EXPERIENCING ARCHITECTURE PROJECT 1
Cheung Hoi Ling Esther BArch Architecture 2018-19
CONTENT
01
Artist & works
p1
02
Initial Feelings & thoughts
p2- 3
03 Narratives & Drawings
p4- 19
04 Composite Drawing Layer
p20- 21
05 Development Models
p22- 36
06 Site Analysis
p37- 48
07 Composite Drawing Layer 2
p49- 51
08 Synthesis Models
p52- 63
09 Composite Drawing Layer 3&4
p64- 67
10 Pavilion Design Developments
p68- 112
11 Final Pavilion
P114- 118
12
P119- 121
Final Composite Drawing
13 Bibliography
P122
(Studio Olafur Eliasson, n.d.)
ARTIST & WORKS OLAFUR ELIASSON Olafur Eliasson is a Danish artist known for installation art and sculpture. He has a wide range of projects that most of his early works involved elemental elements, such as water, light and air. His interest is in enhancing viewers experiences and the relationship between the way of their seeing and the reality. Some of his well known work are The Weather Project installed in Tate Modern in 2003, Your Rainbow Panorama in ARoS Aarhus Kunstmuseum and Your Black Horizon installed in Venice Biennale.
(Studio Olafur Eliasson, n.d.)
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02 I NIT IAL
FEELING S & THO UG H T S
1/ COLOURS Most of his projects work with colors that dominate the space creating optical illusion as well as giving emotional impacts.
2/ PERSPECTIVE Perspective is one of the key objective of his work, to allow people rethink their way of seeing
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3/ILLUMINANCE
4/ TRANSFORMATION
5/ DETAILS
Many of his project involve light installation, both colored lighting and light projections, which create atmospheric spaces.
Works that involve lights projections are often suggestion a transformation through light that change the original stage of light into another form.
Although most of his works are in large scale, there are hidden details and careful planning to enhance the experience and complete the installation.
These 5 initial thoughts of concept is then narrowed into 3, I will be focusing on further develop the concept of :
TRANSFORMATION DETAILS PERSPECTIVE I am more interested in these 3 concepts as color and light are the features and characteristics of his work to help achieving deeper thinking and goal that concern about human perception and perspectives. Transformation is one of the process or effect that happen through the formation of the installation and details are essential in the thinking of its composition.
(Studio Olafur Eliasson, n.d.)
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1/ TRANSFORMATION ARTISTIC INSPIRATION The artist used light projections on many of this work. To the artist, the main focus of light projection is about its transformation in the process. Light is intangible and hard to see unless it touches another medium. The Beauty (1993) shows this idea through projecting light on to falling waters which then convert into a colour spectrum through its movement. Feelings are facts (2010) also demonstrates this idea that the light with green, red or blue is projected to the mist and when two different coloured mist meet, they blend and transform to another colour.
03 NARR AT IVES
& DR AWING S
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(Studio Olafur Eliasson, n.d.)
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Overlapping lines
Overlapping squares
Overlapping triangles while having another form in the intersecting part Transformation of form from square to circle
Overlapping different geometries
Overlapping circles
Overlapping triangles
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DRAWING PROCESS Experiment in overlapping different geometries, such as quadrilaterals circles and triangles to see what effect it would bring, and whether there is any shift in form in the area when they meet. Overlapping part of quadrilaterals remain 4 sided, while circles give an oval with pointed end. The most significant change happened in triangles that they can form either quadrilaterals or triangles in their intersection. This finding proceeds to the first drawing of this concept that compose by overlapping triangles with different patterns. Thick dark stroke outlines the intersectional quadrilaterals to emphasis the result of transformation. The effect however is not obvious as the pattern or colour among them are different and similar to those triangles. By unifying the pattern, the overlapping areas might be more effective. The empty space can fill in with lines to suggest the possibility of transforming form from connecting their vertex.
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TRANSFORMATION
Transformation happens when objects with similar or the same form overlap, the area both objects share undergoes the stage of transformation. This transformation creates a new unexpected form that is different from the initial. These blurred boundaries become the essence of the focused vision which is more dominating than the original.
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2/ DISCREET DETAILS ARTISTIC INSPIRATION Some of the artist work reveal the delicate thinking and composition of installation which is hardly noticed and might be ignored in first impression. Details are often hide behind the full picture of the art piece. Maps of unthought thoughts (2014) has light projection of fences along the mirrored wall forming a fivefold symmetrical pattern. However, it is actually made of 5 layers of different arrangement of crossing steel. Viewers only discover when they walk near the projecting devices instead of focusing on the projection of themselves and the pattern.
 (Studio Olafur Eliasson, n.d.)
DRAWING PROCESS I believe the most unexpected effect is created when we recognise the detail we neglected is the basic thing in our knowledge, therefore, the idea started in exploring the usage of basic elements, lines and dots, to create false vision. First started with lines, horizontal lines are drawn in minimal spacing and vertical alignment to give a sense of a bold vertical line from distance. Another exploration on lines is to imply form. Some of the line stopped in the middle part instead of the end and space denser compare to those continue to both ends. This led to a comprehension of shape from the brain as the eye sense the difference in density and merge to suggest things in our own understanding. To break elements even smaller, lines are composed by continuous arrangement of dots. As sight from distance only tells briefly what we see, we omit the details. When drawing, Need to be aware of the consistency of spacing and ending point in small elements as the former give a uniform tone while the latter determine the shape of the perceived object and having unsteady arrangement is unable to create the intentional result.
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DISCRETE DETAILS
The way in which our brain visually perceives compositions can be altered and disturbed depending on viewing distances. Playing with distances can lead to a discrepancy between the reality and what we perceive. The true reality of the discrete details are only revealed when we are in doubt of our perceptions and curiosity and forces us to make a physical move closer towards the work.
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1/
LOOKING FROM DIFFERENT PERSPECTIVES
ARTISTIC INSPIRATION The artist consistently suggests a different way of looking to the created installation as many of his work has a characteristic of changing depending on the position of audiences are looking at. The Weather Project (2003) suggested a different way of looking to the Sun. The installation is set up in hall of Tate Modern, bring what people consider outdoor internal, looking to the sun can happen inside a building. Mirrors were fixed on the ceiling which make visitors view into their own image from above and react to what they see. The arrangement also gave chance for viewing from the bridge and upper floors of the hall, which raise the question on viewing, whether you are seeing yourself experiencing or you are watching others action to the installation.
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(Studio Olafur Eliasson, n.d.)
The Seu Corpo Da Obra (Your body of work) (2011) is only composed by 3 coloured transparent sheets, yellow, cyan and magenta. However, there is perception of green, red and other colours according the viewing position. The object remaining unchanged all the time, but the sensation of looking at the piece differ from people and from perspectives.
(Studio Olafur Eliasson, n.d.)
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DRAWING PROCESS The intensity of grey scale tone is applied on concentric squares, centring in one of its corner to create a sense of either coming forth or dropping down. Other geometric and pattern help to suggest a uniform that appear hiding behind the pop up object or reach the edge of the sink geometry, depending on the perspective. However, the result is not successful as the dark concentric pattern dominated the drawing and diverted the attention on sensing depth. Other geometry and patterns also drift the focus. By considering to express in the drawing, need to avoid using diverse geometries and concentrate of creating illusion in a simple but effective way. Turning to explore the confusion that caused by perspective, Drawing 2 is to create an illusion of all objects joint into one point in perspective, while all objects have its own one-point perspective. The depth is expressed not only by the tone of shade but also the density of lines. The closer to the centre the higher the density and keeping the furthest surfaces white. This drawing is successful in showing depth and the centre one-point perspective but not a other way of seeing as other perspectives are not as strong as the centre.
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I tried to explore one point perspective in another way and align different One point perspective diagram together, centering rectangles in different sizes to create different distances from the viewer.
Two- point perspective
This led to an unintentional discovery that the drawing also created several two point perspectives, the . both one point and two point perspective are able to exist at the same time, only depends on the point of view. There’s a realization of vision and perception is what the viewer choose to look at. I continue to explore the method of creating illusion that suit both way and suggest an alternative of seeing. By learning from the above experimental drawings and findings, I drafted the final piece of drawing which only formed by rectangles and trapeziums to keep the drawing minimal but giving different effect on depth and perspective. Planes are also incorporated to help suggesting popping up and sinking down views, alternative ways of looking.
One- point perspective
Plane
Sinking
Popping
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Perspective is determined by an individual focus point and the corresponding perception is based on a series of set lines and the degree of shade. Three dimensional illusions are interpreted by our own understanding of depth and distances accordingly. Moving from one viewing perspective to another, facilitates the discovery of the alternative ways of experiencing the illusion.
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3
LOOKING FROM DIFFERENT PERSPECTIVE
CONCEPTS
COMPOSITE DRAWING LAYER 1 Combining the concept of : 1/ Transformation 2/ Discreet Details 3/ Looking in different perspective Taking elements of each notational drawing into a single drawing expressing key concepts. From the concepts, I draft a possible narrative from it to guide myself for future decisions.
POSSIBLE NARRATIVE
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Experiences are the key function and impact of a space. By incorporating level and height differences of the context, this can heighten the possibility of viewing different perspectives and can create alternative illusions of space. Details of composition, materiality and structure can intensify this experience through one’s journey of discovery through a space. This distinguishes the character of the space from the surrounding context, which suggests a transformation that results in unexpected experiences.
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04
COMPOSITE DRAWING L AYER 1
05 D EV E LO P M E N T MODELS
1/ TRANSFORMATION IDEAS Getting from the idea of narrative drawings, I think of using geometric form to create a sense of transformation through the intersection of elements. Spacing and angling individual elements differently might help creating the effect and the intersection area should be emphases to draw attention on what is newly form during transformation. To create geometry, rods might be used to form the outline of them in order to keep part of the transparency in the geometry, as the translucent from can illustrate the flexible process of transformation.
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MODEL 1 6 pairs of similar elements of triangles are angled differently. Strings goes through the timber rods of other 2 sides of the geometry. Their difference in angle and position suggest a transformation in movement and form. As demonstrated by the pictures on the left, from different point of view, the cross over pattern of the string varies, form a unique composition of overlapping lines. This change on visual impact suggest
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MODEL 2 This model simplified the composition of the first model but also add in other material, wire, to emphasise a slightly different properties that the elements possess. When one element passes through another, the overlapping area transformed to another form. This applied in both in physical form of intersecting as well as the illusion created from the perspective of seeing, as one of the triangle element does not cross over with the others, but trick the eyes and brain that it does. The information the brain perceives transform reality into illusion.
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2/ DISCRETE DETAILS IDEAS Try to represent the concept through the contrast of material’s characteristics. Using bulky materials to dominate the visual impact, while hiding small elements with complicated formation that only careful observation can reveal the interesting part of the model. As shown in the sketches, I brainstormed different attempts of using bold items and small materials together. Lightweight and thin materials, like string and nails can use to show the idea. As the details are the interesting part of the model, I would like to draw peoples’ attention on to the hidden aspect of the model.
SMALL/ THIN MATERIAL: NAILS, STRINGS, RODS
MODEL 1 This model uses 10 x 10mm timber rods and nails. The taller timber elements are ideally the tools to hide shorter nails which aglin between them. In specific angles, the nails cannot be seen. The effect for discovering details from what seems to be dominate in first impression is not very successful as the nails are quite exposed to the sight through the gaps between rods. It might be more successful if the gaps are filled and restrict certain direct visual experience with the nails.
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MODEL 2 Details are lied between the gaps of chunky and tall wood blocks. They are nails with crisscross metal wire. As both of the material of the hidden elements has the characteristic of reflecting light, this trigger viewers to realize there are something inside the gaps and look into to find out the details. The result of this piece is effective as it is even difficult to take pictures of the inner nails and wire from those gaps.
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MODEL 3 This model is composed by 3 layers of wood with 20mm thickness and small steel elements between them. Details are hidden that at some point of view they are invisible, but further looking into the gaps between chunky element, there are delicate thin wires around small nails that lies along the inner edge of wood pieces. This piece is similar to the Model 2 as it hides details to be discovered, but the details of this piece are more subtle.
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LOOK FROM DIFFERENT PERSPECTIVES IDEAS To show the concept of looking in different perspective, the initial idea was to create a block that has holes of different depth (figure), or different faces of a block gives different perception of depth (figure). These ideas seem to suggest looking in different angles the result of sensing depth vary. Then, I start to think about the possibility of creating an object that gives an impression of coming up and dropping down at the same time without attempt of changing the angle of looking. This led to the idea of creating the object that gradually enlarge from the base to the top, which appear as a funnel shape. Also, the centre of the base has a smaller version of the similar form which goes smaller towards the top. Their opposite transition of form suggest different way of looking, that one can see it as coming toward his vision or the object sinking down. The sensation depends on how an individual perceive the object.
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TEST MODEL A test model is made out of yellow foam to create the ideal result and help imagining the negative space when doing the mold afterward . Although the form seem simple, the execution of it is complicate, especially the hollow part within it. Due to the angled surfaces, I failed to create even thickness between all shells when cutting the foam as I mistaken to keep in them in accuracy. This reminds to avoid this issue when creating the mold. It is ready to make the mold as this test piece helped me to identify what to be cautious about and what to avoid during the creation.
Thickness difference
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CAST MODEL As with the help of the test model, I tried to sketch out the process of how to make the mold by cutting a block of blue foam The process is repeated as cutting the foam, taking the cut object and combine them again. To create the centre pop up piece, the same steps are repeated with delicate and careful execution. By gluing pieces together firm and ensuing there are no leaking spots, the mold appears as a cube with holes on the centre of the face at the end (Figure). This look interesting as the whole form is covered that the result seem unpredictable.
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DE MOLDING The concrete is settled after a couples of days and ready to be de mold. The process of de molding is straight forward but take patience. As the model has both hollow and solid concrete block at the centre, it took extra care and time to get the centre piece of blue foam out. Long nose pliers are used to help taking blue foam bit by bit from the narrow centre base of the model. The whole process of de molding this piece was one and a half hour, which took an hour more compare to the others. One side of the concrete shell broke apart during the de mold process. This is because that side of the shell is thinner than the other sides that it does not have enough strength and while force is applied to the model during de mold process, it collapsed. However, the broken part add another visual impact on the model.
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CONCRETE CAST MODEL After a long process of de molding, the model is finally completed. The result of this model is similar to what I proposed from the yellow foam test model, but the material create a whole different sensation. The concrete texture add roughness to the model that contain small details of the concrete mixture as well as the marks that caused by de molding. It also gives a better perception of depth as it creates more shade and darkness in deepest part of the model. The darkness even blind the surface of the base and appeared as sinking down endlessly. The accidental broken part of the model gives an unexpected perspective in looking to the model, which comply to the concept of this model.
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06 S I T E A N A LY S I S Lace Market Square, Nottingham
INTU VICTORIA CENTRE
LOCATION
INTU
OLD MARKET
VICTORIA SQUARE CENTRE
According to the city centre map that Nottingham City Council issued, the city centre of Nottingham can mainly classify into zones, the Royal zone, Victoria zone, Lace market zone, Castle zone, and Broadmarsh zone. The site is Lace market square, locating between St Mary’s Place, St, Mary’s Gate and Adam’s Walk. It lines on the boundary of Lace market and near the transition of all zones.
COUNCIL HOUSE
Site Royal Zone OLD MARKET SQUARE COUNCIL HOUSE
Victoria Zone
ST PERTER’S CHURCH
There are also several important space around the area which suggest the site is convenient in approaching any of them.
Lace Market Zone ST MARY’S Castle CHURCH
The photos give a general idea of the image of square.
NOTTINGHAM CONTEMPOARY ST PERTER’S CHURCH
INTU BROADMARSH
ST MARY’S CHURCH
© Crown copyright and database rights 2018 Ordnance Survey (100025252). FOR EDUCATIONAL USE ONLY.
NOTTINGHAM CONTEMPOARY INTU BROADMARSH
Zone
Broadmarsh Zone Tram route
S
LAND USES
There is a variety of usage of buildings in the Lace market area. No specific land use is dominating the area. As the lace market is part of the Creative Quarter, it encourages different creative businesses, including restaurants, cafes, shops, galleries and offices. Residential units give space for the people who work nearby as well as students as city centre of Nottingham has a large population of students. There is a noticeable amount of car parks, this is to provide space for vehicle of people coming or working in the area as there some streets restricted the vehicle access or parking.
INTU VICTORIA CENTRE
Catering
Retailing
Residential
Services
Entertaining
Carpark
Educational
Currently vacant
Commercial (Offices)
Site
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Pedestrian
ACCESS
Two-way traffic One- way traffic Restricted Parking Zone Tram route
Access to the site is mainly from Fletcher Gate through Adams Walk, people will walk pass the alley and arrive the site. This creates a direct link to the New College. There are access point from Waser Gate and St. Mary’s Gate as well.
1 WA S E
As indicated in yellow, is the pedestrian access area that include streets and the square. Vehicles are not allow to the square that St. Mary’s Gate is restricted for parking, only allowing vehicles for loading to enter. Also, some of the street in lace Market are one-way street, that only allow single way of traffic. These control the access of vehicles, making the square a pedestrian friendly zone.
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The tram line is located alone Fletcher Gate which support the site with public transportation. Although there are noise create at the same time, it provide a supply of pedestrians and entering the site os more convenient.
S T MARY’S PLACE
4 S T M AR Y’ S G AT E
K IN G ’S
© Crown copyright and database rights 2018 Ordnance Survey (100025252). FOR EDUCATIONAL USE ONLY.
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Scale 1:500 25
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45
Fletcher Gate
2 Adams Walk
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Oct 16, 2018 15:35
50 m
Nottingham Trent University
Projection: British National Grid
1
PLAC
3 North St. Mary’s Gate
4 South St. Mary’s Gate
ACTIVITIES Sunny day
Rainy day
There are social interactions especially in lunch time and when people can enjoy natural sunlight in the area. It allows people to escape from the crowd or the interior and enter an open space.
People approach differently in days when raining. As the space is an open space without shelter or covering , people tend not to spend time sitting in the area. There is significantly fewer people than sunny days.
The design of the square allow people not only sit on benches but also stairs and planters. This arrangements welcome people to stay The space also serves as a passway between the Nottingham College and the Lace Market tram station. This transition character of the space create a vibrant character.
In addition to the dim daylight, people might prefer staying indoor. People entering the square are all passing by, either accessing the lace market area or going for tram.
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SURROUNDING CHARACTERISTIC HEIGHT NITS
LU ENTIA RESID 17m
The site is surrounded and framed by tall buildings which used to be warehouses in the past but have been redeveloped for multiple uses. They are all over 10 metres while those on the East and West almost reach 20 metres.
STYLE & USAGE
NEW OFFICE 6.5m
LLEG
EN 18.1 OTTING m HA
M
However, modern alterations happened on some of the building as well. They are construct in steel frame with huge glazing that used for company offices.
RESIDENTIAL UNITS 18m
MIXED 16m
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CO
They are mostly in Victorian style that made of red bricks and yellow sandstone with pitched roof. The Adams building located at the East of the square is one of its example that it is now consider the most iconic historical building in the lace market area, which is acknowledged as Grade II Listed Buildings. It is now used as the New College Nottingham while most of the other red brick buildings are residential use.
OFFICES 11.7m
MATERIALITY & DETAILS WARSER GATE Asphalt
Tree sculpture
The differences on pavement draw the boundaries of this area. Gravel is the main material of the square, marking as a pedestrian zone, while toward the St Mary’s Gate the pavement changes to bricks and to asphalt when reaches Warser Gate, identifying as available for vehicle access.
Glazing
Brick pavement
Gravels
ADAMS WALK
ST MARYS GATE
g Glazin
ck Red Bri
s
Concrete steps
Red Bricks & Yellow sandstone
Gravels
There are also metal and steel in the square, mainly for decorative purposes. 3 steel tree sculpture are inserted to the site while unexpectedly there is metal plate, with crossing stripe details, distinguishing the edge of the square. The details of both the sculpture and the metal plate are the representation of the lace making process, which symbolized the significant lace making industry in the area. The same pattern also applied on the benches.
Metal bench
ST MARY’S PLACE
Concrete planter
Metal plate
LIGHT CONDITION DAY The square enjoys the most sunlight in noon time in summer period as the Sun is high in the season and give direct sunlight to the uncovered area. The Adams building at the East block light coming into the site in morning time while residential units locating at the West shade the site in the afternoon, but both still allow the site enjoy a little direct light. The space is rather in shade during winter time as the surrounding buildings are all quite tall, reaching up to 5 storey of above and they enclose the square in all sides which block sunlight coming from any directions. As the sun is low in summer, even in noon time, the site is under shadow.
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W IN TE R ( D E CE MBE R)
8 am
10 am
12 noon
12 noon
6 pm
2 pm
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SU MME R (J U N E )
NIGHT As there are no natural sunlight at night time, this focus on the electrical light in the area. Street lights are incorporated in the design of the square, which provide light to potential users. Lights also comes from the glazing of accommodation and even the advertisement of the housing agency office. Surprisingly lights not only come from these common means, but also on the ground, as the square integrate ground light along the edge of vegetations. This might be to remind people to be aware of the vegetation and edges in dark. Due to the material of the tree sculpture, steel reflects the light from surrounding flats and street light, turning itself a luminance that stands out more at night.
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ENVIRONMENTAL CONDITION TOPOGRAPHY
N
According to the topographical map, the site is located in a higher level then the surrounding land, reaches above 45 metres. From the West to East section, the profile is rather flat. However, the site is sloping upward from North to South demonstrated in another section. Therefore the design of the square incorporate with the sloping lead feature. Steps are used to accommodate the difference in levels.
WE S T
NOR TH
WIND N
The prevailing wind comes from Southwest to the site. Although the building located in the lace market and near the site are all tall, there are gaps between them that would channel the wind to the site and the buildings located South of the square are lower in height.
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SOUTH
HISTORY MIDDLE AGE
20TH CENTURY
The area had been a commercial and cultural sector since the Middle Age. It is evidenced through the word ‘Gate’ in many of the streets, which referred to Saxon and Danish ‘Gat’, meaning street and suggesting trades were carried out in those places.
The First world war strike the lace making industry due to the disruption to world trade on exports and fall in demand of fashion goods. The industry was further worsened after the financial crisis in America and the Second world War, firms were in debts and warehouses were deteriorated. The decline was marked to an end in 1950 when Thomas Adam Limited ceased its trading and closed the warehouse.
18th CENTURY In the 18th century, the area become a centre of hosiery industry but soon decline causing from the introduction of men’s trousers. The improvement in knitting frame and patent of John Heathercoat’s bobbienet technique turned to the beginning of the lace industry in the early 19th century.
19th CENTURY The introduction of post office and railway station nearby evoked the lace making industry by facilitating trading. Warehouses were built in the area for interconnection and workers were lived nearby. The lace making industry became a dominant part of Nottingham’s economy in late 19th century.
The area was neglected after the fall of lace industry and buildings were demolished one after another. This raised the concern on conservation of the historically important Lace market. In the 1970s, the City Planning Department draw conservation policy to the area and the Adam building was listed as Grade II* Listed Building by English Heritage. It was then acquired by the Lace Market Heritage Trust, redeveloped and reopened as school in 1990s.
21st CENTURY
Post office was located near the lace market area by the 19th century. (Ordnance survey, 1st Edition (1856-1908) Town Plans 1:500)
Map in 1982, the space was used as warehouses and works. There are buildings in situated in the area at that time. (Ordance Survey, 1982)
Map in 1993, the building was demolished and left as a vacant space that no properties are located in the area at the moment. (Ordance Survey, 1993)
Lace Market was included in the area of Creative Quarter that attracted creative and digital business in the area, leading to a growth of demand in housing to the area. Accommodations of flats, such as One Fletcher Gate, were then developed in the early 21st century and open space was preferred to raise the quality of living. The current Lace Market Square was a development by Frankin Ellis Architect between 2005 to 2007, incorporating with Artist Fiona Heron and landscape designers, providing a vibrant open space and reviving the area once again.
(English School, A Day at the Nottingham Lacemanufacturtories, 19th century)
The space in front of the building is the area of the site, which is shown as a parking area in the year 2005. Photo © Alan Murray-Rust (cc-by-sa/2.0)
SUMMARY SHELTER IN RAIN
RESTRICTED VEHICLE ACCESS
Direct access to the site is restricted to pedestrian only, as the difference in paving materials, insert of post and steps draw the boundary of the square and limited the access of vehicles. At the same time, public transport brings in more users. It is however a open space without covering, when raining, people do not tend to stay in the space. The main activities in the square are socializing, especially during lunch time and the afternoon as people can enjoy outdoor sunlight. Benches, steps and Most of the users are people who work, live and study in the lace market area as offices, apartments and school surround the square. They are tall in height and block potential sunlight during winter time when the sun is low.
C RAM BLI PU RT: T PO NS
TRA
PEDES
TRIAN
ACCE
SS
BUILDING HEIGHT
The metal elements add characters to the square The tree sculptures reflect street light at night and appears as luminous art work. The metal plate with lace making pattern surround the whole square, giving interesting details that refer the space to its historical context of lace industry. It marks the importance of the area to Nottingham.
DETAILS OF LACE PREVAILING WIND: SW
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CONCEPT + SITE STRATEGY NOTATIONAL DRAWING During this stage, after developing the concepts and analyzing the site, I tried to brainstorm how to combine the ideas through notational drawings, sketches are drawn briefly to record the thinking.
1
Perspective in lace pavement pattern, coming to the view’s sight
2
Extending the lines to dots of line, expressing details
3
Overlapping elements to create transformation
4
1
1
Shade the surrounding of the square in gradient of grey to create an effect that it’s surrounding by tall buildings and appear sinking down from the vision 4
The composite drawing is not finalized, these are only some ideas that might guide myself to develop the drawing after the consideration on design experience.
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COMPOSITE DRAWING L AYER 2 SITE STRATEGY
COMPOSITE DRAWING LAYER 2
It captures the metal pavement of lace making that surround the square as it is the underlying history of context. Levels and accesses are both essential to look to the surrounding and the square differently. Metal and steel are effective materials in the site to reflect light at night from the surrounding buildings to the square.
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08 S YN T H E S I S MODELS
Carefully stick the inner shell blue foam to avoid uneven thicknesses of concrete shell
Add an extra square rod of blue foam to create a hole intrude the whole model
As the hole and the shell of the mold is small, that it is not able to see the situation of filling, it can only be estimated by using the vibrating table to distribute concrete evenly.
CASTING PROCESS
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Not all part of the mold are stuck securely. Some parts have gaps in between and liquid state concrete flow in and settled. It takes extra effort to remove them in order to remove rest of the mold without breaking the model. All of the models has blue foam to create hollow in between, which also take patience to remove them bit by bit with cautious. As the given general size of blue foam material is not big enough to create the mold by single cutting, blue foam is stuck together to form the mold and the concrete mark the connecting edges after it is harden.
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SYNTHESIS MODEL 1 3 of the concrete cone shape elements are combined to create one single model, connecting by the wire in between. 3 cones has different depths and sizes which give diverse experience of seeing through them, suggesting different scope of sight. As shown from the photos beside, part of the wires mess is revealed and each of them are different, even though the mess stay the same. The wires symbolized delicate details that hidden between the concrete that seek for discovery.
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SYNTHESIS MODEL 2 A similar concept is applied to this model as well, but in the material of plaster. As plaster are softer than concrete and quite strong in strength, it can be hammered by nails easily with minimal concern about breaking it. Wires also go around the nails to create a mess of fine details that hidden between thick wall of model and a hole in each thick plaster wall allow people to look through and find out part of the wire mess in different perspective, as the holes are not aligned. This model is an experiment to try different methods in expressing the same combined concept on seeing and experiencing. Surprisingly, the skin of the plaster has blue foam marking after de molded from it, which gives extra details that records the process of making. The final synthesis model is made after this experiment.

FINAL SYNTHESIS MODEL The final synthesis model is made of concrete with threads and a few metal fixings. This is to convert the 3 concepts, transformation, discreet details and looking from different perspectives, with what I wanted the people to experience in a space. Seeing, is rather important in experiencing as it is the core perception of human and this model is experimenting the idea of seeing.
PROCESS OF DISCOVERY 1/ As the model has a height of cm, which is rather bulky, therefore, from a far point of view, it is a block of concrete in funnel shape. 2/ When come closer to the model, viewer will find out there is a void inside and something unusual is within it. 3/ Then, looking into the void, intersecting thin threads are discovered and realized that it is not only a void, another element is sitting inside. 4/ By picking the model up and looking into the hole from the bottom, viewer are no longer looking into the model, but using it as a tool to look out to the surrounding between fragile threads.
The whole process is trying to transform the perception of an object (the model) through the experience of seeing differently.

VISION This model is trying to give different views from a single object, unlike the previous 2 models which composed by separated layers. The hole penetrated from the column that pop up in the centre to the base of the model. This gives both top views and bottom views, depends on the point of view. The top exposes all the crossing threads which gives an overall view to the details, while the bottom only reveals part of the intersecting strings but more focusing. This effects suggested a way to find out details is from blocking some of the sight, eliminating things that are relatively unimportant and guiding a vision to a focus that tells people what should be seen. This idea can be applied when designing the pavilion afterward.
TOP VIEW
BOTTOM VIEW

The model not only serves as a tool to look at the existing differently by finding out the details. Itself is full of different details which can be discovered through mindful observations. These photos are some details of the model, some created intentionally, some are the unexpected result from making process. These photos try to direct a different perspectives in looking to this model, which might transform the feelings towards it when there is a realization of unexpected and neglected things. Like these photos taken by the camera, to tell people what should be focus to see, things that are unnecessary are blurred, diffuse the sight and centralized on what is clear.

07
COMPOSITE DRAWING L AYER 3&4 EXPERIENCE
COMPOSITE DRAWING LAYER 3
The dots in the drawing represent the view points while the vision radiant to all directions, some visual impacts appears stronger then the others. Vision will be blocked by walls and other solid objects, but when there are openings within them, vision will be continue even in the process, part of it are restricted. While walking to different view points as the dotted line suggest, there are different sensation through seeing a space.

TECTONIC
COMPOSITE DRAWING LAYER 4
As I wanted to create a sense of the material of the pavilion would be in concrete, and concrete usually gives a when it enclose a space and light will create focus within the shadow. Therefore I stencil the texture of concrete using dark graphite pen and rub out some colours to suggest some lights comes into the space and become something that people might draw into.

10 PAV I L I O N D E S I G N D EV E LO P M E N T
1
FIRST ITERATION
This is the initial ideas and iteration of designing the pavilion. As inspired by the pavement pattern , it is reasonable to locate the pavilion at the corner of the square and building around it.
POSSIBLE NARRATIVE
“
Levels is one of the means to create different perspective to the space. Therefore, there is consideration on raising part of the pavilion and spreading it over the steps of the site to incorporate differences in height.
The idea is to focus on the context, pushing people to know find out the things that they might have neglected before.
“
Rod structures can use to exaggerate the linear pattern of lace that cross with one another and similarly to the tree sculpture, the material of steel might reflects the light or surrounding at night.
The pavilion is not about a space that transforms the experience and perception of its context. Distances, levels, light, materials and form create illusion that draw the attention to the discrete details that one has not discovered and evoke realization and reflection on his/her perspective of looking and feeling a space. Revealing the underlined history that (existed and still happening) has never absented, just neglected.
Initial Ideas : - Focusing on the given lace pavement texture, extending it into structure
Extend the pattern to structure
s Adam g n i d l i Bu
Steel reflect light at night
View to the building
Existing street lamps
Reflect light from street lamps and buildings
Wider ground Different views of the site 3
2 1 OPTIONS OF WALKING: 1/ Beneath ground level 2/ Ground level 3/ Above ground level
Access Access
t ht a Lig ht nig
View
View
Different formation of roof can give different effect on views, might involve sky light to allow light penetrate into the pavilion. Vie w
This show how people can enter the pavilion through the access of the context. It can also incorporates with metal that reflect, light at night time
The pavilion block is part of the direct view and access between the Adams Walk and the school, which might trigger people to consider about the unusual.
View View
Overall view of the pavilion in both side of the entrance
The form of the space is inspired from conceptual model that aim to draw people into the space 
s
ces
Ac
Vi ew
Vi ew
The form of the space has an effect of people’s vision as the walls guide their movements.
Using the exit height as the element that makes people notice and discovert the pattern on the ground which reflect the historical context.
Ex
it
Vi
ew
These describe the transformation of sight that guided by the form of the pavilion. It blocks views and force people to change their direction and walk toward the exit.
w Vie
IN
Movement View
Vi
ew
Sun
OUT
Possibly about 150 cm
Incorporating with steps of the site enable viewing from different perspective according to the level.
A much narrow roof limits light that coming to the pavilion, this might creates atmospheric space that focus on light and shade at the same time frame a smaller scope of vision
Lace pattern pavement framing the square
Using the exit height as the element that makes people notice and discovert the pattern on the ground which reflect the historical context.
Height lower than normal doorway that force people to bend forward physically and this action make his/ her sight focus to the ground.
1
Before entering the pavilion, welcoming gesture to the visitor
2 Entrance of the pavilion, all elements in the pavilion go to one end
EXPERIENCE
3
Pattern along 2 sides seems to be larger as moving toward the another end
4 Pattern end and connected to the exit
5
One step before exiting the pavilion, able to see what is happening outside, but realized that the height of the entrance is lower than expected
2 discover the ground pavement
I tried to brainstorm the experience of one entering the pavilion and discover the pavement at the end of the journey.
Bend down to leave the pavilion and 
LI
GH
T
Different alternative of the combination of elements
CONCRETE
CONCRETE
SHADOW & GAPS
CONCRETE WIRES
STEEL
Expose details on the ground through shadows, related to the context
STEEL
STEEL OUT
MATERIAL IDEA To bring in the lace making pavement pattern that surround the site into the pavilion, it can be achieved by keeping gaps between concrete and inserting steel rods within them. The mesh symbolized the intersecting threads in lace. Concrete create shade and darkness while the gaps allow light penetrate through, creating an effect that involve light and shadow contrast. The gap also enable people to look out or look into the pavilion between steel rods.
LOOKING OUT THROUGH THE GAP
IN
1
FIRST ITERATION REFLECTIONS
- The design is more about the context instead of the pavilion, might need to add more character to the pavilion itself - Does not involved the developed concept thoughtfully in the scheme - Consider other access and bring people to the pavilion as at the moment the access is one of the mean giving multiple perspectives - The use of concrete is successful in creating a dark space which then lead people to focus to the exterior - The concept and models should be more influential to the design, however, this design does not communicate those ideas well

2
ALTERATIONS IN ACCESSES
SECOND ITERATION
s
ces
Ac
As lacking the thoughts of access in the previous iteration, the second iteration began from identifying and those 3 main access to the square.
Acc
ess
Each access maintain the form of a cone that gradually becoming larger when they meet in the centre of the pavilion. Attempt to move around the arrangement of walls to direct the view of people as well as guiding the movement within the space.
ess
Acc
Visualized the possible view in looking to the pavilion entrance, which suggest a narrow and dark space that gradually transform when after entering.
Adams Walk
al & Arriv ition s n a r t e c spa
POSSIBLE NARRATIVE
“
School
Walls, are not barrier of space, but the means of a different alternatives in spatial experiences. Alignment and materiality of walls direct people’s movement and perspective of looking. At the same time, incorporating with light and shadow, reveal discrete details of the space that are important but have been ignored. This prompts the transformation of experiences when there are realization and reflection on the discovery.
ADAMS WALK ACCESS
r the o o nd l t a w a Vie dings , met l s i e u i b ner sce lpture scu
Create a dark atmosphere to allow viewers to focus in the openings that have light penetrating
“
o wt Vie etal m re lptu scu o wt Vie etal m re lptu scu
ities Activ in the en p p a h ce al spa t n ce r
ST MARYS STREET ACCESS
Only cover the entrance and leave the centre uncover as a courtyard
IDEA
Sheltered, gives a dark space
Access divide spaces
Lattice wall that enable people to have a glimpse of the space
Maintain access
ALTERATION OF FORM The corner of the site is rather important to the strategy of my design proposal as it has the lace making pattern. Therefore, I tried to draw the boundary of the space I would like to involve in the design and further create access within it. The pavement lies in the middle of the L- shape area that can possibly use for spliting the space. Several attempts are tried to also incorporated the access to the square that serve as inviting entrances to the pavilion.
Acc
Access
ess
ess
Acc
By trimming the edges of the L- shape that draw the boundary of the space and combining the idea of funnel form entrances , the form and separation of spaces are formed.

PRECEDENT: FILTER VISION SERPENTINE PAVILION 2018 Frida Escobedo designed the pavilion to communicate the importance between architecture, time and space. However, the material she uses gives me inspirational idea to the application on perspective. From far distance, the wall seem to be woven, but turn out is composite by stacks of cement roofing tiles, threaded on steel poles, forming a translucent screen. This construction give an effect of blocking both sunlight and more importantly the scenery and view. It creates a different point of view between the gallery in the pack and the pavilion itself. The experience of peeking through holes and gaps create a different perspectives. This is similar to the usage of breeze wall that normally uses bricks or concrete as material.
(, n.d.)

What’s the purpose of this space? Any activities or concepts can be involved?
Breeze wall the partially block visions
3D Representation
ht
Lig
Building
Buildings
Lace Market Square
Further development of the design, concerning about the characteristics of the walls, not only its arrangement and materiality, but also their relation to the scope of vision of an individual.
Tilted walls to allow view out directly to the ground
Another angles that do the opposite effect of directing the view upward
1
1 4
Appear half translucent due to the building material
View to the steel tree sculpture
4 ent l, l em pav he wa s e Th aks t phasi bre w em e c allo the la on tern pat
3 FROM ADAMS WALK
2
LIGHT
5
Accommodate existing tree?
2
WA LL
Space that only contain opening to view the strange facade of the building
WA LL
3 Entrance from the steps, allowing people to choose their route to experience the pavilion
5
NT
ME
E PAV
Thinking of some of the experience in the pavilion to further decide details on it. Main focus is to reveal the details of the site: the lace pavement pattern, steel tree sculpture and the strange facade that along St. Mary’s Place. Other space act as transition space that prepare to explore the details.
Entrance to the pavilion able to see the lace pattern
2
SECOND ITERATION PAUSE
Reflect and identify the weaknesses and issue of this design: - Some space is left empty - The solution is more architectural approach rather than experiential - The entrance space has no specific function but appear larger than the other spaces -Lack of focus on the space that different space has specific function but not related to each other - The movement between space could be improved as the sense of a journey in the pavilion is not strong - Possibility to manipulate people’s journey to play with perspectives rather than offer them the total freedom of experiencing the pavilion.
1
2
3
DIAGRAM OF TRANSITION & MOVEMENT Access to the intersection
4
TRANSFORMATION OF SPACE
Access to the open space/sitting area
Discover details of the site
5
When in the intersection area, it is able to see the rest of the spaces
6
Layers to create obstacles to discover the space
7
Have glimpse of the rest of the spaces, but need physical movement to understand
Access to other spaces
LEVELS s
ces
Ac
arent Transp tween b e wir e d groun
TRANSFORMATION
View to the metal sculpture
Intersection/ overlapping area become something different Access
e s Slop nward w o d
ppen t ha g a h W itin r ex afte s point? i at th
Going up from steps
Incorporate existing vegetations & seatings?
Overlapping the intersection of the access and create a common zone the share among those spaces. It could be the focus and centre part of the pavilion that draw people experiences. 
Guide people to walk to these areas
Access Accesses View to the special feature of building facade
Form a journey of discovery and looking at different perspectives
LOOKING IN DIFFERENT PERSPECTIVES ---LEVELS
St. M
ary’s
Adam’s walk access
Place
acce
ss
St. Mary Road access
3 accesses are joined to the same area with different levels, which enable different sensation through the way of seeing. Further considerations on levels, thinking of different ways to raise or dig into the ground. This incorporate various viewing points differ from the height of where the viewer stands.
STEEL SCULPTURE TREE
SPACE 1
SPACE 2
Journey ends at the same spot
EXPLORATION SPACE 1
More benches EXISTING SEATING
Route 1
Route 2
Wall directs and guides people’s movement
DETAILS Further add details in the space that when people explore the space, they will discover hidden details that motivate their movement and guide toward a specific space. This is to deal with the concept of that through experiencing details and limiting possible views, might transform the experiences to the space
Draft sketch: A 3D expression of the pavilion
Steel rods and strings under the bridge Steel rods and stringsd under the bridge
Floor plans and sections
Then I think of adding further details of the design. Small transparent squares on the floor of the bridge that allow people to look below and realize there are something happening below, but not sure about what it is. This might drive people to further explore the space. Therefore it is aimed to encourage experiencing the pavilion.
Void
A 3D EXPRESSION OF THE PAVILION
Steps access to ground level

MODELING
As it is difficult to express the form by drawing on paper, I used cut paper into the shape of those access and join them through nails. It is not possible to walk in this area as the height between the bridge and the ground is minimal. This means there are only small amount of space that allow people to passes through under the bridge.

Smaller nails are represented as steel rods and delicate details that hide under the bridge that seek for further exploration
Lose the connection between the main centre part of pavilion and the little space that enable people to view out to the detail part of the context
1.200 Model Try to capture the relationship between the pavilion and its context. Test under modeling to find out whether it is a suitable design solution Much shadow is cast to the pavilion from the tall buildings of the immediate surrounding. Maintain funnel form in all the spaces created 
2
SECOND ITERATION REFLECTIONS
The result of this design is not successful as there seems to be a series of spaces, separated by walls and other elements. It is not coherence in forming a single pavilion. Also, I believe the design is taken over by the respond to the site but not involving enough of the initial concepts. The focus is currently on leading people to see from the context but not experiencing the pavilion itself. This means the pavilion is serving as a tool to finding out the result, but not giving enough influential effects on experiences. There is a lack of balance between the aspiration from the context and the spatial experience from conceptual ideas.

Incoherence
CONCEPTS
3
FOCUSES
SITE
Perspective as the medium: - Depth and perspective - Discovering details through looking from different point - Change of perspective create transformation on experiences - Blocking views - Different experience of the same object
- Steel material reflects lights from surrounding - Bring in lace making pattern pavement - Interesting features for discovery: facade, lace pavement, listed building - Multiple accesses
- Levels and height to create depths - Delicate small elements between bulky elements -Voids and holes to give different vision which only focus part of the full picture
- Maintain 3 access to the square - Emphasizing the lace pattern
THIRD ITERATION PAUSE
I am still not satisfied with the second design iteration even after alterations, however this time I stopped modifying the design and went on analyzing all the processes I have gone through in this projects, including concepts development, site strategies and several design stages. As I am struggling to combine and balance both the conceptual experience and the architectural aspects of space, this is to reflect and be critical to my thinking and design progress and for continuing to a more sensible design after a pause.
POSSIBILITIES

EXPERIENCES
1ST ITERATION
- Offer different view points in the journey of experiencing - Incorporate materials and how people see from them
- Bring in lace making pattern in structure, not pure ornamental to the site - Limit the views between the inside and outside
- Offer different view points in the journey of experiencing - Light
- Bring in lace making pattern in structure, not pure ornamental to the site - Limit the views between the inside and outside
2ND ITERATION -Creating levels through accesses - Concentration of the overlapping area of 3 accesses that transform the experience from entering(pre-experiencing) and experiencing
-Creating levels through accesses - Concentration of the overlapping area of 3 accesses that transform the experience from entering(pre-experiencing) and experiencing

DECISION
As I found my concept can be expressed mostly in the synthesis model, I look back to what was derived from it. To reinforce my design concept, here I quote the my own finding in the Synthesise model chapter:
“
The model not only serves as a tool to look at the existing differently by finding out the details. Itself is full of different details which can be discovered through mindful observations.
“
The same can be applied on the pavilion that it can be both the mean to observe the surrounding at the same time being the object of observation. This help me to focus the concept on seeing, which lead to experiencing and realization to the space. Perspective link the concepts together. Looking from a different point of view comparing what normally are seen reveals unexpected discreet details and this new understanding transform the experience of an individual in response to a space.
“ POSSIBLE NARRATIVE
Perspective challenge the way of seeing and helps people see things around them differently. By incorporating levels, the effect that perspective creates is enhanced as it provides vision that is more in depth. The difference will create transformation from the expectation and reality. The contrast in hiding light weight materials between the hard weight, also help to the achieve the aim.
“
IDEA & PROCESS Focusing on the intersection part of the accesses and form a quadrilateral shape to situate the funnel form as the pavilion. Using the form of the synthesis models, to create different perspective views from top to bottom. Incorporating with level differences in accesses. This is to suggest seeing from various view points according to the height. Unlike the previous attempt, the funnel shape accesses go narrower to the middle part instead of wider. This has a push effect on people and draw them entering to the central part of the pavilion.

FACE COMPOSITIONS
Consider the area and different levels of the pavilion to create different experiences when people approaches to it.
1
LEVELS
UPPER FLOOR: CONCRETE WALLS
1
2 AREA & FORM
GROUND : WIRE
4
3 3
BELOW GROUND: SOLID CONCRETE
Involve ramps in the design that offer people to see from the openings on the wall in the journey and looking to the context.
4
IDEAS ON EXPERIENCES - Look monumental from the outside that does not seem in delicate - Vibrant inner part that offers different experience n materials and views - Details are exposed in the composition of crossing steel members - Work with different levels to give different perspective on viewing both into the pavilion and out to the context

IDEAS ON ACCESS This is a rough conceptual collage that combine the idea of 2 synthesis models. Bringing three access point to a centre that they all share and the focus and interesting happen in that area. This transforms the pre-entering and entered experiences

IDEAS ON EXPERIENCES - The underground level involve a dark chamber to view upward to the sky and the upper levels - Apertures around the walkway are positioned according to the views outside

DRAFT MODELS For people to walk up and down the pavilion, ramps are added from the upper floor access. The centre part is modeled as a mesh of wires and string, this is to form the dedicate part of the pavilion that hide behind the concrete walls I then marked some possible location of the openings that suit to view the details or special scenery of the site The area appear smaller towards the ground level to create a push effect when viewing from the top. The model gives a general idea on how does the walls and the ramps works from the bottommost to the top.

MODELING The pavilion appears as a direct and simple form of a funnel that situated in the centre of the square. The simplicity of its appearance in contrast to its complicated wire structure internally, poses a unexpected effect between the perception of space before entering and after entering the pavilion. This communicate the transformation of experiences.

BELOW GROUND ACCESS
GROUND ACCESS
UPPER GROUND ACCESS
3
1
2
1
INTERNAL VIEW
2
3
OVERALL VIEW
A slope is attached to the underground access while a bridge is inserted for the upper ground, connecting the corner of the square and the pavilion. This is a direct translation from the synthesis model to the pavilion. The model is completed for the draft review. However, I am not very confident in this design as I think I miss out quite a lot of previous considerations in it, for example: - The focus on lace pavement pattern - The physical form of accesses I also do not think the design communicate the initial concept well. The review might be a good opportunity to reconsider and reflect again on the design. I should present my ideas to the others and be open minded to receive comments from the review and other people in order to continue for further iterations.
The following are the comments that I received from the review and from others
3
- The idea is communicated better interiorly, but the exterior does not tells the concept very well
THIRD ITERATION REVIEW & COMMENTS
- The conceptual models and composite drawing is expressing the idea, but the design of the pavilion itself lack the accent - The 3 accesses was lost in the design - Instead or turning the model literally into the pavilion, think of the idea behind - The perspective effects might only work well in birds view, focus to the view on the ground. - Possibility of using ramps as the pavilion rather than framing with walls
Perspective happen in top view instead of normal view point
- Try to balance the usage of lightweight and heavy weight in the design - Might think of incorporating existing building in the design proposal - Possible to use wall as aperture and create the push and pull form within it - Make use of ramps - Heavy weight to guide vision while light weight for experience of the journey - Join vision and tactile experiences
FORTH ITERATION FINAL DESIGN
As those previous iterations does not come to a focus and turn the design ineffective in presenting the initial concept, I decided to make a list of aspects to concentrate on.
1
2
3
Only focus on revealing the detail I found most intriguing : the lace pattern pavement And make that as the destination of the whole pavilion Block and restrict other views in order to concentrate to the detail Suggest ways in looking from different perspectives that people are not used to, so as to prepare people to the final exploration in the journey
4
Make use of the push and pull effect linearly to create illusion and visual impacts
5
Use wire as light weight materials and concrete to contrast and shape the experience through seeing
6
Carefully place apertures in the pavilion that only show what is consider important of the square.
I should bear in mind of these decisions I made and create a cohering design accordingly to avoid making the same mistakes as previously. Before designing, the spatial narrative is formed to guide so as to keep my ideas and thinking consistent to the design objective.
“ POSSIBLE NARRATIVE
Space frames vision and the way how people see the world. We often see the overall, but neglected the details. This pavilion change the way how the space is being seen and present the neglected but important aspect and transform the experience and perception in the journey.
The narrative can be amended after the final decision of design.
“
4
After gathering the comments and suggestions in the review, I decided to make further amendments to my design, reconsidering the strength and possibility of the conceptual models and how to shape people’s perspective in a journey of discovery.
PRECEDENT 1--- DIFFUSING VISION
(Serpentine Galleries, n.d.)
As perspective and seeing is the main focus of the pavilion design, one of the main idea is to create vision obstacles. The previous precedent was about piling slate tiles to create this effect, but in this iteration, I would like to focus on using light weight materials as the medium to create a contrast from the heavyweight concrete. I tried to find out how light weight materials can diffuse vision, not completely blocking the sight, but to suggest another way of partially seeing through to what we have known. Eco Pavilion, 2011
The Mexican studio, estudio MMX, designed a temporary pavilion for the Eco Museum in Mexico City. It is attached to the walls of its courtyard, linking both ends with strings. The thing I found interesting is it blurred different views from different view points but the structure still staying the same. For example, Figure diffuses the vision to the end of the space, but exposed part of the sky and context through thin strings, while figure shows the opposite effect. Then I realized that the I have a similar result from the first model expressing the idea of “Transformation”
Conceptual model (Refer to Chapter )
Eco Pavilion, 2011
There is another way in blurring the vision by using similar lightweight material of string. (Bang, n.d.)
(Bang, n.d.)
The installation of Japanese Artist, Ryuji Nakamura inserted a curtain of strings in front of the displayed costume of the gallery. From different point of view, only part of the costume series is revealed, viewer will never see the full picture of the whole series. This plays with the perspective of seeing that the eye only focus in the centre while blurring the rest of the area of the image. These 2 application of using lightweight materials can be applied to the design of pavilion in order to change the vision of viewer in the journey of walking in the pavilion. Instead of string and threads, metal steel wires can be used as a more solid alternative.
(Bang, n.d.)
PRECEDENT 2--- DIRECT VISION In spite of diffusing the vision, directing people’s sight is also essential in the scheme of this pavilion as it aims to reveal the secret detail of the context that people are From the 1st iteration of the design, I have thought of the mean to direct vision to the ground through lowering the height of openings and force people to bow and lead to seeing the ground. However, this might not be a very successful way as the bowing action does not hold long and might not able to lead to the aim. Then I search on some practical examples on human behavior that what elements can of a space can motivate people looking to the ground.
(Tower Bridge, n.d.)
From the examples of the Tower Bridge in London and the Grand Canyon Skywalk, it is shown that glass and hollow floors has that effect on people’s behavior. As people are now used to walk on exposed and transparent ground in daily life, they will be astonished by the difference in experience and draw to their attention, even forgetting the grand surrounding of the cliff from figure.
(Grand Canyon Skywalk, n.d.)
For m
pul
ling
in
Lig pu ht we shi ng ight ou t
DESIGN PROCESS
Form pulling in
Concentrate to the form that join 3 accesses together, going narrower to the centre, guiding by concrete walls. This is to block views to the surrounding and draw people to the centre.
Light we pushin ight g out
n
gi
llin
pu
ight t we Ligh ing out push
m
r Fo
The funnel form is to suggest a sense that pulling people in and the wires cross over between walls to diverse and diffuse views to allow a different sensation of seeing.
INITIAL CONCEPT
Toward the centre part, the concrete wall turns into steel rods that partially block the vision. Through that, people might see the steel tree sculpture on either side.
E EE PTUR R T UL SC
E EE PTUR R T UL SC
Wire overlaps on 2 sides
DESIGN PROCESS
sh Pu
Illusion of perspective can be achieved by the push and pull concept.
ll
Pu
From the entrances, the arrangement of the walls poses a direction that pull people toward to the centre while the benches that seat in the middle of the pathway poses a pushing outward effect to the viewers even though it is in a normal rigid form. This is due to the illusion of entering a smaller space. The lightweight wire does a pulling effect as well in the enclosed area. They spread to the central area and the effect draw viewers to the area.
Heavy weight: Push
Wall: Pull
Light weight: Pull
Bench: Push
Wire Concrete
DETAIL DISCOVERY
Gap with glass
After pulling people from the entrance to the centre, push them to discover the lace pattern detail. To make people focus to the pattern the space is lifted and enclosed by concrete, only a gap on the floor is connected to the external visually. The gap is situated on the floor, above the lace pattern. As the space is rather dark, people will be drawn to the slit of light that penetrate inside and therefore look down to the gap. From that moment, people will discover the pavement that surround the square
Wire: expanding toward the centre of the pavilion
Wires are used to create a pull effect that invite curiosity to attract people go into.
GAP
LACE PATTERN
EXPERIENCE The pavilion allow people to experience a different way of seeing, by transforming the normal way of seeing.
1
When first arrive the space, the access seems pulling people into the pavilion
2 The crossing wires diffuse people’s vision and create a unique visual impact
Heavy weight and light weight materials, which are concrete and wires, joint and help the space to communicate a different experience. The pavilion block and diffuse visions through those materials that allow people to focus on the detail of the site, which is the lace pavement pattern.
3
Some of the wires are blocking the pathway that people might need to find their way into the centre.
4 At the central area, the steel rods restrict
5
The wires continue to suggest a way to the enclosed area that seek for people’s attention
6 out there are only one aperture, on the
some of the sight that make people want to find out what is the view outside. The views are linked to the steel tree sculpture.
People walk along the ramp and find
ground. They will be drawn into it and look into it.
Discover the lace pattern through the
7 gap on the floor
VISION This is a conceptual drawing regarding to the design of shaping people’s vision in the pavilion. The lace pattern is seen as the main impact of the journey and the rest of the scenery from immediate surroundings will be diffused and seem less important. Therefore, in the drawing, the lace pattern is obvious to the vision and the other views are blurred in the gaps behind it . This suggest a re-prioritise of our vision, not just satisfy with the overall views but also consider small details that we normally neglected important.
DRAFT MODEL Used cardboard and threads to test the design. I stitch into the cardboard to see find out the pattern and overlapping part of the threads. This also show the form in three dimension quickly so as to confirm the form of the pavilion. As the model is delicate in using thin and light materials, when doing the final model, I need to be careful and precise.
MODEL I then make the model to put into the site and see how it works with its immediate surrounding. The form of it is unique and distinguishable from its context and centring it in the square makes it even more noticeable from above. The unconventional might intrigued people to come and experience. As I chose to draw attention to the lace pavement pattern, I link the model with it with similar colour. As it link the context in both the accesses and details, as well as the initial concepts, this design iteration seem working better then the previous.
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11 FIN AL PAVIL ION
FINAL NARRATIVE
Space frames vision and the way how people see the world. We often see the overall, but neglected the details. This pavilion changes the way how the space is being seen and presents the neglected but important aspect that trigger reconsideration of our understanding to the space, in this case, the Lace Market Square. This transforms the experience and perception throughout the journey.
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1.200 MODEL
1.50 MODEL
PLAN VIEW
ADAMS WALK ACCESS
EXPERIENCE
INVITING ENTRANCES
IN & OUT
1.20 MODELS
THE BEGINNING & THE END OF JOURNEY
CONCEPTS
SITE
12 F IN AL
C OMPO S IT E DRAWIN G
EXPERIENCE
TECTONICS
During different stages of the project, I have produced 4 layers of notational drawings as the layers for the composite, concepts, site analysis, experiential expression and tectonic idea. They are combined and communicate a final that visually present the project objection effectively.
FINAL COMPOSITE COMBINATION
Focusing on the lace pattern of the Lace Market Square and the concept of creating different experience through perspective, the push and pull effect of the space. This also involve materials that not only help blocking and diffusing visions but also guiding to a specific point of view. Through the realiasation on details, transform people’s perception the space.
Escobedo, F. (2018). Frida Escobedo, Serpentine Pavilion 2018. London: Koenig Books. Bridgeman Education. (n.d.) A Day at the Nottingham Lace Manufacturers. [Online] Available at: https://www.bridgemaneducation.com/en/asset/105808/summary?context=%7B%22route%22%3A%22assets_search%22%2C%22ro uteParameters%22%3A%7B%22_format%22%3A%22html%22%2C%22_locale%22%3A%22en%22%2C%22filter_text%22%3A%22lace +nottingham%22%7D%7D [Access a] Hughes, D. T., 2011. Eco Pavilion 2011 By Mxx Studio. [Online] Available at: https://www.yellowtrace.com.au/eco-pavilion-2011-by-mmx-studio-mexico-city/[Accessed 9 Nov 2018]. Nakamuta, R., n.d.. Bang. [Online] Available at: http://www.ryujinakamura.com/z_material/work/bang/00.html[Accessed 9 Nov 2018]. n.a., 2011. Grand Canyon Skywalk glass floor being replaced. [Online] Available at: https://www.reviewjournal.com/life/grand-canyon-skywalk-glass-floor-being-replaced/ [Accessed 8 Nov 2018]. n.a., n.d.. Tower bridge tickets. [Online] Available at: https://www.encoretickets.co.uk/attractions/tower-bridge-exhibition#/[Accessed 08 11 2018]. Oldfield, G., 2001. The Lace Market, Nottingham. 2 ed. Nottingham: Nottingham Civic Society. Ordance Survey, 1993. SK5739NE, 1: 1250. Southampton: Ordnance Survey. Ordance Survey, 1982. SK5739NE, 1: 1250. Southampton: Ordnance Survey. Serpentine Galleries. (n.d.). Serpentine Pavilion 2018. [online] Available at: https://www.serpentinegalleries.org/exhibitions-events/ serpentine-pavilion-2018-designed-frida-escobedo [Accessed 11 Nov. 2018]. Studio Olafur Eliasson. (n.d.). [online] Available at: https://olafureliasson.net [Accessed 11 Nov. 2018]. TED, 2009, Olafur Eliasson: Playing with space and light. [online video] Available at: https://www.youtube.com/ watch?v=WCGuG0uT6ks [Accessed 8 Oct 2018]. Zumtobel, 2015, Ólafur Elíasson about “Light is Life”. [online video] Available at: https://www.youtube.com/watch?v=ZlMYFybnWfs [Accessed 8 Oct 2018 ].
13 B I B L I O G R A P H Y