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ARCHITECTURE DESIGN STUDIO: EARTH S1, 2015 SUBJECT STUDENT BOOK

Naomi Jemima Ng 699616

Sarah Khan T04

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/CONTENTS1.0 THREE RELATIONSHIPS

1.1 Point/Line/Plane 1.2 Frame & Infil

1.3 Mass

2.0 CONCEPT MASS 3D MODEL2.1 Design development intro & Digitization

2.2 Outcome

3.0 HERRING ISLAND. SOMETHING LIKE A PAVILION 3.1 Site analysis and Conceptacle

3.2 Concept and Sketch design3.3 Design Development3.4 Final Design drawings

3.5 Final Design Model:

4.0 Reflection.

5.0 Bibliography

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1.0 THREE RELATIONSHIPSPLOT LINE PLANE

FRAME AND INFILLMASS

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Shizuoka international garden and horiculture exhibition, Kengo Kuma in 2004.

'REVERSE OF VOLUME', 2013

This art installation by Japanese Artist Yasuaki Onishi chal-lenges the notion of volume and mass by utilizing lightweight materials such as plastic film and thread to create lines that carefully lift the the planar

RED/BLUE ARMCHAIR, GERRIT THOMAS, 1918 LIU WEI - COLORS NO.1 2012 MILWAUKEE ART MUSEUM, Lake Michigan USA.1872. de-signed by Eero Saarinen, David Kahler, and Santiago Calatrava.

The form derived from an analogy of a skin, where plot symbolised roots, lines as hair and plane as skin. Rather than creating a surface by extending a line, lines were perpendicular to the surfaces, providing anchorage and structural support. The 3 layers of planar surfaces, where landscape appears to be ‘unfolded’, becomes areas for sitting and lying down. Under the surface and between the lines are spaces for hiding and concealing, increasing interaction with children and families. Indented and decked flooring beneath the ‘lifted’ surfaces are areas for walking.

PLOT/LINE/PLANE1.1

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&Hotel Sofitel on Collins Street, Melbourne

FRAME1.3

Infill: volume

Infill: plane

frame

Exploded digital draw-ing of my design

My Design utilizes a cubic frame to support my volumetric infills, mostly containing hollow surfaces that hang down from the frame, ultimately creat-ing a 3 level viewing platform. My idea focuses on engaging users to continue accessing through the viewing platform (getting more views as they access different parts/levels of it) as well as the notion of filters, experimenting with shadow and light.

INFILL

PLANARThe planar infill was what acted as the base of my ideas. Referring to the Eames house by Charles and Ray Eames, I wanted to create a modular space that had no orientation, a space that could face many directions.

Ultimately, I decided to create a 3 level platform where:*views are only visible on the left on the first level*views are blocked on left + right sides on second level*views are completely unbounded. 360 degree view.

2 FOLDThe two fold design is similar to the planar design by blocking views. However, an inviting entrance that folds outwards is added to increase the curiosity of on-goers.

4 FOLDThe four fold further plays with the inviting entrance and further adds a sense of volume with its spiralling infill.

4- FOLD 2- FOLD PLANAR

Infill: plane

frame

SCI-ARC graduation pavilion, Southern California, “League of shadows” by P-A-T-T-E-R-N-S

Baileys Biuldling

Federation Square, LAAB architects, Melbourne

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MASS

Church of light by Tadao Ando Louvre Abu Dhabi museumby Jean Nouvel, Abu DubaiMecenat art museum, Hiroshima Japan by NAF architect

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The mass structure primarily focuses on the experiential journey which manipulates the way they physically move through the earth and also generating sharp and dramatic contrasts between light and dark spaces. In light spaces, Us-ers are expected to achieve a sense of exposure and power. Hence, hanging hollow columns also act as steps which enable direct exposure to light above. In the columns, users have large scope for physical movements and stretching. However, once stepped off the columns, users will distinctively transcend into dark areas where texture is emphasized. Users need to crouch and feel their way through before making out to the exit.

Slits house by eastern design office.

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2.0 CONCEPT MASS 3D MODEL 2.1 DIGITIZATION & Design Development Intro

From the mass drawing, user interaction and the journey along the dark textual space and a light transcendent space were emphasized. Hence, details of the hollow hanging frames and solid steps were enlarged and contrasted. 3D printing enables high precision, scope for curvilinear surfaces and scope for panelling volumes. As my model was assembled by 2 parts (a top and a bottom), additive methods of CAD (computer aided design) and CAM (computer aided manufacture) have proved to be capable of creating visually complex yet mathematically simple structures, particularly as components could be combined to create larger volumes.

utilizing NURBS based ditigallising software Rhino

Utilizing 3D Printing software UP! (needed to be separated into two parts)

3d printing process

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2.2 OUTCOME

The final outcome of the 3D print was composed in two parts: the top part, with hanging frames in which users can walk through, and the bottom part, where solid steps were implemented. Splitting the model into two parts was done in order to create a stronger contrast between lighter hollow frames with solid masses stuck to the ground, whilst increasing interaction of users. However, since 3d printing only printed upwards in the Z axis and across the X and Y axis, layering resulted in weaker bonds along the horizontal axis, particularly along the thin frames/columns of my design.

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3.0 HERRING ISLAND. SOMETHING LIKE A PAVILION

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shows the various natural, physical and social aspects around the site. Eventually, I decided to select a site North West of Herring Island, with the sterage sculpture to its left and the loading/unloading deck on its right. Main reasons for this site was due the sloping topography and the stunning picturesque view of the Yarra river. The selected site is also relatively occupied with sunlight coverage all year round, making it ideal for my design.

Using mesh wire, i created conceptacles that play with light, layers, depth, and repition to cre-ate a mysterious, alluring mood.

From the conceptacles, i adapted the maze like organic curved forms to form a labyrynth, a classic symbol of secrecy.

3.1.1 SITE ANALYSIS

3.1.2 CONCEPTACLE:‘playing hide and seek with light’

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3.2 CONCEPT AND SKETCH DESIGN

new wood surface/ mild weathering /aged & long weathering

desired matte glass panellnig effect

soft lighting effect with frosted glass

construction of glass panesfrom frames.

IS THE ACT OF KNOWING WHAT IS UNKNOWN”

S E C R E T “A

/FEATURE 02THE MOIRÉ EFFECTDYNAMIC • HIDDEN AND REVEAL • EVER CHANGING

Developed from my conceptacle, the moire effect gives an effect of a dynamic and ever changing wall. Hence, the views, under a different condition of lighting, time of day, height of user and access path would lead to different patterns for each person that walks through the pavillion.

I experimented with rotation, lineweights and curvature of lines to produce different effects. Having realized tilt-ing lines at an angle provides the most dramatic effect, I decided to have columns of different angles featured in my design,

/FEATURE 01THE LABYRINTHSEE & NO TOUCH • DIRECTIONLESS • LOST

The maze-like form, adapted from the conceptacle, provides many access variation for users as they access up and down. Yet, while they are in an enclosed path, the translucency of flooring and gaps between columns removes the sense of entrapment as they could view through different spaces. However, they could see, but don’t know how to access to those spaces. Above all, the design leads the user from a high topographic level and end up facing the ‘secret’ view of the Yarra river.

PRECEDENT RESEARCH

Spiral Ramp, General Dynamics / Astronautics, Pereira & Luckman Architects, Convair Astronautics , San Diego CA

Ribbon Chapel / NAP Architects Università Luigi Bocconi By Grafton Architects

Chinese Coin House by Juan Carlos Menacho Durán in Bolivia Kaldiorg Park, Tallinn, Estonia

Frank Ghery, Guggenheim Museum

Kaldiorg Park, Tallinn, Estonia

MATERIALSCOLUMNS: TIMBER (INITIALLY STEEL)

*feel more organic*As timber weathers, it would becomepart of its surroundings, acting like a camouflage

RAMPS: toughened glass with Matte Finish*translucency of matte glass unveils some views*provokes a sense of mystery. *trabeated steel joints + techniques as main structural system

initial form of design. Jaggard form, no specific entr/exit points and centralisation.

revised form of design. specific entry points, curved paths (more prone to feel lost), retained walls and centralized ovular formation.

INITIAL DESIGN

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INITIAL DESIGN REVISED DESIGN

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3.3 DESIGN DEVELOPMENT (revised version)

The Design is a pavilion taking form of a maze with interlacing ramps. It fundamentally explores the idea of transporting a user through without a clear indication of their location, whether they are underground, on ground level or above ground. As users access around the pavilion, they may enter spaces they did not expect or have prior knowledge about. The pavillion is categorized into four main sections:

1. The top platform: providing overview of whole surroundings2. The ‘dead end’3. Object/sculpture viewing space. This could only be accessed through

one particular path and sits between ground level and underground level4. Underground level, where toilets and storage rooms will be located. Users

could view everything above.

POTENTIAL PATHS THROUGH THE PAVILION

UNDERGROUND UP

VIEW AT ENTRANCE

NON SITE SPECIFIC RENDERING

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Timber frames/columns

MATTE GLASS RAMPS

OBJECT

walls, toilets and store rooms

contour model

3.4 FINAL DESIGN DRAWINGS (final verision)

SITE SECTION

View and access through pavillion in North West cross section.SECTIONS

EXPLODED ISOMETRIC

UPPER LEVEL PLAN GROUND LEVEL PLAN UNDERGROUND PLAN

DIAGRAMATIC RENDERING

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3.5.1 FINAL DESIGN MODEL

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3.5.2 FINAL DESIGN MODELphotomontage

MAIN FEATURES/01 Ramps directing people up and down, not knowing where they are heading to till they reach destination

/02 moire effect as they walk through, hides some people yet still visible with dynamic movements. also everyone’s ‘pattern’ would be slightly different

/03 views: from a peak to a low point of topogrpahy, which showcases a magnificent and tranquil view of the yarra river as they are led out.

/04 ‘seeing but not reaching’: from differeny levels, they could view the sculpturalobject and toilets from above/below, but don’t know how to reach it.Users need to intentionally find the right path in order to be able to unveil the ‘secret’

UG LEVEL WITH TOILETS, STORE ROOMS AND RAMPS ENTRANCE INTO PAVILLION- FROM PEAK

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Studio earth enabled me to look at architecture as an abstract concept that translates physical spatial parameters into a story: the story of ‘secrets’. Overseeing a range of student works, I was intrigued by the sheer diversity among the designs, with pavilions focusing on very different aspects such as user interaction, access, function and aesthetic form. Although the initial starting point exploring the 3 tectonics was the same, it was very interesting to see how the self-disciplined nature of the subject resulted in such ranging interpretation to the notion of ‘secrets’. Some strived to reveal the secrets that others attempted to hide.

Plot Line Plane, Frame and Infill and MassThe first three tectonics of plot line plane, frame & infill and mass prepared me with the fundamental approaches to architecture. Although each tectonic was investigated separately, it was fascinating how many architectural structures tend to comply with multiple tectonics, and it was difficult to search for a structure that only conformed to one specific tectonic. I was also intrigued to how seemingly mundane objects/occurrences around our everyday lives such as artworks, furniture, events or even the weather can also tie in closely with these tectonics, serving as an inspiration to our pavilion designs. These three tasks enabled me to look at the foundations of designing a building, shaping my approaches to the design process.

The mass project further equipped me with knowledge and skills on CAD and CAM. Although 3D printing has its own limitations (such as form, size, orientation and structural strength), this additive method was particularly useful for solid structures, providing precision, efficiency and broadened scopes. For future designs, the additive method of 3D printing would be particularly be helpful when pieces could be combined and interlaced to create larger complex forms and surfaces.

Herring islandThe self-driven project provided a wide scope for creative freedom, with full control on interpretation, concept, aesthetic form, function and materiality. While the abstract design brief posed a great scope, design specifications (such as requirements for toilets, storage rooms and function as an object viewing platform) prevented us from designing a mere sculpture. Yet, I saw these specifications to be a design opportunity where curvilinear forms of my pavilion could be incorporated with the way the rooms are used (like a labyrinth).

Perhaps the most challenging aspect of my final design was the need to put the pavilion into context of Herring Island with justification for each decision. While it was relatively straightforward to design a pavilion on a flat land, once natural, social, physical and historical context is considered, many aspects of my design became unsuitable. For example, materiality has changed from steel to timber and scale has been significantly reduced to match the topography of the selected site.

Ultimately, Studio Earth allowed me to see the significance of ‘selling’ a design. Be it the formal architectural layout, quality of models/drawings or story-telling, all elements are significant to express the thought process within the design, particularly for an abstract brief like ‘secrets’.

4.0 REFLECTION

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4.0 BIBLIOGRAPHY

ArchDaily, (2010). The MA: Andalucia’s Museum of Memory / Alberto Campo Baeza. [online] Available at: http://www.archdaily.com/53701/the-ma-andalucias-museum-of-memory-alberto-campo-baeza/ [Accessed 9 Jun. 2015].

ArchDaily, (n.d.). Architecture Photography: Ribbon Chapel / NAP Architects (594954). [online] Available at: http://www.archdaily.com/594947/ribbon-chapel-nap-architects/54d21406e58ece26580000a2_ribbon-chapel-nap-architects__35a6897-jpg/ [Accessed 9 Jun. 2015].

Cube, W. (2015). Liu Wei | White Cube. [online] Whitecube.com. Available at: http://whitecube.com/artists/liu_wei/ [Accessed 9 Jun. 2015].

Fashionjp.net, (n.d.). Junya Ishigami, New Type of Architect | FEATURE | high fashion. [online] Available at: http://fashionjp.net/highfashiononline/feature/interview/junyaishigami.html [Accessed 9 Jun. 2015].

Fubiz, (2012). Architecture by Julius Shulman. [online] Available at: http://www.fubiz.net/2012/04/19/architecture-by-julius-shulman/ [Accessed 9 Jun. 2015].

Furuto, A. (2012). ‘Reverse of Volume RG’ Installation / Onishi Yasuaki. [online] ArchDaily. Available at: http://www.archdaily.com/.../reverse-of-volume-rg-installation-onishi-yasuaki/ [Accessed 9 Jun. 2015].

kengo kuma and associates, (2015). kengo kuma and associates (隈隈隈隈隈隈隈隈隈隈隈隈). [online] Available at: http://kkaa.co.jp/ [Accessed 9 Jun. 2015].

Laylin, T. (n.d.). “A Path in the Forest” by Tetsuo Kondo is a Floating Woodland Trail in Estonia. [online] Inhabitat.com. Available at: http://inhabitat.com/%E2%80%9Ca-path-in-the-forest%E2%80%9D-by-tetsuo-kondo-is-a-floating-woodland-trail-in-estonia/ [Accessed 9 Jun. 2015].

MoMA.org, (n.d.). Gerrit Rietveld. Red Blue Chair (c. 1923). [online] Available at: http://www.moma.org/collection/object.php?object_id=4044 [Accessed 9 Jun. 2015].

Museum, M. (2015). Milwaukee Art Museum. [online] Mam.org. Available at: http://mam.org/ [Accessed 9 Jun. 2015].

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