Earth Book - Amani Eljari by Amani Eljari

ARCHITECTURE DESIGN STUDIO: EARTH SUBJECT STUDENT BOOK AMANI ELJARI 757362 TUTOR: HEATHER MITCHELTREE SEMESTER 1, 2017

CONTENTS 1.0 THREE RELATIONSHIPS.......................................................................................................................................3 1.1 POINT/LINE/PLANE............................................................................................................................................4 1.2 MASS..................................................................................................................................................................8 1.3 FRAME + INFIL....................................................................................................................................................11 2.0 HERRING ISLAND: A PLACE FOR KEEPING SECRETS......................................................................................17 2.1 SITE ANALYSIS....................................................................................................................................................18 2.2 CONCEPTACLE.................................................................................................................................................19 2.3 PRECEDENTS.....................................................................................................................................................20 2.4 SKETCH DESIGNS..............................................................................................................................................21 2.5 DESIGN DEVELOPMENT...................................................................................................................................22 2.6 FINAL DESIGN DRAWINGS...............................................................................................................................23 2.7 FINAL DESIGN MODEL.....................................................................................................................................29 3.0 REFLECTION......................................................................................................................................................32 4.0 BIBLIOGRAPHY..................................................................................................................................................33

1.0 THREE RELATIONSHIPS

At the beginning of the semester, three exercises were completed in order to understand different areas of architectural design. These exercises were point/line/plane, mass, and frame and infil; each of them interlinking. Through exploration of each of these exercises I have gained a greater understanding of these areas of design.

1.1 POINT/LINE/PLANE The progression of point to line and line to plane relates closely to the advance from standing to sitting to lying down. This then in itself links to a variety of levels; below ground, ground level, and above ground. In creating a model to address point/line/plane I had to take into account these different levels and slopes; how could I play with the ground plane? Would these lines and planes be curved or straight; and how each relatively may limit the design. As I developed various research models in class and at home I trialled different scales and compositions to best capture the space. After each research model, I would then proceed to test lighting and different angles through the design to understand how it would feel to actually walk through the structure.

RESEARCH MODEL

Above ground

Ground level

Below ground

RESEARCH MODEL

MODEL BY UNKNOWN.

SCHICHTEN - CHRISTOPHER BADER

BUILDING BY ROMAN VLASOV

This structure strongly depicts the relationship

Bader plays with curvature and how it can be

While creating model prototypes I was con-

between point, line, and plane. It also how

manipulated from straight lines and planes.

stantly focussing on the relationship between

a building can look very different from differ-

Curves create an interesting alternative from

ground levels and how I could address each

ent viewpoints. I aimed to make similar sharp,

the simple, straight lines that I was initially

of these levels in my model. The above mod-

geometric shapes that played with the idea

drawn to. Schichten appears as a maze of

el appears to have sections that sink through

of ground level by going above or below

these rounded forms. Models such as this one

the ground plane and protrude from it in oth-

ground. He uses simplicity and restraint in his

have more complexity than the other two I

er areas. This successfully manipulates the

work to create elegant forms.

have used as precedents.

viewers grasp on the illusion the model gives of falsely piercing the ground plane.

POINT/LINE/PLANE FINAL

1.2 MASS For mass, the brief was to draw a section through solid ground where spaces were carved out, encouraging us to make caves; negative spaces. By definition, mass has the properties of being heavy and dense. It is described as completely empathetic rather than intellectual like point/line/ plane; it is not a perfect system but one that is good enough (Selenitsch, 2017). While creating my piece to represent mass, I played with many different mediums including watercolour paints, charcoal, graphite, and even henna ink. I aimed to produce a juxtaposition between light and dark spaces and how this can portray varying levels of mass in terms of weight and density. Through trialling I made a greater contrast between areas that were more hidden or more exposed than others. TRIAL

TRIAL

GALLERY OF HOUSE GULM - AICHER ZIVILTECHNIKER (RAMMED EARTH)

HOUSE IN ABIKO, JAPAN - FUSE ATELIER

Extremely densely packed earth

Concrete as a material is linked

is a perfect example of mass. The texture given by rammed earth is one that I have attempted to transfer into my own work; it is quite rough demonstrating the ‘not perfect but good enough description’ (Selenitsch, 2017) of

KOLUMBA UN MUSÉ À COLOGNE, GERMANY

very closely to mass due to its weight,

strength,

and

densi-

ty. The interior of this structure is very cave-like and is perceived as negative space. The appearance is very cold suggesting its isolation. The colour scheme and

mass. The differing slits in the wall

angular nature of this structure is

allow small glimpses through to

something that I took into consid-

the other side, adding to the mys-

eration when designing my own

tery and also giving the viewer a

mass piece.

sense of depth of the wall. 9

The above structure is clean-cut and simple in the way it demonstrates mass. The holes in the wall lighten the structure and act as points of relief from the very dense building. I was drawn also to both the uniformity and randomness of these holes; they are uniformly confined to the rectangular shape although within this shape they roam free without pattern. This sparks a fine contrast and can also be linked to the variance between light and dark or light and heavy in the structure.

MUD BRICK INTERIOR - OWN PHOTO

Earth shows mass without any effort in the most natural way possible. The patterns that form on the surface of compacted earth are a beautiful demonstration of what is happening throughout mass where there may be hollow sections or tunnels; negative space.

MASS FINAL

1.3 FRAME + INFIL

This exercise focusses on a structure that sits above ground, contrasting the previous exercise, mass, which was primarily focussed on below ground. A key feature of this system is the way in which the structure is blatantly exposed, showing the way it all fits together. Gravity does not affect the structure; it makes sense from any orientation or angle. A frame is something that is permanent, fixed, and stationary. It is persistent and grid-like in its nature. Infil on the other hand, can be temporary, altered or moved. I took their differences as an opportunity to contrast the uniformity of the frame against a more organic infil form. Therefore the complexity is derived from the infil and the frame provides a structural grid. With my model I played with light materials, doing my final with clouded polypropylene and glad wrap. I found that although both of these materials had a sense of translucency, they warped what may have been laying behind rather than blatantly showing it. I aimed for an almost regular frame that perhaps pushes out in areas, specifically one that is thin and elegant. The infil is very random in order to contrast the uniform frame.

IMAGE FROM RNDRD

This unknown composition is once again a great example of an extremely uniform and grid-like frame that is being viewed from above. The infil is also exactly uniform, apart from its varying heights within the frame; JAUKE VAN DEN BRINK STRUCTURE

HOUSE BY SOU FUJIMOTO

this is what makes it interesting. The ways

This frame is thin and elegant, while still ef-

Similar to the Jauke Van Den Brink structure, the frame

these levels create shadows and light areas,

ficiently supporting the infil section. Similar-

of this house is thin and consists mostly of vertical ele-

which then distort the sizes of each square

ly the infil is quite elegant in its semi-trans-

ments. In conjunction with the white paint it is a light,

make the piece aesthetically appealing.

lucent, paper-like form. The transfer of light

open, and inviting structure. The frame acts on such

through the structure is quite interesting, itâ&#x20AC;&#x2122;s

a basic grid but then the varying levels of the infil

as if you can almost understand what is lay-

creates interest and numerous levels and areas that

ing within the infil but it is not quite evident.

people can interact with.

FRAME + INFIL FINAL

EXPLODED ISOMETRIC OF FRAME + INFIL

A PLACE FOR KEEPING SECRETS

2.0 HERRING ISLAND: A PLACE FOR KEEPING SECRETS

SOMETHING LIKE A PAVILLION

A Place For Keeping Secrets on Herring Island must explore the relationship between the past three exercises and the correlation between below ground, ground plane, and above ground. Through consideration of spatiality, materials, and the nature of the secret I arrived at Some-

thing Like a Pavillion.

2.1 SITE ANALYSIS

1:2000 CONTOURS

1:4000 ACCESS POINTS AND WALKWAYS

SECTION SHOWING CONTOURS OVER SITE

Herring Island is a manmade island on the Yarra River, which was initially constructed as a method of flood alleviation. It was then used as a dumping ground, and trees were planted to prevent flooding. Since the 1970s, authorities have worked to re-establish the indigenous vegetation and it was eventually transformed into a conservation park.

1:4000

My concept has similarities with the island itself as it appears to be in its true natural form when in reality there is nothing natural about it, it was manufactured by humans to imitate ‘natural’. Likewise, the Place for Keeping Secrets has many layers of protection around its true identity. Cracks in the island’s ‘naturalness’ present themselves, showing it isn’t as natural as first perceived. I chose my site as it is not only one of the lowest points of the island, but it is well concealed by vegetation and is avoided by the walking track. It is reasonably close to the island’s access points, but this just adds to the concept that it appears to be one thing - quiet and secluded - when in reality it’s not. It blends easily into the environment and can be easily missed.

1:1000 SITE SELECTION

2.2 CONCEPTACLE

My conceptacle consists of three layers: inner, middle, and outer. The inner layer represents the true identity of someone who may be suffering a mental illness. It is dark and monotone in nature, and is a very closed, claustrophobic space with negative energy. It reflects the way a person may act when they are alone and do not have to conceal their feelings. Parts of this persona spill out into the other layers, representing different social situations. The middle layer is an almost neutral space that is a representation of the way a person may act when they are comfortable with their family or close friends. Although it is still quite monotone, it is a lot lighter and much more open. Cracks start to show in some areas but in general, it is an easy facade to uphold. The outer layer represents the act of trying to impress strangers or acquaintances; social situations where the person is uncomfortable. It is light, colourful, and open. The over-the-top act can be construed as superficial and often the cracks show as the person may struggle to uphold this concealment of their true feelings and identity.

2.3 PRECEDENTS

BAM BASIC DESIGN

MAFOOMBEY ACOUSTIC SPACE - MARTTI KALLIALA, ESA RUSKEEPÄÄ, AND MARTIN LUKASCZYK, 2005

SERIAL PLANE - UNKNOWN ARTIST

This model has an almost subterranean feel to

Mafoombey once again employs this method

The layering of thin pieces are spaced further

it, possibly through its use of negative space.

of layering very thin pieces together to create

apart in this model in comparison to other ones

It’s differences in levels and crevices create

a three dimensional structure. There is a very

that I have looked at. This likens it even more to

small, low spaces that could hide a secret. The

thin pathway through thes structure, which is

the idea of crevices or ‘cracks’ that could show

use of two dimensional forms to create a three

concealed from many viewpoints and so not

in someone’s personality (if I relate it to my con-

dimensional whole is an interesting feature of

actually found until you walk through. The or-

cept). It appears like a section through a cave;

the model, and I have looked at this concept

ganic, wave-like form is boxed in by the geo-

a very small, low, and easily missed space that

in other precedents.

metrically shaped exterior.

may be open for exploration. The uniform exterior in contrast to the more organic inner cutout is an interesting touch. 20

2.4 SKETCH DESIGNS

When doing my preliminary sketches I took inspiration from my precedents. I experimented with using thin, two dimensional elements to make a three dimensional composition. From one side it may look like a plain and simple series of lines, whereas from another itâ&#x20AC;&#x2122;s a sea of different shapes.

2.5 DESIGN DEVELOPMENT

As I progressed with my design I limited myself to shapes that were the same on the outside but either had different cutouts or were oriented in a different way. However there were obviously still many flaws and areas that had to be improved in this design. It was too busy and so I decided to put my main focus on the middle element of the design; the cave-like structure that was a uniform square on the outside but an organic cave on the inside. I then needed to adapt this so that it could be used by visitors. The structure needed to accomadate a clear path to walk through and I needed to acknowledge access points to the composition - having many instead of just one. I also wanted to have more clear space; areas of reflection on what has just been experienced and what is to come. Lastly, the design did not yet possess the elements of all of the previous exercises: point/line/plane, mass, and frame and infil. There was virtually no play with the ground plane, something that is important to address the brief.

2.6 FINAL DESIGN DRAWINGS

BACK ELEVATION