Sezen Smrdelj - ABPL20027 S1 2016 - Earth Book

ARCHITECTURE DESIGN STUDIO: EARTH S1, 2016 SUBJECT STUDENT BOOK Sezen Smrdelj

(698662) Hannah Steenson + ST03

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1.0 THREE RELATIONSHIPS 1.1 Point/Line/Plane 1.2 Mass

2.0 HERRING ISLAND. SOMETHING LIKE A PAVILION 2.1 Site analysis and Conceptacle 2.2 Concept and Sketch design 2.3 Design Development 2.4 Final Design drawings 2.5 Final Design Model

3.0 REFLECTION

4.0 Bibliography

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1.0 THREE RELATIONSHIPS

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1.1 POINT / LINE / PLANE My point/line/plane model and Peter Eisenman’s memorial influenced my later design by way of introducting me to the idea of undulation and the effect this could give to a space.

In Peter Eisenman’s memorial, it is used in a way that emphasises the sheer amount of people murdered during a genocide and overwhelm you with the atmosphere that the larger elements create with their size.

In my own model, I utilised a similar method, but used the rippling form in a way that could be stepping stones, or could be walked between to stress the feeling one would have with the light and shadow created by the forms.

Overall, this influenced my final design’s floor plan to emphasise the atmosphere again.

Fig. 1 MEMORIAL FOR THE MURDERED JEWS OF EUROPE Berlin, Germany Peter Eisenman

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1.2 MASS

Exploring mass as a subject was highly influential in my final design.

My final mass form was a type of labyrinth that was cut into the earth with no light provided by the structure, except for the light coming through ramps used to enter the space.

In this way, the space was an inherently dark one with huge pillar of mass construction, textured by way of the tesselation of three-dimensional geometric shapes, that one could use to feel their way through the space and to the exit.

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2.0 HERRING ISLAND. SOMETHING LIKE A PAVILION

When exploring pavilions to use as precedents for my design, these two particular examples were influential in very similar ways. I was interested in the way that both structures cut into and merged with the landscape: the Fukita did so in a very organic way whilst the Audemars example is highly structured and features windows, enclosing the interior space. I planned to take inspiration from both and cut into the landscape to create an open space that blends with the surrounds like Fukita whilst doing so in a more structured way like in Audemars Piguet. The drama and atmosphere in the Fukita pavilion is also quite desirable to me with its play on light and shadow.

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FUKITA PAVILION

AUDEMARS PIGUET MUSEUM EXPANSION

Kagawa, Japan

Basel, Switzerland

Ryue Nishizawa

Bjarke Ingels Group

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2.1 SITE ANALYSIS AND CONCEPTACLE

SUN PATH DIAGRAM

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WINTER

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My conceptacle was about cutting into and merging with the landscape.

With this idea comes connotations of secrecy or being hidden and a form which dug into the earth was most logical. What this conceptacle also alludes to is darkness, the secrecy that comes along with it and using textures to feel one’s way through a foreign space.

My chosen site was preferred due to its seclusion in order to add to the ‘secretive’ aspect of the design. For this reason also, the area is covered in vegetation which further camouflages the structure that is visible from ground level. Mapping the sun path that would occur over Herring Island was also important in order to understand where the light source would be in a space that has been constructed by cutting into the earth.

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2.2 CONCEPT AND SKETCH DESIGN

My initial sketch design featured a space that was made by cutting into the earth in line with my conceptacle, and had sections of the structure protruding from the earth that could be seen at ground level in order to hint at the pavilion beneath. Furthermore, the space had cuts in the structure, also similar to my conceptacle, that would allow light into the area in slight streams by way of lighting it just enough that the space would not be unsafe to feel your way around. The spiral staircase was a feature that would also allow the least amount of light in by way of entry into the space.

The viewing platform in the initial sketch only provided a view down into the water and would allow the water to penetrate the structure and perhaps flood it during certain times of the year, making it inaccessible.

ELEVATION

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SECTION

ROOF STRUCTURE

ELEVATION

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2.3 DESIGN DEVELOPMENT

A majority of the design’s development was based around the roof structure and deciding how much light to allow into the pavilion. The atmosphere had become integral to my design and thus, this was an important aspect of the project.

Different patterns of lines cut into the earth (in conjunction with my conceptacle) were explored, with most either allowing too much light into the space or creating patterns that I did not particularly want to be evident.

The design was more about the darkness with light peeping through at different times of the day and illuminating it differently at these times rather than creating interesting light patterns on the floor.

The remainder of the development came with the undulating floor plan, however this was mostly decided with my initial sketch of the pavilion’s elevation in that I wanted to create a flooding moment which would stop at a point (the top of the ramp) so that the space was accessible at most times.

VIEWING PLATFORM

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PLAN VIEW

NO FLOODING

SLIGHT FLOODING

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FLOOR PLAN

WESTERN ELEVATION

2.4 FINAL DESIGN DRAWINGS

SECTION A:A

The design’s overarching architectural ‘secret’ is the experience. The pavilion plays on multiple aspects in order to highlight this experience that an individual encounters whilst in the space: the slices in the roof structure alter the light dispersal in the space dependant on the time of day an individual enters, in conjunction with the undulating floor plan that confuses as to whether one is up, near the surface, or down. Further, the tide dependant on time of day and year will alter the view that is visible from the viewing platforn at the end of the space, filling the ramp during high tides and becoming inaccessible or allowing a full view of the surroundings during lower tides.

The pavilion emphasises that no two experiences are the same and thus, what one individual experiences at the beginning of the same day in which another individual enters at the end of will be inherently different due to these factors and others that influence our perception of the world around us.

SECTION A:A

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AFTERNOON SUN MORNING SUN

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2.5 FINAL DESIGN MODEL

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3.0 REFLECTION Whilst my design process did involve many steps, perhaps more could have been undertaken in order to truly satisfy the idea behind my conceptacle. In saying this, having a conceptacle driving the design with very clear intentions made it much easier to design the pavilion: this idea was always in the back of my mind and I believe that my concept of cutting into the landscape came through mostly in my roof structure, my use of the underground and the overall form. I found it quite challenging to discover the secret that I was attempting to reveal to visitors of my pavilion but once the design began to truly form itself due to the conceptacle, the idea of atmosphere and the experience became clear to have influenced me from the beginning of the project. I believe I could improve my design by way of perhaps modelling as I found it much more difficult to model certain aspects than to draw them, however, I believe that overall, my attempts to emphasise the atmosphere and drama felt in the space in my final drawings and models turned out well.

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4.0 BIBLIOGRAPHY

Fig. 1.

Peter Eisenman, 2005, Memorial for the Murdered Jews of Europe, photograph, viewed 5 May 2016, www.pinterest.com

Fig. 2 Ryue Nishizawa, 2013, Fukita Pavilion, photograph, viewed 5 May 2016, www.pinterest.com

Fig. 3 Bjarke Ingels Group, 2014, Audemars Piguet Museum Expansion, photograph, viewed 5 May 2016, www.pinterest.com

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