ABPL20027 EARTH BOOK JINGYI ZHANG 784195 TUTORIAL: 8 TUTOR: SARAH
2017 SEMESTER 1
Model of the secret project
Content: 1. Point line plane 2. mass 3. frame and infill 4. secret project 5. Bibliography
Point Line Plane defining ground-related space to lie down, sit up, stand and walk
High Line by Diller and Scofidio
The bench are created by peeling ground surface. The smooth transaction from the ground surface to the built forms is such a genius way to create different levels.
Onion Web by Aldo Tolino
Precedents
Chair in a shop
This curved surface is made by flat triangular modules. I was impressed by the energy and dynamism embodied in these composition.
This piece catches my eyes because of its beautiful use of light and shade to exaggerate the edge and corner of the triangles--lines & points. It also creates a visual depth even though nothing is actually cutting through the backdrop surface.
Project 1 Three elements: Point:
the sharp pointed corner of a triangular surface
Line: the edge of the triangle: It is better expressed with the help of shadow and light. the balsa wood stick: It still follows the triangle pattern but emphasises the border instead of the surface.
Plane: the triangle: The planes can be interpreted as unfolding from the ground.
People laying down
People walking
People sitting
People walking
Drawbacks:
The underground space hasn’t been explored much in this model. It would be better to explore the situation when the triangles cut into the ground. In a more practical aspect, it will also allow easier access to shallow areas.
Project 2 emphasis on the manipulation of ground level
The concept of folding planes
This model still uses the motif of triangles. The plane element is dominated in this design. But line and point are always present. With the help of light and shadow, the boundary lines and corners are emphasised. What’s new here is the slot on ground surface. These slots creates shadow lines on the ground. This coincides with the concept of folding plane and also emphasis the presence of lines. More variety of the ground level is brought in. This gives the opportunity for the folding planes to go down and create interesting space for people to occupy.
How do people use these space? sitting in the shadow of the hovering triangular planes walking on the folding surfaces playing with the slope just like what the kids are doing ... ...
Mass “Architecture is the masterly, correct and magnificent play of volume brought together in light.� ---Le Corbusier
Dune (Concept)
Sahara Desert, North Africa by Magnus Larsson
This rendered view captures the beautiful play of light and shade. The curvy forms are quite representative for natural cave. Then in order to state the presence of human beings, I will use more orthogonal forms in my drawing.
Chong Wen Tower
Shaanxi Provence, China I was impressed by the strong emotional power this bright light at a far distance possesses.
Precedents:
Mass project: Play of volume: This underground space is created by cubic forms which is simple, abstracted and artificial as opposed to the form of a natural cave. I’m using it to claim that this realm belongs to human. However this artificial volume is still connected to nature by the media of light and shade.
Light and shadow: Light and shadow forms great tension. Light penetrate into the space violently through the small aperture. While at the same time,darkness is also ready to swallow this lit area at any time. I want to use my drawing to argue that it is light that brings dynamism into the volume, and it is also light that charge the space with spirit and emotion. The strong light at the far end allure people forward. It symbolises the bright future of each individual.
Frame and Infill create a view to the sky, to the horizon and the ground.
Moving House by EAT Architects
The semi-transparent screen can be interpreted as infill which is placed outside of the frame. I like the way it changes transparency when people are approaching the main entrance. Only if people are standing perpendicular to the screen plane, will they be able to see through it,
Eames House by Charles and Ray Eames
I like the simplicity of this frame and infill composition. The frame is arranged in an equal spacing. Careful thoughts are given to the location and size of the infill panel in order to achieve both privacy and the longing for sunlight.
Precedents:
Project 1 FRAME
INFILL:
Horizontal Planes and stairs
INFILL:
Infill panels
INFILL:
Free standing screen
The bottom four images are 4 views people may see when they approach the screen from the right to the left. Depends on where the viewer is standing, the level of transparency of the screen varies.
The screen is made by a series of free standing columns. They are placed in different angles and spacing to achieve various levels of transparency and diverse views.
The location of the infill panels is of very important roles in creating various both direct and in-direct contact between the exterior and the interior. Before climbing upstairs, people are given generous unblocking space for viewing the landscape. When they are on the staircases, their view towards the outside are blocked. But with the openings above head, they will still be able to get a sense of nature through the media of light.(see the school girl in the image) Then small slots are given for curious visitors to discover the exterior. When we are standing on the platform, the view for an adult is blocked again. But once again the warm sunlight pouring through the opening near foot will constantly builds up the connection again. However the height of the opening here is just right for kids. They will be able to see things that adults can’t see. Just look at the girl in the image who is playing with the shade. I can see such a beautiful connection between the nature and human.
Project 2 This model is done on the basis of the previous one. It further develops the free-standing screen as an element for infill. Its fluidity contrasts with the regularity of the frame.
In order to direct people view the sky, the ground and the horizon,a series of stairs and platforms are created.
View of the sky
View of the horizon
View of the ground
View of the horizon
A place for keeping secrets something like a pavilion on Hurring island
Site analysis
The diagram in the middle explains the inaccessibility of the site. It is separated from the mainland by Yarra river. And the island is only accessible by punting which only departs from the south bank. Additionally, the highway on the north bank is a physical barrier for local residents to view the site.(see the image on the top left) Cars are driven in a high-speed and no parking is allowed on the highway. Then drivers are only able to glimpse the site for a few seconds. If there is anything that catches their eyes, their curiosity to discover it will explode because a few seconds are just far from enough to have a good look at the scene. (see image on the bottom left) In relation to the brief --secret place, the site analysis suggests that the area in the red circle is the ideal site for this project.
Concept: Taking the inspiration of the beautiful landscape, I would like to define the secret as the beauty of nature which we are very often neglected in our daily life. I wish to make people look at the trees and flowers again after they finish the journey in my pavilion.
High
Low
Vegetation Density
The area in the red circle is very well vegetated. It is clear that this area is very suitable in terms of displaying the beauty of nature.
up
A Journey to the site
Typography
Because the area in the red circle is a valley, which is good for concealing the pavilion, it is suitable for this brief.
Based on the analysis in terms of inaccessibility, vegetation and typography, I decide to use the area in the red circle as my site.
There are several reasons why I choose to have a linear spatial arrangement and go on to immitate the form of a tree trunk. Firstly, the site is covered by lush vegetation. I wish to minimise the damge to the natural system. Secondly, in relationship to the brief, I wish to hide the secret to the very end. One has to go through the whole journey in order to discover it. Having a sequence of linear space is ideal for this reason. Lastly, because my concept values nature a lot, I believe immitating the form of a tree trunk will reinforce that idea.And mimicing the branching system of a tree trunk opens up the opportunity to create space at different levels.
Conceptcle: The “peeling-away” form can be interpreted in two ways. Firstly, it symbolises the process of revealing the secret. That’s why it is ideal to be used at the end of the journey. Secondly, it is also good to be used at entrance point to gradually darken the interior space. This helps to create a mysterious atmosphere, which can evoke people’s curiosity to discover what is hidden.
Final project Left: Site Plan scale:1:200 Right: Collage Plan (The two wings at either side are top view plan) scale: 1:100
The following pages will lead you go into the pavilion and experience the whole journey. The journey starts from the left wing. (see the plan)
Stop1: This is the entrance of the pavilion. It gradually closes up and narrows as people go further into the pavilion. As a result, the interior space will get darker and darker, only the bravest will keep moving forward. Given the overall form gets its inspiration from tree trunk, rough textured concrete and steel mesh are used here in order to create sharp contrast with the natural settings. It helps to brings novelity to the pavilion and attracts people to discover what is happening inside. The rough texture of the concrete can be a dominate feature of this space when it gets too dark and visual sensation is not possible. It is located right in the middle of the foot track, leaving no space for visitors to go unless they enter the pavilion.
Stop2:
The long narrow corrider leads us to this relatively spacous underground volume. Its surface is smooth and pale, which indicates its difference from the previous space. Because the dim, colour variation are not likely to be detected by people inside. It is the surface tecture that te something new are coming. The light is an important feature here in order to hide the secret door at the end. Several non load-bearing columns made by steel wire are erected in this space. Some of them pu though the concrete shell and brought sunlight in. This steel columns form analogy with the tree ground. This is a secret which will be revealed after passing through the secret door.
Section 1 scale: 1:100
e space is still ells them that
unched e above
Stop3:
The main linear volumn branches here. The new branch directs p beauty of the river and the trees on the opposite bank.
To apply this technique into my pavilion, a sequence of screens are added to this branch. They are placed with a 3m spacing. The very first screen only opens a narrow vertical slot for viewing the exterior. (see section2) Then the following sceens gradually release more and more parts of the scene to the viewer. People have to go through the whole branch in order to finally see the landscapce with no obstacles. This forces people to view the same picture over alonger period of time than they normally do because of the desire to see the whole image. And they will be able to detect the trace time left to the landscape,for example, the direction of the shade changes or a leaf falls down. Section 2 scale: 1:100
people to see the
In order to reproduce nature in a form that may attracts people’s eyes again, I took inspiration from David Hockney’s collage (see image on the top right). It successfully brings in the time fator into a 2D photo.
the actual scene
the impression of the scene in the viewer’s head
Section 3 scale: 1:100
Stop 4:
This stop is the ending point of the journey. Passing through the secre colors. This is very different from the interior volumn we have experien bring joy to people and makes them reappreciate nature again. Once again, there is material variation from stop 4 to the previous volu mesh now, in order to release hits to people that we are about to emb As I mentioned in stop 1, the analogy between the above-ground tree secret that I wish to be discovered by visitors. I believe the girl in the se I took inspiration from Melbourne artisit, Zoe Croggron. Her collage fin architectural forms. Because of this unexpected suprising connection,
Collage by Zoe Croggon
Section 4 scale: 1:100
et door, what is waiting is abundent sunlight and bright nced so far. Just the feeling of reconnection to nature will
umn. The platforms are made by timber instead of steel brace nature again. es and the underground steel mesh columns is the final ection 4 drawing has started to realised my intenion. nds smooth connection between human forms and the her collages are able to achieve the “1+1>2� effect.
Views of st
top 4 Views of stop 4
Of course, this is not the can experience in this p opens on both sides, it is al it from stop 4 and finally imagine it will be an equa In stop2, we will be walk to the bright. The narrow at the end can be anot Afternoon sunlight strug further into the corridor. sunlight, we will eventual with a beautiful view tow and yarra river.
e only journey one pavilion. Because it lso possible to enter y exit from stop1. I ally interesting. king from the dark ascending corridor ther selling point. ggles to penatrate r. Chasing after the lly exit the pavilion wards the sculpture
Bibliography: Dainesinger (2017, June). Retrieved from http://www.dainesinger.com/zoe-croggon/ David Hockney current (2017, June). Retrieved from http://www.ngv.vic.gov.au/exhibition/david-hockney/