Alice shan jiang(783943) earth studio 2017

A rchitecture Design Studio: Earth, 2017 Subject Student Book Alice Shan Jiang (783943) Marcus Fajl Tutorial #5

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CONTENT 1. Three Research Exercises 1.1 Point/ Line/ Plane 1.2 Frame & Infill 1.3 Mass

2. Herring Island - A Place for Hiding Secrets 2.1 Site Analysis 2.2 Conceptacle and Sketch Design 2.3 Precedent study 2.4 Final Design 2.5 Physical Model

3. Reflection

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1. Three Research Exercises “point/line/plane”, “mass”, “frame&infill”

In the beginning of this course, we have practiced three basic architectural techtonics, studying their concepts and applications as well as their relationships. These three exercises give a study of architectural composition, which is foundamental for the final project.

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1.1 Point/ Line/ Plane Initially, this model creates a form that grows from the ground organically, starting from a point to the lines and planes, and eventually vanishing into a point back to the ground.

The composition becomes truly dynamic and complex in the middle part and can potentially form pavillion space. In this part, we found the ground becomes the roof, the roof becomes the wall, which creates a playful and interesting space.

Influenced by Zaha Hadid’s parametricism, the architectural language of curviness is mainly applied in this model. Within the curviness, this model explores how the three elements can transform into each other under different circumstances, but makes the whole stucture grows a harmonious rhythm.

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Precedent The Beko Building in Belgrade, by Zaha Hadid Architects, 2007

- roof becomes ground - fused space addressing continuity - parametricism 8

Photos of the Model ““grows from the ground organically, starting from a point to the lines and planes, and eventually vanishing into a point back to the ground�

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““The composition becomes truly dynamic and complex in the middle part and can potentially form pavillion space.�

Where the slender lines touch the gound, they become points; where a bunch of lines gather together, they become planes. This model explore how these three elements can transform into each other under different circumstances, which creates interesting moment in architecture. The concepts of P/L/P are intersected and at the same time the model maintain the distinction of the three elements.

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““we found the ground becomes the roof, the roof becomes the wall” At the begining, the structure crawls close to the gound level, which forms a curved wall. Then it suddenly transforms into a bunch of slender lines and spread over the space, forming a shelter with roof. At this point, the structure reaches its most dynamic moment. Eventually, the bunch of lines gather together and form a plane, which flips to make the roof becomes floor.

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1.2 Mass charcoal drawing, 420 x 297 mm

This drawing tries to explore a philosophical aspect of mass, that is, how architectural mass changes through the axis of time.

Through the two dimentional media such as drawing, it is hard to represent mass as a changing element. In fact, mass won’t change unless it is transported throughout the axis of time.* Thus, this drawing creates two seperate layers of mass in two seperate time. The first layer in front us has several holes, representing the degredation of soil in the future time. It enables us to see the other layer behind which represents the architectural mass commonly seen today.

This drawing actually shows two sections of mass overlapped together.

What it truly expresses is a concern of environmental unsustainability, through presenting the changing of mass. * (To clarify, “mass” is different from “weight”, the latter can change when transported in space or time. For example, an object taken from the earth to the moon, its weight decreases but its mass remains) 12

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Precedent (on the left) Photogrph of the Great Canyon (on the right) The Great Wave of Kanagawa, Japanese Art

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The aesthetics of the mass drawing is largely influenced by the Japanese art, the planarity of which is helpful for the sectional drawing.

Both of the precedent images give the inspiration of representing changing mass throughout time in two dimentional media.

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1.3 Frame & Infill The modernist architects use frame and infill to embrace the ideology of the mechanism in the 20th century which is the new technology in their time, such as the Pompidou Centre. Then what is the ideology we can refer to comtemporarily?

The answer can probably be the digital technology. The invention of internet and the popularity of computer technology make individual life easily exposed to the public. Secret and privacy are harder to keep. At the same time, our life is under control of digital technology because we rely so much on it for working, socialising, entertaining an so on.

Thus, this model tries to capture these characteristics. It shows that people become the infill under the frame of elements representing the digital technology.

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Precedent Pompidou Centre, Paris, by Richard Rogers, Renzo Piano & Gianfranco Franchini

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Materials are choosen to capture the aesthetics of digital technology. On those tranparent walls, information and data will be projected for the spectators to read. The overall composition tries to give a sense of speed and light-weighted, and at the same time, it provides different experience with the fragmented structures.

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The fragmented structures create different moments throughout the whole space. There are dynamic buffer zones between public space (courtyard in the middle) and the private space (the closed chambers at the back), such as the gateways shown on the top left, the platforms show on the bottom left, and the three tablets on the top right.

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ISOMETRIC 24

Plan 1:100

Elevation 1:100

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2. Herring Island Pavilion - A Place for Hiding Secrets I visited the site with a question of how I could define the term “secret� in context of the specific site of Herring Island.

I found this is a small-scaled island with high density of vegetation and reasonably great topographic change.

Walking around the island following its winding path surrounded by clusters of trees and bushes, I found I lost my sight of the urban landscape across the bank. Thus, it inspires me of defining the secret as a journey closely related to its natural environmental context.

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2.1 Site Analysis Initially, I want to allocate my project in a relatively quiet and remote area, which enables the secret hidden in the environment itself. In this case, walking around the site will be defined as a journey of finding secret. Thus, I choose the place where there is a dramatic topographic sink and a cliff has been formed naturally. It also poccesses a high coverage of vegetation, which gives the site a natural cover.

figure 1. Hydrology infomation & Punt Service Route

figure 2. Surrounding Traffic pattern

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figure 3 . Distribution of local community

Photos of sculptures

figure 4. wind & sun path

figure 5. vegetation

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figure 6. sculpture location

figure 8. public service

figure 7. human activity and noise

figure 9. topographic change

List of sculptures 1

Audience

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A Hill a River, Two Rocks & a Presence

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Caim

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Stone House

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Steerage

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Tanderrum

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Ramp

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Scaled Stem

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Falling Fence

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2.2 Conceptacle and Sketch Design In this conceptacle, I mainly want to explore the idea of continuity. The structure is composed of two intertwined ramp, which connect to each other end-toend. This composition creates a circulatory path around the courtyard. The courtyard is a place for displacing the secretive object, meant to have no access to visitors. In this case, the secret in the courtyard can only be viewed without touch.

And the visitors who try to reveal the secret will eventually find they go back to where they start.

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2.3 Precedent Study This architecture gives a good example of intertwined structure. The diagrams shows how the roof spirals down from the landscape to the underground floor.

It also inspires me of how to arrange the interior space in this spiralling structure.

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2.4 Final Design 1. the first ramp starts from the surrounding landscape and spirals down 2. visitors approach the interior space via a stairs after walking through the first ramp 3. functional rooms are distributed according to a hierarchy of light: light increases while walking through the interior space; where there is minimum of light, there is the most intimate space for individuals; with light increasing, space becomes more public 4. after exiting the interior space, people walk to the second ramp, which leads people back to where they start.

5. In this journey of attempting to find secret, visitors have no access to the courtyard where the secrets are truly stored.

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Site map

scale: 1:2000 35

1st Ramp

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Interior cloister

2nd Ramp

overall composition

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a. b. c. d. e. f.

Gallery Semi-intimate room for groups Intimate room for individual Public balcony Toilet Storage room

Floor Plan 1:100

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Section A scale 1:50

Section B scale 1:50

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3 Reflection

Thoughout this semster, I have gone from three basic techtonic exercises to the final project of defining “secret� in architecture. At the start, I thought the three exercises call for something abstract and philosophical, and thus I found it is hard to apply in terms of making the architectural form to existence. However, now I have a look back to what I have practiced and how it helps and inspires me to estabilish the foundation of the final project.

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