EARTH BOOK ARCHITECTURE DESIGN STUDIO: EARTH MOHAMMAD HAZIQ HASSAN 780615 Studio 10 Tutor: Liz Watt 2017, Semester 1
TABLE OF CONTENT
1.0 POINT / LINE / PLANE Research 1.1 POINT / LINE / PLANE Sketch Models 1.2 POINT / LINE / PLANE Drawing 1.3 POINT / LINE / PLANE Model 2.0 MASS Research 2.1 MASS Drawing 2.2 MASS Collage
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3.0 FRAME + INFILL Research 18 3.1 FRAME + INFILL Model 20 3.2 FRAME + INFILL Exploded Diagram 22 4.0 HERRING ISLAND Site Analysis 24 4.1 HERRING ISLAND Site Location 26 5.0 PAVILION Research 28 5.1 CONCEPT Development 30 5.1 CONCEPTACLE Model 32 6.0 SECRETS PROJECT Precedents 34 6.1 DESIGN DEVELOPMENT Sketches 36 6.2 FINAL DESIGN Drawings 40 6.3 FINAL DESIGN Model 46 7.0 REFLECTION 50 8.0 BIBLIOGRAPHY 52
1.0 POINT / LINE / PLANE Research
Point, line and plane are the foundation elements of any architectural design and form. Essentially they are invisible conceptual elements which do not exist in reality and yet present. The presence of these elements can be seen through indications. When visible, these elements create form. Point indicates position and can symbolise different meanings; beginning and/or end. It is the smallest part of a drawing, which can be a centre of focus where other elements can gather towards it or spread away from it. The line is essentially the path marked by a moving point or a series of connected points. It has a length but an almost negligible breadth. The extreme ratio of length to breadth gives the sense of thinness and lightness. Lines are commonly associated with outlines which create the borders of a plane.
Precedents: A series of stairs made from folded planes and linear rails is one example of point, line and plane. Another example of point, line and plane is the shadows it casts and the sunlight passing through the gaps.This explores the visibility and presence of non-existent elements. The non-existent lines redirect the observers’ view towards it and take away the focus from the actual structures. Heydar Aliyev Center by Zaha Hadid Architects uses small geometric planes to create a fluid and an organic-shaped structure. The planes are bounded by almost orthogonal lines. It is represented as the elements are merging towards a point at the top where the planes converge into lines, and the lines gathering towards a point. The reverse of point creating line and line creating planes.
Plane an extrusion of a line. It can also be defined as the path of a moving line in the direction perpendicular to its length. Planes give a sense of enclosure and usually form walls and roofs. Information adapted from Kandinsky and Rebay (1947) and Wong (1993).
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(Reichert, 2012)
Heydar Aliyev Center / Zaha Hadid Architects (ArchDaily, 2013)
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1.1 POINT / LINE / PLANE Sketch Models
Exploration of point, line and plane includes the exploration of the progression from point into line into planes and the different possibilities of the transition. The 1-dimensional property of line and the 2-dimensional property of plane creates the possibility of exploring different perspectives. Interpretations of an object are different from different viewpoints.
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1.2 POINT / LINE / PLANE Drawing
The drawing emphasises on the presence of point, line and plane through the effects the structure created. Shadows and light act as the planes and lines respectively.
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1.3 POINT / LINE / PLANE Model
The model represents the interpretation of the progression of point, line and plane in reverse direction. The process started with a plane and lines were cut out of the plane. Two of the lines were then positioned to meet at one point. In plan view, the steps appear to be planar but in elevation, it takes the shape of lines. This is achieved by positioning some of the elements such as the steps and the protruding lines in an almost orthogonal way. Many of the elements are placed and position in a nonorthogonal way and this allows the elements to display the same true unaltered form in different perspectives.
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2.0 MASS Research Mass may not necessarily be about the physical weight and density of a material, but it is about the architectural atmosphere that can be sensed by the body. Although the sense of mass is commonly associated with massiveness, it can also be achieved through the material and spatial density, its relationship with gravity and the light quality of a space which imitates the quality of a cave. Precedents: The precedents show the different ways to achieve the sense of mass both through physical properties and spatial qualities. The Poli House expresses mass as a monolithic block of cube, from which voids were subsequently subtracted from the mass.The spaces within the structure are bounded by thick monolithic walls revealed from the subtraction process. The rough texture and the overall shape gives the impression of a solid mass, but the openings suggest otherwise; hollowness and emptiness. The water tower creates the sense of weightlessness by being constructed vertically, resisting gravity. The small openings suggest the presence of levels and the increasing opacity of the spaces towards the bottom. The Muqarnas Dome creates a cave-like environment. The entry of light into the dark space accentuates the voids and textures of the interior. This also gives a sense of weightlessness due to the separation of solids, made by the series of windows. (Information adapted from Simitch and Warke, 2014)
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Poli House / Pezo von Ellrichshausen (Do, 2016)
Bernd & Hilla Becher, Water Tower, 1983
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Alhambra Palace, Granada (Lyon, 2009)
2.1 MASS Drawing
The sectional charcoal drawing was aimed to explore the diffusion of light through levels of voids. The source of light differs when we are standing in different voids. For instance, when we stand on the highest level, the source of light is from above ground, while the source of light for the second highest level is from within the level above it. Therefore this will cause a decrease in light intensity as we get deeper below ground. One will experience a greater spatial density when entering a less illuminated void. The journey as we move deeper below ground creates a greater sense of mass not only due to the physical depth of where we stand below ground but also due to the absence of light, which gives the sensation of walking through a solid mass. It also explores the ability of light to cast shadows and accentuates textures on the walls and its ability to give the perspective of 3-dimensionality to the section drawing.
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2.2 MASS Collage
The collage sought to convert the previous mass drawing into an accessible space by people from above ground by using ramp-like voids. The ramps are positioned at sharp angles and this will alter the smooth transition of light through spaces into a sudden change of atmosphere with an overwhelming sense of mass. When light has been cut at the sharp turns, a direct beam of light is required to illuminate the deepest void. The exploration brings to a realisation that the sense of mass is largely influenced by darkness which gives the sense of being compressed while light gives the sense of openness to space.
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3.0 FRAME + INFILL Research
Frame is the permanent, structural, fixed element while infill is temporary, transient, dynamic. Although defined in this manner, the ambiguity of frame and infill can be explored through the relationship between the two components. Precedents: Frame and infill are components that perform collectively. Both can have the same equal focus or one of the elements can be more predominant than the other. By extruding a component in front of the other, the focus is taken away by the component which extends over the other. The simple technique of displacing a component on top of the other can have a very apparent impact in various ways. It can create the effect of transparency, weightlessness and depth.
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Oslo, Norway
Park Avenue Tower, New York City / Rafael Vinoly Architects [ 19 ]
Hover House 3 / Glen Irani Architects (One Kindesign, 2011)
3.1 FRAME + INFILL Model
The model explores different displacements of frame and infill from each other and the relationship between them. Taking the idea of Moire effect, where layers of different patterns overlap one another and together creates a dynamic pattern effect as we look from different views. The infill elements are shaped from the intersections made by three different frame patterns taken from a plan view. The infill is affected by the frames. The displacement of the infill on different layers suggests the sense of depth. While the different material plays with the focus of the overall object, where the transparent objects may not be apparent but when light strikes, it becomes the predominant focus.
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3.2 FRAME + INFILL Exploded Diagram
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4.0 HERRING ISLAND Site Analysis Location of sculptural art exhibitions.These locations determine the places of attractions where people may congregate. These areas tend to be the more occupied areas.
History: Early 1900s - Basalt quarry 1928 - Como Island formed to prevent flooding
The sculptures are linked by pathways which almost leads to the three corners of the island.
1934 - Yarra River flooded 1930-76 - Levee formed, silt filled Como Island 1950-60 - Scouts leased the Island
1928
1952 - Renamed Herring Island, after Sir Edmund Herring
1934
1930-76 [ 24 ]
The island contains indigenous vegetations and important habitats for faunas such as birds. Not many built structures were constructed.A few public facilities were built such as a function centre, picnic shelters and landings. The sculptures found on the island are made from natural resources such as stone and timber. The map shows the density of vegetation in different regions of the island. It also provides information on the open spaces which are not covered by vegetations and forests.
Various textures found on site taken from sculptures, ground surfaces and vegetations. The textures varies from rough, scaly timber, sharp and spiky plants, indentations on the ground and delicate and soft flowers. Both geometric and organic shapes were found on the island. [ 25 ]
4.1 HERRING ISLAND Potential Site
Secrets do not exist if nobody knows about it. The idea of secret can be interpreted in many ways. Perhaps, secret doss not need to be totally hidden. It needs to have signs and indications to prove its existence. With this idea of secret, the relationship between openness and secrecy or concealment is of interest to me. Openness and secrecy can be translated into public and private.
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Public Picnic Area
Potential Site
The picnic area is one of the main attraction of Herring Island where people congregate and interact. While the surrounding areas are densely populated with vegetations. The region between the two can be a potential site to express this idea of secret. It is located at the South-West fringes of the picnic area.
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5.0 PAVILION Research
A pavilion aims to provide a place for people to congregate in the open public for a particular purpose or function. Precedents: Perhaps, the most interesting aspect of a pavilion is the experience and atmosphere within the pavilion. Personally, the use of lights is very captivating. The Floating Pavilion and Archifest 2016 Pavilion both uses gaps and openings through the roof, which allows the interior to be brightly illuminated by natural light. The effects it has on the ground are also appealing.They almost provide the pathway for the journey through the space. In terms of the functions of a pavilion, Woods of Net Pavilion gives a clear indication of what the space is to be used for. Not necessarily for business and official matters, but for entertainment and interactions.
Woods of Net / Tezuka Architects (Basulto, 2009)
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Archifest 2016 Pavilion / DP Architects (ArchDaily, 2016)
Floating Pavilion / Shen Ting Tseng architects (ArchDaily, 2017)
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5.1 CONCEPT Development
The concept to be taken into the pavilion is obtained by taking the main concepts explored from the three languages; PLP, Mass, F&I, and finding the strong points and commonalities which are relevant to the site analysis. The exploration of light effects was most apparent throughout the three projects, where natural light functions as the main resource and exploited to illuminate internal spaces and voids to create different effects. Light was also explored as the transition between the different spatial atmosphere in Mass (Collage). Overlaps, layers, levels, was another repeated language. Perhaps, this idea was most successfully represented in Frame and Infill model where layers were overlaid to create the Moire effect.
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Point / Line / Plane
Mass
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Frame + Infill
5.2 CONCEPTACLE Model The conceptacle is the combination of concepts identified from previous works. The main idea behind the conceptacle is the revelation or discovery of secrets. The idea of secrets explored in the site analysis is brought forward and expanded. The model aims to picture the satisfying experience of discovery, where there is almost some sort of magic is felt during the revelation of secrecy.
The conceptacle is made of pivoting panels which overlaps each other. As one panel is flipped, the other panels will follow in the same direction, almost similar to a domino. The rippling of the panels takes the focus of the eyes from the closest object through the whole structure following the movement of the panels. It aims to give a sense of guided pathway and indications towards the location of the secret.
(Idea adapted from Selenitsch’s lecture on Secrets, 2017)
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Light acts as the guidance. During the rippling, strands of light are projected on the ground following the rippling of the panels.
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6.0 SECRETS PROJECT Precedent
Patterns of the roof structure of the Floating Pavilion is projected onto the ground which cuts up the plain white floor into grids. We can imagine that these sort of effects can change the way we interact with a space. For instance, children may play a game of hopscotch on the grid or walk on an imaginary tightrope. These orthogonal grids indirectly provide some type of system to a space.At the Holocaust memorial, the pathway is limited to straight lines due to the placement of the cube blocks.The circulation of people is programmed into the design.
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Floating Pavilion / Shen Ting Tseng architects (ArchDaily, 2017)
Holocaust Memorial / Peter Eisenman (Rinaldi, n.d.)
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Holocaust Memorial / Peter Eisenman (Laura-carter.com, n.d.)
6.1 DESIGN DEVELOPMENTSketches 1. Composition
2. Integration
3. Isolation
A centralised focus where the secret can be located. It allows other elements which can lead to the secret to be added outwards to the public.
The dense vegetation is to be utilised as a natural camouflage. The integration of forest and the pavilion is needed to create a smooth transition from nature to built environment. The use of grids can aid the transition.
Taking the idea from ‘Mass’, perhaps the secret is to be located in the deepest part of the pavilion where the spatial atmosphere is the densest. The secret needs to be approached with some sort of discovery.
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4. Light
4. Discovery / Revelation
4. Function
As identified in the conceptacle, the role of light is to give effects, the indication of secret, guidance, and transition of experience as walking from a space into mass.
Indications placed, perhaps, on the ground to influence people to become curious and attract them towards the revelation.
Following the brief, it should be family-friendly space where they can gather. A place for keeping secret. A storage place. These spaces can be provided around the anchor point of the pavilion.
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6.2 FINAL DESIGN Drawings
Roof Plan 1:200 Toilets
The pattern of the roof structure is an imitation of the ground texture of Herring Island identifies in the site analysis. When viewed from the plan view, it gives the illusion of the pavilion being part of the ground. It is also inspired by Moire effect where two patterns are placed on top of each other. The grid blocks which emerges from the circular pavilion are the signs and indications of the presence of the pavilion and the secret. They vary in size and height when viewed from plan and elevation respectively. The pavilion is aimed to merge and melt smoothly with nature. The central area is taking the shape of an inverted dome which functions as an entertainment space where the public congregate and children stimulated.
Staircase Ground Plan 1:200
Underground, a concentric space can be found underground which is accessible through a staircase. A space illuminated by artificial light which guides towards the secret. The secret is located underground on the NorthWest side of the pavilion. The space is illuminated by natural light provided from glass pillars piercing through the ground, located opposite the secret space. [ 40 ]
Secret
Underground Plan 1:200
A
A’
Site Plan 1:500
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Underground East Elevation 1:200
East Elevation 1:200 [ 42 ]
Underground South Elevation 1:200
Underground West Elevation 1:200
South Elevation 1:200
West Elevation 1:200 [ 43 ]
Section A-A’ 1:200 [ 44 ]
The journey of uncovering the secret begins by following the indications leading towards secrecy. The experience of being at the pavilion is never the same through changing time. Natural light works together with artificial lighting to guide us into the ‘massy’, dense underground. There is no place to hide behind the curved walls. As we journey through the space, the secret is revealed, becoming more and more visible. The secret is discovered.
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6.3 FINAL DESIGN Model
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7.0 REFLECTION
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It is my first introduction to the three tectonics explored in architecture. PLP, Mass, F+I as the three foundation elements in many architectural forms. It was an interesting approach to a design process where we had to study each tectonic and truly understand the basics before jumping into a bigger design project. It is the process of understanding these concepts and architectural languages that I found very handy and beneficial, and perhaps it should be the starting point of any design process in the coming future studios. The subject really challenges me personally to be an ‘outside the box’ thinker and understand architecture as a language to be integrated into functionalities. I may not have reached the highest level of architectural understanding, but the subject and the exercises have developed my approach to interpreting abstract ideas and think conceptually. I have come to a realisation this is my weakness and was able to change my thinking style towards the end of the semester. While an intuitive approach can be more creative and interesting, it should be paired with a fluent use of architectural language to produce a deep reasoning behind a design. Overall, the subject has taught me to find room for improvements, potential developments to be made and how to overcome design obstacles.
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8.0 BIBLIOGRAPHY 1. 432 Park Avenue Tower, New York City. (n.d.). [image] Available at: https://s-media-cache-ak0.pinimg.com/originals/55/14/f8/5514f8a34448d7d0aef946c3e9304198.jpg [Accessed 31 May 2017]. 2. ArchDaily. (2016). Archifest 2016 Pavilion / DP Architects. [online] Available at: http://www.archdaily.com/796471/archifest-2016-pavilion-dp-architects [Accessed 31 May 2017]. 3. Encyclopedia Britannica. (n.d.). architecture - Space and mass. [online] Available at: https://www.britannica.com/topic/architecture/Space-and-mass [Accessed 31 May 2017]. 4. Basulto, D. (2009). Woods of Net / Tezuka Architects. [online] ArchDaily. Available at: http://www.archdaily.com/39223/woods-of-net-tezuka-architects [Accessed 31 May 2017]. 5. Laura-carter.com. (n.d.). BERLIN HOLOCAUST MEMORIAL. [online] Available at: http://laura-carter.com/themonumentalist/?p=24 [Accessed 2 Jun. 2017]. 6. Bernd & Hilla Becher, Water Tower, 1983. (n.d.). [image] Available at: http://theredlist.com/wiki-2-16-601-791-view-industrial-1-profile-becher-bernd-hilla.html#photo [Accessed 30 May 2017]. 7. Do, N. (2016). Poli House / Pezo von Ellrichshausen. [image] Available at: https://www.behance.net/gallery/43061599/Poli-House?tracking_source=curated_galleries_list [Accessed 30 May 2017]. 8. ArchDaily. (2017). Floating Pavilion / Shen Ting Tseng architects. [online] Available at: http://www.archdaily.com/870009/floating-pavilion-shen-ting-tseng-architects [Accessed 31 May 2017]. 9. ArchDaily. (2013). Heydar Aliyev Center / Zaha Hadid Architects. [online] Available at: http://www.archdaily.com/448774/heydar-aliyev-center-zaha-hadid-architects [Accessed 29 May 2017]. 10. Kandinsky, W. and Rebay, H. (1947). Point and Line to Plane. 1st ed. Dover Fine Art. 11. Lyon, D. (2009). Muqarnas Dome. [image] Available at: http://archive.boston.com/travel/blog/2009/05/let_the_sun_shi.html [Accessed 30 May 2017]. 12. One Kindesign (2011). Modern sustainable living on the Venice Canal. [image] Available at: http://onekindesign.com/2011/01/11/modern-sustainable-living-on-the-venicecanal/ [Accessed 31 May 2017]. 13. ArchDaily. (2008). Poli House / Pezo von Ellrichshausen. [online] Available at: http://www.archdaily.com/476/poli-house-pezo-von-ellrichshausen [Accessed 31 May 2017]. 14. Reichert, K. (2012). Elevation of staicase. [image] Available at: http://www.kikareichert.com.br/inspirations/2012/07/subindo/ [Accessed 29 May 2017]. 15. Rinaldi, J. (n.d.). Eisenman, Peter David: Holocaust Memorial, Berlin, Germany: Architecture, Sculpture. [online] Theredlist.com. Available at: http://theredlist.com/wiki-219-879-605-674-view-eisenman-peter-david-profile-eisenman-peter-david-holocaust-memorial-berlin-germany.html [Accessed 2 Jun. 2017]. 16. Simitch, A. and Warke,V. (2014). The Language of Architecture: 26 Principles Every Architect Should Know. 1st ed. Beverly: Rockport Publishers. 17. Spaceship Architecture. (2011). [image] Available at: https://www.flickr.com/photos/williwieberg/5812319789/ [Accessed 31 May 2017]. 18. Stott, R. (2015). Work on 432 Park Avenue Ceases Briefly Due to Falling Construction Debris. [online] ArchDaily. Available at: http://www.archdaily.com/589177/workon-432-park-avenue-ceases-briefly-after-falling-construction-debris [Accessed 31 May 2017]. 19. Wong, W. (1993). Principles of Form and Design. 1st ed. John Wiley & Sons. 20. Quarto Creates. (2014).You Can’t Really Miss Architectural Mass - Quarto Creates. [online] Available at: https://www.quartoknows.com/blog/quartocreates/2014/06/23/ you-cant-really-miss-architectural-mass/ [Accessed 30 May 2017].
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