ARCHITECTURE DESIGN STUDIO: EARTH S1, 2017 SUBJECT STUDENT BOOK YUTING YANG 813151 HEATHER MITCHELTREE GROUP 1
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CONTENTS 1.0 THREE RELATIONSHIPS 1.1 Point/Line/Plane 1.2 Frame & Infill 1.3 Mass 2.0 HERRING ISLAND. A PLACE FOR KEEPING SECRETS 2.1 Site analysis 2.2 Conceptacle 2.3 Concept and design development 3.0 FINAL DESIGN 3.1 Final Design Drawings 3.2 Final Design Model 4.0 REFLECTION 5.0 BIBLIOGRAPHY
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1.0 THREE RELATIONSHIPS “Point,Line and Plane” “Mass“ “Frame and Infill“
The exloration of these three fundamental tectonics informed the form of my final design.
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1.1 PONIT / LINE / PLANE The moving of a point comes into the first dimension, a line. The shift of a line forms into a two-dimensional element, a plane.
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PRECEDENT Point Brittani’s thoughts, date unknown “All pictorial form begins with the point that sets itself in motion...”. -- Paul Klee The point is the most primary element. Two points define a line. When many points are placed together, they define a plane.
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Loom Hyperbolic, Marrakech Barkow Leibinger architects, 2012 The project contains only one element, the line. The timber poles and the white threads have an intense and vivid relationship. Those threads shifting around create planes.
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PLAN From the top view, two series of points form a curve on the right and a plane on the left. The points from left and right respectively define a line.
PESPEC In the spatial relationships, poi and plane restrain and are retrai one a
ELEVATION Each point on the right extrudes from the ground to be a vertical line. Those lines elongate gradually and form a triangle-like plane.
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CTIVE int, line ined by another.
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1.2 MASS Cutting though the solid underground, there is filled with black and white, dark and light, certainty and unknown.
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PRECEDENT Neanderthal Museum, Spain Estudio Barozzi Veiga , 2010 The light comes from a hole and into the deepest darkness. It illuminates the spatial and material qualities of the scheme.
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Upper Antelope Canyon, Arizona WoodyBoinker, date unknown Under the gravity, the excavated ground tends to possess the texture of stratum. Owing to countless variables, there are unlimited imaginations about the stratiform texture.
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FINAL DRAWING There is a massive and chaotic space under the seemingly solid and sturdy ground. The light drills into the ground along the crack. The natural forms of the mass are abstracted into the geometric shape to emphasize its sensible and tangible shape. Groups of parallel lines demonstrate the stratiform texture but are placed in an intricated composition. With limited light, a more vague and unpredictable space is underneath.
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1.3 FRAME AND INFILL Infill brings the permanent, static and fixed frame with trasience, dynamism and fluidity.
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PRECEDENT The first design-build iteration of PXSTL, St. Louis. Freecell Architecture, 2014 This structure comprises a permanent geometric frame and movable fabric infill. It is supported above the ground providing a shade for a conversation.
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Point Cloud, Washington John Ensor Parker, 2016 What is sure is the solid grid frame, and what is uncertain is the translucent cubic infill. The cubics are on the ground, or above one another or suspended above the ground.
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EXPLODED AXONOMETRIC DRAWING
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PERSPECTIVE
The translucent infill represents the temporary. There are different relationships between the frame and infill : some infills are in front of the frame, some are inside and some are behind. The frame represents the permanence. It is supported by one point, emphasizing the anti-gravity of the frame structure.
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2.0 HERRING ISLAND. A PLACE FOR KEEPING SECRETS The Herring Island itself is a secret waiting for people to wave through and explore it. The site analysis is a key stage of the design process. Observation and research contribute to the generation of the idea which makes the imitate connection between the site and the project.
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2.1 Site analysis The Herring Island is generally surrounded by the residential area with some green spaces in a city planning. The island is surrounded by the Yarra River and the vegetation on the island is unevenly distributed. The island is only accessible by the boat which sails around the island. The contour of the island is relatively flat but with a sharp drop on the edge.
AREA DISTRIBUTION 28
GEOGRAPHY
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10 ~ 1m
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CONTOUR SCALE 1:200
SECTION AA SCALE 1:200
TRANSPORTATION
SECTION BB SCALE 1:200 29
2.2 CONCEPTACLE
The conceptacle model extracted certain features from the three relationships explored previously. In terms of point line and plane, this model consists of many vertical lines which can be interpreted as the extrusion of points cutting through a plane. Each pole is extended into the underground. Standing on the ground, the situation underneath is unclear. Refers to frame and infill, the black panel is permanent while the poles are adjustable in size and position. The model intends to illustrate the unknown, uncertainty which is the final project tries to achieve.
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2.3 CONCEPT AND DESIGN DEVELOPMENT
The island with an organic outline is located in the grid layout city planning.
SITE CONTEXT PLAN
VEGETATION PLAN 32
The contour of the island looks like the rings of the tree.
The trees are dotted around the whole island.
Evolution of the plan: the superimposition of point, line and plane.
Poles create the undulant and disorder effect.
Steps are connected by poles and have the patten of rings. 33
PRECEDENT Suspended path in the wood of Kadriorg, Tallinn Tetsuo Kondo Architects, 2011 The path in this project is suspended from the existing trees. It provides a new and unacquainted way for visitors to experience the conjunction of architecture and the natural environment.
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A bus stop in Krumbach, Austria. Sou Fujimoto, 2014 The bus stop is composed of a cluster of steel rods that support a winding staircase. The originality and danger of the staircase appeal people to climb up.
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ASSEMBLAGE DIAGRAM
The waving steps vary in diameters with the sudden change from a small step leading into a bigger area.
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Plenty of poles serve as the conjunction between each step. The poles with various scales create mystical spaces.
Sq re d
quare columns are arrayed as a grid to epresent the organised city planning and define the space of this project.
Three elements integrate with one another.
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3.0 FINAL DESIGN 3.1 Final Design Drawings 3.2 Final Design Model
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3.1 FINAL DESIGN DRAWINGS C
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PLAN SCALE 1:200 Paths waving through the grid. Poles scattered around the steps. Steps changing in sizes.
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ELEVATION SCALE 1:400 Three spaces with different relationships with the ground.
SELECTED MATERIAL
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20m
SECTION AA SCALE 1:400 A space above the ground providing a clear and lofty view of the whole island.
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SECTION BB SCALE 1:400 A space on the ground as a playful and amusing field.
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SECTION CC SCALE 1:400 A space under the ground creating a caliginous and depressive atmosphere.
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PESPECTIVE The steps changing in sizes and heights increased the uncertainty of the journey. The paths merged with trees, columns and poles which blocked the view and enhanced the unknown and unexpectable experience.
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3.1 FINAL DESIGN MODEL
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3.1 FINAL DESIGN MODEL
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4 REFLECTION In the first half of the semester, I had gained the deeper understanding of the three concepts through the manipulation of basic elements in the space. I also explored three relationships with the ground which are above, on and under the ground and I found there are different feelings and features in each relationship which contributes to the expression of my final project. In the final design, the concept was mainly driven by the site context. Hence, observation and analysis of the context are the key parts during the design process which make the project belong to the site. Also, architecture is about the communication of the certain concept with the public. What is important is not creating a physical space, but endowing the space with the idea, emotion and meaning. As in this project, the subtle experience of searching secrets is conveyed through the established space. The tutorial is a very precious time as tutor’s comment helped me to enhance my expressive ability through architectural language and the peers’ works were part of the inspiration for my design ideas. In the future designs, it would be better to narrow down the focus into one, test various methods and express the specific idea more strongly. Also, more readings would facilitate the concept development.
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5 BIBLIOGRAPHY
Barkow Leibinger architects, Loom Hyperbolic, photograph, retrieved from http://www.designboom.com/readers/barkow-leibinger-architects-loom-hyperbolic/. Boinker, W, Upper Antelope Canyon, photograph, retrieved from https://it.pinterest.com/pin/264938390559563943/. Brittani’s thoughts, Point, photograph, retrieved from https://brittaniselitblog.wordpress.com/tag/graphic/. Estudio Barozzi Veiga 2010, Neanderthal Museum, photograph, retrieved from http://art-tech.over-blog.com/2015/01/neanderthal-museum-estudio-barozzi-veiga.html. Freecell Architecture 2014, the first design-build iteration of PXSTL, photograph, retrieved from http://www.archdaily.com/507429/ lots-pxstl. Parker, J 2016, Point Cloud, photograph, retrieved from http://www.natureofenergy.com/point-cloud/. P. & Spiller Jürg 1964. The thinking eye: the notebooks of Paul Klee, New York: George Wittenborn. Sou Fujimoto 2014, a bus stop in Krumbach, photograph, retrieved from https://www.dezeen.com/2014/08/20/sou-fujimoto-bus-stop-krumbach-closed-to-prevent-possible-accidents/. Tetsuo Kondo Architects 2011, suspended path in the wood of Kadriorg, photograph, retrieved from http://www.domusweb.it/en/ news/2011/10/11/tetsuo-kondo-architects-suspended-ramp.html.
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