ARCHITECTURE DESIGN STUDIO: EARTH SEM1, 2017 EARTH BOOK DE LESTER WONG 796461 TUTOR: ELIZABETH WATT
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TABLE OF CONTENTS
POINT LINE PLANE
p.4 - 7
MASS
p.8 - 11
FRAME AND INFILL
p.12 - 15
CONCEPTACLE
p.16 - 19
SECRET PAVILION SITE ANALYSIS
p.22
BRIEF
p.23
DESIGN DEVELOPMENT
p.24 - 25
FINAL DESIGN
p.26 - 41
REFLECTION
p.42
REFERENCES
p.43
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POINT LINE PLANE
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POINT LINE PLANE
A point is one dimensional. A series of points repeated in a direction creates a line. A series of lines repeated in the perpendicular direction creates a plane.
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POINT LINE PLANE
PRECEDENTS
SKETCH MODELS
3 points at different locations are joined with 2 lines which creates an angle to each other. With variation of the location of the point of intersection of lines, a series of them side by side creates a twisting plane, as shown by the dark wooden angles at the edge of the floor slab.
The sketch models are made to visuallise the effect of point, line, plane, I extracted the idea of a grid forming an undulating surface.
Points in this case are the individual windows. Windows on one floor creates a line. Multiple floors on top of each other creates a plane.
GRID FORMS AN UNDULATING SURFACE
Emporium Melbourne. Student Village, the University of Melbourne.
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POINT LINE PLANE
Rectangular balsa pieces with same width and thickness are cut. The height is varied. Then they are glued to a base according a grid on the base. The pieces are arranged so that the difference in height as we go along the length of the model can vary gradually. This creates a smoother and curved plane. 7
MASS Solid vs Void
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MASS
DRAWING
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MASS
SKETCH
PRECEDENTS Mathew Borrett, “Room Series�
This drawing seems like a section through the underground, where only the spaces are shaded. The negative white space gives us the sectioned surface of the solid. It is also angled, hence we are able to see the 3D space, showing a solid. From this precedent, I extracted the idea of inverse, and the contrast between solid and void.
Exploring on the properties of charcoal and graphite. Trying to achieve the contrast of light and darkness. Instead of being dark in the void, I inversed the idea and make it bright in the void and dark for the solid.
INVERSE
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MASS
COLLAGE
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FRAME & INFILL
Temporary vs Permanent
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FRAME & INFILL
MODEL
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FRAME & INFILL
PRECEDENT
The infill is stone. The stone wall is being broken up by the vertical timber frame. It seems like the timber frame is holding the ‘broken’ pieces of the stone wall in place. The stone infill doesn’t fill all the way, creating openings and having the edge defines the horizontal element of the frame. Through this, I extracted out the idea of incompleteness and used it as my main idea for my frame and infill model.
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Camper Shanghai showroom & office by Neri&Hu Design and Research Office.
INCOMPLETENESS
FRAME & INFILL
TOP VIEW
ELEVATIONS
PROCESS Wooden frame is first built. Removing certain members to create incompleteness. Then infill is created and placed, some not filling the entire frame. This single module is varied and arrayed at three axis to create the model.
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CONCEPTACLE
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CONCEPTACLE
PRECEDENTS I searched for framed pavilion. I liked the idea of something cube and seems like being contained.
17 Lantern Pavilion in Sandnes, Norway by AWP/Atelier Oslo.
Chile Pavilion, Milan Expo 2015.
CONCEPTACLE
PROCESS
POINT, LINE, PLANE
MASS
FRAME & INFILL
Grid Forms an Undulating Surface
Inverse
Incompleteness
Bright void and dark solid
Infill defines the edge of frame
The conceptacle was to apply these three ideas into a single model and find an idea from these three combined. The initial idea I got from it was containment. I noticed all my work seem to be contained in a square or rectangular shape.
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INITIAL CONCEPTACLE
The feedback I received was the idea of each of the three is very strong but was lost when it came into the conceptacle. Neither of the idea was shown obvious enough in this. I need to apply the three ideas into this as well as enforce the idea of containment.
CONTAINMENT
CONCEPTACLE
MODEL TOP VIEW
ELEVATIONS
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HERRING ISLAND PAVILION
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PLACE FOR KEEPING SECRET
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SECRET PAVILION
SITE ANALYSIS
NORTH LANDING
My site
Main activity area
The site chosen was in the middle of the island. It is adjacent but away from the main activity area in the open field. The noise from highways around the island is blocked and deflected by water and hill range surrounding the island, which means my site is quiet.
Path where most people travel
Path where least people travel
The main traffic footpath in red is well away from my site. People tend to circle anti-clockwise after getting off at the north landing. Also due to the vegetation, it would not be easily seen as it is in the middle of the ‘ring’ footpath.
My site is also relatively flat as compared to the rest of the island.
SITE
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Path where average amount of people travel
Dense vegetation
Sparse vegetation
My site has sparse vegetation. This allows people to notice that there is something within the vegetation, giving them an idea that there is something hidden there instead of having my design completely covered in the vegetation.
SECRET PAVILION
BRIEF A Place for Keeping Secrets Something like a Pavilion
Mandatory Spaces
Knowing the existence of the secret but not knowing what the contents are. To give people hints that there is a secret, but not giving the secret away. We are to provide a space to keep secrets. I decided to provide a secret space to store a time capsule that is to be opened in 200 years time. It is also required to have secret spaces where children would identify them.
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SECRET PAVILION
DESIGN DEVELOPMENT
The island itself is contained by the water. Through my experience on the island, I got to discover a lot of art installations, some in plain sight while others are well hidden. It gives me a sense of discovery. This is where I deceided to use the idea of “Discovery and Containment�.
The cutaway hole of the plinth (mass) is moved backwards to create an entrance to the underground, to give more secrecy.
The stick is moved downward so that it does not inhibit people from going up the plinth.
A part of the mass is cut away to create a link from the ground level onto the plinth.
From my conceptacle model, I included the mandatory spaces, the secret space and made changes accordingly, keeping in mind the main idea of discovery and containment. I came up with an initial design.
DISCOVERY & CONTAINMENT
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The sticks from the point line plane that occupies most of the space on the plinth in my conceptacle forms corridor-like spaces. These sticks are modified to create a larger and more open space.
SECRET PAVILION
Extending the structure underground to create a contained space, where the secret would be kept. Continuing the frame and infill from above ground to on ground, I used it to create a glass floor section to give people hint that there is a void underneath them.
Initial Design My initial design does not relate or respond to my site much. It is not specific for my site. Being like a cuboid in general shape, it can be placed anywhere and still works. Going back to my site properties, I took advantage of the vegetation’s coverage shape. As shown by the two arrows, the vegetation ‘wraps’ around an area of empty field, creating a blind spot. I wanted to create something so that it leads people into the blind spot behind the trees. Also I wanted to put the idea of discovery more obvious into the form of the pavilion. On ground everything seems contained but the spaces beneath it protrudes out of the contained cube, showing discovery. I wanted to do the same for the structure on ground.
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SECRET PAVILION
FINAL DESIGN DISCOVERY & CONTAINMENT
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SECRET PAVILION
SITE PLAN 1:1000 @ A3
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SECRET PAVILION
The time capsule (secret storage) at the end of the space
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3D MODEL WITH GROUND PLANE
EXPLODED PERSPECTIVE
SOUTH ELEVATION
SECTIONAL PLANS 1:250 @ A3
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EAST ELEVATION
Legends Male, Female & Disabled Toilet
NORTH ELEVATION
Technical Room
Janitor’s Closet
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Store
WEST ELEVATION
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North Landing
SECRET PAVILION
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Direction and location of view
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Path where most people travel
PERSPECTIVE BIRDS EYE VIEW 30
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SECRET PAVILION From the north landing, people usually go towards their right. As they travel along the path, they get to see a structure hidden behind the hill within the vegetation. This evokes their curiosity and make them want to find out what that is.
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SECRET PAVILION As they circle around and come into the open field, they can see a little structure peeping out from the vegetation. This still doesn’t give them a full view of the structure, drawing people closer.
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SECRET PAVILION
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There is a transition from an open space to a partially enclosed space. From the empty field to the pavilion. The transition space calms people down and gives people more security, hence able to draw people in.
Semi-enclosed
Transition space
Open
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SECRET PAVILION Up on the plinth, it is a flat open space. This is the only hard and flat surface on the island, hence people would actually use the space for activites that are less suitable on dirt or grass.
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SECRET PAVILION The glass floor infill makes people aware that there is more underneath the plinth. There is something underneath them, making them curious and they would look for a way to go down. The partially-filled wall (infill) in the timber frame leaves a gap. As the floor continues beyond the frame, people would be curious what lies beyond the frame.
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SECRET PAVILION After moving beyond the partial infill of the frame, people would find a flight of stairs that leads downwards. This experience itself is a discovery.
Sectional perspective to show the spaces underground.
The space at the bottom of the stairs and the corridor to the toilets has ceiling-to-floor height at 2.5m, giving the feeling of being contained. The light passing through the glass floor would light up the secret space (the void), drawing people to the space. However the space is lower into the groud without proper method to go down, hence people have to climb down. This gives more secrecy to the space as it seems like people are not supposed to go there. 36
SECRET PAVILION The underground secret space, where the time capsule is kept in the glass box for viewing. This space is In this space, it is more open than expected. As from outside they only see a plinth, most people would not expect such a large void in it, giving them a sense of discovery.
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SECRET PAVILION
Sectional perspective to show the spaces underground.
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SECRET PAVILION
3D RHINO MODEL
Sectional perspective
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SECRET PAVILION
SPACES AND FLOW
Vegetation
Transition space Open
MAIN OPEN SPACE ON PLINTH
CHILDREN SPACES The children spaces have nets. They consists of platforms and solids for them to climb. The spaces are above ground. The gaps are too narrow for adults to climb through. Most adults see nets as something that prohibits, like a fence. For children, they would love to climb around and play. 40
The open field is for active activities while transition space allows some calmer activities to take place. The protruding part of the pavilion indicates the idea of discovery out of containment of the cube. This also defines the space in front of the pavilion and tells people that they are transitioning into a different zone.
People walk up a small flight of stairs onto the plinth. This open space can be used for picnic, dance practice and other activities that are less suitable on dirt and grass. It is open on two sides to allow people to enjoy the scenery, and the feel of being part of the vegetation.
The frame that continues to the ground has a glass infill. After knowing there is something underneath, people would go towards the semi-infill of the timber frame.
SECRET PAVILION
CORRIDOR
Going down the flight of stairs, they turn and they will find themselves at a low ceiling corridor. This corridor leads to the toilets.
The secret space is one level below the corridor. To get down there, they would have to climb down.
SECRET SPACE
When people are in the secret space to view the time capsule, they will be surprised by the vast space in it.
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REFLECTION IDEA & DESIGN Through this Studio I have learnt how to extract an idea from precedent to be used for my main idea. Through this I managed to sharpen my skill in translating an idea into form. When it was time to make a conceptacle, I first thought that the main purpose of this was to combine the first three ideas seamlessly and make it look like one object or idea. However, I was supposed to extract an idea out from it as well. Through this conceptacle, I realised that I do not have to include everything. I can be selective as long as it works well with the idea I have in mind. Knowing what to select and what to discard. The design is never final. There is always room for improvement, only limited by time and by the amount of feedback received. Before receiving feedback for each of my design prior to the final pavilion, I worked on it to the point where I thought there is no other room for improvement that I can think of. After the feedback, I get to see the flaws and potential in my design. This gave me chance to improve them. I realised that I have to be open to critisism. Only through other’s perspective that my flaws of my design can be seen. Without constructive feedback, I would have no idea on how to improve my design. LAYOUT AND RENDERING Through this studio I realised the importance of having a good presentation layout and image. I have never paid attention and did not realise its importance prior to this. This studio helped me to improve my layout in order to attract visually. I also received feedback on the pictures itself. This made me search around the internet and gain knowledge on how to layout and Photoshop images more professionally like an architect. SITE ANALYSIS Through this studio I know what to look for and what to record when visiting a site before the design starts. The design for the pavilion draws ideas from the conceptacle and the previous three projects. However, during these projects, I should start to consider my site. I visited Herring Island twice without actually knowing what I needed or what do I require for my pavilion design. It is only after the conceptacle, I started to consider the pavilion and site more seriously, and made me realise that I have a lot of information lacking, like pictures for my rendering. I went for the third time, a day before the ferry service closes, and managed to get the information I needed. This made me realise that I have to keep the site conditions in mind since the start of the project and plan ahead.
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REFERENCES
“Drawings”. MATHEW BORRETT. Web. 20 Mar. 2017. Retrieved from http://www.mathewborrett.com/drawings/ "Camper Showroom | Office By Neri & Hu Design And Research Office | Showrooms". Architonic. N.p., n.d. Web. 3 April 2017. Retrieved from https://www.architonic.com/en/project/neri-hudesign-and-research-office-camper-showroom-office/5102194 "Cristián Undurraga Photographs His Pavilion For Chile At Milan Expo". ArchDaily. N.p., 2015. Web. 1 May 2017. Retrieved from http://www.archdaily.com/628291/cristian-undurraga-photographs-his-pavilion-for-chile-at-expo-milan/ "Lantern Pavilion / AWP / Atelier Oslo". ArchDaily. N.p., 2011. Web. 1 May 2017. Retrieved from http://www.archdaily.com/110854/ lantern-pavilion-awp-atelier-oslo/50075cc928ba0d4148001f8d-lantern-pavilion-awp-atelier-oslo-photo
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