Architecture Design Studio: Earth (ABPL20027, 2017, Sem 1)

Architecture Design Studio: Earth, 2017, SM1 The Earthbook Samuel Choy Weychun 789797 Andrew Ferguson, ST18

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Contents 1.0 The Three Concepts 1.1 PoinT/Line/Plane 1.2 Mass 1.3 Frame & Infill 2.0 Herring Island 2.1 Site Analysis 2.2 Choosing a Site 3.0 Keeping Secrets 3.1 Precedence 3.2 Conceptacle 3.3 Design Drafting of the Pavilion 3.4 Final Design 4.0 Reflections 5.0 References

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1.0 The thre Point/Lin

Ma Frame an

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eene/Planeconcepts

ass nd Infill

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1.1 Point/Line/Plane Point, line and Plane is like that skeletal structure of all design. It defines the boundaries of the design that are to be kept or crossed at any point and creates volume and shape.

The London Eye Marks Barfield Architects (2000) This concept can be seen in the London Eye. The progression of the point (centre), line (steel wires) and the plane (imaginary) is very obvious in this design. I particularly liked the imaginary plane that the structure creates.

Wanda Khai Liew (2001) His furnitures do not require surfaces at all as the lines define the spaces of the surfaces. It was a genius way of using lines as a replacement of surfaces but still leaving a suggestive element that a surface is there.

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1.1 Point/Line/Plane In the first design research of the subject, I found myself particularly drawn to the progressiveness of the point, line and the plane, just like the London Eye. As I was exploring the materiality of the boxboard, I created scorelines on it and started peeling each tile, unvealing the layers making up the boxboard. I then realised that by doing that, I was able to apply the concept of Point/Line/Plane into this simple sketch design.

The peeling of the layers create different lines that curve in their own way. The planes all follow along the path of the lines. Looking from the side, you see lines meeting at a point to continue to form a single line. If you look at it in perspective, they are a bunch of planes converging into a plane. This was where I got my inspiration for my model for this first concept. To emphasise the point of the design further, I made the model revolve at every layer to better portray that idea of many lines meeting at one point.

The scoring of the boxboard creating tiles.

The peeling of each tile.

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1.1 Point/Line/Plane Model

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1.2 Mass Mass relates more than just gravity in the design. Although it is suppose to look monolithic, it also has elements of extrutions and subtractions in voids and solids. Light plays an important part in portraying the weightness of the structure.

Villa Ensemble, Switzerland AFGH Architects (2015) The entry ways of light makes the space feel light but the materiality of the space makes it feel massive and monolithic. The pool of water creates an underground effect like a watertable under the earth.

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Interlace Apartments, Singapore Ole Scheeren (2013) Portrays the random stacking of blocks to create a combined effect of sturdiness. There is also a play on weighlessness and gravity here making the structure evermore intruiging and massive in its size.

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1.2 Mass Sketches and Model

I wanted to play with light and anti-gravity. Therefore, the first two sketches were more closely related to that. I wanted to show the dwindeling effect of light at each layer. However, I keep refining and kept sketching to produce the bottom two sketches that portray the anti-gravity element clearly and also with the element of light rays underground.

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I drew a cross section of what is to look like a beehive structure like one of the sketches in the previous page. It has a more ampi-theatre look and feel to this and it has been purposed to take people from a higher point of land to a lower point of land.

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1.3 Frame and Infill Frame and Infill is very distinguishable like Point/Line/Plane. There is a systematic rule to it. Unlike mass, this concept emphasises on lightness, integration and defying the rules of gravity. Typically, the frame is permanent while the infill is temporary. Sometimes, the rules can be swapped too.

pxstl, missouri, Usa Freecell Architecture (2014) There is a mix of Point/Line/Plane and Frame and Infill in this design. The infill comprises of pieces of cloth hung at different points of the frame and the frame proves its permanence.

The lightness of the cloth feels temporary as it can be easily blown away by the wind.

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Melbourne International Flower Show Carlton Gardens, Carlton (2017) This design states clearly that frames need not be linear in order to be called frames. They can be bend or curved. So can the infill. My model took heavy inspiration from here.

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1.3 Frame and Infill Sketches

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I was intruiged by curved elements, especially for the frame and I wanted to design something that not only met the requirements of the assignment but also to make sense. I started off with having curved arcs potruding out of the ground and possibly have the infill sit on top of the arc creating something like a roof.

The image below is the model of the sketch above.

My sketches lead me to consulting the Fibonacchi Sequence as I was looking for a progressive way to protray Frame and Infill. Still pursueing the idea of having curved frames, I needed to design an infill suited for it. Initially, I was to design steps within the curved frames. However, I decided to create a ramplike design instead as it would meet the infill requirements.

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1.3 Frame and Infill Model

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1.3 Frame and Infill Axonometric Drawing

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2.0 Herrin Site Analysis

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ng Island and choosing

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2.1 Site Analysis/Essentials

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Paths and Sculptures

Crowd Map

Contour Map

Tree Cover

Internal Sound Map

External Sound Map

2.1 Site Analysis/Superimposition

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2.2 Site Analysis/Choosing a Site

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CHOSEN SITE 2

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• Close to crowd traffic • A hill nearby • Close to main highway • Decent shading • Does not feel secluded

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• Away from highway • A valley nearby, blocking the sound • Good shading • Valley makes you feel safe • Away from the crowd

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• Closer to highway, sound is more prominent • Flat land with slopped hill • Great shading • Feelings of insecurity from flat land • Away from the crowd

Good Bad

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3.0 Keeping Preced

The conc Design Drafting Final Pavil

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gdenceSecrets

ceptacle g of the Pavilion lion Design

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3.1 Precedence

Mecenat Art Museum, Japan naf architect & design (2010)

The lighting here is exceptional and it provides excellent natural lighting from the sun. This could be used underground to provide sunlight into the space. It could possibly be modified to make atmospheric lighting as well. The protruding skylight really mesmerises the beholder.

Canada Square Pavilion William Matthews Association (2014)

I really liked the progression here from very lightframed boxes to solids as it progresses into the building. I think it gives a good blend of mass and point/line/plane (and even frame and infill in between).

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Serpentine Summer House, U.K. Barkow Leibinger (2016)

This temporary exhibition in Kensington Gardens is something that I plan to do with manipulating the paths of people from discovering secrets. People need to weave through from all the distractions to find the secret that is held within.

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3.1 The conceptacle/Thought Process

Sketching the design of the conceptacle made me think of how I wanted the end product of my model to look like. Therefore, I focused on a concept - allowance and obstruction.

I also wanted people to weave around in space in search of the secret.

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The first drawings of the conceptacle had Adding randomness to the design elevates its aes trangle screens that would either allow or organic it looked. I wanted to take the beholder o obstruct the path and view of people into the secret and eventually proceed underground to approaching the secret.

sthetics and how With my tutor’s feedback, I attempted to find ways of on a journey to find seemlessly connecting the 3 concepts into the concepo find it. tacle design as well. After refining the design, I discovered a principle in triangles that I could freely use to create either Point, Lines and Planes, Mass or Frame and Infill at the same time. It also allowed me to create the progression in 3-dimensional space.

Later, I imagined how I could possibly translate the conceptacle into the site chosen. The integration of this design into the chosen site was crucial for me and a feasibility check to assess if the design would actually work.

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3.1 The conceptacle/Model

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3.1 Design Drafting and of the Pavilion

There were many questions that had to be answered before I could meet my final design of my pavilion. I generally had an idea of how things were going to work. The small triangles on the ground were to allow and obstruct people. The typography of the landscape allowed me to create a cave space below the pavilion on top. I had to now think about the purpose of the cave.

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After searching for a purpose for the cave, I decided to use it as the place where secrets were kept. Users of this space are to follow a ‘ritual’ where they were to write their secret down on a piece of paper (like sticky notes) and stick them on the extruded walls. The walls will come from the ground and even subtract into the ground.

There also needed to be privacy included to make each secret even more anonymous.

Later, I thought about lighting in the cave; will it be bright or dark inside the cave? Where was the light going to come from?

I found this precedence created by a I begin to think about a central struc- Digital Fabrication Club in the Univerture that would bring light into the sity of Savannah a while later and I cave but also still be atmospheric loved how the little holes on the treeso that it retains the secrecy of the like structure created a perfect glisspace. ten and atmosphere to the lighting of the space. It felt magical and secretly mysterious.

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3.1 Final Pavilion Design

The final design follows the theme of allowance and obstruction, using the triangle logic and the undergorund space has been created with privacy in mind and a place where secrets are revealed anonymously. There are two parts to the allowance-obstruction theme; a) playing with light and b) manipulating the beholder in their paths and sight.

Finally with the element of light, the central tree was added underground to create theatrical lighting, playing very well with the theme of secrets. The access point to the underground space was purposely changed to be an opening away from the pavilion itself so that the glass panels on the pavilion would entice them to search for a way underground.

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Ground Floor

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Underground Floor

External Perspective

South Elevation

Site Plan 41

Section

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Experiential Perspectives

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4.0 RefL

Through this design studio, I have learnt a lot about the th better incorporate these concepts into designs. I have als which I can compose and bend myself in order to make m from being a first year student to being a second year stu from the tutors. The beginning weeks were tough as we w what we did before as beginners in Architecture school. H help of my peers and constant feedback from my tutor, I a drawings in future design studios to come. Even though t where like some of my other peers’, I am content with wh when you know other people will do better than you and I proud of what I present. Therefore, Studio Earth has been my skills in designing architecture and improved my confid adventurous journey and I did not regret a single bit.

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Lection

hree concepts (Point/Line/Plane) and I have learnt to so learnt to respond with conceptual designs with rules my design complex and interesting. There is quite a jump udent and there is certainly higher expectations to meet were told to produce a much higher quality work than However, I’ve slowly picked up the skills and with the am now more ready to produce higher quality work and the quality or design of my work may sometimes look no here I started and how far I have come. The stress comes I have learnt that I must still stand by my work and be n insightful and a very useful subject as it has sharpened dence in presenting my ideas to everyone. It has been an

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5.0 Refe

Arch20. (2015). SCAD Digital Fabrication Club | (L)ABnorm com/scad-digital-fabrication-club-l-abnormal/

ArchDaily. (2012, July 26). Mecenat Art Museum / naf arch http://www.archdaily.com/256181/mecenat-art-museum-

Barkow Leibinger. (2016). Barkow Leibinger. Retrieved fro archive/view/serpentine_summer_house_2016

Buro Ole Scheeren. (2013). The Interlace - Buro Ole Sche buro-os.com/the-interlace/

Freecell Architecture. (2014). PXSTL - Freecell Architectur www.frcll.com/pxstl#top

Khai Liew. (2001). Wanda: Khai Liew’s Works. Retrieved fr work/2001/wanda

Marks Barfield Architects. (2000). Marks Barfield Architect http://www.marksbarfield.com/#/projects/london-eye/?filt

William Matthews Associates. (2014). Canada Square Pav liam Matthews Associates: http://wma.co/portfolio/canad

Yatzer. (2016, October 27). Villa Ensemble Near Zurich, S Yatzer Website: https://www.yatzer.com/villa-ensemble-af

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erences

mal. Retrieved from Arch20 website: http://www.arch2o.

hitects & design | ArchDaily. Retrieved from ArchDaily: -naf-architect-design-2

om Barkow Leibinger: http://www.barkowleibinger.com/

eeren. Retrieved from Buro Ole Scheeren Website: http://

re. Retrieved from Freecell Architecture Website: http://

rom Khai Liew Website: http://www.khailiew.com/

ts. Retrieved from Marks Barfield Architects Website: ter=date

vilion | William Matthews Associates. Retrieved from Wilda-square-pavilion/

Switzerland by AFGH Architects | Yatzer. Retrieved from fgh-architects

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