Studio Earth Book - Alison Fong

EARTH STUDIO BOOK

Alison Pui Yan Fong 830833

THREE RELATIONSHIPS

Point,Line,Plane/ Mass/ Frame&Infill

POINT LINE PLANE

1. Alexander Slobzheninov - untitled

2. Frank Lloyd Wright - Robie House

Point, Line and Plane composes of the three element, in which they may at times work against each other or work along each other in composition. They are important in envisioning spatial movements, mapping the territory and sequencing our space, representing the elements on ground. For example in Frank Lloyd Wright’s Robie House, the flat plane, roof element is typical of Wright’s experiment with horizontal elements, but it also acts as a guiding line, where it evokes stability and coexists with the other elements that forms the exterior of the house, such as the columns and the brick walls. On the other hand, in Wassily Kandinsky’s Strings, the elements seem to work against each other, bringing along tension and excitement to the work, but also shows the different elements in their own light, expressing them individually at times.

1. Slobzheninov, A. (2015) 2. Hedric-blessing. (n.d.)

3. Kandinsky, W. (n.d.)

3. Wassily Kandinsky - Strings

FINAL MODEL The PLP model plays on the elements seen at different perspectives; in plan view the points and lines act as horizontal and vertical lines, while in elevation these points become columns and lines become planes. In particular the slanted planes situated on the end break away the mundane pattern formed from the near symmetrical structures.

MASS

4. Alexander Slobzheninov - untitled

5. Eduardo Chillada - Mount Tinyada

Mass represents the underground elements, where solidity and durability are most important. It is here that the play of light and dark can fully express the depth and scale of these structures. In Eduardo Chilada’s Mount Tinyada, the light shining from the two squared holes, penetrates on the walls of the underground structures, and the light elements change in transparency to highlight the scale of the structure, with the dark shadows emphasizing depth. In Alexander Slobzheninov’s bunker architecture, we see the exterior of the structure, its thickness emphasizes its solidity, and from the gap slash in the middle, we can see the different levels of the interior elements, again emphasizing the depth of the underground elements.

4. Slobzheninov, A. (2015) 5. Casado (2012) 6. Huang (2011)

6. Tadao Ando - Church of Light

FINAL DRAWING Using colour pencil as my medium, I was able to illustrate the shading and shadows of the underground structure. Mass means dense and heaviness, and in my research of bunker architectures, I wanted to depict how mass does not necessarily mean an element of cold and darkness, but also of light and warmth, using warm tones of brown red colours to evoke those feelings, as well as lighting to enhance the sense of depth in space.

Drawing before correction As my first drawing received feedback as being seen more as an element above ground than under, I decided to add more shading around the edges to emphasize depth and the underground-ness of the structure and painted the surrounding edges in black.

FRAME AND INFILL

7. Fien Muller and Hannes Van Severen - Solo Seat Granito

8. Kengo Kuma - Shizuoka International Garden and Horticulture Exhibition

Frame and Infill represents the elements above ground. The frame is the heavy element that forms boundaries for the infill to fill up the space, suspending it above ground, however this can also be vice versa, with the balance between these two elements being important in expressing frame and infill as a whole. In Kengo Kuma’s Shizuoka International Garden and Horiculture Exhibition, the glass panels form a frame around the bamboo sticks that strike down from the ceiling as infill.

The opposite is seem in Roy Ground’s Performing Arts Centre, where the frame becomes the suspending element, floating above the infill that is heavily rooted into the ground.

7. Muller van severen (2012) 8. Kengo Kuma and Associates (2004) 9. Taken by Author (2017)

9. Roy Grounds - Performing Arts Centre

Model before correction I added another frame next to the original frame after receiving feedback that there needed to be more of an essence of frame in my model.

FINAL MODEL+ ANALYSIS DRAWING The denseness of the infill, made from cushion polyester infill, crawls out of the frame made from balsa wood in an organic form and layout over the typography. The thinness of the balsa wood provides a lightweight frame to the heavy infill, evoked from the density of the infill.

HERRING ISLAND

“A place for keeping secrets”

SITE ANALYSIS

Monash Freeway

Art Gallery

Jetty Dock Entrance

BBQ Area

Jetty Dock Departure

Site Map

Art Sculptures

Chosen Site

Herring Island is the only island on the Yarra, located amongst South Yarra and only accessible by boat. It was once used as a basalt quarry during the early 1900s, and then became Scout’s property during 1950s - 60s. Now it is used as a sculpture park, home to several different environmental sculptures with a walking trail loop and recreational facilities such as electric BBQs and picnic shelters all open to the public during weekends. The island contains several types of vegetation and is home to different wildlife such as possums and lizards.

The site I have chosen is located at one of the sculptures, ‘Steerage’, which is towards the western tip of the island.

Designed by artist Jill Peck, it is made from harcourt granite, and offers a spectacular view of the Yarra River, located in close proximity to the Jetty Boat Entrance of the island.

12pm

A B

5pm C

TOPOGRAPHIC MAP

VEGETATION + PATHWAYS

Topography 1-10m

Pathways

Section A

Section B

SUN PATH

Section C

7am

SOMETHING LIKE A PAVILION...

Precedent pavilions

10. Scott Kyson - Treehouse

11. Pneuhaus - RGB Bubble

The reflective mirror cladding camouflages the pavilion in the landscape, in correlation to the use of charred timber, where he uses material to explore the raw designs of form, light and texture. The work is a reference to point, line and plane with the randomly placed boxes and main cladding that are seen as plane in elevation and line in plan, but in particularly the plane almost embed into the surrounding context; ‘disappearing’ from sight.

These inflatable bubbles allow for visitors to observe the interaction between light and colour, to understand the RGB colour system. The inflated bubble creates a hollow space inside, which show cases mass in an intricate way, despite the weightless qualities of the bubble that go against what we expect mass to be, of heavy and solidity.

10. Mairs (2016) 11. Grozdanic (2015) 12. Taken by Author (2016)

12. ARM Architecture - Shrine of Remembrance Courtyard The courtyard space features a floating metal poppy structure and is submerged into the ground with an open roof. The idea of below ground surface is shown, separating the visitors from street level and forming and entrance into the underground displays at the Shrine of Remembrance.

CONCEPTACLE My conceptacle is illustrates the idea of how crematoriums serve as a space to remember loved ones that have passed away and in relation to the brief, is the act of sealing or storing away of secrets that lie dormant in the body of the dead.

The conceptacle composes of a frame and infill system, where the void spaces, which are normally used to place urns or objects that belonged to their loved ones are represented using the white cardboards and within them are the objects themselves, of which I used a badge and necklace to imitate banal objects that were often worn by those that passed away and now used as a symbol to remember them, and cushion infills and a knitted braid, to imitate mourning jewelry that is often made from hair or sometimes fur of the animal.

CONCEPT DEVELOPMENT For my final design I wanted to explore the idea of burying and sealing away of secrets.

In my exterior elements I wanted to play with the different levels of ground, highlighting my point line and plane elements by implementing columns that intersect each other in plane and elevation, paralleling with the typography seen near Steerage.

In the interior, I wanted to emphasize the mass elements, creating an underground element with light wells, which play with the lightness and darkness, using shadows and natural lighting.

To combine the two together, I added glass boxes which are filled with black sand, to imitate the ashes that are stored in urns at the crematorium.

These boxes penetrate the ground floor and add an overlay of lighting to the underground passageway.

Materials I chose were mainly natural textures such as stone and timber, to highlight the use of tactility, where the sense of touch is important in the user’s experience of the structure, but would also act as an experience of the spatial movement within the structure itself, as the user is able to see the change of textures.

As I chose a site near the Yarra River, I wanted to utilise the water elements into my design, thus I envisioned it as a reflective element.

Overall, I wanted to create a reflective space where people would be able to be in an enclosed, transient space, but also wanted to create spaces where it would only be fully activated when only one person is using it at a time, this mainly being my underground elements.

FINAL DESIGN

Site Plan (Not To Scale)

Upper Ground Plan (Not To Scale)

Under Ground Plan (Not To Scale)

From top to bottom: 1. North Elevation (NTS) 2. South Elevation (NTS) 3. Section (NTS)

Interior Perspective

Exterior Perspective

Bibliography 1. Slobzheninov, A. (2015). untitled [image]. Retrieved from https://www.behance.net/gallery/23775305/Point-Line-Plane-and-Space+&cd=1&hl=en&ct=clnk&gl=au 2. Hedric-blessing. (n.d.). Robie House [image]. Retrieved from https://www.britannica.com/biography/Frank-Lloyd-Wright 3. Kandinsky, W. (n.d.). Strings [art original]. Retrieved from https://theartstack.com/artist/wassily-kandinsky-vasilii-vasil-ievich-kandinskii/strings-1866-1944 4. Rietveld Landscape. (2010). Military Bunker [image]. Retrieved from http://inhabitat.com/19th-century-military-bunker-transformed-into-waterside-landmark/ 5. Casado, S. (2012). Mount Tinyada [image]. Retrieved from http://www.cgarchitect.com/2012/02/tindaya--eduardo-chillida 6. Huang, M. (2011). Church of Light [image]. Retrieved from https://www.flickr.com/photos/mith17/6212767267/ 7. Muller van severen. (2011). Solo Seat Granito [image]. Retrieved from http://www.mullervanseveren.be/site/solo-seat-granito/ 8. Kengo Kuma and Associates. (2004). Shizuoka International Garden and Horticulture Exhibition [image]. Retrieved from http://kkaa.co.jp/works/architecture/shizuoka- international-garden-and-horticultureexhibition-pacific-flora/ 9. Taken by Author. (2017) 10. Mairs, J. (2016). Treehouse [image]. Retrieved from https://www.dezeen.com/2016/11/16/scott-kyson-treehouse-charred-timber-smoked-glass-garden-pavilion-london/ 11. Grozdanic, L. (2015). RGB Bubble [image]. Retrieved from http://inhabitat.com/inflatable-rgbubble-brings-the-rgb-color-spectrum-of-your-digital-screen-to-real-life/ 12. Taken by Author. (2016)