Studio: Earth book - ABPL20027

ARCHITECTURE DESIGN STUDIO: EARTH S1, 2017 SUBJECT STUDENT BOOK

Nesia Cahyono 813807 Hella Wigge

[ shhh... it’s a secret ]

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. Conceptacle 2.3. Concept and Design Development

3.0. FINAL DESIGN

3.1. Final Design Model

4.0. REFLECTION 5.0. BIBLIOGRAPHY

1.0

THREE RELATIONSHIPS “Point / Line / Plane,” “Mass,” “Frame and Infill” Three indispensable tectonics behind every architectural enterprise Three elements with three particularities have been introduced during the semester. Following them, exploration in models and drawings forms a deeper understanding of each concept, notably in relation to architectural context. The main aim is to develop an assemblage model, combining these three tectonics, and addresses the brief of “secret.”

1.1

POINT / LINE / PLANE

[ from pieces into a piece ]

“simplicity is complexity resolved” -- Constantin Brancusi

The Inversion House, Dan Havel and Dean Ruck.

Houston. 2005 There was no specialty in terms of materials nor individual components. However, uniqueness and aesthetic are two strong qualities shown in this iconic art work. The smallest component is a plane, which might be spotted more vividly as a line in the proportion with the whole building itself. The sequence of these lines seems like luring people to the point at the end of this building. Homogeneity in material does not create a boring sensation. Otherwise, uniformity and complexity are exposed.

The 2016 Serpentine Gallery Pavilion, Bjarke Ingels Group (BIG). London.

The idea of point, line and plane indeed dominate this pavilion, although actually further explorations are taken.

Different scale affects different perspective in observing point/line/plane. The smallest element is folded plane forming a hollow boxt. In smaller scale, this hollow area echo negative point. The order of boxes somehow creates another huge plane enclosing a space underneath.

Point is the simplest element determining the position in space.

It is represented as a dot and theoretically, point does not have any mass. Infinite series of points form a line, and an order of lines creates a plane. Line might also appear at the edges of objects and where two planes meet. Intersection of lines, moreover, presents a point.

The model aims to challenge the distinction between elements by having each represents each other. It is achieved by playing the scale in perspective. Duality of elements might be observed. “simplicity is complexity resolved� -- Constantin Brancusi This model also tries to show how complexity is achieved by the order of simple elements.

The simplest element applied in the model is plane. From the top view and in a smaller scale, some of these planes appear as lines. The order of these components present a curvy plane, and strong sense of negative points are received by the gaps between them. In the scale of 1:50 this model can be reasonably functioned as a place to lay, sit and stand.

1.2

MASS

[ the play of dark and light ]

“light, God’s eldest daughter, is a principal beauty in a building” -- Thomas Fuller

State Library of Victoria, Melbourne Just an ordinary bluestone sculpture, people thought.

No. To me, it is way beyond that.

This sculpture can build people’s unconscious mind to think that it is sinking into the ground. Mass is not only presented by the materiality, but the shape of the sculpture itself. It is indeed a finished sculpture, however, might direct people to think that there should be another piece completing it. The idea of continuity.

Mass architecture, with a play of mind.

Light and Shadow, Tadao Ando Ordinary aisle is embellished by solid and void space within partitions. The spatial composition is dominated by the play of light and shadow. Sharp light touching the floor creates an independent allure for people to experience the glance by themselves.

Luring people to walk towards and along it.

During the semester, exploring the notion of dark and light spaces is required in order to have deeper understanding about mass. Dark and light often produce rigid dichotomy because of their differences. Hence, juxtaposition through drawings are made to represent them. /Dark space/ The notion of sinking into the ground explains the lines below the main space. They span in the full length to the bottom of the page to superimpose its continuity. Regenerating the notions of dynamic and heaviness.

The experiences desired in this space are intimidating, isolating and frightening. Sharp edges are used to enhance the texture, limit the movement and, in accordance with this, investigate how they could affect the perception of space. Turns out, they effectively create these desired feelings. /Light space/ The light space is composed in particular way to emphasis the importance of light. Empty space at the half left page represents the source of light. “light, God’s eldest daughter, is a principal beauty in a building” -- Thomas Fuller Light is indeed a weightless material. However, the quote shows that not in every case that light generates ethereal context. This quote about light in its entirety has a deep and heavy substance. In a similar way, although play of light is the focal point, the drawing still communicates the language of mass architecture.

“Unmatched,” “detached,” “contradicting,” might be the first thought emerge in your mind once you see two pages before.

Well, even I myself can’t deny it.

“Lack idea to organize both drawings better,” some people might think.

Well, it looks like so.

The truth is, they are deliberately arranged in such way. Notably to contrast both atmospheres, to contrast the play of dark and light.

1.3

FRAME AND INFILL

[ seeking freedom ]

“there are 360o so why stick to one?”

-- Zaha Hadid

Blind Light, Antony Gormley. 2007.

Opaque glass is fascinatingly appropriate to express the notion of attaining freedom. The materiality allows light, as a symbol of faith and hope, to penetrate through, while at the same time it blurs everything behind.

The only way to be seen vividly is by touching the surface. In other words, additional efforts to reach the glass become the consequences.

3D Fashion Architecture, Richard Sun The idea of being trapped but the person is not trying to escape. Relishing her moment instead? I suppose.

Strings are used to create a certain extent of boundary. Triangular form is applied and able to limit some gestures, showing that sharp edges, again, significant in producing atmosphere in a space.

The aim is to create a building with the idea of frame and infill, and somehow show the lightweightness.

The precedent becomes a foundation to develop a model which limit people in enjoying the aesthetic of outside room, but, still have an enjoyable nuance internally.

Amalgamation of these ideas is displayed through the exploration of solid, flat and line-form infill inside the frame.

They are structured and sequenced where the concept of weightlessness can be received gradually.

Opaque panels enhance the enclosing system, while simultaneously they increase curiosity for the people inside to climb up and reach the viewing spot upstairs.

“there are 360o so why stick to one?”

-- Zaha Hadid There is breathtaking view up there so why stick to the ground?

There is freedom upstairs so why don’t you climb up?

4 types of infill are presented in the model. Instead of adding staircase, the journey to the top is experienced step by step through the infill. Flat infill, exceptionally, performs as a welcoming entrance as well as a threshold between outside and inside room.

A sense of losing the weight of the structures from the bottom to the top is deliberately created to match the idea of seeking freedom.

In order to differ adjacent infill easily, two contrast colors are used.

ISOMETRIC DRAWING SCALE 1:1

Flat

1-Fold

Solid

4-Fold

2.0

HERRING ISLAND

[ something like a pavilion ] “It can seem hard to get to but when people come here it has all the elements of an island - a sense of isolation, of quiet, of being out of the rat race.�

-- Peter Teesdale

2.1

SITE ANALYSIS

[ somewhere accessible and awesome ]

NOISE LEVEL 1:2000

VEGETATION 1:2000

Herring Island is located in RIchmond suburb, which is only 3 km away from Melbourne CBD. Bonded by Alexandra Ave and Monash Freeway, Herring Island should have similar nuance as the city.

Variation in vegetation density results in clusters of trees. The island with a peaceful ambience, makes people lost in shad Don’t want people to miss this quality; potential sites were na island, along the purple dotted line.

“It can seem hard to get to but when people come here it has all the elements of an island - a sense of isolation, of quiet, of being out of the rat race.”

-- Peter Teesdale In fact, it offers sober and solemn atmospheres. Peace and serenity are all this man made island is about.

ey wrap the center of the dy and comfy environment. arrowed to the edge of the

Bicycle path Alexander Ave Landings

Short bushes Grass Open spaces Tall bushes River Potential sites

Selected site

STREET AND LANDING 1:2000

Specific site is selected considering the adjacent environment of Herring Island. Landing and street are the two predominant aspects. In relation to landing, there are 2 possible sites, however, specific site is selected due to the street outside the island.

From the drivers and bikers’ perspectives, the corner at the southern part of the island hides everything at the other side of the island. They would not be able to see what is behind it, before they are turning left. Hence, designing something at the selected site (bonded by purple dotted line) would be interesting, as it creates sudden surprise for the path users.

Not too st building t Enhancing A sense freedom

SECTION OF SPECIFIC SITE 1:100

teep, not too gentle. The topography allows a to have an exit one level above the entrance. g the desired atmosphere for secret pavilion. of burden when entering the space, and when exiting the space.

SPECIFIC SITE 1:2000

2.2

CONCEPTACLE

[ something grafted and smoothed ]

“there. that’s what’s going to happen to us. it’s called grafting. taking something from one place and fixing it to another until they grow together. we didn’t start from the same tree , but we’re going to grow together like we did.

-- Joan Bauer

[ something grafted and smoothed ] Assemblage techniques are explored during the process of generating idea for conceptacle design. Method and aesthetic quality are taken into account in deciding which technique is best applied for combining which tectonics.

Smoothing is used in blending mass and point/line/plane, while grafting is used in merging point/line/plane and frame and infill.

All elements have been annotated previously, where new form is introduced in consequences to the grafting between point/line/plane and frame and infill. The volume is broken into open polysurface, and even some of them are cracked. Some of timber blocks are arranged in sloping vertical orientation representing how the violence from grafting forces them to go against the direction they should be.

Opaque glass has not yet been implemented as the component of point/line/plane has to be disclosed.

It is conceptacle design, anyway. Relation between tectonics has to be the main concern.

2.3

CONCEPT AND DESIGN DEVELOPMENT

[ secret is compexity ]

“you are not a burden. you have a burden, which by definition is too heavy to carry on your own.”

-- Julie Flygare

1

2

3

The first space has to represent people’s feeling of being pressured by their burden, secret. The nuance of dark is desired, as a result. Concept of point/line/ plane is applied. Timbers are arranged organically to allow the space to have rough and sharp edges as well as limiting the light to penetrate in.

The area starts with “square” rooms and ends up with more “triangular” rooms. Sharp edges are, again, used to construct the atmosphere. Narrow alley is where the underground space terminates, and exactly where people would reveal their secrets.

Stairs are used to connect the first space and the second space on ground. Elevator was selected initially because it allows people to get sudden impression of bright once it is opened on the ground floor. However, suggestion to use stairs is proposed as people might explore the space better.

Opaque glass and block of mass are two materials to represent two tectonics in the on ground space. The idea of “secret is complexity” is well elaborated here. Secret often contains weakness. Light represents freedom, while at the same time revealing a secret means sharing our weakness to others. Caution has to be developed to prevent them to boomerang you.

QWERTY Keyboard, Yekaterinburg, Russia.

Anatoly

Vyatkin.

Blocks of mass form some steps for people to walk on.

Can you spot a similarity between three people walking on the sculpture beside?

Yes, each of them always has their eyes on the blocks. Unconsciously, gap between blocks increases circumspection.

This artwork becomes an inspiration of mass in my final model.

Bloomberg Pavilion, Akihisa Hirata. Tokyo.

Combination of isosceles triangles is explored

by Hirata. They create a certain visual impact, resulting shape appears complex. Recalling a typical idea of a tree, this pavilion rather ends up with an unprecedented design. Pleats were created to meet the aim of providing shade and comfortable space for mankind. Relaxed atmosphere is also presented, just similar to the experience of being under the tree shade.

3.0

FINAL MODEL

[ all about pavilion and secret ]

“i don’t think that architecture is only about shelter... it should be able to excite you, to calm you, to make you think.

-- Zaha Hadid

ELEVATION 1 1:200

ELEVATION 2 1:400

1. First space. Determined for people who are keeping a secret. Darkness represents burden.

As people walk further in, the space becomes more “intimidating.” It reflects how is life with burdens. The space terminates at a narrow alley with mirrors at both sides.

2. A narrow alley with 2 sided mirrors. The last section in the whole under ground area. A place for revealing secret. 2 sided mirrors create infinite reflection which resembles endless burden by secret. Dark and sharp edges are applied to build “intimidating” atmosphere.

The model also accommodates a space for children to hide. Instead of creating an enclosed space, open space with relatively small entrance is used. A little obstacle provided by grafting between point/line/ lane and frame and infill potentially attracts children to explore this space.

3. On ground space, the space after secrets are revealed. Light and glass strengthen the nuance of freedom. Fragility of glass create a contrast atmosphere and pottentially increases people’s confidence.

Aside from the three tectonics, water is added. People tend to avoid water when they are not wet, moreover, in a circumstance where they are not well prepared.

Water performs as a complementary component to the QWERTY Keyboard precedent. The presence of water increases everyone’s caution, while at the same time large steps and relatively small gaps between them reasonably safe for people.

Children’s path

Point/line/plane

2 1

Pathway

1

Frame and infill

3

Mass

3.

Water

Underground

2.

TOP TOPVIEW VIEW 1:400

1:400

PLAN 1 1 PLAN 1:400 1:400

OVERALL SECTION 1:400

SECTION 1 1:200

PLAN 2 1:400

SECTION 2 1:200

[ it’s time to enjoy the freedom. don’t forget to be aware of your surroundings ]

4.0

REFLECTION

Earth. The first architectural studio in the whole journey of my apprenticeship of being an architect, hopefully. It has been quite challenging at the beginning of the semester, especially in developing an idea. Bunch of researches and experiments were conducted to obtain the first design of point/line/plane. However, the result was not so satisfying.

I was surprised as in terms of assignments, Designing Environment has more tasks to do each week compared to Earth Studio, yet the latter is more time-consuming to me.

Trying to refine the first model, my understanding about this subject getting better. The weekly lecture was very helpful in terms of obtaining an initial idea to start of.

Preparing for the second assignment, mass drawings, I was determined to create something extraordinary. Hella’s high expectation forced me to explore something I have never tried before. Something experimental.

In tutorials, Hella taught me to value the fortnightly presentation as a constructive feedback to the related design, rather than value it as a “not so satisfying result.”

Four months. Twelve weeks. Thirty six hours.

These are the formal tutorials we would actually have. However, communication is not limited within this time frame. Since the first tutorial, Hella has asked us to establish a group in facebook. Thinking that this group would not be very effective, I was totally wrong. I felt like most of my ideas were derived and developed from the other students’ responses in the group.

The significance of precedents is always emphasized in the whole semester. Ideas might come from anywhere and anytime. It does not rule out the possibility that idea does not come when the deadline is just in front of me. Through this subject I notice that precedents might be very useful in finding inspirational idea, or even specific thing such as materiality.

I feel grateful that I could learn so many things through lectures, tutorials and facebook group. I was not confident enough to post any designs on facebook. What did I do is only read the responses made by some friends. It is the biggest regret actually. Reading through the responses were very useful, moreover, if you did post your designs and get some feedback to improve them.

5.0.

BIBLIOGRAPHY

Architectural Lightning Effects, Light and Shadow, Tadao Ando, viewed 25th May 2017, <http://landing.imageseditor.club/ edit?keyword=Architectural%20Lighting%20Effects&title=Light%20&%20Shadow%20Tadao%20Ando&image=http:// www.cidrapforum.org/assets/images/content/2017/2/light-amp-shadow-tadao-ando.jpg> Daily Mail Australia 2011, The men who make houses explode (all for the sake of art), viewed 25th May 2017, <http:// www.dailymail.co.uk/news/article-2047445/The-men-make-houses-explode-sake-art.html#ixzz4j8Bk4gfx> Domus 2011, Bloomberg Pavilion Project, viewed 5th May 2017, <http://www.domusweb.it/en/architecture/2011/12/05/ bloomberg-pavilion-project.html> Fashion Design Rochester 2017, Richard Sun, viewed 28th May 2017, <http://fashiondesignrochester.com/richard-sun/> Gormley, Antony, BLIND LIGHT, 2007, viewed 27th May 2017, <http://www.antonygormley.com/projects/item-view/ id/241#p12> Melbourne Fresh Daily 2012, State Library of Victoria, viewed 27th May 2017, <http://melbournedaily.blogspot.com. au/2012/01/state-library-of-victoria.html> My Modern Met 2017, Giant Keyboard Installation Embedded in the Ground, viewed 5th May 2017, <http://mymodernmet.com/anatoly-vyatkin-keyboard-monument-claudia/> Serpentine Gallery 2017, Serpentine Pavilion 2016 designed by Bjarke Ingels Group (BIG), viewed 25th May 2017, <http://www.serpentinegalleries.org/press/2016/02/serpentine-pavilion-2016-designed-bjarke-ingels-group-big>