ARCHITECTURE DESIGN STUDIO: EARTH S1, 2017 SUBJECT STUDENT BOOK Wenxiao Zhu 825825
Tutor: Viet Pham
Contents 1.0 Point, Line and Plane 2.0 Mass 3.0 Frame and Infill 4.0 HERRING ISLAND Site analysis 4.1 Conceptacle and Sketch design 4.2 Design Precedent 4.3 Design Development 4.4 Design Drawings 4.5 Design Optimization 4.6 Final Design Drawings 4.7 Final Design Model 5.0 Reflection 6.0 Bibliography
“The point of ‘meshing’ a complex surface is to resolve the joints and nodes in the simplest, repetitive way.” —Steve King About Architecture: 2016
1.0 POINT/LINE/PLANE The relationship of these three forms are changable and flexibale based on various views. The model can be classified into point, line and plane to indicate the flexibility and relationships among these three forms. The joints of multiple lines suggest that points are the intersections of lines. The increasing density of lines at the bottom is to and high density of lines become planes. Its repetitive and symmetric lines are aim to show the technique of ‘meshing’, a complex curved plane can be clearly expressed by these lines and their joints by simply meshing through the space.
Precedent — Guangzhou Opera House Zaha Hadid used a simple triangular shape to mesh the irregular shape. The main auditorium is lined with moulded panels made from glass-fibre reinforced gypsum to create a folded, flowing surface. The combination of joints and lines to model a complex surface inspires me to use cured lines to discuss the relationship among these three terms.
2.0 Mass Mass normally means a closure volume, always in solid form to provide a sense of private. A half-underground pavilion is drawn to show the light and shadow of interior space. The arrangement of stairs limits the accessibility of the pavilion, The above-ground en-trance is at the right side, for people to get to the underground space, they have to climb all the stairs in anti-clockwise. Under-ground space is isolated from the above-ground space to guaran-tee and highlight the sense of protection. The underground term of Mass will be developed as my Herring Island project later.
Precedent — Sigma House The’Sigma House’ is the spatial projector which presents activities into the existent space. A space is an activity. By combining certain activities, a certain available space can be created depending on the user’s needs. The isolation of multiple rooms in Sigma House inspires me to draw an architectural mass that provides sense of private by limiting the accessibility. Similar stairs that used in Sigma House are also placed between each two floor.
3.0 FRAME& INFILL Repetitive cube forms are designed to show the various densities of the frame structure in order to provide a contrast with simple but solid infill. The idea is to show the irregular shape and relationship of the infill which is supported by the regular frame structure.
Forward-Looking, Sou Fujimoto, Japanese
Precedent — Sou Fujimoto’s architecture For the support structure of the frame, Fujimoto’s frame shelter provides me an inspiration to design it in a dense but stratified form in order to highlight the contrast with the infill objects.
NA house, Sou Fujimoto, Japanese
4.0 HERRING ISLAND - Site Analysis
8. Scaled Stem by Robert Bridgewater 1999
9. Falling Fence by John Gollings with Samantha Slicer 2001
A sinuous form detailed with intricate patterning carved in cypress macrocarpa, which can be linked with a budding boat, a fish float or scientific apparatus .
Designed specifically for its site on the Northern bank of the island. Its compatibility with the environs will only be enhanced through futher native planting.
The organic worked textures of “Scaled Stem” highlight “an inseparability and interdependence between notions of nature and culture”.
The latest permanent addition to the Herring Island.
7. Ramp by Robert Jacks 1998
3. Cairn by Andy Goldsworthy
1997
Gallery
The only natural valley on the island was set aside for British sculptor Andy Goldswothy’s two works.
Constructed of red gum, “Ramp” responds and relates to the tranquil environment of the island and the demanding urban dimension of the freeway across the river.
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5. Steerage by Jill Peck 1997 A large sacle Harcourt granite boat form at the westernmost point of this island as a metaphor for journeys, water and knowledge. The prow of the sculpture and the prow of the island point downstream woeards the city’s horizon.
4. Stone House by Andy
Goldwothy 1997
Made from Dunkeld sandstone in a similar way to the artist’s renowned ephemeral works. The artist believes this work is most powerful from a distance, and that is emphasises the sense of discovery and concealment that an island holds for him.
6. Tanderrum by Ellen Jose 1997 A ceremony of Aboriginal culture , which brings together concepts of pride, culture and spirit, and symbolises the coming together of the Kulin nation as one people.
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The head part symbolises the imagination of a vision for the creation of flight.
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1. Audience by Julie Collins 1997 Created exclusively from bluestone taken from the tunnel under the Yarra River, which is intended to welcome visitors upon arrival at the jetty landing. Ambiguous carving of strange creatures at times reminiscent of native animals and birds present a silent audience for visitors.
Foresight
Covered by fabric, in order to prevent grass growing too high and block the view of the falling fence. Presence by John Davis 1997 Combined water, timber, vegetation and limestone together, which are found in the natural landscape and provide a sense of place and recognition of the island’s source.
Backsight
Glass pieces stuck in the stones, which reinforce the concept of ceremony in a mystery way.
Man-made treatment of trees by using grass to cover the general shape of wood to make the object very hard to be discovered, which can be applied to my further desgin.
North Landing
Ferry Path
South Landing
Contour Level
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Vegetation Distribution
Circulation
10 0
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40
60
80
100
120
140
160
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200
Scale of Metres (1:2000)
Sound Density Diagram Lowest
Highest
Major Humanity Domain
Thermal Diagram Lowest
Highest
Como Landing
Site Selection
Here is probably the steepest spot of this island, which means it limits people’s associability. If a site is designed at here, people can only get inside by following my certain path and design, which enable me to apply my idea to visitors in a very smooth way. The other reason is, it is close to the South Landing. Normally people land at the North Landing and also get back to it after visiting the island. To avoid repetitive circulation, a platform could be built at the exit of my pavilion and directly leads people to the South Landing.
4.1 Conceptacle & Sketch Design A pavilion was designed to indicate the process of discovery through the stairs as a respond to the other design works on the is-land. All the existed design on Herring Island is not mean to com-pletely hide from visitors, but not willing to show themselves either. They are just there. So I give up the above-ground entrance to sug-gest there is an underground space such as Louvre Pyramid as I prefer to design it in a natural way. So there will only be stairs on the ground to lead people down, the process of discovery has a high response with the other designs. The scene will be brighter as peo-ple walk deeper, the fancy feeling along the path that I want to provide to visitors is the first idea of the pavilion.
Conceptacle model was mean to exaggerate the shape of the pavilion to emphasise the general concept. The maximum height on this site is 7-8 metres. 2-stories pavilion has been designed to guarantee a minimum height of 3 meters per floor. The first floor is the place for secrets, which is connected to the stairs. The ground floor is mainly used for transferor people down to make the ferry.Multiple openings guarantee proper intake of sunlight to ensure the safety of inside activates. As there is a regulation of slope in architecture construction, the later model may reduce the slope to a viable angle.
4.2 Design Precedent
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The Kiro-San Observatory
When describing this project, Kengo Kuma used the term ‘architecture of disappearance’ where the architecture becomes a part of the landscape and the building “sees” rather than being seen. Which inspired me to hide the path to the pavilion under the earth to become part of the island structure as well as provide a mystery feeling by controlling the intake of sunlight.
4.3 Design Development
4.4 Design Drawings (1:100)
4.5 Design Optimization The Initial idea is letting people speak out their secrets in multiple individual rooms. There are openings at the ceiling and ground as well as French windows to express that the river is the audience of people’s secrets. The issue of the design so far is, lack of suggestion of its function. To make people understand better about how to use this pavilion, an optimization has been taken to enhance the indication. And also in-stead of talking secrets to the nature, a more interesting way is, exchanging secrets with a person you do not know and won’t know either afterwards. Rooms are moved from two sides to the middle, two small rooms combined together with a wall standing in the middle to avoid people’s physical contact with each other. New arrangement of the interior layout is able to provide a clearer instruction of its function to visitors. The innovative aspect is, instead of using the room individually, people can still com-municate while staying in separated room, which will provide a precious and fancy experience. The whole function of the pavilion is a bit like a church, just without a religion tone but focus on more in humanity.
Site Plan (1: 500)
4.6 Final Design Drawings
0m
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Floor Plan (1:100)
8m
Section (1: 100)
4.7 Final Design Model (1:50)
This pavilion is designed to make people actually connected with the island, by leaving their secrets before leaving the island.
5.0 Reflection
The previous three tectonic studies enable me to find out the most suitable form to apply to my final design due to my concept of discovery and exchanging secrets, which is mass. The suggestion of tutor provided me a different view to consider my pavilion, that is, it not only can be used individually, but also can provide an interaction with other people by staying in their own separated room. The pavilion became a great medium for people to experience a rare way to communicate. If we do not see each other, we may break down our psychological defence and consider our secrets in a different way. Throughout the development and optimization of my design, I realized humane is extremely vital to an architecture. Architecture should not be an art work, but is truly used and experienced by people, interacted with people. If the tour on Herring Island is a sentence, then this whole pavilion is the period of the sentence, which is entrusted by themselves.
6.0 Bibliography
Steve King About Architecture: 2016 http://stevekingonsustainability.blogspot.com.au/2016/?m=0 Rose Etherington, Guangzhou Opera House by Zaha Hadid Architects, Posted on 25 February 2011 https://www.dezeen.com/2011/02/25/guangzhou-opera-house-by-zaha-hadid-architects/ Yong Il Kim Team, Sigma House, 2009, Shinkenchiku Residential Design Competition http://cargocollective.com/htyoon/Sigma-House
House NA by Sou Fujimoto Architects, 2012 https://www.dezeen.com/2012/05/08/house-na-by-sou-fujimoto-architects/ ERIC ALLEN, Sou Fujimoto’s Forward-Looking Japanese Architecture, Posted on July 11, 2016 http://www.architecturaldigest.com/gallery/sou-fujimoto-ad-innovators-2013-slideshow/all Kengo Kuma Lecture, POSTED ON: OCTOBER 8, 2008 BY BUILD LLC http://blog.buildllc.com/2008/10/kengo-kuma-lecture/
You know my secret, but you will never know who I am.