Line-Representing Atmospherics by Kevin George

LINE

REPRESENTING ATMOSPHERICS

PL AN [ B] DESIGN THESIS ABPL90169

Kevin George

520496

Contents

Page no.

01. Position Statement 04 02. Annotated Bibliography 05-28 Symposium- Is Drawing Dead Literature Review Buildings-Case study Drawings/Sculpture-Case study

06 09 10 23

03. Lines & the Atmospheric Research 29 04. Program and Site Analysis 36 05. Medical Faculty Design 39 06. Representational Technique Exploration 47 06. Appendix 51

LINE: “a long narrow mark on the surface; an area or border that separates two places” - merriam webster dictionary

Position Statement

The line has been used since the Renaissance as a tool for representing projective geometry. It is known to be the most basic form of representation next to a point and has been fetishized throughout centuries as a prescriptive tool for clearly defining and demarcating spaces. But this geometric definition which is highly abstract in nature, has been limited to convey architectural geometries that are intangible and is thought of as a technical conventional tool that speaks of dualities such as the inside and outside, open and closed, positive and negative, black and white spaces. The traditional and clinical outlook of the line fails to convey the experiential and atmospheric qualities that spaces create. The atmospheric qualities of a space represents the prevading tone and includes its characteristics such as the light, object, air and the materials used. This research mainly focuses on taking the abstract nature of projective lines one step further to discover the potentiality of lines in creating an ethereal atmosphere through design. Projective transactions are the base with which the conception, construction and evaluation of the architecture gets mediated as shown in the figure. But as Stan Allen quotes ‘information tends to get lost when projection is employed and the physical geometry is converted into a two dimensional linear abstraction.’ One such information is the experience that spaces create. The traditional modes of representation are limited if one wants to convey more information rather than just abstract outlines. It poses important shortcomings when it comes to conveying the experiential and sensual qualities of the environment. This ideology of projection has been continued into the digital era where computers have made architectural representations more precise, efficient and predictable. However, even in this digital age the methods of representation have not found a way to transmit the soul and the experience of reality through the drawing. A part of this research examines the use of lines as a tool in representation to convey the experience through a space. In order to explore the research agenda, a proposition to design a Medical faculty at the University of Melbourne is considered. The project site located at the corner of Grattan Street and Royal Parade is to accomodate all major medical departments and learning facilities.

Robin Evans Tetrahedron

Annotated Bibliography

Symposium- Is Drawing Dead

02.01

1. PETER COOK 1. Drawings are more important than the building. 2. Drawings are influenced by the Culture (dynamic issue), Craft (tactility of the drawing) and Creativity (identifying the creative moment) 3. The mannerisms in which drawings are done. (Bernard Tschumi never tends to create complicated diagrams). 4. Lebbeus Woods is an architect who thinks but at the same time is a drawing technician when it comes to drawing. He can make unlikely stuff look likely. 5. Another mannerism in drawing is by breaking through from a 2 dimensional drawing into a 3 dimensional drawing. 6. According to Peter some architects like Mike Webb can draw in a way to make the architecture almost look real. 7. He then discusses about the creative moment, where in the process the idea can sometimes be lost. It is crucial to track back into that losing moment. 8. Peter mentions about working in many dimensions (Bernard Tschumi can make an analysis between dynamic and structure) like a choreography. 9. In Peter Cooks drawings, atmospheric cutouts are used like a collage to produce a sublime state 10. Another prominent example that Peter mentions in terms of experiential representation include a project thats fit into a cleft of a rock. The drawing (section) sits in a background that showcases the site and its environment. 11. â&#x20AC;&#x153;Nowadays the rendered images look over consistent such that the matter of engagement is missing.â&#x20AC;? - Peter Cook . 12. It is difficult to capture the reality of the design in representation. (In Graz, the motion of the lit pixels were lost in the drawings and photographs as opposed to the real thing).

2. CAMMY BROTHERS

3. ANTOINE PICONE

1. 2. 3. 4.

1. 2. 3. 4. 5. 6.

What would architectural drawings do if its functional constraints were loosened? Digital rendering is an inescapable fact of today and competes with traditional drawing. From the Renaissance, Orthogonal drawings were preffered over perspectivial drawings. The effective mode of representation lies in an exploratory territory in between the conventions of drawing and painting- not an abstraction, but visual facts, experiential condition, passage of time, quality of light, experience of moving through a building. 5. Cammy discusses on how this territory had been explored by architect and artist Giuliano da Sangallo and Baldassare Peruzzi. 6. Giuliano did this by experimenting with the temporal qualities of existing monuments through his drawings. The effects of time were depicted on the ruins of buildings and ancient figures. A doubleness of time was being depicted. 7. Paintings by him were done as narratives in a space. He also used sequential representation of interior and exterior views simultaneously (which were similar to the anatomical drawings). 8. Baldassare Peruzzi on the other hand used splayed perspectives which included more information and a sociological insight.. 9. His drawings conveyed the buildings conception, construction and execution all at the same time. 10. In his design sketches he took into account the presence of light in representation. 11. Similar to Peruzzi and Guiliano, Louis Khans paintings captures the architects imagination unlike photographs. 12. Experience through a space can be depicted these days by rendering in contemporary practices or by animations, but the body does not engage empathetically unlike a painting..

Drawings were once very much used for communication as now compared to the digital age. Design was about emulating nature in Architecture. Earlier, drawings made architects artists and craftsmen and were considered rulers. We have now entered the age of the digital substituting some of the traditional functions of drawing. It is possible now to create a thick layer of experience through media (photography videos and blogs) According to Picone, the brain can rewire itself when using a tool such as a computer for drawing (radical extension of the body) 7. The digital age provides us with a lot of advantages when it comes to representation. We can experience spaces through digital media (interactive). 8. There could be a stronger interaction between the senses than before. The tactility of materials can be felt just by seeing through the digital media. 9. He also argues that the hand is more and more present in the digital world. 10. The only loss with technological innovation that Picone mentions is that the simplicity of the decision making process vanishes since the digital tools has made it more complex.

4. PRESTON SCOTT COHEN

5. MARION WEISS

1. Scott begins his lecture with the notion that the section was responsible for displacing drawing before computation had emerged. 2. In the early ages there was not representation by projection until later when the perspectivial projection was considered an advanced form of drawing through projection. 3. Plans were considered as being cut through rather than drawn upon. 4. So did the section kill drawing? Scott argues, theoretically yes but practically no. 5. Sectional thinking and using perspectives was a new way of thinking. Architecture is preconceived. 6. Perspectivial sections were used in the early 15th and 16th century before the orthographic projection took over. 7. With the era of computer modelling, the plan as a section went unrecognized (Section was not inherent in the plan) and architectural space kept stacking - skyscrapers are an example of this (non-narrative) 8. Anatomical plans was in no way similar to extruded buildings. 9. Without extrusion, we have a continuously developing form of architecture (Guggenheim is an example). It is filmic and narrative. 10. Another type with a particular narrative is the montage (still photographs with a certain duration) -

1. The vanishing point-convergence-aided in architecture to include depth and tactility in representation. 2. Marion discusses on how the use of multiple vanishing points could be benficial in imagining a space. 3. The discovery of the axonometric projection served as a representation technique for invention and control. 4. Using hybrid media by transferring hand drawings into the digital media to create a more tactile haptic world. 5. The use of different media can give more insights into a project. 6. She discusses on how her experience with drawing and sketches in charcoal created tactile conceptual images which were then transffered to reality to create the same imagined experriencial environment and texture. 7. Collages were also used for conveying an experiential view. 8. Cinematic potential of lateral contours and vertical sections simultaneously helped in generating a dynamic design with a smooth flow of lines and constant motion of people. 9. The ideas for creating experiential spaces were the use of a mix of media, superimposition, reptition, movements and cinematics.

discontinuous but differentiated plans.

Pallasamaa, J, 1996, The Eyes of the Skin- Architecture & the Senses (Polemics), 1st edition, Wiley Juhanni Pallasmaa argues that architecuture in todays world has been predominently driven by the visual sensory realm by avoiding attention into the rest of the sensory realms . This depreviation in architecture has lead to the feeling of detachment and alienation in a space. The author looks back into history, where the use of senses is more prevalent in architecture during the Renaissance and the Baroque periods compared to the design approach during modernism where vision and aesthetics was the primary basis of architectural conception. He then discusses on the importance of considering incorporating all the body senses by taking into account the materiality, time, hearing, touch, smell, memory, light and shadow. By looking at architecture as a whole in a sensory domain , a holistic architecture can be achieved. But before this comes into reality, the deisgn has its challenges on being represented. Juhani talks about todays architecture nowadays as being images converted into endless commodities that lach the possibility of conveying its existential reality. However, he does point out on how painters from various eras have taken a chance in representing the visible and haptic qualities of a space.

Zumthor, P, 2006, Atmospheres, 5th edition, Birkhäuser Architecture

Stan Allen discusses and analyses the various types of projections and representational techniques employed within Art and Architecture. He establishes the fact that projections are the mediating gap between an idea and its reality, but information tends to get lost when projection is employed and the physical geometry is converted into a two dimensional linear abstraction. However, Stan argues that drawing is a necessity to representation since an object does not exist prior to drawing. In the essay he looks into the specific aspects of projection - perspective, anamorphosis and axonometric. In it he explores the interplay between the abstract drawings and its capacity to transform it into reality. The essay describes the perspective and the anamorphic types of projections as spatial fields that could support a narrative time and which could also project precisely constructions into the future by showcasing depth in the image. But according to Stan the Renaissance perspective has had its limitations of being a mechanical activity and misses out on conveying the creators quality of perception- “light and shadow, reflection and transparency, binoculor and peripheral vison”. According to the reading, it is difficult to accurately depict reality through representation, and hence the necessity for abstraction and projection comes into play, where imagination and intellect has to be present in order to read drawings. Axonometry is one type of abstraction that is discussed as being measurable and precise unlike the perspective and also has the potential to “suggest the simltaneity of space and time”. But unlike the method of projection, the essay discusses another method of representation known as the montage, where fragments of information are stitched together to form a revealed construction and which can also build a social arena. This technique could help develop an unmediated visual experience”.

02.02

The reading conveys the origins and the importance of orthographic projections all throughout history to this present era. The birth of orthographic projections had occured since the perspective drawings only covered partial views of interiors and failed to provide useful information such as scaled dimensions. Lotz described these parallel projections as being “less visual and more professional” and Proculus held space to be “the finest light”. It is seen throughout the reading that both the perspective and the orthogonal drawings tried to incorporate pictorial depth to provide the perception of real depth and it also talks about the close resemblance between the paper surface and the wall surface, all to create an image that strived to represent and create an experiential space as see in the drawing. Although there was considerable development in this technique of representation, Evans does make a point when it comes to the modern architect and his method of representing the realistic image. He quotes it as being “illusions created by pretty pictures.”

Allen, S, 2000, Practice: Architecture technique+Representation, ist edition, Routledge

Gomez, AP & Pelletier, L, 1992, Architecture Representation Beyond Perspectivism, pg 20-

The book is an autobiography of Zumthors idea of what constitutes an atmospheric space. According to him, an atmosphere in architecture relates to something that moves you- this could be everything including people, the air, noises, sounds, colours, material presences, textures, forms and on how people interact with the objects. He discusses nine main elements that have an impact on atmosphere in architecture. They include collecting different materials and combining them, how different materials react together (material compatability), The sound generated in a space, the temperature in a space, surrounding objects, sense of movement (seduction in distribution of spaces), tension between the interior and exterior, levels of intimacy (size and scale of objects), and finally the light on things (light and shdows to create an experience). He concludes his book by contributing two other factors that affect architecture in an atmospheric sense in a larger scale. Architecture as Surroundings (as part of the human environment where people remember the building) and about coherence (decision making when it comes to applying the suggested qualities and making sure that they are achieved in the final product).

39,Yale School of Architecture The essay debates on the point of architectural representation as we know of and practice today. Computer aided technical drawings has created a platform of precision, thereby making the task of an architect similar to applied science. Orthographic projections do have its limitations and are known to be reductive approaches to formalistic representations which ultimately fails. This also reduces the creative process in architecture and does not convey the actual symbolic meaning of the work. The author does talks about a rationalization of the visual image and a detachment from the medival traditions of drawing. This was done by associating the perspective with musicby considering it as a visual harmony and not as a graphic method. The reading also brings into lightworks done by Michaelangelo, whose work was bosed on a non perspectivial approach and involved simple sketches. According to him, the perspectivial or lineament approach creates a static image while architecture according to Michaelangelo is like a human body that is in motion.

Literature Review

Evans, R, 2000, The Projective Cast: Architecture and its three geormetries, The MIT Press

ATMOSPHERIC

CROATIAN PAVILION, Venice Biennale

[6] Sou Fujimoto SERPENTINE PAVILION 2013, London

As a research facility, the spaces are designed to accommodate the organic nature of research – ever evolving, adapting, changing and growing. The main concept of the building is energy efficiency which is achieved by the dynamic circular discs enveloping the building providing shading and energy for the building.

Based on the idea of a mirage, The pavilion structure is the barge’ cargo, welded from 30 tons of wire mesh in more than 40 layers of varying contours. Almost invisible from a distance, the structure reveals itself with different densities of steel mesh, transparencies, and vision lines, forming stunning visual effects and experience of space by very simple means.

The concept is described as a cloud and, seen from a distance, visitors who have climbed to find their seat on its raised glass platforms do appear suspended in air, floating among the cubic clusters which dissolve, at their edges, into the sky. A 400x400mm cube, stacked up in an irregular, cloud-like form that creates both a sheltered undercroft and raised platforms.

Promenades lead people into empty spaces and dead ends of reinforced concrete,providing an atmosphere of dark spaces where there is no escape except for a small trace of light that restores hope. Tilting the floor of the Garden of Exile, deorients the tpurist and creates a feeling of dizziness when viewed upon the surrounding buildings.

The interior of the bath emerges as an atmosphere which sets the sensuous and intimate tone of the encounter of water, stone , skin and subtle light. The effect that ensues from the poetic use of materials and the strategy of dimly lit enclosures makes for an atmosphere of intimate serenity which adds a mystical dimension to the act of bathing

The lines that are made to create this sculpture is of particular interest. They converge into a single point. The overlapping of the lines at a particualr point in the 3 dimensional volume creates a moire effect and the appearance of an increase in the density of lines. In this project, the visual effect is not just optic but is brought out to be a phenomenological haptic experience.

The facade of the building has been analysed to be a superimposition of lines containing a larger spaced grid and closely spaced circles . This pattern of grids and circles that envelopes the building has the potential to change as the discs rotates at multiple levels. This change gives the facade multiple variations of lines and rotated circles that are superimposed throughout the day.

The entire lattice of the structure is derived from a series of three dimensional grids that vary in density to create a fluffy cloud like pattern that could be experienced externally rather than as an internal experience. The larger density of the three dimensional grid diminishes as towards the perimeter of the structure.

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DESIGN QUALITIES

[5]

The Cathedral consists of slender fibre optic rods with seeds at its tip. During the day, they draw daylight inwards to illuminate the interior. At night, light sources inside each rod allow the whole structure to glow. As the wind moves past, the building and its optic “hairs” gently move to create a dynamic effect.

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PREDOMINENT PATTERN

[4] Sean Godsell RMIT DESIGN HUB, Melbourne

The design is conceived metaphorically as a quarry submerged in the hillside with a network of caverns and submerged water gullies that serve as defining elements of the interior. The building is fragmented in . nature but monolithic in appearance endeavours to assert itself as a single block of stone, a condition which is expressed through the inventive use of thin stone slabs and reinforced concrete

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[3] Heatherwick studio UK PAVILION, Shanghai World Expo

The museum is a reflection of Jewish presence in Berlins past, present and future. The design is formulated from a series of lines which point towards historical sites and that create spaces that convey the horror of the what the Jewish people had experienced (through elements such as voids) but also brings in rays of light depicting hope.

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Building Case Study 02.03

[2] Peter Zumthor THERME VALS, Switzerland

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CONCEPT

[1] Daniel Libeskind JEWISH MUSEUM, Berlin

PATTERN DRIVEN

DANIEL LIBESKIND - JEWISH MUSEUM, BERLIN About the Project The Jewish Museum by Daniel Libeskind is a reflection of the consistent Jewish presence in Berlins past, present and future. The challenge of the project was to create a museum representative of the Jewish struggle throughout history, which Libeskind defines in three major experiences: continuity, exile and death. The structural form and programmatic organization were both strongly influenced by the post-modern era in which they were conceived, the design esthetic of which greatly contrasted previous architectural thought in both classical design and modernism. Libeskind derived its zigzagcontours in part from imaginary lines on the city map which connect the site with the streetaddresses of great figures in Berlin Jewish cultural history… A recurrent basic motif of the design is long parallel or intersecting lines without beginning or end that define sharply pointed, dramatic bodies or spaces.

The project begins to take its form from an abstracted Jewish Star of David that is stretched around the site and its context. The form is established through a process of connecting lines between locations of historical events that provide structure for the building resulting in a literal extrusion of those lines into a “zigzag” building form. One of the most emotional and powerful spaces in the building is a 66’ tall void that runs through the entire building. The concrete walls add a cold, overwhelming atmosphere to the space where the only light emanates from a small slit at the top of the space. The ground is covered in 10,000 coarse iron faces. A symbol of those lost during the Holocaust; the building is less of a museum but an experience depicting what most cannot understand.

http://kberry.wordpress.ncsu.edu/2012/11/13/4 http://www.archdaily.com/91273/ad-classics-jewish-museum-berlin-daniel-libeskind/ http://www.academia.edu/2460561/The_contribution_of_the_five_human_senses_towards_the_perception_of_space_by_Panagiotis_Hadjiphilippou

Libeskind’s formulated promenade leads people through galleries, empty spaces, and dead ends. A significant portion of the extension is void of windows and difference in materiality. The interior is composed of reinforced concrete which reinforces the moments of the empty spaces and dead ends where only a sliver of light is entering the space. It is a symbolic gesture by Libeskind for visitors to experience what the Jewish people during WWII felt, such that even in the darkest moments where you feel like you will never escape, a small trace of light restores hope. The entrance to the museum is from the old Berlin Museum to the underground passagesthat lead to The Garden of Exile, Holocaust Tower and the “Void. The Garden of Exile is the only destination that leads to the outside world from the underground passages,which “evoking the idea of exile as the only way to freedom.” (Bernhard Schneider, Idem, 50.). A paved incline ramp leads to the 7 x 7 exhibition space which the ground is tilted along with 49 concrete pillars with oleaster planting, thus the grid does not have the sense of regularities. Olive willows grow out of the columns. The gardens form a square is the only completely rectangular form in the building. Libeskind has stated, “One feels a little bit sick walking through it. But it is accurate, because that is what perfect order feels like when you leave the history of Berlin. Along with the feeling of disorientated and dizziness in The Garden of Exile, one will discover that the surrounding buildings seem to appear tottering. Another passageway on the underground floor leads to the mysterious Holocaust Tower,which consists of an empty void of 24 metres high. The concrete tower is dimly illumined from a small opening in its roof, which creates an astonishing atmosphere. The power of echoing in the space such as the sound of footsteps and breathing along with the barely heard of the city sounds can lead to the sense of isolation and disturbance. The closed, bare, empty and unheated space, its darkness penetrated only by a sharp beamfrom its single window, exerts an extremely compelling effect on anyone who experiences it.”(Bernhard Schneider, Idem, 51. )In other words, it is the moment of reflection.

Analysis The Jewish Museum is conceptualized as a line in it entirety. The planning, form and facade treatment showcases its strong framework on straight, intersecting, staggered and broken lines. However, in this precedent, the lines are used literally and are not aimed to produce visual effects as compared to the rest of the precedents. The main objective of this design was to create spaces with atmospheric/ eperiential qualities that a user can indulge in while transversing through the linear spaces.

PETER ZUMTHOR - THERME VALS, SWITZERLAND About the Project Widely exalted for its intimate atmosphere, its strong relationship to local topography, and its celebration of the act of bathing, Peter Zumthors Therme Vals is regarded as an architectural masterwork in which poetic narrative finds its embodiment through an evidently profound understanding of the materials and processes by which to realise the envisioned end. Conceived metaphorically as a quarry submerged in the hillside with a network of caverns and submerged water gullies that serve as defining elements of the interior. The interior of the bath emerges as an atmosphere which sets the sensuous and intimate tone of the encounter of water, stone , skin and subtle light. The effect that ensues from the poetic use of materials and the strategy of dimly lit enclosures makes for an atmosphere of intimate serenity which adds a mystical dimension to the act of bathing, an aspect which attracts the most interest from users, as it is the sensuous nature of the baths that make their experience so unique.

The building is fragmented in nature but monolithic in appearance endeavours to assert itself as a single block of stone, a condition which is expressed through the inventive use of thin stone slabs and reinforced concrete. Its monolithic appearance is however a result of the stone course laying scheme. a system of interchange-changeable layering of thin slabs of stone developed specifically for the project with the intention of creating a continuous and visually diverse pattern. Zumthor also took a measure to ommit all inessential features that might distract the perception of a whole (not being). Another key design ingenuity in creating the atmosphere in the therme vals project was the techinical brilliance, where the compleity of the construction was concealed into the mass of the stone to enclose a space with a meditative state of calm

Hauser, S. , Zumthor, P. Peter Zumthor Therme Vals, Scheidegger & Speiss, 2007 Zumthor, P.Thermal Baths at Vals, Architectural Association Exemplary Projects 1, Architectural Association, London 1996

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Analysis What is apparent in the Therme Vals is an approach to architecture that addresses issues of experience and of sense through a sincere sensitivity that relates to reflections regarding the buildings programme, place and poetic narrative. In relation to the research agenda, the case study depicts the atmospheric photographs of the reality of the architecture, but this fails to reveal itself within the technical drawings prepared for the building as shown. However, the sketches do resemble a slight closeness into the experience of the space with its play of light and shadows.

Technical drawings

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The use of lines is apparent on the entire mass of the structure with the overlay of stone cladding as horizontal strips. These parallel lines are not equally spaced, and this gives a visual feel of the natural world where non uniformity is made a part of the aesthetic and atmospheric.

HEATHERWICK STUDIO- UK PAVILLION FOR SHANGHAI WORLD EXPO About the Project The project intention was to convey the idea of involving Kew Gardens’ Millennium Seedbank whose mission is to collect the seeds of 25% of the world’s plant species by 2020. The project consists of two interlinked and experiential elements: an architecturally iconic Seed Cathedral, and a multi-layered landscape treatment of the 6,000m2 site. The Seed Cathedral sits in the centre of the UK Pavilion’s site, 20 metres in height, formed from 60,000 slender transparent fibre optic rods, each 7.5 metres long and each encasing one or more seeds at its tip. During the day, they draw daylight inwards to illuminate the interior. At night, light sources inside each rod allow the whole structure to glow. As the wind moves past, the building and its optic “hairs” gently move to create a dynamic effect. Visitors will pass through this tranquil, contemplative space, surrounded by the tens of thousands of points of light illuminating the seeds.

These fibre optic filaments are particularly responsive to external light conditions so that the unseen movement of clouds above the Seed Cathedral are experienced internally as a fluctuating luminosity. The studio’s intention is to create an atmosphere of reverence around this formidable collection of the world’s botanical resources; a moment of personal introspection in a powerful silent space. The Seed Cathedral is made from a steel and timber composite structure pierced by 60,000 fibre optic filaments, 20mm square in section, which pass through aluminium sleeves. The holes in the 1 metre thick wood diaphragm structure forming the visitor space inside the Seed Cathedral were drilled with great geometric accuracy to ensure precise placement of the aluminium sleeves through which the optic fibre filaments are inserted. This was achieved using 3D computer modelling data, fed into a computer controlled milling machine.

http://www.archdaily.com/58591/uk-pavilion-for-shanghai-world-expo-2010-heatherwick-studio/

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This accuracy ensures that the Seed Cathedralâ&#x20AC;&#x2122;s fibre optic array creates an apparent halo around the high structure, with the fibre optic filaments rippling and changing texture and reflectivity in the gentlest wind. The wavering external surfaces of the Seed Cathedral form a delicate connection between the ground and the sky. Rather than building a massive structure on the site, the studio focused on concentrating and developing the small piece of design that blurs the boundaries between architecture and animated sculpture. The remaining area of the pavilion was left for landscape which featured pedestrian walkways and a landscaped park area.

Analysis

The predominent pattern of the project involving converging lines that overlap at a certain length to create a moire effect

The lines that are made to create this sculpture is of particular interest. They converge into a single point. The overlapping of the lines at a particualr point in the 3 dimensional volume creates a moire effect and the appearance of an increase in the density of lines. In this project, the visual effect is not just opticn but is brought out to be a phenomenological haptic experience.

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Sean Godsell- RMIT DESIGN HUB, Melbourne

About the Project The purpose of the Design Hub is to provide accommodation in one building for a diverse range of design research and post graduate education. The Hub provides a collegial research base where post graduates in fields such as fabric and fashion design will work alongside those involved in architecture, aeronautical engineering, industrial design, landscape architecture, urban design and so on. Given the time frames associated with research projects all the warehouses require a high level of adaptability and flexibility. In that sense these spaces are designed to accommodate the organic nature of research â&#x20AC;&#x201C; ever evolving, adapting, changing and growing. An exhibition space and design archive provide a public interface with both industry and research outcomes. These spaces combined with a variety of lecture, seminar and multi purpose rooms facilitate high level exchanges in a number of forums.

The Hub has a large number of ESD features and incorporates strategies of water, waste and recycling management that are the equal of any ESD focussed building on the planet. In particular the outer skin of the Hub incorporates automated sunshading that includes photovoltaic cells, evaporative cooling and fresh air intakes that improve the internal air quality and reduce running costs. The entire building faĂ§ade has the capacity to be upgraded as solar technology evolves and may one day generate enough electricity to run the whole building. The faĂ§ade comprises a specifically detailed double glazed inner skin on each face of the building and an automated operable second skin shading device. The second skin shading device surrounds the entire building, from the ground floor to the roof plant level. It is made up of nominally 600 mm diameter sandblasted glass disks, which are fixed to either a horizontal or vertical aluminium axel. Each axel is fixed to the outer face of a galvanised steel cylinder of a slightly greater diameter and nominally 130 mm in depth.

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21 glass discs and steel cylinders are fixed together in panels of nominally 1.8 m by 4.2 m, which are supported on a secondary galvanised steel frame set out about 700 mm from the curtain wall face of the building. These are accessed by an external service walkway on each level.

Adjacent to the building clad with the circular discs is the design archive building separated by a forecourt. The design archive building has a band of equally spaced vertical line components that create a certain mental motion as the viewer passes through the facade.

Analysis The exterior of the building is enveloped by an array of circles equal in diameter overlapping a rectangular grid which is seen as a secondary line among the pattern while the interior shows its use of the line not only its linear planning, but also highlights the effects that closely spaced naturally discoloured lines create on the walls of the design hub.

Complimentary to the exterior line treatment of both the buildings, the interior walls of the design hub takes into consideration the vertical close stacking of lines which are achieved by the metal mesh providing an industrial atmosphere to the building. The close stacking of these metal vertical lines is seen to have a visual effect which is also added by a certain discolouration that occurs on some of the metal strips.

CROATIAN PAVILLION,Venice Biennale

About the Project Based on the idea of Mirage, described at the wikipedia as a naturally occurring optical phenomenon in which light rays are bent to produce a displaced image of distant objects or the sky, the team that designed the Croatian Pavilion for the Venice Biennale decided to create a floating pavilion to present arts and architecture of Croatia at the Venice Biennale. The Floating Pavilion is constructed on an existing barge with dimensions of 10m x 20m x 3m. It is designed by a group of 14 leading Croatian architects, who have made the recent Croatian architecture visible on the global scene. The pavilion structure is the barge’ cargo, welded from 30 tons of Q385 wire mesh in more than 40 layers of varying contours. The cargo presented here maps the process of intense interaction between architects working on the common project, their collaboration with the Croatian maritime industry, and the extraordinary act of architecture it produced.

The pavillion should not be read as a building, it has no scale. The project attempts to avoid the terror of the visual, to include other senses and in that way bring architectural space to recognition. sensory properties like the sharpness of the elements that emerge by cutting, the wind that you feel penetrating the structure – all that introduces you to some form of topography that is not created through three spatial dimensions, but emerges on the complex scale of welded wire mesh. The design started with the notion of movement. The viewer moves through the pavilion, encouraging him to move with all means - sound, light and scent – and to explain the basic topic. The result was transitory and architectonic, because the content could be experienced from different angles, through movement, and interchange of activity and non-activity.

http://www.archdaily.com/74469/croatian-pavilion-at-the-venice-biennale/

The pavilions main structure which is made up of varying densities of wire meshes could be also visualized as a structure built on varying densities of lines in an elevation, which provides an effect of lightness and of something that fades away in a distance. Even when considered three dimensionally, the wiremesh constitutes a crisscross and intersection of lines that are built up to create this atmospheric effect. The design using lines as an element also encourages an atmosphere of transparency and motion which can be viewed as people pass through the void spaces of the pavilion.

The floating pavilion which is created from welded wire mesh, with more than 40 layers is spaced so that they form a solid volume with approximate dimensions of 19m x 9m x 5.5m. Inside the volume is a carved out space shaped by varying contours that form the main space as well as protrusions and openings toward the outside. Almost invisible from a distance, the structure reveals itself with different densities of steel mesh, transparencies, and vision lines, forming stunning visual effects and experience of space by very simple means.

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Analysis

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The overlapping of line densities are seen to have an effect of creating layered spaces having visual qualities of transparency and of a solid within a mist.

Sou Fujimoto, SERPENTINE PAVILION 2013, London About the Project “It is a really fundamental question how architecture is different from nature, or how architecture could be part of nature, or how they could be merged…what are the boundaries between nature and artificial things.” - Sou Fujimoto Occupying some 350 square-metres of lawn in front of the Serpentine Gallery, Sou Fujimoto’s delicate, latticed structure of 20mm steel poles will have a lightweight and semi-transparent appearance that will allow it to blend, cloudlike, into the landscape and against the classical backdrop of the Gallery’s colonnaded East wing. The concept was described as a cloud and, seen from a distance, visitors who have climbed to find their seat on its raised glass platforms do appear suspended in air, floating among the cubic clusters which dissolve, at their edges, into the sky. The concept was pure - a single unit, a 400x400mm cube, stacked up in an irregular, cloud-like form that creates both a sheltered undercroft and raised platforms, including raked seating above an auditorium and café space.

At the opening, Fujimoto described the pavilion as two clouds, one formed by the stacked cubes, the other formed by a canopy of polycarbonate discs included to provide some shelter from the rain. The cloud is not so ethereal once inside, where the glass steps and polycarbonate discs are more visible and increase the feeling of enclosure. Once seated, it’s like being in a conservatory that surrounds, rather than contains, the trees of the gardens. Fujimoto has played with the density of the structure, adding a double 800x800mm unit to the original design (he feared the single unit would prove ‘boring’), so at times the structure feels heavy, almost clunky, while extensions added to the periphery of the structure dissolve its mass. Climbing the structure, especially in stark sunlight, is a tricky business, with all those white lines, solids and voids. Is this what it would feel like to find your footing on a cloud? But risk is the essential ingredient of play and climbing the pavilion is fun, to find your seat in the branches of this ‘white forest’, as Fujimoto describes it.

http://www.architectsjournal.co.uk/news/daily-news/all-that-is-solid-melts-into-air-at-fujimotos-serpentine-pavilion/8648935.article

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More the three dimensional density count of the grid, the more bulky the form becomes and as the grid moves to its perimeter, it dissolves and diminishes in count to create a subtle and light atmosphere when viewed externally.

The design is a lovely thing, light and transcendent, solid but melting. There is a wonderful tension between its organic form and its rigid functional structure like a physical expression of the seemingly counterintuitive fact that molecules combine to make air.

Hence an overlap or superimposition of lines with varying intensities can create visual atmospheric patterns that engage the viewer in an artificial environment that happens to link with nature.

As the density of the grid increases, the mass and bulkiness of the structure is seen to increase. But as the grid moves to the perimeter of the structure, the three dimensional density decreases PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

On analysing the precedent, the entire lattice of the structure is derived from a series of three dimensional grids that vary in density to create a fluffy cloud like pattern that could be experienced externally rather than as an internal experience.

Unfortunately, health and safety considerations forced the inclusion of some not very elegant balustrades, pushed through by the planning authorities. The fat tubing sticks out against the delicacy of the 8km of 20mm steel lengths employed throughout. Fujimoto insists that, although they were introduced late, they were not a compromise. They do feel so.

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Analysis

02.04 The image depicts intense forces at work. Theres turbulence, froth, clashing of waves and an energized feel to the painting. This could be because of brush work and the colour vitality of the artist where there is an emotional and descriptive attachment and symbolically reminds the viewer of the sea.

Drawing/Sculpture Case Study

John Marin, Cape Spilt, 1940

Paisajes Emergentes, Museum of Polish History, Warsaw

Medellin, LCLA office, 2006

The render by Paisajes Emergentes have a nostalgic and an ephemeral touch to it. The play of light and shadows along with environment created, paints a picture that the viewer could get involved in.

The render by the LCLA office showcases the architecture as a background ana a less prominent entity while the landscape and the climate depicted in the image creates the ambience and the sensual quality making it more of like an experience.

Nathan Freise, Fallen Silo, 2009

Simon Birch, Movement painting

The image incorporates a lot of textures and mood to depict a story of people getting back to a pastoral way of life. The use of words on the people also speak through the image â&#x20AC;&#x153;problem, retire, growâ&#x20AC;? painting a certain narrative on survival.

The painting appears to be in a transitive state and in motion where the moment appears to be experiential. There is this uncertainity of how to began or how it will end.

Kurt Wenner, Italy, 2007

James Turrell, Installation at the Guggenheim Museum, 2013

The 3D chalk art on the pavement seems to break the 2 dimensional flat plane into a 3 dimensional illusion of a depression in the paving. This is due to the use of the right textures, colours, shading and also through the use of anamorphic projections.

The artist focuses on exploring art using perception, light, colour and space. This recent installation is particularly interesting since it combines artificial led light and natural day light in creating this illusion of a space that travels upward with an opening on the top.

Agnes Martin , Untitled, 1961

Vasarely, Zebre, 1944

Agnes Martins paintings are inspired by the abstract nature of lines. Within these lines different patterns and atmospherics are revelaed. The research takes inspiration from this work of art and trasnfers it into the architectural realm.

Drawings by Vasarely are usually line work that produces illussionistic effects. He achieves this by varying the thickness and density of the lines. This particular drawing of a Zebra is done by curving the lines such that the image protrudes out of the flat surface.

Gego, Sphere, 1960

Jesus Rafael Soto, Penetrable,1990

Gegoâ&#x20AC;&#x2122;s sculpture of the sphere using lines produces a kinetic effect when moving around the object. This is due to the superimposition of different angles in lines

Sotos sculpture of hanging plastic tubes creates an effect that is cloud like and engages with the public in which a spectator must traverse to feel the space. Superimposition of vertical lines creates this effect.

Lines & the Atmospheric Research

DENSITY

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15o

30o

ORIENTATION

45o

60o

90o

120o

135o DIGITAL 150o

Lines were plotted on CAD with different densities and orientations. Densities from a larger scale to a smaller scale were observed inorder to study the phenomenological characteristics of lines. When seen as a singular entity the lines does create a certain kind of visual motion. There also seems to be a disorientation when the lines are oriented at an angle of 90 degrees. An illusion that the grid ibreaks and is de positioned even though the grid is coinciding and orthogonal.

165o 30

15o

30o

45o

60o

90o

120o

135o ANALOGUE 150o

The lines were replicated, but this time with free hand motion. The less precision with the freehand has comparitively reduced the visual motion characteristics, but as the density increases, an atmospherical visual effect seems to emerge. A cloud like smudge which occurs at close density when the smoothness, precision and the regularity of the lines are compromised.

165o 31

DIGITAL

In the 3 dimensional digital model of lines that are stacked up, there appears to be a certain pattern that is created when viewed at multiple angles. But this pattern appears to be uniform and predictive due to its precision. The pattern is spread out and concentrates itself only in particular segments of the frame, and this hinders in creating an atmospheric effect.

ANALOGUE

Unlike the digital model, the analogue model composed of wires that are less precise creates an atmospjheric pattern due to the irregular overlap and is less uniform. Blurry patches are formed when one wave of the wore hits another wave in its background. Irregular superimposition of the line produces this effect.

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TYPOLOGY

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02. BROKEN

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04. SMOOTH

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05. Intersecting lines - intersecting lines increases the density of the line pattern as compared to the linear typology. This typology contains the potential to highlight variation in light and shadow.

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03. CONVERGING

02. Broken lines - The zigzag line typology could create a multi-faceted surface and can form edges within the pattern. This particular pattern also has the potential to create a directional dynamism within a space. The broken dash line creates an ephemeral atmosphere which feels light and can be varied with its thickness creating an illusion of a thickness in air density. These lines are seen as a dash at close proximity, but as distance increases it starts to form a single continuous line.

04. Smooth lines - Repeatition of the curve line typology creates an undulating surface with ridges and valleys and also forms a rippled effect. On varying the thickness of this typology, a hazy/smoke like atmosphere of seems to emerge.

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01. Linear - The linear pattern with varying thickness creates a certain dynamism and creates an illusion of a climb or a descent, It also has the potential to form a curved surface when the line thicknesses are set at a particular order.

03. Converging lines - This line pattern is seen to create a vortex that creates a concentric motion as well as a tapered surface that an be varied according to the positioning of the thickness of lines. Convergence can also form invisible edges when a sharp corner exists in the repeating line pattern.

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01. LINEAR

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THICKNESS

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The exists an a wide array of possibilities with different line types. The ones shown in the figure follows a certain methodology to explore the different effects produced when varying the thickness within various thresholds. In each typology a certain effect or an atmosphere is created.

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I05. INTERSECTING

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VARIATION IN LINE TYPOLOGY

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MOTION

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Layer 1- vertical lines Layer 2- rotating horizontal lines

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Layer 1- fixed orthogonal grid Layer 2- sequential compression of orthogonal grid

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AIR

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Layer 1- offset circles Layer 2- random overlay of orthogonal circles

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Layer 1- orthogonal grid Layer 2- rotating orthogonal grid

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Layer 1- offset circles arrayed Layer 2- sequential overlay of arrayed circles

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LIGHT/SURFACES

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Layer 1- wave pattern Layer 2- systematic overlay of wave

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When does superimposition of lines create a significant moire pattern?

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MOIRE TYPOLOGY

Moiré- A moiré is a system of interference that derives from a subtle difference. It is created and developed through the superimposition of repetitive layers

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ATMOSPHERIC PATTERNS

Program & Site Analysis

SITE ANALYSIS

01.

A grid network is drawn along the orientation of the site in order to generate a field for the evolution of the urban blocks.

BOUNDARY LINE

SETBACK BOUNDARY LINE

ROYAL PARADE

SETBACK BOUNDARY LINE SIGHT LINE TOWARDS SOUTH LAWN

02.

The predominent lines were offset to commence the formation of the urban forms.

SIGHT LINE TOWARDS THE CORNER

LINE OF CONTINUITY -STREET EDGE

LINE OF CONTINUITY -STREET EDGE AXIS LINE TOWARDS THE CBD

SIGHT LINE TOWARDS UNIVERSITY SQUARE

GRATTAN STREET

MAIN AXIS LINE

03. The urban forms were manipulated according to the area and surrroundings to create forms that contain program.

FORM EVOLUTION

01. The Blocks are fragmented with the concept of lines to

create medical department blocks with a permeable open 01. The Blocks are fragmented with concept lines public space. The the blocks have beenofthen extruded at

varyingblocks heig hts, with block at the corner to create medical department withthea tallest permeable open respond to the Urban fabric and to strengthen the node. public space. Program for each block is distributed such that each block contains one main department (Biochemistry, Pathology, Anatomy, Pharmacology, Physiology and Microbiology). The blocks have been then extruded at varying heights, with the tallest block at the corner to respond to the Urban fabric and to strengthen the node.

02. The blocks has evolved to then chamfer itself at various

portions to not only create an interest within the urban fabric 02. The blocks has evolved to maximum then chamfer itselfligat various but to also bring in the amount of natural ht into

the create public realm. portions to not only an interest within the urban fabric but to also bring in the maximum amount of natural light into the public realm..

03. In order to maximize the collaborative learning

of the medical department and to facilitate 03.. In order toenvironment maximize the learning interlinkage between thecollaborative various blocks, The Cloud hasenvironbeen designed using lines atand a 3 dimensional framework and ment of the medical department to facilitate interlinkage represents the core concept of this project. between the various blocks, The Cloud has been designed using lines at a 3 dimensional framework and represents the core concept of this project.

Medical Faculty Design

SITE PLAN

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GROUND FLOOR PLAN

20m

01. Restaurant 02. Kitchen 03. Store 04. Toilet 05. Auditorium 06. Seminar Room 07. Learning Environment/Student Lounge 08. Staff Room 09. Conference Room 10. Technicians Room 11. Reception/Lobby 12. Library/Learning Resournces 13. Laboratories 14. Procedure Room 15. Computer Facilities 16. Break Room 17. Library Resources 18. Active Learning Environment 19. Cafe 20. Reading Corners 21. Recreational facilities 22. Medical Museum 23. Plant Room/Services11. Reception/Lobby 12. Library/Learning Resournces 13. Laboratories 14. Procedure Room 15. Computer Facilities 16. Break Room 17. Library Resources 18. Active Learning Environment 19. Cafe 20. Reading Corners 21. Recreational facilities 22. Medical Museum 23. Plant Room/Services

GRID DENSITY VOLUME

DEFORMATION OF THE GRID

CARVING SPACES & RANDOMIZING DENSITY OF THE GRID

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FIRST FLOOR PLAN

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20m

SECTION AA

Representational Technique Exploration

AIR Medical school main lobby

Vertical lines distributed on a 3 dimensional place creates this illusion of a fog like environment. The play of light and shadow is also emphazised here with the ivariation of the intensity of lines.

Surfaces can also be manipulated by lines in conveying the atmosphere by varying its direction and planarity to create surfaces that are either organic or vary in depth.

SURFACE Restaurant

MOTION Staff corridor lobby

The convergence of lines to a certain depth with varying intensity, creates an illusion of being pulled into a space. When the pattern in the background changes by changing the spacing of lines, an atmosphere of layering occurs, where walls appear to be behind each other

Appendix

BUILDING CASE STUDIES

M3architecture- GIRLS GRAMMER SCHOOL, Brisbane

The practice has become known for its playful and graphic manipulation of perception â&#x20AC;&#x201C; tactics informed by contemporary visual arts. The western face, visible at some distance from the highway, theatrically engages the movement of the traffic. Using an outer sunscreen of bronze anodized aluminium slats against an inner wall of white with black vertical stripes, a moirĂŠ effect is triggered. The building appears to melt and wobble in circular waves as the viewer passes, leading some puzzled locals to inquire of the architects as to its mechanics.

( 154)

http://architectureau.com/articles/brisbane-girls-grammar/

Grafton Architects- MEDICAL SCHOOL, University of Limerick, Ireland One of the six projects named on the 2013 Stirling Prize shortlist. The campus site includes a limestone-clad medical school and three red-brick student housing blocks. An angled colonnade directs visitors into the building, where a full-height atrium leads through to laboratories and lecture rooms. The atrium is designed as a social space with enough room to stop and chat or lean on a balustrade/shelf and view the activity of the entrance and other spaces above and below. Functions include: Overlap of faculty and residences contributing to the life of public life at the University, Bus and Bicycle shelter, Cafe, Courtyard and other medical school facilities.

The stone wall is folded, profiled and layered in response to orientation, sun , wind, rain and public activity. A colonnade to the south and west corner acts as a gathering and entrance space. In contrast the north and east walls are more mute. In response to the deep plan, the roof-form is modulated to light multiple spaces, including the central circulation space, the clinical skills labs, the corridors, and a small roof terrace. An open central stair connecting all of the primary spaces, threads through all levels of the interior, designed as a social space with enough room to stop and chat or lean on a balustrade / shelf and view the activity of the entrance and other spaces above and below.

http://www.dezeen.com/2013/07/25/medical-school-student-residences-and-bus-shelter-at-the-university-of-limerick-by-grafton-architects/ http://www.archdaily.com/352516/university-of-limerick-medical-school-grafton-architects/

The Graduate Entry Medical School: a four-storey structure, faced in the local blue-grey County Clare limestone, its two visible facades following the same format of a double-storey colonnade topped by a field of brise-soleil of equivalent height. It is a monumental, distinctly Italianate arrangement, which has the effect of concealing much of the buildingâ&#x20AC;&#x2122;s deeply recessed glazing from view.

Program Analysis

04.

nical ualtions

MEDICAL SCHOOL,UNIVERSITY OF LIMERICK Anatomy facilities

OOL

afe

circulation,transit and comunity hub

ACCESS & ZONING

Stairs linked to floors creating a linked floor network

Public

Simulation centres

ty hub dmin.

udent unges

Semi public

Research facilities/Labs student accomodation Research facilities/Labs

Offices

Private Offices

Research facilities/Labs

Offices

Student Accomodation

Links to a hospital and office building

Reception

Labs

Research

Clinal

Anatomy

Labs

Offices

Computer Room

lassooms

eption

Offices

Cafe

Learning Env.

Auditorium

Seminar Rooms

Clinical Student lounges Simualtions

Multi purpose educational & community facilties

Public Landscape

Anatomy facilities Biomedical Zoning and Access

Cafe

Program distribution

Labs

PROGRAM DISTRIBUTION Offices Offices Offices

e building

Offices

Reception

Labs

Research

Clinal

Anatomy

Labs

Offices

Study lounge Restaurant

Reception Reception Shops

Learning Env.

Cafe

Cafe Admin.

Cafe

Dental/ Labs

Parking Auditorium Cafe

Student Accomodation

Computer Room Cafe

Learning Env.

Auditorium

Public Landscape Auditorium

Seminar Rooms

NATURAL LIGHTING 55

Student lounges

Simulation centres Research facilities/Labs

Offices

Research facilities/Labs

Offices

Research facilities/Labs

Offices

Links to a hospital and office building

Classrooms Public Reception Landscape

Multi purpose educational & community facilties

BASIC

Branching out

Superimposition of the grid

Collapse of the grid

CUBE

The line reinforcing direction on site

superimposition of wall plates

superimposed

overlapping shift of lines/floor plates

lines creating a 3D moire effect

random distribution and superimposition of the line

SMOOTH (HORIZONTAL)

wireframe module

Rotating superimposition (change in moire pattern)

Flattening of lines

SMOOTH (VERTICAL)

FORM STUDY The 2D line work were transfered into a 3 dimensional plane to study the effects that it would create which might then lead to a start of a project. The variations of line work include the basic line, lines on an array and curved line patterns replicating a moire.

SITE ANALYSIS

EXPERIENTIAL MAPPING ACROSS THE UNIVERSITY OF MELBOURNE PARKVILLE CAMPUS

DESIGN PROGRAM ANALYSIS 873sq.m Offices

Laboratories

1,875sq.m Seminar room

Biochemistry

1,544sq.m 300sq.m 300sq.m

Pharmacology

Foyer

3,500sq.m

Student facilities

Learning hub

Auditorium

2,328sq.m

300sq.m

Seminar room

Student facilities

Anatomy

2,428sq.m

Foyer

Pathology

300sq.m Seminar room Medical Museum Computer labs

300sq.m Learning hub

Seminar room

Student facilities

873sq.m Offices

Community Hub Retail

3,500sq.m Auditorium

Restaurant

Services

SPECULATIVE PROPOSITIONS - FORM STUDY

SHADOW STUDY DIAGRAM-TYPOLOGY 01

January

May

September 8 am

12 pm

4 pm

The medical faculty opens inwardly into an open court that encourages public interaction and activity

the form has been lowered to allow sunlig ht onto the main building

The main building has been raised to maximum heig ht to reinforce and strengthen the node

the urban form has been fractured to allow maximum permeability into an open court

Commercial/ Auditoriums /Student facilities

URBAN MASSING-PROGRAM STUDY- TYPOLOGY 04 Administration/ Multi purpose labs

Physiology department

Microbiology Department

Pharmacology department

Biochemistry Department

Anatomy Department Pathology Department 63

ATMOSPHERIC STUDY USING A BLOCK

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GRID SIZE PRODUCED BY AN AUTODESK EDUCATIONAL PRODUCT

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0.6m

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0.4m

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0.8m

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GRID DENSITY ANALYSIS GRID DENSITY ANALYSIS

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