Adelle Tan

$Studio E // Melbourne University, Australia This project is premised on the subtle exploration of the physicality and emotional experience of Goods Shed South, through direct engagement with the structural, material and spatial idiosyncrasies of the warehouse. It is structured as a sequence of experiences, each dealing directly with one aspect of the Goods Shed and its unique siting. Street Upon approaching the Shed from Collins street, the first thing the Visitor notices is, where once nothing could be seen, a Bicycle Shop has emerged. Its clean lines and gabled profile are an exaggeration of the Goods Shed Roof. A simple homage to the iconography of the Shed, it functions as a projection of the Shed’s presence onto Collins Street, as if to coyly say “hello stranger”. It is here in the frontmost space that complete bicycles are sold, an idiot-proofed setting for the uninitiated. As the Visitor moves deeper into the site, she gains insights into the inner workings of bicycle mechanics and cycling culture. Gap Past the Shop is a narrow Walkway spanning the Gap between the Collins Street Bridge and the Shed. A seemingly fragile construct, its bouyant, skeletal structure creaks and buckles gently with the rhythm of the Visitor’s footsteps, emphasizing the emptiness below. A whisper of vertigo flits through the Visitor’s mind as she becomes aware of a distinct lack of solid ground. Her breath quickens a fraction as she steps gingerly forward. Roof The Walkway runs directly into the Roof Space of the Shed, passing through the Trusses themselves. This space, traditionally inaccessible to the everyday visitor, is open to close-up exploration, lit by sunlight spilling through the clerestory windows above. Through a willing suspension of disbelief the Visitor is compelled to recognise the fundamental role that these elements play in the overall composition of the Shed, and are a large part of the reason why warehouses are recognised for their particular brand of aesthetic. Market Moving onwards, the Visitor finds herself wandering among pods suspended above the warehouse Floor. Each pod sells a distinct variety of bicycle parts; it is a marketplace in the air. The Visitor gains an appreciation of the sheer volume of space in between the Roof and the Floor, the spatial generosity that is yet another hallmark of the warehouse typology. It is here that the Visitor comes into slow, close contact with other bicycle afficionados, catching snippets of cyclist jargon as customers and shopkeepers discuss the finer points of bicycle repair and assembly. It is a distinctly different aural environment from the open spaces that came before as well as the noisy Workshop adjacent. Workshop The next stage of the Visitor’s journey is marked by a gentle transition into the open Workshop Podium of the Shed. Turning to look beneath her, the Visitor sees the forests of slender stilts that serve as vertical storage for bicycles and on which the spaces above rest. These spaces appear to float above a cloud of bicycles, and are distinguishable as distinct parts within a whole, rather than different parts of a whole. Here, the clanging of metal against metal, the smell of rubber and lubricant and the sweat of hobbyists fill the air as an open declaration of the Shed’s repurposing, as well as a subtle reminder of its former industrial role. It is here that the Visitor appreciates the large spans and flexible open floor plan of the Shed, the very reason for its particular structural system. The Visitor has unwittingly experienced the Shed in reverse: Siting, then Structure, then Void, then Usable Space. Floor The Visitor’s path ends at the ground plane of the Shed. The Floor supports the spaces above both structurally as well as programmatically. Here, underneath the Workshop are toilets, lockers and change rooms, and an open space where other Visitors gather in informal groups. As she wanders amongst the suspended clouds of bicycles, the Visitor admires the variety of forms, colours and materials that surrounds her. Each carefully stored bicycle is unique, each has a story to tell. It is both a forum for cycling enthusiasts as well as an ever-changing gallery space where Object and Art come together in a celebration of the pragmatism of individual mobility.$ $Studio E // Melbourne University, Australia This project is premised on the subtle exploration of the physicality and emotional experience of Goods Shed South, through direct engagement with the structural, material and spatial idiosyncrasies of the warehouse. It is structured as a sequence of experiences, each dealing directly with one aspect of the Goods Shed and its unique siting. Street Upon approaching the Shed from Collins street, the first thing the Visitor notices is, where once nothing could be seen, a Bicycle Shop has emerged. Its clean lines and gabled profile are an exaggeration of the Goods Shed Roof. A simple homage to the iconography of the Shed, it functions as a projection of the Shed’s presence onto Collins Street, as if to coyly say “hello stranger”. It is here in the frontmost space that complete bicycles are sold, an idiot-proofed setting for the uninitiated. As the Visitor moves deeper into the site, she gains insights into the inner workings of bicycle mechanics and cycling culture. Gap Past the Shop is a narrow Walkway spanning the Gap between the Collins Street Bridge and the Shed. A seemingly fragile construct, its bouyant, skeletal structure creaks and buckles gently with the rhythm of the Visitor’s footsteps, emphasizing the emptiness below. A whisper of vertigo flits through the Visitor’s mind as she becomes aware of a distinct lack of solid ground. Her breath quickens a fraction as she steps gingerly forward. Roof The Walkway runs directly into the Roof Space of the Shed, passing through the Trusses themselves. This space, traditionally inaccessible to the everyday visitor, is open to close-up exploration, lit by sunlight spilling through the clerestory windows above. Through a willing suspension of disbelief the Visitor is compelled to recognise the fundamental role that these elements play in the overall composition of the Shed, and are a large part of the reason why warehouses are recognised for their particular brand of aesthetic. Market Moving onwards, the Visitor finds herself wandering among pods suspended above the warehouse Floor. Each pod sells a distinct variety of bicycle parts; it is a marketplace in the air. The Visitor gains an appreciation of the sheer volume of space in between the Roof and the Floor, the spatial generosity that is yet another hallmark of the warehouse typology. It is here that the Visitor comes into slow, close contact with other bicycle afficionados, catching snippets of cyclist jargon as customers and shopkeepers discuss the finer points of bicycle repair and assembly. It is a distinctly different aural environment from the open spaces that came before as well as the noisy Workshop adjacent. Workshop The next stage of the Visitor’s journey is marked by a gentle transition into the open Workshop Podium of the Shed. Turning to look beneath her, the Visitor sees the forests of slender stilts that serve as vertical storage for bicycles and on which the spaces above rest. These spaces appear to float above a cloud of bicycles, and are distinguishable as distinct parts within a whole, rather than different parts of a whole. Here, the clanging of metal against metal, the smell of rubber and lubricant and the sweat of hobbyists fill the air as an open declaration of the Shed’s repurposing, as well as a subtle reminder of its former industrial role. It is here that the Visitor appreciates the large spans and flexible open floor plan of the Shed, the very reason for its particular structural system. The Visitor has unwittingly experienced the Shed in reverse: Siting, then Structure, then Void, then Usable Space. Floor The Visitor’s path ends at the ground plane of the Shed. The Floor supports the spaces above both structurally as well as programmatically. Here, underneath the Workshop are toilets, lockers and change rooms, and an open space where other Visitors gather in informal groups. As she wanders amongst the suspended clouds of bicycles, the Visitor admires the variety of forms, colours and materials that surrounds her. Each carefully stored bicycle is unique, each has a story to tell. It is both a forum for cycling enthusiasts as well as an ever-changing gallery space where Object and Art come together in a celebration of the pragmatism of individual mobility.$ $Studio E // Melbourne University, Australia This project is premised on the subtle exploration of the physicality and emotional experience of Goods Shed South, through direct engagement with the structural, material and spatial idiosyncrasies of the warehouse. It is structured as a sequence of experiences, each dealing directly with one aspect of the Goods Shed and its unique siting. Street Upon approaching the Shed from Collins street, the first thing the Visitor notices is, where once nothing could be seen, a Bicycle Shop has emerged. Its clean lines and gabled profile are an exaggeration of the Goods Shed Roof. A simple homage to the iconography of the Shed, it functions as a projection of the Shed’s presence onto Collins Street, as if to coyly say “hello stranger”. It is here in the frontmost space that complete bicycles are sold, an idiot-proofed setting for the uninitiated. As the Visitor moves deeper into the site, she gains insights into the inner workings of bicycle mechanics and cycling culture. Gap Past the Shop is a narrow Walkway spanning the Gap between the Collins Street Bridge and the Shed. A seemingly fragile construct, its bouyant, skeletal structure creaks and buckles gently with the rhythm of the Visitor’s footsteps, emphasizing the emptiness below. A whisper of vertigo flits through the Visitor’s mind as she becomes aware of a distinct lack of solid ground. Her breath quickens a fraction as she steps gingerly forward. Roof The Walkway runs directly into the Roof Space of the Shed, passing through the Trusses themselves. This space, traditionally inaccessible to the everyday visitor, is open to close-up exploration, lit by sunlight spilling through the clerestory windows above. Through a willing suspension of disbelief the Visitor is compelled to recognise the fundamental role that these elements play in the overall composition of the Shed, and are a large part of the reason why warehouses are recognised for their particular brand of aesthetic. Market Moving onwards, the Visitor finds herself wandering among pods suspended above the warehouse Floor. Each pod sells a distinct variety of bicycle parts; it is a marketplace in the air. The Visitor gains an appreciation of the sheer volume of space in between the Roof and the Floor, the spatial generosity that is yet another hallmark of the warehouse typology. It is here that the Visitor comes into slow, close contact with other bicycle afficionados, catching snippets of cyclist jargon as customers and shopkeepers discuss the finer points of bicycle repair and assembly. It is a distinctly different aural environment from the open spaces that came before as well as the noisy Workshop adjacent. Workshop The next stage of the Visitor’s journey is marked by a gentle transition into the open Workshop Podium of the Shed. Turning to look beneath her, the Visitor sees the forests of slender stilts that serve as vertical storage for bicycles and on which the spaces above rest. These spaces appear to float above a cloud of bicycles, and are distinguishable as distinct parts within a whole, rather than different parts of a whole. Here, the clanging of metal against metal, the smell of rubber and lubricant and the sweat of hobbyists fill the air as an open declaration of the Shed’s repurposing, as well as a subtle reminder of its former industrial role. It is here that the Visitor appreciates the large spans and flexible open floor plan of the Shed, the very reason for its particular structural system. The Visitor has unwittingly experienced the Shed in reverse: Siting, then Structure, then Void, then Usable Space. Floor The Visitor’s path ends at the ground plane of the Shed. The Floor supports the spaces above both structurally as well as programmatically. Here, underneath the Workshop are toilets, lockers and change rooms, and an open space where other Visitors gather in informal groups. As she wanders amongst the suspended clouds of bicycles, the Visitor admires the variety of forms, colours and materials that surrounds her. Each carefully stored bicycle is unique, each has a story to tell. It is both a forum for cycling enthusiasts as well as an ever-changing gallery space where Object and Art come together in a celebration of the pragmatism of individual mobility.$ $Studio E // Melbourne University, Australia This project is premised on the subtle exploration of the physicality and emotional experience of Goods Shed South, through direct engagement with the structural, material and spatial idiosyncrasies of the warehouse. It is structured as a sequence of experiences, each dealing directly with one aspect of the Goods Shed and its unique siting. Street Upon approaching the Shed from Collins street, the first thing the Visitor notices is, where once nothing could be seen, a Bicycle Shop has emerged. Its clean lines and gabled profile are an exaggeration of the Goods Shed Roof. A simple homage to the iconography of the Shed, it functions as a projection of the Shed’s presence onto Collins Street, as if to coyly say “hello stranger”. It is here in the frontmost space that complete bicycles are sold, an idiot-proofed setting for the uninitiated. As the Visitor moves deeper into the site, she gains insights into the inner workings of bicycle mechanics and cycling culture. Gap Past the Shop is a narrow Walkway spanning the Gap between the Collins Street Bridge and the Shed. A seemingly fragile construct, its bouyant, skeletal structure creaks and buckles gently with the rhythm of the Visitor’s footsteps, emphasizing the emptiness below. A whisper of vertigo flits through the Visitor’s mind as she becomes aware of a distinct lack of solid ground. Her breath quickens a fraction as she steps gingerly forward. Roof The Walkway runs directly into the Roof Space of the Shed, passing through the Trusses themselves. This space, traditionally inaccessible to the everyday visitor, is open to close-up exploration, lit by sunlight spilling through the clerestory windows above. Through a willing suspension of disbelief the Visitor is compelled to recognise the fundamental role that these elements play in the overall composition of the Shed, and are a large part of the reason why warehouses are recognised for their particular brand of aesthetic. Market Moving onwards, the Visitor finds herself wandering among pods suspended above the warehouse Floor. Each pod sells a distinct variety of bicycle parts; it is a marketplace in the air. The Visitor gains an appreciation of the sheer volume of space in between the Roof and the Floor, the spatial generosity that is yet another hallmark of the warehouse typology. It is here that the Visitor comes into slow, close contact with other bicycle afficionados, catching snippets of cyclist jargon as customers and shopkeepers discuss the finer points of bicycle repair and assembly. It is a distinctly different aural environment from the open spaces that came before as well as the noisy Workshop adjacent. Workshop The next stage of the Visitor’s journey is marked by a gentle transition into the open Workshop Podium of the Shed. Turning to look beneath her, the Visitor sees the forests of slender stilts that serve as vertical storage for bicycles and on which the spaces above rest. These spaces appear to float above a cloud of bicycles, and are distinguishable as distinct parts within a whole, rather than different parts of a whole. Here, the clanging of metal against metal, the smell of rubber and lubricant and the sweat of hobbyists fill the air as an open declaration of the Shed’s repurposing, as well as a subtle reminder of its former industrial role. It is here that the Visitor appreciates the large spans and flexible open floor plan of the Shed, the very reason for its particular structural system. The Visitor has unwittingly experienced the Shed in reverse: Siting, then Structure, then Void, then Usable Space. Floor The Visitor’s path ends at the ground plane of the Shed. The Floor supports the spaces above both structurally as well as programmatically. Here, underneath the Workshop are toilets, lockers and change rooms, and an open space where other Visitors gather in informal groups. As she wanders amongst the suspended clouds of bicycles, the Visitor admires the variety of forms, colours and materials that surrounds her. Each carefully stored bicycle is unique, each has a story to tell. It is both a forum for cycling enthusiasts as well as an ever-changing gallery space where Object and Art come together in a celebration of the pragmatism of individual mobility.$ $Studio E // Melbourne University, Australia This project is premised on the subtle exploration of the physicality and emotional experience of Goods Shed South, through direct engagement with the structural, material and spatial idiosyncrasies of the warehouse. It is structured as a sequence of experiences, each dealing directly with one aspect of the Goods Shed and its unique siting. Street Upon approaching the Shed from Collins street, the first thing the Visitor notices is, where once nothing could be seen, a Bicycle Shop has emerged. Its clean lines and gabled profile are an exaggeration of the Goods Shed Roof. A simple homage to the iconography of the Shed, it functions as a projection of the Shed’s presence onto Collins Street, as if to coyly say “hello stranger”. It is here in the frontmost space that complete bicycles are sold, an idiot-proofed setting for the uninitiated. As the Visitor moves deeper into the site, she gains insights into the inner workings of bicycle mechanics and cycling culture. Gap Past the Shop is a narrow Walkway spanning the Gap between the Collins Street Bridge and the Shed. A seemingly fragile construct, its bouyant, skeletal structure creaks and buckles gently with the rhythm of the Visitor’s footsteps, emphasizing the emptiness below. A whisper of vertigo flits through the Visitor’s mind as she becomes aware of a distinct lack of solid ground. Her breath quickens a fraction as she steps gingerly forward. Roof The Walkway runs directly into the Roof Space of the Shed, passing through the Trusses themselves. This space, traditionally inaccessible to the everyday visitor, is open to close-up exploration, lit by sunlight spilling through the clerestory windows above. Through a willing suspension of disbelief the Visitor is compelled to recognise the fundamental role that these elements play in the overall composition of the Shed, and are a large part of the reason why warehouses are recognised for their particular brand of aesthetic. Market Moving onwards, the Visitor finds herself wandering among pods suspended above the warehouse Floor. Each pod sells a distinct variety of bicycle parts; it is a marketplace in the air. The Visitor gains an appreciation of the sheer volume of space in between the Roof and the Floor, the spatial generosity that is yet another hallmark of the warehouse typology. It is here that the Visitor comes into slow, close contact with other bicycle afficionados, catching snippets of cyclist jargon as customers and shopkeepers discuss the finer points of bicycle repair and assembly. It is a distinctly different aural environment from the open spaces that came before as well as the noisy Workshop adjacent. Workshop The next stage of the Visitor’s journey is marked by a gentle transition into the open Workshop Podium of the Shed. Turning to look beneath her, the Visitor sees the forests of slender stilts that serve as vertical storage for bicycles and on which the spaces above rest. These spaces appear to float above a cloud of bicycles, and are distinguishable as distinct parts within a whole, rather than different parts of a whole. Here, the clanging of metal against metal, the smell of rubber and lubricant and the sweat of hobbyists fill the air as an open declaration of the Shed’s repurposing, as well as a subtle reminder of its former industrial role. It is here that the Visitor appreciates the large spans and flexible open floor plan of the Shed, the very reason for its particular structural system. The Visitor has unwittingly experienced the Shed in reverse: Siting, then Structure, then Void, then Usable Space. Floor The Visitor’s path ends at the ground plane of the Shed. The Floor supports the spaces above both structurally as well as programmatically. Here, underneath the Workshop are toilets, lockers and change rooms, and an open space where other Visitors gather in informal groups. As she wanders amongst the suspended clouds of bicycles, the Visitor admires the variety of forms, colours and materials that surrounds her. Each carefully stored bicycle is unique, each has a story to tell. It is both a forum for cycling enthusiasts as well as an ever-changing gallery space where Object and Art come together in a celebration of the pragmatism of individual mobility.$ $Studio E // Melbourne University, Australia This project is premised on the subtle exploration of the physicality and emotional experience of Goods Shed South, through direct engagement with the structural, material and spatial idiosyncrasies of the warehouse. It is structured as a sequence of experiences, each dealing directly with one aspect of the Goods Shed and its unique siting. Street Upon approaching the Shed from Collins street, the first thing the Visitor notices is, where once nothing could be seen, a Bicycle Shop has emerged. Its clean lines and gabled profile are an exaggeration of the Goods Shed Roof. A simple homage to the iconography of the Shed, it functions as a projection of the Shed’s presence onto Collins Street, as if to coyly say “hello stranger”. It is here in the frontmost space that complete bicycles are sold, an idiot-proofed setting for the uninitiated. As the Visitor moves deeper into the site, she gains insights into the inner workings of bicycle mechanics and cycling culture. Gap Past the Shop is a narrow Walkway spanning the Gap between the Collins Street Bridge and the Shed. A seemingly fragile construct, its bouyant, skeletal structure creaks and buckles gently with the rhythm of the Visitor’s footsteps, emphasizing the emptiness below. A whisper of vertigo flits through the Visitor’s mind as she becomes aware of a distinct lack of solid ground. Her breath quickens a fraction as she steps gingerly forward. Roof The Walkway runs directly into the Roof Space of the Shed, passing through the Trusses themselves. This space, traditionally inaccessible to the everyday visitor, is open to close-up exploration, lit by sunlight spilling through the clerestory windows above. Through a willing suspension of disbelief the Visitor is compelled to recognise the fundamental role that these elements play in the overall composition of the Shed, and are a large part of the reason why warehouses are recognised for their particular brand of aesthetic. Market Moving onwards, the Visitor finds herself wandering among pods suspended above the warehouse Floor. Each pod sells a distinct variety of bicycle parts; it is a marketplace in the air. The Visitor gains an appreciation of the sheer volume of space in between the Roof and the Floor, the spatial generosity that is yet another hallmark of the warehouse typology. It is here that the Visitor comes into slow, close contact with other bicycle afficionados, catching snippets of cyclist jargon as customers and shopkeepers discuss the finer points of bicycle repair and assembly. It is a distinctly different aural environment from the open spaces that came before as well as the noisy Workshop adjacent. Workshop The next stage of the Visitor’s journey is marked by a gentle transition into the open Workshop Podium of the Shed. Turning to look beneath her, the Visitor sees the forests of slender stilts that serve as vertical storage for bicycles and on which the spaces above rest. These spaces appear to float above a cloud of bicycles, and are distinguishable as distinct parts within a whole, rather than different parts of a whole. Here, the clanging of metal against metal, the smell of rubber and lubricant and the sweat of hobbyists fill the air as an open declaration of the Shed’s repurposing, as well as a subtle reminder of its former industrial role. It is here that the Visitor appreciates the large spans and flexible open floor plan of the Shed, the very reason for its particular structural system. The Visitor has unwittingly experienced the Shed in reverse: Siting, then Structure, then Void, then Usable Space. Floor The Visitor’s path ends at the ground plane of the Shed. The Floor supports the spaces above both structurally as well as programmatically. Here, underneath the Workshop are toilets, lockers and change rooms, and an open space where other Visitors gather in informal groups. As she wanders amongst the suspended clouds of bicycles, the Visitor admires the variety of forms, colours and materials that surrounds her. Each carefully stored bicycle is unique, each has a story to tell. It is both a forum for cycling enthusiasts as well as an ever-changing gallery space where Object and Art come together in a celebration of the pragmatism of individual mobility.$ $Studio E // Melbourne University, Australia This project is premised on the subtle exploration of the physicality and emotional experience of Goods Shed South, through direct engagement with the structural, material and spatial idiosyncrasies of the warehouse. It is structured as a sequence of experiences, each dealing directly with one aspect of the Goods Shed and its unique siting. Street Upon approaching the Shed from Collins street, the first thing the Visitor notices is, where once nothing could be seen, a Bicycle Shop has emerged. Its clean lines and gabled profile are an exaggeration of the Goods Shed Roof. A simple homage to the iconography of the Shed, it functions as a projection of the Shed’s presence onto Collins Street, as if to coyly say “hello stranger”. It is here in the frontmost space that complete bicycles are sold, an idiot-proofed setting for the uninitiated. As the Visitor moves deeper into the site, she gains insights into the inner workings of bicycle mechanics and cycling culture. Gap Past the Shop is a narrow Walkway spanning the Gap between the Collins Street Bridge and the Shed. A seemingly fragile construct, its bouyant, skeletal structure creaks and buckles gently with the rhythm of the Visitor’s footsteps, emphasizing the emptiness below. A whisper of vertigo flits through the Visitor’s mind as she becomes aware of a distinct lack of solid ground. Her breath quickens a fraction as she steps gingerly forward. Roof The Walkway runs directly into the Roof Space of the Shed, passing through the Trusses themselves. This space, traditionally inaccessible to the everyday visitor, is open to close-up exploration, lit by sunlight spilling through the clerestory windows above. Through a willing suspension of disbelief the Visitor is compelled to recognise the fundamental role that these elements play in the overall composition of the Shed, and are a large part of the reason why warehouses are recognised for their particular brand of aesthetic. Market Moving onwards, the Visitor finds herself wandering among pods suspended above the warehouse Floor. Each pod sells a distinct variety of bicycle parts; it is a marketplace in the air. The Visitor gains an appreciation of the sheer volume of space in between the Roof and the Floor, the spatial generosity that is yet another hallmark of the warehouse typology. It is here that the Visitor comes into slow, close contact with other bicycle afficionados, catching snippets of cyclist jargon as customers and shopkeepers discuss the finer points of bicycle repair and assembly. It is a distinctly different aural environment from the open spaces that came before as well as the noisy Workshop adjacent. Workshop The next stage of the Visitor’s journey is marked by a gentle transition into the open Workshop Podium of the Shed. Turning to look beneath her, the Visitor sees the forests of slender stilts that serve as vertical storage for bicycles and on which the spaces above rest. These spaces appear to float above a cloud of bicycles, and are distinguishable as distinct parts within a whole, rather than different parts of a whole. Here, the clanging of metal against metal, the smell of rubber and lubricant and the sweat of hobbyists fill the air as an open declaration of the Shed’s repurposing, as well as a subtle reminder of its former industrial role. It is here that the Visitor appreciates the large spans and flexible open floor plan of the Shed, the very reason for its particular structural system. The Visitor has unwittingly experienced the Shed in reverse: Siting, then Structure, then Void, then Usable Space. Floor The Visitor’s path ends at the ground plane of the Shed. The Floor supports the spaces above both structurally as well as programmatically. Here, underneath the Workshop are toilets, lockers and change rooms, and an open space where other Visitors gather in informal groups. As she wanders amongst the suspended clouds of bicycles, the Visitor admires the variety of forms, colours and materials that surrounds her. Each carefully stored bicycle is unique, each has a story to tell. It is both a forum for cycling enthusiasts as well as an ever-changing gallery space where Object and Art come together in a celebration of the pragmatism of individual mobility.$ $Studio E // Melbourne University, Australia This project is premised on the subtle exploration of the physicality and emotional experience of Goods Shed South, through direct engagement with the structural, material and spatial idiosyncrasies of the warehouse. It is structured as a sequence of experiences, each dealing directly with one aspect of the Goods Shed and its unique siting. Street Upon approaching the Shed from Collins street, the first thing the Visitor notices is, where once nothing could be seen, a Bicycle Shop has emerged. Its clean lines and gabled profile are an exaggeration of the Goods Shed Roof. A simple homage to the iconography of the Shed, it functions as a projection of the Shed’s presence onto Collins Street, as if to coyly say “hello stranger”. It is here in the frontmost space that complete bicycles are sold, an idiot-proofed setting for the uninitiated. As the Visitor moves deeper into the site, she gains insights into the inner workings of bicycle mechanics and cycling culture. Gap Past the Shop is a narrow Walkway spanning the Gap between the Collins Street Bridge and the Shed. A seemingly fragile construct, its bouyant, skeletal structure creaks and buckles gently with the rhythm of the Visitor’s footsteps, emphasizing the emptiness below. A whisper of vertigo flits through the Visitor’s mind as she becomes aware of a distinct lack of solid ground. Her breath quickens a fraction as she steps gingerly forward. Roof The Walkway runs directly into the Roof Space of the Shed, passing through the Trusses themselves. This space, traditionally inaccessible to the everyday visitor, is open to close-up exploration, lit by sunlight spilling through the clerestory windows above. Through a willing suspension of disbelief the Visitor is compelled to recognise the fundamental role that these elements play in the overall composition of the Shed, and are a large part of the reason why warehouses are recognised for their particular brand of aesthetic. Market Moving onwards, the Visitor finds herself wandering among pods suspended above the warehouse Floor. Each pod sells a distinct variety of bicycle parts; it is a marketplace in the air. The Visitor gains an appreciation of the sheer volume of space in between the Roof and the Floor, the spatial generosity that is yet another hallmark of the warehouse typology. It is here that the Visitor comes into slow, close contact with other bicycle afficionados, catching snippets of cyclist jargon as customers and shopkeepers discuss the finer points of bicycle repair and assembly. It is a distinctly different aural environment from the open spaces that came before as well as the noisy Workshop adjacent. Workshop The next stage of the Visitor’s journey is marked by a gentle transition into the open Workshop Podium of the Shed. Turning to look beneath her, the Visitor sees the forests of slender stilts that serve as vertical storage for bicycles and on which the spaces above rest. These spaces appear to float above a cloud of bicycles, and are distinguishable as distinct parts within a whole, rather than different parts of a whole. Here, the clanging of metal against metal, the smell of rubber and lubricant and the sweat of hobbyists fill the air as an open declaration of the Shed’s repurposing, as well as a subtle reminder of its former industrial role. It is here that the Visitor appreciates the large spans and flexible open floor plan of the Shed, the very reason for its particular structural system. The Visitor has unwittingly experienced the Shed in reverse: Siting, then Structure, then Void, then Usable Space. Floor The Visitor’s path ends at the ground plane of the Shed. The Floor supports the spaces above both structurally as well as programmatically. Here, underneath the Workshop are toilets, lockers and change rooms, and an open space where other Visitors gather in informal groups. As she wanders amongst the suspended clouds of bicycles, the Visitor admires the variety of forms, colours and materials that surrounds her. Each carefully stored bicycle is unique, each has a story to tell. It is both a forum for cycling enthusiasts as well as an ever-changing gallery space where Object and Art come together in a celebration of the pragmatism of individual mobility.$ $Studio E // Melbourne University, Australia This project is premised on the subtle exploration of the physicality and emotional experience of Goods Shed South, through direct engagement with the structural, material and spatial idiosyncrasies of the warehouse. It is structured as a sequence of experiences, each dealing directly with one aspect of the Goods Shed and its unique siting. Street Upon approaching the Shed from Collins street, the first thing the Visitor notices is, where once nothing could be seen, a Bicycle Shop has emerged. Its clean lines and gabled profile are an exaggeration of the Goods Shed Roof. A simple homage to the iconography of the Shed, it functions as a projection of the Shed’s presence onto Collins Street, as if to coyly say “hello stranger”. It is here in the frontmost space that complete bicycles are sold, an idiot-proofed setting for the uninitiated. As the Visitor moves deeper into the site, she gains insights into the inner workings of bicycle mechanics and cycling culture. Gap Past the Shop is a narrow Walkway spanning the Gap between the Collins Street Bridge and the Shed. A seemingly fragile construct, its bouyant, skeletal structure creaks and buckles gently with the rhythm of the Visitor’s footsteps, emphasizing the emptiness below. A whisper of vertigo flits through the Visitor’s mind as she becomes aware of a distinct lack of solid ground. Her breath quickens a fraction as she steps gingerly forward. Roof The Walkway runs directly into the Roof Space of the Shed, passing through the Trusses themselves. This space, traditionally inaccessible to the everyday visitor, is open to close-up exploration, lit by sunlight spilling through the clerestory windows above. Through a willing suspension of disbelief the Visitor is compelled to recognise the fundamental role that these elements play in the overall composition of the Shed, and are a large part of the reason why warehouses are recognised for their particular brand of aesthetic. Market Moving onwards, the Visitor finds herself wandering among pods suspended above the warehouse Floor. Each pod sells a distinct variety of bicycle parts; it is a marketplace in the air. The Visitor gains an appreciation of the sheer volume of space in between the Roof and the Floor, the spatial generosity that is yet another hallmark of the warehouse typology. It is here that the Visitor comes into slow, close contact with other bicycle afficionados, catching snippets of cyclist jargon as customers and shopkeepers discuss the finer points of bicycle repair and assembly. It is a distinctly different aural environment from the open spaces that came before as well as the noisy Workshop adjacent. Workshop The next stage of the Visitor’s journey is marked by a gentle transition into the open Workshop Podium of the Shed. Turning to look beneath her, the Visitor sees the forests of slender stilts that serve as vertical storage for bicycles and on which the spaces above rest. These spaces appear to float above a cloud of bicycles, and are distinguishable as distinct parts within a whole, rather than different parts of a whole. Here, the clanging of metal against metal, the smell of rubber and lubricant and the sweat of hobbyists fill the air as an open declaration of the Shed’s repurposing, as well as a subtle reminder of its former industrial role. It is here that the Visitor appreciates the large spans and flexible open floor plan of the Shed, the very reason for its particular structural system. The Visitor has unwittingly experienced the Shed in reverse: Siting, then Structure, then Void, then Usable Space. Floor The Visitor’s path ends at the ground plane of the Shed. The Floor supports the spaces above both structurally as well as programmatically. Here, underneath the Workshop are toilets, lockers and change rooms, and an open space where other Visitors gather in informal groups. As she wanders amongst the suspended clouds of bicycles, the Visitor admires the variety of forms, colours and materials that surrounds her. Each carefully stored bicycle is unique, each has a story to tell. It is both a forum for cycling enthusiasts as well as an ever-changing gallery space where Object and Art come together in a celebration of the pragmatism of individual mobility.$ $Studio E // Melbourne University, Australia This project is premised on the subtle exploration of the physicality and emotional experience of Goods Shed South, through direct engagement with the structural, material and spatial idiosyncrasies of the warehouse. It is structured as a sequence of experiences, each dealing directly with one aspect of the Goods Shed and its unique siting. Street Upon approaching the Shed from Collins street, the first thing the Visitor notices is, where once nothing could be seen, a Bicycle Shop has emerged. Its clean lines and gabled profile are an exaggeration of the Goods Shed Roof. A simple homage to the iconography of the Shed, it functions as a projection of the Shed’s presence onto Collins Street, as if to coyly say “hello stranger”. It is here in the frontmost space that complete bicycles are sold, an idiot-proofed setting for the uninitiated. As the Visitor moves deeper into the site, she gains insights into the inner workings of bicycle mechanics and cycling culture. Gap Past the Shop is a narrow Walkway spanning the Gap between the Collins Street Bridge and the Shed. A seemingly fragile construct, its bouyant, skeletal structure creaks and buckles gently with the rhythm of the Visitor’s footsteps, emphasizing the emptiness below. A whisper of vertigo flits through the Visitor’s mind as she becomes aware of a distinct lack of solid ground. Her breath quickens a fraction as she steps gingerly forward. Roof The Walkway runs directly into the Roof Space of the Shed, passing through the Trusses themselves. This space, traditionally inaccessible to the everyday visitor, is open to close-up exploration, lit by sunlight spilling through the clerestory windows above. Through a willing suspension of disbelief the Visitor is compelled to recognise the fundamental role that these elements play in the overall composition of the Shed, and are a large part of the reason why warehouses are recognised for their particular brand of aesthetic. Market Moving onwards, the Visitor finds herself wandering among pods suspended above the warehouse Floor. Each pod sells a distinct variety of bicycle parts; it is a marketplace in the air. The Visitor gains an appreciation of the sheer volume of space in between the Roof and the Floor, the spatial generosity that is yet another hallmark of the warehouse typology. It is here that the Visitor comes into slow, close contact with other bicycle afficionados, catching snippets of cyclist jargon as customers and shopkeepers discuss the finer points of bicycle repair and assembly. It is a distinctly different aural environment from the open spaces that came before as well as the noisy Workshop adjacent. Workshop The next stage of the Visitor’s journey is marked by a gentle transition into the open Workshop Podium of the Shed. Turning to look beneath her, the Visitor sees the forests of slender stilts that serve as vertical storage for bicycles and on which the spaces above rest. These spaces appear to float above a cloud of bicycles, and are distinguishable as distinct parts within a whole, rather than different parts of a whole. Here, the clanging of metal against metal, the smell of rubber and lubricant and the sweat of hobbyists fill the air as an open declaration of the Shed’s repurposing, as well as a subtle reminder of its former industrial role. It is here that the Visitor appreciates the large spans and flexible open floor plan of the Shed, the very reason for its particular structural system. The Visitor has unwittingly experienced the Shed in reverse: Siting, then Structure, then Void, then Usable Space. Floor The Visitor’s path ends at the ground plane of the Shed. The Floor supports the spaces above both structurally as well as programmatically. Here, underneath the Workshop are toilets, lockers and change rooms, and an open space where other Visitors gather in informal groups. As she wanders amongst the suspended clouds of bicycles, the Visitor admires the variety of forms, colours and materials that surrounds her. Each carefully stored bicycle is unique, each has a story to tell. It is both a forum for cycling enthusiasts as well as an ever-changing gallery space where Object and Art come together in a celebration of the pragmatism of individual mobility.$

Studio E // Melbourne University, Australia

This project is premised on the subtle exploration of the physicality and emotional experience of Goods Shed South, through direct engagement with the structural, material and spatial idiosyncrasies of the warehouse.

It is structured as a sequence of experiences, each dealing directly with one aspect of the Goods Shed and its unique siting.

Street

Upon approaching the Shed from Collins street, the first thing the Visitor notices is, where once nothing could be seen, a Bicycle Shop has emerged. Its clean lines and gabled profile are an exaggeration of the Goods Shed Roof. A simple homage to the iconography of the Shed, it functions as a projection of the Shed’s presence onto Collins Street, as if to coyly say “hello stranger”.

It is here in the frontmost space that complete bicycles are sold, an idiot-proofed setting for the uninitiated. As the Visitor moves deeper into the site, she gains insights into the inner workings of bicycle mechanics and cycling culture.

Gap

Past the Shop is a narrow Walkway spanning the Gap between the Collins Street Bridge and the Shed. A seemingly fragile construct, its bouyant, skeletal structure creaks and buckles gently with the rhythm of the Visitor’s footsteps, emphasizing the emptiness below. A whisper of vertigo flits through the Visitor’s mind as she becomes aware of a distinct lack of solid ground. Her breath quickens a fraction as she steps gingerly forward.

Roof

The Walkway runs directly into the Roof Space of the Shed, passing through the Trusses themselves. This space, traditionally inaccessible to the everyday visitor, is open to close-up exploration, lit by sunlight spilling through the clerestory windows above. Through a willing suspension of disbelief the Visitor is compelled to recognise the fundamental role that these elements play in the overall composition of the Shed, and are a large part of the reason why warehouses are recognised for their particular brand of aesthetic.

Market

Moving onwards, the Visitor finds herself wandering among pods suspended above the warehouse Floor. Each pod sells a distinct variety of bicycle parts; it is a marketplace in the air. The Visitor gains an appreciation of the sheer volume of space in between the Roof and the Floor, the spatial generosity that is yet another hallmark of the warehouse typology.

It is here that the Visitor comes into slow, close contact with other bicycle afficionados, catching snippets of cyclist jargon as customers and shopkeepers discuss the finer points of bicycle repair and assembly. It is a distinctly different aural environment from the open spaces that came before as well as the noisy Workshop adjacent.

Workshop

The next stage of the Visitor’s journey is marked by a gentle transition into the open Workshop Podium of the Shed. Turning to look beneath her, the Visitor sees the forests of slender stilts that serve as vertical storage for bicycles and on which the spaces above rest. These spaces appear to float above a cloud of bicycles, and are distinguishable as distinct parts within a whole, rather than different parts of a whole.

Here, the clanging of metal against metal, the smell of rubber and lubricant and the sweat of hobbyists fill the air as an open declaration of the Shed’s repurposing, as well as a subtle reminder of its former industrial role.

It is here that the Visitor appreciates the large spans and flexible open floor plan of the Shed, the very reason for its particular structural system. The Visitor has unwittingly experienced the Shed in reverse: Siting, then Structure, then Void, then Usable Space.

Floor

The Visitor’s path ends at the ground plane of the Shed. The Floor supports the spaces above both structurally as well as programmatically. Here, underneath the Workshop are toilets, lockers and change rooms, and an open space where other Visitors gather in informal groups.

As she wanders amongst the suspended clouds of bicycles, the Visitor admires the variety of forms, colours and materials that surrounds her. Each carefully stored bicycle is unique, each has a story to tell. It is both a forum for cycling enthusiasts as well as an ever-changing gallery space where Object and Art come together in a celebration of the pragmatism of individual mobility.