ARCHITECTURE DESIGN STUDIO
WATER
ALBERTUS MAGNUS YUDHISTIRA 755406 Raju Mazumdar | Tutorial 8
CONTENTS 1
TADAO ANDO
1.1 Tadao Ando 1.2 Philosophy 1.3 Precedents
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THE ALEXANDRA GARDENS BOATHOUSE
2.1 Design Brief 2.2 The Site 2.3 Concept 2.4 Drawings 2.5 Journey
1.0 TADAO ANDO “You can’t simply put something new into a place. You have to absorb what you see around you, what exists on the land, and then use that knowledge ... to interpret what you see” -Tadao Ando
1.1 TADAO ANDO TADAO ANDO b. 1941 Japanese architect Pritzker Architecture Prize 1995 / Material: raw concrete / Simple geometry: rectangle, triangle, circle / Collision of objects/elements/geometries / Incorporates nature (light) / Creates journey
“You can’t simply put something new into a place. You have to absorb what you see around you, what exists on the land, and then use that knowledge ... to interpret what you see”
1.2 PHILOSOPHY / When people walking to the entrance, they will see trees and other natural elements and intended to set their mind of natural landscape. Then they will go down to the artificial lake in the middle of it which give chance for people to have a very different view and hear the sound of the landscape while viewing the tranquillity of the water.
/ Microcosm: He often uses wall as a border which separates the outside and inside world (his building). In urban context, wall is used to ‘protect’ the inside world—which usually brings elements of nature such as tree or small pond— from the hectic outside world. In this context, the wall seems to be higher and thicker than the other building around it. Similarly, he also use wall when his building is built on a more natural site such as hill, forest, lake, etc. However, the wall is less dense and not that ‘tight’ compare to the one on the urban context. In addition, he also often use a square hollow wall in his design to create a framelike picturesque of something that he wanted to show.
/ Simple yet abstract geometry. Rectangle, triangle and circle are the common geometry that he uses in his design. Simple geometry expresses his design and idea clarity in which it proposes universality in its design language. However, his abstracts often seen from his plan and how the geometries often intersect within one another. He wanted to express the Japanese traditional architecture which he called “mysterious, ambiguous in its tranquillity”.
1.3 PRECEDENTS CHURCH ON THE WATER Hokkaido, 1988.
GEOMETRY // Dominated by primary geometry, which is square. But there is one circle (the smallest in size) which bridges the journey and becomes an important part of the journey. So once again, even though they are different in shape and size, they are not competing for domination but instead working together to create a solemn journey.
JOURNEY // Ando created the wall to isolate the building from surrounding “unnatural landscape”. But now he lets people to enter from the front side of the building to “see” what the building looks like. However, once people get in, his architectural language truly says that there is a very different sense on what people feel when making the ambulatory movement. I believe that people would feel like they are in another world, especially after going down to the main building and feel the intimacy and calmness of the view.
LANDSCAPE // Water is a very important element in this building, and without it I think this building is less interesting. In Christianity, water symbolises purification, and here by creating the microcosm of seeing God from the main building, people could see the crucifix looks like come out from the water and floating on it. He cleverly shows this idea of purification and God’s creation of the nature which the water will reflect the surrounding natural landscape.
LEFT: Poster of the precedent for Crit 2. Printed on A1 paper.
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HANSOL MUSEUM 2
Oak Valley Resort, South Korea, 2013.
GEOMETRY // The building uses primary and secondary geometries that beautifully collaborative between each other, so one will not diminish other’s elements. But instead they work together to create harmony of basic shapes. JOURNEY // The wall on the entrance firmly says that there is a clear distinction between the outer and inner world within the landscape. Tadao Ando wanted to create a microcosmos once the visitor walk pass the wall. After entering the building, Ando did not simply create a straight line to the end of the building—which where the viewing spot is on—but he instead drives the visitors to walk inside it by creating loops and diversions to allow people have some time to feel the space and meditate.
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LANDSCAPE // Once Tadao arrived on the site for the first time, he said that this is a “peaceful rest surrounded by beautiful nature out of the hectic city life.� I am sure that this is why he designed a shallow water pond around the building and the walking path. He wanted surely to show the idea of tranquillity and water as the most honest media to show the nature. The plan of the water pond is asymmetric and seems to flow freely, as I think he wanted to emphasis the pureness of the landscape and the organic characteristic of nature.
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IMAGE SOURCES 1| http://tong.visitkorea.or.kr/cms/resource/85/1853485_image2_1.jpg 2| http://archipl.tumblr.com/image/92999049969 3 & 4| http://www.museumsan.org/enewweb/museum/building_introduce.jsp?m=1&s=2
LEFT: Poster of the precedent for Crit 2. Printed on A1 paper.
2.0 THE ALEXANDRA GARDENS BOATHOUSE “... to create the experience when people move through, making them think, feel, and communicate—especially when it is combined with other perceptions and abstract nature” -Tadao Ando
2.1 DESIGN BRIEF The brief: A small boathouse Hypothetically, a new boathouse open to the public is needed on Boathouse Drive, Alexander Gardens. The City of Melbourne is looking for a new and inspiring design in the manner of a master, for a boathouse opening to the public, on the Drive of the Gardens on this primary site of the City, to add excitement and liveliness. Address: Boathouse Drive, Melbourne VIC 3004
FUNCTIONS
AREA (sqm)
Office
30
Restaurant (kitchen +bar + dining + toilets)
150
Cafe (food storage & preparation + bar + dining)
120
Kiosk
30
Hire counter
20
Boat storage
250
Boathouse workshop (maintenance)
90
Toilets + showers
30
Circulation
80
Total (floor area)
800
+ Open spaces + Jetty
open
2.2 THE SITE
SUN PATH
CIRCULATION
Surrounded by natural landscape, this site is surely exciting to let people feel the nature. However, the southern part of the site is very noisy—from Alexandra Avenue—which then a semi-circular wall is designed to create a microcosm of the
VIEW
NOISE BARRIER
NATURAL ELEMENTS
site. Water is also an important element in the site where almost half of the site is the river. Water thus incorporated to the design as the most important part of the journey.
2.3 CONCEPT When people walking to the entrance, they will see trees and other natural elements and intended to set their mind of natural landscape. Then they will go down to the artificial lake in the middle of it which give chance for people to have a very different view and hear the sound of the landscape while viewing the tranquillity of the water.
Tadao Ando rarely changes the existing landscape of a site, so in the design there are two separate buildings which are: the boathouse and the water feature. Some of the features are built underground to give space for existing trees, road and bikelane above it (not moved too far from the existing road).
2.4 DRAWINGS
Cafe
Boat storage
Kiosk Boat hire counter
Boat workshop
Office Toilet and shower
Toilet Kitchen Restaurant
CLOCKWISE FROM THE TOP: Boathouse plan; Site plan; Restaurant plan
East Section
Restaurant Section
Boathouse Section
East Elevation
North Elevation
2.5 JOURNEY Interestingly, most of his buildings act as an active architecture, which always ask people to have an intimacy with the building. 8
He rarely directs people straight to a point, but he use an ambiguous direction and play with natural lights/ darkness/surprises “to create the experience when people move through, making them think, feel, and communicate—especially when it is combined with other perceptions and abstract nature”. He incorporates biophilic design which creates positive experience of nature and touch people’s emotions.
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1. ENTERING THE AREA FROM NORTH-WEST People are directed to enter the building via a pathway.
2. ENTERING THE FIRST GATE People are directed to enter the building and welcomed by the gate which also works as a frame to a whole new view.
3. GOING DOWN TO THE ARTIFICIAL LAKE Simplicity and nothingness. To let people empty their mind before entering the “hidden” lake.
4. ENTERING THE SECOND GATE A very different atmosphere. People could hear the sound of nature, birds, winds, leaves. It is a hidden gem.
5. DIVERTED WALKWAY People are directed to enter the dark walkway. To allow people to meditate, contemplate and follow their emotions.
6. WALKWAY TO THE RESTAURANT A dark walkway. The only source of light is from the strip hollow line on one side of the walkway. In particular hours, the light could enter the walkway and creates a phenomena which represents the source of life. To remind people that water is the main source of life that needs to be preserved.
7. THE RESTAURANT Glass roof and wall restaurant to create opennes and let people to see their “past” experiences, while enjoying the view of the nature.
8. THE BOATHOUSE, THE FINAL FRAME Framed view of the city of Melbourne and the river, to let people see the present condition of the landscape and create conciousness of how we had shaped our nature.
OCTOBER 2016