Transitions, Earth Book, S1 2017

EARTH ARCHITECTURAL DESIGN STUDIO BOOK

GEORGE ROBERT HENRY AVRAAM 833800

Toby Dean // Studio 14 // ABPL20027 // Semester 1 2017

CONTENTS 1.0 1.1 1.2 1.3

THE 3 RELATIONSHIPS Point, Line & Plane Mass Frame & Infill

2.0 2.1 2.2 2.3 2.4

HERRING ISLAND EXPLORATION Site Analysis Conceptable Initial Design Sketches Design Development & 3D Modeling

3.0 3.1 3.2 3.3 3.4 3.5

FINAL DESIGN The Nature of Decay Plan & Sections Releasing the Secret A Humans Perspective Final Model

4.0 REFLECTION 5.0 REFERENCES

POINT, LINE & PLANE

MASS

FRAME & INFILL

1.0 THE 3 RELATIONSHIPS These three techtonics form a basis to many architectural designs around the world. Throughout the course of the semester I explored these then analysed and adapted them individually to provide inspiration for my design. These tectonics were then combined systematically to form the final pavilion design on Herring Island which addresses the idea of 'Secrets' whilst embodying my own concept of 'Transitions' .

1.1 POINT, LINE & PLANE

Points and lines are considered within the first dimension, A point is a small placeholder of a location. From this point a line can be created.. Lines have no depth or width but only length and direction and represents an infinite number of points. When a line is extended into the second dimension and given width, a plane is created.

It is the relationship between point line, and plane that was explored.

PRECEDENTS

The Structure of Proteins, Alpha Helix Structure1 Aspects of point, line and plane are embodied within the molecular structure of protein chains and the formations that are created through the different bonding between atoms.

In a diagrammatic sense, the points are the atoms themselves which act as joints between different atoms. The lines represent the different types of physical bonding between these atoms, such as polarized hydrogen bonding and peptide linkages. These bonds create secondary molecular structures which are highly organized and systematic but can also be broken and dismantled given different environmental conditions.

Nelson Atkins Museum, Steven Holl2&3 Holl explores the concept of point, line and plane, especially through the use of linear and planar elements.

These line elements are emphasised through the contrast with the semi-translucent and hazy planar surfaces. The lines are arranged in a regimented pattern vertically and horizontally across the building which at their intersection form a joint element.

‘Cross-linked’ The name cross-linked represents the bonding between polymer chains.

This is especially evident in covalent and ionic bonding within protein structures.

It is this concept which directed the form and composition of my PLP model.

The series of triangles are formed by the connection of joints at each apex.

These are representational of the individual atoms which are connected together to other atoms through the covalent bonding. Covalent bonding is when atoms share electrons creating a physical connection. The idea of bonding is embodied within the model through the direct connection of lines to the joints.

The planes within my model are translucent inspired by Holls', Nelson Atkins Museum. These span the centers of some of the triangular forms.

The transparency of these panels represent the dispersion forces between atoms. These are the weakest form of bonding and are a temporary attracting force. These dispersion forces are fragile because they are maintained by temporary movements of electrons. Every atom experiences dispersion forces between other atoms but these are often sustained, broken and reformed instantaneously.

The translucency emphasises the fragility of this bonding type, although weak it is still present and maintains and important part of bonding between all atoms

1.2 MASS Mass is not an intellectual system, there is no narrative. It is about experience of gravity and reading what is directly in front of you. It embodies the conditions of separating spaces, the relationship between solid and voids. It also embodies the contrast between full darkness and what is exposed to light. It also gives the sense of the unknown, texture and feeling.

MASS SECTION COLLAGE After reflecting on and receiving feedback from my original mass drawing, it was discussed that the spaces weren't very accessible. This was an area of focus for my collage, where I rearranged the spaces so it can be used and accessed at a human scale.

PRECEDENTS

The Structure of the Lead Atom4 The shape and composition of my mass section was inspired by the structure of atoms and their composition consisting of protons, neutrons and electrons. The core is made up of protons and neutrons, which are encircled by a series of electron rings. Tiny atoms are considered the smallest fragments of mass.

The Lead (Pb) atom composition was the basis of my design. The layering of external electron shells inspired the circular rings which radiate from the center of my mass drawing.

Ellsworth Kelly, Drawings on the Bus (1954)5 Black and White (1960-61)6 Kelly during the modernist movement creates paintings only consisting of two tones.

Black and White. He starkly represents the relationship between solid and void as well as the connection and separation of darkness and lightness. Looking closely at his paintings his paint brushing technique also create texture and roughness to a solid infill.

Creating an experience from what is visible and what is in darkness, small cracks were placed within the ring structure to emphasise a dynamic lighting environment.

These openings allow light to travel to the central core within a progressively darkening space.

Within the lower portion I created a more confined darker labyrinth of spaces, which will give an experience of claustrophobia. The surrounding rings of mass are impeding and overpowering within the space.

The strong contrast between black and white was inspired

by Kelly's painting technique to evoke a strong sense of contrast between the solid and void aspects of my mass drawing.

1.3 FRAME & INFILL Frame & Infill is totally intellectual as you analyse, divide and piece elements together.

Frame is something that is fixed, efficient, permanent and stationary.

Infill is temporary, fluid and dynamic.

I explored the element of time and the influence on frame and infill while employing compositional strategies to arrange the composition.

Antony Gormley, Matrix II7 Gormley explores the relationship between different grid sizes and orientations within his piece 'Matrix II'. He utilises lightweight frames, overlapping each other to form intricate and dense cross-hatched patterns

Sibling Architecture, Squint Opera Australia Siblings, embeds natural plants and greenery within lattice style structures within offices. This demonstrates transience and fluidity within this type of infill as it will grow, decay and change over a period of time.

PRECEDENTS

Although not using traditional Japanese materials in his architecture, Tadao emphasises the raw beauty of materials such as the exposed concrete with visible formwork and how they change and stain over time

Tadao Ando,Rokko Housing II8 This housing block is formed around a series of gridded squares on a steep sloping terrain. Parts of this housing appear filled with the concrete structure emphasising solidity. The other sections remain hollow, emphasising the frame itself within the foreground. There is a seamless connection between the grid and infill elements.

The concept for my Frame and Infill piece was the contrast between structure and rigidity with the natural and organic.

This focused on the influence that time has on transient and fluid infill elements whilst emphasizing the permanency of the frame.

The earth boulder although dense can be seen as something temporary, that will decay over time. Small cracks, fractures and crevices have been formed as time progressed.

Similarly, time in the decay process is highlighted within the natural grass infill. Here there is a rapid decay of this element, where discolouration and death occurs as time proceeds.

The infill section uses a compositional strategy of single gesture, where the rock is prominently embedded within the context of the different grid frames.

The natural boulder is a great contrasts against the stark white frame.

My grid structure focused on using contrasting grid scales which interact with one another.These frames were arranged using the compositional strategy of MoirĂŠ, where the two similar elements overlap creating a unique pattern. This is more evident through my plan drawing where the interference of each grid creates a crosshatched pattern.

When too many layers are placed overlapping each other using the MoirĂŠ technique, the entire pattern created can be overwhelming, confusing and too dense. This occurs when you look at my model from a perspective view, rather than directly front on.

2.0 HERRING ISLAND EXPLORATION ‘SOMETHING LIKE A PAVILION’ Herring island was an old basalt quarry and scout camping grounds.

Its history is unique and now it is an area to display art. Enriched with native flora and greenery, the center of the island provided a sense of enclosure against the complex and bustling city beyond, A secret space within our own city?

PRECEDENTS

James Corner, Long-Lots along the Mississippi River (left)9 & Dry-Farming Wheat Strips. Montana USA (above)10 My texture mapping exercise for site analysis was inspired by Corners non-traditional map making approach. Fundamentally, this approach utilises landscape images from site and are compiled together with data to form a map. Aesthetics play just as an important role as the science where Corner highlights important information using a representational and stylistic approach to site analysis and observation.

Chora Architects works in the exhibition “Research in Architecture�11 The aesthetics of my second site analysis task which looked at temperature mapping of Herring Island was inspired by Chora Architects representation. Although this particular map aims to address the effect of climate change and maximising energy efficient within Berlin.

The way in which Chora Architects have utilised different colours and symbols, in an abstract but bold way to represent different information was of great interest to me.

The texture mapping exercise was aimed at creating an overall mood or feel which represented the island. Through compiling, overlapping and intertwining different images taken on the island and projecting them from their original location gives a sense of the colours and experience. Each image was scaled to a certain size depending on how frequent that object or plant was.

The labels are colour coded to give an indication of where features were on the island.

The overall mood created was joyful and relaxing. This is evident through the green and cool blue colours created by the sky, water and native plants which remain prominent within the final compilation. Some brown hues which come from the wood of the trees and ground cover which create an earthy feel and provides a sense of stability and structure.

My temperature mapping exercise was to highlight the colder and wetter areas which exacerbates the nature of decay, These areas will assist in conveying my concept of transition.

2.2 CONCEPTABLE The conceptable provides a relationship between the three parts of the pavilion.

Above ground, below ground and on the ground through combining the previous tectonics.

My conceptable is also a withholder of the concept behind my pavilion.

2.2 CONCEPT REFINEMENT In realising my final concept, I analysed my previous three relationships and their concepts. The concepts were as follows...

PLP - Interlinked relationship between different atoms Mass - The composition and build up of an individual atom Frame & Infill - Structure and rigidity against nature over time From this it was established that my concept would be

transitions.

This concept emphasises the relationships between different things, whether it be atoms or nature which ultimately cause change in the physical sense.

The form of my conceptable illustrates how the above ground, below ground and ground level all relate within my pavilion.

The grids features throughout the above, on and below ground sections.

This shows how this element will be important throughout the entire composition, relating to the entire pavilion as a whole.

One grid is shown rusting, decaying and being physically altered, whereas the other is in a perfect square, shiny and unaltered state. It is this contrast between these grids which embodies my idea of transition where materials will physically change as time proceeds.

The central curved form was appropriated from my circular mass section. This sits on the ground and this metaphorically acts as a divider between past and present, new and decayed

2.3 INITIAL DESIGN SKETCHES Based off my conceptable I began to create rough sketches to brainstorm ideas as to the composition of the pavilion and how elements will work together.

DRAFT PERSPECTIVE

DRAFT PLAN

nts 2.4 DESIGN DEVELOPMENT & 3D MODELING The design was the developed by 3D Modeling these initial ideas. This allowed me to understand the spatial aspects of the pavilion and how it will be used at a human scale rather than a figurative idea or form. By also modeling the gradient of the island it allowed me to explore and adapt my form to the surrounding landscape and negotiate how people will use, enter and exit the different areas of the structure

These diagrams illustrates how each of the three relationships were adapted into a final design.

The element utilized from my PLP was the transparent planes which act as walkways on the first and second level of the pavilion.

The translucency of the sheets allows the grid to span between the different levels of the pavilion and into the water, without being interrupted. It provided a functional element to the pavilion allowing people to move easily around the spaces.

The two different sized frames form the main structure of the pavilion. Each section of the frames are made out of one of four materials. Each of these will undergo different changes and transitions overtime.

The rock was introduced as the 'Secret' within my pavilion which is situated underground. Within this the time capsule will be situated and will be released through the decay of this rock.

From my mass diagram, I appropriated spheres from the rounded shape and then divided and combined these to make smaller curved segments. These project outwards from the central hole which allows water to flow to the underground level. These act as a barrier to regulate the water flow but also highlights the central hole within the design, putting emphasis and eluding to the secret situated underground.

3.0 FINAL DESIGN The concept embodied within my pavilion is Transitions This idea of transition is a change in the physical sense such a decay as well as the transition of materiality overtime.

FIRST DAY OF OPENING All materials intact, shiny and metallic

FEW YEARS LATER All materials begin to rust, decay and undergo transitions.

3.1 THE NATURE OF DECAY Each section of the grid was allocated one of 4 materials, Copper, Bronze, Iron and Zinc, each uniquely changing over time.

As time progresses the iron will begin to rust, especially those metal elements situated near the water. The zinc will form a dark oxidised layer while the copper will begin to turn from its shiny brown to its famous green tinge. The bronze will begin to rust and darken while the concrete will also begin to fracture and stain.

Copper (Cu) Copper undergoes oxidation which is the removal of electrons from the substance.

The green colour is formed because when copper reacts with water or air copper carbonate is formed on the surface.

Bronze (Cu + Sn) Tin and copper alloy, which tarnishes because of reactions between the metals within the alloy and metals, salts acids within the Yarra Rivers water.

Examples of these are chlorine or sodium

Iron (Fe) Iron rusts because of the formation of Iron Oxide when this metal reacts with oxygen in the presence of moisture.

Zinc (Zn) Zinc under goes oxidation through reaction with oxygen within the air. This forms a dark gray layer on the surface.

If the Zinc oxide is scraped away the under surface will be the original shiny metallic Zinc

The site that I selected was extremely important in the realisation of my project. Through my site analysis I identified my location on Herring island because of the steepness of the terrain allowing myself to embed my pavilion within the earth. It's also important because of the relationship with the water and how it is in a colder more shaded area. This allows the more rapid decay of my pavilion enhancing my concept of transitions.

3.2 PLANS & SECTIONS

3.4 RELEASING THE SECRET Situating my site along the waters edge was especially important for the secret within the architecture.

Having the pavilion at the waters edge allows water to flow down my central hole and slowly erode away this central rock.

My secret is a time capsule which is embedded within this rock and will be released in approximately 200 years through decay and erosion

The decay rate of the rock was calculated using data from Christopher Chui's experiment from the University of Toronto12. From this data I calculated the force which was applied to the rocks in the experiment and the time taken to erode them. I then calculated the force created by 2L of water falling 10m on to a rock (ie this was the distance from the top of the waterfall to the rock within my design). This allowed me to compared the forces and therefore calculate the erosion time of a much larger rock. The outcome was that an 80,000kg rock of basalt would almost completely erode enough in 200 years.

3.5 A HUMAN PERSPECTIVE

3.5 FINAL MODEL

4.0 REFLECTION The three tectonic studies that we undertook initially assisted me to view architecture within its raw elements, breaking it down to its core. The different studies allowed me to base my designs around the fundamentals of architecture whilst developing my own concepts to explore freely.

One difficulty faced throughout the project was combining these three tectonics to form a final design that was cohesive and worked functionally as a pavilion. Despite this difficulty the combination of these tectonics yielded some exciting and sometimes unexpected results. The idea of applying a 'secret' assisted in pushing me to design something unique, creative and not pragmatic. This was a real asset to my project, allowing sometimes crazy ideas to flow creatively whilst giving a unique purpose to a pavilion.

What I have learned this semester was that the most complex approach isn't necessarily the best.

It's very important to flesh out each tectonic and how it works on its own and how it fits into the entire design. This helped me really strip back each tectonic to the essential aspects and therefore made it easier to combine these elements in an effective way which convey my ideas whilst remaining functional.

One of the most beneficial aspects of this studio was the feedback and support received from tutors and peers. Discussing ideas especially with peers helped consider others perspectives and direct my design in a way that I hadn't thought of before.

Overall I really enjoyed the freedom that this studio provided. Not restrained by rules and guidelines allowed complex thinking and great creativity to flow freely. Being my first studio it provided a great insight into the future studios to come, I have much to look forward to.

5.0 REFERENCES 1.

Wordpress. (2013). Biochemliefstyle. Retrieved from https://biochemlifestye.files.wordpress.com/2013/03/fg24_07.jpg

2. Holl, S. (2007). Nelson Atkins Museum. Retrieved from http://www.stevenholl.com/media/files/Nelson-Atkins/2006831NAMA_-0004new--W-PR.jpg 3. Holl, S. (2007). Nelson Atkins Museum. Retrieved from http://mmbiz.qpic.cn/mmbiz/Z27GibzaE8zp9UzUt8icNYYHag8y9H0HBhxBgn0CuQoiafZK2iasHsKEHEWXlU6icVEiaHuQEhdwlwqrVILa1Qsog5Lg/0 4. Helmenstine, A. M. (2016). See the Electron Configuration of Atoms and Elements. Retrieved from https://au.pinterest.com/ pin/137500594849502476/ 5. Ellsworth, K. (1954). Drawings on the bus. Retrieved from http://5b4.blogspot.com.au/2011/06/drawings-on-bus-1954-by-ellsworth-kelly. html 6. Ellsworth, K. (1960). Black and White. Retrieved from https://socialstructures270.wordpress.com/page/2/ 7. Gormley, A. (2015). Matrix II. Retrieved from https://au.pinterest.com/pin/221943087862985624/ 8. Jordidia, P. (2014) ANDO Complete Works 1975-2014. South Korea: Tashchen 9. Corner, J (n.d). Long-Lots along the Mississippi River. Retrieved from https://au.pinterest.com/pin/300193131383843976/ 10. Corner, J (n.d). Dry-Farming Wheat Strips. Montana USA http://socks-studio.com/2012/10/29/taking-measures-across-the-americanlandscape-by-james-corner-and-alex-mclean/ 11. Chora (2012). Research in Architecture. Retrieved from http://www.chora.tu-berlin.de/public-ation/exhibitions/ 12. Chui, C (1997). An Experiment on the Erosion Rates of Rocks. Retrieved from https://creation.com/images/pdfs/tj/j11_3/j11_3_335-343. pdf