ARCHITECTURE DESIGN STUDIO: EARTH S1, 2015 SUBJECT STUDENT BOOK Hannah Hubbard (539786) Vedad Huric + Tutorial 14
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CONTENTS: 1.0 THREE RELATIONSHIPS 1.1 Point/Line/Plane 1.2 Frame & Infill 1.3 Mass 2.0 CONCEPT MASS 3D MODEL 2.1 Design development intro & Digitization 2.2 Outcome 3.0 HERRING ISLAND. SOMETHING LIKE A PAVILION 3.1 Site analysis and conceptacle 3.2 Concept and Sketch design 3.3 Design Development 3.4 Final Design drawings 3.5 Final Design Mode 4.0 Reflection 5.0 Bibliography
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1.0 THREE RELATIONSHIPS 7
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Superkilen public park, Nørrebro, Copenhagen - Superflex Arts Group White lines highlight the topography of the park, and provide a geometry that occupants can interact with. The lines frame and define the different areas of the park site and additions such as lighting and seating. It is interesting how the people in the image appear to be interacting differently with the space, some following the lines, some walking alongside, some crossing directly. It shows despite the design intent, visitors will experience the site differently.
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1.1 POINT / LINE / PLANE Platonic geometry was the focus of my exploration of point, line and plane. Lines were intersected and develped through these mathmatically perfect shapes to create a landscape form that could be interacted with; stood on, seated on, and lain on. I experimented with a number of mathematically perfect shapes, sketching them in both plane and 3D, and intersecting these views. I settled on expressing the geometry with a plan view, making the structure functional and interactive to the visitor with changing depth.
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Prostho Museum Research Centre, Japan - Kengo Kuma and Associates Based on the “Cidori� Japanese toy, the frame is constructed using an assembly of wooden beams, interlocked without any nails or fittings required. The traditional wooden square was scaled and repeated, forming a grid cube that was repeatedly interlocked to form the structure. The cypress wood is a traditional Japanese framing material. The frame on first inspection appears highly complex, until you observe that it is a repeating form. This example correlates with my exploration of what appears visually as frame and infill. Here the frame is so condensed that it fills the immediate space around the view, so much so that it infills the building. As such the definable infill is the frame, and vice versa. 13
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1.2 FRAME & INFILL The traditional shape of a building’s frame is very recognisable. I put this shape in perspective and deconstructed it into the linear key elements, which then vanish into the horizon. I wanted to explore whether the infilll could exist by itself without a structure or definable “frame”, leading to the development of a delicate structure that was fluid and maellable. I modelled this after the spherical sketches I intially started developing in the point, line plane process. A sphere was an interesting shape to me, as it contrasts to our normal view of an orthogonal frame.
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Teshima Art Museum, Teshima, Japan - Ryue Nishizawa A space designed in collaboration with artist Rei Naito to house a single artwork, the art museum is a submerged concrete shell with the floor 4.5m below the surface. The openings allow the lights, sounds and smell of the surrounding nature into the space. The shell is shaped as a teardrop, reflecting the museum location on the island of Teshima in the Seto Inland Sea.
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1.3 MASS I focused on giving the illusion of a mass using a void of space, filled only with light and shade. Mass leads into the physics of gravity and the concept of floating. I thought of suspended elements in space and how they exist in the void of the universe. To create my space I inverted this idea, delicately framing a void, but with more definite substance than my frame and infill attempt.
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2.0 CONCEPT MASS 3D MODEL 2.1 DIGITIZATION & Design Development Intro The digitization process through Rhino allowed me to spatially reason my design in a way that I couldn’t visualise on paper. To create a spherical void in a way that could be printed clearly, I had to extract space from the interior of a cube. I could add the textural detail to the surface, that with the print could be visually observed and inspected by touch. The interior details, adapted from my earlier point/line/ plane geometric spaces, react to movement with changing light and shadow.
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2.2 OUTCOME The finalised product was interesting to handle, the grooves inside the spherical void printed very clearly. Being able to hold and inspect this model with your hands was very valuable for verifying the space that I had designed. The model bridged the priliminary tectonic exercises into the final design process, helping create a 3D space from my sketches and designs in 2D. This confirmed that I would be able to experiment with adapting from 2D to 3D geometry and back again.
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3.0 HERRING ISLAND. SOMETHING LIKE A PAVILION 25
3.1 SITE ANALYSIS Herring Island as a site didn’t resonate with me on the first visit, which I conducted during the tectonic explorations. It was only when completing the digital mass model that I begun to view the spaces on the island with the potential to change. The difference was most likely the consideration of underground space and manipulation of land that I explored during the mass exercise, with the new considerations of functionality and purpose, The second time, the experience of what constituted visiting and being on the site was more important, as I had begun to consider how I wanted to shape the visitor’s experience, and which elements of the island’s makeup could do this. The most crucial elements for me at the time were the vegetation, as I was already thinking about light and shade, and interesting topography with potential for exploration. Another element that was a cause of concern was the traffic, intially seeming negative this gave me the eventual direction of incorporating sound into my structure. The site I chose on the northern face of the island was unique from the rest of Herring Island. The vegetation was densely wooded, different, and made the environment cooler. The topography was the steepest slope on the island, almost shear, leading to the potential for interaction with this strong gradient. This gradient I harnessed later as one of my expressions of intensity - the structure emerging from the topography and seperating itself from the land, becoming increasingly more and more distinct from the natural form.
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SELECTED SITE
^ NORTH 27
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3.2 CONCEPTACLE My initial adaptation of my three tectonic excercises was the development of a tangled spherical shape, that was influenced by my earlier experimentation with spheres, but also with the tangle of nature, city and function I found on Herring Island. A sercret to me at this stage was yet to be defined. However the conceptacle was designed to represent the complex interpersonal webs that secrets can create between groups and individuals. In retrospect it was an interesting concept and structure, that did in a way influence my final outcome, however not through the “tangle� concept, later discarded, but through the way the conceptacle reacted to light, and the fascinating shadows the shapes cast. This would lead to and influence my exploration of light intensity.
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SECRETS CONCEPT AND SKETCH DESIGN From my personal evaluation of secrets/a secret, I considered my experience working through my depression, and how I related to the people around me during this time. Sharing my depression became a matter of confidence in the person I would share with, leading to different levels of intensity between myself and who I decided to confide in. The concept of intensity in a more absract way is how distinct something appears to the viewer, whether it is solid and definible, such as the mass techttonic, or something less obvious and maellable, like the point, line plane tectonic. From my site I wanted my pavillion to emerge from the land and the natural topography of my chosen site, to create more and more contrast with the slope, and thus becoming more distinct and “intense.” From an experiential viewpoint, I did not know how to convey the feeling of intensity, or moving from low to high intensity to the visitor. This lead to the literal physical definition of intensity, “power per unit area.” I wanted to embrace two experiential senses for my visitors, the intensity of sound and the intensity of light. Both are traditionally modelled mathematically using the Wave Equation:
Modelling this in 3D gives a oscillating wave form (as I sketched on the left), which did not demonstrate my intended connection and differing intensity between the individual’s secret and the various recipients. This lead to me experimenting with the wave shape, to find a planar projection, using my experience from the point/line/plane exercise.
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3.3 DESIGN DEVELOPMENT
1’s diffusing light, most intense outside stucture
My experiments evolved into triangular structures, with a point source radiation my two sensory elements: sound and light. These triangles are most intense at the release point, with sound and light diffusing outwards from the origin. In all roations of the wave shape I projected triangles, as I had seen in the mass modelling, the curve could always be reduced to a trianglular mesh. I modelled my site’s topography in sketchup, and projected the triangles out from the face of the slope. Two final triangular spaces: 1, One space to admit light from the exterior, and diffuse into the interior underground space. 2. One space submerged in the slope to echo sound from the solid underground walls and diffuse to the exterior.
2’s submerged sound, more intense underground 33
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DESIGN DEVELOPMENT - LIGHT (white, exposed) VS. SOUND (dark, submerged) 35
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3.4 FINAL DESIGN DRAWINGS
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Intended spatial experiences - expressed through photomontage
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3.5 FINAL DESIGN MODELS
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4.0 REFLECTION The tectonic exercises were unfamiliar, and thus difficult for me, but were very beneficial to my design development. I had previously had a very rigid, less considered approach to designing a structure, and these exercises gave me a new language and three new design approaches I could implement, despite my initial struggle. The exercise that resonated the most with me was the mass tectonic, having not really considered or engaged with the idea of creating underground space in my previous experiences. The Rhino design process was the a low point for me due to my inexperience and complete lack of apitutude for 3D modelling. However the end result; seeing what was previously just a vague sketch get to a printed model of the space, was mind-blowing and well worth my initial software apprehension. The site was a another challenge for me, it was not an environment that I intially enjoyed visiting, or responded to. A second site visit after the completion of the design exercises found me with a more prepared mind, and I was able to envision adapting spaces on the island to explore the brief. The concept of the secret was my greatest challenge, it took me several weeks to understand how I should be approaching the design process with the idea, and make descisions based on my concept. The studio environemnt was the most benficial here, as I was able to observe my classmates secret concepts and how they handled the progression of the idea and application of the theory to physical form. I was taking the concept of a secret too literally and the others aided me in thinking about the project in more abstract way, not just “let’s design and build a pavilion on the rock.� When I thought about intensity, especially in realtion to physics, I knew it was the right agenda to persue as it was immediately engaging me with ideas, and had a lot of possibility to connect the form to the visitor experience. I felt I harnessed this potential well, and used the physics of the space to create an interesting experience, that visitors could feel is a place for keeping secrets. The process and brief, despite being difficult and frustrating at times for me, was very rewarding as I have developed a result more considered and complex than I could have ever imagined at the beginning of the subject.
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4.0 BIBLIOGRAPHY BIG Architects, (2014), Superkilen [ONLINE]. Available at: http://www.arch2o.com/superkilen-topotek-1-big-architects-superflex/ [Accessed 31 March 15]. ARCHIVENUE, (2012), GC Prostho Museum Research Centre [ONLINE]. Available at: http://www.archivenue.com/gc-prostho-museum-researchcenter-by-kengo-kuma-associates/gc-prostho-museum-research-center-by-kengo-kuma-associates-4/ [Accessed 14 April 15]. Iwan Baan, (2013), Teshima Art Museum, Japan [ONLINE]. Available at: http://divisare.com/projects/244725-Ryue-Nishizawa-Teshima-ArtMuseum [Accessed 20 April 15].
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