ARCHITECTURE DESIGN STUDIO: EARTH S1, 2015 SUBJECT STUDENT BOOK JESSIE ANGUS 698736 SARAH KAHN T13
CONTENTS 1.0 THREE RELATIONSHIPS 1.1 POINT/LINE/PLANE 1.2 FRAME & INFILL 1.3 MASS 1.3.1 MASS DRAWING 1.3.2 RHINO MODELING 1.3.3 FINAL RESULT/OUTCOME
2.0 HERRING ISLAND: A PLACE FOR KEEPING SECRETS 2.1 SITE ANALYSIS AND CONCEPTACLE 2.2 PRECEDENTS 2.3 DESIGN DEVELOPMENT 3.0 FINAL DESIGN
4.0 REFLECTION 5.0 BIBLIOGRAPHY
1.1 POINT/LINE/PLANE
POINT/LINE/PLANE MODEL In response to the brief, ‘Design a combination of levels, possibly with some slopes that explore ways of defining ground-related space, by using the progression of point to line to plane, and by analogy, from standing to sitting to lying down,’ I created three hub like spaces that are envisioned to be found in a recreational area such as a park within a busy, fast paced environment. These semi submerged hubs explore the idea of levels by using the space below ground, ground level and above ground to create defined spaces that represent cater different functions and feelings. The two below surface spaces (laying seat, upright seat) represent their function through the ribbon progression ascending upward; whereby the laying seat is more submerged and extended implying its function whilst creating a feeling of darkness and being separated from the above, whilst the upright seat is positioned half underground-half above to allow the user to feel like they are in their own little space whilst still being aware of their surroundings. The hubs form is made up of one continuous ribbon/line that ends at points pointing either to the sky or outwards towards surrounding environment inviting a user to experience the space whilst emphasising that it is all part of one entity that’s separated from its surroundings. The platforms/planes surrounding the hubs also create a space of recreation but in a more open, social and public manner.
1.2 FRAME AND INFILL
Frame and infill
Tattoo house by Andrew Maynard Architects in Fitzroy, Melbourne (Bennetts et al, 2015). Tattoos block immediate sun and create interesting light and shadows to pass through space.
Perforated house by KUD in Brunswick, Melbourne (Bennetts, n.d.). A comedic imitation of surrounding traditional terrace houses.
Camouflage house by Johnsen Schmaling Architects in Green Lake, Wisconsin (Camouflage house, n.d.). Uses surrounding colours and textures found on the vegetation/landscape as inspiration for the infills to blend and connect house to environment.
The idea behind this model was to create a simple frame and use the infill as expression and reflection of the structures surroundings. I imagine this structure to belong in an area dense with vegetation and near a volume of water whether that be a lake, river or ocean. I’ve used this as inspiration to guide the design of the infills and the progression of experiences one has whilst moving throughout the building. I gained inspiration from looking at the Tattoo, Perforated and Camouflage houses (Left) and how they used infills to imitate their surroundings (2 and 3) and to use imagery (tattooing) to replicate and create an experience that one may have if said imagery really existed in its place. With that being said, I played with textures, shapes and colours and explored ways in which they can be assembled to create a series of spaces that reflected the environment in which the structure is placed. A big driving factor behind the structure was to create interesting light and shadows through the infills that enabled the interior space to feel as beautifully chaotic as the natural world surrounding it. Whereby the shadows created would move with the sun, in conjunction with the moving natural shadows created by surrounding trees to form a charismatic and interactive space. In addition, the structure is designed to form a progression of experiences that begin with the ground level space nestled and shielded under the second level that is mainly closed off with small abstract windows that restrict views out, focusing your attention to singular elements that can be seen out. As you move to the second level the space becomes more alive with the front façade having a tattoo to represent the movement and splashing of water to create interesting light and shadows into the space, to encourage exploration of the tattoo and out of the glazing. Secondly the sides of the structure are made up of perforated corrugated thin steel sheets in multiple colours and textures to represent the surrounding vegetation. These sheets although overlap, leave gaps in areas allowing breeze to flow through and to allow the sheets to move creating an interactive/alive space. Lastly the rooftop area is to experience the natural surroundings bringing together all the elements that was broken down, reflected on and appreciated during the progression and journey to the top of the structure.
1.3 MASS
1.3.1 Mass drawing The drawing is of an area that is below ground and makes up two varying spaces, one of enjoyment and excitement and the other of reflection and peace. The first space incorporates a set of varying sized concrete tubes covered by coloured Perspex to create interesting coloured lighting within the space that is separated from the second space by a lowered roof allowing you to only see glimmers of light reflecting off a small pool of water and the sound of droplets. These two elements create intrigue and lead the user to explore the space. Once the person enters the space their attention is drawn to the large stone/concrete cone shaped sculpture that points down into a small pool of water where it is filled by drops falling out of the pinnacle. This space is a lot darker than the previous with only specific light streams highlighting the mass of the cone structure and pool of water, making you have to feel your way around the space and focus your attention on the textures and sounds created. The space above ground hints at the spaces below the surface through the concrete tube and cone being protruded out. This encourages the exploration of these elements and discovery of the stairwell that leads to the beneath space.
1.3.2 Rhino modelling I decided to use the cone portion of my mass drawing to translate into a 3D form as I believed it captured the main essence of the design and exploration of mass the best. I kept the model fairly simple to emphasise the solid and non-solid areas to really highlight the mass. To be able to 3D print the model without issues the design had to be tweaked slightly with the ground surface needing to be printed separately and glued on later.
1.3.3 Final Result/3D Print
2.0 HERRING ISLAND: A PLACE FOR KEEPING SECRETS
CHOSEN SITE
2.1 SITE ANALYSIS AND CONCEPTACLE The first thing that intrigued me about Herring Island, was its exclusivity (can only be accessed by boat and not widely known) and how it forms a natural oasis/getaway from the surrounding moderately dense urban environment. During the first exploration of the island there was an already strong sense of secrets through the different heighted topography and dense vegetation hiding sculptures, pathways and views. These elements were revealed from either stumbling upon it or through in-depth exploration along the paths. After discovering the first sculpture it sparked an emotion that made me want to discover more and see what other treasures the island had to offer. It began this journey of exploration, excitement, reflection and a sense of achievement upon discovering a new sculpture, an interesting view or natural element. I became wrapped up in the environment whereby, once I came to the edges of the island and the awe of the view faded I was struck back into reality and notified I was only a short distance from a fast paced, dense, urban environment. With that being said, I chose the site for my design to be roughly in centre of the island, surrounded by moderately dense vegetation to block any noise projected from the surrounding urban environment and to really hone in the idea that you are in a separated natural environment. Moving onto the conceptacle, I was driven to create something that had the abstractness and irregularity that the natural environment has, yet done with straight geometrical forms. The geometrical shapes created is to make reference to urbanism and where we have progressed to, yet still have a rawness and irregular personality to encourage reflection and appreciation for the natural world.
This was one of the most influential images/project (designed by Freecell) (Moistscape, 2010) as it played with combining the natural with the artificial which is what I was trying to achieve. I also really liked the exploration of levels and use of triangular forms.
This greenhouse (Bertschi, 2012) inspired my seated area’s roof structure (glass and metal beams) as I really liked the idea of being sheltered and closed in yet still one with the environment able to experience your surroundings. In addition, the bold beams resonated with me as I felt they created a frame in the sense that it’s showcasing the views shown through it, framing the natural beauty surrounding you.
I really liked how this building’s (Hansen, 2014) façade felt like it was being pulled out, sideways, back and forth to create its form, almost sculpting it. This idea of pulling at elements to create shapes pushed forward into my design at a more extreme level but I felt that it connected nicely with the idea of bringing in the natural element into an artificial form and using this technique to create abstract forms to stray away from symmetry.
This image (Nizam, 2013) resonated with me as the four cut outs focus your attention to the tree outside, its textures and shapes. I wanted to use this idea in my reflection/viewing room where the interior is kept simple with small windows highlighting all the vegetation surrounding the structure, framing the natural elements.
2.2 PRECEDENTS .
2.3 DESIGN DEVELOPMENT
3.0 FINAL DESIGN
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4.0 REFLECTION Studio Earth has proved to be a challenging subject through: testing creative bounds, applying newly found knowledge and approaches, responding to briefs and presentation. The first three exercises revolving around the tectonics, point/line/plane, frame and infill and mass gave great insight into elements that go into design, the effect they have and how to approach design by breaking it down into elements. I found these exercises challenging as the idea was to jump straight into creating something with your hands (modelling) that responded to a brief surrounding a specific tectonic, which I wasn’t used to. My general approach to coming up with a concept, idea or form is to ponder over several possibilities, sketch, research, sketch, research etc, where, by the time I modeled something, I’ve already trialed and error possibilities and have quite a good idea of what the outcome is going to be like. Thus, being thrown into a exercise that demands a ‘model first’ approach formed quite a challenge. Looking back at the experience I’m glad it was the way it was because, it enabled me to think freely yet with a structured purpose where I focused on the singular elements of the brief and directly responded to the main points. In addition, I really enjoyed seeing how others responded to the brief in completely different ways which became insightful and broadened my mind to how one tectonic can be explored and represented in many varying ways. My progression through the design stage for the Herring Island project was a very bumpy road where I first started off with a very strong concept derived from my experience on the island and the thoughts it provoked. I ended up coming up with a concept that included a space in which one can go and record their thoughts, stories, confessions, secrets etc anonymously where it is then played back to a complete stranger only once. The space is a place that you can go and know youll be heard, that someone somewhere out there is listening. The idea behind it was to reconnect society through empathy-one of the fundamental elements of human nature that we sadly today lack. The problem I encountered with this idea, was that I spent so long researching and focusing on the concept itself I found immense difficulty in translating the concept into a physical form that correlated with the idea and the brief. I did a lot of sketching and modelling of several possibilities, but none were gelling the concept, form and brief together. At this point I reached a major creative block and forced myself to re-evaluate what I was doing, what was working and what wasn’t. I discovered that due to my profound connection behind this concept I became restricted in how I envisioned it by the brief and decided that although it may have been a great idea, it may not be suited to this particular project. Thus, I started again, I returned to the site analysis, I revisited my experience on the island and used the natural environment, the journey and the context in which it belongs as inspiration and the driving factor behind my design. I revisited my 3 tectonic projects and pulled together some elements I thought could help in forming a structure that held secrets, explored levels and referenced all three tectonics. I pulled the idea of being within the earth as a way of separation and a tool to explore levels and how different heights form different feels from the point/line/plane project. I looked at how I used infill to create interesting light and shadows within a buildings and also using it to focus your senses on certain elements/views. Lastly, I explored how mass creates different emotions depending on how its presented. All three of these explorations became evident in my final project though the exploration of levels, bold lines, planes and points to highlight the structures irregular form, the mixture of opaque and transparent infills and the sunken seating area and underground toilet to create a hidden, enclosed yet open sensation. My final design’s concept came from focusing on the experiences had during the journey through the island,excitement, curiosity, the discovery of the sculptures and encouragement of exploration. I wanted to create a series of spaces that triggered these emotions through including hidden entry ways, fake doorways and a sunken toilet to force and encourage exploration of the pavilion allowing the user to experience an array of emotions and bring about reflection and appreciation for their natural surroundings, encouraging them to get outdoors more often. With high expectations of the presentation of this project I was challenged, as I had very little to no experience with rhino or any other software, resulting in having to self teach myself programs to be able to come up with a graphically pleasing and easy to read presentation. Although I found this really difficult and time consuming, it was a necessary learning curve needed to be able to graphically represent something within this subject and beyond it for the duration of my course. Its clear this area needs a lot more improvement and learning of programs but that’s a task I’m willingly to progressively work on and improve as I move forward. Although I felt my design came to a resolution, the decision to change and disregard all my previous work and begin again at a late stage hindered the chance to push and refine the design which it could have benefited from. As much as I wish I could have been ale to spend more time pushing the idea further I had to come to a point where I had to decide to stop and refine what I had. I’m aware improvements could have been made especially with simplifying the form as, although I was trying to represent the irregularity of nature and an exciting journey, I believe this could have been achieved in a more sophisticated and simplified way. Though I’m glad I had this experience so that I can know in the future to be more certain with my design in the earlier stages to allow ample time for refinement and improvement. Overall, this subject has taught me a lot and have gained many insighltful lessons that I will no doubt use in the future. This subject taught me to notice and be aware of the taught elements(techtonics) within architecture and understand how they contribute to the design.
5.0 Bibliography Bennetts, P, Dettman, K & Wiseman, C 2015, Tattoo House, Photograph, viewed 24 March 2015 <http://www.cohabitaire.com/tattoo-house-andrew-maynard-architects/>. Bennetts, P, n.d. Perforated House, Photograph, viewed 24 March 2015, <http://kud.com.au/perforated-house/>. Camouflage House, n.d. Photograph, viewed 24 March 2015, <http://www.johnsenschmaling.com/camouflage-house/8176bsuuqucsqdq9jsqdna34e9ccdr>. Moistscape 2010, Photograph, viewed 15 May 2015, < https://laud8.wordpress.com/2010/08/12/moistscape-the-play-of-the-natural-within-the-artificial/>. Bertschi, M 2012, Greenhouse at Gruningen Botanical Garden by Buehrer Wuest Architekten, Photograph, viewed 13 May 2015, < http://www.dezeen.com/2012/09/03/greenhouse-at-gruningen-botanical-garden-by-buehrerwuest-architekten/>. Nizam, J 2013, Four Circles, Photograph, viewed 13 May 2015, < http://www.jamesnizam.com/>. Hansen, M, D 2014, Horten by 3XN Architects, photograph, viewed 21 May 2015, < https://www.behance.net/gallery/18095105/Horten>.