Derek liang hu 655015 earth book

ARCHITECTURE DESIGN STUDIO: EARTH S1, 2015 EARTH BOOK_PRESENCE OUT OF ABSENCE Liang Hu (Derek)

655015 Scott Woods / Tutorial 08

1

2

3

4

CONTENT 1

THREE TECTONICS

1.1 1.2 1.3

Point / Line / Plane Frame & Infill Mass

2

CONCEPT MASS 3D MODEL

3

HERRING ISLAND: A PLACE TO KEEP SECRET

3.1 3.2 3.3 3.4

Site Analysis & Conceptacle Concept and Sketch Design Final Design Drawings Final Design Model

4

REFLECTION

5

BIBLIOGRAPHY

5

6

1.0 TECTONICS ABSTRACT Three design tectonics were introduced during the first six weeks: “Point, Line & Plane”, “Frame & Infill” and “Mass”. Through model making and sketching, the tectonics were comprehensively analyzed which formed a solid foundation for my final design.

POINT LINE PLANE

FRAME & INFILL

MASS

7

1.1 POINT LINE & PLANE PROJECTION PROGRESSION INFINITY

8

9

Bank of China Tower (Hong Kong) / I.M. Pei, 1990 The building looked like a folding paper, and was a great example showing the progressional interrelationship between point, line and plane. The plane was folded to create volume which also defined the lines at the foldings. When lines merged, points formed.

10

11

DESIGN CONCEPT My design is about showing the reversible and progressional relationship between point, line and plane as well as the idea of infinity. Everything comes from the infinite point (on the left).

Lines are projected from that point, and gradually developed in two dimensional surfaces to create planes. Then planes start to fold and create volumes. The lines reappear at the foldings and points reappear at where the lines merge. This showed the reversible relationship of three elements where points create lines, but lines could also define points. On the other hand, my whole concept can be reversed as if the origin (the infinite point) becomes vanishing point where everything was simplified and merged.

12

13

14

1.2 FRAME & INFILL DUAL QUALITY ANTI-GRAVITY CHALLENGE THE CONVENTION

15

16

Jean Marie Tjibaou Cultural Center (Noumea)/ Renzo piano, 1998 The increasing intervals between the timber frame create a view that the infills transform from planes to lines which becomes part of the frames towards the top. The relationship between frame and infill is readdressed. The idea of using single material as both frame and infill challenges the conventional idea of frame and infill.

17

18

Aqua Tower (Chicago) / Jeanne Gang, 2009 The floors, functioned as the structural frames, extended out and formed an organic profile while the glass windows, the infill, were constructed with regular shapes and arranged rationally. The conventional roles of frame and infill were inverted.

19

PANELS

20

BREAKDOWN TO LINES

FLEXIB

BILITY

INSIDE CUBE

OUTSIDE CUBE / INVERTED ROLES

21

22

DESIGN CONCEPT My design comprised of two parts, ‘inside cube’ and ‘outside cube’. The threads extended out from the cube to supported the structure. Both the cube and thread had dual roles in the system as they functioned as both frame and infill. The thread also gave the cube an anti-gravitational looking which created a dynamic feeling against its rigid and rational cubical form.

23

24

1.3 MASS LED BY THE LIGHT, EXPERENCE THE TRANSITION OF LIGHT

25

26

Church at Firminy (France) / Le Corbusier, 1963 Light was like a guide for the journey. Visitors were led by the light. The luminescent colours are carefully positioned and hidden to make them emerge and disappear and then again reemerge, with shifting viewpoints.

27

ACCESS OF ROKKO CHURCH

28

INSPIRED BY ITS TRANSITION FROM LIGHT TO DARK

MANIPULATE LIGHT BY CHANGING SHAPE

COMBINATION OF 5 HOURGLASS SHAPE

CREATE CONTRASTING TRANSITIONS AHD SHARP THRESHOLDS

29

30

DESIGN CONCEPT I was inspired by Tadao Ando’s ‘Church on the Rokko Mountain’ in Kobe. While accessing the church, the visitors were led by a light infused corridor, transitting into the sharply contrasting dark chapel.

My design was about creating rich transition experience by manipulating the light intensities. Light filled and defined space. It relieved material voids and became tangible substances. Light also functioned as a guide, created cues to discover and follow.

31

32

2.0 CONCEPT 3D MASS MODEL A 3D model was made based on the Mass Drawing. The digital modelling process was an outline of the volumization of my two dimensional concepts.

It helped me as a connecting bridge between the tectonic studies and the final design project.

33

34

3.0 HERRING ISLAND. SOMETHING LIKE A PAVILION

35

36

3.1.1 CONCEPTACLE / SECRET CONCEPT My conceptacle mainly used the concept I used in Mass drawing. I focues on the spacial experiences by manipulating distinctive light qualities in different sections and also by creating contrasting transition experiences through the light.

My “Secret� concept was also generated at this stage. The interior was very simple which resulted in that the light becomes the only presence in the space. The structure was designed to impart rich meanings into the space with the changing sun course. Therefore, the light was everchanging and at one point of time, at one place, people freeze and isolate the views, percepting with individual reflections and emotions. And all of these which are very unique and can not be duplicated, forms my secret.

As in the feedback, my conceptacle was too architectural which contained too much focus on the form instead of the concept. I started simplifying my design into conceptual bases in the next stage, but my secret concept was maintained,developed and finalized for the final design.

37

SUN CORSE (MORNING)

38

SUN CORSE (MID-DAY)

SUN CORSE (AFTERNNON)

TOPOGRAPHY OF CHOSEN LOCATION

PATH DIAGRAM OF CHOSEN LOCATION

3.1.2 SITE ANALYSIS It was a geographically fully enclosed island. I felt it was separated from the Melbourne City. The island was mainly used as a family retreat or as an escape from the modern city. It was a manmade island, but it allowed the visitors to feel the nature. The dual quality of the island was very interesting which I would be further developed in the final project.

Developed on my conceptacle, I did the sun course studies to have a better visualization of how would the light and shadows change in different times and different seasons. Topography analysis and path diagrams were also made for the chosen location.

39

St. Ignatius Church (Seattle) / Steven Holl, 1997 Steven Holl described the chapel as “Seven light bottles in a stone box”. It was a gathering of different lights which gave each “bottle” different characters. Visitors would have different reflections on the senses and perceptions as they have distinctive perceptions and emotions.

40

3.2 CONCEPT AND SKETCH DESIGN Through model making, I generated and visualized the idea of creating distinctive spaces and emotions by manipulating the light qualities. Cube shape was used just because I wanted them to be homogeneous and simple for performance test. Inspired by the Firminy Church, I was planning to design a single structure which contained a series of different light settings. But along the design development, I felt that the cubes themselves had already formed very interesting compositions: they were simple repetitions with regular shapes, but light filled them with different spaces and created distinctive characters.

41

At this stage, I rotated the cubes and sunken them into the ground to create the dynamic composition which would create visual contrast with the regularity of the homogeneous cube geometry. Meanwhile, I was inspired by Mies’s idea of the “universal space” through the interplay between column, wall and horizontal plane. In his works, these elements are no longer functioning as fragments, but rather, a continuous union which defines space. Columns were also used in the model, they not only functioned to stand up but more importantly they represented the idea of standing up. The volume they created would outline the continuity between the cubes

42

Farnsworth House (Illinois) / Mies van der Rohe, 1951

3.3 DESIGN DEVELOPMENT & PRECEDENTS

43

44 PLAN 1, 1.6M ABOVE GROUND

A

TOILETS CLEANING ROOM

PLAN 2 (UNDERGROUND)

A

3.4 FINAL DESIGN DRAWINGS

45 SECTION AA

PRESENCE OUT OF ABSENCE

46

My design is about how the space could be depicted and perceived differently through light.

“Endlessly changing qualities of natural light in which a room is a different room every second of the day.�

---- Louis Kahn

47

Chichu Museum (Naoshima) / Tadao Ando, 2004

48

Transition Tunnels (Precedent Study) In Chichu Museum, the exhibition rooms were connected by these tunnels. The tunnels not only just functioned as transitions but also represented the idea of unfolding and revealing spaces. Ando described the museum as a varied sequence of ‘lightscapes’. The transitions which were full of characters, also became part of that sequence.

49

50

TRANSITION TUNNELS Tunnels are buried underground and visitors would have limited views to the outside. Visitors tend to lose sense of directions through the journey, but with the light as the only guide. Tunnels have similar forms but with varying height, length, width and directions. The changing course of the sun gives them characters which makes them become an unseparable part of the architecture, not only structrually but also spacially and emotionally.

51

UNDER

Visitors e darker u bottom Lingerin the entr architec

ENGAGEMENT AWARENESS OF ARCHITECTURE UNIVERSAL SPACE

52

RGROUND SPACE

enter the underground space through the long steep staircase as if they transit from lightness into a much underground space with full of uncertainty, curiosity and participation. The dim light comes from the glass of the tunnels where light can come through. The tunnels are like hanging walls with different heights. ng in the space, people sometimes have to bend down to pass through the hanging tunnels and then, find rance to the cubes. The space tends to have more engagement with users and let them be aware of the cture around them.

53

“The unfolding attractions are controlled by each person’s own unique pauses, movements and perceptions.” ---- Le Corbusier, Church a

While unfolding the archtecture piece by piece, users gradually discover and understand the entire structure with an accumulation of experiences through the journe connect each view and pay attention to the relationship between them. By moving with their own unique paces and pauses, users would have very distinctive perce reflection to the entire space.

54

at Firminy

ey. They eptions and

3.5 FINAL DESIGN MODEL

55

Relationship of above ground, ground and underground.

56

57

58

59

60

4.0 REFLECTION The tectonic studies in the first 6 weeks was very helpful and inspiring for me. They helped me to break down the complicated design project into smaller pieces and understand the rationality behind them.

After analyzing and visualizing three tectonics, I had a better understanding of the relationship between underground, ground and above ground which later became a solid base for my final project.

Precedent research was another useful lesson for my project and for my future architecture studies.

Learning from precedents was not about simply copying the shape, but instead, analyzing the key concepts as well as the design process behind them.

During the design development, multiple methods such as hand sketches, model making and digital modelling, were used to achieve the final design outcome. Among all these, I benefitted the most from the model making process. Every time I stuck on my designs, I made models. It was not just a representational tool as what I thought before. However, the model making process helped me visualize my existing concepts and generate new ideas when I was exploring forms, spaces and compositions.

Through models, I could work on my concepts visually and physically. Concepts were no more virtual substances.

In conclusion, as the first studio in my architecture study, I really enjoyed the course and appreciated all the contributions and efforts of all the teachers. I believe that it would become a solid foundation for me as I move on to higher levels.

61

62

4.0 BIBLIOGRAPHY

Doran, W 2012. Aqua Tower, viewed May 2015, <http://arch4221.blogspot.com.au/2012/05/beginning-week-2-studio-gang.html> Pinterest, 2013. Jean-Marie Tjibaou Cultural Centre in New Caledonia by the Renzo Piano Building Workshop, viewed May 2015, < https://www.pinterest. com/pin/521432463076825934/> Pinterest, 2012. Chichu Museum in Naoshima, viewed May 2015, < https://www.pinterest.com/charlottejennaw/natural-light/> Wandering Architect, 2009. 7 Bottles in a Stone Box, viewed May 2015, < http://www.wanderingarchitect.com/2009/08/06/7-bottles-in-a-stone-box/> Weil, R, 2008. Church at Firminy, viewed May 2015, < http://www.archdaily.com/108054/ad-classics-church-at-firminy-le-corbusier/> Australia Victoria City of Yarra, 2009. Herring Island, viewed May 2015, <http://www.mapio.cz/a/113788750/?page=3> Robbins, G, 2007, The Farnsworth House, viewed May 2015, < http://www.archdaily.com/59719/ad-classics-the-farnsworth-house-mies-van-der-rohe/> Architizer, 2014, An Architectâ&#x20AC;&#x2122;s Paradise, viewed May 2015, < http://architizer.com/blog/japan-art-island/>

63

64