Studio Earth Book

ARCHITECTURE DESIGN STUDIO: EARTH SUBJECT STUDENT BOOK Tet Wey CHEN 828678 2017, Semester 1

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1.0 THREE RELATIONSHIPS

1.1 POINT/LINE/PLANE 1.2 MASS 1.3 FRAME & INFILL

2.0 HERRING ISLAND

2.1 2.2 2.3 2.4 2.5

SITE ANALYSIS SOMETHING LIKE A PAVILION CONCEPTACLE CONCEPT AND SKETCH DESIGN DESIGN DEVELOPMENT

3.0 FINAL DESIGN

3.1 FINAL DESIGN DRAWINGS 3.2 FINAL DESIGN MODEL

4.0 REFLECTION 5.0 BIBLIOGRAPHY

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1.0 THREE RELATIONSHIPS The three techtonics of Point/Line/Plane, Mass and Frame & Infill were extensively examined throughout the first six weeks of the semester.

Through precedent studies, model making and sketch design, their concepts and potentials are comprehensively evaluated which served as a basis for my final design.

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1.1 POINT/LINE/PLANE These three elements are the fundamentals for any architectural design.

A point could be seen as a beginnning or an end, it marks a position in space and it has no dimension. In architecture, a point is created from a cross-section of several planes, it is also a termination of an angle in space (Kandinsky, 1979).

A line is basically the track made by a moving point, it has one dimension. It could be seen as an infinite series of points or a connection between two points. Where point is about position, a line is more dynamic as it directs our attention towards or away from points in space.

A plane is formed by a line extended in a direction other than its intrinsic direction. It has two dimensions and it serves to define the limits or boundaries of a volume.

Composition with Red, Yellow and Blue Piet Mondrian In this piece of art, the composition is very repetitive and asymmetrical, yet as a whole, it generates a sense of stability. The dark bold lines hare varying in thickness do not actually create distinctive borders, instead the rectangular planes fully extend onto the edges.

Mondrian uses juxtaposition, proportion and location to create an overall harmony.

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Vitra Fire Station Zaha Hadid Zaha Hadid explored the concept in a very abstract way in her painting. It evokes a sense of urgency from bold lines and sharp planes mimicking the shapes we see in blades and knives.

The concept of point, line and plane here gives a strong sense of direction and dynamism.

Barcelona Pavilion Mies van der Rohe Combination of orthogonal planes in conjunction with a low flat roof that appears to be floating creates a sense of tranquilly.

Spaces are composed of places created by planar wall and roof plane, representing the simplest form of architectural design.

It stimulates free movement that begins a process of discovery and rediscovery experience. Also, depending on the viewers perspective, plane becomes a line and vice versa.

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Before constructing the final model for point, line and plane, a series of sketch models have been done, exploring the ideas of perspective formed by wall plane, ceiling plane and columns.

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The final model focuses on the idea of discovery and perspective. Inspired by Mies van de Rohe, the use of long planar walls induce a sense of exploration and the discovery of new spaces. From above, those planes becomes lines that plays with juxtaposing proportions of the overall composition similar to the works of Mondrian in the Di Stijl movement.

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1.2 MASS Mass is the density and weight of matter in space experienced by a person. It describes three dimensional object and space, there is a strong sense of gravity in mass. It could be subtractive where the mass is revealed by removing the internal substance, forming the negative space within. This is especially evident in Chillida’s Mount Tindaya.

Mass can also be attained through spatial density and materiality perceived by the person experiencing the space. Both The heavines of a material and the relationship of mass and void contribute to our perception of density, this is most noticeable from Bunker 599

by Dutch studios RAAAF and Atelier de Lyon.

Light and texture in mass also play a significant role in creating the heavy atmosphere.

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Mount Tindaya Eduardo Chillida Chillida’s positioning of openings allowed light to radiate down into the subtractive mass, disclosing the texture of surfaces and defining the negative space. Although connection to the outside is indicated by the light, the space is still kept relatively secretive because the only source of light is the sun. Enormous scale is revealed by human figure in massive surrounding.

Bunker 599 RAAAF and Atelier de Lyon Here, a heavy and indestructible bunker previously inhabited by soldiers seeking refuge in WW2 was deliberately sliced in half, revealing the mass from the inside. A sense of heaviness was felt by how closely both half of the bunkers were placed together, allowing just enough space for one person to move through. The materiality of the mass structure can be perceived by multiple senses like touch and sight.

There is also a sense of journey through the transition of open space to a moment of confinement and back to the open space.

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Learning from the precedents, I wanted to explore the underground space further before proceeding to my mass drawing.

A series of sketch drawings were done, incorporating a transition of space through the use of stairs and tunnels. as well as playing with the exposure of underground texture through light and shadow.

My final section drawing was completed in charcoal. Mass is created through the subtraction of the underground space. A decent amount of light is penetrated into the space which reveals its horizontally chiseled stone texture. It also created a different atmosphere to person experiencing it, serving as a place of self-reflection, momentarily separated from the busy noise above the surface.

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Mass Collage In the collage exercise, further underground spaces were explored, introducing new spaces, transcending deeper into the earth and offering different degrees of separation.

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1.3 FRAME & INFILL Frame and infill is heavily derived from the construction process. In contrast with mass, gravity is hardly a factor in this techtonic, it gives a sense of lightweightedness instead.

Frames are often associated with structural integrety, and it is mostly permanent. The idea of deconstructivism comes into focus.

This is evident in many of Peter Eisenman’s work such as the Wexner Centre. The idea of deconstructivist exhibits fragmentation of the structure as it seeks to manipulate form and separating it from its underlying structure which holds up the building (Grimb, 2012).

On the other hand, an infill is more dynamic, transient and temporary. Infill can sometimes be found within the frames of the structure in the form of glass or solid wall, or it could be formed by overlapping of frames created by our own perspective.

Wexner Center for the Arts Peter Eisenman The grided framing system dominates the formal language of the building, it also overlaps with the urban grid of the city of Columbus.

White frames arross the pre-existing museum mimics scaffolding that gives the building a sense of unfinished product as it creates transparency and depth in space. A tunnel like path created by the gridded frame across the building gives a sense of direction.

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Serpentine Gallery Pavilion 2013 Sou Fujimoto Abstract grid of lattice frame structure, forming an irregular shape that replicates the open structure of clouds.

Varying density of modules forms a fictitious infill from the overlapping frames, blurring the boundaries of the two elements.

GC Prostho Museum Research Center Kengo Kuma The aesthetic of the framing system was the absence of screws and bolts, it uses a unique interlocking system called Chidori.

At different angle and location of light sources can affect the perception of the density of lattice.

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The frame and infill model I have constructed sits within a systematical grid. The framing structures were based on a variation of modular box frames shaped at 1x1 and 1x2 on the fundamental grid and the composition is built above rectilinear solid infills.

Certain areas of the module has been extended or removed to create distortion within the coherent system.

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AXONOMETRIC DIAGRAM 25

2.0 HERRING ISLAND The location of our studio project is situated in an island on the west side of Melbourne.

Although the island is oddly positioned in the centre of a relatively dense urban setting, the presence of the city and traffic noises were diminished significantly.

The island is also almost completely covered in diverse vegetation with tall clustering trees and native shrubs, which provides an excellent opportunity for a place for keeping secrets.

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2.1 SITE ANALYSIS

Circulation

Sun Path

Open Space

Views

Urban Acoustics

Potential Site27

2.2 SOMETHING LIKE A PAVILION A pavilion is a light and temporary architectural open space that invites people into the space and spend time in it. Most commonly used for entertainment and events, it sometimes serve as an attraction to the location.

A pavilion allows architects to explore innovative ideas and offers new experience to the public.

House of Switzerland Pavilion Dellekamp Arquitectos The weightlessness of structural canopy is made possible with a combination of cables and thin supports. It imparts visitors to move through the space freely without obstructing too much of its space. The materiality ties in well with the surrounding, offering a tactile feeling of cosiness.

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2016 Serpentine Gallery Pavilion Bjarke Ingels Group (BIG) The structure of the pavilion consist of stacked fibreglass hollow blocks that forms an undulating surface. It creates an interesting play of with light and shadow. It is visually manipulative in terms of perspective as the overall shape changes when you move around it, from a perfect rectangle to an undulating silhouette, and from transparency and opacity.

It also has a single lane into and out of the pavilion, giving a sense of direction.

Cloud Pavilion Schmidt Hammer Lassen Architects Verticality of poles play with the viewers vision, it becomes denser as you move into distance, creating a blurring effect. A sense of weightlessness is also created by thin internal columns, appear as if it is floating in mid air.

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2.3 CONCEPTACLE In my conceptacle, I wanted to carry on the idea of openess in the public space, incorporating overlapping frames that are elevated above the ground and supported by slender columns. To reduce the amount of supports, I used the technique of counterweight with other clustering frames to provide stability and making it appear as if its levitating.

With the formation of the frames above ground, it is beginning to establish the notion of foregathering in the space.

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I was also interested in creating a rectangular tunnel path that is slanted into the ground to connect the surface with the belowground. The tunnel structure as seen above the ground acts as a threshold between the two vastly different spaces. It’s a beginning of a transition into the underground, and it urges people to explore deeper into the unknown.

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2.4 CONCEPT AND SKETCH DESIGN My concept greatly explores the differences between the two thresholds, the first being a space that encourages the freedom of exploration above ground and slowly converge, transitioning into the mass of the underground. Having chosen the south side of the island as my project site, it became an ideal area as it matches with my concept of openess.

Particularly, I wanted the visitors to experience the pavilion through a linear progression. Thus, I separated the cluster of overlapping frames into two parts, divided by a small lane of pathway.

The visitors will firstly engage into the frames. Then, visitors will experience the underground space by entering into either side of the tunnels. The fact that there are two entry points can be linked to the two access points of the island.

From afar, a glimpse of the frames above ground were revealed. There, it will begin to propagate curiosity around the surrounding, inviting people into the space to commence their journey to unfold the hidden secret.

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2.5 DESIGN DEVELOPMENT

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A series of underground spatial studies were conducted to facilitate a greater experience for the user. It began with a chain of rooms, slowly developing into the final form of space belowground.

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3.1 FINAL DESIGN DRAWINGS The moment a person challenges their fear and enter into the mass tunnels, they will find themselves transitioning into an atmosphere vastly different from the surface, unfolding an underground exhibition. Moving through the space, the feeling of heaviness continues throughout the time of visit, compressed by the concrete finishing. Although the isand has greatly diminished the busy atmosphere and noisy traffic, the underground offers a greater degree of separation. Within the space they will have a moment to reflect on themselves and at the same time, enjoy the artworks, eventually reaching the state of enlightenment.

Artificial light will illuminate the underground space just enough while maintaining a degree of secrecy.

An act of discovery that was firstly driven by curiosity was rewarded, becoming a privilage to finally unveil the secret.

UNDERGROUND FLOOR PLAN 1:400

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Frames above the ground uses wood to provide a warm tactile feeling. The clustering of frames addresses the notion of foregathering, inviting people into the space to explore freely and losing direction.

The design also encourage physical interaction as elements within the design suggest different activities, such as seating, gathering, lounging and climbing.

1. Store Room/Cleaner’s Cubicle 2. Female Toilets 3. Male Toilets 4. Disabled Toilet

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SITE PLAN 1:400

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NORTH ELEVATION 1:400

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WEST ELEVATION 1:400

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SECTION 1:400

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public toilet storage above ground frames

stairs

under ground

gallery

tunnel

EXPLODED AXONOMETRIC 43

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UNDERGROUND CIRCULATION 45

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3.2 FINAL DESIGN MODEL

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4.0 REFLECTION Learning about the techtonics early in the semester has guided me greatly in my design development. Through extensive research and sketch modeling, it allowed me to expand my understanding of the concepts of architectural design elements, which was extremely rewarding when I applied them to my design. I found that by exposing myself to many precedents that speak the language of the techtonic, I was able to learn what worked well for them with their strategies and intention, which aided my design process from concept to final design.

Feedbacks from our tutor, guest critics and peers were extremely helpful in guiding me to the right direction. Communicating my design ideas to my friends were also very useful for receiving honest opinion.

During the design process, I discovered myself shifting between different mediums such as hand sketching, model making and digital modeling. As I translated my concepts to physical model, I unveiled many possibilities to the design and how I could fabricate my ideas into reality. Hand-making my conceptacle allowed me to explore its composition, space and overall form.

Towards the development of my final design, digital modeling has helped me visualize my concepts in a larger scale, taking into account the contours and views.

Overall, I found my first studio in architecture study enjoyable and I will be looking forward to the duration of my major.

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5.0 BIBLIOGRAPHY BIG. Serpentine Gallery Pavilion, 2016, photograph retrieved 1 May 2017 from: http://www.archdaily. com/789018/bigs-2016-serpentine-pavilion-opens-alongside-4-summerhouses Chillida, E. Mount Tindaya, photograph, retrieved 16 March 2017 from: https://juan.urrutiaelejalde.org/ oteiza-vs-chillida Dellekamp Arquitectos, House of Switzerland Pavilion, 2017, photograph, retrieved 1 May 2017 from: http://www.archdaily.com/868720/casa-de-suiza-dellekamp-arquitectos Eisenman, P. Wexner Center for the Arts, 1983, photograph, retrieved 3 April 2017 from: from http://www. archdaily.com/557986/ad-classics-wexner-center-for-the-arts-peter-eisenman Fujimoto, S. Serpentine Gallery Pavilion, 2013, photograph, retrieved 3 April 2017 from: from http://www. serpentinegalleries.org/press/serpentine-gallery-pavilion-2013-designed-sou-fujimoto Grimb, S. Eisenman’s Wexner Center. WHAT IS AN ARCHITECTURAL IDEA. 2012, online, retrieved 3 April 2017 from: https://couplarchideas.wordpress.com/2012/11/07/eisenmans-wexner-center/ [Accessed 3 Apr. 2017].

Hadid, Z. Vitra Fire Station, 1993, photograph, retrieved 3 March 2017 from http://dailyglean.salebooks. com/2013/01/guest-post-zaha-hadids-architectural.html Kandinsky, W. and Rebay, H. 1979, Point and line to plane. New York: Dover Publications.

Kuma, K. GC Prostho Museum Research Center, 2012, photograph, retrieved 3 April 2017 from: http:// www.archdaily.com/199442/gc-prostho-museum-research-center-kengo-kuma-associates Mondrian, P. Composition with Red, Yellow, and Blue, 1930, photograph, retrieved 6 March 2017 from: https://utopiadystopiawwi.wordpress.com/ RAAAF and Atelier de Lyon. Bunker 599, 2013, photograph, retrieved 19 March 2017 from: https://www. dezeen.com/2013/12/11/movie-concrete-bunker-cut-in-half-raaaf-atelier-de-lyon Schmidt Hammer Lassen Architects. Cloud Pavilion, 2016, photograph, retrieved 1 May 2017 from: http:// www.archdaily.com/793594/schmidt-hammer-lassen-architects-design-floating-cloud-pavilion-onshanghais-waterfront Van de Rohe, M. Barcelona Pavilion, 1929, photograph, retrieved 7 March 2017 from: http://www. ivarhagendoorn.com/photos/series/barcelona-pavilion-1

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