_STUDIO EARTH
JOURNAL ARDALAN EDDIE MASTOORI
[ PAV I L I O N ’ S P E R S P E C T I V E ]
CONTENTS 1.0 THREE RELATIONSHIPS 1.1 Point / Line / Plane 1.2 Mass 1.3 Frame & Infill 2.0 HERRING ISLAND. SOMETHING LIKE A PAVILION 2.1 Site Analysis 2.2 Conceptacle 2.3 Concept and Sketch Design 2.4 Precedent 2.5 Form Finding 2.6 Feedback 2.7 Design Development
3.0 Final Design 3.1 Final Design 3.1 Physical Model
4.0 Reflection 5.0 Bilbliography
“ . . . Te c t o n i c s a s a r e s p o n s e t o g r a v i t y , a r e d i f f e r e n t w a y s o f d e m o n s t r a t i n g t h e e f f e c t o f g r a v i t y. . . ” _ Alex Selenitsch
1.0
T H R E E R E L AT I O N S H I P S
Three design tectonics were introduced and have been examined during the subject. These three compositions come from the past, present and future interaction with architecture. this metaphorical study of spatial composition helps us to understand direction, volume and its qualities. The-two-weeks Exercises were done for each tectonic during the subject aiming to engage with potentials, their concepts while considering their relationships.
1.1
POINT / LINE / PLANE
The point is the foundation and the smallest part of an architecture. It owns the basics in width and length and the smallest area. Through the changes in the area and direction, it creates different elements such as line and plane. In conception, a point can spread to different directions. It has a function of strat, spread and end.
The point can be stretched to become a line and embodies the movement of the point. It can indicate the direction and location, and creat the fringe of a plane, and to range the plane. I believe line is a concept that does not really exist in nature. Since it has so many changes in its outlook, it shows different strength, speed, continue the movement, elasticity to changes the reader/viewer ’s feeling.
The plane is created by the lines with closed and the same direction. the importance of plane is the area, it has more representation and emotion and the point and line. The plane can carry more emotion when it is drawn non-geometric such as the shape of flower or leaf.
Exercise starts with analysing different precedents to a better understanding of the spatial quality between point, line and plane. Moving to next exercise, the principles would apply to physical models. the attempts are to establish the relationship between points, lines and planes. The narrative of the design was to split open the ground plane, opening a void for lines to emerge out of.
“...The geometric point is an invisible thing. Therefore, it must be defined as an incorporeal thing. Considered in terms of substance, it equals zero.... Thus we look upon the geometric point as the ultimate and most singular union of silence and speech. The geometric point has, therefore, been given its material form, in the first instance, in writing. It belongs to language and signifies silence. permalink...� Wassily Kandinsky Point and line to plane (1926)
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They are all examples of com
tions of points, lines and plan
organising ground related spa some, of them, the concept i using points as a central poi the lines and planes that foll idea of the point. 1. S erp e n t i n e P a v i l i o n / So u F u jim o to 2. P arc d e l a Vi l l e t t e / B e r n a r d Tsch u m i 3. Hou s e I I / P e t e r E i s e n m a n 4. Mob i u s / E N E S S 5 MP a v i l i o n / S e a n G o dse ll 6. Melb o u r n e G a t w a y / DCM 7. Melb o u r n e T h e a t r e C o m p a n y / ARM 8. Nao s h i m a F e r r y Te r min a l / SANAA 9. K en z o p e d i a / J e a n - P a u l Ke n zin e 10. P rel i m i n a r y s k e t c h f or a p o ste r / El L issitzky 11. J ewi s h M u s e u m b e r l i n / Da n ie l L ib e skin d 12. Farn s w o r t h H o u s e / Mie s ca n d e r Ro h e
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I n t h e t r a d i t i o n a l m a n n e r, t h e g e n e sis of a design begins with a point, an origin from the conception of an idea that is then stretched into lines, that ultimately join as a plane. The simplicity of this tectonic creates elegant, and sometimes flat and monotonous forms, yet the fluidity of points, lines and planes become a quality when carefully places in its context.
Points, lines, and planes manipulated on the plane become immaterial expressions of our spatial ideas. All basic elements and their arrangements may be approached in unanticipated ways. What becomes essential is that graphic calculations follow our perception, independently from what this may cause to the description.
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mposi-
nes for
ace. In s from nt and
PRECEDENTS
ow the
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9
12Alrig
Inspired by Parc de la Villette, I attempt to show 2D composition from the top which then creates a 3D composition made of point/line/plane. The design is the creation of an open space for activities and interaction that would evoke a sense of freedom within a random organisation of p/l/p. E s s e n t i a l l y, i n t h i s c o m p o s i t i o n , l i n e s i n tended to show the movement around the planes. The composition is a bit out of the scale of human which becomes an analytical and conceptual approach to the way a human feels within a larger setting.
“Any relationship between a building and its users is one of violence, for any use means the intrusion of a human body into a given space, the intrusion o f o n e o r d e r i n t o a n o t h e r. � - B e r n a r d Ts c h u m i
The concept of this composition is to creat events with activities as well as action but without architecture a n d f u n c t i o n . I n s p i r e d b y Ts c h u m i ’ s p h i l o s o p h y. t h e a r c h i t e c t u r e w a s seen as the combination of spaces, events and movement without any hierarchy or precedence among these concepts. S o b a s i c a l l y, t h e r e a r e s e t s o f l i n e and points that creates the planes. Also, Planes are de-constructed into lines and points. The spaces that were created through this transition, g e n e r a t e s p a t i a l q u a l i t y.
“...It was the spirit animating the mass and flowing from it, and it expressed the individuality of the building...� _ Louis Sullivan
1.2
MASS
In architecture, a sense of mass is derived from the noticeable presence o f v o l u m e t r i c d e n s i t y. P a r a d o x i c a l l y, a sense of massiveness can be most evident in conditions of apparent weightlessness. A sense of mass is achieved by the relentless repetition of aggregation of material or volume that subsequently transcend their individual incrementalism in favour of a monolithic s u r f a c e o r v o l u m e . y e t , c o n c e p t u a l l y, mass in conceived as a solid form, from which spaces have been subsequently carved. The appreciation of mass, like that of space, depends on movement, but this movement must be physical. It cannot be experienced in anticipation, because, no matter where one stands to observe even the simplest building, part of it is out of sight. Space and mass are the raw materials f architectural form; from them, the architect creates an ordered expression through the process of composition. The composition is the organisation of the whole out of its parts-the conception of single elements, the interrelating of these elements, and the relating of them to the total form.
Looking at precedents, mass can be generated both above and below ground or both. Holocaust Memorial by Peter Eisenman was designed with 2 7 11 r e c t a n g u l a r c o n c r e t e s l a b s o f m o n o t o n o u s g r e y. I t w a s d e s i g n e d t o give the sense of losing perspective and disoriented. It can be argued that this memorial has the features of mass as an individual as well as for as a whole.
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Brutalist architecture is also can be interpreted as a mass. Brutalist buildings are those distinctive, heavy construction renown for the ugliness! The style is characterised by the dominant use of offform, strongly textured concrete inside and out, that give the buildi n g s a c h u n k y, p o w e r f u l a n d r a w appearance. As local instances, Mckoy Building and St Kilda Library are good examples of Mass building in Melbourne.
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In Peter Zumthor ’s Thermal Bath mass is achieved at two distinct scales. A series of piers in spatial dialogue with one another together construct mass at the building scale. The space that is defined between these piers is read as the primary spatial voids. At another scale, bands of compressed gneiss produce a monolithic mass of mate-
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Louis Kahn w ulating light a ed light as a structure. his ential for me of pure, mass the idea of with light. the ity created b geometry an truely spiritu
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PRECEDENTS
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was a master in manipand mass as he treatn integral part of the s work was very influe by the juxtaposition sive geometric and by expressing structure e poetic monumentaly the collaboration of d light qualityy was ally inspiring.
1. H abi tat 67 / Mos he S afdi e 2. Therme Val s / P eter Zumthor 3. The A l ex andra & A i ns w orth E s tate / N eav e B row n 4. S al k Ins ti tute / Loui s .I.K ahn 5 U ni te d’ H abi tati on / Le C orbus i er 6. Mc k oy B ui l di ng at U ni v ers i ty of Mel bourneq / U nk now n 7. S al k Ins ti tute / Loui s .I.K ahn 8. S t K i l da Li brary / A R M A rc hi tec ts 9. The A l ex andra & A i ns w orth E s tate / N eav e B row n 10. H abi tat 67 / Mos he S afdi e 11. J ew i s h Mus eum berl i n / D ani el Li bes k i nd 12. H i gh C ourt of A us tral i a / E dw ards Madi gan Torz i l l o and B ri ggs (E MTB )
Another instance of Mass could be abandoned monument of Soviet Union. Bizzare shaped installation/buildings all made of concrete to show the power created a distinctive light and shadow experience.
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PRECEDENTS (Soviet Union)
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EXERCISE 02 philosophy
of
eternity
and
the world can be described by the indefinite continuation of a person’s existence, even after death. But how can be translated into an architectural scheme or drawing? Ta k i n g t h e i d e o l o g y b e h i n d the WWII’s bunkers and transition between underground EXERCISE 01 (In-class exercises) I thought of Soviet Union’s ideology in creating a composition of light and shadow by mass concrete to show the power and how it can be applied to the underground, I came up with the idea of creating two scheme. First one, the power of smooth random lines into the ground to create shelters with connection ways. The second one was more experiencing powerful lines underground to create solid squares without any opening. In contradiction, light penetrates into the geometries visualising different bunkers. Light is illustrating hope by penetrating into a closed space. (WWII)
and upper-ground, light and shadow as well as the heaviness of mass,’The Earth Bunker’ was created to visualise the
philosophy
of
eternity
and the world. Tw o b i g s p h e r e s w i t h s m a l l light penetrations are where human is born. Considering underground as a real world, this is human to identify and decide to
which
choose
way
and
(steps)
follow!
Go-
ing either deeper to underground or upper to reach the source of natural light. The more they dig into the underground,
the
more
artificial
and light human gets. So this is
compared
between
tran-
sient artificial light or eternal light.
PRECEDENTS (WWII Bunkers) I am very curious about the residual a r c h i t e c t u r e o f t h e C o l d W a r. A n d s o I routinely find myself leaning down to research about the rusty hatch that leads
down
into
the
depths
of
the
earth, almost hidden amid crumbling c o n c r e t e s h r o u d e d b y i v y. Bunker architecture is often better by accident than the deliberate attempts to create an aesthetic based on massive elements, through brutalism
1.1
FRAME & INFILL
The frame has a sense of rationali t y, s o l i d i t y a n d u n i v e r s a l w h i c h i s commonly associated with structural i n t e g r i t y. O n t h e o t h e r h a n d , i n f i l l i s fluid, dynamic. They also have a bilateral relationship with very distinctive qualities. It could also be said that both are rational and irrational, solid and transparent. Infill in many buildings is obvious but infill could be something than the obs e r v e r d e f i n e s . To m e , a w a l l , c e i l i n g or even a shadow of an installation could be infill. The characteristics and function of frame is already defined whereas infill could have many functions including decorative
PRECEDENTS From CITIES SERIES I II III An evocative illustration of architectural qualities of a possible future mega-cities. a language made of nothing more than the arrangement o f c o l o u r, l i n e , s h a p e , s p a c e a n d t e x ture. Point/line/planes create a spatial quality which becomes complex when they are considered as frame and infill. Frames capture the event and programs occurring within the m e g a - c i t y. T h e y b e c o m e i n f i l l s f o r frames.
Cities I, II, III Atelier Oschinsky
Alois Kronschlaeger
Surreal works of Alois Kronschlaeger captures and demonstrates a preoccupation with environment and light and interest in exploring time a n d s p a c e v i a g e o m e t r y. B i o m o r p h i c i n s h a p . the installation consist of frames and infills penetrates multiple planes to create new architectural vantage points within a constructed environment to challenge the viewers to reposition themselves within the space.
CUBE N°7 - 1967 MONDOBLOGO - 1967 Maquette CUBE V - 1967
Piotr kowalski 2 . CUBE N°7 - 1967 3. MONDOBLOGO - 1967
EXCERCISE I (In-Class Expriement) The attempt of the in-class experiment was more investigating the potential of the aluminium grid as a grid (frame) and polystyrene as infill. Pieces of polystyrene were placed to generate eye movement around the g e o m e t r y. A l s o , t h e p i e c e s o f p o l y styrene are responsible for keeping the rigidity of the frames so it acts as both footing and foundation.
EXCERCISE 2 Megastructure City Architects and planners have distinct working methodologies to approach and overcome the urban i s s u e s . G e n e r a l l y, a r c h i t e c t u r e c o n cerns itself with buildings, therefore, architectural approaches utilise object-based methods and operate in abstract terms of figure and ground, positive versus negative space. Megastructure frames concept could be an effective approach to face the urbanisation. Sets of different and interconnected frames with different heights which each one of the frames could be a potential infill. Also, the whole structure could be considered as a single megastructure with small buildings inside (As infill) which can be removed/replace.
2 . 0 H ER R I SO M ETH I N
Herring Island is l o c a t e d i n Ya r r a months and articl and visitors. The works across the in the north-east touched and has p al area in all sea
ING I S L A N D N G LI KE A PAV ILION
s 3.2 hectares artificial island R i v e r. T h e i s l a n d i s o p e n f o r 6 le by the only boat for art lovers re are many sculptures and artisland as well as a small gallery . The island to me was still unpotential to become a recreationsons.
2 . 1 S I TE A N ALYSIS
// SUN
// EFFECTIVE VEGITATION
// W IN D ( C OL D SEA SON )
There are some elements such as the sun, on the site which are effective in choosing a specific location, opening and etc but I believe these elements should not affect the concept. I think Architecture is a concept, not a form.
A s t h i s i s a p a r k , Ve g e t a t i o n ( H e r e means tree) can play a significant role in circulation so It is important to take them into account. Herring Island has three types of trees which are distributed randomly across the island.More trees can be seen around the wet area which created a boundary around the island.
Ta k i n g T h e W i n d i n t o t h e a c c o u n t i s very much related to passive design. It simply means better ventilation. In herring island, the cold wind comes from north side which could affect the position of openings.
S t
// WIND (WA R M S E A S ON )
// NOISE LEVEL
// F U N C T ION
Same rule as cold season will apply to warm seasons.
Herring Island is located close to one of the busiest toll road which does not have any sound block. Despite the brief is a design for a secret, but secret itself is a very subjective topic which cannot be defined specific a l l y.
Functions of neighbourhoods, in this case, could impact the chosen site. For instance, it could make a difference in positioning the facing walls to green area (Park) or the residential area.
// ART
// EXISTING CIRCULATION
// D ISTA N C E TO C B D
There are a few art installations and a gallery across the Herring Island which shows the function of the island as both recreation area and an o p e n s p a c e g a l l e r y. I n t h e f u t u r e p a vilion, these installations could be used to lead visitors or can be used as a tool for circulation.
Existing curculation is specified by a p a t h w a y t o t h e c e n t r e a n d t h e g a l l e r y. Also, there are a few shortcuts to art insllations and water sides. What I need to develop is to design the circulation through events. Desigining circulation does not neccessary m e a n s a s p e c i f i c p a t h w a y, e v e n t h e i r body movement could be part of circulation.
Herring Island is located less than 3KM from CBD which makes it more interesting to me. Urban growth is a key in designing for future. Comparing current-Richmond and 20-yearsago-Richmond shows the differences in terms of vertical development between these two areas. So I think Herring Island, soon or late, would be part of a development but is there any way to keep it away from developers?
T t l t q v
// PRI VATE ( re d ) V s . P U B L IC (b lu e)
// POSSIBLE LOCATION
// C H OSEN SIT E = EN T IR E ISL A N D
The pavilion is for everyone! so I think comparing the private and pubic areas is a cliche. The only fact that less likely affect the design is to question the ground behind this priv a c y o r p u b l i c i t y.
The initial reason for chosen sites (purple colour) was based on the topography and its waterside location. But there was a thought that you can find a more than hundred spots which have these properties but realistically all the design decisions will go back to concept.
Previous site analysis demonstrates the potential, variety of levels across the island as well as the basic and necessary context related data such as sun and wind. But what is important is how island as an important artificial island could possibly respond to the future changes! The entire island was chosen as the site to prevent any future damages to the identity of this island.
2 . 2 C ONCEPTACLE I N ITIAL CONCEPT The initial concept was based on the importance of Herring Island as a Gallery/recreation island. As the island is located within only 3 KM of CBD and based on the developments happening between CBD and island, it is not too far to see Herring Island as part of the developments! The idea was to keep the island preserved and the challenge was how to respond to the brief (pavilion and the three exercises) and at the same, preserving the Island from any future development. The idea was to actualise the characteristics of three horizontal boundaries or neighbourhood in terms of the density of development between CBD and Herring Island and then represent this distance (between isl a n d a n d C B D ) a s a Ve r t i c a l p l a n e . CBD was materialised as a chaos due to its density of people and developments, particularly high-rise buildings as well as the density of transport system but the word ‘chaos’ is a complex and subjective term in architecture. My definition of chaos here is an organised (or sometimes unorganised) densely connected system of people, buildings and the circulation. The main challenge was how to represent chaos in a physical model.
“... Architecture can’t fully represent the chaos and turmoil t h a t a r e p a r t o f t h e h u m a n p e r s o n a l i t y, b u t y o u n e e d t o p u t some of that turmoil into the architecture, or it isn’t real. ‘ _Frank Stella
Chaos was materialised as an abstract deconstruction of density with lines and planes in different thickness and rotations on top of the structure. This question will arise that how a post-modern movement which characterised by an absence o f h a r m o n y, c o n t i n u i t y, o r s y m m e t r y could represent chaos in Architecture?. This question can be answered by referring to the subjective definition of chaos in early paragraphs. More-harmonical and organised lines and plans represent Suburb (Richmond) in the lower structure where the movement and developments are more stable. The ground level is representing Herring Island and fin a l l y, a n u n d e r g r o u n d r e f u g e u n d e r the structure is where there is no development but having a few continues the line from the main structure shows that soon or late it will be affected.
FEED BACK The overall feedback given (in tutor rotation) was positive but still, the concept needs to be improved. In some part, the concept was confusing such as materialising the horizontal plane from CBD to Herring Island. This question came up that not everyone will visit herring island from CBD or why the origin is set to be CBD and why not outer suburbs. In addition, the representation of CBD was a bit confusing as it is not a place of chaos. But the strength of the conceptacle was the composition of the structure and its connection to underground, ground and above ground. As it was mentioned, I belive architecture is subjective, one could say it is provocative and one could say rubbish.
2 . 3 C O NCEPT AND
S K ETCH D E SIGN
My interest was to propose a new urbanistic strategy for both preserving islands as well as responding to the brief. therefore the entire island was chosen to articulate concepts such as superimposition and the composition between point/line/plane to creat frames and a cinematic landscape as a park consisting different events within pavilions as points. No doubt that the presence of the human body is the activator of these events.
First, a grid based on Hoddle Grid with the same rotation angle was applied which provides a layout for distribution of the points (pavilions) and a continuous framework. The structure’s height is between 10 to 14 metres based on the each counter ’s height. second, the points are the pavilions which are an abstract deconstruction representing developments from CBD to Herring Island itself. Some of the points are more organised, some have more dis-placement and some have a small cubic room with a small gap and light penetration into them. These gaps are suggested an outlook into the more organised pavilion.
The scale of the pavilions are compatible with different people from kids to elders and even disables, and these people are the ones who from the event in each pavilion.
Taken from Google Earth 2017
2 . 4 PR E C ED E N T parc de la villette Be r n a r d Tsch u m i 1987
Parc de la Villette was so inspiring for me due to its contradiction with the design forces (nature and landscape) behind a normal park. The park becomes more interesting to me as he looked into contemporary issues such as lack of interaction and activity that reproduce a sense of freedom within the space. Across all my studios, My approach was more to identifying future issues related to cities and urban living. I defined the conceptual brief (secret) as an ambiguity of values such as interaction in the built form. Urban growth and development pressure across Melbourne has made the city a concerning space for habitats. Herring Island for me was an ideal space to reflect my thoughts b a s e d o n Ts c h u m i ’ s t h e o r y b u t i n a local context. Whether or not I was successful or not, I will continue research in eliminating social and urban issues through architecture and a built from.
http://arhitectura-1906.ro/wp-content/uploads/2014/06/Bernard-Tschumi-Axonometrie-eclatee-points-lignes-surfaces-Parc-de-La-Villette-%C2%A9BTA-1982.jpg
https://lavillette.com/wp-content/uploads/2014/09/20Parc-de-la-Villette-en-1995-achvement-des-travaux-sauf-le-jardin-des-quilibres-EPPGHV-Phillippe-Guignard.jpg
2 . 5 F ORM F I N DING
The initial form of the pavilions was very much inspired by the idea of abstract deconstruction of CBD and suburbs. I realised this was my intake from the concept and not everyone would understand it which makes i t a b i g c h a l l e n g e . F i n a l l y, I c a m e up with this idea that each pavilion could emphasis on a topic and despite they are separated, they could be complementary to another one or totally in contradiction. One could represent conflict and another could be more stable. Melbourne is a multicultural city and the challenge of the design approach to a pavilion is the question whether this sort of user-experience design is achievable in a multiculti cultural society which I believe, does not retains shared perceptions.The pavilions are consists of lines and planes in a human and un-human scale. In some of them, diagonal ramps were positioned and some do not possess any easy access.
2 . 6 FEEDBACK FINAL PRESENTATION
The feedback has two parts. One related to my main argument about the future Melbourne and its influence on Herring Island and another one is related to the conceptual and practical brief. In part one, I mentioned about the developments that are happening around herring island. I claimed that Herring Island would soon and due to the rapid development around it, would be part of this expansion. My initial argument about preserving Herring Island by having barriers as a device was confusing and unclear and I totally agree. I think I was unable to manifest my argument into a built form. I used my mission statement with extreme words which make it ambiguous and I think it is a negative point in proposing an architecture for a specific brief. Despite I was told that the distributed pavilions and folly-type structures are really interesting, but it needs to address the practical brief including mandatory spaces such as toilets and the technical rooms which I will clarif y t h e m i n t o t h e j o u r n a l m o r e c l e a r l y.
Re-writign Mission Statement SECRET W I TH I N SECRET The general development pressure, especially in inner Melbourne with ts growing population, has caused issues in accessing the public amenities. Increasing urban amenities in these areas would influence the areas and make them more desirable. A challenge in high development pressure areas is to create a sense of community within the society and a bigger radius of the area. Availability of good quality amenities is beneficial to the mental health and quality of life of the population which reduce the crime and help to stabilise the communities. So, Herring Island, as an untouched space in a highly developed area has a potential to transform into a public park and recreation area accessible by neighbourhood and wider communities. The pavilions as an undiscovered or a complex and secret built form can potentially create events and encourage the visitors to investigate. This sense of curiosity can be varied within each different pavilions and even each visit. Pavilions could be a bench, could be a place to hide, could be interaction areas or places to escape from realities.
2 . 7 D ESIGN D EVELOPMENT
3 . 0 F I N AL D ESIGN
SIT E PL A N 1: 1000
CL E A NE R’S CUB ICL E L OCK A B L E S TORE FINA L P RE S E NTATION
B
GA LLE RY TE CHNICA L ROOM S HE LTE RE D P L A CE + THE S MA L L OB JE CT OB S E RVATO RY
CORRIDOR + GA L L E RY
B
S HE LTE RE D P L A CE + THE S MA L L OB JE CT OB S E RVATO RY
A
FLOOR PLAN UNDERGROUND 1:100
// L AYO U T
/ / PAV I LI O NS (6)
The initial concept has a system of circulation within the curves and lines on the ground but the process shows that the best circulation is user ’s experience. So, in this concept, there is no designated circulation simply by giving users to experience the spaces to make it their own.
SECTIONAL PERSPECTIVE (AA) 1:100 Sectional perspective illustrating the relationship between underground and ground level. Also, in this section the gap for viewing the small object can be seen.
This is where visitors can go to a sheltered place to view something for 5 seconds from a strip gap between the concrete walls. The view will be same everytime with different contrast and light.
The structure has a playful shape with line and planes which make it desirable for kids to discover each corner and make it their own.
SEC T I O N B B 1:100
PER SPEC T IVE
PER SPEC T IVE
PER SPEC T IVE
PERSPECTIVE
PER SPEC T IVE
U N D E R G R O U N D S TA I R C A S E
PER SPEC T IVE
G A L L E RY + TECHNICAL ROOM [Where recording can be heard]
3.1 PHYSICAL M O D E L
PHYSICAL M ODEL 1: 200
SEC T ION 1: 200
SEC T ION 1: 200
4 . 0 R E F LECTION
The studio was very engaging and I found that early research about local and international precedents as well as experimenting a particular tectonic could potentially open a new view to designing. I did Studio Earth after a l l m y S t u d i o s ( F i r e , A i r a n d Wa t e r ) and realised that sometimes I need to go back to basic principle. The studio shows me how a simple technique such as producing mass with charcoal can be very challenging. It shows me that a tectonic such a frame and infill could sound a simple g e o m e t r y b u t c o n c e p t u a l l y, t h e y c a n b e i n t e r p r e t e d d i f f e r e n t l y.
5 . 0 B I B L IOGRAPHY
Ts c h u m J , B . , 1 9 9 4 . M a n h a t t a n T r a n s c r i p t ( N e w E d i t i o n ) . N e w Yo r k : A C A D E M Y Tschumi, B., 1996. Architecture and disjunction. MIT press. Hardingham, S. and Rattenbury, K., 2012. Bernard Tschumi: Parc de la Villette (Vol. 4). Routledge. Tschumi, B., 2012. Red is not a color. Architecture concepts. Nueva York: Rizzoli International Publica Holl, S., Pallasmaa, J. and Gรณmez, A.P., 2006. Questions of perception: phenomenology of architectu Holl, S., 2011. Color Light Time. Tschumi, B., 1990. Questions of Space Lectures on Architecture.
Y EDITIONS
ations ure. William K Stout Pub.