Architecture Design Studio: Earth Semester 1, 2017 Earth Book Daniel Chow 617929 Hella Wigge
Contents Three Relationships 5
Point Line Plane Mass Frame & Infill
Herring Island 13 Site Analysis Secrets Conceptacle Final Design
Reflection
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Bibliography 33
Three Relationships Three types of techtonics were explored through a series of models and drawings to create a deeper understanding of architecture.
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Point Line Plane The point line and plane technique alters as one changes his/her view. Viewed from different angles on elevation, each individual ‘structure’ seems as though it is connected by one point in the middle of it all to form almost like a cross like structure via the lines. When viewed in perspective, the model gets narrower as it ascends, embracing the concept of plane to line to point. When viewed from the top it is a consistent flow of alternating lines and planes as you move from left to right. The illustration shows the concept of the consistency of lines, points and planes interconnected with one another throughout the entire model. It is hard to visualise this when just viewing the model in person as the difference in angles and heights make it confusing.
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Top
Perspective
Elevation
Illustration
As for the standing, sitting and lying portion, one may choose to stand around the model in anyway as it is very low. The four planes represent individual rooms that allow people to sit or to lie on the inclined planes. It also provides privacy as no two planes are facing each other.
Precedents
RMIT Academic Building Lyons Architects
15 Spaces Donald Judd
Abeckett Tower Elenberg Fraser
MAXXI_National Museum of the XXI Century Arts Architect Zaha Hadid
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Mass As the roots of our earth provide the foundation for us to stand on, this drawing represents strong fixtures that are intertwined within one another to create a sense of strength and heaviness to support the solid state above in an almost intimidating manner. Highly inspired by deep caves and tectonic plates, both the dark and light spaces correlate to each other. The ‘cave’ emphasises mass with a ceiling height of ten meters with the light source reaching twenty-five meters, giving the user a vast amount of space. Light enters naturally through cracks of the ground that seeps its way through rocks to eventually light the cave. Designed in a manner where the path seems endless, one shall keep walking and exploring infinitely.
Dark Space
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Light Space
Waitomo Glowworm Cave New Zealand
Marble Cave Patagonia, South America
Precedents
Clifton Hill Melbourne
St Michael’s Uniting Church Jospeh Reed
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1 - Bottom Frame + Infill
2 - Walking Path (Infill)
Frame & Infill This frame and infill model is based on abstraction. It shows that both frame and infill need one another to support this structure.
3 - Volumes (Infill)
The first step was to create a base that would determine the shape of the model. This mostly compromised of individual frames with certain infill elements. The second and third steps were the most important as it was to create a walking path that was open and free. It compromises of three levels with an open view throughout. As one walks through, he/she will have uninterrupted views of the interior of the structure. The two covered portions are there to empathise the lightness of this structure. As such, they face outward with the upper one giving the viewer a glimpse of what’s to come. As one reaches the final level which itself is a frame & infill model all by its own, one will have a view that is capable of viewing the whole structure. This layer can be seen as either frame or infill. Tying all this together would be the internal frame which spans across the structure to support the walking path and shelters. Side frames with infills to certain panels were added to give the structure an external frame.
4 - Internal Frame
5 - Side + Top Frame
Lastly, the top frame completed the look of this structure which supports the side frames as well as the whole structure itself.
Completion
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Precedents
The Louvre Pyramid l. M. Pei
Gardens by the Bay Wilkinson Eyre
Eureka Skydeck Nonda Katsalidis
Boathouse Melbourne
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Herring Island Located 3km away from Melbourne CBD, this boat accessed-only island is home to multiple art and natural forms including indigenous plants that date back to the 50s.
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Site Analysis
Sun Path
Noise Source
Located toward the bottom of the island, the site chosen is easily accessible from both access points. At ten meters high, it is also the highest point of the island. Whilst open on one end, the other end is surrounded by trees creating a stark contrast between exposure and privacy.
Noise Source
Topography Greenery Walking Paths Access Points Travel Route Site Chosen 1:500
Noise Source
Prevailing Winds
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View Out (South)
Site Chosen
Illustration
Secrets
Precedents
In today's society, we tend to make assumptions by judging something /someone before fully understanding it. My idea embarks around the concept of illusionism, where the top seems light but gets deeper as one goes beneath the ground. This concept goes back to my notion of a secret where one will need to take a journey through exploration before uncovering something he/she may not have known before.
Svalbard Global Seed Vault Peter W. Søderman 16
Temporary Pavilion Frank Havermans
Barcelona Pavilion Mies Van De Rohe
Louis Vuitton Island Maison Moshe Safdie 17
Conceptacle The conceptacle represents my notion of secret in an abstract manner. The top consists of a light and minimalistic frame that is open on all ends. The ground floor houses a piece of glass that looks toward the deep bottom to entice users to go beneath the surface. The glass portion is surrounded by point line and plane elements that are metaphorically protecting the secret beneath. This conceptacle serves as the foundation for the Pavilion.
This sketch model features strong, sharp lines that were present in my mass drawings. I did however, find it overly intimidating and decided to adopt a new design.
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Final Conceptacle
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Final Design Pavilion: X(ploration)
Plan Compromising of three levels, the footprint of the area gets larger as one proceeds downward. The above ground portion is seamlessly incorporated into the hill of Herring Island. Covered in grass, it features a glass portion that looks to the secret room in the lowest level of the pavilion. Designed as a viewing platform, users may use this open space to enjoy panoramic views of the island. As one enters the pavilion through the ground floor, he/she is only given one path, downward. The glass portion is once again looking toward the level below to entice the users to go beneath the surface via the ‘open’ stairs. Upon reaching the lowest level of the pavilion, one will find various spatial qualities here which drew inspiration from Bernard Tschumi’ plan. As the theme revolves around exploration, I wanted to create spaces of stark contrasts with a play on light and dark spaces. Each of the four domes feature a unique attribute that allows the user to interact with the space in order to proceed with his/her journey. (full details on the Function Diagram) While this pavilion is designed around secrecy, it is also catered to small families. The domes have large openings and are relatively short as it caters to a demographic of all ages. One may choose to leave the dome at any one point via the openings on either end that lead back to the main area.
Form Three tectonics are merged together in this design. As the general shape features heavy elements of point line plane with hints of frame and infill, the experience as one wanders through the pavilion shows strong signs of mass. The ‘open’ stairs are heavily inspired by Carlos Scarpa’ work in the Olivetti Showroom where it appears light and airy to provide a juxtaposition between the lightness of the stairs and the heaviness of the internal structure. The geometric shaped domes which have been inspired by James Turrell’ tunnel designs are connected by two aluminium rods that run across the top of each dome to create an effect of continuation. It can almost be seen as one continuous dome being separated into four individual ones. In this case, the rods represent frame while the domes are the infill.
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Inspirations
Plan Bernard Tschumi
Tunnel Pieces James Turrell
Iceberg
Tunnel Pieces James Turrell
Olivetti Showroom Carlos Scarpa
Materials Used
Concrete
Aluminium
Glass
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Above Ground
Below Ground
On Ground
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Plans 1:100
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Section AA
Sections 1:100
Section BB
Function Diagram
1 - ‘Open’ Stairs
2 - Floor Tactile Paving
3 - Vertical Revolving Door
4 3
Introduces the user to the vast space from the double volume ceilings. One’ eyes are immediately drawn to the first dome as the opening is angled toward the direction of the stairs.
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The first dome is a dark space with only tactile on the floor to guide the user through. Exclusive to dark spaces, the triangular shaped aluminium piece was specifically designed as a hiding spot for children.
Entering this light spaced dome, one will have to push his/her way through to proceed forward.
Circulation Dark Space Light Space Secret Room Social Spaces Children Hiding Spots
4 - Horizontal Revolving Door
5 - Rope Handle
6 - Secret Room
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1
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The second bright spaced dome features the same door element as before but revolving in a different direction this time.
The last dome is once again dark with only rope handles to guide the user through the space through the idea of touch. A hiding spot for children can also be found here.
As one enters this room via a one-way door, he/she will have to look through a peep hole which has a time limit of five minutes before exiting through another one-way door where he/she will be led back to the main area.
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Below Ground
On Ground
Above Ground
Physical Model
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Perspective
Reflection Studio: Earth has allowed me to design abstract forms by pushing the boundaries. The study of the three various tectonics broadened my scope of architectural design in general whilst teaching me the key qualities to each one. The idea of coming up with a secret widened my vision of architecture due to the in-depth research done to finalize the concept of secrecy. By applying the forms learnt from the tectonics into the Conceptacle, it served as the basis of form and function toward the main Pavilion. With the incorporation of all the knowledge learnt from the semester placed into the final design, I can safely say that my understanding of architecture has greatly increased.
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Bibliography (In order of appearence) Ulaby, N. (2012). 15 Spaces. Retrieved from https://www.northcountrypublicradio.org/news/npr/156980469/marfa-texas-an-unlikely-art-oasis-in-a-desert-town. Pita, H. (2009). MAXXI_National Museum of the XXI Century Arts Architect. Retrieved from https://au.pinterest.com/pin/113786328056300993/. Waitomo Glowworm Caves. (2013). Waitomo Glowworm Cave. Retrieved from http://sites.psu.edu/natesnatureblog/2013/11/20/waitomo-glowworm-caves/. Martini, A. (2012). Marble Cave. Retrieved from https://au.pinterest.com/pin/210332245077206937/. Sebastiaan. (2014). The Louvre Pyramid. Retrieved from http://www.darkparis.com/mysteries-of-paris-98-the-666-triangles-of-the-louvres-pyramid/. Kennedy, P. (2016). Gardens by the Bay. Retrieved from http://paulkennedy.photoshelter.com/image/I0000i_4Z5YPXFuI. Eureka Skydeck 88. (2017). Eureka Skydeck. Retrieved from https://whatson.melbourne.vic.gov.au/Placestogo/MelbourneLandmarks/Historic/Pages/4453.aspx. Google. (2017). Herring Island. Retrieved from https://www.google.com.au/maps?client=safari&rls=en&oe=UTF-8&gfe_rd=cr&q=herring+island&um=1&ie=UTF-8&sa=X&ved=0ahUKEwj_0NPKvZ_UAhXEn5QKHSjGBVwQ_AUICigB. El demà ja és aquí. (2015). Svalbard Global Seed Vault. Retrieved from http://www.ara.cat/suplements/rar/Rar_home_del_futur_viatges_pasisatges_futuristes 0_1445255618.html. Grozdanic, L. (2016). Temporary Pavilion. Retrieved from http://inhabitat.com/temporary-pavilion-by-frank-havermans-references-traditional-dutch-farmhouses/. Vmc interior design. (2012). Barcelona Pavilion. Retrieved from https://www.pinterest.com/pin/70861394109452775/. Indulge yourself in Singapore: A special guide. (2017). Louis Vuitton Island Maison. Retrieved from http://www.visitsingapore.com/en_in/editorials/indulge-yourself-in-singapore-a-special-guide. html. Cambell, M. (2015). Tunnel Pieces. Retrieved from https://mabrycampbell.wordpress.com/2015/10/24/the-light-inside-james-turrell/. TUNNEL PIECES. (2017). Tunnel Pieces. Retrieved from http://jamesturrell.com/work/type/tunnel-piece/. Archleague. (2014). Plan. Retrieved from http://archleague.org/2014/11/bernard-tschumi/. Tip of the iceberg. (2016). Iceberg. Retrieved from http://pcwallart.com/tip-of-the-iceberg-titanic-wallpaper-2.html. Onniboni, L. (2014). Olivetti Showroom. Retrieved from https://archiobjects.org/carlo-scarpa-an-italian-master/.
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