ARCHITECTURE DESIGN STUDIO: EARTH S1, 2017 FOLIO OF STUDIO WORK RAN LI #828826 TUTOR VIET PHAM TUTORIAL 15
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1.0 - 3.0 THREE RELATIONSHIPS 1.0 POINT/LINE/PLANE 1.1 Research 1.2 Model 1.3 Drawingww 2.0 MASS 2.1 Research 2.2 Painting 2.3 Model 3.0 FRAME & INFILL 3.1 Research 3.2 Model 3.3 Developed Model 3.4 Painting 4.0 HERRING ISLAND 4.1 Site Analysis 4.2 Some ideas in the beginning 4.3 Design Process 4.4 Concept Development 4.5 Concepticle model 4.6 Final Drawing 4.7 Final Model 5.0 REFLECTION 6.0 BIBLIOGRAPHY 2
1.0 - 3.0 THREE RELATIONSHIPS - POINT/LINE/PLANE - MASS - FRAME & INFILL The three architectural research exercises carried out in this first part of the studio are important in informing later design explorations on the Herring Island pavilion.
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1.0 POINT/LINE/PLANE ON GROUND COMBINATION OF LEVELS SLOPES
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1.1 POINT/LINE/PLANE - Research Below: Primary inspiration 64 Zinc Squares by Carl Andre, 1969
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2. Arnaud Lapierre, WRing II Installation
1. El Lissitzky, Proun 30, 1920
1. WikiArt, Proun 30 2. Daily Tonic, Ring II Installation by Arnaud Lapierre 3. Lacremedelacreme, Aires+Mateus 4. Pinterest, Josef Albers
3. Aires mateus, Nursing home
4. Josef Albers, Multiplex B, Woodcut, 1948
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The first exercise - point, line and plane, is important because these are the basic vocabulary of space. I used the cube as a unit of exploration, where each cube has point corners, line edges and plane faces. However, when the cube is arranged and organized on a larger scale, it can also be seen as a point itself, repeating cubes in a row can be seen as a line and when aligned and repeated in several rows, these cubes can be seen as a plane. Thus this exercises teaches us how to explore space through the singular to the 2 and 3-dimensional space, and on top of that explore this system of space on different scale.
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1.2 Model
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1.3 Drawing
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2.0 MASS Above the ground or the ground surface Dark & Light Bunker architecture
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2.1 Mass - Research
5. Lensculture, Serge Najjar 6. e-architect, Vodafone Building, Porto : Oporto Architecture 7.Pinterest, Water Temple 5. Serge Najjar, The Architecture of Light
6. Barbosa & GuimarĂŁes, Vodafone Building Porto
7. Tadao Ando, Water Temple
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2.2 Printing The second exercise – mass, light and darkness, is important because it allows the exploration of space in both the material and non-material, i.e the negative and the void. In this exercise I explored several ideas surrounding mass, including the sense of gravity and weight and the void of mass, which creates space and allows light. Through a series of charcoal drawings what I tried to explore is the experience of transition from light to darkness and from openness to closeness. What I learnt from this exercise was that through mass and space I could create a sense of relief as well as entrapment.
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2.3 Model
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3.0 FRAME & INFILL The third exercise – frame and infill, is important because it allows the exploration of space in terms of the skeleton and the infill space. The structural skeleton can be seen as both dynamic and static, as it tried to articulate both the infill potential as well as the boundaries of a spatial system. The model I made tried to explore the concept of frame and infill by having a regular gridded outer frame, that is then filled with dynamic elements that further divides the space. When seen from different perspectives, the frame and infill concept model appears static on the outer boundaries but dynamic and changing on the interior.
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8. Giuseppe Terragni, Casa del Fascio
3.1 Research
8. Archdaily, Giuseppe Terragni, Casa del Fascio 9. Wikipedia, Dom-Ino House 10. ARCHITECTURAL DIGEST, Frank Lloyd Wright
9. Le Corbusier, Domino House 10. Frank Lloyd Wright, Taliesin
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3.2 Model My frame design is inspired by Le Corbusier’s Domino structure. The super-structure of columns and slabs is regular and supports the entire structure of the model. While the interior is non-structural and therefore more playful. My interior concept is informed by Frank Lloyd Wright’s idea of a “central fireplace”. So at the centre of my model there is a fireplace like object that tries to suggest a centrality to my design.
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3.3 Developed Model
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3.4 Painting
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4.0 HERRING ISLAND Herring Island was constructed in the light of the proposed plan to develop linear parklands along the lower reaches of the Yarra River. It has played a significat part in this development in achieving a desired coherence with our parks in the region
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4.1 Site Analysis
Upon arriving at Herring island, one will be amazed by its idyllic beauty. The landscape is natural and simple without the urban and industrial sense of place common around other parts of Melbourne city. Herring island is filled with trees and feels like a forest. When I first began my design, I was looking for a site that did not require cutting trees down. However, after I had an overall feel of the island, I began to develop a different approach to my design. Given that the trees are a feature of the island, I was more intrigued to create a structure that was among trees and embraced the landscape. This approach would allow my design to be harmonious with nature and it would also allow visitors to my design to be close to nature.
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ABOUT HERRING ISLAND 11. Airspy, Herring Island in 1933 & Nowdays
Melaleuca ericifolia The bark of mature trees was stripped off and used for many purposes, including rugs, bandaging and thatching. The aromatic leaves contain an oil which was used to treat coughs and colds. The stems were used for spears and digging sticks. Digging sticks were used, in gathering roots and in hunting for burrowing animals such as wombats. (Australian Native Plants of Herring Island Park) 11. Herring Island, Stanley Barker, 1997
(Herring Island History of Herring Island Park)
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4.2 Some ideas in the beginning #1: Screen, Kinetic Art
Roof
Door
Facade and Screen
Perspectives Sketch
IDEA #1
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#2: Stone, Natural Form #3: Water Drop, Most of the architecture under the ground #4: Inspired by the sculpture at Herring Island
IDEA #2
IDEA #3
IDEA #4
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4.3 Design Process
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SKETCH
SKETCH & RHINO MODEL
PLAN
PERSPECTIVES EXTERNAL
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I was also encouraged to link the initial three design exercise with the creation of my secret space. So with the exercise on point/line/plane, I began to explore the idea of a tube column that is then repeated to create a wall. The light structure of the pavilion, as a result, is also reflective of the second design exercise which encouraged me to explore the idea of mass or in my case, lightness. The entire pavilion is an exploration of infill or a lack of infill, as the trees both tries to fill the pavilion yet at the same time create and becomes the frame to the space of the pavilion. The main tree pins the entire pavilion, while other four trees inform the negative edges of the pavilion.
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4.4 Concept Development 11. SANAA, Serpentine Pavilion, 2009 Concept: Reflection (Mirror)
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12. Mies van der RoheFarnsworth House, 1951 Concept: Transparency
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11. Serpentine Galleries, SANAA 12. Archdaily, The Farnworth House/Mies van der Rohe 13. Cornell University, AAP Architecture Art Planning, Mauricio Pezo and Sofia von Ellrichshausen: Spatial Structure
13. Mauricio Pezo and Sofia von Ellrichshausen, Venice Architecture Biennale, 2016 Concept: Maze
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About Secrets Some secrets need to be found while others are better left un-found. Some secrets, when found, can have destructive/harmful consequences, while others may bring about pleasant surprises and happiness. On a more personal level, I believe everyone has secrets. Some may be closer to the surface of one’s consciousness, while others maybe buried deep in a person’s psyche. In the end my idea of the secret is on two levels. First, the pavilion has a tree in the middle of the structure as the centrepiece of the pavilion. The large tree is obvious from outside the pavilion but not from within, as it is clad with a mirrored wall on the inside. This architectural gesture is meant to suggest that sometimes the secret can be very obvious yet difficult to find. The deeper idea of secret is the personal secrets of the visitors that come into the pavilion. As the visitors walk around the curved mirrored walls within the pavilion they are encouraged to discover their own distortions and secrets and contemplate what are their true selves and reflections.
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4.5 Concepticle Model Made by straw and black paperboard -Transparency
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- Continuity
- Screen
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4.6 Final Design After the interim oral-presentation, my tutor gave me a number of valuable feedback that encouraged me to think about different kinds of building materials that would encourage ideas of concealment, exposure and different levels of transparency. I was also asked to look at SANAA’s design works. From this feedback, I decided to use ETFE as both a translucent wall material as well as structure posts for my pavilion structure. I also adopted the mirror as a material that both reflects, distorts and hides objects.
SKETCH 1:400
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SECTION 1:400
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ELEVATIONS (RIGHT) 1:350
ELEVATIONS (FRONT) 1:350
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PLAN (WITH ROOF) 1:400
PLAN (WITHOUT ROOF) 1:400
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PLAN (WITH ROOF & TREE) 1:400
SKETCH
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The mirror
PERSPECTIVES (WITHOUT ROOF) 1:400
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PERSPECTIVES (INTERNAL) 1:400
PERSPECTIVES (EXTERNAL) 1:400 PERSPECTIVES (INTERNAL) 1:400
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4.7 Final Model
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5.0 REFLECTION Studio Earth is my second design course in the University of Melbourne. I was excited to express my original ideas and finish a designing accordingly. Understanding the design brief and communicating with the tutor were both very important. Last year, in the Designing Environments subject, I had an abstract design idea but was not able to communicate the idea clearly with my tutor. Therefore, I lost some points in my final grade. Studio Earth had three very productive design exercises (Point/Line/Plane, Mass, Frame & Infill). These exercises are a very insightful way to approach different design elements of a project. During the designing of the secrets, I started from field inspection, and then moved to the design and refinement of the architectural intent. Each step of the design process was clearly communicated and discussed with my tutor. As a result, I was able to not only communicate my ideas but also receive valuable feedback. In the tutorials, the tutor mentioned his own design career and experience. That made me reflect on my own experiences and life challenges. When I first entered this University, I kept asking myself “Can I become a good architect and bring happiness and elegance to people’s lives?” When I studied in a College in Canberra we had only one core subject and a wide range of selective courses. I used to select subjects that I was good at and avoid those that I wasn’t skilled in. Consequently, when I entered the University, I found that my skills were unevenly balanced. This created great pressure for me to improve on areas where I was weak in. Initially, I was quite overwhelmed but now after a full year of study I have managed to deal with my weaknesses and improve on them. Making me a much more rounded person.
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6.0 BIBLIOGRAPHY ARCHITECTURAL DIGEST, Frank Lloyd Wright, viewed 29th May 2017, <http://www.architecturaldigest.com/frank-lloyd-wright> Archdaily, 2010, AD Classics: The Farnsworth House / Mies van der Rohe, viewed 30th May 2017, <http://www.archdaily.com/59719/ad-classics-thefarnsworth-house-mies-van-der-rohe> Archdaily, 2013, Giuseppe Terragni, Casa del Fascio, viewed 87th May 2017, <http://www.archdaily.com/312877/ad-classics-casa-del-fascio-giuseppe-terragni> Cornell University, 2017, AAP Architecture Art Planning, Mauricio Pezo and Sofia von Ellrichshausen: Spatial Structure, viewed 30th May 2017, https://aap. cornell.edu/news-events/mauricio-pezo-and-sofia-von-ellrichshausen-spatial-structure e-architect, 2011, Vodafone Building, Porto : Oporto Architecture, viewed 28th May 2017,<https://www.e-architect.co.uk/portugal/vodafone-building-oporto> Lacremedelacreme, 2011, Aires+Mateus/casa per anziani, viewed 27th May 2017, <https://lacremedelacremedotorg.wordpress.com/2011/09/04/136/> Lensculture, Serge Najjar, viewed 28th May 2017, <https://www.lensculture.com/sergenajjar> Pinterest, JOSEF ALBERS, viewed 27th May 2017, <https://au.pinterest.com/pin/28288303882610728/> Pinterest, Water Temple, viewed 28th May 2017, <https://au.pinterest.com/pin/536772849320221902/> Serpentine Galleries, 2009, Serpentine Gallery Pavilion 2009 designed by Kazuyo Sejima and Ryue Nishizawa of SANAA, viewed 30th May 2017, <http:// www.serpentinegalleries.org/exhibitions-events/serpentine-gallery-pavilion-2009-kazuyo-sejima-ryue-nishizawa-sanaa-0> Stanley Barker, 1997, Herring Island Park, viewed 30th May 2017, http://www.herringisland.org/ Tate, 2017, 144 Magnesium Square, viewed 27th May 2017, <http://www.tate.org.uk/art/artworks/andre-144-magnesium-square-t01767> Walter Philips, 2014, Ring II Installation by Arnaud Lapierre, viewed 27th May 2017, <http://www.dailytonic.com/ring-ii-installation-by-arnaud-lapierre-fr/> WikiArt, Proun 30, viewed 27th May 2017, <https://www.wikiart.org/en/el-lissitzky/proun-30-t> Wikipedia, Dom-Ino House, viewed 29th May 2017, <https://en.wikipedia.org/wiki/Dom-Ino_House >
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