Earth Book Semester 1,2017

ARCHITECTURE DESIGN STUDIO: EARTH EARTH BOOK SEMESTER 1, 2017 TRINH PHAM 784173 TUTOR: HELLA WIGGE (STUDIO 04)

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TABLE OF CONTENTS

THE THREE RELATIONSHIPS 1.0 POINT/LINE/PLANE

1.1 PRECEDENTS 1.2 SKETCH MODEL 1.2 POINT/LINE/PLANE MODEL 1.3 POINT/LINE/PLANE FINAL MODEL

2.0 MASS

2.1 PRECEDENTS 2.2 DRAWINGS DEVELOPMENTS 2.3 MASS DRAWINGS 2.4 COLLAGE

3.0 FRAME & INFILL

3.1 PRECEDENTS 3.2 FRAME & INFILL MODEL 3.3 FRAME & INFILL ISONOMETRIC DRAWINGS

HERRING ISLAND - SECRETS PAVILION 4.0 HERRING ISLAND 4.1 SITE ANALYSIS 4.2 PRECEDENTS

5.0 SECRETS PAVILION 5.1 CONCEPTACLES 5.2 DESIGN DEVELOPMENT 5.3 FINAL MODEL

6.0 REFLECTION

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THE THREE RELATIONSHIPS

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1.0 POINT/ LINE/ PLANE

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1.1 PRECEDENTS

1.2 SKETCH MODEL Yellow- Blue- Red (1925) by Wassily Kandinsky Russian painter and theorist Wassily Kandinsky is famous for his art works that depict the correlation between form, line and color through significantly abstract painting and arrangment.

In the painting Yellow-Blue-Red, he used different point/ line and contrasting color to indicate the plane and form. Mixture of curves and straight lines with the composition of abstract shapes provoke curiosity and bring emotional transition. What also interesting about this painting is how the background colors smudge and the geometric shapes become visible without having to draw any lines .

Falling Water (1936-1939) - Frank Lloyd Wright The horizontality of the Falling Water are created by the combination of straight lines and planes positioned at different levels. Also material selection plays an important role in bringing the building the life. Arrangement of stone and painted walls creates contrasting effects that the building looks like an “architectural mountain� sitting harmously within nature and blending into the surrounding landscape.

Farming Kindergarden (2013) - Vo Trong Nghia Architect The use of curves meeting one another at various points creates different leveled planal surfaces and fluidity to the structure. Also, having green roof allows the structure to blend into the ground and eventually enhances its lightness and abstraction, as if the structure is floating above ground.

Blocks (early 1980s) - Masashiro Chatani Masashiro Chatani is well know for his origamic architecture, in which only by using paper, he creates various architectural forms. The lines and form in the Blocks are created through the effective use of negative and positive space. By cutting out certain part of paper, Masashiro use the negative space to highlight the structure and create a three-dimensional effect

Series of sketch models have been made experiementing with different geometrical shapes such as square, triangles and strips. Also, I tested out different joining techniques including cutting, tearing and curving in order to explore more dynamic form.

Experimenting with paper allows me to better understand natural land form process and create interesting texture as well as free forms Eventually, by cutting strips in different length and folding at different points, I create a curvy shapes that are then arranged in various ways.

This sketch model is chosen to further developed to final model

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1.3 POINT/LINE/PLANE MODEL Inspired from fabric textures created during sketch

model experiment, my initial concept is having a fabric-like structure ‘crawling’ and move beyond planar surface. The visible on ground structure implies a continuity into the the ground. Different lines starting from one point on the ground and explode into planar curves. Also all surfaces are oriented towards an implied point in the center opening up to the sky, creating an open space in contrast with the enclosed surrounding walls. Such composition allows a transition of experience moving from one place to another. From left to right people would experience a small condensed space and slowly transfer into hight and open space in the center.

However, after the presentation, there are certain issues that need to be revisted for further improvements. The idea of cutting the planes into different lines that meet at one point on the ground weakens the overall compositions and undermine aesthestic quality of the structure. Also the similarity in material selection between the structure and the ground did not effectively create a constrasting effect, thus taking away the dynamic aspect of the structure.

From the feedback in previous presentation, I decided to changed to base’s color to black, allowing the structure to grow from the ground and stand out. Also, the line segments have been changed back to planar surface so that the composition of the whole structure is stronger and uniform.

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1.4 POINT/LINE/PLANE FINAL MODEL

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2.0 MASS

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2.1 PRECEDENTS

Digital Beijing building (2007) Bejing

Deteriorating Architecture: Collages by Seth Clark

Cu Chi Tunnel - Vietnam

Parliment station escalator Melbourne

The straight and rectilinear structure addresses its existence in the surrounding environment, appearing as a bold and heavy structure that sockets deep into the ground. The dark and interesting interior space plays with light and pattern, implying a space of future and technology, which addresses exactly what the building is all about: digital.

By using collage and painting techinques, Seth Clark creates series of art work that depicts collapsing structure and form. The painting usually looks chaotic and confused but it implies a great organized composition as a whole.

Clark’s painting and collage often gives a sense of darkness and uncertainty but simultaneously it provokes viewers’ curiosity and invites furture studying. Despite the chaotic scenario, spatial and mass quality can be clearly seen in Clark’s project.

Cu Chi Tunnel in Vietnam was built during the Vietnam war to provide protection and underground accommodation for Vietnamese soldier to hide and avoid bombs.

The pathways and corridor in this tunnel are usually very small that only one person can fits into and we have to crawl through. This small, humid and unending tunnel completely separate us from the outside world, giving you uncertain feelings and at some points we would feel out of breathe, as if the ceiling could collapse at any time.

Parliament station escalator often gives a sense of lost and uncertainty. If we look forward, we feel like climbing an infinite mountain, but the moment we turn around and look back, we feel as if we could fall down at any time. The high and curved ceiling above makes we feel small and weak, as if we are letting the escalator bring us to an unexpected place and we could not resist.

Even though the space here is much larger compared to Cu Chi war tunnel in Vietnam, the feelings of uncertainty are the same and even triggered by the fast moving escalator

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2.2 DRAWINGS DEVELOPEMENT Using charcoal and water color as two key medium for my experiment with mass, I tested out different compositions and atmosphere, ranging from small dark and condensed space to more open, light space.

Water color allows me to play with gravity while charcoals enables various texture testing, such as smoke, metal or sandy texture.

I’m particularly interested in the smoky effects charcoal created and decided to further explore it into my final drawings

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2.3 MASS DRAWINGS

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Place your head onto your right shoulder before viewing this drawing because only by viewing it this way can we fully see the mass quality of the structure It is a vertical tunnel that digs deep into the ground with neither visible entrance nor exit.

Therefore, there is no defition of going back and forth, and the only way to keep moving is to crawl your way through, touching the smoky atmosphere to find your own direction. Its complete darkness hinder our sights and only by smelling, hearing and touching can we experience this space. Our initial cognition and understanding are challenged to the point that we might feel lost and confused.

Invisible things such as smoke become touchable.

Our yes are not direction leading anymore. A new world opens up and invites us to explore.

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2.4 COLLAGE

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3.0 FRAME & INFILL

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3.1 PRECEDENTS The focus of my Frame & Infill research is mainly on materialiy and composition of frame as well as how different types of infill could be harmoniously inside the frame.

Aspen Art Museum – Shigeru Ban Architects Kengo Kuma Pavlion

Melbourne museum IMAX

For frame study, I’m particularly interested in Kengo Kuman’s pavilion and his use of timber joints. Simple repetitive timber joining method creates complex and sophisticated shapes. On the other hand, Aspen Art Museum by Shigeru Ban Architecture consists of different framing system made of different materials such as timber ceiling and light-weight steel wall framing. Such difference in material selection creates significant contrast in experience in which one side gives sense of rough, natural and traditional atmosphere while the other side brings the industrialized and modern feels.

Melbourne Museum in Carlton and Australian Insititute of Architectes provide great examples of how frame and infill are combined harmoniously through effective arrangement and composition.

Australian Institute of Architects Lyon Architect 21

2.2 FRAME & INFILL MODEL

My frame and infill design depicts a contrast betweeen a 2x2x2 grid frame and the triangular shapes as well as free from strips wrapping around the frame.

The frame was intially inspired from glass facade in Federation Square and the development of tree branch. From one simple branch, it is divided into further branches and this process continues infinitively. This creates a surprising complex structure from simple elements.

On the other hand, triangular solid forms give a bold exisitence to the structrure and also address its weight, providing a contrasting scenario of heavy solid block floating in the sky.

The linear strips folded at different point smoothens the structure and create fluidity growing from ground into the sky

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2.2 FRAME & INFILL AXOMETRIC DRAWING

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HERRING ISLAND SECRETES PAVILION

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4.1 SITE ANALYSIS

Located roughly 3km from Melbourne CBD, Herring island sits within a densely populated residental areas to its north-west and south-west side. It is also surrounded by main highways, which added to the high noise levels near the island. The island is home to various aboriginal scuptures and artwork.

Despite its centralized location, the island is not well known to many people as if the whole island is a seret itself.

My chosen site situates near the center of the island where there is a big plain grass area suitable for picnic and family gathering. I particularly chose that site because activities often happen on this central spot and it can be easily seen from outside. This would allows my pavilion to attract people’s attention and curiosity 28

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5.1 CONCEPTACLES Taking concepts from the previous tectonics, I want to create an scuptural structure organically formed that grows out of the ground but is captured within a chaotic frame, making it hard for people to reach the structure. The frame gradually collapes into planes and lines that form a pathway wrapping the organic structure.

The smooth organic surface of the structure and the sharp, geometric frame colliding into each other, creating a contrasting composition that provokes confusion and curiosity. The smooth quality of the organic structure makes people desire to touch and experience it but the frame acts as a barrier, preventing us to reach the structure. Being able to see but not to touch would trigger many questioning thoughts and eventually results in a journey of exploring a way to reach the structure.

However, as soon as they take on the journey, more unexpected secrets would be revealed from inside.

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4.2 PRECEDENTS

Small house by Torafu architect

RMIT Building

Chichu museum - Tadao Ando

A house designed for a couple sitting near Yokohama stands out in the area due to its bold and unique form.

The difference in mass and form of adjoining houses really does add to its unique appearance. Made of out concrete with sharp and clear lines, the whole structure is like an architectural rock growing from the ground, strongly addressing its existence. Also, the sharp and somewhat ‘random’ arrangement speaks, delivering a message ( or could be a warning) to outsider not to approach.

Rmit Building on Swanton depicts great combination between lines, planes and forms by using provoking color and shapes. The building itself catchs people’s attention and invites them to further explore inside.

Tadao Ando is famous for his effective use of light to lead directions and create experience. By just introducing strips of lights into the buiding, or casting shadow onto concrete wall, Ando is able to bring the building to life and capture the soul of his design

Organically Sculptural Pavilion Margen Lab Transfroming basic gemetrical shapes into intriguing forms using computer software, the pavilion creates interesting effect with translucent infill in which people from outside could see the ambiguous gestures of people inside. People become part of the artwork of the pavilion

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5.2 DESIGN DEVELOPMENT On developing the frame, I referred back to my frame and infill models for further adjustment. Instead of straight columns, I tilted the columns in different directions to create a chaotic atmosphere and from here I followed the same tree branch divding patterns to create complex and sophisticated framing system.

I initally struggled with creating the organic structure growing from the ground due to limitation in model making and computing skills. Therefore, I decided to simplify the process by first superimposing basic geometric shapes such as circles, triangles, and squares. This allows me further explore different potential forms for the structure

At the same time I started mapping out my bubble diagram to make sure the spatial quality of my structure.

Further developement was also made to the underground structure in which the space is extended to form a pathway that leads direction from ground down to the underground structure.

Folded planar surfaces are incorporated inside the structure, acting as a ramp leading the way up to the top. Combining two parts provide a journey of self- exploration in which people’s curiosity makes them to find a way into the underground part and start to expererience an emotional transition from curious, confused, hopeful and relieved at the end.

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From the sumperimposition of different basic shapes, I referred back to the site map showing location of Herring Island. As mentioned previously, the island is surrouded by densely population residental areas. I want to reflect that interesting urbanism into my pavilion as part of a cultural experience.

By tracing the footprints of different houses and buildings in the residential areas, I extruded them into different height to create solid forms. These froms are then stacked on top of each other with different arrangements and compositions. Each solid forms are rotated and tilted until final composition.

Combined with the framing system, the structure reflects a contradiction between natural green landscape of the island with the surrounding artificical human-made construction patterns. However, despite the difference, the two spaces compliment and make up for each other. The fame naturally becomes playground for kids to run around and explore the pavilion.

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5.2 DESIGN DEVELOPMENT I’m particularly interested in the effects created by using translucent materials in the Organically Sculptural Pavilion by Margen Lab. Using such translucent infill, people from out side can see some ambiguous gestures of people walking inside, which brings mysterious and curious atmosphere to the structure. Applying that to my pavilion, I decided to use translucent plastic infill at the corridors connecting two solid frame. This creates effect as if the above structure is floating in the sky and when someone walks up to that corridors, people from outside could see some blurred gestures, provoking their curiosity.

Developement process of framing system

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5.3 FINAL DESIGN

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5.3 FINAL DESIGN

SECTION AA

SCALE 1:100 @A3 36

SECTION BB

SCALE 1:100 @A3

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5.3 FINAL DESIGN

VIEWING PLATFORM SCALE 1:100 @A3

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RAMP

SCALE 1:100 @A3 AA

GROUND FLOOR PLAN SCALE 1:100 @A3

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INDIRECT COVERSATION BETWEEN STRANGERS INSIDE AND OUTSIDE THROUGH STRIPS OF LIGHT FEELING OF UNCERTAINTY AND LOST

LIGHT FROM ABOVE BRINGS HOPE AND INVITE ADVENTURE

OPEN, RELAXING VIEW AT THE VIEW PLATFORM AS OPPOSED TO THE SMALL CONDENSED ATMOSPHERE AT ENTRANCE

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5.3 FINAL MODEL

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6.0 Reflection Throughout the course of three months, I have been greatly exposed to many new concepts that I have never thought of before. The three tectonic exercises help me better understand the relationship between different architectural forms, lines and surfaces. Surprising how I’ve started to pay more attention to the surrounding world and be able to critically analyze a building in terms of tectonics and forms.

I was also given a chance freely experiment and explore various possibilities with some model making medium I have never used before such as clay, charcoal, plaster, etc. In addition, I’ve learned that model making is the easiest to visualize and express my thoughts. Sometimes I can’t really draw out my ideas, but thanks to the studio session where we have to make quick models, I’ve learnt how to quickly and effectively test out an idea using models.

On researching for precendents, I find myself gaining significant amount of architectural knowledge as well as analyzing skills and they really helped guiding my design thinking. I became particularly interested in many architectes and artists such as Kengo Kuma, and Wassily Wadinsky that I actually started reading more about them and adapt their ideas for my other projects.

However, being given much freedom in designing is also a challenge for me as I often spend so much time testing out different possibilities and ended up not knowing what to choose for my final design. After this, I’ve learned to set the limit for myself and Overally, this subject has given me precious opportunities to test out new techinques, concepts and tools that I’ve not been exposed before. I feel like talking on a journey of self-exploration with great enjoyment while doing this subject. In the end, I gain not only knowledge but skills that are essential for my future professional life. I really appreciate the support from my tutor as well as my coordinator and senior tutor to make this subject fun and enjoyable.

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