Earthbook

ARCHITECTURE DESIGN STUDIO: EARTH S1, 2015 SUBJECT STUDENT BOOK ALCAZAR, Ian Daniel Bonifacio (698457) Hella Wigge+ Tutorial 10

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Secret is

Silent When its existence is realised, it

Screams

WORK BY IAN ALCAZAR, 2015

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CONTENTS: 1.0 THREE RELATIONSHIPS 1.1.1 POINT / LINE / PLANE EXAMPLE 6 1.1.2 POINT / LINE / PLANE MODEL 8 1.2.1 FRAME & INFILL EXAMPLE 10 1.2.2 FRAME & INFILL MODEL/ILLUSTRATION 12 1.3.1 MASS EXAMPLE 14 1.3.2 MASS EXAMPLE 16 2.0 CONCEPT MASS 3D MODEL 2.1 DIGITIZATION & DESIGN DEVELOPMENT 18 2.2 OUTCOME 20 3.0 HERRING ISLAND. SOMETHING LIKE A PAVILION 3.1 SITE ANALYSIS 24 3.2 CONCEPTACLE AND PRECEDENCE 26 3.3 SKETCH DESIGNS/BRAIN STORM 28 3.4 INTERIM PRESENTATION 29 3.5 DESIGN REDEVELOPMENT 30 3.6 DESIGN REFINEMENT 32 3.7 DESIGN TECTONIC 33 3.8 DESIGN RELATION TO THE SITE 33 3.9 CONCEPTS 34 3.10 PHOTO MONTAGE, PHYSICAL MODEL AND FLOORPLAN 35 3.11 DIGITAL MODEL 36 4.0 Reflection. 40 5.0 Bibliography: 42

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100 Walls Church by CAZA, n.d,

1.0 THREE RELATIONSHIPS 1.1.1 POINT / LINE / PLANE EXAMPLE

The 100 Wall Church, by CAZA Architects located Cebu Philippines. The design uses a simple building element, a wall, to create a rather complex and interesting architecture. The design follows Point/Line/Plane tectonic by incorporating a collection of parallel walls with the same thickness, arranged to create a form. The building transitions from being opaque (set of planes) into becoming transparent (set of lines) when viewing the design at different angles. More so, the design illustrates that repetition of elements, if done right,

Baan, I. 2015

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1.1.2 POINT / LINE / PLANE MODEL The design exploration of this tectonic involves spontaneous sketch models.

Through this, unconsciously, I develop a design language consisting of cantilevering triangular planar elements. The design does not directly reveal its function as its form is somewhat unconventional and ‘arty’. The users themselves define the space and will therefore choose how they will use the space.

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Plane, B., n,d,

1.2.1 FRAME & INFILL EXAMPLE

The Reichstag Dome in Berlin, Germany exemplifies the Frame and Infill Tectonic. Contained within the semi-spherical glass dome, the double-helixlike spiral ramp inside gives a 360 degree view of the city. The infill element is dynamic, in a sense that it simulates movement and fluidity. This effect is further exacerbated by the infill and the frame elements having the same curvature.

Furthermore, Reichstag dome is not only a architectural landmark but also have a socio-political statement; that is the dome, which sits on top of the German Parliament, symbolizes that the people is above the government (Dome is open to the public).

Avda, n,d,

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1.2 .2 FRAME & INFILL MODEL/ILLUSTRATION

The design piece consist of a 4 bay frame structure with the upper bay wider than the bottom bay. The Infill consists of two identical elements that weaves through the frame. The design aims to challenge the frame and infill tectonic by creating an infill element that is not necessarily supported by the frame yet have a compositional relation with it. In a sense, the frame and the infill enhances each other’s aesthetic.

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NCPA Beijing, n.d,

1.3.1 MASS EXAMPLE

The National Center of Performing Arts Beijing, called the Giant Egg by locals, features a ellipsoid dome placed on a middle of a manmade lake.

The elongation of the dome and the horizontal lines emphasizes its length, enhancing the sense of it being grounded and heavy despite its hollow interior. More so, the transition of gentle to steep slope from the apex to its base creates and illusion that the building is sinking into the ground.

With the reflection from the lake surrounding NCPA, the building seems to levitate despite its sheer size*. This challenges the Mass tectonic by making the heavy seem weightless. *depends on the weather and the condition of the lake

NCPA Beijing, n.d,

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1.3.2 MASS ILLUSTRATION The mass illustration aims to mimic a depth of the caves. A recent visit to the Puerto Princesa Subterranean cave inspired the piece on its composition especially the sense of depth. Due to the darkness, the user needs to flow around the ‘stalagmites’ by sensing the change of surface gradient. More so, the vast space at the right side aims to replicate the spatial experiences when passing through a crossing, albeit more incrementall in ceiling height.

More so, The Crepuscular rays from the hole of the ceiling aims to reveal the depth of the cave.

Puerto Princesa Subterranean River, n.d

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2.0 CONCEPT MASS 3D MODEL

2.1 DIGITIZATION & DESIGN DEVELOPMENT

The design of the 3D model is a direct replication of the mass illustration from the previous page. It was modelled through rhino, using Boolean function.

Due to the complexity of the interior (for a novice) and failure to directly model it, the model was modelled from the inside and later used Boolean subtraction to subtract the interior to the modelled slope. More so, the measurements of the illustration and the model is not the same. The Rhino model only aims to replicate the ideas of the illustration.

This technology broadens the possibility in modelling, as some intricacies and complexities cannot be made by hand but by a machine.

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2.2 OUTCOME

Before I started to print, the Rhino model was cut into half to eliminate the possibility of having internal support. More so, the upper half was printed upside down for the same reason. The model took approximately 3 hours to print.

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3.0 HERRING ISLAND. SOMETHING LIKE A PAVILION

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3.1 SITE ANALYSIS The island gives a sense of refuge from the chaotic city life. More so, the surrounding environment starkly contrast the environment within the island making it a unique site. Consequently, a sense of isolation is felt.

The site also evokes a sense of adventure, where in, the users find treasures, in this case the artworks scattered around the island. Furthermore, the site connects the users to indigenous Australia through its indigenous Flora The topography of the island is diverse. The edges of the island have a steep slope and as a result paths on the edges winds the slope. The central part has a flatter ground compared to the sides. Furthermore, trees were planted at the slopes to help consolidate the island’s form; lesser trees can be seen at the central area.

Defining Characteristics of chosen site -Steep Slope -Exposure to wind, sun (North Facing) and traffic noise -Can be seen from the freeway -Water meets the land (Ripples) -Secretive in nature, since there is no pathway to it -The Pavilion would not be useless when the island is closed since it acts like a public art much like freeway art installation.

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Baan, I. 2015,

3.2 CONCEPTACLE AND PRECEDENCE

The Conceptacle and the ‘Secret’ Pavilion was inspired by Fujimoto’s Serpentine Pavilion. The Fujimoto’s Pavilion includes a collection of cubic frames arranged together to make a form. More so, as the density of the cubes increases, the pavilion becomes more opaque. The Conceptacle also uses this concept.

- Opacity relating to Density -Fluidity through numbers

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3.3 SKETCH DESIGNS/BRAIN STORM

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3.4 INTERIM PRESENTATION

The design from the left includes a collection of vertical linear elements that increases in density as it approaches to the center. The main concern for this approach when providing a place of secret is its sheer banality. The direct approach of hiding something is straight forward, somewhat expected, and thus, it doesn’t require contemplation and thinking. My vision of the design is artful and thematic; it does not conceive an object and hide it for users to find rather it explores a secret, both experientially and conceptually.

The approach I used is defining what a secret is. Through this, I develop aphorism concerning secrets.

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APHORISM Secret is silent; When its existence is realised, it screams its presence A secret is hidden under multiple layers that inhibits outsiders to view its contents; finding a secret involves peeling those layers

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3.5 DESIGN REDEVELOPMENT

A place for keeping secrets. What if the users itself become the secret? The pavilion aims to emulate experience of a secret, both being and receiving.

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Since the site can be seen from above, the spatial composition of the site can be appreciated. The design utilises golden ratio in proportioning the spaces.

3.6 DESIGN REFINEMENT 32

3.7 DESIGN TECTONIC The design aims to illustrate the progression of line to being plane and finally becoming mass depending on the angle the pavilion is seen.

3.8 DESIGN RELATION TO THE SITE

Ripples, n.d.

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3.9 CONCEPTS Echoes Voices

Above Ground Underground Ground Ground

Since the underground space is surrounded by concrete at one side and the wooden pole wall at the other, the sounds that penetrates from the pathway to the underground space generates a faint echo. This is aimed to resemble whispers, which is commonly associated with sharing a secret.

The design challenges the perception that one should climb up or down to experience spatial qualities associated with above ground and underground spaces. This was achieved by placing each spaces in one plane therefore eliminating the said transition between these spaces.

Associated spatial qualities: Above Ground Exposed, Vulnerable, bright Below Ground Enclosed, Protected, Dark, Noise amplified by the silence

Kids Average Path Adults Average Path Other Average Path

Since the user is a secret itself, the associated spatial qualities reflect secret aphorism.

When a secret it exposed, it screams its presence and therefore takes the centre stage. The above ground space provides this experience. In the other hand, the secrecy through silence and whisper can be experieenced

Since the entrance for children comes before the regular entrance, it is expected that the children would enter the space first. Words from the kids upon entering the space aims encourage the parents to move towards the pathway to find their entrance in order to see what their kids are seeing. This aims to instil curiosity and eagerness to find the unknown amongst adult user; therefore mimicking the sense eagerness and curiosity when finding a secret

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3.10 PHOTO MONTAGE , PHYSICAL MODEL AND FLOORPLAN

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3.11 DIGITAL MODEL

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Art is never finished, only abandoned -Leonardo da Vinci

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4.0 REFLECTION

Architecture Studio Earth led me into a journey that explores different architectural composition using tectonics as lens and challenging my design process through continuous scrutiny. Together with the task of exploring Melbourne through this lens, the subject changed my perception of the city, and subsequently I began to scrutinize different composition and tectonics of the built environment, and sometimes the natural environment. More so, the lectures and independent research, especially the exploration of Sou Fujimoto and Leandro Loscin’s works, improved my ways on tackling the design challenges of the studio.

My interpretation of the theory behind the tectonics guided my design journey. However, in some instances, challenging this tectonics become a subject of disagreement; the frame and infill exercise as an example. Despite this, I still strove to challenge the tectonics and therefore, at the end, produce an amalgamation of the P/L/P and Mass tectonic in a form of the pavilion. This, in my opinion, is my strength in designing. As I strove to explore design options and brief conceptually and experientially, challenging it when deemed necessary, bearing in mind the overall aesthetic; Therefore producing unique and original designs.

Learning digital modelling tools have been very beneficial in conveying my designs. Together with a rendering program, VRay, it helped me produce life-like images of the pavilion. However, learning this program proved to be troublesome considering the time frame in which we are ask to produce our design. Nevertheless, I successfully used this tools in enhancing my design presentations.

Another issue I faced during the course of the semester was vocal articulation of my ideas, especially at the start of the term. The failure to succinctly convey my ideas have been very inconvenient as, at times, I failed to express my design. More so, since I am not doing an Architecture Major, as of yet, I failed to express my ideas through the use of architectural jargons. Through regular presentations, I slowly improved on this.

These issues are nothing but obstacles in the journey of Architecture. In the end, the passion for producing worthwhile design far outweighs the challenges faced. Overall, I enjoyed the subject and made me really consider the possibility of doing an architecture major.

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4.0 BIBLIOGRAPHY

100 Walls Church by CAZA, n.d, photograph, viewed 9 June 2015,< http://www.lostateminor.com/wp-content/uploads/2014/03/100-Walls-Church-byCAZA_dezeen_ss14-650x464.jpg> Avda, n,d, Reichstag Building at Night, photograph, viewed 9 June 2015, <http://upload.wikimedia.org/wikipedia/commons/c/cc/Berlin_-_Reichstag_ building_at_night_-_2013.jpg> Baan, I. 2015, Sou Fujimoto Serpentine Gallery Pavilion, photograph, viewed 9 June 2015, <http://www.domusweb.it/en/architecture/2013/06/7/sou_ fujimoto_serpentinegallery.html> Baan, I. 2015, 100 Walls Church, photograph, viewed 9 June 2015, <http://www.archdaily.com/480464/100-walls-church-caza/530c116ec07a802c760000 2a_100-walls-church-caza_church_caza_3728-jpg/> NCPA Beijing, n.d, photograph, viewed 9 June 2015, <http://english.visitbeijing.com.cn/play/thematic/n214812590.shtml> NCPA Beijing, n.d, photograph, viewed 9 June 2015 <http://www.jnf.com.au/wp-content/uploads/2013/11/NCPA-Beijing-v3.jpg> Plane, B., n,d, Reichstag Dome, photograph, viewed 9 June 2015, <http://upload.wikimedia.org/wikipedia/commons/e/e9/Reichstag_Dome_at_night.jpg> Puerto Princesa Subterranean River, n.d., photograph, viewed 9 June 2015 <http://avaxnews.net/pictures/33109> Ripples, n.d., photograph, viewed 9 June 2015 <http://www.lywam.org/ideas-create-ripples-impact/>

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