Architecture Design Studio Earth s1, 2017 Subject Student Book Madeline Bosaid 757993 Heather Mitcheltree
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COntents 1.0 - Three relationships 1.1 - point line plane 1.2 - mass 1.3 - frame and infill 2.0 - Herring island - a place for keeping secrets 2.1 - site analysis 2.2 - conceptacle 2.3 - concept and development 3.0 - final design 3.1 - final design model 4.0 - Reflection 5.0 - bibliography
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1.0 Three relationships Point Line Plane / Mass / Frame & Infill
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Three key spatial systems used to explore the fundamentals of design. We uncover the relationship with Earth as a physicality bound by gravity in the expression of each tectonic. These designs are limitless in terms of typical architectural boundaries. They express the inherent idea in their most basic and refined form...
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1.1 Point line plane Solidify the gorund This module examines the three most basic elements of design, and their implicit relationship once joined as a whole. We consider the idea of becoming – the progression from a point, to a line to a plane in one fluent design. Through the incorporation of levels, we take “a dot for a walk� and define an explorable space where standing, sitting, and lying down is possible.
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Sharp Centre for Design, OCAD University, Toronto – Alsop Architects
Discordant and bold, this building finds balance in the three contrasting elements. Line creates the stilts and plane the body of the building. The windows are formed by scattered points – controlled chaos is a theme that becomes clear in these two ideas, particularly. 1. Piet Mondrian – Variation of “composition with red blue and yellow” All of Piet Mondrian’s highly simplistic works are an excellent demonstration of point, line and plane. I appreciate the controlled but carefree aspect of his works and certianly drew inspiration from this piece. There is not much representation of point, however, the smaller planes created by the restriction of black lines are small enough to create a point - I wanted to emphasise upon this.
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precedent Images
Development In the class dedicated to idea generation for Point Line Plane, I created a few basic ideas so that I could understand the concept with more clarity. The wooden structure pictured left was an experimentation that through line I could create planes that in turn formed a large point, when viewed from the top. The idea became too abstract and as a result, I decided to focus the elements in a more logical fashion. I wanted to create balanced harmony between the three ideas. (left and below)
Above, is a plan of the final proposal that I settled on. I decided to challenge myself to reinvigorate Piet Mondrian’s classic piece, turning a 2-dimensional painting into a 3-dimensional sculpture. Balancing colour, composition and contrast, I added point into the design by painting each juction of black beams white, in order for the concept to stand out. From every angle, a new composition and interpretation catches the eye. (above)
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Point line plane Mondrian Composition With Red Blue and Yellow, a 2-dimensional artwork reinterpreted with a third. Incorporating 3 quintessential elements of design into a multi-levelled structure: Point, line and plane. Multifaced and multifaceted, contrast directs the viewers eye through the progression from point, to line, to plane.
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White points lead to black lines. Black lines lead to coloured planes. The elements in turn create a unified balance, the eye being led around the structure as it discovers each new composition with welcomed delight. A fully explorable installation, enabling space to crawl, space to lie down, space to sit and space to stand up. Interactive and fun. Colourful and bold.
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1.2 Mass Solid and Void: Darkness and Light In taking an idea of mass, a naturally 3-dimensional concept, and expressing it in a 2-dimensional design, we uncover the challenge of this sub-study. By creating a cross-section, we discover the spaces hidden in the body of the mass and how one may explore and experience this space. Light and dark, solid and void, positive and negative space – all fundamental contrasts that compose the brief.
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precedent Images 3. Frozen Wave, Marc Quinn (2015) An example of mass represented as an artwork. The texture suggests a natural material, however the reflective surface suggests an artificial texture. The form appears lightweight despite its bulk, as it only has three small contact points with the ground. A very striking structure that is not at all delicate – a uniform feature of any object with mass.
4. Taipei Performing Arts Centre Concept, NL Architects In this instance, mass has been cut away to reveal smaller openings and access points. This in turn creates positive and negative space, and allows light to filter through the structure and cast a shadow. The structure is entirely man-made and does not need to be complicated to satisfy an idea of mass. It is bold, monolithic and simple.
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Development My first rendition of the idea of mass, was, quite simply, a series of experiments that played with form, texture, and colour. I created heavy shapes that appeared to float next to one another, hidden behind a cave-like silhouette that created an open, explorable space. I then toyed with a few different renderings of texture over the forms to test the property of drawing materials. I decided at this point that I wanted to add a natural element to my design, and to stay away from a monolithic or artificial approach. (below)
The subsequent design resembles my final rendition much more closely. I wanted the design to be abstract yet simple, while retaining a natural characteristic. A cross section of a slab of marble with veins of varying colours or even an anthill was my direction. An elementary colour scheme of void, green and black, leaves no room for a misunderstanding of shape. (above)
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Mass Marbleite The simplicity of a stone. A cut-through of a form eroded by nature with explorable spaces and veins of silence. The visible mass is perceived as a collective whole despite being ribboned with cavities and tunnels. The colour scheme is simple, a vivid stain of green paired with a radiant accent of gold leaf, a nod to the glorious stone found in the deepest of caves, much like the expression of this image. The form has a sense of continuation, the piece is not bound by the shape of a traditional frame, rather it flows from one edge to the other, as unrestricted as the growth of a natural organism. Visually stimulating, iridescent, and free-flowing, the piece accentuates the randomness and innate beauty of something discovered.
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1.3 Frame and infill View of the sky / View of the horizon / View of the ground Through its form, the idea of frame and infill forces views through the structure which change depending on the stance of the viewer. The notion of permanence is put into question when understanding the dynamic of a frame and its subsequent infill. A frame is typically the more permanent and rigid element of the design, and the infill becomes temporary and movable. The infill flows between the frame, breaking boundaries and creating diversity in all levels of the design.
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precedent Images 5.
Kazimir Space Model Concept, B-2-B Architects A modern installation demonstrating an array of frames juxtaposed with a blocky infill. The frames vary in weight and scale but remain the same rectangular shape, keeping the overall design consistent. The infill is equally uniform, following the rectangular suit of the frame. The infill does not align exactly with the frame, forcing different views and compositions depending on viewpoint.
6. La Tour de Canopia, Sou Fujimoto and LaisnĂŠ Roussel, Bordeaux
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Frame and infill represented vertically with a simplistic and uniform frame. Each linear member shields or reveals the infill behind and above. The forms are geometric and from a distance, almost look like a complete render over the façade of the building. The simple colour scheme is always refreshing, I enjoy the way the accent colour is made from planted greenery.
Development In terms of the development of the concept, I immediately began to explore a design that was very much alike to the final design. I was given the go ahead with the uncomplicated design that I presented. An elongated ground plane that didn’t restrict the boundary of the design that was kept flat to allow the juxtaposing elements to spring forward. Pieces of Perspex that were abstract yet echoed the blocky nature of a building comprised the infill. As a reverse to the typical dynamic of the system in question I wanted to make the infill permanent and the frame temporary and gravity defying (as opposed to infill). The wire is almost random, but balanced in harmony.
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Frame & Infill Shattered How infill grounds a frame.
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A fragmented linear array of infill planes, surrounded by a light frame. Modern in its appearance and modern in its approach, the simple monochrome colour scheme with a silver accent catches the eye immediately. The design is fun and quirky, the noise of the wires clanging together makes for an enjoyable sensory experience. The wire frame floats and curls around the rigid Perspex pieces, these pieces chosen deliberately for their reflective quality. This in turn foreshadows the idea of secrets that will be explored in the next module, the flat infill reveals the secret of the scene reflected in a different iteration.
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EXPLODED DIAGRAM & VISUALISATION
Frame & Infill These diagrams represent how the model is composed. Modelled to scale and with precise accuracy, we can see exactly how the frame interacts with the infill, and how the elements function on their own.
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Infill
Frame
ISOMETRIC VIEW
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2.0 Herring island a place for keeping secrets Something like a pavilion, on Herring Island This module asks us to design a space aligning several criteria: taking from the research results conducted in the previous exercises we must design a space for keeping secrets - the definition of a secret and how it is expressed is up to the designer’s discretion. We are to design our project onto Herring Island, a man-made island situated in the Yarra River, next to the Citylink. Considering the context of the island and its imparted heritage, a design is born with a secret at its core.
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2.1 SITE ANALYSIS
The selected site is the lowest point of the island. The trough on the westernmost arc has a view straight down the river, with only a small amount of exposure to the city scape. It has a gentle gradient, ideal for nestling in a design with the natural contour of the site.
TOP VIEW
ISOMETRIC VIEW
SIDE VIEW
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The island is arrow-head shaped, with two pointed arms and a rounded base. It has many small hills and steep paths. To access the plateau of the island, one must be able to climb a significant gradient, meaning disabled access is limited. When experiencing the island, it is fairly rough, with some paths barely defined.
A contour diagram (below) that shows the distance render and thus the levels of the ground. The peaked mounds are a point of interest and would create an interesting site for the design. It is evident that the island is quite uneven and makes for a unique challenge when deciding on the location of the design.
The Island is an exploratory sculpture garden, almost a secret in itself. It is difficult to access, so whatever is situated on it must make the public want to go out of their way to travel there. It is only accessible via boat and is only open during the summer months. The only building onsite is a gallery located to the North.
A diagram depicting the vegetation growth on the island (above). The greenery is dense and is a prosperous natural habitat for wildlife. Pathways span the whole island and enable the visitor to circulate and view all of the statues and art installations in a logical order. The density of trees is very high, particularly around the edges of the site. There is an intent to preserve as much green space as possile thoughout the design process.
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Times Eureka Pavilion, Nex Architecture
A light and balanced design, the contrast between organic and geometric line work impart a controlled flow. The design is based upon the shape of cells on the surface of a leaf – clear veins create a frame and the randomly aligned white cells create the infill. There are no drastic accent colours so the pavilion sits nicely in a natural habitat. A pleasant dappled shade falls inside the pavilion, creating an equally beautiful pattern. 7. The Bloomberg Pavilion, Akihila Hirata An ultra-modern design that plays on a wonderful simplicity. The balance of the textures of the piece, be it flat or folded, give it a nice balance between perceived floating and solid objects. Light bounces delicately from each surface and illuminates the building with a soft glow. The origami pattern gives the pavilion the weight of a sheet of paper suspended over a more solid, open structure. It sits neatly in a modern context.
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precedent Images
2.2 Conceptacle The birth of a Secret Garden
My idea for the conceptacle was to be in physical form, the essence of my design. From the beginning I knew I wanted to harmonize with the natural landscape of the island. It would be spherical in shape and covered with leafy, green garden plants, just big enough to hold in the palm of one’s hand.
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Final design A palm sized, lush orb - the representation of the further design at its purest form.
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SIDE VIEW
ISOMETRIC VIEW Evoking a sense of comfort and natural reprieve, it is a shape of continuity and a habitat of blue flowers. Studded with pebbles and home to a nest of blue gem stones, a secret is uncovered in its inherent natural beauty. The closed form of the sphere is representative of the hard-to-access island and its disproportionate scale of flowers and other greenery suggests the importance of the green environment. It is bold and graceful, and a perfect springboard upon which to base my final design. As the process evolved, I referred to my conceptacle on many occasions to feel the natural atmosphere that the design evoked. TOP VIEW
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2.3 Concept and Development The idea of mathematical perfection The idea for my design stemmed from the desire to create a built space that would harmonize with and harness the natural surrounds. My interpretation of a secret for this project was a SECRET GARDEN, an explorable space where the public could come to let go of the struggles of modern life, and immerse themselves in the embrace of a beautiful, mazelike garden. The way that the design itself unfolds, will be much like the revealing or the unravelling of a secret, whispered through each hidden space in the piece.
Process of ideas: From an naturalally occuring array to a triple layout, to overlaying the design on a 3-dimensional site The basis of the design came from a fascination I had with the idea of mathematical perfection. The Golden Ratio is an idea found widely in nature - the array of individual elements at 137.5 degrees allows such perfect displacement that each element has maximum exposure or surface area, with as many of the elements possible. In turn, this angle creates a beautiful arching spiral that spins and rotates the more the eye makes contact with it. As the design is repeated in nature, it was the perfect base upon which to expand my design.
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Drawing from the idea and simplicity of a zen garden, I want to design a space that compliments the environment surrounding it. A sense of comfort and reassurance is key when seeking a place to take refuge and to let go. The space is multi-functional however and each user interacts with the garden in their own personal way. It is a hub for relaxation and coziness.
A key component of the design is understanding how a child would experience it. Not only adults will visit the island, most likely families too, thus gradated linear members will be incorporated to promote a playground-like space. Children will be able to climb and hang from some of the structures and as such will find great joy in uncovering the playful secret of the island.
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3.0 Final DEsign A garden for all occasions, a garden to let go. Based upon the naturally occurring Golden Ratio, the design is simple yet bold. Lush garden beds stud the design and integrate with the natural habitat abound. Trickling water act as veins through the piece, life giving to the comfort of the design and to the garden itself. The juxtaposition of the deep inset garden against the traffic of the surrounding highway makes it a covetable get away for the average, modern family or worker. The design is not revealed at once rather, linear extrusions of varying height block out sections and beg for them to be discovered. The discovery of the unknown. The revealing of a secret. The garden is enterable from any angle, meaning the experience of the space changes depending on the stance of the viewer. Each snapshot never reveals the full garden, there is always space to explore. Every piece has been placed with purpose. Whether to hide, reveal, to be climbable, to be a vantage point, to shelter or to be rested upon, the garden is multi-purpose. Tucked away, the island is a secret itself, as well as the secret garden, only revealed to the drivers on the freeway as tall beams catching in the sunlight. A tantalizing secret to be explored and unraveled.
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GOLDEN GARDEN
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East elevation
West Elevation
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Here, we discuss how the design satisfies the brief. The toilet block, housing male, female and disabled toilet cubicles is pictured above. It is a 3-dimensional extrusion of the Golden Ratio form, and from a plan view, all extrusion is completely hidden in the shape. The time capsule is located in the excavated garden space seen in the top segment. A covered pavilion sits in the middle segment, providing a shelter from the elements. It is large enough to fit 3 families at one time. A storeroom for potential equipment or tables and chairs is situated in the closed building in the first segment. It complies with size constraints. Secret spaces to be uncovered by children are rampant. The site features many nooks that only a child could experience/fit into. The architecture holds secrets and allows users to simultaneously let go of their own.
A watercolour render of the design. This snapshot demonstrates how well the space is nestled into the lush surrounds and how isolated one would feel from the modern world. Every angle of the garden is not completely visible which spurs on the viewer to explore and uncover the different moments in the design.
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3.1 Final Design Model Scale model 1:100
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The final physical model, handcrafted and painted. The model was built at a scale of 1:100 showing the gradient of the selected site and how the garden hugs the landscape. Viewpoints from different angles of the site can easily be perceived, and the human silhouettes act as a good definition of scale, and also demonstrate how the site could be used by the general public. The Golden Ratio is evident from all viewpoints and volume is equally obvious, represented by the linear extrusions.
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Snapshot 1 A snapshot of the hub for the time capsule showing its inherent scale with the human form. This is one of the most open areas of the design, whereby the user can see straight down the Yarra River and down through the rest of the piece. It is the main entrance to the garden, and thus has welcoming seating and flowerbeds and the comforting sensory experience of running water.
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Snapshot 2 This area holds the main sheltered pavilion with extruded linear members to create a flat standing platform upon which to view the entire garden. A water feature falls from the tip of the plateau and dribbles down into the next segment. Here, garden beds line the walkway and the last tier of the design becomes more and more open to view. Pieces extrude upwards to obscure selected areas of the design from immediate view.
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4.0 Reflection I thoroughly enjoyed Studio Earth this semester. Everything that I learned was invaluable, and I was challenged to design to push my own limits. In turn, I created work that I am immensely proud of, and this studio certainly helped foster a sense of pride in our own work. The idea of the studio was to break down architecture into its most refined and basic parts, and to understand the overall relationship of architecture with Earth. Each sub-study was unique and was free from the typical restrictions of an architectural project which gave me full creative licence. This enabled me to hone in on the true essence of each idea without limitation. As I progressed through each relationship, I challenged my method of presentation and what materials and programs I used to learn and grow from as much from the studio as I possibly could. The Herring Island project was unsurprisingly my favourite task of the semester. Having a physical site upon which we could design was an unexpected but welcomed component of the process. I tried to maximise the potential of the design as much as I could to relate to the natural context of the island, given the broad scope of the brief. Studio Earth was stimulating, invigorating and most importantly, a very enjoyable subject. I will certainly take the skills I learned, predominantly the idea of the three relationships with me though the rest of my architectural career. Thank you for the professionalism and unrelenting support of tutors and staff that contributed to this subject.
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5.0 Bibliography
1. https://s-media-cache-ak0.pinimg.com/originals/d8/97/9c/d8979cc11385f78f31da081a1ef3bdc8.jpg 2. http://designlinesmagazine.com/cms/media/2014/09/DL-W14-HotDates-OCAD.jpg 3. http://marcquinn.com/assets/artworks/medium/26985.jpg 4. https://www.yatzer.com/sites/default/files/article_images/1584/Taipei_Performing_Arts_Center_nl_architects_ yatzer_4.jpg 5. https://s-media-cache-ak0.pinimg.com/736x/08/1d/f5/081df5ae035953d820d3eb52b666f512.jpg 6. http://img.archiexpo.fr/images_ae/projects/images-g/bordeaux-tour-canopia-sera-structures-plus-grandesarmature-bois-construction-dans-monde-12503-9743250.jpg 7. 2. http://www.detail-online.com/blog-article/origami-architecture-the-bloomberg-pavilion-by-akihila-hirata-25209/ 8. 5. http://www.nex-architecture.com/projects/times-eureka-pavilion/
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