ARCHITECTURE DESIGN STUDIO: EARTH S1, 2015 SUBJECT STUDENT BOOK Hadar Slonim
(699088) Scott Woods. Tutorial Group 5
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CONTENT 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 2.2 2.3 2.4
Site Analysis and Conceptacle Concept and Sketch Design Final Design Drawings Final Design Model
3.0 REFLECTION 4.0 BIBLIOGRAPHY
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1.0 THREE RELATIONSHIPS After exploring the three relationships, I was able to take elements from each techtonic to incoorportate in my final design scheme.
POINT / LINE / PLANE
FRAME & INFILL
MASS 7
Israel Museum Collection, Composition with Double Line, (Mondrian, 1934) Bold composition of lines at first, but at second glance a mirror image of those lines emerge, faded into the background. The composition is part of the Neo-Plasticism movement and embodies Modrian’s desire of abolishing form from his compositions. The compositions raises questions regarding the relationship between lines and planes; at which point do the lines end and the planes begin? 8
1.1 POINT / LINE / PLANE Design Concept: My design began by arranging four triangles togther as a base for the composition with each point to a different direction. Inspired by Modrian’s work, I used woolen string to suggest softness to the overall design. The woolen strings create lines that all vanish to one point - a different point to the base triangles. Further, I introduced a narrow curved line to offset the geometric nature of the design. The curve has no defined point but rather makes its way through the composition.
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Pompidou Centre (Paris) / Piano, Rogers, Franchini, 1971
Flak (Nantes) / OKGGA Architects, 2006
The Pompidou centre is a ‘steel superstructure’ that reflects Postmodern and Brutalist architecture. The functional elements of the structure are colour coded and imbedded within an exposed skeleton. Here, the steel ‘infill’ element almost becomes the frame as it extrudes out toward the public eye.
Noticing that the frame and infill are of the same material, I was intrigued. Whilst they are of the same material, they still seem somewhat defined due to the frame revealing the log’s exterior and the infill revealingthe log’s section. The frame is cut open and the infill is therefere revealed.
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1.2 FRAME & INFILL
Design Concept At first, I attempted to create a rigid wire structure to frame the cotton wool as infill. However, whilst in the making process I realsed that the wire hd natural curves. Thus, I moved onto the idea of an organic frame and only connected the wire in one place to create a circle. It was only after the frame was completed that I stuffed it with cotton wool. The effect I wanted to create was a contrast between materials with the cotton wool extruding out as if it wants to be revealed.
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Embabkment (London) / Rachel Whiteread, 2005 When we think mass we often thing of large amounts of materials. However, often a vast amount of smaller pieces can create a ‘mass’ leaving behind the same effect as one large block of material. On the other hand, the white polyethylene boxes can suggest that they were all a part of on large ‘mass’ which has slowly been excavated.
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1.3 MASS Design Concept When I think of mass I think of earth, texture and materiality. My design was to excavate a large area of earth to allow bands of light to shine down into the hollow areas. Clay was used for a textural effect. Not only do you look at the work, but you can touch and feel it too through the materiality.
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Selected location on site
2.0 HERRING ISLAND. SOMETHING LIKE A PAVILION
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Movement
Herring Island
- Movement  - Still -
- Hidden -
Elevation Elevation Elevation: 10m
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Elevation:13m
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Elevation: 20m
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Elevation: 11m
2.1.1 SITE ANALYSIS My focus on site was the movement. Movement of ground levels, movement of people, movement of wildlife and the movement of the natural elements that pass through the site. I selected the western most point for the proposed pavilion as it is partly secluded from all the movement of the island. Following the movement analysis I wanted to design something static that would act as a barrier between the movement of the island and the serenity of the natural environment.
Selected location on site 17
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2.1.2 CONCEPTACLE My conceptacle used the geometric composition from my point/line/plane design and the materiality from both my frame & infill and mass concepts. I attempted to create tension with the range of materials. In terms of ‘secrets’, my concept stems from my idea of static barriers to movement. The secret is what can be found on the other side of the structures and also within. An upside down pyramid like form in the conceptacle was the basis for my overall design. Part of it is below ground. The idea to have something below ground was carried through to my final design. The conceptacle provided me with questions regarding my proposed pavilion; what material would I use? How many pyramid like structures would there be? Where would they be placed? How this was actualised was developed further along the desgin stages.
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Sketch design 2.3 DESIGN DEVELOPMENT
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My initials design was to have to use the ground as the barrier rather than the structure itself. However, I wanted there to be open and secret spaces within the desgin so I developed the idea into seperate static (even monumental) pyramid strctures inspired by Peter Eisenman’s Berlin Holocaust Memorial.
Louvre Pyramid (Paris) / I.M Pei, 1984
Bloch Building (Kansas City) / Steven Holl Architects, 2007
Inspiration for overall scale of my design. Also, here I developed the idea of an underground time capsule the same shape as the pyramids above. 20
I chose frosted glass as the building material for my design as it is semi transparents but still leaves a sense of mystery of what is behind it.
Developing on my conceptacle, I maintained the geometric form in my design and explored the composition of pyramids.
13m I Final pyramid design for model. used a hard plastic to form the pyramids and for materiality.
Memorial to the Murdered Jews of Europe: Holocaust Memorial (Berlin) / Peter Eisenman, 1999-2005 21
2.4 FINAL DESIGN DRAWINGS
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Underground timecapsule
Pyramids with space for movement and secrets in between 23
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3.5 FINAL DESIGN MODEL
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3.0 REFLECTION I found the fortnightly excersies helpful in helping me on my design journey. As i explored the different tectonics I learnt how to integrate them into an overall design. They were tectonics I had not explored before and it was rewarding to design and develop a new understanding about the relationships between different forms and compositions. When it came to the second half of the semester - the time to begin the final project, I struggled. Whilst I was able to complete the intial excercises, I found it challening having to incorporate many different elements both physical and conceptual into one design. I found that research and testing was the key to overcoming this challenge. Looking at different precedents helped be develop a strong concept and provided me with the inspiration to move on to the design process. Tutorial feedback was a crucial part of the design development for me. Having my design analysed by students together with the tutor, forced me to defend my design choices and be confident in my decision making for the final project. Whilst I am pleased with my desgin concept, I feel as if I could have pushed it further in terms of the brief ‘secrets’. The brief definately pushed me to imaginative and think beyond standard architecture - a challenge that I enjoyed. Overall, I did face some challenged but I feel that it is the challenges I had to face and overcome that imporved my desgin and that will set me up for future desgin projects.
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4.0 BIBLIOGRAPHY
Eisenman, P 2005, Holocaust Memorial, Colin J.P. Homiski, viewed May 22, <https://homiski.wordpress.com/2013/05/03/monuments-as-culturalmemory/> Holl, S 2007, Block Building, The Cool List, viewed June 3 2016,< http://www.thecoolist.com/glass-buildings-15-creative-uses-of-glass-inarchitecture/> Mondrian, P 1934, Composition with Double Line, Israel Museum Collection, viewed 6 March 2016, <http://www.sothebys.com/en/auctions/ ecatalogue/2013/impressionist-modern-art-evening-sale-n09035/lot.14.html> OKGGA Architects 2006, Flak, Archidose Blog, viewed 10 April 2016, <http://archidose.blogspot.com.au/2011/02/ae-22-logs.html> Pei, I.M 1984, Louvre Pyramid, The Cool List, viewed May 20 2016,< http://www.thecoolist.com/glass-buildings-15-creative-uses-of-glass-inarchitecture/> Piano, Rogers, Franchini 1971, Pompidou Centre, Travel Vivi, viewed 10 April 2016,< http://www.travelvivi.com/top-ten-best-pieces-of-art-to-see-inparis/> Whiteread, R 2005, Embankment, The Tate Modern, viewed 26 March,< https://en.wikipedia.org/wiki/Tate_Modern>
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