Table of Content 3 RELATIONSHIP Point, Line & Plane Mass Frame & Infill SITE ANALYSIS Herring Island & Further Research DESIGN Walkthrough & Secrets AFTERWORDS BIBILIOGRAPHY
POINT LINE & PLANE
3 RELATIONSHIP Exploration on 3 Exercises and how they will lead to the foundation of the spaces in the project.
MASS
FRAME & INFILL
POINT, LINE & PLANE In here, I am exploring on how spaces can be formed and how users can be lead into spaces using lines, planes and different materials. This is done by looking in the precedent, the Perth Stadium. I started with a starting point of a line (the main entrance of space) and continues forward. Lines uses different material than plane to show its individuality and making it striking. The lines in this model I used the graph of the elevation of the Herring Island to help me define how the lines flows inside the spaces.
Island circumference, Nearmap & Google.
Island pathway, Nearmap & Google.
Then by looking into the lines created, I started to apply planes in the shape based on the prototype I made in class. Planes are applied by imagining how would the spaces be if I am the one using it. There are single planes to create flooring, walls or roofing and one plane folded to create arching shelter from the lines. There are up and downs in these spaces. Planes have different densities. Some solid, some opaque, to create gradient and layers of openness. This in turn will create different level of spaces, from public to private like spaces. This is explored by looking into Japanese Housing, especially how they use the shojis, and how they frame it into the open spaces.
Intersection = average between 2 maps, length. Rest of the lines - Positionings of lines.
Predecents
Walkthrough:
Perth Arena Arm Architecture + CNN
Layers:
Japanese Housing
prototype
Class prototype
Drawing of a space inside with panels opacity offseted.
MASS There are a few things being explored here that can create mass in term of the interior spaces by using man-made or natural materials. Here things like light, materials and temperature is explored. Other than mass as something heavy, I am also looking into lightmass, mass as something light too.
Class prototype
Natural materials such as stone and soil left in its ragged form as shown in the section creates the mass naturally. This also depends on the thickness of the cuts. Man-made materials such as mirrors can help to create mass in the form of repetitions, but at the same time creating the feeling of lightness too to a certain extent. Light explored here is man made coloured lights and natural lights. Natural lightings helps to create the feeling of salvation, or lightness when compared with the dark interior spaces. The use of shadows also can help to create the feeling of heaviness. Using natural lights and shadows appropriately can create dynamic spaces that shows heavy and light mass. This part is explored in the light of ray spaces. Man made light in terms of colours is to show how colours can affect the people minds thus also affecting the people perception of spaces. Red gives this feeling of agitation and blue to give the feeling of relax. Together with mediums such as water, this spaces can be amplified. Blue light, with mirrors and the still cold water gives the feeling of lightness. Red light and fogs will give the mind feeling of hot but when you experience the fog is not hot so your mind is conflicted, giving mass by giving conflicted mind. One source of light in a dark space also gives the feeling of heavy mass and you only have this one orange light to rely on.
Predecents Mass (heavy):
Thermes Vas Spa Peter Zumthor
Mass (light):
Reichstag Norman Foster
Creating Spaces from positive & negative spaces of mass
FRAME & INFILL
FRAME COMPONENTS
From the frame predecent, it shows that frame doesn’t have to be something solid or firm. It can be viewed as something light and not appearing to be something solid. In my frame I tried to explore on those qualities.
Playing with angles At certain angle it will appear solid as one line & other angle does not. Slanted lines
For the infill I tried to explore the requirements and how they can be turned into functionable spaces. This can be seen in the infill exploded diagrams.
Main frame lines
In terms of materials I used a reflective ones to show that frame and infills are interchangeable. This can be seen in my cylinder space with reflective materials and reflecting the frames. The half a volume and 1 fold entrance screen uses the reflective materials to reflect the surroundings. This will make it seems that the surroundings are also part of the building. Frame and infills reflects each other and at the same time it also refelcts the environments. The environments are also the factor to how the spaces and forms are made.
Openings to allow infill to be seen
Plan view
Class prototype
Predecents
Frame:
Reading between the lines Gijs Van Vaerenbergh
Infill:
House of Mirrors Design Studio
Front view
dotted lines
INFILL COMPONENTS (EXPLODED)
Half a volume
1
2
Flat Plane
opening
4 fold - stairs (inside cylinder)
4
3
Volume - Cylinder
section
6
5
Curved plane supports
8
1 fold Entrance screen
7
4 fold - stairs
1 fold - Hammock (in one of the holes)
SITE ANALYSIS Herring Island & Further Research
SITE ANALYSIS
VEGETATIONS
SCULPTURE
Trees covers the interior of the island from the outside. Only local vegetations are grown here
Themes of the sculptures all revolves around the aboriginals or the past. Materials sourced are natural materials or local materials.
Trees contributes to the secrecy of the island
Aboriginals theme
The biggest impre the wilderness a observed du
They like the na
DESIGN
Creating a pavillion that allows the experience of the Yarra River
USERS
YARRA RIVER (PAST & PRESENT)
ession that the island gave is and sculptures. Climbings are ue to ground elevations.
Current Yarra River is polluted and not so safe for direct contact due to high urban densities surrounding it around the urban area. From upper Yarra to Semi urban areas contact with water is still allowed. Herring island is located within the no contact zone. Past image found in Herring island shows aboriginal enjoying the river.
ature and aboriginal themes
Full body contact with Yarra river at urban area are not allowed anymore.
INTENT:
in the urban area in relation to the aboriginals yarra experience.
Why this site location? 1.) People are naturally drawn to this mound.
The process of discovery is also part of a secret. Easily accessible caters to wider age groups.
2.) Near the water edge with enough screens from the outside
Water can easily be drawn and utilized. Comparison view for drawn water and yarra river are also allowable.
3.) Highest spot in the whole island
This will help to create the island view later on the netting part of the design.
DESIGN Walkthrough & Secrets
ABOVE GROUND PLAN
UNDERGROUND PLAN
Secret #1 The plan view gives hint to the space inside and the idea of the pavilion. Urban yarra experience. The shape of the pavilion represent a water droplet.
< Nearest JETTY
Together with the contour lines, it makes it like a ripple, allowing the idea of the pavilion to spread throughout the island especially with mist.
Other JETTY V
Secre
The mists cools the interior space and create tangible spaces but the reason for â&#x20AC;&#x201C; â&#x20AC;&#x2DC;river of mists
The movement of the nature (wind,water) and people will create the ripple like intercon
et #2
mist back to the aborigins. Wurundjeri people called the Yarra river â&#x20AC;&#x153;Birrarungâ&#x20AC;? s and shadowsâ&#x20AC;&#x2122;.
waves on the facade in the second image. It shows that these 2 elemensts are nnected.
Secret #3 Intigrate shape of the river in the urban area into flow of the spaces. Entrance are purposely seperated so that they donâ&#x20AC;&#x2122;t know about each other existence until they figure it out that the nets and the raised walkways are one pathways showing the next steps.
HALF PHYSICAL HUMAN
ACTIVE (MOSTLY)
PASSIVE SACRED
1
3 5 2
4
Secret #4 Spaces follows the Aboriginals Dreamtime, because Yarra river was part of the Dream time. Itâ&#x20AC;&#x2122;s their understanding of the world, creatiions and great stories. Spaces are also derieved on the actions observed from the image of the aborigins and yarra river. 12 pillar mimics the months in a year.
1
3
5
4
Secret #5 Human space (above) cannot see the Sacred space (underground) but the Sacred space can see above. Human space follows the river above as what people usually see and the Sacred space follows the scenery or view from under a river in the riverbed. This are achieved by using
SkinMotion wave tatoo
Secret #6 Recording that can be heard only through a certain app, by scanning the wave tattoo. (predecent: SkinMotion). The recording will say that the walls in this space are free to be scribbled or leave your â&#x20AC;&#x153;storiesâ&#x20AC;?. If possible, it will also say about the water and the relationship with this space and the aborigins. This place also took inspirations from the aboriginals huts and campfire sitting positions.
Starting from a point, use the lines to guide through the spaces. Planes are used to create spaces from the lines.
Creating mass using the atmosphere such as shadows, light (in natural, artificial, coloured), temperature (water body, fogs) scale & materials
Play of perceptions. Frames surrounds the infills. Materials reflects the surroundings especially at the infills shows frames & infills are interchangeable.
Secre Linking back to the 3 Exercises and some of its predecents w
Form & pathway directs people. (dreamtime track) Pillars supports tracks.
Under the river and different forms of water experience. Light affected by the water mediums. Bras Basar MRT water ceiling
Panels screening the interior. Reflective panels reflects surroundings. Panels sways easily like the leaves.
et #7 with trees, the structure that gaves the privacy to the island.
AFTERWORDS Based from the installation “The Pool” in the Australian pavillion, I come to understand that the element water have always been something close to Australian identity. Many historic moments are witnessed near water spaces. This pavilion explore the parts of being an Australian identity using medium not explored by the sculptures in the island itself but having it in abundance, the water from the Yarra River. While trying to link Yarra River and being Australian, research point turns into the Aboriginals and the relationship with the River of Mist. By borrowing some of their wisdoms and observing them through research, spaces that reflects the past and appreciation for water was created. The Australian Pavilion mentions “ Pool is not a symbol of luxury and indulgence, it’s also a symbol of survival too. Symbolizes much on spirituality and human level. it is more than a place to swim, it is a place for people to gather and share experiences, highlighingsignificant community value.” This pavilion also aims to create that kind of vibes, especially at the underground part (Sacred Spaces) where “stories” are encourage by scribbling or talking. Middle part (Human Spaces) to enjoy the various water spaces (Sacred Spaces), the top most (Physical Space) at the netting areas is to enjoy the view of the herring island with bits of the city. Also to appreciate the local vegetations and a bit on how these vegetations have evolved into the cityscape as present Melbourne.
BIBILIOGRAPHY Data for the Yarra River cleaness and images : http://yarraandbay.vic.gov.au/yarra-watch http://yarraandbay.vic.gov.au/report-card/report-card-2016/yarra#top_of_report Bauer, K. (2017) Spatial History of the Yarra. Retrieved from University of Melbourne Changing Melbourne LMS site. Aboriginals images past images: Pandinata, D. Taken from the Herring Island. Pandinata, D. Image of nets taken from Kookie Heritage Trust Bayliss, C. (n.d) Image of aboriginals rowing retreived from https://artsearch.nga.gov.au/detail. cfm?irn=104407. Wazza. (2007). Aborigines before white settlement.Retrieved from http://wazzasplace.blogspot. com.au/2007_11_25_archive.html. Murphi M. (2017). Can soundwave tattoos actually play a child’s laugh from your phone?. Retrieved from http://www.news.com.au/technology/science/human-body/can-soundwavetattoos-actually-play-a-childs-laugh-from-your-phone/news-story/7e3dbc6822533affc7dd8eba747ee4e8 Mairs, J. (2016). Australian Pavilion features swimming pool as “space for healing racial and cultural division”. Retrieved from https://www.dezeen.com/2016/05/26/australia-pavilion-swimming-pool-aileen-sage-architects-venice-architecture-biennale-2016/ Aboriginal art. (n.d) Dreamtime and the images about it. Retrieved from http://aboriginalart. com.au/culture/dreamtime3.html Predecent images: Westmedia. Perth Arena. Retrieved from http://westmedia.com.au/showreels/legacy-iron/ Chris (2014). Japanese room. Retrieved from http://blog.cherrytreedesign.com/what-you-needto-know-about-japanese-shoji-screens/. Durjadin F. Gjis Van Vaerenbergh. Retrieved from http://www.archdaily.com/298693/reading-between-the-lines-gijs-van-vaerenbergh. Testade J. House of Mirror. Retrieved from http://archinect.com/news/article/113430740/thehouse-of-mirrors-reinvents-the-australian-beach-hut-with-a-hint-of-mirror-magic. Notey. Therme Vals. Retrieved from http://www.notey.com/blogs/peter-zumthor?page=2 Foster+Partners (1999). Reicstag. Retrieved from http://www.fosterandpartners.com/projects/ reichstag-new-german-parliament/ Bjarkles Ingles (2017). Branches with supports. Retrieved from BIG’s Instagram. Kaggle (n,d). Leaves. Retreived from https://www.kaggle.com/c/leaf-classification. Nathanchoe (n.d) Bras Basar Mrt Water Ceiling. Retrieved from https://www.mimoa.eu/projects/Singapore/Singapore/Bras%20Basah%20MRT%20Station/