ARCHITECTURE DESIGN STUDIO: EARTH S1, 2015 SUBJECT STUDENT BOOK Alysha Chong Li Tiing 743358 Dani Mlieo + ST15
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HERRING ISLAND
A PLACE FOR KEEPING SECRETS
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“CONCEAL & REVEAL”
Model by Alysha Chong (2016)
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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 2.2 Conceptacles 2.3 Concept and Sketch design 2.4 Design Development 2.5 Journey Through Perspectives 2.6 Final Design Drawings 2.7 Final Design Model
3.0 REFLECTION. 4.0 BIBLIOGRAPHY
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1.0 THREE RELATIONSHIPS
The three tectonics of POINT-LINE-PLANE, MASS and FRAME-INFILL were explored throughout the course to establish how the relationships between them have evolved to create a final basis and composition for the pavilion on Herring Island. Point-Line-Plane explores the relationships on ground surface, Mass will focus on underground spaces, and Frame&Infill explores the spaces above ground.
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Model by Alysha Chong (2016)
1.1 POINT / LINE / PLANE - Intersection - Overlap and Fold - Negative Lines
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POINT / LINE / PLANE
The relationship between point, line and plane here is conceptualized through the intersection of lines through planes and the folding of planes to form 3D volume. The use of negative lines on planes are portrayed to form linear shadow patterns which is projected onto the ground plane.
Work by Alysha Chong (2016)
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Photo taken by Alysha Chong (2015)
Kiyomizu-dera Temple, Kyoto, Japan, founded in 780 AD. The Buddhist Temple portrays the construction of timber columns and beams built entirely without the use of nails, but entirely with joints. The relationship between point, line and plane is depicted as lines which are intersecting through the ground plane as well as the temple floor planes. These elements can be depicted as points forming lines, and lines forming planes which follows a systematic pattern through the spatial arrangement of the columns and beams.
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Royal Hungarian Salt Mine of DĂŠsakna (now Ocna Dejului, Romania), circa 1940.
Bunker Archeology built during World War II, by Paul Virilio, 2009.
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Heyri Museum of Architecture, P’aju, South Korea, 2013.
Bunker Archeology built during World War II, by Paul Virilio, 2009.
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- Darkness and Light - Disguise - Conceal and Reveal
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1.2 MASS Above ground, the concept of mass is represented as a solid concrete form, however this is translated inversely underground as negative mass, or a positive void. Through this design, I’ve explored the idea of visual tricks to deceive the users’ perception and incorporating spaces hidden beneath the mass. In this sense, mass is conveyed as a distraction or concealment to what is hidden underground, thus the user has to make an effort to find the spaces within. In the center, there is an empty space where the ground plane is made of glass so users can view the underground space, however the petruding panels underground causes an obstruction of views so that users are only exposed to the first level of the underground voids. The user will be unaware of the elements beneath what they can see unless they choose to go underground, which emphasizes the idea of discovering secrets the further into the space one chooses to explore.
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1.3 FRAME & INFILL
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Through my explorations of Frame & Infill I wanted to challenge the conventional norms of the infill within the frame, so I experimented with the idea of infill intertwining around the frame, as well as incorporating infill floating or hanging within the frame with the use of string. In addition, I also implemented this idea of tricking the users’ perception of infill through spatial separation within the frame, so that the user may only notice the spatial void at a particular distance and angle.
Image Source: http://www.invest-in.sk/en/civil-engineering-division/civil-and-commercial-buildings/residental-building-mondrian
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2.0 HERRING ISLAND. SOMETHING LIKE A PAVILION
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Sculpture Area Common reeds Tree Pathway Shelter Dock Native Vegetation Diffusion of Noise Road Water
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2.1 SITE ANALYSIS
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1. High exposure to sunlight and least amount of tree cover There will be hidden underground spaces which are reliant on natural lighting, thus my site must be located in a wide open space with no tall trees potentially casting shadows. 2. Avoid Native Vegetation There are 37 different species scattered quite evenly around the island which I would preferrably avoid due to the main objective of restoring and providing habitats for native plants and wildlife.
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3. Minimum noise & human activity Considering the theme of ‘keeping secrets’, I would locate the pavilion where it is most quiet and isolated from the common pathways. Visitors may not even discover this pavilion, enhancing this idea of secrecy and concealment. 4. Materiality and textures of man-made sculptures: My design will be inspired by the sculptures and will incorporate similar textures to reflect the natural forms which connote the history and wildlife species that reside on the island. The unfabricated materiality of the sculptures emphasizes a sense of raw nature and organicness, which I aim to convey within my pavilion.
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http://www.panoramio.com/photo/64589889
http://www.herringisland.org/arts.htm
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http://www.panoramio.com/photo/64590197
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2.2 CONCEPTACLES
- Progression & Discovery
- Conceal & Reveal
- Visual Deception
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FINAL CONCEPTACLE: “ Find Happiness in a Box ” “ Conceal & Reveal ”
My conceptacle embodies the idea of a playful and interactive black box which users may physically engage with to discover what is inside. Externally, it is perceived as a basic cube with small peepholes, openings and flaps which users can open and look through to find the secret, emphasising the concept of discovery. The “Happiness” hidden within the box can only be visible through a specific peephole and perspective, so users are forced to explore the conceptacle thoroughly using the provided openings as clues.
The exterior does not translate internally, and the openings which may seem to be revealing can simultenously be concealing views of something else to convey a sense of deception. 23
2.3 CONCEPT AND SKETCH DESIGN
My concept initially focused on the ideas derived from my Mass project, in which the elements above ground are acting as a distraction or disguise to intrigue the users and encourage them to explore the spaces further. Keeping in mind the theme of progression and discovery, as well as the relationships between the three tectonics, I developed the idea of unravelling or uncovering the secrets the further down you go. This resulted in the conceptual form of a spiral-like pathway to mimick this idea of progress and growth. The purpose of the spaces above and on ground is to encourage curiousity, so the users to transition to the next destination and uncover the secrets within, whether or not they find them.
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Ribbon Chapel in Hiroshima, Japan by Hiroshi Nakamura & NAP Co., Ltd, 2014
Spiralling Musuem for Swiss Watchmaker in western Switzerland by Bjarke Ingels, 2014
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2.4 DESIGN DEVELOPMENT
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2.5 JOURNEY THROUGH PERSPECTIVES The project intends to convey the idea of a journey to selfdiscovery through different spatial atmospheres within the underground spaces, focusing on the users’ sensual experience and also playing with darkness and light. As the user enters the space the path will lead towards what is perceived as a dead end, but is actually two separate triangular slabs with a small gap enabling users to slip through to the next section, if they notice it. The next hidden room will incorporate a small space for a maximum of 6 people where they will listen to a recording of somebody’s secret; sharing their insights, knowledge and perspectives regarding the importance of restoration, and how they can act as individuals to contribute towards sustainability. Afterwards, users will enter a narrowing hallway which aims to alter the spatial and visual experience, making the users more uncomfortable and uncertain as it gets narrower and darker the further they go. The users become aware that there is more to uncover within the spaces, but it is whether or not the users are determined and curious enough to go further as they are pushed out of their comfort zone. The last component of the space is another smaller hallway, which the materiality reflects the sculptures. Within these walls are single-person incubators which users can climb and sit inside for self-contemplation and reflect on the insights they’ve gained. The secret confessions made in the incubators are then kept and stored to be played back inside the recording space at any possible moment in time. Therefore, the secrets of the pavilion are ultimately revealed, but the identities remain concealed.
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Scale 1:100
Below Ground
Above Ground
PLAN VIEW
The concept of lines intersecting planes was incorporated through the slender beam structure carrying the ramp load, with the ground acting as the plane in this case. The glass tubes also demonstrates this concept.
The idea of the infill intertwining the frame was demonstrated in the conceptual form of the pavilion, with a spiral pathway winding down into the ground, emphasising the theme of progression and self-growth.
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Section View
Mass to me was the idea of hidden elements but at the same time, intentionally exposing small fragments of the underground spaces to encourage users to explore and uncover the secrets hidden within.
ELEVATIONS
3.4 FINAL DESIGN DRAWINGS
Num pro et intrit, conimius, nost incerti silisque pat. Modiu quempl. Seritia civivastra, P. Ego nius obsed mei prae nitimus nonveni rmanum ium pris faucivem facitatis nem dierem. Serum octantem tuam. Dem patusa nortus vidiem ublicaet venat, Ti. Tum no. On simus. Asdam quam hostra sedena, conequamqua L. Ehebemu revitrurbem involtus hilnestra tam vit; ego corus prei sediurn intem, dest fauciemque consus non descere
Side Elevation
2.6 FINAL DESIGN DRAWINGS
Front Elevation
Scale 1:100
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2.7 FINAL DESIGN MODEL
The purpose of natural vegetation on the pathways and the tree located in the center of the pavilion is to emphasise the concept of growth, as the overall form forces the user to circulate around the tree, linking it back to the theme of restoring the environmental assets of the island. Furthermore, the contrasting materiality of natural and manmade are juxtaposed in this model to demonstrate how the grass and vegetation is used to blend and camouflage the pavilion within its environment, enhancing this concept of “concealing and revealing�.
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Above Ground
The purpose of the ramp is to enable users to focus their views out the island, and is conveyed as the main attraction as it is the highest point of the pavilion. This intends to give the users an incentive to explore the pavilion and make them curious on how they can get there, as the ramp is only made accessible from underground.
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Underground
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- Discovery of Secrets
- Obstruction of Views
- Self-Reflection and Self-Growth
The purpose of the circular glass tubes petruding from the ground plane is to allow sunlight to enter the underground spaces, as well as enabling users above ground to take a peak at the spaces inside and encourage curiousity and discovery.
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3.0 REFLECTION
Over the course of this subject, I feel I have definitely expanded my knowledge and understanding of the basic architectural conventions and language through the three tectonics of Point/Line/Plane, Mass and Frame & Infill. After exploring the concepts behind these ideas I realized I have become more conscious of these conventions in my surroundings as they frame a general basis of understanding to the forms that can be created with these tectonics in mind. I also learnt how to rationalise my design decisions based on the concepts I’ve explored and broadened my skills at developing those ideas to best suit the brief, the chosen site, whilst keeping in mind our personal architectural preferences, which is what I think is most enjoyable about this studio as we are given the freedom to explore inifinite possibilities. I thought that Herring Island was a really appropriate site for the design brief as it did have a lot to do with the theme of keeping secrets, which I also really liked because I had so many ideas in mind that could’ve worked well on the island, however what I found challenging was making a decision as to which direction to take the design, as I found that I often had problems of overcrowding my ideas and conceptual forms all into one that there was almost too much going on to understand. Through the design process, I experimented mainly with free-hand sketching with different mediums, model-making, plan, sections and perspectives; I found that the most effective method for visualizing ideas was model-making, as it enables me to physically test and see whether the concept would actually work on a larger scale. Model-making is not only the most useful but also the most challenging, as it does take a significant amount of time compared to other methods, and is also difficult to perfect and make accurate, especially with more curved and complex forms. In addition, precedent research was personally really useful in developing my pavilion’s conceptual form, as it enabled me to visualize and understand the tectonics behind the forms in multiple ways. They also aided in making sense of my ideas and expanding my understanding of how ideas are translated into architecture. To potentially improve my pavilion design, I could’ve potentially focused on one key aspect such as growth or progression when trying to incorporate all the different tectonics together. I think where things went wrong was during the design developing process when I couldn’t make a decision on which key concept to explore, hence I think it could’ve improved if I had redefined the main idea beforehand so that the design velopment could be more cohesive. Furthermore, I could’ve also made more rational decisions whilst model making and take into consideration the properties of the model material. For example, instead of using curved surfaces to build the external pavilion, I could’ve experimented with linear shapes instead to act as a frame for the overall structure as well as using more time-efficient strategies.
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4.0 BIBLIOGRAPHY
Dezeen, 2014, Bjarke Ingels unveils spiralling museum for Swiss watchmaker, viewed 6th June 2016, http://www.dezeen.com/2014/06/13/big-bjarke-ingels-museumswiss-watchmaker-audemars-piguet/> Gizmodo, 2014, Inside the Royal Hungarian Salt Mine of DĂŠsanka, viewed 4th June 2016, < http://gizmodo.com/15-incredible-underground-salt-mines-hidden-deepbelow-1570065606?utm_campaign=socialflow_gizmodo_facebook&utm_source=gizmodo_facebook&utm_medium=socialflow> Invest, 2013, Residential Building Mondrian, viewed 4th June 2016, <http://www.invest-in.sk/en/civil-engineering-division/civil-and-commercial-buildings/residentalbuilding-mondrian> Knstrct, 2014, Ribbon Chapel in Hiroshima Japan, viewed 6th June 2016, < http://www.knstrct.com/travel-blog/2014/12/7/knstrct-travel-instagame-reveal> Muzza from McRae - Panoramio, 2012a, Audience, by Julie Collins, viewed 4th June 2016, <http://www.panoramio.com/photo/64589889> Muzza from McRae - Panoramio, 2012a, Ramp, by Robert Jacks, viewed 4th June 2016, < http://www.panoramio.com/photo/64590197> Pinterest, 2015, Heyri Museum of Architecture in South Korea, viewed 4th June 2016 < https://au.pinterest.com/pin/179510735123571659/> Vilirio, P. 2009, The Frightening Beauty of Bunkers, viewed 4th June 2016, < http://www.themorningnews.org/gallery/the-frightening-beauty-of-bunkers>
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