ARCHITECTURE DESIGN STUDIO: EARTH S1, 2015 A PLACE FOR KEEPING SECRETS BOOK Edward Kwan-Shuen Yee (699508) Scott Woods + Tutorial 8
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Content 1.0 Three Relationships
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1.1 Point/Line/Plane 1.2 Frame & Infill 1.3 Mass
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2.0 Concept Mass 3D Model
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2.1 Digitization & Design Development Intro 2.2 Outcome
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3.0 HERRING ISLAND. SOMETHING LIKE A PAVILION
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3.1 Site Analysis and Conceptacle 3.2 Concept and Sketch Design 3.3 Design Development 3.4 Final Design Drawings 3.5 Final Design Model
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4.0 Reflection
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5.0 Bibliography
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1.0 THREE RELATIONSHIPS 1.1 POINT / LINE / PLANE 1.2 FRAME & INFILL 1.3 MASS
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1.1 POINT / LINE / PLANE Two points joined together form a line. Three lines joined at each end form the edges of a plane. If we were to combine several lines together parallelly, a plane is form. Thus, point, line and plane are inter-related. A point is the basic unit, the line is the product of the point and the plane is a product of the line. If we were to fold a plane, a line is formed at the fold. In this case the line is a product of the folded plane. If we were to fold a plane twice and one end of the fold meets the other end of the fold, a point is formed. In this case, the point is a product of the two lines intersecting. Hence, continuity is achieved. Point transitions to line. Line transitions to plane. Plane transitions to line. Line transitions to point. I aim to display this continuity in my model. At the same time, plane may transition to point and vice versa, skipping line entirely. This relationship is also explored. By using a 60x60x60mm equilateral triangle unit and single and double folds, this relationship of continuity between point, line and plane is explored.
Top: Hemeroscopium House, Ensamble Studio. Concrete beams are stacked in a sequence, depicting continuity. Bottom: Schroder House, Gerret Rietveld. Lines and planes intersect, creating points and lines in the process. Opposite Top Left: Plane intersects plane, creating a line. Opposite Bottom Left: Plane meets plane. Opposite Right: Lines meeting points and planes.
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Continuity
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1.2 FRAME & INFILL Conventional frame is said to convey a sense of solidity, rationality and universal. It is commonly associated with structural integrity. Infill on the other hand, is dynamic, fluid and pictorial. It is what goes in between the frame. In many buildings, we see the frame clearly because it is the familiar constant we instantly recognise. But what is the infill? The glass, the plaster walls, the stairs, the tables, the chairs or the people? Infill can be many things and hence represents the interesting part of a building. Occasionally, the boundaries of frame and infill blur and what appears as infill actually shares some of the frame’s characteristics (supporting a building structurally for example). Likewise, what appears to be a frame may only have a decorative function, thereby taking on an infill’s characteristics. I attempt to explore the fluidity and dynamism of infill in this research project. A perspective motif is repeated throughout the frame, distoring and warping to reach different levels and sections of the frame. At one point, the infill runs outside the frame and this defy’s the idea of ‘infill is what goes in between’. It also provides some sort of structural integrity to the frame by preventing it from swaying laterally. All the infill form a continuous loop. Thus, the boundaries of infill and frame are blurred in this exercise and conventional thinking challenged.
Top: Sendai Mediatheque, Toyo Ito. Columns whose shape are inspired by seaweeds, they actually have structural role and are the infill. Bottom: Jussieu Library, Rem Koolhaas. A simple frame structure that consists of columns spanning from the ground with a continuous floor infill throughout all levels. Opposite Left: Infill flows up, flows down. Opposite Top Right: Infill links and continues. Opposite Bottom Right: Another view of infill flowing up and down.
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Dynamism
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1.3 MASS When it comes to understanding mass, we easily think of big, a sense of presence, monumental and dark spaces. This is because so many buildings around us are built with these qualities. For the longest time, technology only allowed masonry as the primary construction material. Masses are also formed in nature. Examples of these would be caves, mountains, a huge lake, caverns, cliffs and so on. These masses are ‘born of the earth’ (quote Peter Zumthor). I thought of how Zumthor’s quote could be applied and came up with the analogy of lava erupting from a volcano. Shafts are created by its motion through the mountain whereas chambers are formed beneath the mountain where the lava collects prior to eruption. Eventually, it is light shining through these shafts at specific times that reveals the spaces and chambers below.
Top: Therme Vals, Peter Zumthor. A bath spa which blends naturally into the landscape and has a wonderful play of light and shadow through its corridors. Bottom: Monument to Tolerance, Eduardo Chillida. Light is the monumentality here, revealing all the simple truths of the space around. Opposite: Mass drawing.
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Born from the Earth
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2.0 CONCEPT MASS 3D MODEL
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2.1 DIGITIZATION & Design Development Intro Digitization of the mass drawing was done in Rhinoceros 3D program. As mentioned previously, I began to create shapes that explored the idea of spaces ‘born from the earth’ and light playing an important role in revealing the space. Our 3D mass model was limited to a 60x60x60mm size. I started off with a cube at that dimension. Using Boolean Differences, loft commands, and Boolean Splits, I ended up with the spaces as seen in the pictures. I wanted to clearly show the analogy of how lava collects in a chamber beneath the earth before it erupts and flows out along the shafts. The varying angles are the different light angles representing the different positions of the sun throughout the day. The final 3D model can also be disassembled into half to have a closer look at each chamber. An interesting thing that I came across with this exercise was how 3D printing’s limits had an impact on my design. I initially designed stairs and more details to my model but then realised these details would not appear in the final print which was already very small. This made me think of ways to represent my mass drawing in a more clearer and conceptual way while 3D modelling. It made me rethink how the spaces could be arranged to achieve a better understanding.
Top: Initial mass 3D model design. Bottom: Mass 3D model redesigned with chambers. Opposite Top Left: Mass 3D model with stairs. Opposite Bottom Left: Detail of stairs. Opposite Right: Final mass model ready for print.
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2.2 OUTCOME
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3.0 HERRING ISLAND. SOMETHING LIKE A PAVILION
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3.1 SITE ANALYSIS AND CONCEPTACLE The chosen site is at the peak of the river bank parallel to Alexandra Avenue. This site is located along a ferry route and the road itself, thus reflecting a theme of motion. It is also heavily covered by low growing shubbery and trees grow along the bank forming a canopy about 2 metres above the peak of the bank.
Top: View of the site from Alexandria Parade. Middle: View of a part of the site. Bottom: View of the river from the site. Opposite Bottom Left: Another view of a part of the site. Opposite Bottom Middle: Contour lines of site. Opposite Bottom Right: View of Herring Island from the site. Opposite Top: Site section.
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I chose this site because of its significance to me. I stumbled upon this site by accident when I discovered a path covered by shrubs and bushes. Further exploration led me to the top of the bank where there was this small clearing. This was the site itself and my process of discovering it would later influence my secrets design strongly.
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I began to think more about secrets and what they meant to me. I came to the conclusion that secrets are ambigious and has several natures. Recounting my journey in Herring Island, I remembered treating the sculptures as secrets. Though I knew how they looked like, I wanted to find out where they were in the island. However, while searching, I discovered my site. This surprised me. This, to me, was also a secret. Yet, in comparison to the sculpture secret, it was vastly different. I asked myself, what is a secret? Almost immediately, I thought a secret is......a secret. A little odd and ironic, isn’t it? A secret thus has ambigious, occasionally conflicting natures it seemed. In my own terms, I had come accross a ‘proud’ secret and a ‘humble’ secret, the former being the sculptures, the latter being my site. I had discovered them through the process of motion. This is what I wanted my architecture to show. Motion reveals the contrasting nature of a secret.
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The conceptacle reflects two concepts: 1) The existence of two different natures of a secret. PROUD secrets are bold and honest. They scream at you that they have something hidden and invites you to find out what it is. HUMBLE secrets are shy and mysterious. They are revealed through discovery when one stumbles upon it. 2) The form and subsequent space is ‘born of the earth’ i.e. natural processes. There are secrets with contrasting nature in natural processes such as volcanic eruptions, mountain formation etc. From the research projects, the idea of continuity and folds from point/line/plane is also included. Dynamism from frame & infill is also explored in the shape of the structure. However, at this stage, I still was not satisfied with the form of the structure. Meanwhile, I atttempted to explore how to represent the proud secret in my conceptacle. This produced the translucent rectangular box at the top of the structure. One can see what is inside but not clearly; one will want to find out what really is inside that translucent area.
Top: Full view of the conceptacle. Bottom: Close up of the translucent ‘proud’ secret of the conceptacle.
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3.2 CONCEPT AND SKETCH DESIGN Relating back to the conceptacle, one can link both concept together. Think of lava. It is born of the earth and we see it when it erupts from a mountain. But, we do not know what shapes and what forms are created beneath the mountain while the lava pools up before gaining enough pressure to erupt. These spaces formed are the ‘humble’ secrets. The lava bursting out of the mountain is the ‘proud’ secret. I started to think of the form of my structure as the ‘humble’ and the ‘proud’ secret at the same time. This happened after I had a look at Libeskind’s 18 Turns Serpentine Gallery. To me, the composition of each fold created spaces that we could have never thought of. This was a humble secret. The folds we observed outside the structure are the proud secret. Folding also occurs widely throughout nature. Mountains are a folds of tectonic plates that crash or collide. Motion from nature causes folds that create hidden, secretive spaces.
Top: Serpertine Pavillion ‘18 Turns’, Daniel Libeskind. Bottom: Interior of the 18 Turns pavillion. Opposite Top: Elevation sketch of design idea. Opposite Bottom: Section sketch of design idea.
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3.3 DESIGN DEVELOPMENT If folds were going to be used for creating secret spaces and becoming a proud secret itself, what governs its composition? The site was revisited again for insight about motion. Eventually, three composition methods for folding were used: 1) Sun path diagram 2) Water ripples from a boat in two opposite direction 3) Contour lines Being strongly inspired by Eisenman’s Church of the Year 2000, these composition methods were diagrammatically drawn. A perspective shape that represents motion was imposed onto the diagram. With that: CONTOUR LINES became the FOLD. SUN PATH LINES and WATER RIPPLE LINES became the cut. Subsequent pages show the intersection of these lines and the sketch models produced from the composition.
Top Right: Church of the Year 2000, Peter Eisenman. Folding occurs when two grids intersect. Bottom Right: Perspective motif and contour line sketch. Top: Sun path and water ripples sketches.
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Sun Path diagram intersecting contour lines and perspective.
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Water ripples (downwards) diagram intersecting contour lines and perspective.
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Water ripples upwards diagram intersecting contour lines and perspective.
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The three composition methods were then juxtaposed and certain lines and intersections chosen and tested. The resultant shape and spaces created are shown in the following diagrams. I also began to think of the proud secret being revealed and produced towards the end of the structure.This can be seen in final composition C. The shape of the designs also allows potential use of the site and trees as part of the agenda. From the road, the part of the architecture that can only be seen by passerbys is the translucent ‘proud’ secret.
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Final composition A
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Final composition B
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Final composition C
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3.4 FINAL DESIGN DRAWINGS
Top Left: Elevation view of 3D design model Bottom Left: Perspective view of 3D design model Right: Plan view of 3D design model
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Floor Plan
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1: Toilets 2: Recording & Technical room 3: Sheltered lounge 4: Communal area
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Front Elevation Section
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1: Toilets 2: Recording & Technical room 3: Sheltered lounge 4: Communal area
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Side Elevation Section
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3.5 FINAL DESIGN MODEL
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Opposite: Bird’s eye view of final model. Top Left: West view of final model. Top Right: East view of final model Bottom: South view of model with trees covering the ‘humble’ secret. The proud secret is the only visible part from the road.
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Opposite: Perspective view of model from north side. Top Left: Birds eye view of model without folds. Top Right: Close up of technical room and lounge. Bottom: North view of model with interior exposed.
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A Place for Keeping Secre
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4.0 REFLECTION This project was an exciting and very thrilling one for me. It has really succeeded in engaging me with architecture. My tutor, Scott Woods, challenged me at every turn and corner of my design ideas and decisions. Though it has been tough, it has really imparted me a lot of knowledge and understanding. To some extent, I felt that Scott’s emphasis on the conceptual made me discover more about myself. How do I design? What do I find interesting and why? And this is what I truly appreciate most: learning and unlocking my design taste and justifying it. I do not fully understand myself yet and I feel like there is much refining to be done, but this is the kickstarter I need. I would be so bold to say that this subject has proven that my choice to do architecture was correct. Throughout my designing process, I learnt that the story behind the architect’s design agenda/vision is really important. Sometimes, you cannot just look at a design and comment based on the practical and what is visible to the eye aspects of it only. To delve into the concepts of the architect and further more allows much deeper appreciation and respect for the work. It also trains you to think critically and deeply as to how to convey your ideas. I am proud. I have succeeded in creating something I once only could see, envy and dream about. Yes, I’ll admit that it could use more refining. But, I look back at all the effort, time and patience I have spent in creating this design and I know that none has gone to waste. I know that I managed to realise my ideas and concepts. I have successfully expressed it. Art is about expressing, not impressing. This statement could not be truer. Under Scott’s guidance, I learnt how to express, how to justify and then only later, impress. Impressing is a skill that is easier to practise. We have learnt how to impress from the day we were born and it comes naturally. Expressing our feeling is a much harder and fickle thing to do. It is also a skill that can be practised, but requires patience, the right guidance, tenacity and dedication to achieve. And, via this course, I have learnt how to acquire these qualities to achieve my goal. In the end, I am most relieved and happy that I have a passion in architecture. The many moments of doubts and fears about choosing this as a course and, later, a career have finally been resolved. While more focus, time management and dedication on my part could have resulted in a much better design, I am still satisfied with what I have. I will continue to strive to improve myself in future studios. Thanks to Alex, Arturo and Scott for being such fantastic teachers.
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5.0 BIBLIOGRAPHY Halbe, R, 2011, Hermeroscopium House, photograph, HomeDSGN, viewed 10 June 2015, http://o.homedsgn.com/wp-content/uploads/2011/03/ Hemeroscopium-House-11-750x468.jpg Kentriki, 2013, Schroder House, photograph, ArchiTravel, viewed 10 June 2015, http://www.architravel.com/architravel_wp/wp-content/uploads/2013/05/ schroder_house_kentriki-575x315.jpg Ito, T, 2013, Sendai Mediatheque, photograph, ArchDaily, viewed 10 June 2015, http://ad009cdnb.archdaily.net/wp-content/uploads/2011/03/1299694967sendai2.jpg Koolhaas, R, 1992, Jussieu Library, photograph, ArchiDialog, viewed 10 June 2015, https://eliinbar.files.wordpress.com/2012/09/maqv_0497_450. jpg?w=450&h=364 ArchDaily, 2009, Therme Vals, photograph, ArchDaily, viewed 10 June 2015, http://ad009cdnb.archdaily.net/wp-content/uploads/2009/02/2111535559_ therme-from-outside.jpg Chillida, E, 2009, Monument to Tolerance, CUPtopia, viewed 10 June 2015, https://cup2013.files.wordpress.com/2011/06/monument-to-tolerance. jpg?w=632 Binet, H, 2001, Serpentine Pavillion ‘18 Turns’, AJ Buildings Library, viewed 10 June 2015, http://www.ajbuildingslibrary.co.uk/projects/display/id/4276 Akhdogan, M.Y., 2014, Church of the Year 2000 Diagrams, Institute for advanced architecture of Catalonia, viewed 10 June 2015, http://www.iaacblog. com/maa2014-2015-advanced-architecture-concepts/files/2014/11/diagams-eisenman-730x614.jpg All other photographs, drawings and renders are by Edward Kwan-Shuen Yee.
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