ARCHITECTURE DESIGN STUDIO: EARTH S1, 2016 EARTH BOOK Hongchang Duan
754775 Scott Woods Tutorial 05
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1.0 THREE RELATIONSHIPS 1.1 Point/Line/Plane 1.2 Frame & Infill 1.3 Mass 2.0 HERRING ISLAND. SOMETHING LIKE A PAVILION 2.1 Conceptacle 2.2 Concept and Sketch design 2.3 Site Analysis 2.4 Final Design drawings 2.5 Final Design Model 4.0 Reflection
5.0 Bibliography
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1.0 TECTONICS - A VISUAL NARRATIVE The three techtonics were introduced as exercises during the first half of the semester. “Point, Line, Plane”, “MASS”, “Frame and Infill” were the three investigations carried out, to explore the possibilities of the techtonics. It started fromw a dot, the moving dot created line; the moving line created plane; a moving plane created mass. It all stared from a dot.
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1.1 POINT / LINE / PLANE DESIGN CONCEPT
Developed from the Japanese handbag collection Baobao, my design is about the organically develped surface, which is generated by the meeting of the points and lines at the edge of each modules. The design process was completely spontaneous, therefore given its organic form.
BAOBAO iSSEY MIYAKE
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Tokyo Metropolitan 12 Underground Water Discharge System
1.2 MASS DESIGN CONCEPT
Underground for me has always been intimidating. The possibility of the unknow in the massive underground volume often to me produce a specific sentiment. Much like visiting an acient ruin. I’ve taken the inspiration from the Tokyo Metropolitan Water Discharge System, where massive man-made underground volume could process the sense of solemnity and monumentality. Therefore I took the form of the un-natural regular shapes, created this massive artifical underground volume which is a reminiscent of the factories. I deliberately limit the light from entering the volume, so that the narrow gaps between the masses adds contrast to the immense gravity and weight the other parts represent. The emotion of intimidation, fear and uncertain is therefore envoked.
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MASS Drawing Developments
Final MASS Drawing
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1.3 FRAME & lNFILL DESIGN CONCEPT The originally frame structure is then disrupted, torn down, and then resembled, or rather magnetically attracted to, the silver core. In this case although the infill is surrounded by the frames, the frames are actually being held together by the core.
Jean Gorin, Spatial Construction, 1954
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Superimposition of the model on the side of the road
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Looking out from the inside of the mod
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2.0 HERRING ISLAND. SOMETHING LIKE A PAVILION
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2.1 CONCEPTACLE Largely developed from the MASS exercise, I had the idea of bringing the underground volume and make them to be on the ground. I continued with the idea of how man-made massive structure could pocess solemnity and monumentality. The hypothetical accessing routes are deliberately set to be narrow, so that it could create contrast to the gravity and weight the solid parts of represent. Besides the cardboard-made model on the left, I used concrete to make the same model, in order to have a better perception of how material could affect the final outcome. In order to see how the structure would look like after a long period of weathering, I deliberately made the surface rough.
Secret Concept My concept of the secret originated from the idea of unveiling parts of the secret, but the secret as a whole will not be unveiled. A partially known secret is after all, still a secret. The role of the “indicator� is rather important, it acts as the part that is being unveiled, due to the inaccessibility of the island, the rest of the secret is therefore a mystery. The second stage of the secret is the rendering by the light, darkness and the weathered concrete. As visitors circulate the structure, the rendering of the atmosphere would give the visitors the chance to reflect and feel the surroundings, those memories being triggered
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MONOLITH ON HERRING ISLAND The superimposition of massive monolith object on the island, producing a sense of monumentality on Australian landscape. As the outer layer of the island is largely surrounded by trees, making the interior of the island hidden from eyesights.
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2.2 Concept: Arhictectural Wasteland I had the idea of architectural wasteland during the MASS exercise, the idea of the on-land “indicators� , indicating the ruines/volumes under the ground intrigued me. As I turned back to look at the Herring Island one last time before going to the tram stop, I felt like it should have someing on it, someing monumental.
WENLUDERWIND Series (Photography) / Nicholas Moulin, 2009
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THE ARRIVAL CHAMBER OF RUINS.
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3.1 SITE ANALYSIS AND CONCEPTACLE
Num pro et intrit, conimius, nost incerti silisque pat. Modiu quempl. Seritia civivastra, P. Ego nius obsed mei prae nitimus nonveni rmanum ium pris faucivem facitatis nem dierem. Serum octantem tuam. Dem patusa nortus vidiem ublicaet venat, Ti. Tum no. On simus. Asdam quam hostra sedena, conequamqua L. Ehebemu revitrurbem involtus hilnestra tam vit; ego corus prei sediurn intem, dest fauciemque consus non descere issesilissa omanum li prorem te conerfintra dum dit. Hic tastus iam sa et atilin
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Summer Monring
Foliage & Highway Coverage
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Winter Morn
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Mid Day
Winter Evening
Summer Evening
Site Analysis Herring Island is a man-made island mostly covered in native Australian vegetation. The island is surrounded by trees on the outer layer and making its centre ground visually inaccessible from the highway which goes around the island. Anually the island is only accessible by boat for a very short period of time, during the other time of the year the island is closed to public and can only be seen from the other side of the bank. Through the development of the idea of the on/above the ground “indicators�, shadows and light accessibility would play a major part in my design, therefore I did these sun course studies to further assist with the location of the chosen site.
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Site Plan
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The Chambers are half sunken into the ground, as if after years, the once standing structure has been buried, what the Chambers have seen, and what has been buried is unkown, the concrete-rendered air, the solemnity and monumentality would resonant with the occupant, of their past, their secret.
TOP VIEW
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PLAN.1 BELOW GROUND LEVEL
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Circulation
ELEVATION
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Section 1/ Chamber I & III, 1:100
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Chamber I West facing light well makes Chamber I exposes to sun light, especially during sunset. As the first stop of the journey, it acts as the first pilot episode, getting the visitors ready for what comes next.
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Chamber II The darkest of them all. Chamber II features a thin line of oepning, which allow only limited light access, hence create an space full of darkness but a slim slice of light. The Chamber is North-West facing, during sunny days the path of the light beam would change according to the position of the sun.
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Chamber III The giant circle opening in Chamber III frames the MASS structure on the ground, and a glimps of the start of the journey, Chamber I.
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4.0 Reflection STUDIO EARTH Through the three tectonic exercises, I was able to discover what I’m interested in. During them I was able to test different ideas, different ways of expression. Before I didn’t know what are the effective ways of representing ideas. The first presentation I saw the standard of my peers, I found that I should push myself harder to the limit. I was really impressed by the works of my classmates, during the MASS presentation. I wastruely astonished by the varieties of ways of expression. During the Frame and Infill presentation I tested how to express drawings through collages, even though the drawing was really basic, I found the drawings to be really expressive, in the future I would continue to apply this techinique to other designs. I really enjoyed the making of this project, I’m glad that for this studio I had the freedom to deisgn something that I enjoy. One of the highlight of this studio, is to see how everyone interpret concepts differently. For instance I’ve never thought of using ice as a modeling material, this gave me the idea of pushing aside conventional model making materials, and experiment with concrete and see how the texture would affect the final outcome. This studio has pushed me to use all kinds of media to convey architectural ideas, these range from using digital drawing (which throughout the semester I improved substantially) to handson model making. If I’ve been given an opportunity to re-consider my design, I would focus more on the programme. I would add more complexity into the structure of the project, and try to utilise more forms to express the idea of on land indicators and its monumentality.
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Bibliography ISSEY MIYAKE, date unknown, BAOBAO, viewed on 6th June 2016, < http://www.isseymiyake.com> DDDECO 2006, The Metropolitan Area Outer Underground Discharge Channel, viewed on 6th June 2016, < https://upload.wikimedia.org/wikipedia/commons/3/34/Kasukabe2006_06_07.JPG> Jean Gorin, 1954, Spatial Construction, viewed on 6th of June 2016, < https://au.pinterest.com/ pin/364791638542894731/> Nicolas Moulin, 2009, WENLUDERWIND, viewed on 6th of June 2016, < http://www.someslashthings.com/onlinemagazine/nicolas-moulin-in-somethings-chapter004-the-wings-of-a-locus.html>
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