ARCHITECTURE STUDIO: EARTH EARTH BOOK: HERRING ISLAND JESSE SHEN
833944 Kate Harrison group 20 Thursday 9:00 am
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1.0 THREE TECHTONICS: 1.1 Point Line & Plane 1.2 Mass 1.3 Frame & Infill
2.0 HERRING ISLAND, A PLACE FOR KEEPING SECRETS: 2.1 Site Analysis 2.2 Conceptacle 2.3 Design Refinement 2.4 Diagrams 2.5 Physical model
3.0 REFLECTION 4.0 BIBLIOGRAPHY
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1.0 THREE TECHTONICS
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1.1 POINT LINE & PLANE
DESIGN AIM: progression between associated characteristics of point, line and plane Points represents key spots Line represents the journey Plane refers to the function The height of each sections correlate to the intended function From lying down, to sitting then standing
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1.1 PRECEDENTS
THE RING, MZ Architects, UAE, 2014 Smooth blending between point line and plane Depending in perspective, it can be viewed as a curved plane from the side, or a dot from outer space
DOME HOUSE, McBride Charles Ryan, Melbourne Australia Point line and plane is exaggerated. Lines are extruded to indicate the planes between. Points are represented by the void in the centre, contrasting with the form surrounding it
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1.2 MASS
DESIGN AIM: Emphasising the claustrophob nature of mass
Using lighting as an indicator of openness a voids through the use of a sky light
Contrasting the voids with a mass/heavy structure with confining hallways and a lack of any lighting Journey though the structure begins from underneath
Innate human nature drives visitors to climb up towards open spaces to escape the confines of the structure
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1.2 PRECEDENTS
KOREAN PAVILION, Mass studies, Shanghai, China, 2010 Scale and colour generates the mass
bic
The open spaces below are a contrasting counter point to the mass
and
A sense of danger is created by the suspended mass above
k
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MILLENNIUM DOME, Richard Rogers, London, England, 2000 Mass is an illusion of the surface quality Tensile envelope of the building defines a mass despite the significant voids left inside In contrast, the mass is concentrated around the pillars in compression, the traditional association to mass
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1.3 FRAME & INFILL
DESIGN AIM: exaggerate circ the use of infill
Infills are modular in nature fro
Are seemingly “peeled” awa to form barriers Thus control circulation from the views at the top
2x2x2 “squashed” cube fram horizontally to exaggerate th
Contrast between the more s and the dynamic infills
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culation through
LEGEND:
om the frame
Panel
ay from the frame
One Fold the entrances to
me extends he space defines
Two Fold Four Fold
EXPLODED ISOMETRIC DRAWINGS
Solid
static framing
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1.3 PRECEDENTS FRAME HOUSE, Igor Stirov, Ukraine, 2013 Frame extends beyond the minimalistic infill vertically. Exaggerates the space defined within the frame. Shade contrasting between the frame and the infill.
BEST PRODUCTS SHOWROOM, SITE inc., Richmond, USA, 1971 Infill begins as a conventional and tradition facade. The peeling effect of the facade however creates a very striking aesthetic appearance. May also have additional functions if peeled from the flooring or ceiling.
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THREE TECHTONICS SUMMARY: POINT LINE & PLANE (On Ground): Giving each concept a function MASS (Below Ground): Exaggerating the contrast between open and closed spaces FRAME & INFILL (Above Ground): Defining circulation within the frame
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2.0 HERRING ISLAND, A PLACE FOR KEEPING SECRETS
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2.1 SITE A TOPOGRAPHY: Steep edges, flatter core with a valley and some low hills
Contour Map
An abundance of vegetation ranging from bushes to trees Activity is often concentrated throughout the day around points of interest In particular the sculptures, picnic area and the gallery Background noise is primarily emitted from the major roads to the east and the north Pathways (some hidden) guide movement towards sculptures EXPERIENCE: In addition to the Island’s openness, it is also largely isolated Even when the vegetation is dense and tall, it doesn’t evoke any sense of confinement Therefore it lacks any emotional sense of scale or weight, particularly when walking towards the island’s flatter surfaces SECRETS Concept: More Than Meets The Eye Hiding any complexity to seemingly simplistic objects Could be adding complexity to the journey, the spaces or even the experiences
Altitude Above Sea Level 0m Dark
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10m Light
ANALYSIS
CHOSEN SITE Southern tip of the island there is a small isolated hill There is a small amount of space between the hill and the edge of the island that could be developed Flat surroundings provide an opportunity to play around with contrast. More specifically contrast between what’s already there and what isn’t
Vegetation
Action Intensity
Movement
Openness and confinement, natural and unnatural, exposed and hidden, static and dynamic In such a flat context, it becomes easier to emphasise and highlight the functionality of the pavilion and any contrasting features
Background Noise Intensity
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2.2 CONCEPTACLE
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DESIGN AIM: Abstract the secrets concept with and combine it with the ideas from the three techtonics Literal movement to transform the pavilion was added into the conceptacle in the form of the folding pavilion The pavilion’s form was abstracted from frame and infill Would transition from over ground to underground like a lift Underground is more expanse despite the increase confinement when leaving the pavilion (mass) Potential for point line and plane will be located inside the pavilion
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2.2 PRECEDENTS
SHARIFI-HA HOUSE, Nextoffice, Tehran, Iran, 2013 Mechanical modular facade rotating according to the different climate conditions Utilises the same technology used for large rotating pads in car shows Balustrades fold into a gap to allow rotation
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ROLLING BRIDGE, Heartherwick studio, London England, 2003 Hydraulic pistons built into the vertical posts extend. Attached to the pins are the balustrades which fold inwards Thus the folding motion of the triangular gaps collapse into diamonds then into a line, completing the procedure
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2.2 DESIGN DEVELOPMENT OF CONCEPTACLE
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DESIGN DEVELOPMENT AIM: Incorporation of elements from all three techtonics Secrets project aim: creating a pavilion and spaces P/L/P deals with interaction Mass deals with space F&I is deals with views Hierarchy of scale from smallest to largest from P/L/P to Mass then to F/I Lead to me delegating furniture to P/L/P, the pavilion to F&I and the spaces to Mass and link them to the same vertical axis The frame I created provided inspiration of a mechanical/transforming pavilion which conceptually works in conjunction with the secrets concept Between the conceptacle and the final presentation, my focus was on refining the solid idea from the conceptacle to incorporate the mandatory brief requirements. Further refinement was centered on the circulation between all three levels.
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2.3 DESIGN REFINE
1. DRAWING SITE ON CONTOUR MAP
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2. BOUNDING SITE WITHIN WORKING SPACE
3. CHANGING THE LANDSCAPE
4. FORM LANDSC THREE DIM
EMENT FOR FINAL
MING THE CAPE IN MENSIONS
5. ABSTRACTING TOPOGRAPHY INTO CONTOURS
6. ADDING THE THIRD DIMENSION TO THE CONTOURS
7. CARVING OUT MORE OF THE TOPOGRAPHY TO BETTER FIT THE PAVILION
8. EXCAVATING UNDERGROUND SPACE
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2.4 PLANS
Above: Pavilion Plan Scale 1:50 Right: On Ground plan Scale 1:200
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AA C
BB
A
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B
Circulation 1 CC 3
LEGEND: 1. Pavilion 2. Technical room 3. Light pads 4. Toilets 5. Storage areas 6. Cleaner’s cubical
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Under Ground plan 1:100 5
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2.4 SECTIONS
AA
Scale 1:200
BB
Scale 1:200
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CC Scale 1 :100
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2.4 ELEVATIONS SCALE 1:250
North
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East
South
West
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2.4 EXPLODED ISOMETRIC
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2.4 FOLDING PAVILION DIAGRAM
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2.4 PERSPECTIVE
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2.5 PHYSICAL MODEL
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3.0 REFLECTION
Architecture studio Earth has a very different approach to architectural design than what I initially perceived. The seemingly simplistic and abstract nature of the techtonics, the research and the site analysis brought about a constraint we needed to address throughout the subject. It was implicitly a requirement for us to develop and add complexity to each and every component. Without it, justification of their merits becomes a difficult task. This was the biggest challenge of this subject and effective preparation for future presentations. The three techtonics themselves do expose intriguing ideas. Through repeating evaluation throughout the project, our ideas become refined and clear. They add design considerations which I may reuse in the future. Hence it helps streamline and direct design development towards the final. Furthermore, working with the technical skills acquired from other subjects, I could utilise this opportunity to test their application with success.
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4.0 BIBLIOGRAPHY
1. Studios, O. D. (n.d.). The Ring House & Atelier by MZ Architects. Retrieved March 7, 2017, from https://competition.adesignaward.com/design.php?ID=29669 2. Day, N. (2005, June 22). Dome House, Hawthorn. Retrieved March 7, 2017, from http://www.theage.com.au/news/reviews/dome-house-hawtho rn/2005/06/21/1119321730611.htm 3. DB, F. (2010, May 25). Iwan baan images of mass studies pavilion at world expo 2010. Retrieved March 21, 2017, from http://www.designboom.com/ architecture/iwan-baan-images-of-mass-studies-pavilion-at-world-expo-2010/ 4. McManus, D. (2015, September 29). Millennium Dome London, O2 Arena. Retrieved March 21, 2017, from https://www.e-architect.co.uk/london/millenniumdome-london 5. Misso, R. (2013, August 19). The frame house. Retrieved April 4, 2017, from http://designaddicts.com.au/platform/2013/08/19/the-frame-house/ 6. Web Urbanist. (2014, August 10). The Peeling Project: Thinking Outside The Big Box Store. Retrieved April 4, 2017, from http://weburbanist.com/2014/08/10/thepeeling-project-thinking-outside-the-big-box-store/ 7. Tebbutt, L. (2014, August 22). Rotating rooms give Sharifi-ha House a shape-shifting facade. Retrieved May 16, 2017, from https://www.dezeen. com/2014/08/22/rotating-rooms-sharifi-ha-house-next-office-tehran-iran/ 8. Heatherwick Studio, Rolling Bridge. (n.d.). Retrieved May 16, 2017, from http://www.heatherwick.com/rolling-bridge/
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