ARCHITECTURE DESIGN STUDIO: EARTH S1, 2016 EARTH BOOK | SECRETS
Neuman Chow Kah Heng (718056) Scott Woods + ST05
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CONTENTS 1.0 THREE RELATIONSHIPS
1.1 Point/Line/Plane 1.2 Frame & Infill 1.3 Mass
2.0 HERRING ISLAND. SOMETHING LIKE A PAVILION 2.1 Site analysis 2.2 Conceptacle 2.3 Concept and Sketch design 2.4 Design Development 2.5 Final Design drawings 2.6 Final Design Model
3.0 REFLECTION 4.0 BIBLIOGRAPHY
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1.0 THREE RELATIONSHIPS 1.1 POINT/ LINE/ PLANE 1.2 MASS 1.3 FRAME & INFILL
(ON)GROUND (UNDER)GROUND (ABOVE)GROUND
FRAME & INFILL POINT/LINE/PLANE MASS
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[ABOVE]GROUND [ON]GROUND [UNDER]GROUND
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1.1 POINT / LINE / PLANE
Nucleus. Connection. System. Existence. Evolution. Becoming. Material. Mechanism. Machine
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Ryan Gladhill
Point, Line, and Plane
Point marks a position in space. It could just be the dot on your piece of paper or it could be the nucleus of force, a concentrated locus of power. Line is like a point taken for a walk - Paul Klei In voids or solids, positive or negative spaces, lines are present and defines the element itself. Planes can be derived when lines form a closed curve. Whether as a frame or a complete planar, the plane can be visually derived. This precedent gave me a realisation that the scaling of point, line and plane can symbolize the notion of purity becoming distorted. A simple point goes through a process of metamorphosis to achieve the planar state.
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DESIGN CONCEPT / Deriving from the concept of purity finding its distortion, I constructed a series of lines that are connect to create a form that is an expansion from an invisible point core. The purity is kept in place by the point core, triangles are intact. The point core is manipulating the nature of lines, that are in fact, unorganized. The planes start to shatter, line formations are beginning to distort, they are now finding their true being. Becoming something that they used to be. Their native formation is unknown.
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1.2 MASS
Air. Dust. Mass. |||| Fragility. Solidity. Gravity. Formation.
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Eduardo Chillida Woodcut | Stamp 1975 I was really interested in Eduardo Chillida’s work as he is consistent in producing void/solid art compositions that emphasizes more focus on the negatives than the positive projections. A characteristic that brings attention to the definitive element of mass - the negative space.
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DESIGN CONCEPT /
From the dust you return to where you belong, drifting in the air. Origin of solidity, from fragility. Mass, are they that tough after all? Effect drawn by using the light that is flooding into the space to express the process in which it is forming mass.
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Light Study - Light Diffusion/Bounce
Elements combining through attractive force to form compounds
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Light rays dramaticize attractive force effect.
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1.3 FRAME & INFILL Confinement. Life. View. The view. System. Overthrow.
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ALCATRAZ ISLAND THE GREAT ESCAPE I had a strong inclination in looking towards the prison system when I thought of the phrase “Frame & Infill�. It very much resembles the cell and inmates. I studied the great escape of the Anglin Brothers and mapped out their path of escape in red. I also mapped out the emotions and movement of the inmates through the documentary video with the blue lines. From these, I further developed the concept by inserting my own response of emotion as I study their escape.
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DESIGN CONCEPT /
This is composition is regarding the journey of emotions from the planning of their escape to there success in leaving the island. I was trying to prove that the liveliness was burning within the escapees by using copper wires to represent warmth, as they finally found their way towards freedom. The inmates left behind are still confined, restless and cold. Expressed in the form of clueless mess, chill of the metal cold. As the escape was successful, the cage is crumbling. The system is compromised. Inmates overthrown the system, turned the tables around to be triumphant over the prison. The infill (inmates) takes over the role of the frame (system).
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2.0 HERRING ISLAND. SOMETHING LIKE A PAVILION
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Places with sightings of civilized elements brought control in emotion. Calm and comforting. Places with nature obstructing vision towards civilized elements brought distress. Oppression came about. Thick woods, surrounding bushes, a state of hysteria evoked.
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Selected Site
2.1 SITE ANALYSIS
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2.2 CONCEPTACLE
This conceptacle was an experimentation of form derived from the site analysis where there were two extremes of emotion whilst on the island. Constructed, familiar geometries. Distorted, deformed, confusion. The purity is being induced with insanity, deconstructing itself to reveal another side.
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ROYAL MELBOURNE INSTITUTE OF TECHNOLOGY SWANSTON ACADEMIC BUILDING As I wanted to further intensify the oppression happening on site, I looked into the interiors of RMIT’s building to study how the psychedelic environment could still spur excitement in conventional education. I learnt that these psychedelic elements are on another level of oppression that it excites and attracts instead of incite fear and distress.
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2.3 CONCEPT AND SKETCH DESIGN
I started sketching out what seems to be connecting lines that links the vegetation on site, an expression of extracting the hysterical aura from nature itself to generate a form that projects an intensified version of what nature is already providing. I then thought of using a long shaft excavated underground as the aura is being channeled back into the selected site. The intersecting diagonal paths were designed to gradually initiate participants to experience the state of psychedelia as they pass through different rooms. The deeper the participants enter the state of psychedelia, their access to the functions of the space would increase. They would unlock new senses that grants them new abilities that none have discovered before. A secret.
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2.4 DESIGN DEVELOPMENT After researching on German Romanticism and Rationalism, I came to expound on Hegel’s quote: What is rational is actual and what is actual is rational. Likewise, “the real is the rational and the rational is the real”. I came to realise that fantasies of physical transmission from space to space without logical paths or entries is actually possible. Rationally explained, it can be real. Who is to determine what is rational? Is there a blinding wall keeping our mind limited to pseudo-rationality? My design took a turn from mere psychedelic visuals to deep psychedelic thoughts that can transcend physicality into another state. Similar to the concept of intensity reliant utilization of the space.
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Participants that have broken free from the bondage of worldly rationality are now ready to enter their new senses through a path of sublimity. Terror in the dark room, pitch dark evoking initial shock and fear. Obscurity in a room that dilutes our senses and confuse to break us away further from the norm. The infinite vastness, looking up the shaft, exaggerated verticality due to protruding walls.
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2.5 FINAL DESIGN DRAWINGS
AERIAL PLAN
SCALE 1 : 100
EXPLODED PLAN
SCALE 1 : 20
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Transmitted Physicality Normal Movement
SECTION & PLAN OF TOILET SPACE SCALE 1 : 20 45
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2.6 FINAL DESIGN MODEL
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3.0 REFLECTION
Embarking in what is the beginning of architectural design course, I have really been revamped inside out from the way I think in just this 6 months. From an innocent designer that aimed for only a type of design that has specific meaning or function. Now I understand that it can be so open, so free. I do not have to control everything, sometimes I can let my design react by itself and the outcome would be fantastic. Just like mixing two unknown reactive chemicals together, you do the mixing, the work itself takes care of whatever that comes it’s way. I also now rely heavily on research, precedents and philosophical readings to back my design concepts. These are great foundations as they are proven ingenuities. From there, I can push myself forward experimenting new ways, always creating problems and solutions to improve the existing ideas. The three tectonic exercises from this course grounded me well in understanding what architecture is all about. Architecture isn’t just a building, a building present doesn’t mean it is an architecture. Architecture is a work of space given - above, on, under(ground) - and breathing life or meaning to it. It is a process of deep thinking, making sure every aspects are detailed, all covered, all in control. Architecture. For the sleepless nights, it is all worth it. I thank my tutor and studio mates for such an amazing experience. Their work and advice had been pivotal in changing my attitude towards architecture and the way I design. Now its just a path of getting better, will not settle for the same anymore.
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4.0 BIBLIOGRAPHY
Eduardo Chillida, 1975, ECHO18, Artelanak, viewed on 14 March 2016, < http://www.ekainartelanak.com/obra-ficha.php?idioma=eu&id_obra=95> Royal Melbourne Institute of Technology, 2016, Interior of Swanston Academic Building, photograph, viewed on 10 May 2016, < http://www.rmit.edu.au/ study-with-us/levels-of-study/undergraduate-study/associate-degrees/ad020/#pageId=overview> Ryan Gladhill, 2015, Point Line and Plane, viewed on 8 March 2016, < http://www.gdbasics.com/html/point/point.html> Gelernter, M 1995, Sources of architectural form: A critical history of Western design theory, Manchester University Press, Manchester.
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