Final Earth Book

ARCHITECTURE DESIGN STUDIO: EARTH S1,2016 EARTH BOOK TAY A I K W E N 567341 DANI, STUDIO 15

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CONTENTS 1 . 0 U N D E R S TA N D I N G T H E T E C T O N I C S 1 . 1 P O I N T, L I N E , P L A N E 1.2 MASS 1.3 FRAME AND INFILL

2 . 0 C O N C E P T A N D D E V E LO P M E N T 2 . 1 C O N C E P TA C L E 2 . 2 D E S I G N D E V E LO P M E N T 2 . 3 S I T E A N A LY S I S

3 . 0 T R A N S I T I O N S AT H E R R I N G I S L A N D 3.1 FINAL DESIGN DRAWINGS 3.2 FINAL DESIGN RENDERS 3.3 FINAL DESIGN MODEL

4.0 REFLECTION

5.0 BIBLIOGRAPHY

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1 . 0 U N D E R S TA N D I N G T H E T E C T O N I C S

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1 . 1 P O I N T, L I N E , P L A N E

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It can be assumed that an extruded p o i n t m a ke s a l i n e , a n d a s e r i e s of lines arranged in succession f o r m s a p l a n e . We o f t e n s e e l i n e s supporting planes, and how planes and lines come together to form a s t r u c t u r e . H o w e v e r, t h e r e l a t i o n s h i p and transition between point, line and plane is not often portrayed.

In this exercise, I experiment with blurring the lines between point, line and plane, in a model that expresses a l l t h r e e e l e m e n t s i n a f l u i d m a n n e r.

On a blank canvas, I was able to constrcut a model using point, line and plane elements, arranging them in a random sequence, just as long as they transitioned smoothly amongst e a c h o t h e r. T h e r e s u l t i s a m o d e l i n which I feel portrays point, line and p l a n e i n o n e s i n g l e e n t i t y.

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1.2 MASS

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I felt that mass was defined by either the materialty or the scale of a structure.

Although a building may not be made of traditional mass construction, a building can give off a sense of mass through the scale and form of it. I feel that this idea of volume and monumetality can be portrayed through underground space, and possibly have the same impression as mass above ground.

In this drawing exercise, I explore underground space that is not limited by the surrounding earth. Thus, I end up having an underground space with multiple levels of different sizes. Also, I experiment with relationship between depth of space and amount of light entering the space. Through the final drawings, I find that manipulating the depth of an underground space can have an effect on natural light.

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1.3 FRAME AND INFILL

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I l o o ke d a t t h e i n f i l l e l e m e n t s a s b u i l d i n g elements such as circulation, walls, inahbitable space and sculptures, and the frame as a boundary to work around. Through rationalizing these elements, I was able to design a more practical space in which people could inhabit. I also realized that the infill did not have to be limited by the boundaries of the frame, and vice versa. Also, with a rather congested frame and infill model, I felt that it w a s p o s s i b l y a p p e a r i n g m o r e l i ke a mass. This thus triggered the concept for my final design at Herring Island.

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2 . 0 C O N C E P T A N D D E V E LO P M E N T

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2 . 1 C O N C E P TA C L E

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Through understanding the three t e c t o n i c e s i n d i v d u a l l y, I w a n t e d t o f i n d a transition between mass and frame.

L i ke h o w a l i n e w a s a p o s s i b l e l i n k between a point and a plane, I wanted to experiment with infill elements, and the point, line, plane concepts from 1.1 to link mass to frame.

After preliminary conceptacle models a n d s ke t c h e s o f a v e r t i c a l t r a n s i t i o n from mass to frame, I felt that the transition would be best shown through varying the size of spaces and amount of space enclosed by w a l l s . E s s e n t i a l l y, m a s s w o u l d b e r e p r e s e n t e d b y s m a l l e r, f u l l y e n c l o s e d spaces, whilst frame is represented by large open spaces. In the final conceptacle, the idea of mass being one with the earth that trasitions to a frame as it rises from the ground is shown.

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2 . 2 D E S I G N D E V E LO P M E N T

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Through experimentation of building form based off the conceptacle, I felt t h a t ke e p i n g t h e c o m p l ex i t y o f t h e conceptacle as a building design did not portray the transition from mass to frame as sophisticatedly as expected.

A s s u c h , I w o r ke d w i t h a t r a n s i t i o n that was horizontal, thus lower to the ground, and simplified the frame, that was initially more elaborate.

I then wanted to express the interior of mass as an enclosed, small and dark space, as compared to frame that would be open and bright.

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With a simplified and straightforward form that clearly expressed a transition from mass to frame, I took advantage of carefully manipulating the spaces to emphasize this transition.

The development of the building on the left shows how spaces a created, manipulated and added in order to achieve a desired progression that highlighted the transition. In contrast to the progression of space from small to big, enclosed to open, above ground, I wanted to have a secret space underground that was more open than what is seems from above.

In addition, I had experimented with different frames and came up with one that was simple and refined, but still portrayed the characteritices of a frame.

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2 . 3 S I T E A N A LY S I S

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After analysing the site, I found that only certain parts of the site were utilized. Mainly the paths that went around the island, and the edges of t h e o p e n f i e l d w e r e u t i l i z e d . H o w e v e r, beside the sculptures on the island, I felt that the open field was the main view into the site upon arrival. Thus, I wanted to design something there that attracted visitors to utilize the space.

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Having a large building in the middle of Herring Island, I hope to attract the attention of visitors, and create a functional space in which they c a n u t i l i z e a n d s p e n d t i m e w i t h f r i e n d s a n d f a m i l y, o n t o p o f v i e w i n g the sculptures around the site. Having the staircases partially hidden by frame and parts of the building conceals the entrance to the basement, which adds to the sense of secrecy of an underground space.

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3 . 0 T R A N S I T I O N S AT H E R R I N G I S L A N D

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3.1 FINAL DESIGN DRAWINGS

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A

G R O U N D F LO O R P L A N

The form of the buildiing aims to portray a linear and orderly transition from mass to frame without a change i n m a t e r i a l i t y. I n d o i n g s o , t h e e x t e r i o r comes secondary to the interior spatial progression which aims to highlight the transition from mass to frame through the manipulation of light and space.

BASEMENT PLAN

" S p a c e a n d l i g h t a n d o r d e r. T h o s e a r e the things that men need" - Le Corbusier

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SECTION A

SECTION B

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W E S T E L E V AT I O N

S O U T H E L E V AT I O N

N O R T H E L E V AT I O N

E A S T E L E V AT I O N

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3.2 FINAL DESIGN RENDERS

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The progression through space focuses on movement from the outside into a dark enclosed space and back out into the open, as one moves from mass to frame.

A recording room situated after entering the building allows for families to listen to recordings of quotes that relate to light and the form of the building, which would aim to enhance the experiential factor through the design. After which, they exits into a vast space covered by a f r a m e t h a t c o n t r a s t s a n y s p a c e p r i o r.

Then, they decsend underground via a narrow staircase, giving an impression that the subsequent space will be small a n d r e s t r i c t e d . O n t h e c o n t r a r y, t h e y enter a vast underground space that is naturally lit through a crack in the ceiling, and the function of the space is not defined.

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"Even a room which must be dark needs at least a crack of light to know how dark it is" - Louis Kahn

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3.3 FINAL DESIGN MODEL

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4.0 REFLECTION

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From the concepts derived from the three tectonic exercises, I wanted to incorporate all the ideas in a way that flowed in a single structure. It is therefore evident in the final design where I portray a transition from mass to frame using concepts from the point, line, plane exercise. The concepts from the mass drawings are r e f i n e d i n t h e e n c l o s e d s p a c e s i n w h i c h t h e o p e n i n g s a r e c a r e f u l l y d e s i g n e d a n d p l a c e d . L a s t l y, i n s t e a d o f having frame and infill strongly emphasized, it is subtly expressed through the elevated recording room, that connects the mass portion to the frame, and through the glass technical room that sits within the frame that leads to the toilets and storage room.

A challenge in this project lay in applying the concepts in one design without it looking too complex and c h a o t i c . H o w e v e r, a s I a n a l y z e d a n d b r o k e d o w n t h e c o n c e p t s , I f o u n d t h a t t h e v a r i o u s t e c t o n i c s h a d a r e l a t i o n s h i p t o o n e a n o t h e r, w h e t h e r t h e y w e r e t h e c o m p l e t e o p p o s i t e s f r o m o n e a n o t h e r, o r j u s t e x t e n s i o n s o f it. By identifying this relationship, I was able to design a pavilion that flowed, and therefore portray a smooth transition from mass to frame, darkness to lightness.

Also, adhering to the brief of secrets was not easy at first, especially with my mind solely focused on t r a n s i t i o n s a n d p r o g r e s s i o n t h r o u g h s p a c e . H o w e v e r, I l o o k e d t o e x p r e s s t h e i d e a o f a s e c r e t s p a c e t h r o u g h creating an expectation of a space, via a narrow staircase that led underground, where one would think that subsequent space would be small, and contrast this expectation. I then also chose to have a recording room that played quotes on lighting and space, in which I felt would enhance the experiential aspect of the design.

With that, I managed to incorporate secrets into my design, in which I felt helped emphasize the concept of transitions through space.

As a whole, I felt that this studio allowed me split up into different segments allowed me generated and developed based off previous t o g e t h e r, a n d t h a t i n a r c h i t e c t u r e , i t i s a b o u t

t o c o n n e c t d i f f e r e n t c o n c e p t s t o g e t h e r, a n d h a v i n g t h e s e m e s t e r t o w o r k o n t h e d e s i g n i n a p r o g r e s s i v e w a y, w h e r e i d e a s w e r e w o r k s . I t a l s o t a u g h t m e t h a t d i f f e r e n t i d e a s c a n a l w a y s b e l i n ke d portraying that in a way that flows, and speak as one language.

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5.0 BIBLIOGRAPHY

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B a l s l e y, 2 0 1 3 , H u n t e r â&#x20AC;&#x2122; s P o i n t S o u t h W a t e r f r o n t P a r k , v i e w e d 1 J u n e 2 0 1 6 , < h t t p : / / w w w. a r c h d a i l y. c o m / 4 2 8 0 1 3 / hunter-s-point-south-waterfront-park-thomas-balsley-associates-weiss-manfredi>.

B a l t e r s , 2 0 1 1 , L e c a S w i m m i n g P o o l s , A l v a r o S i z a , v i e w e d 1 8 M a y 2 0 1 6 , < h t t p : / / w w w. a r c h d a i l y. c o m / 1 5 0 2 7 2 / ad-classics-leca-swimming-pools-alvaro-siza>.

B e t s k y, 2 0 1 3 , T h e S t a r, d e s i g n e d b y A n d r e w B r o m b e r g f o r A e d a s , v i e w e d 2 2 M a r c h 2 0 1 6 , < h t t p : / / w w w. architectmagazine.com/design/buildings/the-star-designed-by-andrew -bromberg-for-aedas_o>.

C a p i t a L a n d , 2 0 0 9 , T h e I n t e r l a c e , v i e w e d 2 2 M a r c h 2 0 1 6 , < h t t p : / / w w w. t h e i n t e r l a c e . c o m / p r o j e c t - d e t a i l s . p h p > .

Dezeen Magazine, 2013, Photos of Sou Fujimotoâ&#x20AC;&#x2122;s Serpentine Gallery Pavilion, viewed 13 May 2016, <http:// w w w. d e z e e n . c o m / 2 0 1 3 / 0 6 / 0 4 / s e r p e n t i n e - g a l l e r y - p a v i l i o n - 2 0 1 3 - s o u - f u j i m o t o - p h o t o s > .

D e z e e n M a g a z i n e , 2 0 1 5 , L i t t l e B i g H o u s e Te r r a c e b y Ta k u r o Ya m a m o t o A r c h i t e c t s , v i e w e d 3 1 M a y 2 0 1 6 , < h t t p : / / w w w. d e z e e n . c o m / 2 0 1 5 / 1 1 / 0 2 / t a k u r o - y a m a m o t o - a r c h i t e c t s - l i t t l e - h o u s e - b i g - t e r r a c e - t o k y o - j a p a n architecture/>.

J u r i Tr o y A r c h i t e c t s , 2 0 1 2 , L a y i n g - o u t H a l l C e m e t e r y, v i e w e d 1 6 M a y 2 0 1 6 , < h t t p : / / a b d u z e e d o . c o m / a r c h i t e c t day-juri-troy-architects>.

M a r i o C u c i n e l l a A r c h i t e c t s , 2 0 1 5 , E 3 W e s t - E 3 E a s t , v i e w e d 1 8 M a y 2 0 1 6 , < h t t p : / / r a w. a b d u z e e d o . c o m / post/127989852071/e3-west-e3-east-mario-cucinella-architects>.

P e r e z , 2 0 1 0 , A D C l a s s i c s : S a l k I n s t i t u t e L o i u s K a h n , v i e w e d 1 4 A p r i l 2 0 1 6 , < h t t p : / / w w w. a r c h d a i l y. c o m / 6 1 2 8 8 / ad-classics-salk-institute-louis-kahn>.

1 2 3 D V, 2 0 1 3 , S k y F r a m e H o u s e b y 1 2 3 D V, v i e w e d o n 1 4 M a y 2 0 1 6 , < h t t p : / / w w w. a r c h i s c e n e . n e t / h o u s i n g / s k y frame-house-123dv/>.

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