ARCHITECTURE DESIGN STUDIO: EARTH S1, 2017
FOLIO OF STUDENT WORK ALYSE KNAPE 759021 VIET PHAM, STUDIO 15
CONTENTS
1.0 THREE RELATIONSHIPS 1.1 Point, Line and Plane 1.2 Mass 1.3 Frame and Infill 2.0 HERRING ISLAND: SECRETS PAVILION 2.1 Site Analysis 2.2 Precedents 2.3 Conceptacle and Sketch Design 2.4 Design Development 2.5 Final Design Drawings 2.6 Final Design Model 3.0 REFLECTION
1.0 THREE RELATIONSHIPS
Each of the three design exercises explores the techtonic relationship between space above-ground, ground surface and below ground. Spatial characterists are explored in these preliminary exerices in order to inform design decisions for the final architectural design project.
1.0 THREE RELATIONSHIPS
POINT, LINE & PLANE
MASS
FRAME & INFILL
1.1 POINT, LINE & PLANE Precedents in Point, Line & Plane revealed the significance of perception and of transforming elements based on line of sight. Shadows, angles and interactivity of this concept were the focus of the final piece. The experience of this structure is like that of point, line and plane; with the points, lines and planes interchanging at different viewpoints and distances from the piece. 1 Melbourne Theatre Company; ARM Architecture 2 Hegua Tower Office, Germany; Murphy Jahn 3 AAMI Park, Melbourne, COX Architecture
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1.2 MASS Exploring the concepts of mass, light and void space, this concept led to research into gravity and weighlessness, as well as above and below ground effects of mass. The final piece is an exploration of charcoal and pen work to create impressions of light and dark, vast space to visualise under-ground mass concepts. 1 Albany Entertainment Centre; COX Architecture. 2 The Bean, Chicago; Anish Kapoor. 3 The Trojan House, Melbourne; Jackson Clements Burrows Architects. 4 The Pole House, Victoria; Frank Dixon / F2 Architecture.
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1.3 FRAME & INFILL Research into examples of frame & infill created a focus around the human and their movements as the infill of a space. A frame, therefore, was simply a space where someone could move and act. The final model and drawing were focused on the 2013 Serpentine Pavilion by Suo Fujimoto, namely on the interesting space created by the actions of its visitors. The model for frame and infill was designed as a playground for children; the ultimate frame for human action and interaction with space. The drawings focus on the infill of this frame with people as they move and play through the structure. 1 Serpentine Pavilion, 2013; Suo Fujimoto 2 Helsinki University Library 3 Serpentine Pavilion, 2013; Suo Fujimoto
2.0 HERRING ISLAND: A PLACE FOR KEEPING SECRETS
Secrets are automatically presumed to be mysterious and hidden away. A secret may between few individuals, or kept to oneself. Secrets in architecture can be hidden away in the individuality of the experience of said architecture. Secrets do not have to be revealed, nor do they have to be kept secret. The pavilion represents an opportunity for secrets to be expressed or kept, which only individual experience in relation to time will tell.
3 POTENTIAL SITES / CONNECTIONS
Site 1: Large open space toward East side of island. Potential for a large structure, If East facing, will get morning sun. If West facing, will get afternoon sun. Potential to have both - could have impacts on inhabitablity. Site 2: Old barge / Mound East facing space - morning sun. This site is visible from access space (car park). A more secluded space as it is more difficult to access. Site 3: Open space at North-West Corner; Space has shade around outsides but is exposed in the middle. Has great views of river / toward Melbourne city.
SUN PATH DIAGRAM
Each potential site analysis needs to consider sunlight hours, direction, shade, shadow and climate. Site 1 will need to be quite shaded as it will recieve harsh sun throughout the day. Site 2 will need to consider visibility in the mornings as it is east facing. Site 3 will need to consider afternoon sun, but may
2.1 SITE ANALYSIS YARRA RIVER
Herring Island is surrounded by the Yarra River Pros / Opportunities: - Provides an element of interest for visitors - Habitat for flora/fauna - Possible design element - tie in with water theme Cons/Constraints: - Smell - Access to island is restricted by ferry services - Design must consider flooding, waterproof materials etc. - River will continue to erode edges of island.
NOISE
All 3 sites must consier noise projected from surrounding highways and roads. Opportunities: - Noise hides secret activity - Noise installations Constraints: - How to create an inviting space inside this noise
TEMPERATURE
Heat patches where no/little shade exists and at higher ground levels. Cool patches with lots of tree cover and at lower ground levels.
WETLANDS / BIRD-LIFE
Wetland areas surrounding Herring Island provide habitat for wildlife, including various species of birds. 1 - Dusky Moorhen Naturally shy, but have become tame in city parks. Feed on aquatic plants, insects and small animals such as frogs. 2 - Pacific Black Duck Feed by dabbling, dredging and unpending vegetation as they search for aquatic plants and animals. In flight, you can see their brilliant blue feathers. 3 - Maned Duck Prefers to forage in shallow water or on land. Nests in tree holes, above or near the water.
2.1 SITE ANALYSIS FLOODWATER
MOVEMENT
1.1m
3m
4m
Designs need to consider the position of Herring Island on the Yarra River, which is susceptible to flooding. Each map shows water coverage of the Island at their respective water levels. (Data retreived from Melbourne Water). Busyness of Freeway (Large scale, loud, heavy) Flow of water (Heavy, fast moving, less appar-
Opportunities: - A design which moves with floodwaters - A design which is adaptable to high water levels - A design which extends the habitat of wildlife who live in wetlands surrounding island - Connections with Yarra River (Aboriginal history) Constraints: - Yarra River is dirty, could spread disease etc. - An uncontrollable force
2.2 PRECEDENTS
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INDIAN STEP WELLS
Step wells were born in necessity in a bone-dry climate, with torrential monsoon rainfall for a few weeks each year. Precedent has been taken from these step-wells, with ever-fluctuating water levels transforming the form and function of these structures. In dry seasons, every step had to be negotiated, whilst during rainy seasons, a parallel function of a large cistern kicked in, submerging the steps and filling the wells to capacity. In exploring the relationship between water, land and humaninteraction, this transformation was particularly interesting. I have adapted this ancient architectural form into a design which will also surprise and ‘dislocate’ those who experience it, focusing also on erosion and the passage of time in relation to 1
architecture.
1 Rani ki Vav (Queen’s Wall) 2 Agrasen ki Baori, Dehli 3 Helical Vav 4 Chand Baori
TOPOGRAPHY; RICHARD BLACK & MARTYN HOOK
Research into the relationship between land and water led me to Topography. My design decisions were informed by the concepts of designed deterioration, a place to fill the senses, the passage of time , erosion, modification in use, inherant suggestion of action, architecture’s impermanence rhythyms of summer and winter and tidal movement. I found interesting links between mass and permanence, vs. frame & infill and designed deteriorations, which further informed my design decisions.
2.2 PRECEDENTS
N-VIRO ANCHORS
The decision to create a split pavilion pulls focus to precedents of floating structures which would allow my water-pavilion to move with the tide. N-Viro Screw Anchors allow the pontoon to act as a truly floating structure and enable it to rise and fall with the tide and wave action, while keeping it in a fixed location.
CONCEPTACLE ONE
The first conceptacle model was created with modification in use, inherant suggestion of action and the impermanence of architecture in mind. A space for families was specified in the brief. This conceptacle visualises the idea of modification in use as families may use this space differently. Lego allowed for abstract visualisations of form, as well as the exploration of the idea of erosion and impermanence; the lego could be knocked down or destroyed at any time, much like the pavilion in mind
2.3 CONCEPTACLE
CONCEPTACLE TWO
The second conceptacle model was created with designed deterioration and the relationship between land and water in mind. The use of plaster sparked an interest in the aesthetic effects of erosion. It explores the effects of erosion and deterioration of materials over time. Wanting to explore the effects of tides and water levels of the Yarra River, this conceptacle embodies the form of the pavilion which sits on the waters edge.
2.3 CONCEPTACLE CONCEPTACLE THREE
The third conceptacle model was created with The passage of time , erosion, rythyms of summer and winter and tidal movement in mind. Using ink-dyed resin and plaster moulded-platforms, this conceptacle visualises the effect of flooding over time at the site. It explores the allowance of the architectural design to become available to the rhythyms of the seasons. The choice of materials allows for the erosion of built form to be highlighted in this conceptacle.
Exploring the relationship between land and water and the techtonic exercises from previous weeks. Possibilites of material deterioration and erosion are conceptualised. Strong focus and interest in tidal movement and how this may create a possibility for a split pavilion. A design which has three stages; complete, slighty split and completely split. This is informed by precedents including step wells, Topography concepts and anchorage systems.
2.3 SKETCH DESIGN
Feedback from the interim presentation was to intensify the divide between the land-paviion and the water-pavilion by way of a wall structure. This allows the experience of the pavilion to become a secret experience; visitors cannot immediately see that there is a pavilion on the water, and can only discover this secret if they choose to continue exploring the land-pavilion. Further feedback suggested that the secret be presented to visitors in the form of a projection (as per brief option). This projection would allow the pavilion to tell it’s secret on the inner wall of the land-pavilion, with speculation of flooding on the opposite side of the wall being revealed to visitors. This would allow the architecture to tell a story.
2.4 DESIGN DEVELOPMENT ANCHORS
TECHTONIC EXERCISES
SITE PLAN SCALE 1:500
2.5 FINAL DESIGN DRAWINGS
PLANS
Speculation of Flooding
2.5 FINAL DESIGN DRAWINGS
Final drawings include a scale of river water levels as per site analysis :
1.1m
3m
4m
The architectural pavilion design at Herring Island is not intended to stand the test of time. It’s primary focus is on designed deterioration to provide people with an experience of the land and water on which it sits, but only within the time in which it will exist. This time-frame will be decided by the pace of erosion and deterioration of its materials, depending on the behaviours of the Yarra River.
North Elevation @ 1.1m
The design allows its visitors to be surrouncded by the movement of the tide, allowing them to fill their senses with the smells, sights, feels, sounds and tastes of their immediate environment. It is designed to be used in whichever way the visitor may like, creating a space which will be modified-in-use.
North Elevation @ 3m
The secret of the splitting of this pavilion will only be experienced by a select few, due to the seasonal opening of Herring Island. Thus, the secrets of the speculations of the flooding of the split pavilion will be revealed to those visitors who chose to explore the land-pavilion. A projection will tell the secret of the other side of the wall.
North Elevation @ 4m 1.1m
3m
4m
PERSPECTIVE
2.5 FINAL DESIGN DRAWINGS
Projections of Speculative Flooding
1.1m
3m
4m
SECTION
A Transitional Experience
2.5 FINAL DESIGN DRAWINGS
PERSPECTIVES:
The experience of the Split Pavilion is determined by the time of day, month, year that the occupier visits. The pavilion split occurs when water levels rise, usually only during winter months when there is heavy rainfall, or if there is flash flooding of the Yarra River. The perspectives give a sense of the sensual experience at each respective water level. They allow the viewer to understand the spatial experience of the visitor who is having a relationship with the water. This relationship will depend on water levels; if the visitor is dipping their toes, knee-deep or immersed in the water.
2.5 FINAL DESIGN DRAWINGS
2.5 FINAL DESIGN DRAWINGS
2.6 FINAL DESIGN MODEL
2.6 FINAL DESIGN MODEL
Originally, Lego was used as a preliminary stage of the design process. The simple form of the Lego blocks allowed for the development of an abstract form. The decision to use Lego for the final model was informed by an interest in the materiality and deterioration qualities of the blocks. A pavilion at Herring Island made from Lego blocks would foster an interesting journey of erosion and deterioration. Furthermore, it would allow the experience of the water and land to be more immersive, as the pressure of the river water would likely begin to seep through the land-pavilion structure. The materiality of the final model is still an abstract representation. Overall, this model shows the pavilions form and shape, and allows the subject of materiality to become a point of discussion, which is integral in the viewing of this design project.
2.6 FINAL DESIGN MODEL
2.6 FINAL DESIGN MODEL
The movement of the water-pavilion with the tide has been explored in an abstract form with Lego blocks, in order to represent to overall shape and hierarchy of the split platforms. The function of these split platforms is underpinned by the performance of sea-bed anchors, anchored with different rope lengths (above) in order to provide for the height hierarchy of individual platforms.
3.0 REFLECTIONS MY EXPERIENCE OF STUDIO EARTH
The journey through studio earth has solidified my understanding of the architectural design process from concept to final design. It has confirmed the importance of research and strong conceptual ideas in the design process. Techtonic exercises exploring point, line & plane, mass and frame & infill broadened my understanding of the spatial relationships between above-ground, on-ground and below-ground space. Exploring these techtonics in terms of architecture allowed me to understand human experience of earth and its properties, opportunities and constraints. The exploration of secrets led me to intriguiging concept research, namely of the text TOPOGRAPHY, allowing me to explore the relationship between land and water. This exploration helped me to understand that architecture does not always need to be permanent a perfect concept for the Herring Island Pavilion project. The seasonal opening of this island allowed me to explore the split pavilion concept; a secret hidden in the architectural design which would likely only be experienced by very few people. Instead, the secret was revealed in a projection which would spark the curiosity of the visitor. This secret, importantly, would lead to the erosion and eventual vanishing of the pavilion design. Studio Earth has deepened my understanding of materiality, seasons and designed deteriorations and will influence the ways in which I approach the design process in the future.