2016 S1
ARCHITECTURE DESIGN STUDIO:
EARTH QING CHWEN JACKSON ZENG 762075 TUTORIAL 09: SARAH KAHN
3 RELATIONSHIPS
Beginning from the basic elements, point, line, plane, we exp surface environment. The characteristics of mass hold a stro freedom provided by a frame allows de
plore the intricacies of form and how they interact with the onger relationship with space below the ground while the esigned spaces to stretch skyward.
point / line / plane mass frame & infill
POINT
/
LINE
/
PLANE
Owing to the placement of the points, the underlying structure of the design is set. As the points are connected one by one to form lines, they in turn create planes in negative space contained within the nodes. Following a simple rule of closing the system with at a total of 3 nodes, the system becomes somewhat fluid, allowing movement in the linear joints while structural rigidity is maintained in the plane. This fluid rigidity allows for the plane to me folded and morphed to forms that fit various necessities at the human scale, providing spaces to walk, sit or lie.
MASS Mass has a peculiar relationship with light. The density of darkness communicates weight and confinement, while luminous environments emit a lighter, and more open space. To demonstrate this characteristic of light, a section is drawn through a mountainside tunnel, as it transitions from a pathway along the mountain, to a tunnel through the mass of the tunnel. Another sensation that is fundamental to the experience of mass is sound. The acoustics of objects and environments reveal their true density, beyond facades. The echo of a tunnel is telling of the sound waves that cannot escape the dense walls. Peculiarly, sound can also be demonstrated through texture. Thus, the earth is rendered in a rocky, grainy fashion to communicate the qualities of the earth.
FRAME & INFILL
The frame is an incredibly useful element that allows for the structural capacity of solid objects, without the mass and density. This freedom from the hindrances of weight allows for elegant overhangs that defy gravity. The frame provides a secure network for the infill to flow freely, a space to weave and wind, creating fluid spaces. Frame and infill allow for lightweight forms that span upward and outward, raising the view of rooftop users.
SOMETHING LIKE A PAVILION:
A PLACE FOR KEEPING
SECRETS
A site analysis reveals that the sounds of highway traffic can still be heard from the edges of the island, but fades inwards as trees mask the noise with their own; the rustling of leaves. Away from the noise of traffic, along a less popular path, is the chosen location for the pavilion, a quiet place, accessible to a few, but more so blatantly positioned that is becomes passable.
SITE: HERRING ISLAND
CONCEPT AND DEVELOPMENT Herring Island, a small landmass separated from the bustling suburbia by the river. The island, only accessible by ferry, is a place of quiet seclusion. The virility of nature now hides the tales of the past. The area was once a basalt quarry, where much of the bluestone that makes up nearby city was amassed.
PLANS
Underground, an S-shaped layout draws users through to an underground time capsule, and back outside again without the obtrusive nature of a dead-end. Spaces are also designated behind stairwells for restrooms and storage, out of the way so as to not detract from the centrepiece.
ELEVATIONS
TIME Above the surface, positioned directly above the underground time capsule, is a tree that, over time, stretches upward, through the voids in the block frames that make up the structure. As time eventually rendered quarry undetectable, the tree will serve as a marker of time as it eventually outgrows the pavilion.
SECTIONS
3D PRINTED MODEL
REFLECTION The tessellating nature of the triangle from the point line plane exploration proved to be a very useful form that can be developed further into more intricate, ergonomic structures. Further research and experimentation with the point positioning may be useful. The mass exploration revealed the dramatic nature of light when placed under extreme contrast, and its emotional potential for story-telling. I discovered that frame and infill was the most difficult to experiment with rapidly, as the building the model required somewhat of a pre-planned image, while drawing the frame does not fully capture the three dimensional freedom within the frame.
During the development of the pavilion, several complications arose surrounding 3D printability. The thin and complex nature of the frame made the structure quite fragile, and the horizontal components were unable to withstand their own weight without support material. Several changes had to be made, including thickening the frames, which unfortunately, reduces the visual permeability of the design. Furthermore, the underground component of the design could have benefited from additional complexity.