PORTFOLIO
architectural design studio earth LAUREN HO 834731
SEMESTER 1, 2017 STUDIO FIVE TUTOR: MARCUS FAJL
CONTENTS 1.0 THREE RELATIONSHIPS 1.1 POINT / LINE / PLANE 1.2 MASS 1.3 FRAME AND INFILL
2.0 HERRING ISLAND SOMETHING LIKE A PAVILION 2.1 SITE ANALYSIS 2.2 PRECEDENTS 2.3 CONCEPTACLE 2.4 DESIGN DEVELOPMENT
3.0 FINAL DESIGN A PLACE FOR KEEPING SECRETS 4.0 REFLECTION 5.0 REFERENCES
1.0 THREE RELATIONSHIPS ‘POINT / LINE / PLANE’ ‘MASS’ ‘FRAME AND INFILL’ Each with their own unique traits, these are the fundamental techtonics that define spatial compositon in the creation of architecture.
POINT / LINE / PLANE
MASS
FRAME AND INFILL
1.1 POINT / LINE / PLANE ‘A line is a dot that went for a walk’ – Paul Klee The point, the line and the plane are the fundamental basis to creating any architectural design. It begins with a non-dimensional point, which when lengthened transforms into a one-dimensional line. After extrusion this then becomes, three-dimensional creating a single surface.
HEYDAR ALIYEV CENTRE, AZERBAIJAN 2012 Zaha Hadid’s Heydar Aliyev Centre in Azerbaijan is an example of the point / line / plane design foundation integrated with her iconic fluid designs. The progression is shown through points that sweepingly rise out of the ground transforming into the smooth curved edges of the building, followed by their extrusion that extends to create her iconic fluid surfaces.
LES JARDINS MALLET-STEVENS, FRANCE This example uses the fundamental principles of point / line / plane to create the sculptural garden tunnel, yet has pushed the conventional boundaries of a singular line which is then extruded to create a surface. Instead, the designer has explored the effect of a repeated line to create the illusion of a surface. Due to the segmentation of the surface, when met with the natural sunlight the shadows cast on both the ground and sculpture has created the introduction of an additional almost hypnotic dimension.
1.1 POINT / LINE / PLANE From my precedential research of point / line / plane, my design aimed to incorporate both the fluidity of Zaha Hadid’s architecture yet also the ‘segmented’ interpretation present in the Mallet-Stevens Garden in France. The design aimed to create a smooth transition out of the original flat ground surface extending it to instead become a rolling, fluid ground plane. I aimed to achieve this in a subtle manner where the original and new surfaces almost became a singular unit. This was achieved through the use of the same balsa material, but also more importantly the repeated lines that were continued throughout that created the new surface.
1.2 MASS ‘When it comes to excavated ground, dreams have no limit’ - Gaston Bachelard, The Poetics of Space Mass is highly associated with solidity and weight due to is large body of a particular matter. In hand, with mass often comes a dramatic light source that contrasts the immensity of the weight.
BRUDER KLAUS FIELD CHAPEL, GERMANY 2007 Peter Zumthors’ Bruder Klaus Field Chapel is a perfect example of curated mass that uses light to highlight the dramatic interior mass condition. Created by the interior filled with tree trunks then burnt to ashes, the resulting effect leaves a unique texture to the interior surfaces of the chapel. The light that seeps from the opening at top of the small chapel highlights the detail creating a dramatic effect from cast shadows.
FORTRESS OF FORTEZZA, ITALY 2009 The ancient refurbished Fortress of Fortezza highlights the contrasting organic carved rock mass and modern fixtures. I was drawn to this due to the aesthetically pleasing juxtaposing beauty created from the contrasting elements where old meets new. I aim to incorporate and achieve this aesthetically successful combination of organic landform meeting built geometry into my final pavilion design.
1.2 MASS My mass study explored the overwhelming emotional experience evoked within individuals when faced with large quantities of heavy mass. This was represented by the scale displayed in my drawing inspired similarly to that of an ant’s nest. A dramatized effect similar to Peter Zumthors’ Bruder Klaus Chapel precedent was achieved through the seeping light source from a narrow opening on the surface exposed to external conditions. I also drew inspiration from the Fortezza Fortress, creating contrasting zones between the organic and inorganic carved geometry.
1.3 FRAME AND INFILL ‘Each wall of each hexagon is furnished with five bookshelves; each bookshelf holds thirty-two books identical in format; each book contains four hundred ten pages; each page, forty lines; each line, approximately eighty black letters.’ - Jorge Luis Borges from The library of Babel The basic principles of frame and infill are typically that a structural ‘frame’ encapsulates a particular ‘infill’. Usually the infill is associated as the more dominating due to its heavier connotations in comparison to a skeletal frame. Seldom seen however, this concept can be interpreted and furthered with a lesser clear analysis, blurring the separation between the two factors.
BLACK CUBE HOUSE, POLAND 2012 HOUSE NA, JAPAN 2010 In his iconic NA House, Sou Fujimoto challenged the typical representation of the infill being the more grounded feature, instead reversing this concept making the frame the more solidified of the two. The idea was to not only separate the spaces within the house but to create a particular desire atmosphere. This was achieved by the infill instead comprises of delicate glass finishing and light and simple furnishings allowing for the transparency of the house creating an airy atmospheric space.
Depending on what perspective you look at The Black Cube house by KamleonLab in Poland, the frame is an extension of infill or the infill is a extension of the frame. Either way, their integration creates the effect of a cohesive singular unit rather than two separate architectural components providing an interpretation of the typical frame and infill model.
1.3 FRAME AND INFILL My interpretation of frame and infill was to reverse their typical condition and instead develop a design aimed to create a more weighted frame over infill. I aimed to exhibit the tension between the two opposing languages, the frame trying to ‘cage’ the infill, but the infill has instead pushing its way out ‘exploding’ out from the confines of the frame in the hope to creating its own statement.
2.0 HERRING ISLAND
something like a pavilion
As a man made island created from being the location of the continual dumping of silt, in 1994 Herring Island was opened to the public and became a public parkland destination. These days the park is open during the summer months between January and April each year on weekends and public holidays and is home to a sculptural art walk as well as a gallery that hosts seasonal art exhibitions showcasing a variety of local artists. In addition, Herring Island has a variety of amenities for visitors including a walking trail, picnic facilities such as BBQs, tables and benches, toilets, water fountains and an open grass field. Through observations and talking to staff on the island, Herring Island’s main visitors are locals, often slightly elderly or families with young children. Other visitors include many who have been walking along the Capital City Trail and then become interested in the island and taken the punt service across. Volunteer staff also noticed high levels of students, presumably mainly from The University of Melbourne Design Studio Earth visiting the island. In terms of parameters, apart from its weather dependency and limited opening times, the only access to Herring Island is by private boat or the punt service costing $2 unless a pensioner, student,child or unemployed. There is also limited disabled accessibility in particular for wheelchairs.
2.1 SITE ANALYSIS
NOISE AND WIND INTENSITY
TRAFFIC FLOW AND INTENSITY
Major noise sources on the island come from nearby roads in particular Citylink Monash freeway, western side of Alexandra avenue and the intersection of Alexandra Avenue and Williams Rd. Greater levels of noise were also observed on higher more exposed ground compared to dense vegetation. It was also observed that when close to the waters surface, noise pollution from the cars was again not as loud. In terms of wind analysis, it was mostly dependent on the weather conditions of the day, however generally greater levels of wind force were experienced in open unprotected areas, in particular in higher ground or along the island edge. The windiest areas was the most westerly point of the island closest to the city as it was very exposed as well as the open grass field.
As an extremely weather dependent destination, Herring Island is only open during the warmer months from between January to April each year. Open from 11am to 5pm on weekends and public holidays, the level of visitors that the island receives is highly determined by the weather conditions, resulting in a strong relationship between nicer days and peak visiting periods.
SCALE 1:2000
POTENTIAL SITE LOCATIONS EDGE OF OPEN GRASS FIELD PROS: Central area, flat ground, good accessibility, good level of natural light (sun stream) morning and night CONS: Busy area, relative thoroughfare traffic, lack of privacy
MOST WESTERLY POINT OF ISLAND PROS: Location is already a popular choice of destination, view, open water, relatively open land, gradual contour, not in major thoroughfare CONS: Vulnerability to weather exposure, road noise exposure
EAST BANK OFF MAJOR THOROUGHFARE PROS: Off major thoroughfare, good balance between opening yet still hidden amongst nature, water access CONS: Steep contours, proximity to nearby Kanteen café
2.2 PRECEDENT CASA TOLO, PORTUGAL 1999
Built to the steep contours of the site, Casa Tolo by Ă lvaro Leite Siza Vieira is built on the edge of a Portuguese hillside. Hidden amoungst the surrounding nature little is revealed of the house. From its entrance, all that is visible is a concrete slab used as car parking spaces and a steep staircase that leads down to the unknown. With nowhere else to go, the singular staircase creates a sense of mystery and a desire to enter and explore. Upon entering it becomes obvious of the large house that is hidden beneath the surface. It is to be noted that the ideas of perspective are explored and highlighted, depending on the angle you are viewing results in the revealing of a greater or lesser content.
2.2 PRECEDENT
TROLLSTIGEN VISITOR CENTRE, NORWAY 2012 Situated within the picturesque Norwegian landscape, the Trollstigen Visitor Centre beautifully captures the balance between built architecture and natural form. Reiulf Ramstad Architects has designed the Visitor Centre to ensure it didn’t become a too obtrusive structure by careful integration into the contours, the design reflecting the natural land formations within the architecture. This allowed the highlighting of the natural beauty of the site juxtaposing the two and ultimately enhancing the effect of both the built and natural condition.
2.3 CONCEPTACLE My conceptacle simply explored the integration of my three techtonic studies as well as ground interplay into a singular conceptacle. From my point / line / plane study I extracted aesthetic ideas of repetition to create a planar surface, from my mass study I proceeded with the spatial exploration of angular incisions cut into an organic land mass; and finally from my frame and infill study I continued the idea of no specifically defined separation between two components, the frame and the infill, instead integrating the two together. Being another component that I aimed to highly integrate into my future pavilion design was creating a continuous transition from above to on then to below the surface and a hidden condition that lies below. This was represented with the black card and scrunched paper. Extracting these key formative ideas, I created the small abstract model that encapsulated the basic ideas that would proceed to influence my pavilion design.
Above ground separate units, connected in an underground matrix
Three techtonics integration. Frame as structural base, infill explodes out of frame, point / line / plane, spiralling stairs, mass, pavilion will cut into site.
CONCEPT + SKETCH DESIGN
PAVILION DEVELOPMENT
Consideration of connection to water. How will the pavilion meet with the water? Where will the pavilion best fit into the contours of the chosen site location?
Extension of landform to main pavilion structure to extruding angular geometry extension
I then explored notions of a more built form, the functional side of my design incorporating the brief requirements. This led the design towards a more built structure rather than an element of abstract explosion out of a frame. The transformation involved the extension of a base frame then incorporating the angular geometry inspired from my frame and infill study aiming to encapsulate the maximal view the site had to offer.
2.4 DESIGN DEVELOPMENT EVOLUTION
My design process towards creating my pavilion began with the exploration of combining my three techtonic studies. With a focus on spatiality and how visitors would circulate and interact with the pavilion, I aimed to design a pavilion where the principles of point line plane, mass and frame and infill were idolized to maximise the visitor experience. I then began the process of how the design would become integrated within my chosen site exploring the site contours and the rivers’ edge proximity. To achieve this I aimed to created a smooth transition from the land to pavilion to water, blurring the separation between zones. This was based on my concept that explored the notion of architecture hidden within a land mass that with a progressive reveal, exponentially increased a desire for discovery. I aimed to create this cumulative sensation through the visitor experience of my pavilion by the progressive unearthing of spatial zones.
My final design aimed to blur the separation between above, on and below ground by creating a disorientated state within visitors making them question their position in relation to their idea of ‘ground’. This was actuated through the architecture and the disorientated experiential journey it evoked. Experiential examples of this disorientative state include a glass floor, a gradually diminishing ceiling height, sound vibration echoes, uneven floor heights and a continually changing water level from the natural tidal waves of the Yarra River that rises and falls against pavilions glass windows.
3.0 FINAL DESIGN a place for keeping secrets
DISCOVERY & THE UNKNOWN
SITE INTEGRATION
TECHTONIC INTE
The unveiling of a hidden content only hinting at possible existence
Integrating the pavilion into the contours of the chosen site
Embracing research from techtonic study
The driving desire of curiosity to enter a mysterious unknown
Highlighting the treasured view
Point / line / plane Mass Frame and infill
Incorporating the site’s water proximity
EGRATION
m previous
DISORIENTATION
TEMPORALITY
Constantly changing water levels to displace individual as to whether they are above, below or on ground level
Derived from disorientated state
Varied floor height disorientation factor
Constant change from water level brings continual differing experience typical of a pavilion
Glass floor disorientation factor
UNDERLYING FOCAL THEMES
A PLACE FOR KEEPING SECRETS
3.0 FINAL DESIGN 'The power of a secret is dependent on a desire of those who are excluded from the knowledge or data that is denied' Without something present that is hinting towards the possibility of another dimension, a secret is hidden and never to be found. Yet the slightest indication that there could be more to what’s on the surface evokes a powerful curiosity from within an individual on a journey of discovery and revealing truths.
SITE PLAN SCALE 1:1000
1
5
7 8
9
3
6 5 4
UPPER GROUND PLAN SCALE 1:200
2
GROUND FLOOR 1M CUT PLAN SCALE 1:200
LOWER FL 1:200
1 ENTRANCE 2
OUTDOOR FAMILY SPACE
3
SHELTERED FAMILY SPACE
4
RECORDING ROOM
5
STORE
6
TECHNICAL ROOM
7 TOILETS 8
CLEANER’S CUBICLE
9
DISORIENTATION PLAY ROOM
LOOR 1M CUT PLAN
EXPLODED PLAN PAVILION CIRCULATION
SECTION A SCALE 1:100
SECTION B SCALE 1:100
ENTRANCE EXPERIENCE
Upon the island entrance to the pavilion there is little to be revealed apart from a split barren concrete slab that over looks the westerly Victorian view. Between these however, is a luring staircase funneling a path down into the architecture to an unknown territory. Sparking curiosity within the individual from the power of the unknown, they begin a journey of progressive discovery through the experience of the architecture.
Individuals are then circulated indoors into a large barren chamber. With a gradually diminishing ceiling height and a fractured glass floor that looks down onto a future presence; notions of initial spatial disorientation begin to arise within the visitor. The fractured glass leads a path through the large space shifting traffic forward, and as individuals proceed deeper into the building faint echos become apparent enticing the forward circulative movement.
GROUND EXPERIENCE
RECORDING PASSAGE EXPERIENCE
These echoes that had travelled through the pavilion are then revealed in the striking pillar like entrance leading into the recording room. Sending sound vibrations out of the wall cavities, the sounds become amplified echoing the natural surrounding noises such as the water ripples and island wildlife reflective of the high levels of native preservation within the island that seeks to protect both native flora and fauna specimens. The grand yet narrow passage that limits entrance numbers leads to the recording room that overlooks the river and provides a space for contemplation whilst entranced by the soothing nature recordings.
The final pavilion experience to be uncovered is the room of disorientation. After a journey through ambiguous conditions the individual reaches the climax of this disorientative state. They are placed in a situation where their presence in relation to the ‘ground’ is questioned due to the temporary condition of the waters edge constantly rise and falling. Combined with the artificially erected ground, after a progressively disorientating sensory journey, individuals are left in this state of disorientation and are subconsciously prompted to embrace the playfully built spatial composition.
LOWER GROUND EXPERIENCE
LOWER GROUND EXPERIENCE
4.0 REFLECTION Architectural Design Studio Earth has not only been an integral step in my progressive development of visual communication skills but also the understanding of architecture on a conceptual basis as well as the holistic nature regarding the multiple considerations of architectural practice. In terms of visual communication, it has been pleasing to see clear improvements compared to my previous design studio last year. In particular as I have become more familiar with various CAD programs I believe I have been able to improve my visual communicative skills better conveying my ideas with both greater clarity and expression. One of the aspects from this particular studio that I have found to really benefit from was the real world and site incorporation. I really liked how we were given an actual site, as well as brief with set requirements to fulfill. As my first design studio that incorporated an uneven ground contours, although it proved to create more of a challenge, I really enjoyed the process of facing and resolving these issues related to the integration of my design into the existing landform. In hindsight, due to the greater considerations I had to overcome with the site, I believe this most definitely enhanced my overall design. Another aspect of this studio that I found challenging was the unfamiliar concept of incorporating ‘secrets’ into architecture. The conceptual reasoning of design has been something that I have previously struggled with however with practice, experience and exposure I believe I can continue to develop my skills in this area. The use of the initial techtonic design studies pushed me into taking my design in different directions that I otherwise wouldn’t have considered. This process broadened my mind to new ideas as was a tactful reminder that I should never ever go into a design task with a set idea of the final outcome, and instead creating a design through a progressive design process that involves trialing numerous options to see what will create the ultimate final design. Overall I have thoroughly enjoyed this earth studio. Despite the challenges faced, I can only see these as positives, as the knowledge gained from the learning experience doing none less than benefitting and preparing me for future design studios and ultimately the architectural industry.
5.0 REFERENCES ArchDaily. “Black Cube House / Kameleonlab”. ArchDaily. N.p., 2014. Web. 4 June 2017. ArchDaily. “Flashback: Tolo House / Alvaro Leite Siza”. ArchDaily. N.p., 2011. Web. 2 June 2017. ArchDaily. “Fortress Of Fortezza / Markus Scherer With Walter Dietl”. ArchDaily. Web. 2 June 2017. ArchDaily. “House NA / Sou Fujimoto Architects”. ArchDaily. N.p., 2012. Web. 4 June 2017. Reiulf Ramstad Architects. “Trollstigen Visitor Centre”. Reiulf Ramstad Architects. Web. 2 June 2017. Rousselle, Guillaume. “Les Jardins Mallet-Stevens Et La Villa Cavrois”. Blog-espritdesign.com. N.p., 2016. Web. 29 May 2017. Selenitsch, Alexander. “Pavilions”. 2017. Lecture. Selenitsch, Alexander. “Secrets”. 2017. Lecture. Siza Vieira, Álvaro Leite. “Casa Toló, Álvaro Leite Siza”. Alvaroleitesiza.com. N.p., 2015. Web. 2 June 2017. Sveiven, Megan. “Bruder Klaus Field Chapel / Peter Zumthor”. ArchDaily. N.p., 2011. Web. 3 June 2017. Zaha Hadid Architects. Heydar Aliyev Centre. 2012. Web. 1 June 2017.
LAUREN HO 834731
architectural design studio earth
SEMESTER 1, 2017 STUDIO FIVE TUTOR: MARCUS FAJL