ARCHITECTURE DESIGN STUDIO: EARTH S1, 2016 EARTH BOOK Diana Ong
(701832) Toby Dean / Tutorial 18
CO NTE N TS
| EARTH BOOK
1 .0 TH RE E RE LATIO NS H IPS .......................................................................................................................................................................................7 1.1 Point/Line/Plane
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1.2 Mass
16-21
1.3 Frame & Infill
22-29
2 .0 CO NCE PT....................................................................................................................................................................................................30-31 2.1 Conceptacle & secrets
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2.2 Final outcome
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3 .0 H E RRI NG I S LAND . S O ME TH ING LI KE A PAV ILIO N...............................................................................................................................34-35 3.1 Site analysis
36-37
3.2 Conceptacle & Ideas
38-39
3.3 Precedent Studies
40-41
3.4 Design Development
42-45
3.5 Final Design Drawings
46-49
3.6 Final Design Model
50-53
4.0 REFLECTION..............................................................................................................................................................................................55
5.0 BIBLIOGRAPHY ...................................................................................................................................................................................................57
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1 .0
TH REE REL ATIONSHIPS
Three architectural techtonics related to “Earth� - the intervention
below ground, on the ground, and above the ground, were explored to help produce techniques, forms and ideas for the final project. Precedents and inspiring images further aided my thinking and design process in developing concepts, sketches and models, in relation to the Earth as the overarching theme. The outcomes of these exercises were further carried forward to the final project.
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1 .1
POINT, L INE, PL ANE
A place to lie down, sit up, stand and walk (and back again).�
“
- Studio Earth subject program, 2016
Focus & divergence. Order & disorder. Purity & fragmentation. Being & becoming.
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Preceden ts
These designs depict a sense of “becoming�, from a point,
to a line, to a plane - a gradual growth in scale, dimension, materiality and spatial occupancy.
Far left, top & bottom: Serpentine Pavilion by Zaha Hadid, 2000, London. Left, top & bottom: Atrium, Melbourne School of Design by John Wardle Architects, 2015, Melbourne. Right: Plan of the Brick Country House by Mies van de Rohe, 1923.
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Proc ess
A series of sketch models were made in quick 30-minute sessions during a studio session to explore the theme. This exercise helped me to form my idea regarding the directional approach of lines towards points, the formation of volumes by single-folded planes and most importantly, the spatial and techtonic quality.
F i n al C o n cept
My final model portrays the growth of a single point into lines and planes,
gradually increasing in its variation and spatial forms and dimensions. The point is implied by the directions of lines as seen in the plan, signifying the importance and presence of the point despite its immateriality. The lines grows 3-dimensionally into vertical and horizontal planes on the ground. The planes on the ground further splits into “fragmented” planes- creating a sense of disorder, and “complete” planes - signifying purity and order, giving a different atmosphere to each section.
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Fragmentation. Disorder.
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Growth. Evolution. Formation.
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1 .2
M ASS
“When it comes to excavated ground, dreams have no limit” -Gaston Bachelard, The Poetics of Space
Solid & void. Darkness & light. Touch & see. The power of gravity.
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Prec ed en ts
For this theme, I looked into natural and man-made compositions
of mass in architecture. The precendents all embody the notion of gravity, volume and solidity while prompting a certain thoughtfulness in the visitor and viewer with its scale, materiality and monumentality. As a result, my final outcome was based on the notion of contemplation and reflection within the Earth’s core. Far left (top & bottom): Bunker 599 by RAAAF and Atelier Lyon, 2010, Netherlands. Left (top): Section - Treasury of Atreus, 1200, Mycenae. Left (bottom): Agglomeration - The Pinnacle, Grampians, Melbourne.
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space
Gravity dictates mass. What happens, when gravity could “pull� space, intuitively, into the ground? What space would it create? What would it look like?
gravity
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Fi n al C o n c e p t
This section drawing is an outcome of various experiements done
with ink and paper, in search for the form that space would take, if it can be “pulled” by gravity into ground. Narrative: The visitor steps into a discreet hole in the ground into two main parts. In exploring the dark, a ladder leads him into secret “pods” in the ground. These pods are relatively small and dimly lit to inhibit the sense of vision, thus he is prompted interact with the earth through touch. Within the silence and the protection of the Earth’s mass, he meditates and reflects on his relationship with his present surroundings. When he is done, he discovers a corridor leading to a spatious atrium with small “windows”, where multiple tubes extend to unaccessible secret capsules within the earth. Natural light are brought into the capsules through tubes angled differently, lighting different capsules throughout the day. Here, the visitor takes a glimpse into the capsules where secrets are hidden. Nonetheless, he can never get the full picture of the unknown, evoking thought and emotions from within... Thus, this section aims to provoke the visitor through the manipulation of light and dark in the earth, while extending life into the silent earth through human interaction.
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figure & ground. light & darkness. touch & see.
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1 .3
FR AME & INF IL L
“A composition which stands above ground, possibly into the air, and which focuses views out of it, and which shows this quality through its form.� -Earth studio subject program, 2016
Rigidity & fluidity. Objectivity & subjectivity. Permenance & transience.
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Preceden ts
he focus for this theme was mainly based on juxtapositions between the frame and the infill, shown clearly in the precedents. Frame: permanence, fixed, static, objectivity, universal vs Infill: temporary, transient, variety, fluidity, dynamism, subjectivity, unique
Far left (top & bottom): 30 Social Housing Units by Antonio + Darmon Architects, 2014, Nantes, France. Left (top & bottom): Camper Flagship Store by Neri & Hu Architects, 2013, Shanghai.
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F i n al C o n cept
My final model aims to depict the contradictions between the 3x3 grid frame and the infill. Elements of infill was incorporated into the balsa grid according to the brief. Grey transparencies of different shades were used to depict transience while a yellow ribbon weaves freely in and out of the grid to show the dynamism and fluidity of the infill. The grid is tilted to allow more spatial freedom for the infill, while suggesting its anti-gravity characteristics. This resulted in a sophisticated yet elegant synthesis of ideas, which still portrays juxtapositions in the theme.
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Con c e p t ual d iag r am s & c ollage | d et ails, sequenc e & mo m en ts
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Views from different perspectives. The frame remains a static grid. The infill flows, transforms, becomes alive...
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2.0
THE C ONC EPT | SEC RETS
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2. 0
Within & without
C O N C E PT A C L E | sec ret s
For the conceptacle, I was inspired by the notion of hierarchy
of secrecy as mentioned in the lecture, where there is a secret within a secret. I felt that the secusion of Herring Island from the Melbourne and also the isolation of secrets from the island with the pavilion depicts this idea. Subsequently, I developed the idea of WITHIN & WITHOUT - where the user is in a way within the realm of secrets, but always without the secret itself.
CBD
Pavilion
Yarra River
Herring Island
At this stage, I started to build my conceptacle based on key words: enclosure, privacy, silence, search.
Secrets?
My first sketch model focused on the idea that the user (red ball)
would roam around within the pavilion/Herring Island (the invisible box) in search of the secret that will will never be revealed (black cube). The punctured partitions within the invisible cube enables the ball to pass through or obstruct its flow in the large cube, signifying the obstructions and pathways the user has to go through in search for the secret.
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CO N CEP T A C L E | f in al o ut c ome
However, after further analysis of the site and the brief, I decided that I wanted to create a journey rather than a endless route in search for the “secret”. The previous conceptacle was more playful and did not depict the idea of enclosure/ hierarchy of secrecy that I wanted to portray. With the final outcome, I further developed the idea of hierarchy into human emotions that would be gradually provoked throughout this journey.
My
final conceptacle depicts nature of secrets and potential human response towards secrets: a. Shape: Intensification of emotions till the final end point - an emotional journey b. Transparencies: suggest notion of the unknown and smth cannot really grasp, evoke curiosity c. Colour: Red - connotations regarding danger, anger, frustration – emotions in encountering a secret d. Fragmentation: Representation – user being more and more deeply involved/ sucked into the process of finding the secret – less exits towards the end
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3.0
HER R I NG I S LAND | SOMETHING L IKE A PAVIL ION
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3.1
S IT E A N A L YSI S
Herring
Island, located 3km away from the Melbourne CBD, is mainly surrounded by residential suburbs such as Toorak and Richmond. It was originally a basalt quarry, formed by cutting a new path for the Yarra River to control flooding. I realised that the main audience are families which gather mostly in the open field near the East access point. Thus, I chose that site to enable the idea of “secrets� to be known to everyone on the island.
KE Y Natural shelter Exposed to sunlight Noise Wind Manmade shelter Access point
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scale 1:2000
Ch osen Site
opportunities on site: - at the verge between the open field and dense vegetation, disclosure --> enclosure - near to access point - a mixture of audience - underutilised - only slight change in topography, easy access
constraints on site:
- isolated from pathways, attraction needed - open to weather conditions, shelter needed
EMOTIONS Curious
A UD I EN C E
Adventurous
Children
Playful
Young adults
Tranquil
Adults
Fascinated
Seniors
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3. 2
CON C E PT A C L E & I DEAS | wit hin & wit hout
� A secret want to be known only for itself.� - A.S.
My conceptacle captured my main approach to this project
- an architecture which portrays the existence of a secret, but in reality embodies no secret at all. Nonetheless, the manifestation of the IDEA of a secret to visitors, through manipulation of light and dark, scale and spatial organization, aims to provoke the their thinking and emotions. Ideally, this would evoke an emotional response such as anger or frustration in the user. Thus, the overarching aim for my project is to explore the human responses to the idea of secrets, as well as to provoke thinking towards the unknown.
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3. 2
C O NC E PT AC L E & I DEAS | c onc ept sket c h
You are WITHIN Herring Island, within the architecture, within the idea of the secret, but always WITHOUT the secret itself. What is the unknown? Eagerness. Temptation. Excitement. Frustration. Impatience. Dissapointment. What, is the unknown.
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3. 3
P REC E D E N T ST U D I E S
Fi ni sterre C em ent ery by C esar Port el a, 2000, Fi sterra
This cementery evokes a poetic atmosphere as granite modular blocks of chapels and burials are positioned elegantly within the context of nature. The modularity and composition of the overall cementery creates a sense of connectivity yet isolation at the same time. This relates to the idea of my pavilion where the users are connected to the idea of secret, but isolated from the actual secret itself.
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KA I RO S by Jo a o Qu in tela + T im Simon,Port ugal , 2012
This concrete pavilion focuses on the main theme of time with the use of light and concrete. Nonetheless, there are beautiful “moments� within the architecture which inspired my final design such as the execution of small concrete stairwells and the large windows punctured through every elevation of the rectilinear structure, giving character to the overall form. These are the atmospheric experience I would want to achieve in my pavilion.
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3. 4
D ES IG N D E V E L O PME N T | int ial d rawings
At
this stage, I started to imagine and visualise experiences that are significant in evoking the users’ sentiments and emotions in their journey towards the unknown.
Narrative: (right to left of bubble diagrams) 1. Curiosity, interest, temptation: I adopted the use of “fragmented” walls(lines) from the PLP exercise to direct users to the final “secret” site (point). The intersection of planes and their variety of folds form small enclosures where only children can enter. Here, they can peek through slits cut through the walls - suggesting the notion of hiding. 2. Adventure, fear, thought: The user then enters a sheltered space full of partitions to evoke a sense of adventure and playfulness. There is a enormous lightwell in the centre, cladded with large stones and rubble intimidate the visitor, who might feel fearful or small. This portrays the power of secrets which at times can be dominate one’s mind. 3. Frustration, dissapointment, reflection. A stairway at the end of the pavilion leads the visitor down into an enclosed chamber. One side of the chamber has full glass panel where the user can can see a dark room roughly 3 meters away, dimly lit with one ray of light, which is reflected off a wall. This is the climax of the journey where the user realise that there is no secret on the site.
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The
approach to the site should tempt the user into entering, while this “emotional journey” should sustain the users’ curiousity until the last encounter with the “secret”. With this idea, I looked into ancient architecture in Egypt such as the mastaba and ziggurats which embodies a certain mysteriousness with narrow passageways and complex circulation. Right: Ziggurat at Ur by Ur-Nammu, 21st century BC, Ur. Far right: An example of a mastaba tomb in Egypt.
P r o p o sed ideas
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3. 4
D ES IG N D E V E L O PME N T | refining id eas
C ir c u la tion
I refined the circulation in the sheltered pavilion according to the entry (yellow) and exit (green) points. This is so to create a
more confusing and exciting journey in terms of orientation, direction and levels. Thus, walking through the pavilion, the user do not have a clear idea of what level it is (above/on/below ground) or where he/she is heading towards. The cirvulation is determined by 4x4 grid lines as the “frame” with human occupancy as the “infill”. The final outcome takes a shape of a cube structure without windows which will be cladded in concrete, representing a “safe box” keeping something valuable within.
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sculptures access points walls
A x i al i t y
The pavilion sits on the axis connecting two
access points on the island to signify the “approachability” of secrets on the island. The “fragmented” walls are further angled to the sculptures on the island, signifying their importance. Pieces of these walls further extend out to points of access to “welcome” and tempt users to the final site.
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3. 5
FI N A L D E S I G N | s o m et hing like a pavilion
(scale 1:200) PLAN | Ground floor & Mezzanine floor
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A
A
4 3 1
Functions 1. Place to view an object 2. Indoor storage room 3. Enclosure spaces for children 4. Toilets 5. Outdoor storage room
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SECTION A-A
PLAN | Basement 1
PLAN | Basement 2
Plan | Roof
2
1
Functions 1. Atrium to listen to recording 2. Indoor storage room
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3. 5
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FI N A L D E SI G N | th e j ourney
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3. 6
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FI NAL D E S I G N MO DEL
WI THI N & WI THOUT
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W I T H I N & W I T H O U T s
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4.0
REFLECTION
This studio exposed me to ways to think about design as well as methods of realising conceptual designs into
3-dimensional forms. I loved the conceptual approach in the three tectonic exercises, where we were free to express our ideas in abstracted forms. Although I constantly felt as if I was pushed out of my comfort zone, my thinking was free from boundaries and I could design according to my imagination and most importantly, with enjoyment. The first three exercises enabled me to have a better understanding of crucial spatial systems related to the Earth, widely used by various architects around the world. This knowledge helped me immensely in the design process for the final project. By analysing precedents for the blog, I was further inspired and intrigued, not only by the architectural design but also the architects’ reasons to particular design decisions. Eventually, I came to realise the importance of an overarching theme or concept relevant to the brief and context in every project. Only with a strong, integrated concept at hand, the project can be developed in a very precise and coherent manner, easily understood by others yet sophisticated and complex in its context. However, visualising these concepts in terms of forms is perhaps the most challenging task for me throughout the course. Apart from referring to precedents for inspiration, I realised that model making is extremely useful in helping me to experiment and come up with various designs that I could not have drawn/pictured in my head. Subsequently, I feel that my model making skills have increased substantially this semester due to tons of practice and experimentations. In essence, I feel that I have learnt the basic design skills in this subject, as my first architecture studio. It prompted me to produce outcomes which I never would have thought I could have achieved before. Many thanks to my tutor, Toby, for pushing me to achieve better designs in every project, as well as Alex and Brooke, for introducing poetic and thought-provoking perspectives in the field of design. I am certain that knowledge and experience gained from this subject prepare me for future studios – which I am really looking forward to.
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5.0
B IB L I O G R APHY Archdaily 2014, 30 Social Housing Units in Nantes, viewed 5 June 2016, <http://www.archdaily.com/554360/30-social-housing-units-innantes-antonini-darmon-architectes>. Bachelard, G. and Jolas, M., 1994, The Poetics of Space (Vol. 330). Beacon Press, Boston. César portela n.d., Finisterre Cemetery, viewed 5 June 2016, <http://www.xn--csarportela-bbb.com/cementerio-municipal-de-fisterra/>. Dezeen 2013, Camper Shanghai, viewed 5 June 2016, <http://www.dezeen.com/2013/09/04/camper-shanghai-by-nerihu/>. Dezeen 2013, Concrete Bunker 599, Netherlands, viewed 5 June 2016, < http://www.dezeen.com/2013/12/11/movie-concrete-bunkercut-in-half-raaaf-atelier-de-lyon/>. Dezeen 2013, Kairos Pavilion, viewed 5 June 2016, <http://www.dezeen.com/2013/08/23/kairos-pavilion-by-joao-quintela-and-tim-simon/>. Dezeen 2015, Zaha Hadid’s Serpentine Gallery Pavilion, London, viewed 5 June 2016, <http://www.dezeen.com/2015/08/20/movie-serpentine-gallery-pavilion-2000-zaha-hadid-julia-peyton-jones/>. Earth Architecture Design Studio Subject Outline + Program, Semester 1 2016, University of Melbourne, Melbourne. Egyptian Streets, 2016, Holy Fire Ceremony, viewed 5 June 2016, <http://egyptianstreets.com/2016/05/01/thousands-of-egyptian-coptsflock-to-jerusalem-for-holy-fire-ceremony/>. Hub Pages 2015, Egyptian pyramids, viewed 5 June 2016, < http://hubpages.com/education/Elements-of-Egyptian-Architecture>. Mencher, K 2015, Ziggurat of King Ur-Nammu, viewed 5 June 2016, <http://www.kenneymencher.com/2015_12_01_archive.html>. Pinterest 2012, Section of Mycenaean Temple of Atreus, Mycenae, viewed 5 June 2016, < https://au.pinterest.com/pin/163044448979434679/>. The Design Files 2015, Melbourne School of Design, viewed 5 June 2016, <http://thedesignfiles.net/2015/01/melbourne-school-of-design/>. Tumblr n.d., Brick Country House, viewed 5 June 2016, <http://66.media.tumblr.com/3962ecf6cb39b714094f24d700506eac/tumblr_ mmg21xyRLv1qzlcoro1_500.jpg>. *All images not cited above are author’s own.
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