Fr a nk Lloyd Wr i ght’s u s e o f Ge o m e tr y i n Arc hi te c tu r al d e s i g n .
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War re n Br y an De n ho l m Ni c h o l s o n
Fr a nk Ll oyd Wr i g ht’s u s e o f Ge o m e tr y i n Arc hi te c tu r a l de s i g n .
[ A Re s e arc h Pro je c t ] Su b m i tte d i n p ar ti al f u l f i l m e n t o f the re q u i re m e n t s fo r t h e de g re e o f Ma s t e r o f Arc hi te c tu re Pro f e s si o n a l . Un i te c In s ti tu te o f Te c h n o l o g y, [ 2011 ]
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Abstract This project intends to seek out and develop an architectural response which focuses on the understanding of Frank Lloyd Wright’s use of geometry. How the composition and relationships of space in his plans enhances the experience of his architecture. The research will explore the nature of Frank Lloyd Wright’s architecture and how he uses geometry to define form, space and function within the design process. He is one of many architects who appear to rely on geometry to define the principles on which they depend and their architectural compositions are constructed.
“
Geometry can exist without architecture but architecture cannot exist without
”
geometry
1
1 William Blackwell, Geometry in architecture (New York: Wiley, 1984).
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Through critical analysis of a selection of Frank Lloyd Wright’s work, I hope to discover the underlying principles of his use of geometry in design. This method of investigation will enable the design of a well-considered and geometrically beautiful building, in this case a ferry terminal for Waiheke Island in the Hauraki Gulf near Auckland in New Zealand, which draws on the fundamental principles of designing ‘good’ geometry.
which underpin the way in which he designed and composed; while the focus of this proposal is on geometry in the architectural design process.
Wright’s buildings will be analysed through plan drawings. He believed the two-dimensional plan to be the primary generator of an architectural idea, which in the hands of a master develops into threedimensional reality. The buildings will be disassembled for the purpose of discovering the two-dimensional geometric forms and spaces of the building and to perhaps discover some of the formal principles
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Preface and acknowledgements This research project stems from the idea that there is a missing element in architectural education of the 21st century. That fundamentally, geometry should be taught as a basis for design in architectural education. This view comes from the awareness that in architecture if the intention is to design beautiful buildings, then it may well be a case that there is a process that tends to result in such buildings that we perceive as beautiful. The belief is that geometry plays a major role in the process. I would like to thank my father Bruce, my mother - Bronwen, my two brothers - Grant and Rowan, my Grandparents Gogo & Grandpa and Lala & Grandpa, friends and architectural peers for all their
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patience, help and encouragement not only in my final year as I undertook my research project but throughout my architectural studies. To my supervisors and mentors in particular David Chaplin and Peter McPherson, I sincerely thank you. David Chaplin - Without your dedication, love and passion of architecture I don’t know if I would have discovered and learnt as much about architecture in this short period of time as I have done. For this I sincerely thank you.
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Ta b l e o f c o n t e n t s
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Abstract. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
2.5c Panorama three . . . . . . . . . . . . . . . . . . 16
Preface and acknowledgements . . . . . . . . . . . . . . . . 11
2.5d Panorama four. . . . . . . . . . . . . . . . . . . 18
Table of contents . . . . . . . . . . . . . . . . . . . . . . . 13
2.6 Environment and outlooks. . . . . . . . . . . . . 20
1.0 Introduction . . . . . . . . . . . . . . . . . . . . . . . . 2
2.7 Culture of Waiheke . . . . . . . . . . . . . . . . . 23
1.1 Research question. . . . . . . . . . . . . . . . . . .2
3.0 Precedent survey. . . . . . . . . . . . . . . . . . . . . . 24
1.2 Background. . . . . . . . . . . . . . . . . . . . . .2
3.1 Precedents. . . . . . . . . . . . . . . . . . . . . . 24
1.3 Aims and objectives. . . . . . . . . . . . . . . . . .2
3.1a Existing ferry terminal at Matiatia Bay. . . . . . . 24
1.4 Scope and limitations. . . . . . . . . . . . . . . . .7
3.1b Ferry terminal by C.F.Moller. . . . . . . . . . . . 26
2.0 Define project. . . . . . . . . . . . . . . . . . . . . . . . 9
3.2 Ferry Terminal Functions for Matiatia. . . . . . . . 28
2.1 Brief. . . . . . . . . . . . . . . . . . . . . . . . . .9
3.3 Survey material . . . . . . . . . . . . . . . . . . . 28
2.2 Site . . . . . . . . . . . . . . . . . . . . . . . . . .9
3.3a Competition – “A Vision for Matiatia”. . . . . . . 28
2.3 Site description . . . . . . . . . . . . . . . . . . . .9
3.3b Future functions for Matiatia . . . . . . . . . . . 29
2.4 Site location. . . . . . . . . . . . . . . . . . . . . .9
3.4 Frank Lloyd Wright. . . . . . . . . . . . . . . . . 30
2.5 Panoramic views. . . . . . . . . . . . . . . . . . .12
Nakoma Golf Club. . . . . . . . . . . . . . . 31
2.5a Panorama one. . . . . . . . . . . . . . . . . . . 12
1924 . . . . . . . . . . . . . . . . . . . . . . . 31
2.5b Panorama two . . . . . . . . . . . . . . . . . . . 14
Blossom House. . . . . . . . . . . . . . . . . 31
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1892. . . . . . . . . . . . . . . . . . . . . . . 31
3.4c Floor plan of Dana House . . . . . . . . . . . . . 36
Dana Thomas House. . . . . . . . . . . . . . 31
3.4d Floor plan of Hollyhock House-plan analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
1904. . . . . . . . . . . . . . . . . . . . . . . 31 San Marcos. . . . . . . . . . . . . . . . . . . 31 1928. . . . . . . . . . . . . . . . . . . . . . . 31 Madison Unitarian Church . . . . . . . . . . 31 1949. . . . . . . . . . . . . . . . . . . . . . . 31
3.5 Comparative plans of spine typology site plans . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41 4.0 Literature survey . . . . . . . . . . . . . . . . . . . . . 45 4.1 Paul Laseau and James Tice . . . . . . . . . . . . . 45
Hollyhock House. . . . . . . . . . . . . . . . 31
4.2 Influences on Frank Lloyd Wright as a child. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
1918. . . . . . . . . . . . . . . . . . . . . . . 31
4.3 Approaches to Wright and his work. . . . . . . . . 45
Ocotillo Desert Camp . . . . . . . . . . . . . 31
4.4 Influences identified in Wright’s work: . . . . . . . 47
1928. . . . . . . . . . . . . . . . . . . . . . . 31
4.4a Entrance. . . . . . . . . . . . . . . . . . . . . . 47
Marin County Civic Centre. . . . . . . . . . 31
4.4b Japanese influence . . . . . . . . . . . . . . . . . 47
1957. . . . . . . . . . . . . . . . . . . . . . . 31
Tower. . . . . . . . . . . . . . . . . . . . . . . . . . 47
3.4a Site plan of Ocotillo desert camp. . . . . . . . . . 32
4.4c Academic planning principle. . . . . . . . . . . . 47
3.4b Floor plan of Blossom House . . . . . . . . . . . 34
4.4d Strategies of transformation . . . . . . . . . . . . 48 4.4e Space. . . . . . . . . . . . . . . . . . . . . . . . 48
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4.4f Architectural energy. . . . . . . . . . . . . . . . 48 4.4g A Foreshadowing of 21st Century Art – Christopher Alexander. . . . . . . . . . . . . . . . . . . . . . . . 49 5.0 Develop Project. . . . . . . . . . . . . . . . . . . . . . 59 5.1 Design Process. . . . . . . . . . . . . . . . . . . . . . . 59 5.2 Geometry as a basis for design. . . . . . . . . . . . 59 Analysis of site . . . . . . . . . . . . . . . . . . . . . 59 5.3 Movement/Journey line of vessel. . . . . . . . . . 59 5.3a Movement/Journey line of vessel diagram . . . . . . . 60
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5.9 Fourth Conceptual Development/Response/ Composition. . . . . . . . . . . . . . . . . . . . . . 72 5.10 Fifth Conceptual Development/Response/ Composition. . . . . . . . . . . . . . . . . . . . . . 74 5.11 Initial conclusion of Conceptual Responses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76 5.12 Development of Concept. . . . . . . . . . . . . 77 5.13 Three dimensional site analysis. . . . . . . . . . . 78 5.14 Development of conceptual plan. . . . . . . . . . 80
Geometric construction of land. . . . . . . . . . . . . 62
5.15 Fundamental thinking/ideas drawn from design process . . . . . . . . . . . . . . . . . . . . . . . . . 82
5.4 Response to Geometry analysis . . . . . . . . . . . 63
6.0 Design Development. . . . . . . . . . . . . . . . . . . 83
5.5 Design Explorations/Responses. . . . . . . . . . . 66
6.1 Development in the Third Dimension . . . . . . . 83
5.6 First Conceptual Response/Composition . . . . . . 66
6.2 Design iteration one. . . . . . . . . . . . . . . . . 84
5.7 Second Conceptual Development/Response/ Composition . . . . . . . . . . . . . . . . . . . . . . 68
6.3 Design iteration two . . . . . . . . . . . . . . . . 85
5.8 Third Conceptual Development/Response/ Composition . . . . . . . . . . . . . . . . . . . . . . 70
6.5 Design iteration four. . . . . . . . . . . . . . . . 87
6.4 Design iteration three. . . . . . . . . . . . . . . . 86
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6.6 Design iteration five. . . . . . . . . . . . . . . . . 88 6.7 Exploration outcome . . . . . . . . . . . . . . . . 89 6.8 Development of design . . . . . . . . . . . . . . . 90 6.9 Developed Design Outcomes. . . . . . . . . . . . 96 6.10 Developing of an architectural language. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97 6.11 Outcomes from the development of an architectural language/style. . . . . . . . . . . . . . . . . . . . . . 98 6.12 Final Design. . . . . . . . . . . . . . . . . . . 103 6.13 Final design - plan . . . . . . . . . . . . . . . . . . . 106 6.14 Final design - aerial perspective . . . . . . . . . . . . 108 6.15 Final design - perspective. . . . . . . . . . . . . . . .110 7.0 Conclusion/ Critical Appraisal. . . . . . . . . . . . . .113 8.0 Bibliography. . . . . . . . . . . . . . . . . . . . . . . 117 List of Figures. . . . . . . . . . . . . . . . . . . . . . . . .119 9.0 Appendix A. . . . . . . . . . . . . . . . . . . . . . . .125 10.0 Appendix B . . . . . . . . . . . . . . . . . . . . . . . 127
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1.0 Introduction 1.1 Resea rch que s ti o n The intention of this project is to define and develop a building design which responds to and focuses on the understanding of Frank Lloyd Wright’s geometric principles. 1.2 Ba ckground What began as simply an interest in ‘geometry’ quickly escalated into something much more complex which explored the depths of architectural design. It began to try and understand the core ideas of the way to approach design as an architect. The belief that geometry played an important role in this process was apparent, but to what extent it did or should was not very well understood. The study of Frank Lloyd Wright’s work was hoped to lead to an understanding of the way in which he used geometry when
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designing. There is something successful about Frank Lloyd Wright’s design process which led to architecture that is universally thought to be ‘good’ and my hope is that by analysing his work I will begin to understand some of the geometric concepts which make this so. 1 . 3 Ai m s an d o b je c ti ve s The primary focus of this project is research by design. The building to be designed in this project is a Ferry Terminal using architectural concepts which draw upon and respond to Frank Lloyd Wright’s (FLW) fundamental use of geometry and principles of design; his use of geometry as the core of the design process; the contrast between man-made versus nature and the relationships between order and experience. These will be discovered from analysing his work, specifically looking at his use of symmetry, axis, grids, open and closed
systems and his arrangement of space in response to a ‘centre’; yet the primary focus will be on his use of geometry. The principle characteristics of Wright’s architecture reflect his concern for the central artistic question of the relationships between order and experience, the universal and the particular, or consistencies and variations.2 To do so, it is necessary to become acquainted with his work, and by critically analysing them to understand the theories and principles which seem to underpin the geometrical compositions of his buildings. This will begin to establish a framework and a set of guiding principles of how to approach the design process.
2 Paul Laseau and James Tice, Frank Lloyd Wright Between Principle and Form (1992). 180.
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“
Wrights impact on architecture seems heavily influenced by his attitudes towards architectural education, namely, that design excellence was more an acquired skill than an
”
intellectual pursuit.
3
The ambition is to provide architects and students with an insight into geometric principles behind the works of one of the great architects of the 20th Century and to demonstrate application of these principles in design. I will investigate the concept of approaching design which responds to an underlying analysis of geometry. To then apply this method of analysis through design - and produce an architectural solution while revealing a design process involving geometry as the 3
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Ibid. 180.
core idea. Geometry doesn’t always lie at the core of the architectural design process. Does ‘good’ architecture eventuate when it does? Although geometry is omnipresent from the initial form-finding stages to final construction in everyone’s process of design, the ways in which a person may use geometry – or not – will differ, and the extent to which they know they are using geometry differs again, depending on the person, their design process and their architectural education. Description in architecture is usually in two forms: graphic and verbal. Graphic description provides the primary visual evidence with which we can interact and explore clues to the underlying principles of form and process. Graphic description helps us to grasp parallels, patterns, trends, contradictions, and inconsistencies in the work. Graphic communication promotes
simultaneous description of a wide range of features of architecture for comparison. Verbal description has an equally important role of naming and categorising things we see. Through verbal language we can attach meaning to visual evidence, refine our perceptions, and evoke new concepts. The term hearth, for example, includes concepts of home, heart, core, territory, identity, communion, warmth, nourishment, and security. The study of architectural types must combine graphic and verbal description to create a framework for research that is accessible and memorable. The architectural works of FLW which I intend to analyse graphically are:
++
Blossom House 1892 (figure 1.1) is an example of FLW’s early work, referred to as one of his ‘bootleg houses’ where he was under contractual obligation not
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Figure 1.1: Frank Lloyd Wright Blossom House floor plan.
to produce designs for clients outside of the firm of Louis Sullivan where Wright worked. Influences of his Prairie house style are imminent in areas of this house, but it is not yet whole heartedly Prairie.
++
Dana-Thomas House/Susan Lawrence Dana House (figure 1.2) was built in 1902-04 and is an expression of FLW’s Prairie Style – predominantly cruciform in plan with classically informed axes but open in composition and to the site.4 The house style used low horizontal lines and open interior spaces to create connections between the built and its environment while blending with the flat, prairie landscape.
++
Hollyhock house (figure 1.3) was designed by Frank Lloyd Wright as a residence in Los Angeles for Aline Barnsdall. In construction between 1919 and 1921, the history of the building spans a decade in Wright’s life, 19141924, and is crucial in the evolution of his career as an architect. Lodged between the creative Prairie years and the consolidation and renewal that led to his second and longest period of professional activity, Wright during this transitional decade was testing his ability to survive and grow as an architect in a world that was changing rapidly around him. More than the other major building of this decade, the Imperial Hotel, the Hollyhock
Figure 1.2: Frank Lloyd Wright Dana House floor plan.
Figure 1.3: Frank Lloyd Wright Hollyhock House floor plan.
4
Ibid. 50.
Figure 1.4: Frank Lloyd Wright Ocotillo Desert Camp plan. Draft 2 Design indd 3
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House is related in both form and content to work in Chicago and prefigures the well-known Los Angeles concrete block houses that immediately followed.5
++
Ocotillo Desert Camp (figure 1.4) was built in 1927 and designed as a temporary winter headquarters for Wright and his staff. The compound (formed to keep the rattle snakes out) surrounds a small rise in the desert floor. It enclosed an irregular space with buildings made of wood and canvas canopies and diagonal timber walls.
5 Kathryn Smith, Frank Lloyd Wright, Hollyhock House, and Olive Hill : 1914-1924 (Philadelphia: Society of Architectural Historians, 1979). 15.
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“
The significance lies not in what it tells us about his works so much as what it reveals
”
about architecture itself.
6
It was important to establish a source in architectural history which has explored a process for generating architecture on the basis of an underlying geometry. Christopher Alexander, a professor emeritus at the University of California at Berkeley is most renowned for his architectural oeuvre which comprises twelve books and a range of building projects. The fundamental thesis at the core of Alexander’s work is that ‘there is an underlying structural correspondence between the pattern of a problem and the process of designing physical form 6 Tice, Frank Lloyd Wright Between Principle and Form. vii.
which answers that problem.’ In searching for this correspondence, Alexander’s work demonstrates a quest for a rational methodology that could be a useful tool in generating built environments.7 In his book A Foreshadowing of 21st Century Art, he describes fifteen principles for designing geometric centres (refer to literature survey) which he believes are used in designing good geometry. The architectural problem/question is how do we as architects understand, record, generate and compose geometry in order to produce space, form, function and elements which are seen as ‘whole’- as described by Christopher Alexander – or complete? For what reason is some geometry perceived as ‘good’ or better geometry, not only to the 7 Ritu Bhatt and Julie Brand, "Christopher Alexander: A Review Essay," Design Issues 24, no. 2 (2008). 93.
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subjective individual but to the collective whole. The suggestion of universal beauty is an idea which comes from this notion; how the perception of a design in architecture is dependent on an initial structure which is the primary generator of that geometry. Often the structure and therefore the geometry are informed by the proportions and relationships found in nature and begin to suggest and apply a series of geometric rules and principles which respect those proportions and relationships of nature. This formulates an argument about the way FLW’s buildings arise out of the land through the connections he creates with the proportions and relationships found in nature.
“
Study nature, love nature, stay close to
”
nature. It will never fail you.
8
Wright demonstrates that the knowledge of principle is no limit to form. Form has logic, and the knowledge of a structure “formal principles” can guide and inform building design without dictating or prescribing results. Wright was a great academic planner – refers to his systematic arrangement of elements or important parts in a building - and had a highly developed knowledge of traditional compositional principles, including axes, symmetry,
8 Carla Lind, The Wright style (New York: Simon & Schuster, 1992). 3.
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hierarchy, scale and proportion.9 Much of the formal qualities in architecture can be described in the lines, shape, colour and the relationships among them. As an art, architecture is more than satisfying the purely functional requirements of a building program. As Wright says ‘form and function are one.’10 The quote “form follows function” from Louis Sullivan was adopted and altered by FLW to “form and function are one” which can be re-adapted by Alexander’s thinking to ‘function follows form.’ Alexander’s thinking is similar to Wright’s where “function” and “form” are seen as equally important “centres” to acknowledge in the 9 Tice, Frank Lloyd Wright Between Principle and Form. 180. 10 Eric Corey Freed, "http://www.organicarchitect. com/organic/."
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design process. My principal concern is form; function follows form. Function is ever-present in an architect’s thinking but the function of space is dependent upon the geometry of the form, for if a ‘good’ geometry is designed a variety of functions should be adaptable to that space. It is important to examine how the composition of the buildings and spaces in the design affect the functions ability to belong to the forms and volumes of that design; and to determine whether the space is considered acceptable. If the spaces are not designed well, the experience of the space and the way the functions inhabit them falls short. It is important to re-evaluate and ask, is it good geometry? To do this there must be rules and/or principles of good design which can be used in the design process in order to evaluate the geometry that is produced. The evaluation of a good geometry is often dependent on the way the
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form may or may not satisfy the function it pertains. There are a vast number of geometrical possibilities and it is to say that if a function is not working within a form then there necessitates a need to find another geometry that handles the function more effectively. Geometry used in a process of design which deals with form and space are often critical means of an architecture that is both elemental and timeless.11 The notion of elemental and timeless architecture raises an idea about the designs that were, and are being produced. The architecture of FLW is held as an exemplar throughout architecture schools today. Why is his work so abundantly successful? 11 Frank Ching, Architecture, form, space & order, 2nd ed. (New York: Van Nostrand Reinhold, 1996). preface/VII.
What is it in his design process or way of thinking that differs from the way in which students today are taught to think and what makes his work successful beyond the realm of production today? What concepts and principles was he aware of – and perhaps not aware of – that we appear to be unable to grasp. In the process of design, architects represent buildings with drawings using geometry. Drawings can use geometry to reveal a vision; immediately allowing a greater analysis of relationships of shape and lines, which ultimately make form, and reveal a greater level of structure deep inside an architect’s process of design. The definition of a space can use geometry to reveal itself sequentially through movement; by generating a series of spaces in which you can enter; the building form can create emotional connection to the space giving a
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sense of place.12 The focus will be on how to understand FLW’s geometric concepts and principles to aid in the production of a well-considered architectural solution, which belongs to and takes full ownership, giving a sense of purpose and place of its given site.
“
”
Part-to-whole-as-whole-is-to-part
13
“There are two ways of walking inside a building. The first one is to try out a route that serves a specific purpose, like seeing a display in a museum. The second one is to walk, as to discover what the building is like and how the architect has sculptured it through a system of geometrical rules. 12 Sophia Psarra, "Geometry and Space in the Architecture of Le Corbusier and Mario Botta," in Proceedings of the International Space Syntac Symposium 1 (University College London, London, UK.1997).37. 13 Tice, Frank Lloyd Wright Between Principle and Form. 4.
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Some buildings in addition to social purposes arouse interest and stimulate a viewer to take the second kind of route.”14 This notion of journey or movement through space in order to discover what the built environment is like is fundamental in creating successful spaces, both urban and private; for the idea is a person may navigate through a space on the basis of how the spaces are constructed and linked geometrically.
1 . 4 S c o p e a n d l i mi t a t i o n s The scope of this project will include designing a ferry terminal building(s) through research by design. The research of Frank Lloyd Wrights work will be limited to his use of two dimensional geometry in the generation of his plans. Exploring Wright’s work in a three dimensional way requires a time constraint far beyond the time allowable or allocated for this research project.
14 Psarra, "Geometry and Space in the Architecture of Le Corbusier and Mario Botta."37.
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2.0 Define project 2.1 Br ief
2 . 2 Si te
The proposed Ferry Terminal is located on Waiheke, a 93 square kilometre island only a 35-minute ferry ride from Auckland Central Business District (CBD). Waiheke Island, in the Hauraki Gulf, is one of Auckland’s premier tourist attractions, a popular summertime destination. Passenger ferry operator, Fullers, estimates that there are up to 700,000 tourists and visitors with an additional 300,000 commuters to Waiheke every year. This necessitates the need for a place of arrival and departure –an interchange- on Waiheke Island which accommodates the various activities and functions which happen in such a place.
2 . 3 Si te d e s c r i p ti o n Waiheke Island is one of 10 large Islands situated in the Hauraki Gulf and is the most populated island in the gulf and the third most populated island after the north and south islands in New Zealand (figure 2.1). A mix of weekend residents, farmers and those seeking a change of lifestyle dominate the population; though recently it has become popular for people working in Auckland city, creating population growth on the island. There are approximately 8,000 people living on the island and this population swells to over 30,000 over the summer weekends and holidays. 2 . 4 Si te l o c ati o n The location for the proposed Ferry Terminal is in Matiatia Bay on the western end of Waiheke Island (identified in figure
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2.2), only 17.7km from Auckland and is the current wharf location for the passenger ferry to and from Waiheke Island. The opportunity exists to re-energise the link and create a node between Auckland and Waiheke. There is an absence of “presence” and there is a necessity for a building(s) which creates a sense of place; a place one can identify with. This was apparent after visiting the site and establishing that Matiatia Bay was a major point of arrival and departure as many of the residents on Waiheke commute to and from Auckland city on a daily basis to work yet there is no significant land mark/gateway which welcomes you to Waiheke Island and introduces you to the culture of the island and the people who live there. There was no real architectural language which had been developed in the buildings or surrounding areas which in turn meant the use of things like materials had no cultural relationship.
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It lacked a vibrancy or activity in a place which you would expect people to want to dwell and inhabit to portray the lifestyle and display Waiheke as a destination.
physical connection to the water, which is seemingly lacking currently. The island has five bus routes all of which originate at Matiatia Wharf Terminal.
The current Matiatia Wharf is the destination of about 90% of the passengers, with each ferry capable of carrying 650 passengers - approximately 1,500 people commute daily into Auckland CBD for work with a large increase in this number on weekends and holidays. It has been chosen because of its close proximity to Auckland CBD which shortens commuting time to and from the island. Matiatia Bay has also been established as a major arrival/departure point for pedestrian ferry commuters with much of the tourism and public transport infrastructure being based around the bay. The site offered the opportunity to enhance the public’s
Travelling to Waiheke Island will enlighten our understanding of the culture of Waiheke and what makes it uniquely different from Auckland, not only in the activities that it sustains, but the architecture of the island; it will also allow us to begin to establish and identify some of the basic geometries which perhaps underlie the structure of how Matiatia bay is ‘constructed’. This is fundamental to understanding the architectural response which should eventuate from the geometry. It is important to relate the ferry terminal to the culture of Waiheke Island; it allows the building to not only derive from the geometry of the land but allows people to affiliate themselves with the building and culture.
“
People should belong to the building just
”
as it should belong to them.
15
Figure 2.1: Map of New Zealand.
15 Frank Lloyd Wright, “The logic of the Plan” .345, in Robert McCarter and Frank Lloyd Wright, On and by Frank Lloyd Wright : a primer of architectural principles (London ; New York, NY: Phaidon Press, 2005).345-347
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Figure 2.2: Map of Greater Auckland. Site Identification.
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Waiheke has a diverse culture of the modern versus the old. Many of the people who live on Waiheke look for an alternate lifestyle while on the other hand there has been a recent influx of modern bach’s (refer to note below) emerging across the island. It becomes important to accommodate both of these audiences and to also create a prominent connection to Auckland through architectural expression; materiality is an important aspect in achieving this link and some influences for materiality come from the colours in the art, the materials used in vineyards, and the cultural ‘mix’ amongst the bach’s dotted around the island.
2 . 5 a Pan o r am a o n e This photograph looks from the northern headland back to the existing ferry terminal and across to the southern headland. It displays the enclosure which the headlands create in Matiatia bay and how the focus seems to be on the back centre of the ellipse where the proposed site is.
2.5 Pa nor a mic vie ws The following characteristics are illustrated in the images below: Note: Bach - A bach is a small, often very modest holiday home, beach house or shack. They are an iconic part of New Zealand history and culture, symbolising the beach holiday lifestyle.
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Figure 2.3 & 2.4: Map - Photo location and panoramic image.
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2.5b Pa nor a ma two This image looks at the relationship of the existing terminal to the land from a beach on the north-east corner of Matiatia Bay. It will be important to create a connection in the design to this beach as it is such a large portion of the bay; along with the beach on the other side of the terminal.
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Figure 2.5 & 2.6: Map - Photo location and panoramic image.
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2.5c Pa nor a ma three This photograph displays the view out of Matiatia bay to the Hauraki Gulf, towards Auckland City and Rangitoto Island.
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Figure 2.7 & 2.8: Map - Photo location and panoramic image.
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2.5d Pa nor a ma four This image looks from the southern headland at the existing terminal which exists on the site, There is a lack of visual impact or sense of place achieved by the existing ferry terminal.
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Figure 2.9 & 2.10: Map - Photo location and panoramic image.
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2.6 Environment a nd outl o o ks Matiatia Bay is a secluded and protected bay and is seen as the coastal gateway to Waiheke Island. In summer the site receives sunlight and an abundance of daylight from approximately 8am and in winter from 9am, throughout the day until sunset in the evening. It is sheltered from the prevailing winds south-west winds. The site enjoys natural outlooks through the heads in the bay to Rangitoto Island with possible views towards Auckland City. The lack of residential development of any kind in the area means that the vistas are predominantly uninterrupted and have strong connections to the water.
Figure 2.11 & 2.12: Site analysis and environment.
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2.7 Culture of Wa iheke
Figure 2.13: View towards Rangitoto and Auckland City from Matiatia Bay. Figure 2.14: Waiheke Island Winery. Figure 2.15: View across Waiheke Island headland. Figure 2.16: Art walk on Waiheke Island. Figure 2.17: Mudbrick Vineyard. Figure 2.18: Passage Rock Winery. Figure 2.19: Array of corks. Figure 2.20: View of Vines. Figure 2.21: Waiheke Island House by Mitchell and Stout Architects. Figure 2.22: Outlook from Waiheke Island. Figure 2.23: Wine Barrels. Figure 2.24: Mudbrick Vineyard Cottage style building.
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3.0 Precedent survey 3.1 Preced ents 3.1a Existing fer r y ter min al at Ma tia tia Ba y The Matiatia Bay ferry terminal is the main point of arrival and departure for passenger ferries travelling between Auckland City and Waiheke Island. The current building lacks any sense of place and has a disconnection with the land in its position and scale. The line of movement through the building is fairly abrupt and leaves the occupant feeling rushed and out of place. The building lacks character in its relationship to the culture of Waiheke Island while it attempts to create a connection to the water with the use of tension membrane structures which tack onto the existing structure.
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Figure 3.1: Canopy covering existing walkway 3.2: View from ferry looking at existing terminal. Figure 3.3: Looking east towards the end of the covered walkway. Figure 3.4: View South at current Ferry location Figure 3.5: North east view of current wharf.
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3.1b Fer r y ter mina l by C. F. Mo l l e r Danish architects C. F. Møller won a competition to design a new ferry terminal in Stockholm, Sweden. The new terminal for Stockholm’s permanent ferry connections to Finland and the Baltics will be a landmark for the new urban development Norra Djursgårdsstaden both architecturally and environmentally. The terminal, which will have a facade covered with expanded mesh, recalls the shape of a moving vessel and the architecture - with large cranes and warehouses - that previously characterized the ports. At the same time, the terminal has an ambitious sustainable profile, characteristic of the entire development. 16
16 "C.F. Moller Architects," http://www.cfmoller. com/p/New-ferry-terminal-Stockholm-i2705.html.
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The main idea has been to create natural links between central Stockholm and the new urban area in connection with the terminal, so that city life will naturally flow into the area. Therefore the terminal is raised to be at level with the urban zone, so it is easy for both pedestrians and traffic to access. At the same time the roof of the terminal building is designed as a varied green landscape with stairs, ramps, niches, and cosy corners, inviting both Stockholmers and passengers for a stroll or relaxing moments, while enjoying the view of the ferries, the archipelago, and the city skyline. 17
solar and wind power, for example the terraced landscape on the roof will integrate beds of solar cells along with the planting. The plan is to communicate the sustainable efforts to the people in the building by using centrally placed television screens, helping to raise awareness of the potential of sustainable construction.18
The aim is that the ferry terminal will be predominantly self-sufficient in energy and thus stand as an environmental model for public construction. Therefore the architecture of the terminal will integrate 17
Ibid.
18
Ibid.
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Figure 3.6: Analysis of site. 3.7: Perspective view terminal in relation to ferry. Figure 3.8: Aerial site plan of proposed design. Figure 3.9: Interior view of proposed terminal. 3.10: Photo of design model. 3.11: Perspective view of terminal.
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3.2 Fer r y Ter mina l Functi o n s f o r Ma tia tia Some of the functional requirements of a Ferry Terminal located at Matiatia bay are as follows:
++
Passenger ferry terminal for arrival/departure
++
Public and commercial outdoor spaces
++ ++ ++
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Exhibition spaces Cafes and restaurants Commercial offices
3 . 3 Su r ve y m ate r i al 3 . 3 a C o m p e ti ti o n – “A Vi s i o n f o r Mati ati a” Community feedback on the designs proposed for Competition – A Vision for Matiatia: A public exhibition of the stage one competition entries was held on Waiheke Island over three days. Approximately 400 people provided written feedback on the entries during this time. The feedback was diverse, and at times contradictory, representing the diversity of views held by the residents of Waiheke. For the interest of the designers, some of the key themes that came out of this consultation are:
++
Matiatia should be different in character than the mainland. When arriving at Waiheke you should feel as though you are “someplace else” and the design of the development should reflect this.
++
Parking, while necessary, should not dominate the site and particularly should not dominate the area close to the wharf. However, there is a need to provide adequate pick up/drop off facilities within easy reach of the wharf.
++
The architecture should be contextually relevant and sustainable design is important.
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The view of the bay as the ferry arrives is important.
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++
Matiatia is the link between Waiheke and the rest of the Hauraki Gulf. The view from the site out to Rangitoto should be exploited.
Waiheke’s large summertime draw card and the idea that the function of a building may change but its relationship to ‘good’ space is ever-present.
++
3 . 3 b Fu tu re f u n c ti o n s f o r Ma t i a t i a
Residential use should be minimal and the community has indicated a preference to short-term visitor accommodation rather than long term/owner occupier residential. Retail should be kept to a minimum as Matiatia should not compete with the existing villages on the island.19
Possible future functions:
++ ++ ++
Boat servicing and repair Marina Short term accommodation
There is a need also to understand the possibilities of future functions which could evolve and cohabit on the site due to
19 Auckland City Council, "A Vision For Matiatia - Stage two design brief.pdf," www. waihekecommunityplanning.org.nz.
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3.4 Fr a nk Lloyd Wr ight Analysis of Frank Lloyd Wright’s buildings: by recognising similarities and drawing conclusions about the underlying geometry in his works, ideas about the principles and rules he used in order to construct his buildings can be applied to aid in generating the architectural idea of the Ferry Terminal. The formal composition of FLW’s buildings on site is an aspect of his design where he responds to a ‘centre’ – geometry of space – using building volumes to hold that space. The Ocotillo desert camp is an example:
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Blo sso m Ho u se 1892
Dana Th omas Hous e 1904
Hol l yhock Hou se 1918
Ocotil l o De se r t Camp 1928
Na k o m a Go lf Clu b 1924
San Marcos 1928
Madi son Unitarian Chu rch 1949
Marin Cou nty Civic Ce ntre 1957
Figure 3.12: Frank Lloyd Wright time-line.
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3.4a Site pla n of Ocotillo d e s e r t c a mp Although the plan may look haphazard it is actually formed with two primary grids, one shifted at a thirty-to sixty-degree angle to the other. The plan encloses an irregular space, though irregular, the buildings are strengthening a ‘centre’ of space, the campfire. The buildings also respect the two grids while forming the focus on the campfire. Further the campfire is placed in such a position to generate an entry sub centre while splitting the larger centre into two “halves” while at the same time acting as the land marking centre of the whole camp.
Figure 3.13: Frank Lloyd Wright Ocotillo Desert Camp.
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3.4b Floor pla n of Blosso m Ho u s e The formal compositions of his Blossom, Dana and Hollyhock House plans also draw key characteristics in response to centres of space: In this plan the spatial extensions, interlocking spaces and asymmetrical composition achieves a balance in geometry as seen in the drawing to the right. The layering and interlocking of space emanate from the hearth which is central to the resulting spatial dynamics of the plan. The hearth is a fundamental “centre” behind FLW’s prairie house plans. A key principle that was drawn from this analysis was the idea of repetition or an echo where by, as in the example of the Blossom House, the placement of a half circle on one end of the plan needed to be reproduced somewhere else within the floor plan in order to ‘cap’ the two ends of the design. This is evident
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because if there was not a ‘cap’ at one of the ends the plan would not be perceived as a whole it would be open ended in a manner of speaking; the geometry of this ‘cap’ is arbitrary to an extent as it could be square and be as successful – it is the idea that a repetitive element within a composition unifies it and allows a coherence in its visual understanding. This is referred to as an “echo” by Alexander in A Foreshadowing of 21st Century Art.
Figure 3.14: Frank Lloyd Wright Blossom House.
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3.4c Floor pla n of Da na Ho u s e The floor plan of the Dana House is largely define by the symmetries which are arrayed throughout the house. The extensions of space allow the geometries in the plan to interlock and unify the plan. The interlocking of the outdoor courtyard space with the interior space reinforces Alexander’s notion of the negative space being treated as positive space. The repetitive elements in the plan fuse the plan together in a similar fashion to the concept behind the “echo” where the use of a subsidiary geometry which echoes another it allows for a sense of “wholeness.” The semi-circle element in this plan suggests that FLW may perhaps not be aware of some of his own principles. There is no echo of the shape elsewhere in the plan which then makes it appear foreign in the plan. Figure 3.15: Frank Lloyd Wright Dana House.
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3.4d Floor pla n of Hollyh o c k House-pla n a na lysis The hollyhock house is exemplary in the treatment of negative space as positive, creating “wholeness�. Each major interior space adjoins an equivalent exterior space connected by glass doors, a porch, pergola or colonnade. A series of rooftop terraces are further extensions of space in the exterior spaces of the plan. Two large symmetries control much of the spaces in this house with an echo on the outside edge of each of those lines of symmetry. The use of geometrical elements to balance the weight of the kennels on the top left with the long narrow ledge/wall on the bottom right creates continuity in plan. The same elements also extend to create connections into the landscape.
Figure 3.16: Frank Lloyd Wright Hollyhock House.
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Frank Lloyd Wright’s intention was that his buildings grow out of the land rather than impose themselves upon it. The site patterns appear to be more of a site plan strategy where he recognises critical issues; such as the interface between man-made and natural form; the nature of growth and change, and scale and proportion relationships linking the part to the whole. This observation was made from his treatment of plans and the relationships which he creates with the environment from the interior of his buildings. 20 One of the terms FLW used to define his architecture was “organic”. Alone and unaided by mainstream international modernism, he defined and created organic architecture, that profound and yet simple concept that buildings must develop naturally out of their environment, reflect 20 Tice, Frank Lloyd Wright Between Principle and Form. 151...
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their central purpose, and use building materials best suited to those two factors.21 The connection of FLW to nature comes through his relationship to it, “Nature is my manifestation of God. I go to nature every day for inspiration in the day’s work. I follow in building the principles which nature has used in its domain.”22He speaks of building principles in nature and I believe that he is referring to a geometry which underpins the makeup of the landscape and to the proportions and relationships which can be found in nature which he believes are exemplary for our use in architecture. This dialogue between his buildings and the environment
21 Frank Lloyd Wright et al., Frank Lloyd Wright in the realm of ideas (Carbondale: Southern Illinois University Press, 1988)..165. 22 Olgivanna Lloyd Wright, The shining brow (New York,: Horizon Press, 1960). 129.
results in architecture which is strong in its relationship to outside space; one of the things FLW says is fundamental in designing a successful building .
“
No house should ever be on a hill or on anything. It should be of the hill. Belonging to it. Hill and house should live together each the
“
happier for the other.
23
In this research by design project an attempt to embrace nature as an initial form generator was attempted. An underlying geometry of Matiatia Bay was identified as a whole initially with increased detail in the immediate site area. This analysis sets up a structure defining axis and proportional relationships which translate to a geometry which evolves from the land. This two23 Frank Lloyd Wright and Donald D. Walker, An autobiography (New York,: Duell, 1943). 168.
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dimensional investigation expresses the geometrical idea that the architecture emerges – uniquely with its context, it explores spatial organisations of form, space and provides insight into the relationships, while being sensitive to the possibilities of the three-dimensional solids and voids of the site. The examples selected are all designs which respond to geometries he makes in his design process which essentially have a set of principles which he is following, whether he knows if he’s doing it or not is another matter. He has two site strategies for his designs: a closed-system site strategy – predominantly used in urban sites where future growth on the site is not a concern; and an open-system site strategy – dominated most of FLW’s site designs and uses principles of ‘centres’ and ‘symmetries’ connected with corridors, pergolas, or
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building wings stretching out from centre to centre.24 Wright began to focus much of his design work on the plan, focusing on shaping the exterior space with the massing of the interior space, with a belief that this was fundamental to designing a successful composition . The orchestration of public and private space woven through both interior and exterior space allows some of his compositions to achieve a richness of site design where the blur of interior and exterior space is unsurpassed.
24 Tice, Frank Lloyd Wright Between Principle and Form. 156
3 . 5 C o mp a ra t i ve p l a n s o f s p i n e typology site plans The spine organises elements into a linear building with a series of epicentres that designate important program space and usually signal a change in axis.
++
Nakoma Country Club – The Nakoma County Club on the historic Winnebago Indian camping ground is organised on the brow of a hill; It stretches its one long arm along the brow to make a wall punctuated at one end by the large lodge or wigwam. The octagonal motif with nearly symmetrical flanking arms is apparent in the earlier River Forest Golf Club, which was executed by Wright around the turn of the century and is the obvious precedent. Organisationally the octagon provides a hinge for a secondary arm if services
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Figure 3.17: Frank Lloyd Wright Nakoma Golf Club.
42
Figure 3.18: Frank Lloyd Wright San Marco.
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Figure 3.19: Frank Lloyd Wright Madison Unitarian Church.
Figure 3.20: Frank Lloyd Wright Marin County Civic Centre.
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that pivots at forty-five degrees. This Formula is repeated in the Unitarian Church in Madison, where a similar ridge conditions the architectural response.25
++
Marin County Civic Centre – The Marin County Civic Centre does not occur as an edge condition on the brow of a hill; neither does it follow the contours of a hillside against which it is placed. Instead, it acts like an aqueduct, leaping from one hill to the next, an image that may have inspired its pseudo structural arches. The main centre occurs at the top of the larger hill and is reached from the major linear element. Similar to Nakoma it provides a hundred and thirty-five-degree angle relationship between the two wings.26
25 26
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Ibid. 163. Ibid.
++
San Marcos in the desert - The San Marcos Hotel desert project is a faceted linear arrangement that approximates the contours of the mountain slope on which it is sited, as well as miming the angle of repose of the distant mountain slopes.27 The centre of the hotel complex is the dining room and other shared areas; they act as the pivot that links the arms radiating from its hub. The visitors pass through and under the major wing to arrive at an oasis-like court that is formed by the building and the hillside and is an intimate, luxuriant environment.28
++
The Madison Unitarian Church The Unitarian Church varies from the other three spline type site patterns. The large space is not used as the knuckle or centre point which changes the axis of the design. The building is organised on a ridge of the hill similar to the Nakoma County Club. The diamond motif holds the main meeting space of the church and the geometry is echoed in a similar fashion around the centre point where the design changes axes.
27 Colin Rowe, Character and Composition. In Mathematics of the ideal villa and other essays (Cambridge, Mass.: MIT Press, 1976). 78. 28 Tice, Frank Lloyd Wright Between Principle and Form. 163.
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4.0 Literature survey 4.1 Pa ul La sea u an d Jam e s Ti c e “Too often, critical discourse sets emotion and intellect in opposition to each other. With some promotion by Wright himself, his designs are largely accepted on an emotional level that avoids the scrutiny of their intellectual roots. Students and architects need to become more aware of the sound, rational, and coherent basis of his architecture and the symbiotic relationship with its emotional, qualitative reality.”29 4.2 Influences on Fr an k Ll oyd Wr ight a s a child Wright wrote about the profound influence of his early childhood experiences with Froebel games:
29
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Ibid. ix.
For several years I sat at the little kindergarten table top ruled by lines about four inches apart each way making four inch squares; and, among other things, played upon these “unit-lines” with the square (cube), the circle (sphere) and the triangle (tetrahedron or tripod) –these were smooth maple-wood blocks. Scarlet cardboard triangle (60 degrees – 30 degrees) two inches on the short side, and one side white, were smooth triangular sections with which to come by pattern – design –by my own imagination. The Froebel games were one of the inventions of Friedrich Froebel that grew out of his development of revolutionary methods of kindergarten education in which play was designed to expose children to concepts underlying nature and human endeavour. The experience was important to Wright for it helped instil (1) an awareness of geometrical
systems and their design properties (2) sensitivity to three-dimensional solids and voids, (3) an appreciation of the compositional possibilities of diverse elements (4) fascination with the “weaving” of complex two-dimensional patterns and three-dimensional spatial volumes, (5) ability to visualize the three-dimensional implications of patterns inscribed on the two-dimensional surface of his drawing board.30 4 . 3 Ap p ro a c h e s t o Wri g h t a n d h i s w o rk We contend that Wright developed his architectural concepts through exercise in visual form and pattern, subsequently integrating meaning with those forms. Principle may have grown out of practice. Inherent in the form-generating system 30
Ibid. 17.
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that Wright had adopted.31 Visual form and pattern making as a starting point is sufficient because, to discover principles, an attempt must be made to design from the understanding of FLW’s work thus far. “In our research we have relied heavily on the study of plan drawings. Wright often drew distinction between the architectural plan and its expression. For him the one precedes the other and is the generator of the architectural idea. The plan is the “seed,” the origin of the structure that could, in the hands of a master, develop into three-dimensional reality. Wright seems to have been saying that the chain of creation is from idea (structure) to plan to expression. Although all three are inextricably intertwined, clearly Wright places a higher value on the plan form than on its possible picturesque expression 31
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Ibid..4.
and a higher value on the plan than on perspective, which he claimed could be proof of, but could never nurture, the plan. This interpretation of cause and effect suggests high valuation of form insofar as it concerns the plan not merely the superficial aspect of style. If this notion of plan form as underlying cause is valid, then a formal analysis based on plan is an examination of a central aspect of his architecture.”32
“
No man ever built a building worth the name of architecture who fashioned it in perspective sketch to his taste and then fudged the plan to suit. Such methods produce mere scene-painting. A perspective may be proof but
”
is no nurture.
33
32 Ibid. 12. 33 Frank Lloyd Wright, “In the Cause of Architecture” .342, in McCarter and Wright, On and by Frank Lloyd Wright : a primer of architectural principles., 338-344.
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4.4 Influences ide n ti f i e d i n Wr ight’s w ork: The following topics identify elements and strategies which are influential in Wright’s work and are based on more fundamental geometric elements: 4.4a Entr a nce If we trace the typical route of entry to the core or central space of any of his mature buildings, we find a consistent pattern of sequential redirection, anticipation, and suspense, until the climax occurs upon arrival at the hearth or central space.34 These central spaces are the large centres in a building which are surrounded by a series of smaller centres which build suspense and anticipation when moving through a space.
34 Tice, Frank Lloyd Wright Between Principle and Form. 174
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4 . 4 b Jap an e s e i n f l u e n c e The skilful way in which he redirects movement, slows the pace, and prepares one for the climactic experience of arrival at the central space of the house is reminiscent of both the Japanese garden and the entry sequence to a Japanese temple.35 By redirecting movement around an element – a centre – such as a tower, pool or garden he is able to slow the movement of people through the space which lets the occupants orient themselves. Often this movement line around a centre is orientated with a vista which creates a connection for the person to move towards.
response to a spatial program.36 The tower is often used as a geometrical point or knuckle in a plan which allows for a change in axis for the grid or underlying structure of geometry. It is a centre in plan but a centralising vertical elemental which allows orientation in the third dimension. 4 . 4 c Ac a de mi c p l a n n i n g p ri n c i p l e The academic planning principles of major and minor axis, carefully devised proportional systems, and a developed sense of hierarchy are clearly evident in his work.37
Towe r The “purpose” of the tower may be its role as a symbol or orientation for the surrounding landscape rather than its 35
Ibid. 25.
36 37
Ibid. 36. Ibid. 41.
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4.4d Str a tegies of tr a nsfo r m ati o n Repetition, shifting, rotation and scaling38 are approaches to the way Wright manipulates geometry in order to create coherence in the plan at both a simplistic and complex level. Basic geometries are transformed to create a “whole” at the level of the building where he is trying to establish a basic form. It then takes place through a series of levels, down to the detail in a handrail which become a series of small centres which support the centres at a larger scale. 4.4e Spa ce As he readily acknowledged, his ideas of space were closely related to the fundamental concepts of Taoist beliefs expressed by the Chinese philosopher Lao-Tzu, namely, that the essence of that 38
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Ibid. 44.
which is seen is that which is not seen. – Translated to architectural design, the essence of a building is not the visible construction but the invisible, “negative” space that is embodied within.39 This relates to Alexander’s thinking of the negative being treated as positive, for when neither the positive or negative space dominates another then it is perceived that the geometries are successful and will also contain a high concentration of centres – Architectural energy. 4 . 4 f Arc hi te c tu r al e n e r g y Most of Wright’s work is distinctive for its intensity and vitality. Much of the energy in the architecture is derived from the dynamic tension he creates
39
Ibid. 170.
between opposing forces: the universal and the particular, the community and the individual, the prototypic and the contextual. The tension between the universal and the particular is represented by the juxtaposition of strong abstracted geometries and the special, often natural characteristics of the site. The geometry, often in the form of a pervasive grid, acts as an anchoring or stabilising element in tension with the fluid forms of nature.40 Alexander describes that the energy contained in a design/geometry depends on the achievement of wholeness. This is discussed in the following section: A Foreshadowing of 21st Century Art by Christopher Alexander. 40
Ibid. 176.
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4.4g A Foresha d ow i n g o f 2 1 s t Centur y Ar t – C hr i s to p he r Alexa nd er A Foreshadowing of 21st century art is the seventh in a series of books which describe an entirely new attitude to architecture and building.41 Christopher Alexander explores the geometries which he believes are fundamental to the production of beautiful early Turkish carpets. This analysis is hypothesised to be capable of being used to control the development of plans in the same fashion as FLW uses plans to produce coherent beautiful buildings. The research achievement here it that while FLW was acting as an intuitive practitioner this Alexander work attempts 41 Christopher Alexander, A foreshadowing of 21st century art : the colour and geometry of very early Turkish carpets (New York: Oxford University Press, 1993).. Before contents, no page number-how to reference this.
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to provide a degree of explanatory power to underpin these FLW intuitions and these ideas then need to be translated into a process of architectural design in order to produce coherent beautiful buildings. The exploration of geometry using carpets as a resource to analyse why they are universally accepted as powerful achievements and to work out what geometry might have to do with their success.
There is an agreement about such value and Alexander attempts to ascertain the geometrical realities that seem to be there in the supreme carpets.
Alexander’s thesis that the quality of “wholeness” is not a matter of preference or taste for different observers, but is a definite shared objective quality that really does exist to a greater or lesser extent in any given carpet when such observers, whose judgment has been developed over many years of association with such carpets, compare their evaluations with each other.42
The quality of the geometry in a design depends on the achievement of wholeness within it. Essentially Alexander is convinced that the “wholeness” of a carpet was directly correlated to the quality of the geometry used to generate the design. He goes on to say that the quality of wholeness is
42
43
Ibid. 26.
“
…A ‘centre’ may be defined as a psychological entity which is perceived as a whole and which creates a feeling of a centre,
”
in the visual field.
43
Ibid. 32.
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50
dependent on the structure of ‘centres’ within the carpet and that it seems that this is what holds the key to degree of wholeness which is achieved. The centre is itself composed of many smaller centres – which in a minor way function in the same fashion that the large centre does. The treatment of the ‘negative’ space… as positive space is probably the single most important factor, in determining the density of centres, in a carpet. In a really good carpet, there is no distinction between figure and ground; every single piece of space, or almost every single piece, is a centre; and the resulting density of centres is enormous, since there are centres everywhere, intertwining, interlocking, overlapping, and side by side.44 44
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Alexander establishes from his research the following fifteen geometrical arrangements of centres that he believes reflect the success of powerful carpets. He believes that they can be used to evaluate the success of other design entities such as architectural plans for example. The following fifteen principles of arranging centres and principles of good geometry can be used to evaluate a design, assisting in the design of good geometry:
Ibid. 53.
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I.
Levels of scale
There are many discernible levels of scale, so that entities exist at many levels, ranging from the largest to the smallest.45
Figure 3.13: Hollyhock house analysis - Levels of scale.
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II.
Strong centres
Each structure as a whole has a centre, not necessarily a geometric centre but a centre of attention, a centre of focus.46
Figure 3.14: Hollyhock house analysis - Strong centres.
45
Unpulished manuscript, Version 1, Christopher Alexander, Nature of Order, School of Architecture Library, University of California Berkeley 1980, Chapter 3, Section 33.
46
Unpulished manuscript, Version 1, Christopher Alexander, Nature of Order, School of Architecture Library, University of California Berkeley 1980, Chapter 3, Section 22. 10/10/2011 12:15:45 AM
III. Boundaries Everything has a boundary - and it is the same order of magnitude as that which it bounds half, to a third of the thing - a boundary is a substantial thing. 47
Figure 3.15: Hollyhock house analysis - Boundaries.
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IV. Alternating repetition At many points throughout a thing, we encounter repetition of elements. But the key to this property, is the existence of double repetition: of the repetition of the things between the things which repeat - so that there is a rhythm of two interlocking systems of repeating entities.48
Figure 3.16: Hollyhock house analysis - Alternating repetition.
47
Unpulished manuscript, Version 1, Christopher Alexander, Nature of Order, School of Architecture Library, University of California Berkeley 1980, Chapter 3, Section 24.
48
Unpulished manuscript, Version 1, Christopher Alexander, Nature of Order, School of Architecture Library, University of California Berkeley 1980, Chapter 3, Section 29. 10/10/2011 12:15:45 AM
V.
Positive space
This property states that every part of space, at every level, has good shape. 49
Figure 3.17: Hollyhock house analysis - Positive space.
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VI. Good shape Every visible part of design, at all levels, must have good figure – be a strong entity. 50
Figure 3.18: Hollyhock house analysis - Good shape.
49
Unpulished manuscript, Version 1, Christopher Alexander, Nature of Order, School of Architecture Library, University of California Berkeley 1980, Chapter 3, Section 27.
50
Unpulished manuscript, Version 1, Christopher Alexander, Nature of Order, School of Architecture Library, University of California Berkeley 1980, Chapter 3, Section 23. 10/10/2011 12:15:46 AM
VII. Local Symmetries Symmetry is a mutual pairing or a correspondence of two similar centres around a third centre or central point, line, place or position between them. Local SubSymmetry is a particular version of this more general structure.51
Figure 3.19: Hollyhock house analysis - Local Symmetries.
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VIII. Deep interlocking and ambiguity This occurs when a given entity enters into more than one larger entity, say A, B .... in such a way that A & B are over lapping, but neither one is contained in the other.52
Figure 3.20: Hollyhock house analysis - Deep interlocking and ambiguity.
51
Unpulished manuscript, Version 1, Christopher Alexander, Nature of Order, School of Architecture Library, University of California Berkeley 1980, Chapter 3, Section 30.
52
Unpulished manuscript, Version 1, Christopher Alexander, Nature of Order, School of Architecture Library, University of California Berkeley 1980, Chapter 3, Section 28. 10/10/2011 12:15:46 AM
IX. Contrast The eye needs contrast to be able to perceive a centre against the surrounding field . . opposites are essential: dark/light, empty/full, solid/void, busy/silent, red/green, blue/yellow, high/low, soft/hard, rough/smooth. 53
Figure 3.21: Hollyhock house analysis - Contrast.
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X.
Gradients
This is a graded series of intervals in which a sequence of similar things has a gradually increasing or diminishing size or interval. 54
Figure 3.22: Hollyhock house analysis - Gradients.
53
Unpulished manuscript, Version 1, Christopher Alexander, Nature of Order, School of Architecture Library, University of California Berkeley 1980, Chapter 3, Section 26.
54
Unpulished manuscript, Version 1, Christopher Alexander, Nature of Order, School of Architecture Library, University of California Berkeley 1980, Chapter 3, Section 32. 10/10/2011 12:15:47 AM
XI. Roughness All things with ‘it’ have a roughness about them. It is not accidental or the result of poor technology or handicraft or inaccuracy. It is essential – without it, deep order doesn’t exist. 55
Figure 3.23: Hollyhock house analysis - Roughness.
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XII. Echoes Echoes are created by the fact that all the elements in a rug seem, in some sense, to come from members of the same
“ ” family
.56
Figure 3.24: Hollyhock house analysis - Echoes.
55
Unpulished manuscript, Version 1, Christopher Alexander, Nature of Order, School of Architecture Library, University of California Berkeley 1980, Chapter 3, Section 25.
56
Unpulished manuscript, Version 1, Christopher Alexander, Nature of Order, School of Architecture Library, University of California Berkeley 1980, Chapter 3, Section 31. 10/10/2011 12:15:47 AM
XIII. The Void Often in the most profound thing, there is at its heart, a centre, a void, which is like water, an infinite, timeless depth . . .. surrounded and contrasted with the clutter of the stuff and fabric around it. 57
Figure 3.25: Hollyhock house analysis - Void.
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XIV. Simplicity and Inner Calm There is in some things, a certain slowness, majesty, quietness, simplicity that might be thought of as an
“
�
inner calm
.58
Figure 3.26: Hollyhock house analysis - Simplicity and inner calm.
57
Unpulished manuscript, Version 1, Christopher Alexander, Nature of Order, School of Architecture Library, University of California Berkeley 1980, Chapter 3, Section 34.
58
Unpulished manuscript, Version 1, Christopher Alexander, Nature of Order, School of Architecture Library, University of California Berkeley 1980, Chapter 3, Section 36. 10/10/2011 12:15:48 AM
XV. Not-separateness An entity with global wholeness is connected, unbounded in feeling, to what surrounds it, and is not cut off, isolated or separated.59
Figure 3.27: Hollyhock house analysis - Not-seperateness.
59
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Unpulished manuscript, Version 1, Christopher Alexander, Nature of Order, School of Architecture Library, University of California Berkeley 1980, Chapter 3, Section 35.
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5.0 Develop Project 5.1 Design Process 5.2 Geometr y a s a b as i s f o r d e s i g n Ana lysis of site In order to begin to understand the way geometry might be involved in the design process, the first exercise was to begin analysing Matiatia bay in a manner which identified some of the basic geometries which seems to exist abstractly in the bay. At a large scale it essentially consists of two rectangular volumes which were axial around a large circular volume; the inner most part of the bay is clearly identifiable as an ellipse . The exercise gave rise to the idea of geometry existing within a landscape or environment at an abstract level. This enabled the ability to respond to these geometries as an initial generator of ideas. The initial design generation began as
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two-dimensional exploration and analysis of geometry in Matiatia Bay. This analysis set out and identified a framework of underlying geometry in the bay and begins to guide some of the decision making for the initial design in terms of generating line, form and space within that geometry. 5 . 3 Move m e n t/ Jo u r n e y l i n e o f ve s s e l
of prominent headlands and harbours in the bay or ‘centres’. The main idea drawn was of rotation around a point between the prominent geometries with focal points along the journey – the journey being the navigation of the vessel into the bay and the approach it takes before it arrives at the ferry terminal for the passengers to disembark onto the island.
The geometry identified at the inner most part of Matiatia Bay was that of an elliptical nature; within the geometric make up of an ellipse there are subsidiary geometries which aid in the construction and identification of larger geometries. This prompted an exploration of the geometrical assembly of the land which surrounded Matiatia Bay. This identified major, minor, and supportive geometric elements within the makeup of the surrounding land; essentially this turned into an identification
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5.3a Movement/Journey line of vessel diagram
60
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Geometr ic constr uction o f l an d After identifying a possible journey the focus was on analysing the land forms which made up the bay. This began with a response to the ellipse identified in the initial exercise, as the proposed site was located almost directly along the edge of the centre of the ellipse. The exploration of how to construct an ellipse using technical drawing methods became a primary analysis tool for the mapping of the site in order to translate the makeup of the land into a geometric understanding which could be responded too. After establishing the richness entailed in ellipse construction technique a mapping exercise began of the land and water edge inside the bay, which in turn identifies two-dimensional geometry at that particular level of the topography. This translated into the idea of major, minor and subsidiary geometries to the next level by establishing which
circles – in this mapping instance the geometry identified happened to be circles – were more prominent and held a greater significance in Matiatia Bay. This mapping exercise responds to the initial crude exercise where an ellipse was first identified. After this analysis it was established that the site holds an advantageous position for lines of movement to-and from the island through Matiatia bay and that it is more than appropriate in terms of its hierarchal stature and geometrical richness due to the dominance of the ellipse over the rest of the geometry identified. This analysis of geometry set up a framework containing a series of axes and guides which were bound by the circular elements that made up the bay. These axes and guides are translated across the site and this is where an exercise in visual form and pattern to create a sound, rational
geometrical response began. Understanding the ideas and concepts in the twodimensional analysis and two-dimensional plan is integral to the translation of this framework into an architectural idea or expression which develops into a threedimensional design dealing with the form, space and function as a coherent element. It is integral because if there was no understanding or knowledge of the underlying structure then it makes it hard to try and respond to it. The Ocotillo desert camp is an example where FLW identifies a raised portion of land, identifies a grid which appears to underpin the makeup of the land and responds to it accordingly with his placement of buildings. This is why the formal analysis of Wright’s work based on the plan is the most appropriate way to investigate the central aspects and principles of his architecture.
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He describes his plan as his primary generator of ideas and by adopting a process whereby it becomes a primary generator of design in my work it creates a correlation and connection between the two sets of data and design process. By approaching this design process in a fashion which appears to mimic a way which FLW may have approached design it will lead to insights and discoveries in the design process which may lead to a greater understanding of what Wright does in his designs. 5.4 Response to Ge o m e tr y an al y s i s
of major and minor ‘centres’ was primary to understanding the make-up of the land. This in turn changed the response of the positive and negative in order to adhere to the hierarchal importance of each of the centres. Each response was a development or iteration of the previous concept or idea. It was a process discovering and developing a system of principles and rules which responded to the analysis work of FLW and observations made through the course of conceptual design. Design response to the initial site analysis:
The design response to the analysis was one of composition whereby the placement of positive and negative spaces was a reaction to the geometric mapping exercise. The response to the circles was to respect the hierarchy established by the elliptical mapping exercise where the identification
Figure 5.1: Construction of Ellipse tangent lines.
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64
++
The responses explore how the principles and rules of good design might relate too, or negate a design response and begin to guide the ways to evaluate and progress the design.
++
Each conceptual drawing was an exploration dictated by a response to the hierarchy of circles. At this stage in the concept design it was a systematic approach of iteration achieved through two-dimensional drawing in order to develop a design which was coherent as a composition in geometry and design. The conceptual responses are exercises in composition whereby the placement of particular geometry in the drawing responds to a structure set out by the elliptical mapping and centres that make up the bay. Each composition is responding to the array of centres – circles –located in the
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site; this is done because a space is stronger when it contains a higher concentration of centres, this idea comes from Alexander and his analysis of Turkish carpets which translate into his geometry of centres, It is for this reason that it is appropriate to begin the exploration/response in this particular part of the site as the concentration of centres – circles – is at its densest. The degree of wholeness which a carpet achieves is directly correlated to the number of centres which it contains. The more centres it has in it, the more powerful and deep its degree of wholeness.60
60
Ibid. 36.
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Figure 5.2: Ellipse analysis if Matiatia Bay.
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5.5 Design Explor a tions/Re s p o n s e s
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68
The initial design work was predominantly sketching and two and three-dimensional computer drawing/modelling until a concrete proposal began to form. Throughout this initial process of design, ideas, principles and discoveries from literature and precedent studies as well as knowledge gained through discovery of design became increasingly influential on the project. The following concept iterations were preliminary ideas showing a progressive understanding and development of how to apply geometry to an underlying structure of centres in a given site:
5 . 6 Fi r s t C o n c e p tu al Re s p o n s e / C o m p o s i ti o n This response was the first in a series of developments; an exercise in composing elements in response to centres, movement lines and possible ideas of function. The response was particularly focused on responding to the major centre located on the middle circle of the ellipse in the innermost part of the bay – the circle is identified in the image below and is the most predominant centre on the site because of the numerous centres which create it.
dimensional response. The grid lines are guides referencing relationships to centres/ circles while keeping the axial nature of the underlying geometry. The density of positive space in the composition is situated around the epicentre of the centres which make up the geometry on site. The composition not only responds to the circular centres, but creates its own centres which then draw their own response to the design.
The lines of extension intend to connect to other centres surrounding the site and to express ideas of movement in, out and through the site while giving balance to the composition – as a two-
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5.7 Second Conceptua l Development/Response/ Composition This exploration extended the response to multiple circles or centres and introduced the notion of figure ground in terms of buildings and outside space. The darker objects represent buildings and the lighter grey as external outside space for movement, function and composition in supporting the buildings. Responding to the hierarchy of centres was still a major part in establishing the locations for the geometries in the design. An idea that became apparent was that the buildings now had multiple centres to respond to in order to create a coherent composition or possibly the design would fall apart.
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A way to access whether it appears coherent is to judge whether anything ‘annoys your eye’, as if to say, is there anything that appears out of place and needs to be reworked? – A dialogue between the drawing with and without the element that seems to annoy the eye allows this judgement to happen and the irritant can be identified. The essence of the way the buildings are designed was that in responding to centres they in turn created their own centres in which the other buildings then had to respond. The design issue then became how to adjust the placement of buildings or space on the basis of another building or space. After evaluating this concept the idea of a ‘cap’ is missing; whereby the echo of the half circle on the bottom is not repeated elsewhere in the design in order to unify the design as a whole.
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72
5.8 T hird Conceptua l Development/Response/ Composition The development of this iteration led to a response to a greater number of centres once again; after evaluating this concept, the reason this is done is because of the notion that the greater the number of centres involved in a design the richer the wholeness of the object. As Christopher Alexander says “The degree of wholeness which a carpet achieves is directly correlated to the number of centres which it contains. The more centres it has in it, the more powerful and deep its degree of wholeness.”61 I am recalling and reiterating that research result that Alexander made analysing the geometry of the carpets in order to articulate the correlation between the ways to design and evaluate geometries. 61
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Ibid. 36.
The focus of this concept was the creation of centres within the design; to create outside space between buildings which was as strong as the buildings themselves. Again how to shift and adjust buildings in order to change the dynamics of the composition; the ways in which this might operate as architectural space and form. Another aspect that this concept dealt with was the level of engagement that the design had with the water’s edge, to interact and relate compositionally to this large volume. It could be described as a border between the site and the surround context of not only the water but also the land. The design becomes the transition between the water and the land with a gradient of transition across this edge while still containing a multiplicity of centres in order to unify the whole at the larger scale of Matiatia Bay. Essentially Matiatia Bay itself can be considered as a small centre on Waiheke
Island which is in turn another centre in the wider context of the Hauraki Gulf; as Alexander describes it in carpets “they are themselves microcosms of wholeness.”62
62
Ibid. 32.
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5.9 Four th Conceptua l Development/Response/ Composition This response re-introduced the idea of the ‘cap’ at either end of the scheme. In the second concept the semi-circle was not echoed anywhere else in the design, the idea in this design was to attempt to unify the design by echoing the lower cap somewhere else in order to begin to create/define a ‘whole’. The circular element at the top end of the design was an attempt at echoing the lower cap but after evaluating the scheme, the upper cap is not coherent or strong enough as an element to hold itself. The elements which extend away from the main cluster of buildings and space are supportive elements which hold the design using the numerous centres which surround the site. The buildings on the design focus
around centres of ‘negative’ space and the idea behind this development was the creation of subsidiary outside space which supported the larger outside space. Hierarchy is an important aspect in creating ‘negative’ space; for if you only see the buildings when designing you lose coherent perception of the space because the designer is no longer dealing with the unity of the design, as Alexander says “The treatment of the ‘negative’ space between motifs as positive, is probably the single most important factor, in determining the density of centres, in a carpet. In a really good carpet, there is no distinction between figure and ground; every single piece of the space, or almost every single piece, is a centre; and the resulting density of centres is enormous, since there are centres everywhere, intertwining, interlocking,
overlapping, and side by side.”63 Although Alexander is speaking about carpets, the idea is the principles he draws from analysing them can then be applied to the process of architectural design whether it be in two or three dimensions. This concept does not deal with this hierarchy in scale particularly well and many of the buildings or spaces are of the same scale; there needs to be an introduction of ‘levels of scale’ as Alexander describes it.
63
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Ibid. 53.
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5.10 Fifth Conceptua l Development/Response/ Composition This development engaged with the secondary axis more; the result is a scheme which has a unity which embraces and begins to hold itself in the land while still engaging with the ‘border’- water’s edge. It responds to an even greater density of centres which can only intensify its wholeness. The caps at either end of this design are semi-circular elements represented in the buildings themselves. The hierarchy of space in this development was dealt with in two stages of movement through the scheme; one is departing and arriving to and from Auckland by ferry; two is departing and arriving to and from Waiheke itself. This necessitated a movement line which was divided into two primary spaces connected through a smaller
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subsidiary space which rotated/ changed in axis around a significant landmark; identifying this landmark as a clock tower of some description which could be identified from either end, arriving or departing. The creation of multiple centres using buildings and space manipulation was one of the primary goals of this scheme, and in order to do this there needed to be a blur between the negative and positive space for this would lead to a strong composition. While this configuration is being manipulated there is a constant thought process of the functions which will inhabit these spaces and the possible ways in which they can engage in the spaces. Function merely decorates the space which the architect creates and is often proof of a wellconsidered and design piece of architecture and space.
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The ideas which are being established through Alexander are present in much of FLW’s work and the belief is that by using Alexander’s understanding and analysis of the principle ideas behind good design it will allow an understanding of FLW’s work and how he may have designed. Understanding the movement lines of people through the space in turn establishes a hierarchy of space along this line where establishing more predominant spaces becomes key to the success of the composition.
being a primary generator of design. It will allow a more complex and resolved scheme to develop and begin to give insight into the possible design process of FLW. The composition of the plan in twodimensions is a complex thing; in order to achieve truly good design the principles and rules of arranging centres set out by Alexander need to be integrated in the appraisal and analysis of the design; for as FLW believed the plan is the primary generator of form and so this is a critical stage of the design process.
Unifying the design using levels of scale to create a design as a whole becomes critical to the design working compositionally. This revolves around the ideas of centres and axis
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5.12 Developmen t o f Co n c e p t The three-dimensional development of design continues on as a composition of solid and void (positive/negative) responding to the natural surrounds from which these geometries were constructed in the two-dimensional plan. Identifying spaces of importance and creating a hierarchy which acknowledges and strengthens the characteristic of a given space. This hierarchy of space lends itself to adapt to paths of movement, places of entrance, gathering and suggests locations which may contain particular functions while all adhering to the underlying geometry of the composition.
which do not enclose a central space, for instance, and need to be altered in order to give the space substance and strengthen its emotional level of connection for occupants – centeredness. The changes made to the geometry are based on not only the initial framework of axes and guides first set out but on the development of the twodimensional plan where it may be necessary to change and tweak the composition to achieve the ‘whole’.
Analysing the geometry in both the two and three-dimensional stage is fundamental to identify any geometries, forms, shapes, solids or voids which are deemed to be ‘bad’ geometries. These may be spaces or forms
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Much of the design process has been in two-dimensions because of the relationship of Wrights generator if ideas being in plan. Curiosity around the need to develop a three dimensional response led to the mapping technique of the initial twodimensional analysis be translated into the third dimension. This resulted in a mapping exercise of the site in three dimensions, which in turn revealed intricacies of the landscape of the extraordinary way it can essentially be abstracted into pure geometry. Although arbitrary in the choice of geometry – the use of it in the initial mapping exercise gives it relevance in this process – the circle shows the movement and harmony of the geometry as it meanders through the land and underpins the topography. The diagram displays the multitude of centres at sea level and gradual
union of the geometry and merging of centres – circles – into one identifiable centre at the high points of the surrounding headlands. The model below shows the result of this analysis:
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Figure 5.3: Photos of three-dimensional Site model analysis.
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5.14 Development of conc e p tu al pla n
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Initially the design development continued in plan. Experimentation in conjunction with the knowledge of the underlying structure of Matiatia Bay produces a response which can then be processed and evaluated using principles of good design. This initial drawing was exploring possibilities of permeability versus closure for the buildings and the relationships they then establish with the surrounding spaces and other buildings. This in turn translates to an interlocking of interior and exterior and provides a multitude of boundary conditions and levels of scale which contribute to the ‘whole’ object. One of the primary things this plan was attempting was to engage the buildings with the outside space; to establish
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how variations in wall thickness and transparency could embrace the exterior and control the experience and function in that space; using elements across the composition which are informed by principles of good design. This is something FLW does particularly well; in his plans he uses elements close to walls and against walls to create an interaction with the surrounding space and context. These elements of structure or ornamentation are almost always based on or reflected in symmetry along a major or minor axis. These elements help create a unity in the plan and establish levels of enclosure and scale within the overall design, which are crucial to them not being an irritant in the composition. Levels of enclosure or scale is important at all levels of the design; “That is, the different centres, which are developed, in order to intensify a given
whole, tend to be at different scales – so that in the finished product, we observe a system of centres, nested at a great variety of scales.”64
64
Ibid. 58.
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Figure 5.4: Development of conceptual plan.
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5.15 Fund a menta l thinkin g/ i d e as dr a w n from d esign proces s
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The principles of good design are important in preventing irritants, and by using them in a process of evaluation they can help distinguish geometries which are perceived as good or bad. This is a part of the process which requires the withdrawal/removal of the designer from design environment. This appears to allow an input to take place from the conscious to the sub-conscious minds. In the process of the design, the structure of geometry in Matiatia Bay was established as an ‘input’ into the conscious state, where essentially as geometers we experiment in design trying to establish a good analytical geometry, often to no avail, until we step away from the drawing board and do something other than design, whether it be playing a game of football or going to sleep; it allows our sub-conscious to process and evaluate the structure and data which we
had initially input into our consciousness and thereby also our subconscious. The return to the drawing board the next day with a ‘fresh eye’ and a sub-conscious which has been allowed time to process the structure often results in a moment(s) of realisation where we are able to see what changes need to happen in the design in order to resolve issues of bad geometry. One might describe this as an Aha! Or Eureka Moment (Archimedes). The return to the drawing board also allows the designer to see often simple moves in order to correct these bad geometries so that they no longer irritate. This is where the idea of the irritant is the strongest, for once a design no longer contains an irritant, it is to say that the bad geometries have been resolved to a geometry which is deemed acceptable. It is within this process where the principles and
rules of good design are most relevant and necessary; knowledge of them allows for the evaluation of bad geometries – irritants – and the ability to be able to rectify them.
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6.0 Design Development 6.1 Developmen t i n the T hi rd Dimension The development became an exploration of form and shape in the third dimension on the basis of the underlying structure identified in Matiatia Bay. The explorations developed with a series of three-dimensional computer models which were developments of the initial two dimensional concepts; while thinking behind composition of form and space advanced from the initial twodimensional concepts, it was important to understand the consequence of change and the “follow on� affect a change has on the rest of the design.
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6.2 Design iter a tion one
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6.3 Design iter a t i o n tw o
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6.4 Design iter a tion three
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6.5 Design iter a t i o n f o u r
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6.6 Design iter a tion five
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Restaurant
6.7 Explor a tion o u tc o m e These models predominantly explore the way in which outdoor space is created through the use of masses in response to the geometric analysis of the structure of the site. The models explore ideas about hierarchy amongst the spaces – while creating a multitude of centres which support the composition of space, composition of buildings in vertical direction – it is important to establish suitable heights for forms which surround a space, this is where the sketching/viewing of perspectives is useful as it aids in identifying whether the spaces are defined sufficiently.
Art Gallery
Waiting / Terminal
Commercial
Commercial
Art Gallery Retail Secondary Tower
Cafe
Retail Waiting Primary Tower
Bus / Taxi
Retail Boat / Kayak Hire
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6.8 Development of d esig n The initial design development began as an analysis of the latest iteration; to evaluate the geometries and ask is it good design? Is it good geometry? MATIATIA BAY FERRY TERMINAL
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The analysis was a series of diagrammatic drawings which analyse the geometries, spaces and movement in the design resulting in establish the following: The buildings at either end of the design lack any extension into space and leave open ended channels where the ‘cap’ becomes ineffective because of its arbitrary relationship to the buildings either side of it, thus there is no sense of enclosure and the spaces become ill defined in their geometry.
The outdoor spaces have no differentiation from one another; they are of equal size and proportion and don’t distinguish or have relationship to the surrounding buildings. It is important to establish a hierarchy of spaces by establishing how the spaces will be used and inhabited as people depart and arrive from the ferry terminal. This showed that the primary outdoor spaces which need differentiation from the surround spaces were two large spaces at either end of the movement line; one - where people arrived off the ferry; two – the initial arrival point when approaching from the Waiheke side of the design.
ferry terminal into the first primary outdoor space, around to the north and towards the second primary space where people are disembarking from the ferry. The resulting changes led to a design which began to read more strongly as a whole, and which contained a multiplicity of centres .
The location of the tower became a critical aspect to the way people orientated and moved through the design. It must be in an identifiable position which also negates a change in axis from the approach to the
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Figure 5.5: Series of analytical sketch developments.
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The development took consideration of the diagrammatic analysis of the conceptual development and made changes to the composition of the buildings and spaces in order to rectify the following: MATIATIA BAY FERRY TERMINAL
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Extension of buildings into space.
Hierarchy of outdoor spaces, identifying two prominent outdoor spaces to respect.
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Differentiation of buildings.
Movement line around the tower or ‘knuckle’.
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Adjust buildings in plan in order to resolve issues in visual composition when moving through spaces.
Figure 5.6: Design Development Massing.
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This development focused on adjusting the plan based on the perspectives below, which were drawn in order to be able to evaluate the design. As in the Blossom House analysis the scheme was evaluated and tested through a series of drawings which display and made observations on the basis of principles of good design; to establish whether the geometries were working and creating spaces which were indeed ‘good’. Never was there a perspective and a fudge of the plan to suit. If a space or form didn’t work in the perspectives then there was dialogue between the plan and the perspective in order to resolve the geometry within the plan. By doing this it was possible to establish visual connections through the site which would allow the public to navigate through the spaces
and buildings while determining where a building may need to differentiate from another in order to successfully compose itself in the field of view.
with the possible functions which might be in that space in mind. The function ‘guides’ or ‘informs’ rather than dictates the design at this stage.
Although in the back of the conscious mind a designer is constantly thinking about the functions which may pertain to a space or building it doesn’t influence the initial geometry to the point where there is any designing for a specific function. Rather the geometry is established with the required functions in the back of the mind – but never dictating the composition of geometry – and when it becomes appropriate to start incorporating the function into the geometry; to begin to decorate and inhabit the forms and spaces, then there is a process to manipulate and make small variations in order to accommodate them. In essence the dimensions of form and space are such only
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Figure 5.7: Evaluative perspective sketches.
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6.9 Developed Design Ou tc o m e s The designs generally dealt with similar issues and as a result the following things were identified as being important:
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The need to ‘cap’ or close a design in plan is reiterated in the third dimension. It comes necessary to introduce an element of height to the buildings which bound not only a space, but to respond to the multiplicity important centres which array across the scheme. At either end of the design height is giving to part or all of the building to signify a close in the boundary and to emphasise the cap which is apparent in plan but may not be abundantly apparent when a person is in the space; although the height given to the building intends to help a person orientate themselves in a space.
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Introducing a tower which is substantially taller than the rest of the surrounding buildings acts as a place marker for the design not only from a distance, but when a person is in amongst the buildings. It allows them to orientate themselves to a larger landmark and also acts as a pivot point for people to move around, or to aim for as they move through from one side of the design to the other.
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Large public spaces at either end if the scheme which is differentiable from the surrounding spaces by their size and their correlation to the primary buildings and movement lines through the site. The larger spaces are connected through a series of smaller geometries and centres and act as anchors in the design as they support the surrounding buildings as they support the space.
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Differentiation of the significant buildings amongst others; this again allows the building to be identified as one of the main buildings from the surrounding buildings. It is important as it allows a person to be able to identify the building which is considered to be the prominent building.
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The treatment of the ‘negative’ space as positive space in order to create a unity between positive and negative. This increases the density of centres in the design, making it stronger and richer in its composition because it becomes difficult to differentiate the positive and negative space from one another.
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Interlocking and ambiguity of positive and negative; interior and exterior creates connections between the geometries not only in plan, but in the
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three dimensional aspects of the design. It creates strong centres with multiple boundaries or levels of enclosure which unify spaces and buildings and create a series of ‘wholes’ and ‘centres’ which allows the design to be read as one whole.
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Extensions of space which create connections between indoor and outdoor spaces, in essence overlapping subsidiary geometries or ‘centres’ which support the larger outdoor spaces and buildings. 6.10 Developing o f an a rchitectur a l la ngu ag e This is an important aspect to consider when designing for a particular purpose and culture. Waiheke Island is a diverse place where people distinguish themselves from the mainlanders. It is important that they have their own voice, and a building
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that belongs to them. Tectonics, materiality and cultural style are important in differentiating the people of Waiheke from other New Zealanders. An exploration into Tectonic representation along with the creating of an architecture which relates to Waiheke’s culture was the main goal. The initial response was to introduce a more angular language where buildings tended to taper and truncate to create geometries which responded to the spaces which had been established in the developed design. The recurring idea of FLW that the building arises from the land was one which provoked thinking of the material relationships to the surroundings and how exactly a building may ‘arise’ from the land.
The contrast of timber against stone or concrete; where the stone seemingly lay ruined on the site while the timber perched itself on top of it was a play of materiality and tectonic which was rich in idea and culture. The exploration took hold of this concept and explored how the two materials would relate and interlock. Early development looked at a style which was angular and energetic in its projection; but explored the same ideas of composition and good design that were explored in plan: deep interlocking, symmetries, capping and hierarchy of buildings and spaces to name a few. The ways openings would penetrate and aid in the sculpting of the elevations, rather than punching an arbitrary hole in a wall.
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This language was a challenge in its geometric construction because of the angular nature of the design to find the true shape of facade and an elevation was perplexing at the best of times. This was fundamental in changing thinking of how to compose of elevations and facades on a building. It is not a composition of four different facades; rather it is a composition of one ‘whole’ which has four parts in it. This establishes relationships between the numerous elevations and forces you to think of how they connect/wrap around a surface or form; while always understanding the relationship of the elevations to the surrounding spaces, buildings and environment. This is displayed in the images below:
6 . 1 1 Ou tc o m e s f ro m the d e ve l o p m e n t o f an arc hi te c tu r al l an g u ag e / s ty l e The reason this language of design was unsuccessful is due to the fact it is hard to differentiate between the buildings; because the angular nature is one which we are not used to contemplating and as such, when confronted with so much It becomes difficult to distinguish the individual from the whole. In essence they have too much visual excitement because they all read as the same and thus they end up losing their visual impact. If there is too much of the same it makes it hard to establish which elements of the design are ‘bad’ because you don’t have a good geometry within it to make
comparisons too. Your consciousness makes the presumption that it is acceptable because it cannot distinguish between the good and the bad geometries. The exploration described the idea of restraint in the use of angles. It is more suitable to use an angled surface in moderation to exemplify a particular part of a building i.e. the entrance to the building; or as the building appears in a space and a person’s field of view, introducing an angle to differentiate it from its surrounding buildings. It is imperative to design a building’s façade and/or elevation as one ‘whole’ rather than a series of individual pieces; to consider the relations of the pieces to the contribution of the ‘whole’. It appears Wright’s plans translate into a three dimensional master piece through careful composition of
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geometry as he does in plan, but this was outside the scope of the research. The three dimensional geometries appear to arise out of but are not completely obvious in the plan. This emphasises the concept of continuous centring Alexander describes,
where there is an array of ‘centres’ in a design where the scale of the centres translates down to the detailing of the handrails. This allows tectonic elements to become decorative, ornamental or detailed centres that contribute the level of “wholeness” achieved in a design.
Figure 5.8: Design language development.
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6.12 Fina l Desig n The Final design is a cognizant of the developed design – where I was exploring the relationships of the forms to spaces while using evaluative good design principles to rectify and make changes where necessary – and the exploration/ development of an appropriate architectural language. The principles of good design play a critical role in this final stage of the design process. Understanding the successful aspects of the massing in the developed design and drawing key aspects from the architectural style exploration is imperative to producing a successful design. The following are some of the ideas which were central to the refinement and resolution of the final design:
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How buildings relate to their surrounding spaces, and the treatment of negative space as positive.
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Evaluating the design by establishing irritants in the composition of the plan, elevations – as a ‘whole’ and through the use of a three-dimensional computer model to establish how to manipulate and correct volumes, forms and shapes to appear fitting in the visual field/view.
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Differentiating important buildings from those that surround it.
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The tectonic expression in relation to materiality – stone and timber.
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Responding and designing to ‘centres’ of space in order to create a ‘whole’.
The geometry in the plan of the final scheme appears coherent and “whole” in its current composition and configuration on site. It responds to the initial structure identified in Matiatia Bay in such a way that it feels as though it emerges from the landscape; composes itself around the “centres” (circles) identified in the bay and responds by creating a series of sub centres which support and intensify the sense of place on the site. Two prominent courtyards hold hierarchy over the other spaces; the first when you enter the development from the Waiheke end and the second beyond the primary ferry terminal building when arriving from Auckland. These “centres” link together along the primary line of movement through a subsidiary space which is occupied by a tower which acts a “centre point.”
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There is a clear definition of boundary around the main line of movement which establishes them in strong contrast against negative outdoor open space. These negative spaces also hold a hierarchy over the subsidiary commercial spaces which are set back against the landscape.
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Alternating repetition between the positive and negative space accumulates the wholeness in the design while creating visual connections out to the major geometries in the landscape when moving the spaces. The negative spaces are occasionally covered with a shade screen which is used to visually connect buildings in plan where a space needs enclosure and unify the geometry. The shade screens also frames the views with look out into the landscape, narrowing the sense of perspective and heightening the awareness of the surrounding geometries in the land.
The shapes and forms interlock and display a sense of ambiguity in their relationships of their line, edges and boundaries. The relationships this achieves between the positive and negative spaces means that the geometries and elements in the design overlap allowing now clear line where geometry may be disconnected from the achievement of “wholeness.” The functionalism of the buildings played a key role in establishing the final geometries of the design. The geometries altered and refined on the basis of finding another geometry - of the vast number which are geometrically possible – which is able to satisfy the needs of the function while still fundamentally designing with good geometry.
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6.13 Final design - aerial plan
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6.14 Final design - aerial perspective
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6.15 Final design - perspective
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7.0 Conclusion/ Critical Appraisal The purpose of this project was to investigate whether it was possible to design a ferry terminal that draws from and responds to Frank Lloyd Wright’s fundamental principles of design. This would be achieved through geometric and architectural strategies using research by design. The final design exploration begins to demonstrate an approach to design that uses geometry as underlying structure in order to generate the initial composition. This project appears to reveal possibilities about Frank Lloyd Wright’s design process. It suggests that there may have been an influence of geometry in the way he composed his built environments. The reason this project was able to draw these conclusions was by using Christopher Alexander’s principles of designing good geometric centres to analyse Wrights
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work. This enabled a methodology that was underpinned by an initial generation of geometry which arose from the “organic” land of Matiatia Bay. This same methodology allowed stages of evaluation throughout the design process where geometries good be appraised and manipulated so the end result was a “good geometry”. The project suggests that there may in fact be a system of design which Wright understood and used in his design process; a method which is ever-present in everyone’s process, but of which they may not know.
To take the proposed ferry terminal design, break it right down, analyse and manipulate the geometries with more scrutiny and rigor so that the geometries become so tightly interlocked and defined; by using the principles of designing good geometries to evaluate the composition, that the design feels it is so deeply in tune with the geometries of nature that there appears to be no other possible alternative for the this site. I believe this is when the composition is at its richest quality and most successful.
The future directions for this project would be to analyse a greater number of Frank Lloyd Wright’s work in order to establish commonalities and inconsistencies in his use of geometry in his process of design.
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8.0 Bibliography
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Alexander, Christopher. A Foreshadowing of 21st Century Art : The Color and Geometry of Very Early Turkish Carpets. New York: Oxford University Press, 1993. Bhatt, Ritu, and Julie Brand. “Christopher Alexander: A Review Essay.” Design Issues 24, no. 2 (2008/04/01 2008): 93-102. Blackwell, William. Geometry in Architecture. New York: Wiley, 1984. “C.F. Moller Architects.” http://www.cfmoller.com/p/New-ferry-terminal-Stockholm-i2705.html. Ching, Frank. Architecture, Form, Space & Order. 2nd ed. New York: Van Nostrand Reinhold, 1996. Council, Auckland City. “A Vision for Matiatia - Stage Two Design Brief.Pdf.” www.waihekecommunityplanning.org.nz. Freed, Eric Corey. “Http://Www.Organicarchitect.Com/Organic/.” Lind, Carla. The Wright Style. New York: Simon & Schuster, 1992. McCarter, Robert, and Frank Lloyd Wright. On and by Frank Lloyd Wright : A Primer of Architectural Principles. London ; New York, NY: Phaidon Press, 2005. Psarra, Sophia. “Geometry and Space in the Architecture of Le Corbusier and Mario Botta.” In Proceedings of the International Space Syntac Symposium 1. University College London, London, UK., 1997.
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Rowe, Colin. Character and Composition. In Mathematics of the Ideal Villa and Other Essays. Cambridge, Mass.: MIT Press, 1976. Smith, Kathryn. Frank Lloyd Wright, Hollyhock House, and Olive Hill : 1914- 1924. Philadelphia: Society of Architectural Historians, 1979. Tice, Paul Laseau and James. Frank Lloyd Wright between Principle and Form. 1992. Wright, Frank Lloyd, Bruce Brooks Pfeiffer, Gerald Nordland, Dallas Museum of Art., and Scottsdale Arts Centre Association. Frank Lloyd Wright in the Realm of Ideas. Carbondale: Southern Illinois University Press, 1988. Wright, Frank Lloyd, and Donald D. Walker. An Autobiography. New York,: Duell, 1943. Wright, Olgivanna Lloyd. The Shining Brow. New York,: Horizon Press, 1960.
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List of Figures Figure 1.1: Frank Lloyd Wright Blossom House floor plan. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Figure 1.2: Frank Lloyd Wright Dana House floor plan.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Figure 1.3: Frank Lloyd Wright Hollyhock House floor plan.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Figure 1.4: Frank Lloyd Wright Ocotillo Desert Camp plan.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Figure 2.1: Map of New Zealand.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30 Figure 2.2: Map of Greater Auckland. Site Identification.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 Figure 2.3 & 2.4: Map - Photo location and panoramic image. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33 Figure 2.5 & 2.6: Map - Photo location and panoramic image. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Figure 2.7 & 2.8: Map - Photo location and panoramic image. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Figure 2.9 & 2.10: Map - Photo location and panoramic image. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39 Figure 2.11 & 2.12: Site analysis and environment. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
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Figure 2.13: View towards Rangitoto and Auckland City from Matiatia Bay. Figure 2.14: Waiheke Island Winery. Figure 2.15: View across Waiheke Island headland. Figure 2.16: Art walk on Waiheke Island. Figure 2.17: Mudbrick Vineyard. Figure 2.18: Passage Rock Winery. Figure 2.19: Array of corks. Figure 2.20: View of Vines. Figure 2.21: Waiheke Island House by Mitchell and Stout Architects. Figure 2.22: Outlook from Waiheke Island. Figure 2.23: Wine Barrels. Figure 2.24: Mudbrick Vineyard Cottage style building. . . . . . . . . . . . . 43 Figure 3.1: Canopy covering existing walkway 3.2: View from ferry looking at existing terminal. Figure 3.3: Looking east towards the end of the covered walkway. Figure 3.4: View South at current Ferry location Figure 3.5: North east view of current wharf.. . . . . . . . . . . . 45 Figure 3.6: Analysis of site. 3.7: Perspective view terminal in relation to ferry. Figure 3.8: Aerial site plan of proposed design. Figure 3.9: Interior view of proposed terminal. 3.10: Photo of design model. 3.11: Perspective view of terminal.. . . . . . . . . . . . . . . . . . . . 47 Figure 3.12: Frank Lloyd Wright time-line. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51 MATIATIA BAY FERRY TERMINAL
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Figure 3.13: Frank Lloyd Wright Ocotillo Desert Camp.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Figure 3.14: Frank Lloyd Wright Blossom House. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55 Figure 3.15: Frank Lloyd Wright Dana House.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57 Figure 3.16: Frank Lloyd Wright Hollyhock House.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59 Figure 3.17: Frank Lloyd Wright Nakoma Golf Club. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 Figure 3.18: Frank Lloyd Wright San Marco. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
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Figure 3.19: Frank Lloyd Wright Madison Unitarian Church.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 Figure 3.20: Frank Lloyd Wright Marin County Civic Centre.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63 Figure 3.13: Hollyhock house analysis - Levels of scale. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 Figure 3.14: Hollyhock house analysis - Strong centres.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71 Figure 3.15: Hollyhock house analysis - Boundaries.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72 Figure 3.16: Hollyhock house analysis - Alternating repetition. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72 Figure 3.17: Hollyhock house analysis - Positive space.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 Figure 3.18: Hollyhock house analysis - Good shape. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73 Figure 3.19: Hollyhock house analysis - Local Symmetries. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 Figure 3.20: Hollyhock house analysis - Deep interlocking and ambiguity.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74 Figure 3.21: Hollyhock house analysis - Contrast. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75 Figure 3.22: Hollyhock house analysis - Gradients. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75
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Figure 3.23: Hollyhock house analysis - Roughness.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76 Figure 3.24: Hollyhock house analysis - Echoes.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76 Figure 3.25: Hollyhock house analysis - Void. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77 Figure 3.26: Hollyhock house analysis - Simplicity and inner calm.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77 Figure 3.27: Hollyhock house analysis - Not-seperateness.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78 Figure 5.1: Construction of Ellipse tangent lines. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83 Figure 5.2: Ellipse analysis if Matiatia Bay.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85 MATIATIA BAY FERRY TERMINAL
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Figure 5.3: Photos of three-dimensional Site model analysis.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99 Figure 5.4: Development of conceptual plan. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101 Figure 5.5: Series of analytical sketch developments.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111 Figure 5.6: Design Development Massing.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112 Figure 5.7: Evaluative perspective sketches.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115 Figure 5.8: Design language development.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119
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9.0 Appendix A
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10.0 Appendix B
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War re n Br y an De n ho l m Ni c h o l s o n
Fr a nk Lloyd Wr i ght’s u s e o f Ge o m e tr y i n Arc hi te c tu r al d e s i g n .
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