Jake Bourke 761273 Final Book

ARCHITECTURE DESIGN STUDIO 1: EARTH

SUBJECT STUDENT BOOK: SEMESTER 1 2016

MARK IRVING: STUDIO 7

JAKE BOURKE: 761273

TABLE OF CONTENTS

1.0 1.1 1.2 1.3

THREE RELATIONSHIPS POINT, LINE & PLANE MASS FRAME & INFILL

2.0 CONCEPTACLE 3.0 3.1 3.2 3.3 3.4 3.5

A PLACE FOR KEEPING SECRETS SITE ANALYSIS AND LOCATION DESIGN INSPIRATION AND PRECEDENTS CONCEPTUAL SKETCHING & PRELIMINARY DESIGN PLAN DESIGN DEVELOPMENT FINAL DESIGN

4.0 REFLECTION 5.0 BIBLIOGRAPHY

THREE RELATIONSHIPS // 1.0 THE NATURE OF THESE RELATIONSHIPS These relationships can be used to categorize most architectural forms, allowing a viewer to further understand the concept at a deeper level. All forms generally draw from a combination of these relationships, and their success relies on the nature of their interaction.

POINT, LINE & PLANE

MASS

FRAME AND INFILL

During weeks 2 & 3 these principles were explored, This is the work submitted for week 3.

During weeks 4 & 5 this principle was explored, This is a close up view of the sectional drawing submitted.

During weeks 6 & 7 these principles were explored, This is the model from which my final single point perspective drawing was modelled.

POINT, LINE & PLANE // 1.1 JOURNEY TO FINAL CONCEPT Originally I approached the concept of point, line and plane with a literal translation of the prompt in a sculptural manner, for my final I decided that the prompt could become clearer in context, so I added a ground plane, then lines and planes. When viewed from above, the aspect of point becomes apparent, only it is abstracted to represent a missing line. This factor is used to blur the transition between point, line and plane. This transition is a journey, as is a bridge.

(Adelphi Hotel—Denton Corker Marshall)

(Students own work—2016)

PRECEDENCE

SKETCH MODELLING

The buildings and forms that I researched for this prompt were generally rather fragile and delicate in nature, the example above is no exception, with all planes being as thin as possible.

My sketch models, such as the one demonstrated above generally focused on a journey through a site, rather than a site itself. The final design I created synthesizes these ideas into one coherent journey.

(Students own work—2016)

MASS // 1.2 JOURNEY TO FINAL CONCEPT This concept was far more broad than the other two, because it had only one prerequisite, mass. I thought about what the essence of mass is, and I decided that the earth as itself is the greatest example of mass, so my design focuses on connecting the site user with the earth. It does this by taking the user deep underground, with a large body of earth suspended above them. The experience is increased by allowing the natural water table to penetrate the soil and create a pond in the base of the cave.

(Mark Koehler—IJberg House)

(Students own work—2016)

PRECEDENCE

EXPERIMENTAL SKETCHING

I researched a variety of buildings that focused on extruding forms from a massed block, these included earth housed build into hillsides and large floating cube-like structures with what appears to be cuts and holes spread over their surface.

Most of my preliminary sketches involved cave like designs, with a secret at the very end. This idea was abandoned in the end as it was too transparent to be the true secret, perhaps a false secret, but not the true secret to be found.

FRAME AND INFILL // 1.3 THE NATURE OF THESE RELATIONSHIPS The frame and infill prompt has allowed me to experiment with modular spaces and create an abstract model that represents a concept, rather than a physically coherent and liveable dwelling.

This final model is depicted in single point perspective. The idea of a multi purpose modular space relates to the final secrets prompt, which asks for a level of non-transparency. This is present with a modular building as there is more ways to use it than may appear. This is a secret in itself.

(Students own work—2016)

(Le Corbusier—Dom-ino Project)

PRECEDENCE

SKETCH MODELLING

The buildings I chose to research as precedence for this exercise were generally frame structures with open layouts that are free to be customised at will, a perfect example of this is Le Corbusier’s Dom-Ino House Project.

Unlike other weeks, this week my sketch modelling consisted of only one model, which is the model which is used for my final perspective sketch, this is because I chose to deliver a literal interpretation of the prompt, which was rather descriptive for this exercise.

CONCEPTACLE // 2.0 A CONCEPTACLE IS.. something something something something

like like like like

a diagram: it shows relationships that can be materialized in different ways a model: it shows specific effects that must remain the same in the realized design a toy: it is small, but represents a world and encourages creative play a fragment: it prompts you to imagine how it might become larger, more complex, more specific (AS, 2014)

LAYERS This is the conceptacle that evolved from my idea for overlapping pathways on the site. The conceptacle has been extrapolated to depict a much larger range of pathways, muddying the view of the wooden sticks, which represent physical pathways on the site. The paper is representative of the natural ground and built up hills, with pathways running around, over and through the site. (all images on this page are student’s own work)

A PLACE FOR KEEPING SECRETS // 3.0 FINAL DESIGN PROPOSAL– MISDIRECTION // LEVELS

(Interactive Map—Land Channel—2016)

(Nearmap—2016)

SITE ANALYSIS AND LOCATION // 3.1 HERRING ISLAND Herring island is located in the Yarra River, in the suburb of Richmond, just north of South Yarra. The main point of access to the site is a ferry that launches from Como Park in South Yarra, and lands on the jetty visible in the first image. This ferry is unable to run all year, and is inefficient in terms of human energy and fuel. Because of these reasons, my design proposal aims to connect the island to South Yarra with a bridge, whilst adding a pavilion, a series of viewing platforms and a secret, the location will not affect the parts of the island unspecified.

SPECIFIC LOCATION My design response will be located close to the main entrance to the island, due to its interesting topography and links to circulation. This site is also important as I intend to include a bridge, which will need to connect to the cafe in Como Park.

N (Nearmap—2016)

(Nearmap—2016)

(Nearmap—2016)

PATHWAYS & IMPORTANT SITES

NOISE

VEGETATION

Yellow: Access points Turquoise: Existing structures Pink: Sculptures White: Pathways through the island

This map shows the origins of noise in the area, with darker shades of orange representing noise origins, and lighter shades representing approximate earshot of the noise, which mostly originates on busy roads.

The lighter shades of green represent sparsely vegetated areas, while the darker shades show denser areas. Often consisting mostly of gum trees with little vegetation at ground level, other than a few small bushes.

(Light Lab, 2014)

DESIGN INSPIRATION AND PRECEDENTS // 3.2 INTERACTION WITH THE LANDSCAPE The main focus of this design is to utilise the beauty of the Native Australian landscape whilst creating an immersive and interesting experience for the site user, rather than creating a single space to attract visitors, this design seeks to accentuate the existing space available, being the river and the landscape itself.

The site achieves this whilst also enhancing the experience, through the use of features such as barbeque areas, vista viewing platforms and the underground theatre.

UNDERGROUND SECTIONS The underground section must be misleading to tie in with the secrets portion of the design. The user must also feel the effect of mass, so the space will not be wider than two meters, this invokes a slight amount of claustrophobia, which discourages loitering and moves users through the space. The feeling of mass will be amplified in the theatre, when the user looks out of the large skylight.

(Mackay, 1889)

(Wyss, 2005)

(Nearmap—2016)

(Ne arm

(Nearmap—2016)

SPANNING THE RIVER

CURVING THE PATHWAY

Contrary to the underground sections, the initial bridge to the site is designed to be light and inviting, which gradually becomes more close to the earth and the landscape as you travel down. The railings on this section are minimal, to increase the thin and light look of the design. As the levels descend, the pathways become more bulky.

The curved sections of the pathway on level 1 and 3 seek to achieve two main goals, the first being obstruction of the users line of sight, to increase the effect of misdirection, secondly, to lessen the visual impact of the angular design on the site, further enhancing the prominence of the landscape as opposed to the architecture.

CONCEPTUAL SKETCHING & PRELIMINARY DESIGN // 3.3 ORIGINS OF THE FINAL This area of exploration continues from the conceptacle’s idea of layering and levels. Horizontal planes are spaced evenly across four levels, then cut to create pathways. These snake around the site, directing the site user to different areas. Each pathway represents a line, each square represents a point and the topography represents the plane onto which these are imposed. The four levels will each have a different, yet similar cross section. These will begin with light and thin construction, and finally become heavy mass construction in the underground section. These will draw mainly from the work of the mass and point line and plane sections of exploration. This leaves frame and infill which will be covered by the pavilion.

PLAN DESIGN DEVELOPMENT // 3.4 ADVANCED DEVELOPMENT The development of this design requires splitting the design into sections. These sections will be linked by the series of walkways, which articulate circulation through the site. These walkways are the focal point of the design in terms of the layering theory, but exist to serve a variety of functions such as allowing year-round access to the island, allowing access to the pavilion, and facilitating the secrets hidden in the plan.

PLANS WITH DIMENSIONS These plans presented here show some design detail of the main enclosed spaces in the area, from right to left these are the underground cinema, walkway dimensions, central elevator and service spaces in the rear of the pavilion, These spaces are relatively simple in nature, and so they could be modelled quite easily, there is little chance that these dimensions will be altered for the final.

1:200 scale

FINAL DESIGN // 3.5 1:200 scale

PLANS AND SECTIONS The sections and plan on this page show two main features, a pavilion and an underground theatre. The adjacent page shows the final site plan in 1:500 scale, this describes the layout and shows the relation of the additions to the existing topography, of which will not be altered greatly. The design is intended to showcase the site and take advantage of the existing vistas. The walkways also provide access to vistas that were not available before.

1:100 scale

1:500 scale

FINAL DESIGN // 3.5 SECRETS CONCEPT: MISDIRECTION The island site has many secrets, the main secrets concept is misdirection, which forces the user to act in a reasonably leisurely way without this being their intention. This is achieved by directing them to experiences rather than a preconceived destination, such as the pavilion or the island itself. The feature that may be interpreted as a secret by children is the viewing windows in the underwater section. The third and final secret is the underground cinema, which is a surprise for site users.

DESIGN CONCEPT: LEVELS / PURE FORMS The design of the services space in the pavilion references the pure form of a cube, whilst the ventilation/light shaft for the cinema and the elevator shaft are simply rectangular prisms erupting from the ground. The pure square has been disrupted for the picnic and barbeque area to show its importance as a space of gathering.

The pathways are primarily angular, with the exception of level 3 and the underwater tunnel, which flow organically, to connect the angular design with the site further.

FINAL DESIGN // 3.5 LEVEL BY LEVEL

LEVEL 4

The site will be experienced level by level, so it is only appropriate to show the features of each level in the order in which they will be experienced. The journey through the site incorporates the secret of misdirection to immerse the user. The journey begins on level 4.

The experience begins by walking onto the bridge at point 1. The user experiences vistas from 8m above the river as they cross the thin bridge, they then walk in between trees as they pass the elevator, when they reach point 2, they realise that there is no thoroughfare, and stop to experience the view before heading back to the elevator.

LEVEL 3

LEVEL 2

LEVEL 1

The user is encouraged to exit the elevator on level 3, and may travel left to enter the main island, or right to the platform above the services and pavilion at point 2. The user cannot enter the pavilion from this point, and must travel back to the elevator.

The user exits the elevator and may head towards the pavilion at point 1 and services block and bathrooms at point 2. The pavilion has seating, a barbeque area and a coffee stall on occasion. At point 3 there is space for canoes and kayaks to enter the island.

Once entering the underground section, the user is guided by lights to the theatre at point 1, which shows a short film about the island’s history with seating for around two families. Once the movie ends, the lighting guides the user to the exit tunnel under the river at point 2, which has glass panels for viewing underwater. The user then exits the site at point 3.

2

4 FINAL DESIGN // 3.5 MATERIALITY AND FEATURES This design follows a minimalist aesthetic, utilising pure forms and uncomplicated elements strung together to create an immersive experience. Following the aesthetic, the need for durability against the elements, and structural strength, concrete has been chosen as the most desirable material. This will be used for all elements, with slight changes in colour from bright to dark grey added for differentiation. This choice allows the landscape to be the hero of the design, and seemingly reduces the visual impact of the additions.

1

2 1 3

4

3

ELEVATOR 

Sole source of vertical circulation



Disabled access



Encourages users to travel one floor down at a time



Central location

THEATRE 

Shows short films focusing on history in the area



Square hole in roof provides ventilation and light



Seating for two families at a time



Senses movement and turns on automatically

UNDERWATER TUNNEL 

Submerged below water to allow rowboats passage



Strip windows at different heights allow views for children and adults separately



Lights that emulate daylight

PAVILION 

Coffee stall set up periodically



Barbeques and seating for five families



Just above river level for connection to landscape



Male, female and disabled toilets



Cleaners room, storage and other facilities

BIBLIOGRAPHY // 5.0 Adelphi,. (2014). Adelphi Rooftop. Retrieved from http://www.adelphi.com.au/images2/about_rooftop.jpg Glimps, T. (2015). Le Corbusier's Dom-Ino House. Retrieved from http://www.3dartistonline.com/image/29216/le_corbusiers_domino_house Interactive Map - Land Channel. (2016). Services.land.vic.gov.au. Retrieved 31 May 2016, from http://services.land.vic.gov.au/maps/interactive.jsp Light Lab,. (2014). Kings Cross Tunnel Light Wall. Retrieved from http://lights.persiamag.com/wp-content/uploads/2014/09/Lighting-Design-Lab-Blog.jpg Mackay, G. (1889). Capilano Suspension Bridge. Retrieved from http://www.granvilleislandhotel.com/d/granvilleislandhotel/media/Destination/Vancouver/Capilano_Suspension_BridgeR.jpg Mark Koehler Architects,. (2008). Mark Koehler - IJberg House. Retrieved from http://www.inhabitat.com/wp-content/uploads/ijberg-ed1.jpg Nearmap. (2016). maps.au.nearmap.com. Retrieved 31 May 2016, from http://maps.au.nearmap.com/ Wyss, P. (2005). Langkawi Sky Bridge. Retrieved from https://en.wikipedia.org/wiki/Langkawi_Sky_Bridge#/media/File:Langkawi_sky_bridge.jpg