EARTH ARCHITECTURE DESIGN STUDIO SEMESTER 1 2017
DEON CHAM DAO XUAN 783866 TOBY DEAN
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C O NTE NTS 1 .0 THR EE RELATIONSH IPS 1 .1 Point / Line / Plane 1 .2 Mass 1 .3 Frame & Infill
2 .0 HE R R I NG ISLA N D . SOMETH ING L I K E A PA V I L I ON 2 .1 2 .2 2 .3 2 .4
Site analysis Conceptacle Concept and Sketch design Design Development
3 .0 FI NAL D ESIGN 3 .1 Final Design Model
4 .0 R E FLECTION
5 .0 B IB LIO GRA PH Y
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1 .0 TH R E E R EL A T I ON SH I PS These three architecture tectonics, Point/Line/Plane, Mass, and Frame& Infill, were introduced and explored to help developed forms and ideas for the final project. Together, they inform my final design in relation to the site, Herring Isalnd, while addressing the brief, “Secrets�.
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1 .1 POI N T / L I N E / PL A N E “ Becoming ... as a growth of dimension.� - Studio Earth lecture, 2017
This tectonics explores the definition and transformation of point, line and plane and how they interact with each other. The progression of a point to a line, then from lines to planes.
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P RE CE DE NTS
HOUSE N Sou Fujimoto, 2008 The house comprises of layers of walls that captures the riches in between the house and the streets. This clever use of plane as a negative space successfuly changed our perception of Point/Line/Plane.
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SERPENTINE PAVILION Sou Fujimoto, 2013 Another project by Sou Fujimoto that strongly relates to Point/Line/ Plane. This pavilion explores the transition of multiple lines into an organic plane that not only created space and form, but also melded with human and the natural.
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Inspired by the Borobudur Temple in Indonesia, this model portrays a similar concept where the whole structure can be viewed once at the end.
The model focuses on two concepts: Challenging the general rule of Point/ Line/Plane by using each to represent the other. Change one’s perspective on viewing dimensional objects as some elements can appear to be something that is not.
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To achieve this, I first used the similar approach of Sou Fujimoto’s House N, which demonstrated how plane can also become a point. Followed by the use of vertical and horizontal lines, similar to the serpentine pavilion, that form planes. Lastly, decending planes that gradually become lines. As you tour through the model, noticed that light exposure slowly increases due to different openings. This is a representation of Buddhism practices; your journey and mind becomes clearer as you attain more knowledge.
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1 .2 M A S S “ When it comes to excavated ground, dreams have no limits.� - Gaston Bachelard, The Poetics of Space
A play of solids and voids, with strong gravational force that shaped the mass. Experience the transition of light and space, composing different kind of emotions.
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PREC ED ENTS
ANT COLONY The natural behaviour of living things, such as ants offers the best understanding for massing. The clever use of negative space by excavating the soil gives a strong overview of how space can be manipulated even in a dense environment.
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MONTANA TINDAYA Eduardo Chillida, 1996 This space designed by Eduardo Chillida is truly evocative, mystical sculptural environment, an architecture of hollows decorated only matter that forms them. I was facinated by this precedent because of its great transition of light. The light illuminates and fills what would otherwise be dark spaces. “Those who dare to venture within will see the sun and moon from the hollow with no horizon.� - Eduardo Chillida, 1996
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The cube is pushed underground from the above, representing mass. A moat is excavated around the cube to create a negative space that balance all the excavated ground. This reflects how Australia or Herring Island as an island with nothing surrounding it but sea. The plain exterior of the cube intends to deter someone’s curiosity, discouraging people from exploring the secrets. Pathways The main artery is broken down up into exhibition spaces, as a guide towards the exit. The pathways are curved and dark, disrupting one’s sense of direction. Exhibition The main arterial exhibition spaces have circular walls and are lit with an opening above, that allows natural light to enter. The spaces that are at dead end paths, are polygon shaped and not lit, discouraging people from going through further. The darkness in these spaces reduce ways to sense information, thus this creates a space where secrets are kept securely.
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1 .3 FR A M E & IN FIL L
“ A composition that stands above ground, possibly into the air, and focuses views out of it.�
Frame as permanent, fixed, stationary Infill as transient, fluid, dynamic When both juxtapose, they achieve dual quality and anti gravity.
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PR ECED EN T S
SERPENTINE PAVILION SANAA, 2009 This pavilion explores the aspects of anti gravity, perspective and individuality through mirroring or in other words, duality. This is achieved by using aluminium ceiling, emphasizing the importance of materiality in terms of frame and infill. The reflection doubles the height of normal, giving a sense of continuity.
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MELBOURNE MUSEUM Denton Corker Marshall, 1854 The museum gives a strong sense of juxtaposition between its black frame and white infill. The unoccupied spaces further illustrate lightness, however still remaining its permenent and rigid form. On the other hand, the infill shows irrationality when it penetrates through the frames.
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This model comprises of 2 main concepts: The irrationality and weightlessness of infill. Infill is an abstract element that floats around in the frame. The duality of frame and infill but with a twist. A mirror that reflects the same elements but with different representation. This contradicts the general idea of mirroring while still retaining its function.
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The stairs leads you up through the frame as though you are the infill itself. Along the way, there are hovering shards, an interpretation of the clouds, that acts as a distraction as you wander through the model.
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The reflection gives a sense of height, showing its antigravity while translating the experience of walking up in the sky. Once reaching the top, there will be no infills blocking the way but just a beautiful view from above.
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2 . 0 H E RRING IS LAND . S O ME TH ING LIK E A PAV I LI ON
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2 .1 S ITE A N A LYS IS Herring Island is a 32000m2 island located in Melbourne’s Yarra river at South Yarra. It is an artificial land formed in 1928, by cutting a channel through an old basalt quarry. It contains indigenous vegetation, and provides important habitat for native fauna, especially birds.
Based on my observation during site analysis, I noticed that most visitors, mainly families, gather mostly in the open field area near the East access point. Hence, I chose that site to provide opportunities and allow the exploration of secrets for everyone who visits the island.
ADVANTAGES ON SITE :
- Close to access point - Surrounded by dense vegetation: decreases noise po - Open field: most exposure to sunlight - Flat, wide open area: easy to excavate and no defore needed.
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ollution
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2 .2 CO NC EPTAC L E In my conceptacle, I mainly used the concept of my Mass drawing. I focus on the spacial experiences by manipulating the amount of light exposure and subtracting the cube to make different spaces within. My Secret is instead of keeping them, it is shared to those I trust. From my mass, I carried the idea of the cube and its negative spaces because I feel that they have a stronger potential to keep secrets. My conceptacle uses black texture to illustrate an anxious feeling but also curious to find out. The differential in height of the structure is a development from the cube. It serves a barrier to protect the secrets in the center. The secret shall be kept underground and only be revealed when there is enough trust.
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P RE CE DE NTS
JATIYA SANGSAD Louis Kahn, 1982 The famous national parliament by Louis Kahn evokes a peotic atmosphere as the geometric subtraction allows the transition of light to not only illuminate a space, but also act as a creator of space. This strongly relates to the idea of my pavilion, where the spaces with more light carries a bigger secret.
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TOWER OF SILENCE Zoroastrians, 9th century The tower of silence are usually located away from the town. Because of this, they possess a somber and mysterious atmosphere, which I want to show in my pavillion. The exaggerating depth of the cylindrical space would be a good way of keeping deep secrets as I would want for my pavillion.
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2 .3 CONC EPT AND SK ETCH D E S IG N
S U BT R AC T I O N I started developing my Secret from a cube through subtraction. The secret are kept in the negative spaces and the different in size shows how important that secret is. Then, the pathways are design in a way that only allows a person to enter at a time, emphasizing singular journey. I figured that the entrance should have more pathways to generate different lengths, which demonstrates how different people would have a different pace of trusting someone.
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REVERSE H I E R A R C HY In a normal hierarchy, the tallest or the largest object represents the most important part of the building or space. However, in my pavilion, I have decided to use a reverse hierarchy as a mean to obscure the secret. The contrast of the polygon and circular space ensures that it stands out from other spaces. This help the patrons to recognise it relative importance.
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3 .0 FINAL D ESI GN
SITE PLAN 38
SCALE 1:500
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PLAN - BASEMENT
PLAN - GROUND
SCALE 1:100
SCALE 1:200 3
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FUNCTIONS : 1. Toilets 2. Indoor storage room 3. Enclosure spaces for children 4. Sheltered space for family 5. Place to view a object 6. Recording room
SCALE 1:200
SECTION AA
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“The Secret here is a privilege, shared to those I trust.�
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3.1 F INAL D ESI GN M O D E L
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4 .0
RE F LEC TI ON
Studio Earth has enabled me to view architecture in a conceptural way and not only purely in regards to building, but also in terms of sculpture, paintings, art and design. I enjoyed the conceptual approach of the three tectonic exercises because it allows me to boost my creativity skills and interpret my design more skillfully and pronounced.
After analysing the first three tectonics, I had a better understanding of the relationship between the underground, on ground and above ground, which later became an important aspect in my design. Also, by analysing the precedents of buildngs and artworks by famous architects and artists respectively, I was further inspired to keep refining my ideas as any design can always be better. At first, I performed fairly well for my techtonic exercises. However, when I was doing my final project, I could not construct a strong concept for my design. Eventually, I came to realise the importance of model making. Model making, especially in this subject, is really useful in helping me to experiment and come up with design that I could not achieved by sketches and drawings. Gradually, my model making skills have improved a lot due to continuous practise and experimentation.
In conclusion, I feel that I have learnt a lot of basic design skills and believe that, with the knowledge and experience gained from this subject, I would definitely excel in the future. Also, many thanks to my tutor Toby, for continuously pushing me to greater heights in developing my design.
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BIBLI OGRAPHY
Archdaily. (2011). House N/ Sou Fujimoto. Retrieved from http://www.archdaily.com/7484/house-n-sou-fujimoto Archibald. (2014). Montana Tindaya. Retrieved from http://architectuul.com/architecture/montana-tindaya Bachelard, G. and Jolas, M., 1994, The Poetics of Space (Vol.330). Beacon Press, Boston. Basulto, D. (2009). The 2009 Serpentine Gallery Pavilion/ SANAA. Retrieved from http://www.archdaily.com/28672/the-2009-serpentinegallery-pavilion-sanaa Lacuna. (2015). National Assembly Building of Bangladesh. Retrieved from http://architectuul.com/architecture/national-assembly-building-of-bangladesh Lucarelli, F. (2012). Tower of Silence: Zoroastrian Architectures for the Rituals of Death. Retrieved from http://socks-studio.com/2012/02/09/ towers-of-silence-zoroastrian-architectures-for-the-ritual-of-death/ Portilla, D. (2013). Serpentine Pavilion/ Sou Fujimoto. Retrieved from http://www.archdaily.com/384289/serpentine-pavilion-sou-fujimoto Walker, P. (2001). Melbourne Museum. Retrieved from http://architectureau.com/articles/melbourne-museum/
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