Earth semester book 1

ARCHITECTURE DESIGN STUDIO: EARTH S1, 2015 SUBJECT STUDENT BOOK Weiran Wu

692252 Scott Woods T15

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CONTENTS: 1.0 THREE RELATIONSHIPS 1.1 Point/Line/Plane 1.2 Frame & Infill 1.3 Mass 2.0 CONCEPT MASS 3D MODEL 2.1 Design development intro & Digitization 2.2 Outcome

3.0 HERRING ISLAND. SOMETHING LIKE A PAVILION 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 4.0 Reflection.

5.0 Bibliography

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1.0 THREE RELATIONSHIPS

The three relations are explored during this semester through the understanding and experimentation on the concept with drawings and model making.

All three topics explores the composition, tectonics and others different aspects upon the designs. The relations between my three projects are not very correlated. The Point/Line/Plane models examine varies compositions of points, lines and planes to connect to the landscape.

The frame and infill models focus on the skeleton, trying to challenge the rigid frame, by contrasting with the soft irregular infill. The mass drawing is emphasis on the relations between light and shadows, which can be exanimated with different component, materials and spatial relationship. This is influenced by both the point/line/plane and frame and infill projects.

Different possibilities and alternative approaches could be made to exploring these three relationships.

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1.1 POINT / LINE / PLANE

Brambuk Aboriginal Cultural Centre (Burgess, 1990)

Two approaches was made based on this concept. The first one is based on the curves, which intended to blend in with the environment. This is a more dynamic shape of design about p/l/p inspired by the fluent shape of the Brambuk Aboriginal Cultural Centre. The second approach is to stand out from the environment by constructing a rigid cube with differences in each facade to show points, lines and plane. Different composition of rigid points, lines and planes are intended to be explored and experimented in this design.

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1.2 FRAME & INFILL

Frame and infill seek some disorder in a systematic structure, as expressed by Heri&Salli’s Office Off. Instead of design a very rigid shape given by the impression of ‘frame’, I tend to use as simple lines as possible to create a frame that will meet the brief.

The composition of my frame and infill is clear skeleton in geometric shape contrast with asymmetric dynamic infill. The boundary of the frame is not restricted in the design, as infill can be able to go beyond the frame.

Office Off (Heri&Salli, 2013)

Camper Showroom, (Neri&Hu, 2013)

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1.3 MASS Mass is about tectonics and the relationships between above and underground.

The drawing is inspired by the typical vernacular dwellings and rockery gardens in southern part of China. The courtyard in Suzhou Museum use a very delicate way to show mass, with inverted reflection in the water. Hence, I use this concept of reflection, converted to an underground structure. The drawing is quite abstract, only indicate the outline and shade creating by the lack of sunlight.

Traditional Dwelling in Southern China

Suzhou Museum (Pei, 2006)

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2.0 CONCEPT MASS 3D MODEL

2.1 DIGITIZATION & Design Development Intro

The concept 3D model is developed from the mass drawing, which emphasizes on the reflection and symmetrical of the structure. Half of the structure is buried underground, but with a threshold space to connect with the above ground structure, which is the courtyard in the middle. In order to enhance the spatial experience, the light and shadow is emphasized.

The use of Rhino allowed for developed a 3D model from concept and a 2D drawing. This helps to broaden and refine the initial idea towards a more real life design, and enhance the design concept.

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2.2 OUTCOME

After finalised my design in Rhino, models can be 3D printed. In order to avoid support structure, my model was printed partly, and join them together afterward. Consequently, the model did not presented with perfect joint between pieces due to the residual printed base. In addition, it did not stand as I expected. The two pointed roof could not support the whole structure, but which is buried underground.

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3.0 HERRING ISLAND. SOMETHING LIKE A PAVILION

Herring Island is a small artificial island located in Yarra River. The way to access to this island is limited, by boat only. The Island contains various vegetations, and includes different topography. With this landscape, opportunities are given to create a something similar to a pavilion for human acess. This also allow for seeking the opportunities to create secret in the island by make use of the landform, and possibly the vegetation.

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3.1 SITE ANALYSIS AND CONCEPTACLE

The western side of Herring Island is my chosen site, with a descending slope, to form a landscape like a basin. It has a sense of secret as it deviated from the path, and requires exploration. I want to utilise the slope and the flat ground surface to create something that is hidden, and with only a hint given. Hence, in order to enhance the experience of exploration and searching, and intended to hide the building, the slope is increased 2.5 meters. My conceptacle explores the notion of secrets being expose in various degree and multi-faceted, which requires searching.

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3.2 CONCEPT AND SKETCH DESIGN

Herring Island is an area with many secrets that requires explore. As been used as a sculpture park, people have to walk around to find the sculptures.

In addition, it only have one way to access to the island, and a singular pathway for accessing around the island.

In order to enhance this singular experience, and the concept of partly exposed secret, in addition to the experience of searching. One of the cube is inserted into the slop to arouse people’s feeling of unknown and anxious, with only a section pointed out to the ground, which forms the entrance of the building.

My sketch design is comprised by four cubes, in a motion of exposure with different angles, which indicated the partly exposure of the secret. In addition, people will experience from darkness to lightness, with sticks of woods of different length hanging on the top to stops some lights coming through. By walking through these hanging columns, people tend to experience the action of searching. Personal experience is emphasized in the design in order to allow personal interpretation about the secret.

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3.3 DESIGN DEVELOPMENT

CHAPEL OF ST. IGNATIUS, (Holl, 1997)

In order to enhance the personal experience and journey inside this space, relations between light and shadows are enhanced through weigh and material. Concrete, timber and glass are used for this purpose. Rather than create coherence, the base and cube create a strong contrast with heaviness and lightness through its material. The connection in between, a gap is been carved out with glass filling, which allows light getting in and create views from the bottom to the top, which is inspired by Steven Holl’s design of St Ignatius.

At this stage, layering of drawings on butter paper and sketch models are used for testing possibilities and exploring the ideas further.

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3.4 FINAL DESIGN DRAWINGS

The standardized design will be communicated through the final drawings.

Floor plans, elevations and sections are drew to allow a better understanding on the design and the possible experience.

These drawing indicates the change of shadow and lighting experience, possible journey experience and materials. The secret is the piece of sky that can be viewed by entering the highest cube and looking up, with lights leaking through the cube. The contrast between the heavy base structure and light cube are also indicated through the drawings.

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3.5 FINAL DESIGN MODEL

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4.0 REFLECTION Through the exploration and examination of the three relations exercise, it teaches me the process of design development based on a theme and concept. By researching the precedents, ideas can always been further developed as I can learn different possibilities and approaches from them. I realize the spatial relationship between elements are also significant through the learning this studio, which is critical for creating an atmosphere, experience and environment.

In addition, during the final design project, it is important to understanding the relationship between the designs with human as well. Although we do not have to cater to human or attract attention, it is important, for us student, to develop a design that meet the enquiries stated in the brief. For example, the toilet or store room should goes with the design, rather than insert into the design at the final stage.

The development stages are extremely important, which allows me to refine my design. A lots of drawings are done on butter paper for testing and investigating for a better solution. Several sketches models are made in this purpose as well. At the final stage, rhino are helpful to create a precise 3D model in terms of dimension and angles of rotation of each cube.

During this studio, I learnt the important of visual and verbal presentation, which is critical to present my work fully and efficiently. Drawings should be correctly and effectively express the concept and design, which can be easily understand by the audience.

In order to improve my design, the contrast between the materials should be stronger through the drawings, such as the thickness of the wall. This will further emphasis the concept of heaviness and lightness. I should always question myself during the development, and better understanding why this changes should be made. It is important to not try to do too much, but focus on one aspect and develop throuhgh it.

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4.0 BIBLIOGRAPHY

Burgess, G. (1990). Brambuk Aboriginal Cultural Centre. Retrieved from: http://www.brambuk.com.au/assets/pdf/brambukspecs.pdf Heri&Salli. (2013). Office Off. Retrieved from: http://www.archdaily.com/535837/office-off-heri-and-salli/ Holl, S. (1997) Chapel of St. Ignatius. Retrieved from: http://www.stevenholl.com/project-detail.php?id=40 Neri&Hu. (2013). Camper Showroom/Office. Retrieved from: http://www.designboom.com/architecture/neri-and-hu-camper-showroom-office-in-shanghai-10-28-2013/ Pei, I, M. (2006) Suzhou Museum. Retrieved from: http://yumelol.lofter.com/post/9c7f9_3afb53 Traditional Dwelling in Southern China, Retrieved from: http://www.buzzhand.com/post_473192.html

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