucial documentation relevant to showcasing features of my design. These documents would include plan and section, elevation and design details. As shown below is the digital model developed of my design intervention which I will use to develop documentation imagery.

Constructing a series of Digital Drawings

In order to showcase my proposed design, a key part of my documentation stems from informative plan, section and elevation drawings of Fort Lane and the Imperial Lane building. For my documents, I constructed a Floor Plan, Sectional Plan and Elevation Plan along with a series of section views and perspectives of both my detailed elements consistent of the pavilion structure and thoroughfare dividing wall. With these drawings I will be able to further develop them by adding critical design details such as indicative titles, scale and north point.

FORT LANE ELEVATION (inclusive of Imperial Lane)

Design Details in Line Drawing Form

Pavilion Structure
Front Elevation

Pavilion Structure
Perspectives and Perspectival Elevation

Detailed Partitioned Wall
A series of Perspectives

Detailed Partitioned Wall
Front and Side Section and Elevation

A Combination of designed, detailed Components
Perspectives, Front and Side Elevations

In coherence with these drawings, I also began establishing an array of perspective line drawings that I will be able to incorporate and layer into my rendered perspectives showcasing my design intervention in more detail. As in preparation for the Co-Design Workshop, my rendered perspectives will be a base model to give a direct indication to how my design is composed into the exisiting Imperial Lane building. However I need to make sure a develop a considered material narrative or palette that helps describe and emulate what surface materials I intend to further incorporate into my design intervention.


As the base modelling of my perspective renders won’t have a material application yet, I wish to construct a material palette to showcase what I intend for my design to incorporate. Recognising surface and texture as a way of enhancing the exisiting internal space, through layering, filtering, composition and placement.

The main materialities that I am considering implementing into my proposed design each would uphold their own aesthetic and function within the interior space and pavilion. The materials and detailed finishings that I wish to continue exploring and potential utilise within my design are inclusive too: an array of wooden finishings through incorporation into the pavilion structure, panel wall finishing or detail, hardwood flooring for the dance studio and a ballet barre, metallic or metal screening or filtering detail for wall or window element, clay textured tile or stone fluted tile wall treatment, ceramic tile screen detail, layered fabric or sheer curtain detail, and the potential to restore and maintain the existing exposed brickwork. I will not use all these finishings however a careful selection of these material finishes would allow for enhancements within my design that help to establish its significance and overall aesthetic into the exisiting Imperial Lane site. Other more structural materials that would be incorporated into my design are relevant to considering using polished concrete flooring within the thoroughfare and rest of Imperial Lane, plastered internal walls that are simply painted and large glass windows and retractable doors to create this connection between Imperial Lane opening out onto Fort Lane, the dance studio out in the public.

Main Material Considerations

These material considerations and palette will also allow me to gain beneficial feedback in the Co-Design Workshop to ask questions and advice of decision making in this design stage. As I have quite a few potential ideas for material surfaces, I will be able to explain the layering of these surfaces to figure out the best ones to be inclusive in shaping my final designed space.

Design perspectives through layering modelling and line

Forming a dialogue between mark making and established construction…
The use of drawing to mediate between space, architecture, and the body.

Utilising my constructed digital rendered model of my design, I started capturing selective perspectives showcasing key viewpoints and elements of the progression throughout the space. Imagining what it would be like to inhabit and occupy. By composing and developing a series of perspectives, almost like a storyboard, it allows for these established connections to start to be imagined, perceived and showcased as a communicative method that forms a sense of understanding. They should communicate a journey through my proposed spaces, and articulate key moments and events of my design narrative. These considered perspectives will showcase a spatial journey through my design, the entrance threshold, thoroughfare lane, dance studio and pavilion thresholds.

Each line drawing aims to take one on a journey through my proposed design into the Fort Lane Precinct. A design narrative that seeks to transition one throughout the space with a series of marks, lines to guide one through, along and within.

In order to fully build up these images to evoke the experience of what it feels like inhabiting this space, what it feels like to be immersed, embodied within in through a multiple view narrative, I would photomontage exisiting, external site references for contextual indication as well as activate the space with a series of figures. The Fort Lane Precinct and its surrounding building facades…

These buildings will help to establish a key contextual relevancy to my design to help the viewer understand its coherence within the existing site parameters. However I also wanted to further emphasise these site conditions by developing a site map for greater contextual understanding. This will allow me to highlight the direct areas into the Fort Lane Precinct that my design is located in, Imperial Lane and its intersection into Fort Lane. To develop this contextual documentation I gathered accurate site imagery of a birds eye view aerial map of the Fort Lane Precinct in amongst the greater Auckland City, where I will further highlight out these parameters, surrounding street names, and the area in which my design situates.

The Figures.

These figures will convey occupation of the space where one can truely understand how this spatial environment will be inhabited and animated through the movement of bodies. In order to emphasise the bodily activations embedded within this design, especially as one of the main critical elements to my underlying conceptual frameworks, I wanted to utilise expressive dance movement captured in motion. An accurate representation of these fleeting moments that a passer by would encounter whilst traversing through either laneway. Registering body as movement in motion and dance as a conversation between body and space.

Where we are able to slow down time to capture these transient moments, a dancer in amidst performing or simply a passerby walking from one place to another. These momentary actions help to build the spatial constructs of what I imagine these spaces were intentionally designed for. Yet movement is a temporal spatial register that I visualise with a blurry haze, a nebulous moment in motion that is never exactly clear, vivid or fixed. Giving the figures a slight blurring quality to highlight this transient moment.

My previously captured photographic studies of a dancers natural instincts, whilst amid performance I wish to incorporate into these perspectival renders to simulate this feeling of occupancy. Along with these images I will utilise a selection of other figures to emulate the passer by, the general public witnessing these performative actions coming from within the dance studio, as well as a figurative dance class taking place along with dancers making their way to the rehearsal space. Considering the various different occupancies and roles that would potentially take place within my design intervention.

Gathering, collecting, composing, synthesising, emphasising, expressing, navigating, exploring

all my site observation studies, interests and intriguement to selectively showcase my driving conceptual underpinnings into a series of relevant process work. What are the main, vital and most importantly pivotal moments within my entire design exploration that have significantly helped the development within this design project and its underlying conceptual frameworks? For me, this whole project narrative stemmed from my photographic site investigations. The image sequence generated from my cinematic device. From here did I begin to consider movement in motion captured through this apparatus, the performative gestures used to create these images and how this idea of performance, moments seen in the live, and how it could lead to one reconsidering the site in profound ways.

IMAGE SEQUENCE: Fort Lane Photographic Site Studies

Along with my image sequence, another key design development that was both influential and emulated within my final design outcome was through my explorative site drawings and surface models. These line drawings and particular paper model established the not only the aesthetic and detailed features within my intervention, but they formulated this connection between public and private, what it means to uncover a veil or reveal parts of something, perhaps even unexpected through line and form. The simplicity of the line formed this dialogue between body and movement focusing on direction, action, gesture and spontaneity.

Once I had gathered all my selective process work to incorporate into my presentation, I began arranging and composing the layout of various pages in order to establish what each page will contain and showcase. Along with this I also started developing finer details giving clear titles, captions and references to certain documents where required. For my workshop presentation, the documentation will be inclusive of a hero image, relevant process work, site map, floor plan and sections, perspective renders and material considerations. However all these documents are works in process that I will be able to gain insights and feedback on for ways to further enhance and improve its communication and my overall design.

29. 09. 21

For todays session we had the Co-Design Workshop, where we were to establish a series of documentations of our current design in progress in order to get the most valuable feedback from experts within the field. With their advice, help and guidance we have the ability to get their feedback surrounding either our overall project or instead specific aspects within it. This opportunity is incredibly beneficial as they will be able to help us develop and build on our design proposition, but most importantly help us to shape our documentation so that it is the most cohesive and expressive that it can be. For the workshop we were divided into a series of smaller groups, each adjoined with one industry designer, where we all shared our individual presentations along with having a collaborative conversation discussing our work together. Shown below is my developed documentation presentation for the Co-Design Workshop.


Located within the interiors of Imperial Lane, an unsuspected dance studio awaits as a space supplied for choreographers to expose the naturally performative enactments of dance practices. A carefully crafted, striking pavilion façade situates itself between where the interiors intersect into Fort Lane, allowing for these traditional conventions of a dance studio to be open to the laneway, the passer by, the public. By drawing insight to reveal what occurs behind the curtain, the pre performance, the rehearsal space, Dancing Into the Building aims to invigorate the city by providing a platform for expressive, dance practices to shape, redefine and reconsider urban environments in a completely new way. This design introduces an unfamiliar form of programming into the city, one that intends to serve its inhabitants in an unaccustomed way, eliciting a transposing in habitual worlds where they become captivated by the unexpected gestures composed within these transitional spaces. A joyous enthral based on the premise of liveness, this moment to be encountered in person, an occasion of experiential admiration and pleasure.

The insightful comments and feedback gained from my presentation was incredibly influential for helping to further develop and enhance my design presentation. The array of advice stemmed into many different design components, particularly in relation to presentation and ways of further improving its clarity, detail and communicative methods for a viewer to best understand my design. Getting to hear the comments made on others work was also very helpful, as her insights I could feed back into my design to recognise if any of these inclusions could be made into my work. Within my group we all received similar feedback concerning the best ways of presenting our design, however because all of our designs were so different, we recognise that they all require a varied approach which the industry designed was able to individually guide us through how to do this.

The main consideration I need to redevelop is the overall structured order and layout of my documents. Each image should progress onto the next in a cohesive way that is clearly understandable. The designer suggested to imagine presenting your document in a way that someone will see it for the first time without any previous knowledge into the project or brief. By particularly focusing and emphasising the design journey, the process of how I established my final outcome. Another key consideration is to introduce the spatial parameters and site in which I am working into clearly, what its current use and architectural layout is and what changes my design intends to make. She suggested setting up the structure of the space before introducing my design. This will help to articulate how my design will alter and transform the exisiting space of Imperial and Fort Lane.

As the progressive design journey is a crucial part of our design documentation, I need to further capture why I decided to do a dance studio and how I came to the specific designed elements and their forms. During my presentation I was able to verbally articulate this when asked questions however it wasn’t visually represented or obviously shown in my documents. Highlighting the key process driven material that led to how and why I landed on a dance studio. She emphasised her direct interest and intriguement in this and why it is so important to prioritise in my work.

We also had an incredibly valuable discussion surrounding materiality. As heading into this workshop I was a little unsure as to which surface treatments I would decide to incorporate I was able to get her expert opinion and advice on this. Within my design, she expressed how materials could play a vital role in connecting the public and private spaces with the potential to extend these surfaces across each intersection. Creating a connection between the two spaces through materiality. I explained to her the array of surface treatments I was considering and she suggested the key is to keep it simple and to not overcomplicate it. She stated how majority of times we feel this emphasise to utilise a whole tone of varied materials on all different surfaces and features. Yet she recommended using just timber and concrete but playing around with different applications in the space. To create harmony through this simplistic, understated colour palette. Along with this she also introduced me to the material Ambitec tile that she encouraged could be wrapped up the walls and along the ceiling, a surface that would create the type of aesthetic and spatial atmosphere I am wishing to establish in my design. All these valuable and beneficial insights made into my project from the workshop will help me to further progress forward and continue developing and enhancing my work.

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