EARTH RESEMBLANCE
FOLIO OF STUDIO WORK JOO LIEW 831400 STUDIO 16 TUTOR: SARAH KAHN 2017 SEMESTER 1
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C ON T E N TS 1.0 THREE RELATIONSHIPS 1.1 Point / Line / Plane 1.2 Mass 1.3 Frame & Infill
2.0 HERRING ISLAND: SOMETHING LIKE A PAVILION 2.1 Site Analysis 2.2 Conceptacle 2.3 Concept Art: An Inspirational Myth 2.4 Concept: Sketch Design 2.5 Design Development
3.0 Final Design: Resemblance 3.1 Final Model
4.0 Reflection 5.0 References
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1.0 THREE RELATIONSHIPS Point/Line/Plane Mass Frame/Infill
The three elements define spatial components as they act in symbiosis to achieve a varying sense of tectonic impressions.
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THREE RELATIONSHIPS
POINT/LINE/PLANE
MASS
FRAME & INFILL
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1.1 POINT / LINE / PLANE This tectonic expression examines the progression from a non-dimensional point which transfers its force to line in the one-dimension and proceeds to planes of the two-dimension.
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PRECEDENTS
Glass Labyrinth
Robert Morris, 2014 Morris has conveyed the concept of Point/Line/Plane through a systematic formation of the line element as derived from a singular panel point within the structure, whilst attaching transparent planar features to the lines. The rods appear similar to line elements as glass acts as its planar counterpart. Glass panes also appear as lines from a further distance, which leads to a sequences of varying lines intersecting at particular points. The elegant combination of materials, the stainless steel rods with glass allow for a dynamic, illusory composition. Depending on the position of the viewer, one's perception of the difference in elements may vary. 10
House N
Sou Fujimoto, 2008 The minimalist house consists of a sequence of planar forms composed at different positions to establish an enclosure. The clean features of the planes allow for an ambient light effect that impresses framing of natural light as extra intangible point/line/plane elements. Planar forms within this space connects to a threedimensional aspect and is further amplified additional material such as matte-finished timber. 11
Several of the primary elements of design are derived as Point, Line and Plane. It regards the order of growth from point as a singular dimension, to a line and then planar form in the two-dimensional plane, thereafter converting into a volume of three-dimensional status.
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The existence of point, line and plane are present in everyday life however it is more readily perceived through the essence of paper.
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The current focus consists of the impression of smooth regression and progression, a cycle created from the perception of point, line and plane being able to grow and reverse its growth at the same time. The arrangement of elements, in an abstract conceptual moment, celebrates the rotation of the Earth with relation to the constellations surrounding it. The form is particularly inspired by a contrasting movement visible in the Southern Cross constellation, in which its point of lines move in opposing directions.
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From the triangular point, the model is fragmented, twisted into a dynamic composition by change in angles of the linear elements. Centralized within is the planar arrangement of contradiction, in which if viewed directly, these planar elements regress into line elements. Distinction between point, line and plane is obvious at times however blurred where perspective is influenced. The transitive flow between the elements intends to provide the impression of similarity between all three aspects. The planes signify the end of a major progression and the beginning of minor regression back to a point.
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1.2 MASS An expression of both solidity and weightlessness, and true nature which stems from the dark, ‘concealed’.
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PRECEDENTS
Barud House
Paritzki Liani Architects, 2011 The Barud House deals with the concept of internal positive mass. The outside seems fragile in comparison due to lightweight planar forms however its core is supported by rough Mediterranean rock. It is this core feature which allows the structure to blend with the earth and provide a grounded impression. Picturesque hallways with contrast between light and rough shadows form a highly austere presence.
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Inhabitable Nomadic Structure Sou Fujimoto, 2014
A diverse variety in sizes of an identical solidified form creates a strange visual aesthetic which radiates from the central core of the structure. Regular geometric shapes combine at irregular disposition to establish a larger form of mass, nonuniform. The notion of weight and weightlessness is played with as a single unit on its own depicts a minor clump of heavy weighted elements, whereas a cluster of, impresses a sense of delicacy, decorativeness and weightlessness within the structure. The structure itself transcends the a more rigid perception of gravity.
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Interaction between spaces and the human body is typically experienced in a sensual and visual way. The perception of such architectural spaces vary from individual to individual and the weight of the atmosphere is subconsciously conveyed when inhabiting these spaces. Mass does not necessarily refer to the dense gravity which sets upon us. It is a concept of weight, no matter how light or heavy. It is a grounded term, yet in outer space, mass is ‘weightless’. In contact with the ground or earth, its presence is condensed. In the skies and above, it can be understood as a visible yet intangible form.
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Cumulonimbus clouds, a subject of weightless, floating mass.
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‘OVERWEIGHT’ & ‘UNDERWEIGHT’ An exploration of mass where technicality does not limit the imagination. A signification of emotions that are acknowledged within a specific space, particularly one that is composed by man. It is potentially the closest interaction a human can have with the earth itself and the mass of a space is especially felt by one’s heart when enclosed within an environment such as the underground. The sense of gravity heightens, compression is concentrated and the tension of emotions is amplified by this. It is these emotions, the compression, that are presented through the artwork, portraying the influence of uncontrolled natural landforms under the earth with man-made space. By understanding the ever changing form of Cumulonimbus clouds, the art is to represent the atmospheric effect of both concentrated gravity and lightness in a sensual aspect. The paintings have been done in a mix of watercolour, calligraphy ink and charcoal, to emphasize the texture of smoothness from weightlessness, diverting to a rougher growth in magnitude. The two artworks are ‘siblings’; they are of mass, one in a overweighted perception above ground, the other being underweight, below ground. Hallways of light from above misleads from organized private spaces to a public corridor feature below. This void is further enhanced by blurring specific edges to give an appearance in style similar to its brethren structure above, whilst retaining a distinct sense that it is a deliberate, irregularly composed void.
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1.3 FRAME & INFILL Frame as the expression of rigid permanence. Infill as the impression of dynamic fluidity. In which the two in unity are interchangeable entities.
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PRECEDENTS
Glass House di Milano
Santambrogiomilano, 2014 The layout of the glass allows for stronger structural connection and the frame to act in permanent rigidity. As a structure above the ground, it blends with the environment due to its transparent components, appearing transient in its infill, the space enclosed within the framed glass panels. This is however, temporary in effect, as change in seasons and environment may cause the structure to lose its initial influence.
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Transparent Shell Installation PONE Architects, 2016
The linear frame partially conceals the organic infill. The distinction between the frame and infill elements are distinct as one is in solid geometry and the other in erratic dynamic disposition, respectively. This creates a sense of abstraction amidst the chaotic figure. The overlap of the infill establishes a form akin to a pathway from its core, with an entrance and exit. Placement of the infill within the frame itself creates forms in tension when layered in unison.
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Enough Space
Studio Jauke van den Brink, 2008 Both the frame and infill aspects are regularly geometric in structure as they act in partial transparency. Combination of lighting with the translucent material interacts, giving the frame a protective feature surrounding the infill. This allows the structure to appear versatile and subject to potential change within its form.
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The initial challenge of frame and infill is to whether or not both components are able to act in a similar fashion, which meant contemplating the role reversals of frame and infill aspects. The usually rigid frame conforming to a more dynamic composition and the infill shifting towards a more geometric, rigid direction.
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Frame and infill can be strongly considered within a structural sense, particularly in building construction wherein cladding encases the stud frame and all other components within the frame are deemed infill. In a varied light, frame to infill concepts can be perceived as rather geometrical, in particular the frame component, contrasting with its other dynamic counterpart.
Olden day hourglasses are objects of translucent infill typically with a timber frame encasing it. It is a measure of time, as permanent as time’s existence but as temporary as moments.
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Assembly drawing of the Frame & Infill model. 37
Delicacy and dynamism of the frame element is integrated within the form; it is not merely present for structural stability of the infill. The frame challenges the notion of compression with movement whilst the other focuses on tension within. Acetate is used to recreate the idea of transparency and fluidity of a geometric yet erratically positioned structure. As both are perceived with different kinds of movement, the composition results in ambiguous divide between frame and infill concepts.
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The idea of framing views specifically for onlooking over a particular environment comes into play with the twisting and irregularity of the frame.
The division of the balcony aspect is caused by tension, vaguely following from a former conceptualized idea of floating mass. Structural members stand in inconsistent behavior, allowing the concept to appear as a varied entity from different angles.
Structural support as seen in certain construction processes have been taken into account, essentially to ‘support’ both the structure and enhance the framing of views when considering a real life context. 41
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2.0 HERRING ISLAND: SOMETHING LIKE A PAVILION
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HERRING ISLAND An island of approximately 3.2 hectares in size, acting as an Environmental Sculpture Park in the Yarra River, it is approximately 3km from the city center and accessible only via boat. The boat usually operates during the summer period on weekends from 17th December 2016 to 17th April 2017. The park consists of facilities such as restaurant/cafe by the river, shelters for BBQ/picnics, restrooms, art gallery and recreational viewpoints. The boat leaves from Como Landing and circulates the island to transport people to and fro.
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2.1 SITE ANALYSIS
HISTORY OF HERRING ISLAND
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Views of Herring Island; in which the concept is placed upon, framing views over water yet submerged within the ocean of forestation.
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The Canteen.
The Northern Landing.
The Shelter.
Hidden view over water.
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A section regarding the chosen site; investigation of water levels, slope angle and height, with density of forestation. Retains relationship with the river and the Canteen opposite the site.
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1. OBSERVATION OF ALL EFFECTS
5. DENSITY OF VEGETATION
2. ATTRACTIONS ON ISLAND
6. CIRCULATION
3. ACOUSTIC LEVELS
4. SUMMER - WINTER SOLSTICE SUNLIGHT
7. WIND CONCENTRATION
8. TEMPERATURE ANALYSIS
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SECRETS: SOMETHING LIKE A PAVILION “Secrets” is a word which undeniably holds an obscure definition to itself. It is a concept that is both tangible and intangible at the same time, hidden in its exposed entirety. Denial of its existence leads to ignorance. In a sense, it is data of contradiction and curiosity, perceived differently between the minds of every individual. The Pavilion, in an architectural sense, refers to a tangible space not of grandeur size yet is able to capture the essence of an architect’s ‘statement’. This is proclaimed at a specific location at a specific time, with relation to corresponding cultural or societal aspects. As the historical basalt quarry formed by human hands, Herring Island portrays vast potential for the development of such a statement.
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PRECEDENTS
Habitable Structure with Latticed Wooden Bookshelves Dekleva Gregoric Architects, 2016
The timber structure addresses the notion of a dwelling that can be temporarily inhabited. The latticed shelf system celebrates the symbiosis of private and public space; depending on the person it can be portrayed as a domestic setting. The main cavity, which remains partially hidden by the shelved grid, acts as a library and a living area.
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Oasis temporary Pavilion Project Studio OBBA, 2016
The overall structure is seemingly dynamic and free-flowing due to the white threads that symbolize willow leaves. The internal setting and external surroundings retain an unclear boundary and ultimately functions as a space for contemplation and simple enjoyment. Additionally it provides shelter to its users and enhances expression of the sky through an oculus in the ceiling. The opening controls the amount of light emitted into the pavilion and assists with natural wind circulation to create a breeze effect. The threads flow accordingly; sense of floating is imbued.
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Pavilion
Schmidt Hammer Lassen, 2013 The pavilion blends within the scenery, appearing almost ethereal and weightless. Outlines of cloud shapes are extruded upon, influencing the design of the space and internal volume. Slender steel columns create the effect of the line element, a multitude of the columns allows for framing the cavity infill within. Steel and metallic substance as a dominant material causes the structure to act as a mirrored plane to the environment, intending to essentially blended to the ground.
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2.2 CONCEPTACLE
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The first conceptacle model is created with the abstract perspective of the essence of freedom in mind. An openended structure, dealing with a variety of walled spaces within the winged figure.
The second is a more regimented and stiff perception of the former version. Shelter and rounded circulation is taken into account. The third conceptacle follows from the idea of rounded circulation, while retaining transparency.
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SECTION AA
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The revamped version of the third conceptacle. It largely focuses on how an individual can perceive a viewpoint. Fragmentation and the flow of contradiction is incorporated within this curvilinear form to represent itself as a part of the sloping contour of the chosen site.
At certain angles, the figure appears grounded, and at others, floating. This conceptacle is originally intended to interact with both the earth and slightly briefing the water surface upon the confirmed site. A rounded circulation is composed, to allow descent towards a concealed, underground space encasing ‘that’ which must not be seen from the outside.
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2.3 CONCEPT ART: AN INSPIRATIONAL MYTH The Aboriginal tribes of South-East Australia continues to celebrate the presence of a beautiful Goddess of the Sun, Gnowee. There was once a time of devastation within the world; the sky was enveloped with darkness’ blight with only fire’s light to retain the sight of humans. One day the goddess withdrew her attention from her son to harvesting yams, and it was that moment the son wandered into the dark unknown. From then on, she carries a torch in search of him within the sky. This is ‘sunlight’.
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Hidden beneath dense forestation, the conceptual statement for “Something like a Pavilion” is intended to replicate the atmospheric effect of the goddess’ runaway child, who perhaps wishes to discover the world beyond, and remain in hiding, away from his mother, the ‘Sun’.
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2.4 SKETCH DESIGN
The following concept explores the tectonic expressions of being present above, on, and below the ground. To enhance the effect of ‘earth’, the concept is intended to utilize these expressions and only in one element should a secret be kept within.
Attempting to blend with the dense forestation around the site, the chosen location is the coldest, quietest part of the island; the current sketch designs utilize the myth of Goddess Gnowee to emphasize a frame and infill, point/line/plane aspects to the given environment.
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Experimentation with frame and infill elements combining with the idea of mass in its grounded form, then extending towards the sky in a behavior akin to ascension.
Abstract ideation sketches depicting atmospheric effect of the concept, with regard to acoustics, temperature, concentration of wind levels and vegetation on the island and definite site.
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Regarding point, line, and plane alongside the frame and infill elements in order to encapsulate views, if seen from the internal component of the structure. Verification of shelter above ground is regarded as a fundamental element to creating a fragmented yet jointed appearance.
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Spatial experience is also considered, as portrayed by playing with a space of mass.
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2.5 DESIGN DEVELOPMENT
Materiality is strongly taken into regard at this stage, in order to convey translucency and being able to blend the concept within the environment and its contours.
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Layering of the form of the concept is required to adhere to a sloping site, including use of combination of both opaque and transparent materials. There is an unsettled sense of perception that there is always something to hide, even if one thinks everything has been made exposed.
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Circulation within initially appears efficient and almost easy to the viewer, however a longer stay is required to contemplate what else the structure has that remains unexposed. The study of specific angular twisting of layered regular geometric forms is required to expand spaces for misdirection and misleading impressions of the overall development. The conceptacle and previous sketch designs suggest hints of direct leading, particularly utilizing solid wall features. Other spaces, including private and public areas were controlled within the design to offer a specific framing of a scenic view or frosted view, depending on the location of the individual. Internal walls of different material and inconsistent configuration has established a misleading composition. Spaces are not entirely as organized as they appear to be from the outside. There is always a stranger perception within the heart than its external.
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At this stage the concept is prepared to adhere to the slope of the site, allowing it to be incorporated within while impressing all three tectonic expressions. The underground levels are willed to protrude outward slightly, extending over the water surface as an aspect of weightless mass. It is also partially concealed, providing a sense of need for curiosity as it allows individuals to be drawn towards it. There is only one intended pathway to access these semi-exposed areas, to truly provide the impact of a secret, entrapped in one of the few cavities within a walled mass. It hopes to offer the lateral and literal experience of exploration, hiding, and becoming one with the earth as a retreat.
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3.0 FINAL DESIGN - RESEMBLANCE
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The architectural intervention in Herring Island is intended to convey the legend of the Sun Goddess and her child through realization of the island becoming a spatial haven kept out of reach from the urbanized areas which surrounds it. A part of the island attempts to found a space within which sensations of silence, concealment within nature and the lukewarm heat emanating from the earth can be experienced. The form progresses into a fragmented state when proceeding to lower levels, creating an evolving flow between the surface and the entities which govern the underground. The movement towards these spaces of separation serve to permit individuals to regain their sense of contemplation and nostalgia; a temptation to seek the true secret within the island, not merely be satisfied with obvious representations before themselves.
Balcony 1
Balcony 2
First floor
Record
Living
Ground floor
Lower ground floor
FLOOR PLANS
SITE PLAN
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SECTION AA 1:200 72
SECTION BB 1:200 73
SOUTHEAST ELEVATION 1:200
NORTHWEST ELEVATION 1:200
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NORTHEAST ELEVATION 1:200
SOUTHWEST ELEVATION 1:200
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Spatial experience when progressing from the first floor. Framing of views particularly dominant.
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On the earth, a spatial volume open to contemplation. Retreat for nostalgic reminiscence.
Onlooking over the river to the world beyond. Emotional solitude heightens.
Experiences within the underground chambers, in which the secret is concealed.
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Spatial experience renders with regard to a real life context. Public and private spaces are subsequently traversed through the tectonic expressions. Chambers of similarity however not completely alike, draw the individual from one secret to another, until the truth is revealed.
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3.1 FINAL MODEL
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The architectural interposition acting in synergy with the minor curvature of the sloping landforms. Enveloped by plantation in real context.
Interaction of the pavilion with the water, as viewed from the location of the Canteen.
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AERIAL VIEW FROM NORTHEAST
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AERIAL VIEW FROM SOUTHWEST
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AERIAL VIEW FROM NORTHWEST
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Perception of balcony and living areas. Conception of contradictions symbolizing the flow of the land as demonstrated by structural framing.
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Spaces with consideration for wash closet cubicles for both male and female, including disabled cubicles. A walkway serves as a link, however also to individualize the minor form from the major structure so as to prevent interruption of atmosphere within the Pavilion itself. On the other side is a space of play, blended within the environment. Consequently, viewers are drawn toward the intriguing form which rests upon the slope, touching upon the relative ground level.
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4.0 REFLECTION Studio Earth has been a major aspect of the learning process in referral to design, not only in the architectural impression but also with strong regard to the visual arts, and a heavy emphasis on sculpture and analysis of particular lands’ tectonic expressions. The Studio has challenged former perceptions I previously would have had about visualizing concepts within a specific environment through a more physical stage of analysis which required further sketching and re-imaginings in accordance with the brief and theme of ‘Secrets’. In particular, I found the encapsulating of the ‘Earth’ element inside an architectural concept was an integral part of discovering new knowledge of phenomenological architectures. Moreover, every project contained various elements which subconsciously portrayed secrecy within, and that we were tasked to depict this intangible notion of secrets in the context of reality. The smaller projects which contributed to the final design have amplified appreciation for the vast potential structural influences have within architecture, including the sensual and visual guidance in which design aspects can physically accentuate. In addition, the division of architectural design from a combined entity of the earth, into separated tectonics has allowed for the realization that such architectural elements hold incredibly deep meanings. Essentially, an architectural piece can hint at even certain aspects beyond an individual understanding. Truthfully, defining emotions within a specified space and tectonics was a challenge as in my previous studios, there was a barrier limit between emotions and my understanding of structural capacity. Exploration of the emotional impact architecture has upon physical systems in the material world has generated the perception that even a subject as vague as myths and legends, can have influence upon conceptualizations in environments man may inhabit. Studio Earth was a thoroughly engaging experience. It has been an integral part of my studies within the Architecture major and I am very grateful for the opportunity and experience.
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5.0 REFERENCES ArchDaily. (2017). Barud House / Paritzki Liani Architects. [online] Available at: http://www.archdaily. com/241714/barud-house-paritzki-liani-architects [Accessed 29 May 2017]. ArchDaily. (2017). House N / Sou Fujimoto. [online] Available at: http://www.archdaily.com/7484/house-nsou-fujimoto [Accessed 29 May 2017]. ArchDaily. (2017). Sou Fujimoto Constructs Inhabitable Nomadic Structure for Parisian Art Fair. [online] Available at: http://www.archdaily.com/561811/sou-fujimoto-constructs-inhabitable-nomadic-structure-forparisian-art-fair [Accessed 29 May 2017]. Architecture, P. (2017). La Exploración está Transformando al Mundo — Transparent Shell. [online] arquiRED. Available at: https://www.arquired.com.mx/arq/arte/la-exploracion-esta-transformando-al-mundotransparent-shell/ [Accessed 29 May 2017]. Davis, A. (2017). Glass panes form transparent labyrinth by Robert Morris. [online] Dezeen. Available at: https://www.dezeen.com/2014/06/03/glass-labyrinth-robert-morris-nelson-atkins-museum-kansas-city/ [Accessed 29 May 2017]. Design Mag. (2017). Case di vetro. [online] Available at: http://www.designmag.it/foto/case-di-vetro_6189. html [Accessed 29 May 2017]. Grozdanic, L. and Grozdanic, L. (2017). OBBA’s Oasis temporary pavilion in Seoul dances in the wind like willow leaves. [online] Inhabitat.com. Available at: http://inhabitat.com/obbas-oasis-temporary-pavilion-inseoul-dances-in-the-wind-like-willow-leaves/ [Accessed 29 May 2017]. Grozdanic, L. and Grozdanic, L. (2017). Slovenia built a habitable structure with latticed wooden bookshelves. [online] Inhabitat.com. Available at: http://inhabitat.com/slovenia-built-a-habitable-home-of-latticed-woodenbookshelves/ [Accessed 29 May 2017]. Herringisland.org. (2017). HERRING ISLAND PARK HOME PAGE. [online] Available at: http://www. herringisland.org/ [Accessed 29 May 2017]. Inhabitat.com. (2017). New Shanghai pavilion looks like a cloud sandwiched between two horizontal planes. [online] Available at: http://inhabitat.com/new-shanghai-pavilion-looks-like-a-cloud-sandwiched-betweentwo-horizontal-planes/the-cloud-pavilion-by-schmidt-hammer-lassen-5 [Accessed 29 May 2017]. Jauke Van Den Brink’s Portfolio. (2017). Jauke Van Den Brink’s Portfolio - Enough Space. [online] Available at: http://www.jaukevandenbrink.nl/enough-space [Accessed 29 May 2017]. Parkweb.vic.gov.au. (2017). Parks Victoria - Herring Island. [online] Available at: http://parkweb.vic.gov.au/ explore/parks/herring-island [Accessed 29 May 2017].
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