ARCHITECTURE DESIGN STUDIO: EARTH S1, 2017 SUBJECT STUDENT BOOK Jesslyn Humardani
(765837) Ishita Chatterjee + Tutorial 18
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WELCOME. 3
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TABLE OF CONTENTS 1.0 THREE RELATIONSHIPS
1.1 Point/Line/Plane: Path and Footprints 1.2 Mass: Weight and Pressure 1.3 Frame and Infill: Ambiguity
2.0 HERRING ISLAND (A PLACE FOR KEEPING SECRETS) 2.1 Site Analysis 2.2 Conceptacle 2.3 Concept and Sketch Design 2.2 Design Development
3.0 FINAL DESIGN
3.1 Final Design Model
4.0 REFLECTION 5.0 BIBLIOGRAPHY
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1.0 THREE RELATIONSHIPS “Point / Line / Plane + Mass + Frame and Infill” Over the course of the semester, we have been exploring these three fundamental techtonics of architecture.
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1.1 POINT / LINE / PLANE “Path and Footprints� This techtonic explores the combination of points, lines, and planes. A point with no dimension progresses into a line, and then into a 2-dimensional plane. Combinations of the three elements creates a 3-dimensional space.
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“If you give people nothingness, they can ponder what can be achieved from that nothingness.� - Tadao Ando
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In this particular series of “Algorithms, Apparition and Translations” and “Landscape Allegories” Mehretu used etching with aquatint, drypoint and engraving. These artworks are the main inspirations of my point, line and plane model. Mehretu was able to blend chaos and clashing strokes and create a visual that is almost orderly-like. From these qualities, her work seem to have dynamic movements, even on a still, printed object. Each stroke almost signifies a point that forms a line when it is dragged. As it overlaps on top of one another from the repetition of strokes, it forms a plane.
PRECEDENTS Untitled from Algorithms, Apparitions and Translations Julie Mehretu, 2013 Untitled from Landscape Allegories Julie Mehretu, 2004
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Untitled from Algorithms, Apparitions and Translations Julie Mehretu, 2013
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MIND MAP Flow of thought.
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MODEL This model is an allegory of “footprints� and focuses on the idea of dynamic movement that can be created by the techtonic: Point, Line and Plane using repetition.
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As seen from the top, the model presents a dynamic movement that starts from a point at the bottom right. It starts with one footprint (point), which then moves forward towards the triangular form on the ground (line). As the footprints moves through the triangular structures, it starts to move upwards as if trying to cover the whole structure (plane). A metaphor of someone walking through a building trying to get to know what is inside the whole building
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When seen from the side, the point acts as a start. As the element is repeated, it forms a line that directs the movement. It then forms a 3-dimensional form as it goes up and acts as a plane, which is essentially series of repeated lines.
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The triangular forms too, are a play of point, line and plane. The lines are connected in points, forming triangular shapes. As more 2-dimensional triangles are attached to one another, it became a prism. Instead of having static planes, The footprints/ repetitive elements becomes the plane that works as a shade for the structure.
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1.2 MASS “Weight and Pressure” This techtonic explores the idea of dark and light, solidity and void, with the idea of touch and see.
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“If you give people nothingness, they can ponder what can be achieved from that nothingness.� - Tadao Ando
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PRECEDENTS
PRECEDENTS
Church of Light Tadao Ando, 1989 20
The thin slits in Ando’s Church of Light produces a very crisp and contrast play of light. This minimal entrance of light and usage of materiality (concrete) creates a very strong sense of weight as the space is created mostly of heavy elements. Even with the introduction of light into the room, its angularity and the geometrical shapes of the walls creates a cold feeling.
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Water Temple (Shingonshu Honpukuji) Tadao Ando, 1991
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Ando’s Water Temple also demonstrate on what I feel upon hearing the word “Mass�. The idea of an underground structure and having a heavy mass sitting on it. The structure sinks very deeply to the ground, emphasizing the idea of mass. When one is underground, they are accompanied by the tall and intimidating walls on their side. The narrow entrance creates a a sense of density and mass. Creating a feeling of pressure and solidity from the weight.
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MIND MAP Flow of thought.
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DRAWING The drawing focuses on the idea of weight and pressure. It is a visualization of how I feel when I hear the word “mass�. Emphasizing on the idea of pressure and load. The idea that being underground may be suffocating, dark and empty. The linearity and angularity of the elements are created in order to evoke a sense of coldness. The material chosen would be the cold concrete.
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The clean and thin streak of light coming from the slit into the space intensifies the contrast between dark and light. The heavy load that creates a pressurizing feeling to those entering the underground spaces. The little amount of light entering the room shines enough to give those inside just slightly enough insight of the room, but still keeping a sense of mystery and ambiguity.
The drawing exagerrates the top part of the structure. Creating a feeling of load and weight on the person in the space. The ceiling height of the underground spaces are designed low in order to stress the idea of a giant mass laying on top of them. The room are left empty and simplistic in order to further emphasize on the idea of void. As it interrelates with the materiality of concrete, the idea of having the visitors focus on the relationship between the spaces and their senses. Letting them touch and feel the concrete, feel the echo of the room and focus on the crisp light enterring the room, that helps guide them.
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1.3 FRAME AND INFILL “Ambiguity� In this particular techtonic, I explored and debated the preconceive notion of Frame being the fixed and external constraint and Infill being the fluid elements contained inside the frame.
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“If you give people nothingness, they can ponder what can be achieved from that nothingness.� - Tadao Ando
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These two installations are the starting points that helped me develop the understanding of Frame and Infill. Francois’ artwork reminds me of what would come to mind the first time if I were to here the word “Frame and Infill”. Having an external geometric frame that constraints the movement of the infill. He is able to visualize the traditional idea of frame and infill. Numen too, visualizes the idea of frame containing the tape-web inside. However, Numen’s infill highlights the idea of fluidity of the infill, unlike Francois’ where the infill looks geometric, although made of tensile structures.
PRECEDENTS Pièce détachée Michel Francois, 2011 Tape Vienna Numen / For Use, Vienna, 2010
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MIND MAP Flow of thought.
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MODEL The model intends to create an ambiguous relationship between frame and infill. It also tries to look at the relationship from an opposite view of the traditional frame and infill. I tried to view the idea of frame and infill from another perspective, where there is no fixed hierarchy between the frame and infill. That the frame does not always have to be the one oustide. The new relationship discovered is like the human body, the frame can be inside, as long as it is the one that shapes the movement of the infill. The frame does not always have to act like a cage. Ambiguity is shown in the model as the frame is the different ground levels and the infill are the threads pulled to tension by the pins sitting on top of the mass in different heights. Although the infill covers the frame, the mass are ultimately still the one that shapes the form of its infill, like how a skeletal system of the human body shapes the structure of the body. Inspired by Francois, the infill created are tensile, geometric with a sense of fluidity in the dynamic movement created by the different height of ground level, which can only be attained by using a tensile and flexible material. Upon first look, the threads may seem as the frame as it looks like it traps and cages the mass. Nevertheless, upon further exploring the form, it will be realized that the mass is the true frame shaping the structure.
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ITERATIVE DRAWINGS
FOR FRAME AND INFILL MODEL
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These drawings show that, first of all, the mass exist, symbolizing different ground level or contours. Then, with that, threads come into play and its movement, shape and placement are defined by the mass, that ultimately acts as the frame. When they integrate, it becomes ambiguous which is which.
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Herring Island It is an artificial island located in Melbourne’s Yarra river. It is formed in 1928 and named after Sir Edmund Herring, the Lieutenant Governor of Victoria and Chief Justice of Supreme Cour of Victoria. It is now home of indigenous vegetations, native fauna, and is also a sculpture park.
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2.0 HERRING ISLAND “A place for keeping Something like a pavilion�
secrets.
A site we focused on throughout the semester and took into considerations to all our design process.
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(i)
(ii)
2.1 SITE ANALYSIS (i) Sound Levels
(ii) Sun Path
As I went to the site, one thing stood out for me. The audio experience. There were two sources of sound that I caught on: from the nature and traffic. I feel. The sounds from nature were quite calming, the sound of the wind, rustling leaves. This however, was interrupted by the traffic noises coming mostly from the freeway. This sound becomes distracting for the visitors and negates the existence of Herring Island itself, which is to imitate and embrace nature/ wildlife.
I went to Herring Island during the peak of the summer. This made me think of the sun projection on the island throughout the day. This creates possibility of letting the movement of the sun to contribute to the light and shadow casted on the structure. This light and shadow will become part of the structure and help develop the experience felt by the visitors passing through the structure.
This factor have affected the placement and orientation of my structure. With this, I would like to design my structure in a way that when people are in it, they can minimize the traffic noises coming from the freeway.
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(iv)
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(iv) Art Experience (iii) Activity I arrivied to Herring Island through the Alexandra Avenue and saw the restaurant that sits along the street, the cyclist rushing through the street, and families spending their vacation/weekend together. And as I walk through the island, I realized the various activity that can be done on the island. I find these activities to be recreational and is a key quality to the island. With this, I do not want to disturb these existing qualities using my structure. Then again, I also do not want to place my structure in an area too far from the existing pathway that causes the visitors to not discover the area.
Not only is the island a home to indigenous vegetations and is habitat for native faunas, especially birds, but it is a home to many environmental sculptures. The artists focused on making the artworks from natural materials such as stone, wood and earth. The placement of the artworks and materiality affects my decision regarding the placement, orientation and materiality of my structure. The artworks are placed around the pathway, to let visitors view them whilst walking through the island. Thus, I would not want to replace or move any of the artworks for my structure.
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The conceptacle is a combination of the three previous techtonics and taking into consideration the site. Each element in the conceptacle is inspired and is derived from the previous models. It takes ideas from each techtonic, some obvious, and some not. Each techtonic is developed into a better version.
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2.2 CONCEPTACLE Point / Line / Plane + Mass + Frame and Infill
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DEVELOPMENT OF CONCEPT PREVIOUS MODELS
CHOSEN ELEMENTS
I developed the idea of overlaying footprints into a less literal interpretation. The layering of panels symbolize the idea of repetition.
CONCEPTACLE BREAKDOWN
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Then, I developed the idea of layering rectangular panels into layering panels with different and unique shapes. This is to reflect the undpredictability, randomness and uniqueness of footprints.
Lastly, I took the element of angularity from the frame and infill model and diagonal lines from the mass drawings in order to reflect the cold and pressurizing feeling of the underground space.
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CROSS SECTION The panels, although giving peaks (from the chipped parts) of what the object is behind each panel is like, when overlaid, eventually closes the view at the end. This creates the feeling of intrigue for the visitors and mystery. This makes them wonder what inside the structure is.
2.3 CONCEPT AND SKETCH DESIGN
LAYERING OF PANELS Each panels will be unique. Reflecting the different patterns of footprint.
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LONGITUDINAL SECTION The structure will go out from the land and projects to the water. This is to emphasize the strong relationship between the Herring Island and Yarra River and in order to connect more with the surrounding environment.
UNDERGROUND PERSPECTIVE The feeling I want to evoke is the solidity, pressure and heaviness of the mass, with the additional crisp lighting created by the thin slits. This particular drawing shows the darkness and void of the space. The dense and suffocating feeling that makes the visitor to want to escape from one room to another quickly, reflecting the idea of wanting to quickly escape the pressurizing feeling of curiosity.
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For the conceptacle, I have worked with angular elements. Afterwards, I dove more towards the concept of ‘secret’ and tried to experiment with different forms, I came upon Hadid’s work. She works a lot with soft and dynamic forms. This reminded me of the dynamic form of my P/L/P model. It evokes a sense of movement. She successfuly evoke a sense of wonder. The wonder of where each curve leads one to. The unrpredictability becomes intriguing to the visitors.
PRECEDENTS Heydar Alieyev Center Zaha Hadid, 2007
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Kuma’s particular work reminded me of layering the panels. The concept that each thin strips are different in width and length, creating uniquness in each layer. However, even if each strips and panels are linear, it can create a sense of undulations. This creates a juxtaposition between the linearity and the soft undulations. The linearity creates an illusion of predictability, but this illusion is quickly erased by the random undulations.
University of Tokyo’s Hongo Campus Kengo Kuma, 2015
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Predictable shapes Angular Layering
2.4 DESIGN DEVELOPMENT Upon further research and understanding the forms better, I developed the design to maximize the experience of secret.
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Unpreditability through shapes Random and unique forms Angular and stiff
Juxtaposition between soft forms and linearity of layering Soft undulations Maintaining unpredictability and unique forms through difference in lows and rises of undulations Soft and organic shapes to reflect organic footprints and dynamic movement
This cross section of the developed structure the different forms of undulations of each layer. Ultimately creating sense of mystery of what is next after each panel.
After developing the conceptacle, I realized that it is important to connect with the surrounding. Not only does the structure should project towards the Yarra River, but the panels need to touch the water. This will enhance the idea that the structure sinks in to the island and is hugged by its surrounding.
This final orientation of the structure is based on the site analysis of sound, activities, sun path and placement of artwork. It is placed facing North-West so that it would receive the sun rays from dusk until dawn.
The panels are tall, however thin and short in width. As they are overlaid in random pattern, it is made sure that in the end, the view from the structure towards the freeway is ultimately blocked. This is to also minimize the noise created by the traffic. VIEW OF PANELS SINKING INTO WATER (FROM INSIDE THE STRUCTURE TO OUTSIDE)
When seen as an elevation, it looks line long lines, and when seen from inside the structure, they are tall panels.
It is also oriented in a diagonal position to minimize traffic noises from the freeway into the island. Instead of facing the structure away from the traffic noise and hiding away from it, the structure fights away the noise by using layerings and using concrete as the material. Concrete absorbs the noise and cancels it instead of transferring the sound. The structure is also placed near the pathway in order for visitors to see it and becomes intrigued to go through the journey inside the structure.
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“ There is Would you li Let’s pea
But first, an What is ‘ Is it worth
Is it going to be the me
Now, would you more
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s a secret. ike to know? ak into it.
nswer this. ‘Secret’? knowing?
e same for you and e?
still like to know e? ”
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SECRET: a personal interpretation What is ‘secret’? A secret only exist if you are told the existence of it. It makes you wonder. What is the secret? You become intrigued, you feel the pressure and the heavy weight of curiosity creeping up. As you seek into the secret, you’re given peaks into it. Now, you want to know more. You’re given a clue of the situation, but not completely. Thus, “Ignorance is bliss” they say. Is it better not knowing? Then again, secret is just a concept humans make. The knowledge has always been there in the universe, but a secret opens a pathway to looking at things through a different perspective. But, is it worth knowing? How will this affect you? With the same information, a different interpretation can be evoked by different people.
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GROUND FLOOR PLAN 56
@1:400
3.0 FINAL DESIGN Plans, sections, elevations, 3D Visualization, model, and more. Understanding the notion of “secret”. Peaks and intrigues. Secret as a personal revelation and journey.
SITE PLAN
(not to scale)
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ZOOMED IN AND DETAILED PLANS (not to scale)
The storage and technical space are considered to be a private and exclusive place. It is placed underground in an area outside the main structure. This is in order to keep the maintenance aspect of the structure tucked away and hidden. Although it might make some visitors wonder of what is underground, the large entrance of the main structure will dominate.
(i) The toilet and shelter are considered as an very important space for the visitors. I decided to avoid making it as a place of secret. The toilet is placed outside of the main structure to make it available even to those choosing to not enter the main structure.
(ii)
(iii) (i) storage and technical space (ii) bathroom and shelter (iii) time capsule
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A storage for time capsule to be opened 200 years later is placed underground towards the south end of the structure. It is in a room without opening and is surrounded with thick concrete walls. When visitors go into the underground space, they are unaware of the time capsule’s existence. And is designed in a way to make it seem that there is nothing behind the wall, as there are no openings. Thus, even if they pass through the wall, they will ignore it and have no desire or pressure to peak into behind the wall. An allegory of how “secret” is only a notion that emerge if you are told of its existence, creating curiosity. And if not told, ones life would not be affected in any way, as “ignorance is bliss”.
UNDERGROUND FLOOR PLAN @1:400
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The panels sinks into the water connecting the structure more into the surrounding nature. Boats will be able to go through these panels and their width are kept short so that their view when sailing would not be disrupted. Aside from its usage as an element to minimize traffic noises, they also let those who pass through the structure when they are on water, to be intrigued and have a chance to interact with the structure itself. As people are carried from Alexandra Avenue to the Herring Island landing dock, they will pass through these panels and this is the first stage of pulling them into going inside the structure.
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As seen from the elevation, the structure shows a strong sense of layering. Each layer, however, is unique. There are different heights and slopes to each. The gaps in between the undulating strips are kept thin to still let light in and let the visitors peak outside at a controlled amount, yet still kept away momentarily of the surroundings. Upon passing through the entrance, people will wonder what is behind the first undulated strip/layer. This becomes a trigger. They are “informed� of the existence of a secret somewhere in the structure. A metaphor.
WEST ELEVATION @ 1:200 61
The north elevation shows how the viewers are ultimately blocked of the view behind. And in order to maximize their experience inside the structure, the panels will block and minimize the traffic sounds coming from the freeway.
NORTH ELEVATION @ 1:200 62
This longitudinal section drawing shows how one moves through the building. Starting from the main entrance, walking past through the undulation strips that creates a heavy feeling, allegory of the feeling when you have a secret weighing on you or when curiosity creeps up on you. At the end a path way going towards the underground space, where rooms are designed to be confined and only receiving minimum amount of lights from the slits. The underground space has a very low ceiling height. This drawing also shows how there is actually nothing inside, just blank walls to let viewers interpret their own serets.
LONGITUDINAL SECTION @ 1:200 63
DIAGRAMS (i) Circulation (ii) Levels of privacy (iii) Basic forms
The levels of privacy is The public areas includ are on the verge of “jus moment where they ar not to enter the space through the structure, it area, where only those w experience. Lastly, priva technical utility spaces where only people with to.
(i)
(iii)
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(ii)
The circulation exiting the building is exactly the same to entering the structure. This is to manipulate the experience felt by the visitors. They were clueless when enterring, but on the way back, they are familiar with the space and was just given a shocking knowledge of “nothingness” in the underground space, thus making their journey exiting the structure a different experience. A metaphor of how a set of information may change a person’s perspective.
Forms play a major pa by visitors. There is a ju predictability of a line uniquness of each und organization keeps the control. The idea that the end of the spac but little did they k underground space. An how a rectalinear organ confusing because of t
MATERIALITY
s important to a space. de the moments people st” being intrigued. The re deciding whether or e, and as they progress becomes a semi-public who desired to go in will ate areas are strictly to and the time capsule, h authority have access
Materiality plays an important to the design and experience of the structure. Herring Island, although artificial, is very organic and filled with floras and faunas. Even the existing artworks uses very organic materials.
art to the experience felt uxtaposition between the ear organization and the dulated strips. The linear e random undulations in the rectalinearity makes ce seem “predictable”, know that there is an nd it will surprise them at nization can still become the undulations.
In order to create the feeling of intrigue to the visitors, I opt a drastically different material: concrete. It is a very industrial material and reflects modernism. This will make the structure stand out and let the visitors wonder why. The heaviness of concrete juxtaposes the lightness of the nature. The coldness vs. warmth. And the soft undulations vs. the rigidity of the material.
ISOMETRIC EXPLOSION
Concrete gives a strong sense of mass. When seen from afar, the structure seems like a heavy, giant block of concrete, but upon seeing it upclose, it is actually thin planks of concrete. The material becomes manipulative.
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DIGITAL MODEL
ENTRY TO UNDERGROUND The entry to underground is tucked away at the end of the main structure, just before it touches the water. This is to let the visitors to walk towards the end and discover that there is still another journey to accomplish. That the answer does not end there. The path way is hidden in wave-shaped plane .
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ON GROUND The dramatic undulations closes the view of the visitors to the end. It creates mystery of what behind strip is. The drops of the undulation creates a heavy and pressurizing feeling towards the visitors, as it seems like they are coming at them. Like the pressurizing feeling you get curiosity creeps.The gaps between each strips lets light into the structure and give visitors slight peak of their current surroundings, but not giving it all away.
UNDERGROUND The underground structure pictures a dark space. A dark, dense and confined space with thin rays of light shining into the room working as guide for the visitors. Gives a blurred idea of what the room is like, but still keeping a sense of mystery created by the darkness. A metaphor of when you are given a peak of what the secret is, but not given full knowledge of what it is. The underground space is actually only blank rooms with blank walls. Letting the visitors focus on their physical sense. As they finish exploring the underground space, they realize that there is indeed nothing. It is blank. Their speculations may run high, but as they are presented with a blank wall they will be stunned.The secret depends on their own perception and how they want to take in the information they are given. The blank walls give them the freedom to interpret things on their own, showing how different people feel and react differently to the same simple knowledge given.
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3.1 FINAL DESIGN MODEL Visualization of structure through the use of 3D printing and laser cutting.
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4.0 REFLECTION
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Having the first few weeks as an opportunity to dive in into basic techtonics of design was a very helpful and eye-opening process. Throughout the journey of making the final design, I realized how helpful it was to have the previous three designs to guide me. The narratives of each model eventually build up and is combined into the final design. Towards the end of the semester, I realized how important it is to have always have in mind and take into consideration the site, the idea of secret, and the relationship between one techtonic to another, when making the first three designs. Then again, these briefs should not restrict or limit the flow of ideas during the first techtonics. As during this process, I find it helpful to be imaginative and conceptual to match the very narrative and philosophical brief of secret. The very broad and simplistic terms “point/line/plane, mass, frame and infill” requires a narrative background and push in order to create a meaningful and rich design. The word “secret” may be interpreted literally in the design, but it also begs for a philosophical analysis. I find it interesting to dive in to understanding the concept of “secret” and applying allegories and metaphors into my design. Making a meaning behind existence of each structure becomes interesting. It was hard at first to narrow down the meaning of “secret”. As there are so many interpretations. So many options to pick from. However, aside from focusing on the narrative, which is an important aspect, we also have to think about the basic technicalities. Not forgetting that it is not just about the concept, but also pragmatic responses. What I have learned throughout this semester is the development of design. How changes always occur everytime as there are so many factors to think about. You have to know the limit, when your design starts to become too complex and you have to tone down and think of the experience felt by the visitors. Although approach to the brief is rather philosophical and narrative-like, it is important to think of how to convey it to those walking in to it. I also learned how having precedents are extremely important. So many ideas run through your head, but to tone down you need to look at precedents to narrow down your options and help you visualize. Doing the blog entries forces you to see past beyond the aesthetic qualities, but also understanding them. Discussing the precedents in class pushes you to see the same picture through different perspectives, further understanding a precedent deeper. Throughout the semester I learned to also experiment with materials. Some standard, some quite difficult to deal with. I tried using plaster for my final model, but it was produced below my expectations, so I developed it and tried using 3D printing instead and it produces the form I expected. It was an interesting turn of events. Learning using different materials and techniques I have never used before. Overall, this studio have given me interesting experiences. It taught me how to combine different and distinct ideas into one and to always consider the boundaries given when designing. I learned the exciting aspect of putting narratives and allegories behind a design and how fulfilling it feels. For the next studios, I would like to improve on my drawings and if I have more time, I would like to think more into detail the functionality and usability of the area.
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5.0 BIBLIOGRAPHY
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Baan, Iwan, Heydar Aliyev Centre in Baku, 2014, photograph, retrieved from http://www.japantimes.co.jp/life/2014/11/28/style/hadid-remains-center-controversy/#. WTbJiROGOIY Francois, Michel, Piece Detachee, 2011, steel and magnets installation, retrived from http://bortolamigallery.com/artist/michel-francois/works/ Fujii, Naoya, Church of Light, 2011, photograph, retrieved from http://images.adsttc.com/media/images/5037/f3e0/28ba/0d59/9b00/064f/large_jpg/stringio.jpg?1414206113 Levalchy, Water Temple, 2009, photograph, retrieved from https://www.flickr.com/photos/36840668@N03/4503117695 Mehretu, Julie, Untitled, 2013, etchings with aquatint, drypoint, and engrapving, retrieved from https://www.moma.org/collection/works/176708?locale=en Mehretu, Julie, Untitled, 2013, etchings with aquatint, drypoint, and engrapving, retrieved from https://www.moma.org/collection/works/176708?locale=en Mehretu, Julie, Untitled, 2004, etchings with aquatint, drypoint, and engrapving, retrieved from https://www.moma.org/collection/works/98213?locale=en N/A, Church of Light, 2013, photograph, retrived from http://waldek-myst.blog.onet.pl/wp-content/blogs.dir/447584/files/2013/02/Osaka.jpg Numen, Tape Vienna, 2010, tape, retrived from http://www.numen.eu/installations/tape/vienna-odeon/ Ota, Takumi, Kengo Kuma University of Tokyo, 2014, photograph, retrieved from http://www.designboom.com/architecture/kengo-kuma-daiwa-ubiquitous-computing-researchbuilding-tokyo-06-24-2014/ Pall, Andras, Church of Light, 2010, photograph, retrieved from https://i.ytimg.com/vi/7ZtfYOD5I8M/maxresdefault.jpg Schoroeer Heiermann, Chris, Water Temple, 2014, photograph, retrived from https://www.flickr.com/photos/schroeer-heiermann/15315552810
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GOODBYE. 74