Earthbook

Studio Earth Cedric Chua (835148) Studio 8, Sarah Kahn S1, 2017

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Contents

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0.0 Introduction

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1.1 Point, Line & Plane 1.2 Mass 1.3 Frame & Infill

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2.1 Site Analysis 2.2 Conceptacle 2.3 Design Concept 2.4 Developmental Sketches

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3.0

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Final Design

4.0 Reflection

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5.0 Bibliography

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0.0 Introduction

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Studio Earth is an architectural design studio that is taught at the University of Melbourne.

As its name suggests, the studio is based on the relationship of Earth to architecture. It explores this relationship through how space is defined above, on and below the ground, and how gravity is the main constraint towards architectural expression. The subject coordinator, Alex Selenitsch has assigned three different techtonics (spatial systems) for students to explore these relationships, namely, Point/Line/Plane, Mass and Frame & Infill. Each of these spatial systems are explored in three 2-week exercises during the first half of semester. The final project of the studio takes place over the second half of the semester.

The task is to design a pavilion-like building that embodies a ‘secret’ on Herring Island using these three techtonics.

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1.1 Point, Line & Plane

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Point, Line and Plane is a universal concept in architecture. A point can mark a radial space. It can then be extended to become a line, which implies a space based on an axis. The line can then be extruded to form a 3-D plane, which defines a space more clearly than both point and line.

All of point, line and plane can be combined in countless ways to form extremely complex and interesting spaces.

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Precedent Study: Barcelona Pavilion by Mies van der Rohe This building had the most influence on my point/line/plane exploration. This pavilion is a pure expression of point, line and plane. These three elements were organised to create a fluid spatial composition. Despite its minimalist details, the Barcelona Pavilion is a complex design that explores points, lines and planes in many ways; solidity, transparency, manipulation of movement, materiality, etc.

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Techtonic Exploration #1 This exercise is an exploration of an on-the-ground techtonic. My P/L/P model is a literal composition of 3 ‘points’, 3 lines and 3 planes.They are arranged in two perpendicular axes and express a horizontal motif in elevation. They work together to imply ambiguous spaces for gathering and resting, at the same time allowing for fluid circulation through the spaces.

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1.2 Mass

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Mass in architecture, taken literally, deals with heaviness and density of materials. It is the clearest demonstration of gravity. The concept of architectural mass can also be very poetic, from its symbolism, to its formal qualities and to micro features such as texture, light, shadow, etc. Massing in architecture is essentially the act of addition and subtraction of an overall mass/ volume to create solid and void, spaces of light and shadow, different stratifications, different textures, different senses and different materials.

A lot of architectural qualities can be embodied in a single mass and the beauty lies in its complexity.

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Precedent Study: Thermal Vals by Peter Zumthor This work by Peter Zumthor is a great example of how subtraction is used to design a space that is rich with poetry. As one moves through the labyrinthine-like baths, he/she is met with a wide variety of sensual experiences.

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Precedent Study: Bell-loc Winery

by RCR Arquitectes This 2017 Pritzker Prize building features a play with slopes, materiality, light and shade, moisture and a blending-in with the natural environment. Despite its use of thin corten steel sheets, it still conveys a mass-like quality.

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Techtonic Exploration #2 This exercise is an exploration of an underground techtonic. My mass drawing is about a journey through a cave-like atmosphere. There are two areas of contrast; the light and dark and the narrow and the wide.

These contrasts bring a solemn and uncommon atmosphere to the experiential qualities of the space. The experience is unlike that of a what we perceive in our daily lives. It invokes a sense of mystery that prompts us to move through the space attentively and carefully.

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1.3 Frame & Infill

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Contrary to mass, frame and infill deals with resistance to gravity. Its structural qualities are ambiguous and appears to float in the air. The frame is permanent and rigid, whereas the infill is temporary and fluid. A frame and infill structure can be thin and elegant, modular, repetitive and dynamic. Above all, it tries to oppose gravity.

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Precedent Study: 6th Street House Conceptual Drawing and Model

by Morphosis In this study, Morphosis extracted architectonic layers from a bungalow and represented them as fragments on a plan view. This way, they could examine the relationships between the fragments on a conceptual plane. They then 3D printed the fragments and arranged them together on a model. While the frame is absent, the infill elements are dynamic and reveal how complicated a frame and infill system can be.

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Techtonic Exploration #3 This exercise is an exploration of an above-the-ground techtonic. The need for verticality and height is evident and I based the permanent frame structure on a spiral movement (the infill) towards the top. Essentially, the frame structure is reduced to accommodate the infill. The infill elements narrate a journey to the top, where two rooms provide framed views.

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Frame and Infill Drawing

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2.1 Site Analysis

Topography

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Circulation

Sun Path

Location of existing art pieces

Different Views from the Island

Vegetation Cover

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2.2 Conceptacle

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Conceptacle My conceptacle was an exploration of how the three techtonics could be merged in a harmonious way. Point, line and plane will always be present in architectural space, so the bigger issue is how mass and frame and infill could work together. I like to view these two techtonics on a spectrum.

On one end, we have the sheer density of mass. On the other end, we have the light and elegant frame and infill. I decided to merge the two in a contradictory way; the frame supports the mass. This has brought to my mind that one techtonic may be concealed by the other and the idea of a hidden frame and infill structure is explored in my final design.

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2.3 Design Concept

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The most interesting thing I noticed on my on-site analysis occurred during my walk along the Yarra river towards Herring Island, where I could view the Melbourne skyline even at ground level. I then took into consideration the surrounding context of Herring Island and noticed that, opposite to the CBD skyline view, there is a view of the foggy hills in the distant landscape. These two contrasting views form the basis of my concept.

wasteland that Herring Island used to be.

I was also able to make a connection between these ‘views’ and the history of Herring Island. Its history one of recovery and rehabilitation. The scouts who originally took over the island almost 70 years ago have worked hard towards this goal.

The current caretakers of Herring Island also have a passion for this natural island and view it as a great space for retreat. However, Herring Island is unknown to many and visitors are not able to grasp the fondness that the ‘Friends of Herring Island’ committee have towards the island, as well as their agenda towards the recovery of the

As a result, I decided to locate my design on the north-west corner of the island, where it is closest to the CBD and also where it is one of the tallest regions on the island. My building is oriented on an axis that points towards the Melbourne CBD.

The idea behind the two views is to prompt visitors to acknowledge how the natural has become occupied by the man-made, and ultimately to raise a sense of gratitude towards nature and the work that the ‘Friends of Herring Island’ are putting into the preservation of the island.

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Precedent Study: Horizon House

by RCR Arquitectes This work by RCR harmonises with its environment in multiple ways. Its solemn and cuboid forms root themselves into the topography. The corten steel cladding resembles the earthiness of the site. From the inside, its inhabitants are connected to the surrounding landscapes through impressive curtain walls.

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Precedent Study: St. Kolumba Museum by Peter Zumthor The perforations in the walls emit diffused light into the interior, creating a solemn and mysterious atmosphere.

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2.4 Developmental Sketches

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3.0 Final Design: Herring Tower The final design is centred around the concept of the two framed views. The materiality, light and shadow as well as the verticality of the building provide an atmosphere that secludes visitors from their normal perception of reality. This aims to to enhance the experience of their movement towards the top, where the framed views are revealed, and visitors are forced to ponder meaningful thoughts about what they see.

I created a juxtaposition between mass and frame & infill through the structural form. From the exterior, the tower has a mass-like appearance and emits a mysterious aura. However, a frame and infill structure is revealed when one enters the tower. The lightweight platforms act as the infill and lead visitors towards the top; a journey from under to above the ground.

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Drawing from Zumthor’s St. Kolumba Museum, I incorporated perforations that emit strips of light into the interior, which results in a dimly-lit atmosphere. The tower is primarily composed of corten-steel, evidently influenced by my precedent studies of RCR Arquitectes. Corten steel has a rusted metal texture that conveys an aged appearance. This resonates well with the earthiness of Herring Island and fits in with the art pieces on the island.

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Section

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External Cladding

Internal Frame Structure

Main Program (Framed Views)

Circulation

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Underground Floor Plan

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Ground Floor Plan

First Floor Plan

Second Floor Plan

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4.0 Reflection

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Studio Earth has taught me many things about my personal design process as an introductory architectural studio. I was able to engage with composition, scale, materiality, light and site context. The most difficult aspect of the studio was the task of assigning the concept of ‘secrets’ into my design. I struggled with this for a long time as I did not want to use a literal interpretation of ‘secrets’. I prioritized the overarching concept so much that I lost sight of other requirements from the design brief. It was only after speaking to others that I realised the sheer simplicity of my design proposal; it was initially just a tall rectangular block with stairs. Through this

experience, I realised the need for programmatic complexity in my design projects. Additionally, my design would have progressed a lot smoother had I studied the brief more carefully and put more rigour into site research during the early stages of my design. It goes to show the significance of having a good understanding of what the design project requires.

I also realised my presentation drawings often fail to fully convey what my design intends to do. I will put more effort into the planning and quality of my drawings in the future, even if it is just a minor/ interim task.

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5.0 Bibliography

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Mies Van der Rohe, Barcelona Pavilion, plan and photograph, retrieved from: https://handesi.wordpress. com/2015/11/18/drawing-midterm/ Morphosis, 6th Street House, photograph, retrieved from: https://www.academia.edu/28639510/ Morphosis_Drawings_and_Models_in_the_Mid_1980s_Graphic_Description_of_Graphic_Thinking Morphosis, 6th Street House, diagram, retrieved from: https://www.moma.org/collection/works/299 Peter Zumthor, St. Kolumba Museum, photographs, retrieved from: https://www.dezeen. com/2009/04/18/key-projects-by-peter-zumthor/ Peter Zumthor, Thermal Vals, photographs, retrieved from: https://www.dezeen.com/2016/09/25/peterzumthor-therme-vals-spa-baths-photography-fernando-guerra/ RCR Arquitectes, Bell-loc Winery, photographs, retrieved from: http://rcrbunkafundacio.cat/fons-rcr/ obres/o-iv-157-caves-bell-lloc/ RCR Arquitectes, Horizon House, photographs, retrieved from: http://rcrbunkafundacio.cat/fons-rcr/ obres/o-iii-120-casa-horitzo/

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