Earth Book - Brett McColl 832138

Architecture Design Studio: Earth

Earth Book A Place for Keeping Secrets

Brett McColl 832138 Heather Mitcheltree Studio 1

Contents 7 - Three Relationships 9 - Point, Line, & Plane 11 - Mass 13 - Frame & Infill 15 - The Architectual Project: The Cache 17 - Conceptacle 19 - Topography 21 - Sound 23 - Vegetation & Sites 25 - Site Plan 27 - Basement Plan 29 - The Pod Ground Plan 31 - The Pyramid Ground Plan 33 - The Pyramid First Floor Plan 35 - Site Elevations 37 - Elevations 39 - The Pyramid Section 41 - The Pod Section 43 - Journey to the Cache 45 - The Model 49 - Inspirations 51 - Bibliography

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Three Relationships Point, Line, & Plane Mass Frame & Infill

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Point, Line, & Plane The exploration of Point, Line, and Plane was the first of three smaller tasks. The principle and relationship between these three elements is similar to the movement between the three known dimensions, from the first, singular dimension, through to the three planed dimension. Point, line, and plane also relate to how people move and interact with an area. People standing still become a point in the space. People moving from one spot to another involve moving in a line. A multitude of people doing either of these means that there is now a plane of people. Visually, point, line, and plane are used almost everywhere, and can be used either intentionally, or by happenstance as a byproduct of other architectural design.

For this design, the movement required to shift between a point, a line, and a plane was the main focus. To experience the transition, a person will be required to walk around to view the design at certain angles, such as the ones seen below. If they view from inside or above, the structure appears as a singular point in the air or in the ground. If they view the sculpture from side on, it takes on the appearance of a series of lines floating in the horizon. If they view it from any other angle, the structure reveals the planar discs holding the lines together, and the structure takes on a three-dimensional quality.

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Mass The second task focused on the exploration of Mass. The word mass has many different definitions. Mass is often mistakenly used to describe weight, which is incorrect from a physics point. It is also given to matter with no discernible shape, and it is used to describe a large gathering of people. Mass architecture is still common in modern society, with many traditional buildings using a masonry based construction. Importantly, mass architecture is constructed using Earth-based materials, particularly stones or hardened clay.

This design is inspired by the many definitions of mass. Rather than following the exact definitions, the inverse of many were used to describe the mass.

The blackened portions of the design appear to have weight, and yet they float in the air. The objects have mass, yet they defy the very notion of it. And the grey portions of the design showcase the idea that mass could have no discernible shape, and yet this weightless mass retains a specific shape and form.

And by placing it under the blue sky and into the ground, it is clear that these objects are made of earthly materials, and yet are still denying to follow the very principles of the material.

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Frame & Infill The final exploratory task focused on Frame and Infill. There are two elements in this, both of which have different degrees of permanence. The frame component is typically meant to be static, stationary, and permanent. Infill is the opposite, with movement, fluidity, and temporariness being the driving factors. The frame achieves these goals by being regular, grid-like, and by a logical and mathematical approach to the design. The infill achieves its opposition of frame by being random and chaotic, with colour and movement being the driving factors. For a frame and infill design to work, both elements have to work in tandem with each other.

This design is a response to the idea of frame and infill. Within this design sits two separate frame and infill designs. The first is the series of cubes balancing atop of each other. The frame of the bottom most cube is painted black to directly contrast with the infill, whilst the other cubes have a hidden frame. This creates the illusion of floating, and brings the idea that the cubes are flying away. This inner frame and infill design serves as the infill for the larger frame and infill project. Here, the infill is attempting to float away, whilst the frame is keeping it securely locked into place on the ground. The exploded diagram represents the freedom that is experienced by this design when it is freed from its earthly shackles.

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The Architectural Project: The Cache A Place to Keep Secrets on Herring Island

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Conceptacle The purpose of the Conceptacle is to showcase the idea of secrets that is to be persued in the final architectual project. For this task, the exploration was based around the secrets that everyone holds. It is obvious that everyone around you holds secrets, and although they are doing thier best to hide them, other people know. However, although it is easy to reveal the fact that they have a secret, revealling what the secret is is much harder. To learn a persons secret, people have to be willing and ready to endure long and painful tests to find thier answer. It could be as simple as being in the right place at the right time, or it could be by careful manipulation of a person to reveal thier secret. Once thier secret is revealled, the finder can always access it. But a person often does not know if this secret is of a good or bad nature, and this secret could be a dangerous weapon.

This model represents this interpretation of secrets. Although it does its best to hide it,. there is something hidden inside the box. Once the box has been opened, it is plain that the object inside is a USB. However, accessing the secret hidden inside the USB requires endurance, as there are 340 folders to navigate. Once the correct combination of folders is discovered, the secrets are revealled. In this case, the secret is revealled to be harmless fun, as within the folder is a comic about hiding a secret and a small video game. Once the secret of this model has been discovered, those who know can access it at any time

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Site Analysis - Topography 10m above Yarra River

Herring Island is the only island within the Yarra River. As it is a man-made island, the surface of the island is relatively flat, whilst the edges of the island are relatively steep. As such, there is an abundance of flat area where a suitably large structure can be situated.

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1m above Yarra River 0m above Yarra River Scale: 1:1000 @ A3

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Site Analysis - Sound Low External Ambient Noise

Despite being very close to the city, and being sorrunded by built up suburbs on all sides of the river, Herring Island becomes quieter the closer one moves inwards. It is only once you get close to the edge of the island, where you can see the outside world, does it become clearly audible. Everywhere else, it is either non-existent, or the movement of cars and people off the island becomes white noise. The amount of vegetation on the island also helps with this insulation.

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Loud External Ambient Noise Yarra River Scale: 1:1000 @ A3

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Site Analysis - Vegetation & Sites Although Herring Island is manmade, the island has been taken over by wildlife, and a forrest now occupies most of the island. There are approximately 38 native plants and, and more than twice that number of native flowers. The island is a sculpture park, and there are 9 sculptures in this area, as well as a gallery, which holds works of art.

Dense Forrest & Vegetation Walking Path

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Site Location

The sites chosen in red on the map opposite are either near specific sculptures on the island, or are located so that they are visible from all around. The northern site location is located near Robert Jack’s Ramp. This redgum sculpture is designed so that the upright sections obscure the back of the design. Next, to the western most part of the island, is a site located near Andy Goldsworthy’s sandstone Stone House. This artwork could be hiding something behind it, but the immovable boulder in the hole is blocking all attempts for an observer to see into the sculpture. The southernmost site is located near Julie Collins’ Audience. Although Audience appears to be a pile of rocks, closer inspection reveals that these rocks are carved in sections, and are placed in certain positions. However, what the rocks are covering remains a mystery.

These sites were chosen for the final design because of how the scupltures deal with secrets. The final site, located in the middle of an imaginary triangle around the three previous sites, is in the middle of the largest patch of empty land on the island. This is so that it dominates the landscape around it, without destroying the surrounding landscape.

Yarra River Scale: 1:1000 @ A3

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The Cache - Site Plan The design proposed for Herring Island, called The Cache, is comprised of four interonnceted structures.

To the North, West, and South of the island, near the previosuly mentioned sculptures, are small structures known as the Pods.

In the final site in the middle is the Pyramid. In the middle of the Pyramid is a large glass cylinder, called the Vault. The Vault is designed to be inpentrible. There is, however, one small hole into the Vault on the top floor. Here, visitors are to write down a secret they hold, and deposit it into the vault. However, like the interpretation of secrets, seeing where this deposit point is is simple, but getting to it requires effort and persitance.

The map below shows that the Pods are hidden away within the trees for the most part, with one at the south being hidden by the steep bank. Meanwhile, the Pyramid is located in the middle of the grasslands, dominating the area, whilst damaging as little of the ecosystem as possible. By positioning it in a walkway, visitors will have to walk by the Pyramid to see the island.

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Scale (Left): 1:1000 @ A3 Scale (Right): 1:2000 @ A3

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The Cache - Basement Plan Although seemingly seperate structures, the various parts of the Cache are connected by a series of tunnels that lead from the Pods to the basement level of the Pyramid. The basement level of the Pyramid has an elevator, which travels slowly to the top floor of the Pyramid. This elevator in the basement is the only way to access the top floor.

The tunnels connecting the Pods to the Pyramid are generally long, and are designed with bends and twists in the design. This is so that the destinition remains a secret. However, the length of the tunnels also relates to the interpretation of secrets, as to discover a secret requires persistance and effort, and can often be a daunting process. The tunnels are purposely designed to be long and narrow to make visitors feel the effort required to deposit thier secret in the vault.

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Scale: 1:1000 @ A3

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The Cache - The Pod Ground Plan The Pods are positioned around the island in the aforementioned locations. Each Pod is rotated so that the entrance to the pod faces the Pyramid. This is to indicate that the secret held by the Pyramid is related to the Pods. The Pods are utalitarian in design, as the prupose of the Pods are to hide in the landscape, although at the same time they are designed to fail this task, so as to entice people to discover thier mystery. This failure to hide is mostly attributed to the large twist above the sculpture, which can be seen in below.

The door to the Pods cannot be opened manually from the outside. Instead, the door only slides down at specific times during the day, and only for specific pods. This means that although people may be able to find a Pod, entering it is not as easy. All Pods can be exited at any time though.

North Point is not applicable Scale (Left): 1:1000 @ A3 Scale (Right): 1:50 @ A3

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The exterior and interior of the pods are made of polished granite in various shades. By using a stone product, it invokes the imagery of a strong and protected structure, whilst the sheen makes it appear unnatural and disturbing. The interior column running down the Pod is made entirely of glass, which allows people to see down into the depths of the pod, and also to allow light in. The twist atop the pod is made of a highly polished metal, which again adds to the disturbing nature of the Pod.

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The Cache - The Pyramid Ground Plan The Pyramid is located in the largest flat portion of the Island. The Pyramid is based of the tombs of Egyptian Pharohs, both in terms of design, but also in terms of function. Whilst the pyramids in Egypt housed embalmed bodies and treasures, the Pyramid here instead holds secrets. However, both hide thier secrets with care and precision.

Like the Pods, the doors slide downwards into the ground. Unlike the pods, the doors can be opened manually at any time on either side. Entering into the Pyramid from the ground floor leads into a a conic space. Within this space, the Vault takes up a vast majority. The glass Vault will intially be empty, but over time, the secrets will eventually fill the space. At one point, the vault will be filled, which will be when the Vault will be opened. Surrounding the Vault are basic facilities, such as toilets and storage.

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Scale (Left): 1:1000 @ A3 Scale (Right): 1:200 @ A3

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Similarly to the Pods, the Pyramid is made of a dark polished granite. This is designed so that the Pyramid contrast heavily with the surrounding landscape, as well as create the unnerving atmosphere. The use of stone is also designed for strength, and it also makes the pyramid appear to be strong and protected. This also ties into the actual shape, as a traignle is arguably the strongest shape. Combining the strongest shape with the strongst building material creates a protected and fortified building. Reflective metal is used to frame exterior edges, and to support the vault inside. This metal creates an almost halo-like effect to the exterior, creating that unnatural atmosphere for the structure.

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The Cache - The Pyramid First Floor Plan The first floor of the Pyramid is very different in design and feel to the ground floor. While the ground floor uses stone and and traingles to create a safe and protected atmosphere, the upper floor creates a sense of exposure. This again relates to the interprtation of secrets, as although one may try to hide it, it is plainly obvious that eveyone has a secret.

As mentioned, the only way to access the first floor is by using the lift from the basement level. Upon stepping out of the lift, a person will have thier eyes directed to the marble pedestal in the middle by the nine white beams meeting above it. This pedestal is where a person can write and then deposit thier secret into the vault. This room will ultimately be experinced differently by adults and childern. Children will be excited by the view that they can see, and will rush away from the podium. Adults will be interested in the podium, and will focus instead on thier secret, rather than the outside world.

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Scale (Left): 1:1000 @ A3 Scale (Right): 1:100 @ A3

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The floor of this level is made of the same polished granite that comprises the Pyramid. The glass runs the entire length of the vault, and rises to a height of 20 metres. The polished metal beams and columns are designed not only for structual support, but to also show onlookers that there is something above the structure, which they could otherwise miss if it was only glass. The pedestal is the only unique material used in the entire design. This is done in order to highlight the importance and significance of the pedestal.

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The Cache - Site Elevations

East Elevaton

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Scale (All): 1:1000 @ A3

South Elevaton

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The Cache - Elevations

Scale (All): 1:200 @ A3

South Elevaton 36

West Elevaton 37

The Cache - The Pyramid Section

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Scale (All): 1:200 @ A3

South Section

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The Cache - The Pod Section

North Point is not applicable Scale (All): 1:100 @ A3

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The Cache - Journey to the Cache

In order to access the upper floor of the Pyramid to deposit your secret, one must go through a journey, which is designed to reflect the process in which one would uncovevr a secret hidden inside a person. Firstly, a person must find a Pod that is open at the time. From there, the person must desend down a spiral staircase into the depths of the island. Once they have descended, there is a tunnel ahead of them. This tunnel is lit peroidcally to light the way, which adds to the creepy nature of the tunnel.

Once the person reaches the end of the tunnel, they will find themselves in the featureless basement Pyramid. Located at one side of the wall is a lift that will take a visitor up to the first floor. Once the lift has arrived, the pedestal and the surrounding view will be revealled to the person. The person will eventually make thier way to the pedestal, where they will deposit a secret of thier choosing.

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The Cache - The Model

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The Cache - The Model

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The Cache - Inspirations The design for the Vault uses the similar approach to point, line, and plane as the first exploartory task. The white highlights running along the edges of the Pyramid connect to the vertical members of the Vault, which uses line to draw eyes up towards the top of the vault.

The mass artwork influenced the combination of the larger, solid Pyramid and the fragile Vault. By placing one within the other, the form of the artwork is copied in real life.

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The idea of having the secrets trapped inside the Vault originiated from the Frame and Infill sculpture. The notion that the secrets are designed to be free, yet remain trapped, are also found in this sculpture.

This artwork about anxiety from [author] also influenced the idea around the Cache. The idea here, that the inner secrets are layered under a multitude of layers which will make the secrets harder to access, is reflected in the enduring and harsh design of the route to access the upper levels of the vault.

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Bibliography Barker, S. (N.d.) Australian Native Plants of Herring Island Park. Retrieved from http://www.herringisland.org/flora.htm Curtain, D. (N.d.) Australian Native Flowers of Herring Island Park. Retrieved from http://www.herringisland.org/flowers.htm Gollings, & Pidgeon. (N.d.) Artworks of Herring Island Environmental Sculpture Park. Retrieved from http://www.herringisland.org/arts.htm Selenitsch, A. (2017). On Frame and Infill [PowerPoint Slides]. Retrieved from https://app.lms.unimelb.edu.au/bbcswebdav/pid-6005060-dt-content- rid-23148742_2/courses/ABPL20027_2017_SM1/5.FRAME%26infill%20EARTH%202017%20%281%29.pdf Vicmap Property. (2014). HIA3@1_2000_CONTOURS. Retrieved from https://app.lms.unimelb.edu.au/bbcswebdav/pid-6007982-dt-content- rid-23216871_2/courses/ABPL20027_2017_SM1/HIA3%401_2000_CONTOURS.pdf Image list All images are the authours own, except for the following.

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Arquitectura X. (2007). X House. Retrieved from http://www.archdaily.com/5412/x-house-arquitectura-x Page 11 Lower Right

Shu, W. (2008). Ningbo History Museum. Retrieved from https://www.dezeen.com/2012/02/28/key-projects-by-wang-shu/ Page 13 Middle

heri&salli. (2013). Office Off. Retrieved from http://www.archdaily.com/535837/office-off-heri-and-salli Page 16/17 Middle

QUICKTEQUILA. (2014). Lovely Planet [Video Game].

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Stuart, AC. (2017) Your D&D Stories #36. Retrieved from https://yourdndstories.tumblr.com/ Page 49 Bottom

Hourie, J. (N.d.). Hidden Anxiety. Retrieved from https://au.pinterest.com/pin/69735494204366448/

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