ARCHITECTURE DESIGN STUDIO: EARTH S1, 2015 SUBJECT STUDENT BOOK NICHOLAS DEAN
(699066) HELLA WIGGE , T10_afternoon
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CONTENTS 1.0 THREE RELATIONSHIPS 1.1 POINT LINE PLANE 1.2 FRAME & INFILL 1.3 MASS 2.0 CONCEPT MASS 3D MODEL 2.1 DESIGN DEVELOPMENT & DIGITISATION 2.2 OUTCOME 3.0 HERRING ISLAND: A PLACE FOR KEEPING SECRETS 3.1 SITE ANALYSIS & CONCEPTICLE 3.2 CONCEPT & SKETCH DESIGN 3.3 DESIGN DEVELOPMENT 3.4 FINAL DESIGN DRAWINGS 3.5 FINAL DESIGN MODEL 4.0 REFLECTION 5.0 BIBLIOGRAPHY
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1.1
POINT / LINE / PLANE
PRECEDENT STUDIES BARCELONA PAVILION
(Miesbcn, 2015)
The Barcelona Pavilion is a perfect example of point, line & plane through the effortless intersection of such elements. Planar roof elements are seen to cantilever over wall structures, of which vary in materiality, ranging from stone, to glass, even marble. The slender support columns are subtle and establish the linear elements within the architecture of the building. It is through the notion of intersection that I drew inspiration for my own design. I intended to design a folding planar structure that formed an artificial hillslope, with linear elements protruding through to create backrests.
PHYSICAL MODEL MODEL PHOTOGRAPHY Working with boxboard and balsa wood to further show the distinction between the planar and linear elements, my point, line & plane model seeks to create an artificial hillslope for users to traverse over, or, more intentionally, to gather together and converse with others. The linear columns are seen to cut through the surface of the hillslope as a means to establish a continuous design. The columns were purposefully offset from the edge of the planar element in order to establish a slight cantilever over the structural supports.
1.2
FRAME & INFILL
PRECEDENT STUDIES LAFAYETTE COLLEGE ARTS PLAZA The Lafayette College Arts Plaza depicts the fundamental elements of frame and infill through the use of exposed steel framework tied in with a variety of materials like that of brick and glass that create the interior space. The building as a whole follows a very distinctive geometric layout, with many of the interior and exterior spaces being square or rectangular in form. The mixture of exposed and concealed framework was an aspect I wanted to develop further in my own design.
(Arch Daily, 2013)
PHYSICAL MODEL MODEL PHOTOGRAPHY Generating my model both physically and digitally, I was wanting to design a frame and infill structure that consisted of an exposed timber frame, as drawn from the precedent study, with infill elements that vary in material, colour, and extent of perforations as a means to manipulate light. It was also intended for the design to incorporate planar floor elements that create the illusion of a hollow frame when approaching from ground level with no passage for users to traverse through.
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MASS
PRECEDENT STUDIES GUGGENHEIM MUSEUM The protrusions and overlapping nature of the Guggenheim Museum by Frank Gehry were the primary inspiration for my mass drawing, more specifically, the notion of alluding to concealed interior spaces. Whilst the Museum is quite fluid in form, consisting of many curved faces, the scale and materiality of the structure are what categorise it as a mass building. The way the organic forms all trace back to a central origin near the door visually creates a certain weight through a vast, dominant form.
(Pagnotta, 2013)
CHARCOAL DRAWING POINTS OF ATTRACTION & INTEREST Inspired by the notion of alluding to concealed spaces, my mass section drawing illustrated a habitable space that is was carved into a two-slope hill. The use of linear skylights created two distinct rooms, both of which had contrasting spatial experiences due to the extent of vision and awareness of the surrounding environment. Aspects that add complexity to the design are ones that echo the notion of concealment, encouraging exploration through movement. The cut-away entrance, the excavated sky lights and the protruding mass structure all incite wonder in the viewers mind.
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2.1
DESIGN DEVELOPMENT & DIGITISATION
DESIGN DEVELOPMENT & DIGITISATION PROGRESSION FROM DRAWING TO RHINO When analysing the mass section drawing, it was clear that the area with the most complexity and elements of concealment was the protruding structure. Mimicking the natural slope of the hill, I cut angled linear tubes through the entirety of the model in order to replicate the same channeling of light into the underground space. The mass form was then created, and through the intersection tool, the hillslope and building became a single, closed form.
2.2
OUTCOME
3D MASS MODEL ILLUDING TO CONCEALED SPACES Using the 3D printer for the first time, the experience was quite exciting in a sense that a digital model could be replicated, with precision, into a physical model. The printed model successfully illustrates the key aspects of the design, the protruding mass structure and the sunken sky lights.
HERRING ISLAND
A PLACE FOR KEEPING SECRETS
3.1
SITE ANALYSIS & CONCEPTICLE
SITE ANALYSIS EXPERIENCE & OBSERVATION The site choice for my design was based off the ability to conceal interior spaces below ground, whilst also harnessing the aspects of natural light and views on, and above, ground. The two-stage slope allowed for the structure to venture underground, interacting with the natural topography
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CONCEPTICLE CONTINUITY THROUGH FOLDS Inspired by the possibilities that planar elements have to offer in their ability to form floors, walls and even ceilings, I worked with the notion of folding to create a continuous planar structure that established both internal and external spaces. After producing the concepticle, it became apparent that the aspect of continuity through folding would be one that would work well on my chosen site, due to the undulating topography of the land.
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3.2
CONCEPT & SKETCH DESIGN
CONCEPT & DESIGN UNDULATING PLANAR SURFACES Furthering the idea of continuity through folding I examined the possible spaces that could be created by only using planar elements. It was found that the tectonic granted the opportunity to form interior spaces, open or semi-open walkways and even elevated platforms.
3.3
DESIGN DEVELOPMENT
DESIGN DEVELOPMENT CREATING A JOURNEY ON SITE Incorporating the tectonic of point line and plane on my chosen site started off through bubble diagrams that examined the flow of spatial experiences achieved in different rooms. I then generated rough ideas on how a folding planar design would look on site, both in plan and section and also through an experiential sketch.
3.4
FINAL DESIGN DRAWINGS
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SECTION B-B 35
3.5
FINAL DESIGN MODEL
The final resolution of the design seeks to incorporate cantilevering planar floor elements which flow effortlessly into folding planar walls and roofs, of which trace through the entire site. In specific reference to the physical model, the contrasting materials further emphasises the distinct planar elements within the design.
REFLECTION
HERRING ISLAND PAVILION
When reflecting on the past semester, I can confidently say I have gained a significant amount of theoretical and practical knowledge about the key tectonics in architectural design, and ways to communicate those tectonics through both manual and digitsed drawing methods. The lectures provided me with the necessary framework for understanding architecture through tectonics, and with varies architectural examples displayed each week, showed the practical application of such elements. I feel as though the lectures were crucial in gaining inspiration through famous architects and famous architectural buildings. I thoroughly enjoyed the practical side of the course in our tutorial groups where we were able to explore these tectonic elements through sketching, model making and even digital representations in the form of rendered models and montages.
Looking ahead, I feel as though I have furthered my model making skill significantly, making the most of the laser cutter in the Fab Lab to produce quick and accurate forms. Before this subject I had never taken the time to learn Rhino or Vray, but throughout the duration of the semester I have worked to develop my skills in digital modelling and was able to produce a piece that was able to communicate the visual and spatial aspects of the design. From feedback, it was made apparent that the concept behind my design needed more depth and that material choices may have prevented my tectonics from coming across clearly in the final presentation, therefore, clarity and a solid understanding of the complexities of the brief is an aspect that I will continue to work on.
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4.0 BIBLIOGRAPHY Arch Daily. (2013). Lafayette College Arts Plaza/Spillman Farmer Architects. Retrieved from http://www.archdaily.com/355593/lafayette-college-arts-plaza-spillman-farmer-architects/ Miesbcn. (2015). The Pavilion. Retrieved from http://miesbcn.com/the-pavilion/ Pagnotta, B. (2013). AD Classics: The Guggenheim Museum Bilbao / Frank Gehry. Retrieved from http://www.archdaily.com/422470/ad-classics-the-guggenheimmuseum-bilbao-frank-gehry/
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