Architecture Design Studio: Earth SM1, 2017 Earth BOOK Peilin Cao 783864 Sarah #8
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Contents
1.0 Three pre-designs in relation 1.1 Point/Line/ Plane 1.2 Mass 1.3 Frame & Infill 2.0 2.1 2.2
Herring Island Site Analysis Concept and Sketch Design
3.0 3.1 3.2 3.3
Final Design. Secret of Love Digital Design Journey Experience Physical Model
4.0 Bibliography
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1.0 Three pre-deigns in relation Point, line, plane; mass; frame & infill, are three fundamental tectonics for complex architectural design. Throughout the semester, we have practiced these three tectonics in a more abstract way. Even if exploring each tectonic separately, we considered the relationship among them as well. Partially, they were applied as a primary inspiration to conceptualize my final design which indicate the brief of ‘Secret of Love’.
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1.1 Point/Line/Plane
This process explored the transition in points, lines and planes. Here played with dimensions, for points, there is no dimension; lines exist in single dimension; plane produced in 2D. And there are transitions among them from different perspectives.
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Precedents MAD Unveils ‘Invisible Boarder’ Installation for the 2016 Milan Design Week MAD Architectures created a canopy made from ribbons in gradient colors. It was supported by a group of columns. As depending on architectural perspective, they are represented as points in plane. The canopy has lightness and flexibility that allows to rustle in the wind and generate a dynamic plane.
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Komposition Lajos Kassak. 1960. As it named, Kassak placed a series of plane with an inclined line. Since it is a piece of abstract art, there is no limitation for imagination on this painting. From the view designer presenting to us, they are planes, from other perspectives, they could be lines or points.
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A few sketches for Lajos Kassak’s other work
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Examine points, lines, plane to embody the ideation process through sketching. These sketches indicate designer’s emotion, thoughts, and even unconsciousness. Each of them displayed particular perspective, and I tried to imagine in other views to find point, line and plane.
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The model examines P/L/P tectonic in a way to reveal how one’s perspective is vital, when it comes to view objects in various dimensions.
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The aspect appears as plane, and lines, transforming into points and lines at the moment one’s gaze from the top. To achieve this, I rethought and re-assembled the ‘Kcomposition’ of Kassak. The panels has diverse height with cut in the parts, to create layers visually.
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1.2 Mass
Feeling the solid and light, darkness and the touch & see, the unknown.
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Precedents Forest of Light Sou Fujimoto, installation for COS 2016 Fujimoto create a sense of standing in a forest, through fancy application of countless light and darkness. There is no massive objects to build the shape of trees or forest, but simply using light and darkness which are weightless to construct an atmosphere within a massive forest.
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Salk Institute Louis Kahn 1965 Louis Kahn was successful in creating the monumental spirt and emotional expressions in this architecture. For mass, the concrete itself reflects a massive sense. Moreover, Salk’s vision includes a water channel in relation with natural environment, which also increase the solemn effect.
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In this charcoal drawing section, I challenged to show the connotation of mass on a light weight, static, and flat paper. At beginning, I tried to capture flashing ideas in my mind through some sketches. Then, there was the attempt to represent the tectonic in a unified figure.
The dark ribs hanging over head and dark hills create a repressive implication of mass, as they occupied the most space of the drawing. In contrast with the slim path way and slits in distance, there are emotions of pressure and monumental contents.
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1.3 Frame & Infill
Frame as permanent, static, fixed component. Inifill as transient, fluent, dynamic, or temporary element.
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Precedents The Inside/Outside Tree Sou Fujimoto, London, 2013 The structure is made from sheets of clear acrylic which had been cut into variously shaped polygons. In the work, viewers can see inside and outside at once. The transparency of the panel material as the infill of the model, meanwhile they shape the visual illusion of frame.
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Park Pavilion Moneo Brock Studio, Spain, The frame of the pavilion is emphasized by the lightness of the infill of the visible panels. The infill follows the same form as the frame (same material for both panels and diagonal bracings of the frame). It results in a quite clear indication of what is frame and what is infill.
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When talking about frame, simple geometric forms come into my mind, such as rectangle, triangle, polygons. Keeping adding these basic elements could get the frame easily. My frame was derived from triangular frame, using reciprocal to assemble each piece if triangular shape, and expanding the space through folding frames.
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The conversation between frame/infill is playing with transparency. Through different positions and perspectives, there never have a total gaze of the entire structure. The infill panels with pink gradient color block the view, which spate the inside and outside space.
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2.0 Herring Island Herring Island is originally a basalt quarry, now as an artificial island was filled with silt dredged from the river and a shortcut created for the river to lessen the likelihood of flooding. It is in an abstracted derivative of the platonic shape of triangle. From the site map, the shape could have an imagination of heart, which probably provided the primary inspiration for my design. During the journey visit Herring island, there are high density of vegetation, which block the horizon and missed my direction a few times. These plants also contributed to isolate the space, so does the river, which took me far away from the noise of city. There are some pieces of art sculptures hiding on the island. With the respects for these existing art work, I chose south corner of the island as my project site. Through the experience of exploring the site, I realized its isolation and peace could provide a pretty good environment for keeping a ‘secret’.
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2.1 Site Analysis
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2.2 Concept and sketch design
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My concept primarily explores the plan for my pavilion and the corresponding with landform. I have addressed the notion of secrets by telling a story of broken heart through architectural method. The frame of the building roof break into triangular pieces to express sadness.
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Precedent Naoshima Pavilion Sou Fujimoto, 2016 It is not an empty whit box to watch, there are innovations for geometrical principle, material applications for its blurred structure. The irregularly-formed structure softly enveloped the space in a white metal mesh structure. Again, play with the boundaries of inside and outside, so the space floats like an island on the stone.
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3.0 Final Design. Secret of Love Today my forest is deserted my trees are sad And all the butterflies have broken wings
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3.1 Digital Design
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The materials play a role in my story telling: the transparency of the frame & infill structure above ground reveal the secret partially. But the experience and inside and walking down to find the tunnel would become a secret for visitors.
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The circulation is designed to a one-way journey and always half-closed with walls behind the peak hill of the island. Not only the entrance, but the tunnel is gradually narrow and long, in which case visitor would not turning back after the trip.
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The inside atmosphere is not as sad as its outlook, the pink blurred glazing creates a romantic experience. The glass reflects most of the exploring view from the opposite of the river, at that moment there would only a sudden glace of inside secret, which attract people to explore this island and pavilion. For construction possibility, there are steel frame to support these panels.
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Plan 1:200
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Section 1:200
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3.3 Journey experience
The start of the adventure, accidentally find a secret path somewhere unknow, might feel excited or worried whether to keep walking through this narrow path.
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Getting into the pavilion, ‘looking at the fancy roof! I must take photos to capture this romantic experience!
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Step on the decking, how good to feel the Yarra natural scenery.
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3.3 Physical Model
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4.0 Reflection Throughout the semester, I have got an experience for abstract design without much boundaries from the subject of Architecture studio: Earth, which is more about the conceptual level of design. I realized that a designer should not merely focus on single aspect of function or appearance, there are more comprehensive considerations for the emotion, experience, stories, and so on.
However, there was a final project critically engaging with these three experimentations, which influenced the building form in many ways. Not only did I try to keep the basic geometrical shape – triangle for pavilion frame, but also the spatial transition from on the ground to under ground. As my second studio in my architecture major, this subject provides
For the previous three objects, I had not expected to construct relation with the final project. The theme of Point/Line/Plane, Mass, as well as Frame & Infill, all offered opportunities to express my concept of ‘on the ground’, ‘under ground’ and ‘above ground’. These exercises encouraged me to explore the philosophical approaches for design. It helped me to think architecture in its most essential from and principle.
a different design thoughts from the Studio Water, which has more limitations in creation relating to concrete requirements. From Earth, I found the enthusiasm for pushing ideas to their very limit excitedly, and would keep this motivation to be creative in the future designs.
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4.0 Bibliography MAD Unveils, ‘Invisible Border’ installation, 2016, photograph, retrieved from http://www.archdaily.com/785429/mad-unveils-invisible-border-installation-for-the-2016-salone-del-mobile Lajos Kassak, Kcomposition, 1960, photograph, retrieved from https://www.1stdibs.com/art/paintings/abstract-paintings/lajos-kassak-composition/id-a_124698/ Forest of Light, Sou Fujimoto, 2016, photography, retrieved from http://www.archdaily.com/tag/ sou-fujimoto Louis Kah, Salk Institute, 1965, photograph, retrieved from http://pravdaarchitecture.com/timelessarchitecture Sou Fujimoto, The Inside/Outside Tree, 2013, photograph, retrieved from https://theartstack.com/ artist/sou-fujimoto/inside-outside-tree Moneo Brock Studio, Park Pavilion, photograph, retrieved from https://architizer.com/blog/featured-project-crystalline-park-pavilion-by-moneo-brock-studio/ Sou Fujimoto, Naoshima Pavilion, 2016, photograph, retrieved from http://worldarchitecture.org/ articles-links/cgzpp/sou_fujimoto_s_naoshima_pavilion_explores_different_spatial_experiences_ with_its_irregular_topography.html
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