Alexandra burns earth book 150513

ARCHITECTURE DESIGN STUDIO: EARTH S1, 2016 SUBJECT STUDENT BOOK Alexandra Burns 759115 Tutor: Andrew Fergson- Group 11

1

2

autocad watercolour rendered drawing

3

4

CONTENTS

1.0 THREE RELATIONSHIPS 1.1 Point/Line/Plane 1.2 Frame & Infill 1.3 Mass: 2.0 HERRING ISLAND. SOMETHING LIKE A PAVILION 2.1 Site analysis and Conceptacle 2.2 Concept and Sketch design 2.3 Design Development 2.4 Final Design drawings 2.5 Final Design Model 3.0 Reflection.

4.0 Bibliography

5

6

1.0 THREE TECHTONICS The three techtonics: Point/line plane, frame and infill and mass are an exploration of the basic elements which compose three dimensional form.

Point/Line/Plane: Point/line/plane can be interpreted in a more traditional sense as walls and columns, however we have been encouraged to explore the endless possibilities of point/line/plane and what happens when one merges or combines wall with floor and ceiling or what happens when line transitions into plane and finally what happens when these elements, which are traditionally used to seperate space, are instead used to fill in space. The very nature of point/line/plane suggests something hollow, weightless and incomplete.

Mass: Mass evokes density and solidity, it can be molded into any shape, it can be concave or convex, it can be smooth or rough. Mass thus has the potential to provide a sensory, tactile experience.

Frame and infill: Frame is permenant, stationary, predicatble and objective, whilst infill is fluid, dynamic, subjective and vectoral. Whilst the frame determines the overall form of the structure, the infill affects the experience and the mood of a space.

7

CONCEPT MODEL & DESIGN DEVELOPMENT

sketch models

8

1.1 POINT / LINE / PLANE

When thinking of Point/Line/Plane I think of the basic elements that compose both drawing and architecture and for this reason I was inspired to strip back to the bones of 3 dimensional form and to investigate the relationship between the 2 dimensional and the 3 dimensional. I also wanted to explore the idea of repeated elements such as line that can be read as one surface.

I have explored structures which were hollow and transparent which for me gives the illusion of lightness.

9

FINAL MODEL

10

Due to its flat cut out form, the design changes depending on from what angle it is viewed : from the side a row of columns and from the front a series of overlapping planes.

This design explores patterns in architecture and the way in which repeated elements such as a line are read by the viewer as a single surfface.

The design explores the unexpectedness of contrasting organic with inorganic and furthermore creating a form that demonstrated a tramsformation as it gradually morphes into a more organic, distorted version of itself. I also wanted a structure that could be formed around the landscape and its irregularities in naturally forming ground formations.

An aspect of this design that I have chosen to develop upon, is the lightness and transparency of the structure. It is almost a vehichle through which we can look through at the landscape, rather than drawing attention to the object in isolation to its surroundings.

11

12

1.2 FRAME & INFILL

In this design I have exaggerated the way in which frame determines the structural solidity of a structure, whilst infill suggests the incidental and the random. Here the frame consistes of a rational, predictable, static, geometric pattern, whilst the infill is fluid and creates a playfull and dynamic within the space. I have furthermore experimented with contrasting smooth, transluscent infill with opaque, rough solid elements.

The requirement of folds whithin the design opened up interesting opportunities to create dynamic compositions with twists and curves which wrap around and run throughout the strucutre.

Paul Jackson, artist

Sumika Pavilion - Toyo Ito (Tokyo, 2008)

13

FINAL MODEL

14

15

16

1.3 MASS

I have explored the tectonic of mass through physical and visual contrast of hollow, weightlessness and ethereal forms associated with air as opposed to solid, rough, heavy forms associated with earth and mass.

Again I have experimented with physically distorting and changing the way we percieve the world around us.

Similarly to the Point/Line/Plane assignment, I have experimented with placing dissimilar forms within one another and the idea of being able to feel the difference between the smoothe surface of the outside and the rough organic surface of the inside.

An particular aspect of this design that I have chosen to continue with is the use o textured transluscent surfaces such as rippled glass and the way in which it manipulates the perception.

17

18

2.0 HERRING ISLAND. SOMETHING LIKE A PAVILION

19

Vegetation

circulation and main attractions

design

20

2.1 SITE ANALYSIS

I have chosen this site because the site is generally flat and lightly treed. It is situated between two other attractions and the circular pathway around the island.

The generally flat site will allow glimpses of the translusent glass wall at ground level. Soil which will be excavated can be used to build up the ground level of the site creating an enclosed feeling of the space.

From the island we see glimpses of buildings and an industrial setting. As the island is surrounded by high traffic from major roads there is the constant sound of traffic. The inescapable hectic pace of city life conflicts with the peaceful ambience of the island. It is partly for this reason that I have chosen to have the majority of the site underground, creating the sense of getting further away from civilization.

One of the most interesting aspects of Herring Island was the various ways in which it was used by visitors, whether it be families with children, tourists, art enthusiasts visiting the gallery. The fact that it is closed in winter suggests a recreational activity to be enjoyed during the holiday season.

The surrounding area of the island also consists of parkland and recreational facilities. This has influenced my decision to provide a sensory experience for children within the pavilion, as they are encouraged to explore rooms spilling with coloured light, climb on mountainous organic forms and become engaged with the variations of surface textures.

21

In drawing from a recurrent theme in previous assignments, I have decided to take the idea of physically altering ones perception of the world even further and working with the idea of obscurity . I had thus become intrigued by the concept of the cusp of understanding, that is the process of an idea slowly coming into being. This idea of obscurity led me to the concept of the sublime.

concepticle

sketch model

22

2.2 CONCEPTICLE AND SKETCH DESIGN

The Sublime: The sublime for me is a mixture of strong paradoxical emotions of beauty, terror and awe. Rough surfaces have the appearance of being incomplete and not fully formed. Unintelligibility and obscurity are essential in increasing the viewer’s sense of disorientation and anxiety in the face of the sublime. I intend to communicate these ideas through the use of organic forms which for me symbolize the indefinable, elusive almost formlessness. The German Romantics perceived nature as a source of mystery, coded secrets and more importantly the sublime.

23

BEAUTY I have interpreted beaty as something subjective which creates mood and atmosphere. I think colour and light do this effectively and can potentially change the way we perceive form.

concept model

24

TERROR Mountainous, organic forms heighten the sense of confronting the unfamiliar and thus creates a sense of precariousness. The distortion of scale furthermore embodies the idea of the unexpected and causing the sensation of being overwhelmed.

AWE Translucent surfaces obscure and manipulate perception and furthermore inspire curiosity and intrigue. They furthermore inspire awe through the dazzling effect of playing with light.

sketch model

25

26

The large subtraction of mass creates a sense of vastnesss and emptiness, thus carrying further the idea of the incomplete.

mock up model

27

Inspired by James Turell’s pavillion in Camberra Within Without, of creating layers of a space within a space using contrasting dissimilar forms, textures and colours. In this way the structure inspires curiosity and subverts the viewers expectations.

perspective drawing

28

James turell, Within Without

2.3 DESIGN DEVELOPMENT

perspective drawing watercolour rendered autocad

29

aerial view

30

2.4 FINAL DESIGN DRAWINGS

floor plan

section A

31

sectional perspective

32

33

final model

34

35

36

3.0 REFLECTION This subject has allowed me to become more open minded with regards to the potential of architecture to embody abstract ideas. I have learnt that architecture is not at all confined to the creation of a building, but can be a much more fluid and dynamic manifestation of an idea in 3 dimentional form.

One thing that I have overestimated before starting this subject was the importance of a neat, clear and simple presentation as the ability to communicate clearly ones ideas is an integral aspect of architecture. Having never used Indesign before, I was pleased to have improved my efficiency with this software. Having said this I was also happy to have been able to combine autocad drawings with watercolour, which is one of my favorite mediums which adds a more emotional, personal touch to the drawings. However a problem I have encountered was that when scanned, the paintings lost some of their detail and vibrancy. The ability to communicate my concepts and ideas verbally has been the most challenging part of this subject, although I believe I have improved by practicing at home in front of friends and family and in timed conditions. My model making skills have also improved along the course of the semester as I have learnt to make better design desicisons with regards to materials and use the laser cutter. One of the main aspects of architecture that has interested me the most throughout this semester, is the experience of architecture and the ways in which it can inflict sensations of curiosity, awe and trepidation. In the future I would like to further explore the idea of the role of light and the ways in which it can alter our perception of form.

37

38

4.0 BIBLIOGRAPHY

Peter Bennetts, 2012, Baker D. Chirico, Carlton, photograph, Australain Design Review, viewed 2 May 2016, http://www.australiandesignreview.com/interiors/18820baker-d-chirico-carlton Paul Jackson, 2012, One Crease, photograph, Other Galleries, viewed 3 May, http://www.origami-artist.com/one_crease.htm Japanese_craft_construction, 2012, Sumika Pavilion, photograph, viewed 6 May, https://au.pinterest.com/pin/384776361888385393/ Ikimono Architects, 2016, Ikimono Architects and the Aberrant Ground, viewed 8 May, http://www.createlaboratory.com/design-news/ikimono-architects-and-the-aberrantground/ Rose Niland, 2010, Within Without, photograph, The culture concept, viewed 4 June 2016, http://www.thecultureconcept.com/circle/within-without-2010-james-turrellslegacy-for-australia

39