EARTH BOOK
ARCHITECTURE DESIGN STUDIO: EARTH SM1, 2017 Yilan Zhao (798593)
TUTOR: HEATHER MITCHELTREE
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CONT
POINT/LINE/PLANE 1.0 PRECEDENTS 1.1 POINT/LINE/PLANEV1.2
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MASS 2.0 8 10
PRECEDENTS 2.1
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MASS 2.2
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TENTS
FRAME/INFILL 3.0
SECRET 4.0
REFLECTION 5.0
PRECEDENTS 3.1
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SITE ANALYSIS 4.1
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FRAME/INFILL 3.2
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PAVILIONS PRECEDENTS 4.2
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CONCEPT DEVELOPMENT 4.3
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CONCEPTACLE 4.4
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DESIGN PROCESS 4.5
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FINAL DESIGN DRAWINGS 4.6
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FINAL DESIGN MODEL 4.7
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BIBLIOGRAPHY
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THREE RELATIONSHIPS POINT/LINE/PLANE MASS FRAME/INFILL
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PRECEDENTS 1.1 The structure on the building is very interesting how the beams twisted. And few of it just hanging above other without touching. The ceilings of building are not all flat. It is very worth to find how these form a delightful contrast.
HYBRID BUILDING by STEVEN HOLL Seaside, FL, United States, 1984-1988
from: http://www.stevenholl.com/projects/hybrid-building photoshoped by Yilan Zhao
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Point line and plane, are very basic elements in design. Two points can define a line. There points define a plane, a surface. In my design, I started with points, firstly decided the points position then, connected this points. I was inspired by Steven Holl (precedents). the sticks are not touched, to add little interesting of the straight lines. The semi-transparent planes are built on the sticks. The design was using gravity of planes to create a natural bend.
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1. DESIGN SKETCHS AND PROCESS 2. POINT/LINE/PLANE DESIGN VERSION 1
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POINT/LINE/PLANEV 1.2
Point line and plane are not invariable, it depends on the wa The section of lines can be seen as point. In the design, I us highlight the section points. The ‘canvases’ aimed to create s define different scales of volumes. Meanwhile the curvy edge vases’ caused by gravity vitalize the design as well.
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1. top view 2. detial 1 3. detail 2 conjunction 4. elevation
ay to view. se colors to space and es of ‘can-
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PRECEDENTS 2.1 DRILLINGS / PERFORATIONS The caves by Iroglodytes are randomly excavated. And the concaves make larger room for living. Troglodyte Village in Iran 700 years old (In the north east of Iran at the foot of Mount Sahand in Kandovan, the villagers live in cave homes carved out from the volcanic rock) http://forum.xcitefun.net/troglodyte-village-in-iran-700-years-old-t29670.html
GRAVITY / WEIGHT The heavy concrete panels overlaying randomly. The scales and thickness of panels strongly give sense of lumbersome. They also play role of loadbearing walls. The assembly of them with gaps create massy form intrance. Wotruba Church by Fritz Wotruba Mauer, Vienna. 1974-1976
http://www.uncubemagazine.com/blog/10840277
CONTRAST Light and darkness contrast emphasize the weight, and space.
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3 4 1. mass texture 2. mass collage 3. sketch design 4. design practice
MASS is not an interlecture system, not geomegic, no nerative becaming. is a gravity experience. is based on material self.
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MASS 2.2
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New Yark painting by Piet Mondrian 1942
https://www.guggenheim.org/artwork/3011
A monumental Scaffolding of poplar wood by Ben Butler exhibition at The University of Mississppi Museum, Oxford 2015
COMPOSITION Take a basic geometric form. Developa pattern. Make sense of process.
http://www.thisiscolossal.com/2015/07/unbounded-ben-butler/
FRACTAL / TOPOGRAPHY / FIELD Take a basic geometric form. Developa pattern. Make sense of process.
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PRECEDENTS 3.1
KEY POINTS: - COMPOSITION PERMANENT FRAME + TEMPORARY INFILL - ANTI-GRAVITY (infill) - SENSE OF EXTENSION - PARTICULARITIES PERMUTATION - FRACTAL AND TOPOGRAPHY (following the landscape form) - BASIC GEOMETRIC FORM/ DEVELOPING PATTERN, GROW IT - OCCUPY
design sketch
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FRAME/INFILL 3.2
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GROWING FROM GROUND
SUSPENSION
TRACTAL/PATTERN
PROPOTION
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exploded drawing
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The frame‘s permutation responds particularly. It started with the thick I-shape beams in the middle and adding the similar elements of ‘crossed beams’. (showed in the exploded drawing) The infil elements are mostly suspended on the frame to give sense of anti-gravity. The few beams are hanged by only one support point show the anti-gravity as well. The whole model occupies the depressed basin. The form of model aims to give a sense of extension by developing basic geometric pattern to act in cooperation with the landscape. Also the different levels of model follow the landscape levels. But the I-shape beams with geometric forms itself conflicts with the organic landscape.
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A PLACE FOR KEEPING SECRETS
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site location: Herring Island, in Yarra River, South Yarra, Melbourne
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SITE ANALYSIS 4.1
SITE CHOICE
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PAVILIONS PRECEDENTS 4.2
PHILIPS PAVILION by Le Corbusier, Iannis Xenakis 1958 World’s Fair in Brussels
http://www.archdaily.com/157658/ad-classics-expo-58-philips-pavilion-lecorbusier-and-iannis-xenakis
The idea of using curved surfaces composed of straight lines are inspired. The path of it is sleek. Visitors would entre through a curved corridor, and come out from other side.
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The transpar tecture. The cloud. ‘For th parent terrain site in diverse
SERPENTINE GALLERY 2013 PAVILION by SOU FUJIMOTO London, UK, 2013 http://www.serpentinegalleries.org/
rent structure makes connect between nature and archistraight, regular grids formed an organic formless shape like he 2013 Pavilion I propose an architectural landscape: a transn that encourages people to interact with and explore the e ways.’ Sou Fujimoto.
FOREST OF LIGHT by SOU FUJIMOTO for COS at 2016 Salone del Mobile http://www.serpentinegalleries.org/
“In this installation for COS, I envisage to make a forest of light,” said Fujimoto. “A forest which consists of countless light cones made from spotlights above. These lights pulsate and constantly undergo transience of state and flow. People meander through this forest, as if lured by the charm of the light. Light and people interact with one another, its existence defining the transition of the other.”
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CONCEPT DEVELOPMENT 4.3 Going to Heaven! Emily Dickinson I don’t know when Pray do not ask me how! Indeed I’m too astonished To think of answering you! Going to Heaven! How dim it sounds! And yet it will be done As sure as flocks go home at night Unto the Shepherd’s arm!
FUNCTION: MEMORIAL PLACE TO RELEASE ONESELF The beginning of concept was inspired from Emily Dickinson. In the poem, she considering whether going to heaven or not. If going to. She can see the one she missing passed away. However, she still cannot give up the earth life. The three stanzas represent her emotions changed. The poem confuses readers whether she praised heaven or not, because even she cannot be relied upon for a clear opinion. Secret is a very broad idea I believe. Instead of hide something, I focus on the emotion of uncertainty, unsure, and sense of flowing, just like the poem’s atmosphere. The function of building started from a memorial. To explore the function, I prefer not only a memorial for users memory the one they missing passed away, but also a place to release themselves, or ‘bury’ themselves, who is negative at that moment, to reload and start a new life.
Perhaps you’re going too! Who knows? If you should get there first Save just a little space for me Close to the two I lost The smallest “Robe” will fit me And just a bit of “Crown” For you know we do not mind our dress When we are going home I’m glad I don’t believe it For it would stop my breath And I’d like to look a little more At such a curious Earth! I’m glad they did believe it Whom I have never found Since the mighty Autumn afternoon I left them in the ground.
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SCALE -HEIGHT -WEIGHT various scales of volumes various of scales between user and architecture
JOURNEY
a journey of se
elf-inspiration
OPPOSITE HIDING/APPEARING
UNCERTAIN materials or details, result experience of sight block of uncertain sense
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CONCEPTACLE 4.4 CONCEPTACLE is meant to be a small object, a model in very sense of idea, a model which sets out the composition the most diagrammatic way, acts as a kind of reference point while the process of project.
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DESIGN PROCESS 4.5 PLAN DEVELOPMENT Simplify the plan
VERSION 1 Curvy corridor: sense of flowing Different scale of volumes contrast with organic
VERSION 2 MASS vs Void Redusing the heavey volumes
VERSION 3 1. Redusing the organic form corridor. Only select the intreresting parts, keep the position to continue the form. 2. Corridor was turned to mass.
VERSION 4 1. Change the size of volume, connect two together to a larger space (the main space) 2. Twist volume a bit to lead beautiful view 3. Guide journey with the trails 4. Lookouts
volume size
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ceiling sketch
COMPLEX DETAILS
JOURNEY Explore journey with three different paths, guiding to the riverside.
SECTION DEVELOPMENT Different levels following topography
INTERACTION (MASS FRAME VOLUME)
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FINAL DESIGN DRAWINGS 4.6
MASS
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VOLUMES
FRAME
COMBINED
MOVEMENT
SITE PLAN
ROOF PLAN
FLOOR PLAN
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SECTION AA
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SECTION BB
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EXPLODED DRAWING ON SITE
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FRAME DEVELOPMENT PROCESS
INTERACTION (FRAME/MASS) DETAIL DRAWING
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PERSPECTIVE DRAWING: WEST
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ELEVATION: EAST FACADE
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PERSPECTIVE: THREE ELEMENTS
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PERSPECTIVE: SOUTH LOOKOUTS
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PERSPECTIVE: INTERNAL SUNLIGHT GOING THROUGH THE ROOF
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PERSPECTIVE: NORTH FACE
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PERSPECTIVE: INTERACTIONS
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FINAL DESIGN MODEL 4.7
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REFLECTION 5.0 The studio education structure is very logical. My acknowledge of de-
them in arts, sculptures design. Then final project, started with site ob-
sign is evolutionarily growing during the step by step study. The first
servation and analysis, developing concept and conceptacle. Being
three relationships or architecture techniques help to rebuild the de-
passion to improve the sketch design and develop details. I started to
sign elements and theory. It is worth to mention that the precedents
learn humankind visual system and how to guide the view by design.
study is very useful to broaden the understanding of the theme. How-
Compositing the three techniques in one design decided the com-
ever, when I was doing the earth book I realized that my precedents
pleteness of design. Because each element plays different roles and
research is not good enough to support the design work. I realize
functions.
my theory knowledge is weak to improve me design idea. My tutor
Overall. Earth Studio do engaged me about designing, understand-
Heather helps me a lot during the workshop. During the final design,
ing of space and volume, how to syncretize design theory, technique
the process of it is complete to lead me arrive to the final design. This
into my own idea and work.
studio I suppose, it is a beginning of architecture design. For the first 6 weeks we focusing more on the technique and how to represent
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BIBLIOGRAPHY 6.0 Hybrid Building, by Steven Holl, Seaside, FL, United States, 1984-1988 from: http://www.stevenholl.com/projects/hybrid-building photoshoped by Yilan Zhao Troglodyte Village in Iran http://forum.xcitefun.net/troglodyte-village-in-iran-700-years-old-t29670.html Wotruba Church, by Fritz Wotruba Mauer, Vienna. 1974-1976 http://www.uncubemagazine.com/blog/10840277 A monumental Scaffolding of poplar wood. by Ben Butler, exhibition at The University of Mississppi Museum, Oxford 2015 http://www.thisiscolossal.com/2015/07/unbounded-ben-butler/ New Yark painting, by Piet Mondrian, 1942 https://www.guggenheim.org/artwork/3011 PHILIPS PAVILION, by Le Corbusier, Iannis Xenakis, 1958 World’s Fair in Brussels http://www.archdaily.com/157658/ad-classics-expo-58-philips-pavilion-le-corbusier-and-iannis-xenakis http://www.archdaily.com/157658/ad-classics-expo-58-philips-pavilion-le-corbusier-and-iannis-xenakis SERPENTINE GALLERY 2013 PAVILION. by SOU FUJIMOTO. London, UK, 2013 http://www.serpentinegalleries.org/ http://www.standard.co.uk/goingout/exhibitions/architect-sou-fujimoto-on-his-house-of-straws-serpentine-gallery-summer-pavilion-8643209.html FOREST OF LIGHT, by SOU FUJIMOTO, for COS at 2016 Salone del Mobile http://www.serpentinegalleries.org/ http://www.archdaily.com/785460/sou-fujimoto-installs-a-forest-of-light-for-cos-at-2016-salone-del-mobile
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