Studio Earth - Earth Book

ARCHITECTURE DESIGN STUDIO EARTH S1, 2016 SUBJECT STUDENT BOOK sebastien barbier 757734 Helen Chen - Studio 17

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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 and Conceptacle 2.2 Plan & Section 2.3 Design Development 2.4 Design Development (continued) 3.0 BIBLIOGRAPHY

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1.0 THREE RELATIONSHIPS

Point/Line/Plane, Frame & Infill and Mass reveal three different types of techtonics, each of which have different dynamics and are perceived differently.

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1.1 POINT / LINE / PLANE When starting the exploration into this techtonic, I kept picturing the lines protruding through the plane. However, instead of simply having one plane, I decided to fold this plane several times, resulting in a plane with facades angling in different directions. This allows for lighting and shadows to play with texture and colour of the planes, whilst the lines aid in giving a sense of direction to the model.

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1.2 FRAME & INFILL Frame and infill is the form of techtonic which I have found to be most explorative and varied. One of the architectural elements that I was able to pick up on was the idea of hiding and revealing aspects of the building depending on lighting and point of view. I have tried to reflect this in my model by creating infill planes visible from certain angles only, and by using materials letting light through, causing the viewer to want to explore around the model.

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1.3 MASS The idea of mass is often related to the weight and the heavy appearance of a building. When looking at precedents, I realised that lighting allows for there to be a drastic change in feel, and emotions are affected by this change. In my drawings, I attempted to explore the use of lighting and dynamic shadows, through the use of water or light-holes diffusing light into an environment.

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2.0 HERRING ISLAND. SOMETHING LIKE A PAVILION

When I first got to the island, I couldn’t help but think of it as a retreat from the busy urban lifestyle melbournians go-through on a daily basis. Interestingly, despite being in an area un-

known to me and unusual compared to the concrete footpaths usually found in a city, I followed the meandering paths around the island, without questioning where I was going. I found this detachment from the modern day life to be very calming and wanted to recreate this emotional trip by emphasizing the detachment from the built environment we spend most of our time in.

Having looked at what makes one know the direction in which they are going, I decided to take away all dimensional, directional, sonorous and scalar cues. This was done by implementing this early on in the island, such as the entrance, where visitors are invited to climb a spiral staircase leading to a labrynth with 3m tall concrete walls, disorienting them and preventing them from regaining these elements once the exit to the resst of the island is found.

I was inspired by the emotional reactions the techtonics created: point/line/plane, creating a sense of linear direction thanks to lighting and shadows, also creating false clues; frame and infill, where perspective plays a large role on wanting to explore thanks to usage of material and surface cover; mass, allowing for the initial taking away of cues thanks to the tunnel entrance to the island, creating a sense of disorientation.

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MONASH FREEWAY

LEGEND Open Area/Clearing Point of Interest

BOAT-HOUSE JETTY

WINTER SOLSTICE

SUMMER SOLSTICE

ISLAND MAIN JETTY

CAFE PUNT DEPARTURE JETTY

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1:100 SCALE map showing point of interests and open areas on herring island TITLE

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2.1 SITE ANALYSIS AND CONCEPTACLE

Items highlighted in white on map of Herring Island show point of reference that visitors would be able to help them find their location and orientation, hence my want to take those elements out of the picture, thus where the idea of large walls came from.

Furthermore, with a large difference in angles of the sun, I found it necessary for the walls to be slanted at different angles to allow there to be reflection and shadow play, distracting the visitor of the lack of direction of guidance.

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2.2 PLAN & SECTION

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2.3 DESIGN DEVELOPMENT

To create a sense of confusion, light and shadow play have been used thanks to slanted walls, allowing the light to bounce off the walls in several directions within the same area. Furthermore, glass walls have been used to give the sense of a ‘way-out’, when in actual fact they are jsut ‘red-herrings’, or cul-de-sacs. The purpose of these is to create some for of suggestion for the visitor, to allow for there to be some anticipation for the rest of the island.

Further developing this sense of anticipation are the angles of the walls, creating more or less comfortable areas for visitors to go through. Wider angled walls allow for more light to enter, as well as a more optimistic and anticipative mood, whereas the alleys that are very narrow at the top give the user a sense of claustrophobia, indicating the wrong path to follow to get access the island.

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2.4 FINAL DESIGN DRAWINGS

In addition to the way-finding led by emotional reactions to the environment is the ability to find and fight secrets, within different areas. For example, as one exits the stairwell to the upper floor, a small hole in the wall can be found, through which only one person can look through at a time. The hole, placed at 1m above the ground, is perfectly placed for children to look through easily, encouraging their creative minds to anticipate and expand what’s on the other side of the wall. A small inaccessible open-roofed room with a tree, demanding and teasing the visitor to search for vegetation and wilderness, enhancing the user’s experience throughout the rest of the island. Adults, having to kneel down, are in an uncomfortable position, ensuring a limited time during which they can bend down to look through the view finder.

Creating a similar sense of secrecy is the ability of making a wrong-turn and finding oneself in an enclosed area, without any visual, directional or dimensional senses, allowing visitors to wander around the pavillion, in search of the exit to the rest of the island. These smaller alleyways also allow for children to hide in.

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3.0 BIBLIOGRAPHY

Barcelona Map. (2012). [image] Available at: https://cfelegie.wordpress.com/2012/08/29/mediator-pathway/blog_barcelona/ [Accessed 8 Jun. 2016].

CAIXAFORUM, (n.d.). Unnamed. [image] Available at: http://www.mobileworldcongress-creativespirit.eu/Images/VenueSearchEnginePictures/venue_31/Room_297/ Picture/MWC2016_Caixa%20Forum_Entrance%20(2).jpg [Accessed 8 Jun. 2016].

Ecole d’Architecture de Strasbourg. (2014). [image] Available at: http://www.dezeen.com/2014/04/07/aluminium-clad-building-marc-mimram-strasbourg-architectureschool/ [Accessed 8 Jun. 2016].

Gardiner, T. (n.d.). Third Wave Kiosk. [image] Available at: http://images.adsttc.com/media/images/512f/bc74/b3fc/4b8e/eb00/0011/large_jpg/17_-_Third_Wave_Kiosk. jpg?1414218162 [Accessed 8 Jun. 2016].

Jannsen, B. (n.d.). Colorful half-timbered houses of Petite Venice in old-town Colmar. [image] Available at: http://www.alamy.com/stock-photo-colorful-half-timberedhouses-of-petite-venice-in-old-town-colmar-37940139.html [Accessed 8 Jun. 2016].

Marshall, T. (2013). Battersea Power Station. [image] Available at: https://upload.wikimedia.org/wikipedia/commons/b/bd/Battersea_Power_Station_copy.jpg [Accessed 8 Jun. 2016].

SNCF, (n.d.). Unnamed. [image] Available at: https://idcab.sncf.com/gares-desservies-2/votre-chauffeur-prive-en-gare-de-strasbourg/ [Accessed 8 Jun. 2016]. von Haus, H. (2014). Las Tres Torres - Three Towers, Barcelona. [image] Available at: https://www.flickr.com/photos/germanvonhaus/15159763797 [Accessed 8 Jun. 2016].

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