ARCHITECTURE DESIGN STUDIO: EARTH S1, 2015 SUBJECT STUDENT BOOK Jonathan Wei Loong Leong
(674599) Scott Woods + T08
1
2
3
4
CONTENTS 1.0 THREE RELATIONSHIPS
7
2.0 CONCEPT MASS 3D MODEL
2.0
3.0 HERRING ISLAND. SOMETHING LIKE A PAVILION
3.0
4.0 REFLECTIONS
4.0
5.0 BIBLIOGRAPHY
5.0
5
POINT / LINE / PLANE
ON GROUND 6
FRAME + INFILL
ABOVE GROUND
MASS
UNDERGROUND
1.0 THREE RELATIONSHIPS The three relationships are three short exercises that were carried out prior to the final project. They explore different architectural tectonics on the ground, above the ground and finally underground. The concepts and lessons learnt from each of these short exercises were then incorporated together in my final project design.
POINT / LINE / PLANE
Systematic Form Manipulation
FRAME + INFILL Views Alter Perceptions
MASS
Tectonic Shifts
7
POINT / LINE / PLANE PRECEDENTS
Yoyogi National Gymnasium - Kenzo Tange Dramatic sweeping curved planes that effortlessly drape from two large, linear supporting cables. The lines along the curved planes rise up gradually to a point at each end of the gymnasium.
Jewish Museum - Daniel Libieskind Simple planar wall panels with lines "cut" into the walls as slit windows for the building.
8
PROCESS CONCEPT: Systematic Form Manipulation The systematic manipulation of a simple flat plane to create an interesting organic-geometric composition. Working backwards from a flat PLANE to LINES and POINTS, the main shape that caught my attention was a triangular-based pyramid because it directly encompasses PLP in its shape. The manipulation of a flat plane was carried out systematically through experimentation of cutting, folding, rotating and bending on paper where different compositions were examined. In the end, the final chosen composition had a slight organic look even though it was made out of two flat geometric pieces of paper.
For the first triangular volume, lines were cut and folded up to create a dynamic “standing” look.
The first process was repeated once more with a second planar piece that was rotated and cut as an arrowhead instead to create an inner plane that “lies down” within the undercroft of the first piece.
9
MODEL
PERSPECTIVES
ELEVATIONS 10 0
PERSPECTIVES
Both the pieces were bent slightly to give the overall structure a more organic look.
ELEVATIONS 11 1 1
FRAME + INFILL PRECEDENTS
Serpentine Pavilion - Sou Fujimoto Grid structure
Kazmir Space model - 2-B-2 Architecture Framing people’s views
12
PROCESS CONCEPT: Views Alter Perceptions Challenging the norms of frame + infill through VIEWS The idea within this exercise was to change people’s perception of what is normally considered a frame and an infill through different points of views of the model’s facade. When a regular grid-like infills are placed orderly, the illusion of an invisible frame is perceived by a viewer. A flat planar infill that is observed from a specific angle also appears to become a frame.
GRID
MAIN-FRAME
+
MAIN-INFILL
MAIN-FRAME
MAIN-INFILL
FINAL MODEL
13
DIAGRAM VIEWS
Backview of floating infills
MODEL VIEWS
Main-infills appear as thick frames
Horizontal infills appear as frames
Backview of floating infills
Floating infills with invisible frames Horizontal infills appear as frames
14
Infills appear as thick frames
Floating infills with invisible frames
MODEL : OTHER PERSPECTIVE VIEWS
15
MASS
PRECEDENT
Antinori Winery - Archea Associati
Building hidden within hill slopes
TRASITION from Light to Dark
16
LIGHT - On ground entrance
DARK / HEAVY - Underground spaces
MASS DRAWINGS
CONCEPT: Tectonic Shifts The occurance of an earthquake In this exercise, my full drawing (on the next page) depicts a person’s journey through an earthquake occurance - the experience one undergoes before, during and after the event of an earthquake. This journey is explained in detail through the circulation diagram in the following page.
Perspective view of “DARK” Tunnel with heavy rock breaking through the ceiling top
17
MASS: FULL SECTION DRAWING
18
MASS: CIRCULATION DIAGRAM
1. The Approach A person approaches a seemingly normal hill and eventually sees what appears to be indications of an earthquake occurance by the shifted hill slopes. 2. Pathway into “LIGHT” space 3. “LIGHT” observatory space When an earthquake occurs suddenly, sharp cuts and cracks take place. There are big shifts in land fragments and a person is in shock at the sudden occurance. This sudden realisation is depicted by the bright light. 4. “DARK” tunnel After an earthquake, there is darkness and hopelessness, heaviness in feelings depicted by the large, heavy stone breaking through the ground. The light at the end of the tunnel leads the person on to find hope 5. The Underground Cliff The person first sees rubble and destruction at the turning. But eventually, hope and life (symbolised by the tree) can be seen but cannot be reached from the cliff. 6. Pathway Deeper Underground The person has to double-back through the “DARK” tunnel to find another path down to the tree. 7. Pathway to Life The tree can be reached 8. Remembrance Rubble can be seen near the tree as a memorial of the loss and destruction that has happened.
19
2.0 CONCEPT MASS 3D MODEL
The Concept Mass 3D model I have designed is both a simplification and better demonstration of my Mass Section drawing. It represents the depths of the spaces and pathways drawn in my section drawing, enabling one to understand the complexities in the circulation journey better.
20
DIGITIZATION & Design Development
Rhino Modelling - Guideline drawing - Line drawings and Extrusion - “Trim” from Full Solid - “Boolean Difference” for lowest cave
3 separate sections of digital model
Rhino Mesh - “Boolean Union” all solids/sections into one - Create mesh from model - Save as STL file for UP 3D Printing UP 3D Printing - Orientate STL model to ensure minimal support printed
21
Final Digital Rhino Model
SIDE VIEW
22
TOP PERSPECTIVE VIEW
PERSPECTIVE VIEW
OUTCOME (3D printed model)
23
24
3.0 HERRING ISLAND. SOMETHING LIKE A PAVILION As the title suggests, the brief called us to design a Pavilion on Herring Island. An architectural space inspired by the three relationships we explored. This project proposes a connection between ground surface, above ground and underground spaces and is based upon the theme “A PLACE FOR KEEPING SECRETS”.
25
DETAILED SITE ANALYSIS
In my detailed site analysis, I studied the interconnectedness of circulation pathways (in red) with the attractions on-site (as annotated in diagram). This helped me understand the areas people go to on-site and allowed me to select a practical design location based on the current site conditions. My chosen place for keeping secrets was mainly influenced upon a person’s circulation pathways as they approach my design site. This place was located near the main landing of the Island’s South side and will be further explained in the later pages.
26
DETAILED SITE APPROACH
The site images and annotations detail my many, collective thoughts on the pathways and approach to my chosen design site and its surrounding environment. It also notes some possible design considerations based upon my initial conceptacle which will be shown in the following pages.
27
INITIAL CONCEPTACLE IN SITE
The sketches on the left depict my ideas of how my initial conceptacle will be located on my chosen site. It also shows a section cut of the chosen site I have in mind.
28
INITIAL CONCEPTACLE
This was the first conceptacle created, mainly based upon the concept of an earthquake occurance from ‘MASS’ exercise. As seen from the model, the architectural structure appears to be collapsing and breaking apart due to tectonic shifts. However, after presentation feedback, this conceptacle was deemed “too architectural” as a design starting point. It was too “resolved” as a design overall when I actually had the potential to further develop my ideas in my designing process.
SITE ANALYSIS AND SITE APPROACH RE RE-EXPLORED EXPLORED
Based on the feedback, I decided to narrow down and simplify my site analysis to find the 3 most prominent features I wanted from my chosen site experience. My site response was to create a design that could connect the HILL to the DEAD END located at the bottom of the hill.
30
The View of my Chosen Site Firstly, my chosen site can actually be viewed from the ferry bay even before the reaching the island. However, it is partially secluded by trees. This could allow my design to be somewhat hidden among the trees as a secret.
VIEW OF CHOSEN SITE
The Dead End Although the whole island had many attraction points that were well circulated and connected such that a visitor could move on from one attraction to another, there was an unattractive dead end when a left turn was taken upon arrival. This presents me with the opportunity to add an attraction there through my design.
THE DEAD END
The Attractive Hill Meanwhile, Meanwhile, there was also a naturally attractive hill at the top of the slope near the dead end. It is an attractive spot because of its topographic contrast compared to the flat area surrounding it. Many people who are picnicking at the flat grounds often go up the hill with great interest and expectation, only to realise that there is nothing up there to enjoy. This presents me with the opportunity to create an interesting design that would excite people who explore the naturally attractive hill. THE ATTRACTIVE HILL
Overall, these are the reasons why I chose my site. The practicality and the secret features of the place itself presents me with interesting design opportunities when I connect the neglected dead end with the attractive hilltop. Doing so, my design would then create different impressions based on the chosen pathway of the user, unveiling different architectural secrets to each individual, as they personally understand their own spatial journey. 31
REVISED FINAL CONCEPTACLE
A new revised conceptacle was created from the concept “SHIFTING” derived from tectonic shifts (earthquakes) explored in ‘MASS’ where a cube was cut and shifted out of shape. This creates secret spaces within the cube itself which are only perceived by a viewer as they move around the space, gaining a fuller understanding of the whole space itself. This is based upon my concept I studied in FRAME + INFILL on how views could alter perceptions. Based upon the systematic form manipulation carried out in POINT/LINE/PLANE, this approach was carried out on many more cubes as a concept and design development in order to create a variety of secret spaces within the shifted cubes. The design development process is shown in the following pages.
DESIGN DEVELOPMENT CUBE SHIFTING PROCESSES As stated earlier, simple basic cubes were SHIFTED by mainly cutting at different angles and rotating them. The following is a documentation of the systematic form manipulation where horizontal, vertical, diagonal shifting, rotation and whole cube shifting were tested out.
BASIC CUBE
HORIZONTAL SHIFTS
VERTICAL SHIFTS
DIAGONAL SHIFTS
(DIAGONAL SHIFTS)2
3D OUTCOME OF CUBES SHIFTED ON THE PREVIOUS PAGE
HORIZONTAL SHIFTS
VERTICAL SHIFTS
DIAGONAL SHIFTS
(DIAGONAL SHIFTS)2
“SHIFTED” CUBES + ROTATION
HORIZONTAL SHIFT + ROTATE IN ALIGNMENT
VERTICAL SHIFT + ROTATE IN ALIGNMENT
HORIZONTAL SHIFT + ROTATE OUT OF ALIGNMENT
VERTICAL SHIFT + ROTATE OUT OF ALIGNMENT
WHOLE CUBE SHIFTING AND ROTATING
ROTATING DIAGONALLY SHIFTED CUBES
DESIGN MAIN FORM
Based upon a cubic grid frame, basic cubes were then filled in to create a full form that could create a pathway connecting the dead end (2 metres above ground level) to the hilltop area (8 metres above ground level). The basic cubes were then measured and allocated considering the brief’s mandatory space requirements in mind. Each basic cube has a dimension of 2.5 metres to create a more personal experience for a user as they go through my design pathways. These basic cubes were then replaced strategically by selected “shifted” cubes as shown on the next page. Tunnel-like structures were designed to create simple, straightforward paths that can be circulated through easily enabling users to appreciate the different “SHIFTINGS” that has occurred to each cube as they walked through them. A big cave space was added into the design to create “a sheltered space for at least 3 families” and “secret spaces for children” as the brief required. It also enabled better opportunities to reveal the secrets in my design better as will be explained in “The Hidden Entrance” segment of this journal.
37
SELECTION OF “SHIFTED” CUBES
The “shifted” cubes shown are the ones that have been used in my design out of the many documented experimentations. They inspired and shaped my design’s final detailed form. These “shifted” cubes were chosen based on experimentation of its fitting into the whole form to achive the goal of pathways and places to keep secrets. They were then resolved in their forms to fit into my design architecturally, producing a proper final design form.
38
FINAL DESIGN FORM RENDERED
FINAL RENDERED MODEL AND HOW IT FITS INTO SITE CONTOURS
39
AXONOMETRIC DETAILED OPEN MODEL
40
PERSPECTIVE OF OPEN MODEL FROM SOUTH SIDE
41
FINAL DESIGN FORM MONTAGE SKETCHES
BIRD’S EYE VIEW Sketch of my design sitting within my chosen site and how trees actually surround my design, concealing it slightly. The top part of the concrete cave is also expected to be covered in soil and grass to further hide my design, only allowing the concrete tunnels to show through the slope
SITE PLAN
42
SCALE 1: 500
On the right, the Hill Entrance can be seen as a secret entrance partially hidden by the hill itself as viewed from the flat ground surrounding it
On the left, at the dead end, the main entrance can be seen where the person is sketched. This view of the dead end also strongly depicts the concept “SHIFTING� by the shifted balcony cubes just above the person. The dead end is also converted into a pathway leading to the hidden entrance, where one can directly enter the cave space of my design.
1st FLOOR PLAN (SCALE 1:200)
44
SECTION A-A (SCALE 1:200)
2nd FLOOR PLAN (SCALE 1:200)
46
3rd FLOOR PLAN (SCALE 1:200)
47
TUNNEL SECTIONS, SPACE USAGE, MATERIALITY The image on the right shows sections cut through each of the three tunnels and the spaces where people can access in my design, The main chosen materiality for my design is rough concrete as it has quite a natural feel and look to it. This allows my design to somewhat blend into the natural site itself. The stairs and doors of my design are envisioned to be made out of corten steel to give my overall design a slight rustic look that matches with the concrete. Together as a whole, both thematerials come together to create a textured internal environment where users can touch and feel their way through, as they unearth the secret spaces along my deisign’s pathways.
48
49
SECRETS: PATHWAYS UP AND DOWN As a user enters my design from different entrances, they experience different views and spatial perceptions. Users would uncover different secret spaces in my design that would help them to fully comprehend the spatial complexity of my whole design form in their own unique pathway. While users who enter from the main entrance will firstly see a dual pathway option, users who enter from the hilll will get a blocked tunnel view instead. Also, as a user goes up, they are given the opportunity to directly see the big cave, hidden entrance and hidden walkway along their pathway naturally. Meanwhile, users from the top would need to turn around to view this spaces as they go down.
PATHWAY UP
50
PATHWAY DOWN
51
SECRETS: CHILDREN’S SPACES
In my design, children’s secret spaces are actually on top of the first two lower tunnels. The space represents an urban playground for children where they can explore the big cave in a different perspective, running over the tunnels and climbing on the top of the stairs, accessing spaces out of the “shifted” cubes. The space is accessible to children due to structural height barriers of 1.25 metres as seen in the picture. The green highlighted area on the top balcony is also a secret spaces for children where they can hide within the lowered space. Meanwhile, the green highlighted area at the lower balcony is the secret space where children can view from the balcony while an adults view is blocked by the wall.
52
SECRETS: THE HIDDEN ENTRANCE
The hidden entrance is actually the entrance that enables a user to understand my pavilion’s spatial complexity the best. As a user enters the hidden entrance, they will enter the big cave which allows them to see the full structure and positioning of the tunnels instantly. In doing so, they have perceived a better spatial understanding of my full design as they see where the tunnel pathways lead to in my shifting pavilion. In contrast, the users who enter through the tunnels have an enclosed, linear pathway, having to follow along it without knowing where they are really going.
VIEW FROM HIDDEN ENTRANCE
53
SECRETS: THE TIME CAPSULE “Provide a place for a time capsule to be opened in 200 years time.” The shifting stairs is a response to that brief requirement. It is a flight of stairs that at first, leads up to nowhere, but as the years go by, the stairs will gradually be shifting downwards to finally reveal a secret room located at the bottom. This secret room will hold the time capsule, which will be accessible after 200 years when the stairs has fully reached the bottom.
STAIRS GRADUALLY SHIFTS DOWN TO REVEAL SECRET ROOM
54
55
FINAL DESIGN MODEL
56
57
4.0 REFLECTIONS My study experience with “Earth: Architecture Design Studio” this semester has been an enriching one. Firstly, the introduction of the three short exercises at the beginning half of the semester has really gave me a good background on what I would consider to be fundamentals for any architect. For example, the idea of exploring the tectonics: on ground, above ground and underground have really covered all the spatial working realms of architects when it comes to designing a building. This in itself allowed me to get a better grip of how each tectonic can be designed independently in the three short exercises with different ideas in mind. Meanwhile, the final project showed me that the tectonics can also be collectively designed together as a whole. The spatial understandings I have gathered from these different explorations would definitely be utilised in the future as an architect as one cannot escape from these three basic designing tectonics. Besides that, the three exercises have also imparted me with knowledge on basic architectural design concepts: Point/Line/Plane, Frame + Infill, and Mass which can always be identified accordingly in many different buildings around the world and in Melbourne itself. This is proven when we carried out the our precedents research and photo-taking exercises for each blog post. These 3 basic concepts have also helped me discover new inspirations on the design thinking processes as I explored them. For example, from Point/Line/ Plane, I have discovered that it is not always necessary to start from a point to line to plane. Instead, I begun my design process from the plane and worked my way backwards. From this, I have learnt that reversed thinking processes for a concept could sometimes lead to really interesting outcomes. As they say commonly say, “begin with the end in mind”. Maybe reverse engineering could be an interesting, new approach to the designing process. In Frame + Infill, I challenged the norms and expected qualities of frames and infills that were taught to us to get my design. This made me realise that in designing, it is not always necessary to accept and follow “the rules” and qualities that are commonly expected.
58
Throughout the designing process, I have really improved my technical skills as well. This studio is the first studio where I begun using the digital software Rhino 3D for designing my final project. It proved to be really time-consuming but was able to produce a really accurate final composition for my design. Furthermore, I was also exposed to 3D printing which is especially useful in quickly producing physical 3D forms with ease. These technical skills are definitely useful skills for myself as I become an architect in this progressive digital age. Lastly, I have also learnt not to quickly rush through my design process. This was evident in my first conceptacle proposal where my design was already very resolved. Instead, I now respect the exploration of concepts more as it eventually presented me with a better design outcome. This studio has taught me on the importance of having a very strong concept-driven design as it doing so reflects the designer’s main idea clearly. This is very crucial in architecture in order to have a coherent idea that can be notably identified in a building as users experience the building rather than a mismatch set of different ideas that do not come through from the designer’s initial concept. All the knowledge and experiences gathered through this studio has definitely been an inspirational and progressive step in my endeavour as an architect. What I have learnt on architectural tectonics, design concept thinking, technical skills and design progression will definitely help me bring my future designs into reality.
59
5.0 BIBLIOGRAPHY Baan, II 2013, 2013, Serpentine Serpentine Pavillion Pavillion -- Sou Sou Fujimoto, Fujimoto, photograph, photograph, viewed viewed on on 29 29 April April 2015, 2015, <http://www.serpen<http://www.serpenBaan, tinegalleries.org/exhibitions-events/serpentine-gallery-pavilion-2013-sou-fujimoto>. tinegalleries.org/exhibitions-events/serpentine-gallery-pavilion-2013-sou-fujimoto>. Etherington, R R 2009, 2009, Kazmir Kazmir Space Space Model Model -- 2-B-2 2-B-2 Architecture, Architecture, photograph, photograph, viewed viewed on on 29 29 April April 2015, 2015, <http:// <http:// Etherington, www.dezeen.com/2009/09/24/kazimir-space-model-by-2-b-2-architecture/>. www.dezeen.com/2009/09/24/kazimir-space-model-by-2-b-2-architecture/>. Just, KK 2015, 2015, Jewish Jewish Museum Museum –– Daniel Daniel Libieskind, Libieskind, photograph, photograph, viewed viewed on on 30 30 March March 2015, 2015, <http://www.berlinJust, locations.info/eng/location/details/juedisches-museum-berlin-1.html>. locations.info/eng/location/details/juedisches-museum-berlin-1.html>. Rayón, EE 2013, 2013, Yoyogi Yoyogi National National Gymnasium Gymnasium -- Kenzo Kenzo Tange, Tange, photograph, photograph, viewed viewed on on 30 30 March March 2015, 2015, < < http:// http:// Rayón, www.triptod.com/Design/891/Yoyogi-National-Gymnasium-by-Kenzo-Tange.html>. www.triptod.com/Design/891/Yoyogi-National-Gymnasium-by-Kenzo-Tange.html>. Savorellio, PP 2013, 2013, Antinori Antinori Winery Winery –– Archea Archea Associati, Associati, viewed viewed on on 12 12 May May 2015, 2015, <http://www.dezeen. <http://www.dezeen. Savorellio, com/2013/05/04/antinori-winery-by-archea-associati/>. com/2013/05/04/antinori-winery-by-archea-associati/>.
60