ARCHITECTURE DESIGN STUDIO: EARTH S1, 2015 EARTH BOOK Malak Noureddine El Moussaoui
757018 Veronika Weinhert, Studio #16
1
2
3
4
CONTENT 1. THREE RELATIONSHIPS Point/Line/Plane Frame & Infill Mass
2. HERRING ISLAND Site analysis and Conceptacle Concept and Sketch design Design Development Final Design drawings Final Design Model
3. Reflection 4. Bibliography
5
6
THREE RELATIONSHIPS 1. POINT, LINE & PLANE 2. FRAME & INFILL 3. MASS
7
8
POINT, LINE & PLANE
9
10
This model demonstrates my interpretation of the relationship between point, line & plane. The line is formed as an intersection of planes, or when they overlap as seen in the model. When lines intersect, a point is formed. The combination of the three creates a unified space tha can be utilised. It’s form is also interesting as it looks like a symbol for something. A secret perhaps.
11
12
The overlapping planes create different spaces where people can sit and walk around, as a landscape design.
13
14
FRAME & INFILL
Office Off, Heri & Salli, 2013 15
16
The relation between frame and infill does not have to include an obvious frame as the previous precedent. In this building the form is carefully folded to create a sharp, dramatic shape. This folding must have followed a careful geometry around a specific grid, and appears to float over an invisible frame.
Daniel Libeskind, Extension to the Denver Art Museum, Frederic C. Hamilton Building, Denver, CO. 17
18
Inspired by Cubist paintings and music notes, both of which represent a kind of frame&infill relationship, a model was formed, as a music hall. The Cubist paintings appear as geometric shapes, overlapping and creating frames around each other. Music also represents the permanent lines and the temporary notes as frame & infill.
First design sketches
Pale Still Life, Le Corbusier 1922
19
Concept/ Design Development Grid / Frame
20
Divided Interior Spaces
Physical Model
21
22
MASS Mass is heavy and sinks into ground. It is associated with underground levels, surrounded by earth and dark. But when light hits its walls, art is created.
Monument of Tolerance, Eduardo Chillida
23
24
Dark tunnels illuminated by subtle lights, guide you through an experience of hearing and touching. A long, dark and narrow walk to reach a better place.
Mass drawing 25
26
Narrative drawing
“The best way out
is always through.”
― Robert Frost 27
28
St. Ignatius Chapel, Seattle University, Steven Holl
29
30
St. Pierre Church, Firminy, Le Corbusier, 2006 31
32
HERRING ISLAND Sensing Secrets
33
34
35
SITE ANALYSIS Topography: The highest point is chosen, such that it overlooks the surrounding areas and is visible to attract people.
X
36
The location is also in the center of the island, away from other attractions. The design would aim at preserving the attractions and encourages exploring them .
X
X Pathway & Attractions
Vegetation The design would be on a flat grassland, surrounded by trees, such that they do not hide the design and ther would be no need to cut them. 37
Site Section
38
Planning Digrams
Planning the locations of the different spaces of the design, depending on the relationship between them.
39
40
Precedent
“Not all those who wander are lost.” ― J.R.R. Tolkien
Niemeyer’s Metropolitan Cathedral has a seperate entrance which goes underground then into the Cathedral. This emphasizes how sacred the place is, as if an unreachable area, only accessed under specific circumstances. This entrance idea inspired the Herring Island design later on.
Metropolitan Cathedral, Oscar Niemeyer
41
42
Conceptacle Since the entrance would be from underground, the design would be emerging from the ground. This reminds us of the Bunker architecture that is partially visible aboveground. More explorations lead me to choose delicate mineral forms, emerging from the ground, as a constrast betweeen the solid ground and the fragile glass.
German Bunker in Normandy France, Paul Virilio’s Bunker Archeology
43
44
Studying Natural Minerals
The form as well as the colours would suit the design, as light interplay is needed.
Luz Opal, Amethyst, Burmese Tourmaline
45
46
Connecting 3 Zones
Above ground
Sketch designs Ground
Underground
La Pyramide InversĂŠe, Louvre Museum, France
47
“And above all, watch with glittering eyes the whole world around you because the greatest secrets are always hidden in the most unlikely places. Those who don't believe in magic will never find it.” ― Roald Dahl
48
Sketch Design
49
Sculpture by Eduardo Chillida 50
The underground pathways are inspired by Eduardo Chillida’s sculptures, creating interesting spaces for hiding, walking and exploring.
51
Underground Plan
Aboveground Plan
sheltered area
tech room &storage visual area
secret hearing room
touching passage
52
toilets
Physical Model
Above ground
Underground
53
PLANS Service Areas
Tech Room &Storage Plan 1:100
54
Bathrooms &Cleaning Plan 1:100
55
Served Areas
Sheltered Area Plan
Section
56
Visual Space Plan
Section
57
58
Museo Neanderthal, PiloĂąa, Estudio Barozzi Veiga (EDV) Louvre Abu Dhabi Museum, Jean Nouvel, Abu Dhabi Mecenat Art Museum, Hiroshima Japan, NAF 59
60
61
62
63
64
“Two roads diverged in a wood, and I— I took the one less traveled by, And that has made all the difference.” ― Robert Frost, The Road Not Taken 65
66 Sculpture by Daniel Arsham
Sculpture by David Altmejd
Time Capsule Art Exhibition on Touch The darkest, narrowest and longest underground passageway leads into the secret hearing room, where sounds of everyday life are played, such as a busy market, or someone pouring coffee. Since it is completely dark, the person can only imagine, and each person would remember something different because of one sound. While walking through this dark route, the person has to tough the walls to make theri way. Psychologically, each person would have a different grip and touch. The walls record this touch, creating an art exhibition in 200 years.
67 Traces by Rachel Baran, 2014
68
69
REFERENCES
READINGS Juhani Pallasmaa, The Eyes of the Skin, Architecture and the Senses. 2005. Philip Jodidio, Oscar Niemeyer: The Once and Fututre Dawn. 2012. John A. Talent. Minerals, Rocks and Gems. A Handbook for Australia. 1970. Juhani Pallasmaa. The Embodied Image. 2011.
IMAGES Jean Nouvel, Louvre Abu Dhabi: http://ideasgn.com/architecture/louvre-abu-dhabi-jean-nouvel/ Daniel Libeskind, Extension to the Denver Art Museum: http://libeskind.com/work/extension-to-the-denver-art-museum-frederic-c-hamilton-building/ Bunker Architecture, Paul Virilio’s Bunker Archeology: http://www.architectmagazine.com/design/culture/new-release-of-paul-virilios-bunker-archeology_o St. Ignatius Chapel, Seattle University, Steven Holl: http://www.wanderingarchitect.com/2009/08/06/7-bottles-in-a-stone-box/ https://au.pinterest.com/pin/42221315227213675/ http://www.coffeewithanarchitect.com/2010/05/01/architecture-light/ https://www.flickr.com/photos/elenaacin/3505681396 http://www.archdaily.com/269251/steven-holl-interview-not-a-signature-architect-andrew-caruso/97-040-07b
70
IMAGES Mecenat Art Museum, Hiroshima Japan, NAF: http://www.delood.com/architecture/mecenat-art-museum-naf-architect-design Office Off, Heri & Salli, 2013: http://www.dezeen.com/2014/08/15/office-off-heri-salli-timber-frame-climbing-frame-austria/ Pale Still Life with Lantern by Le Corbusier 1922, France. https://au.pinterest.com/pin/461830136760804408/ La Pyramide InversĂŠe, Louvre Museum, France: https://travelsandpictures.wordpress.com/2014/07/12/the-inverted-pyramid/ Museo Neanderthal, PiloĂąa, Estudio Barozzi Veiga (EDV): https://au.pinterest.com/pin/221239400414075042/ St. Pierre Church, Firminy, Le Corbusier, 2006: http://www.mimoa.eu/projects/France/Firminy/Saint-Pierre%20de%20Firminy%20Church/?abvar2&utm_expid=3171585-1. VdIzkDV7RJei7fxZTD8QLQ.2&utm_referrer=https%3A%2F%2Fwww.google.com.au%2F Monument of Tolerance, Eduardo Chillida: https://au.pinterest.com/pin/453948837416352349/ https://daydreamtourist.com/2012/12/07/mount-tindaya-project/ http://beifund-blog.tumblr.com/ Luz Opal, Burmese Tourmaline & Amethyst: http://www.architecturendesign.net/45-extremely-beautiful-minerals-and-stones/
71
Readings
72