Earth book

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ARCHITECTURE DESIGN STUDIO: EARTH S1, 2015 SUBJECT STUDENT BOOK

Frida Haeckner 676855

Scott Woods + Tutorial 15

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3Work by Frida Haeckner (676855), Semester 1 2015

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Contents

1.0 THREE RELATIONSHIPS p.6

1.1 Point/Line/Plane

1.2 Frame & Infill

1.3 Mass

2.0 CONCEPT MASS 3D MODEL p. 14

2.1 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 design

3.3 Design Development

3.4 Final Design drawings

3.5 Final Design Model

4.0 REFLECTION

5.0 BIBLIOGRAPHY

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1.0 THREE RELATIONSHIPS

The basis of the work of this subject has been EARTH and the different rela-tionships everything has to it. The 3 main ones examined closer has been those of At Earth Level, Above the Earth and Below the Earth. These 3 differ-ent relationships were represented by 3 different concepts which were to be the basis of the work. At Ground Level was represented by Point/Line/Plane, Above Ground was represented by Frame and Infill and Below Ground was represented by the concept of Mass.

These concepts were to be represented by models and drawings to explain ones’ personal opinion and interpretation of the words. To make this process easier different precedents were used from both architecture and art, to find examples of what the different words meant translated into built or drawn form.

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Work by Frida Haeckner (676855), Semester 1 2015

8Photograph by Frida Haeckner (676855), 2014

1.1 POINT / LINE / PLANE

The first relationship to the Earth to be studied was the one at earth level and its’ corresponding concept, point/line/plane. My model became an explora-tion of the borders between points, lines and planes. I had questions about it but few answers, and it became about finding them. How long/large can a point be before it becomes a line? How wide can a line be before becoming a plane, and are not all lines planes in that way? A brushstroke might look like a line to us but for something small it would look like a plane. The model deals with this, but particularly with layers of planes and if they are still one or have become different and more.

“Organic Cube” by Søren korsgaard, 2010

Church of St. John the Baptist by Mario Botta, 1998

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1.2 FRAME & INFILL

The second relationship to the Earth to be dealt with was Above the Earth and its’ corresponding concept of Frame & Infill. Here I was fasci-nated by and started looking at the contrast between Frame and Infill and what they did for each other. The model was easier to build, if only because it could extend Above Ground but also because it was easy to find precedents and actually thinking about it. What I was exploring with my model was if Frame & Infill could be separated and still be what they are in relationship to each other. If there was no visible connection between the 2 at all… The result is that I think they can still be what they are.

Photograph by Frida Haeckner (676855), 2015

Katsura Imperial Villa in Kyoto, 1631

Artwork by Celeste Roberge, 1998 Villa van Lipzig by Loxodrome Architects, 2011

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1.3 MASS

The third and final relationship to Earth to be explored was that of Below Ground and combining it with Mass. The impression gotten from Light & Darkness was also to be included in the exploration and this was to be made into a charcoal drawing instead of a model. To combine Below Ground with Mass was easy enough to imagine, the harder part to visualize how Light & Dark would incorporate. I started to look at the essence of light and dark and what truly were. This led me to the fact that while Light is an actual thing which sci-ence can measure, its opposite is really nothing, merely an absence of the other. This is explored in the drawing with light reflecting back darkness.

Photograph by Frida Haeckner (676855), 2015

Ningbo History Museum by Wang Shu, 2008

Afrykarium Oceanarium by arc2, 2014

Ordos Museum by MAD Architects, 2011

Pixel House by Mass Studies, 2003

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2.0 CONCEPT MASS 3D MODEL

2.1 DIGITIZATION & Design Development Introduction

After the Below Ground Mass drawing was done it was to be trans-lated into a 3-dimensional version in Rhinoceros modelling software for the sake of 3D printing a final model. For my particular Mass drawing it was simply a matter of adding depth to the straight lines it was made up of. When moving from a real world drawing to a virtual one the number of possibilities might seem to open up as we can model more complex structures than when making or drawing by hand (Iwamoto, 2009).

To me this also brings a new set of restrictions and limitations, not men-tioning malfunctioning machines producing nothing at all. The biggest restriction to me however when moving towards this digital fabrication is the material choice, or rather lack thereof.

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Stage 1

Stage 2

Stage 3

Stage 4

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2.2 OUTCOME

The outcome did not have any unexpected deviations from the Rhino model but did lose some of the visual impact. This happened in my opinion due to the single color though it is still reminiscent of the concept of Mass. The small size also contributed to the muted effect, as the longest side was 60 mm the other measurements were proportional but not very long in any direction. Added depth to the model in the soft-ware could probably been a good solution to that aspect, but the single color would still have leached the play of Light and Darkness out of it.

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3.0 HERRING ISLAND: SOMETHING LIKE A PAVILION

The Herring Island project was based on combining all different aspects learned dur-ing the first three exercises. The brief; to make a Pavilion-esque structure somewhere on Herring Island and somehow incorporating the notion of Secrets. It also needed to address the different relationships with the earth which was the basis of the models made before. As the part of Secrets had to play a part I started to think about what that meant to me, which was that (just like lies) the best held secrets are not the ones you put a lot of effort on hiding, but rather not so no one searches for it.

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3.1 SITE ANALYSIS AND CONCEPTACLE

Main Features: Sculpture Trail around Island Field with Amenities Art Gallery

Main Trail: BrownStructures: RedSculpture: YellowVegetation: GreenSite Selection: Black

1:2000

Herring Island possesses an isolated atmosphere even next to busy roads. Next to no outside noise when behind the waterline. Thick vegetation hinders any long distance views, which is a good condition for Secrets Pavilion.

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Concept of Secrets Pavilion: Duality (particularly of Light and Dark)

Equality and inequality between different sides of same coin

Color vs Black & White; Spectrum of light reflected vs all light absorbed


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3.2 CONCEPT AND SKETCH DESIGN

For me the 3 exercises about the different relationships with Earth had yielded concepticals which all in some way dealt with lines between 2 things and the blurring of those lines. Whether it be the line between Line and Plane, line between Frame and Infill or between Light and Dark deep underground. I was fascinated with these sort of dualities, which dealt with different things being part of each other but still existing as separate entities in my mind.

The concept had to be more focused than that however, and I turned towards the Mass drawing, as I felt compelled towards the duality of Light and Darkness most of all. This started me with a pa-vilion sketch which was mostly underground, which then evolved to include all the Earth relationships.

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3.3 DESIGN DEVELOPMENT

Design at Interim Submission Stage


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Development of added features above and at ground levell as well as the all amnieties to fit the breif, such as Sound Room, Store Room, Recording, Water Closets and so forth

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3.4 FINAL DESIGN DRAWINGS

SPACE 1

SPACE 2SPACE 3


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0 5m

SITE PLAN: GROUND LEVEL

SITE PLAN: BELOW GROUND


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3.5 FINAL DESIGN MODEL


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4.0 REFLECTION

This Architecture studio has been very helpful in starting to think more deeply about the built environments around us and the relationships buildings can have to the ground. It has also been very educational in the concept of concepts and how they can be incorporated into architecture. I did not consider the different impres-sions I could get from the same concept and how a simple word (like Mass for ex-ample) could produce such diverse results within a very limited number of people.

It was difficult in the beginning to find such an abstract way of thinking about tan-gible things, (especially since there is nothing about me personally which translates as abstract), but learning new ways of thinking about simple things is the most valuable lessons to be learned. It is also challenging to find your work at a sub-par standard and having to find a way up but very necessary in my mind. Trying to do digital modelling without any proper lessons beforehand is also something which is interesting as a challenge, but not a very good idea as I have learned.

The design could in my own opinion been developed further and had more con-nectivity between features and the island itself. The concept was going in a good and interesting direction to me but I feel like I failed in bringing it to life, so to speak, enough to be really captivating. That in the end there were elements representing all three relationships, Above, Level and Below is something that was a good ac-cumulation of the exercises before the Secrets exercise but I felt it might have been too out of balance.

The features did have layers of secrets and misdirection and no invitation to go further if you could not find your way which I believe successfully used Secrets as a feature, but developing the individual aspects is something I will have to work on. In conclusion, taking the conceptual’ further than what I have been is something I need to take with me, as well as learning not to get overwhelmed when presented with new ways of thinking.

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5.0 BIBLIOGRAPHY

arc2 2014, Afrykarium Oceanarium, photograph, viewed 6 April 2015, http://aasarchitecture.com/2014/10/afrykarium-oceanarium-arc2-fabryka-projektowa.html

Botta, M 1998, Church of St. John the Baptist, photograph, viewed 11 March 2015, http://sun-surfer.com/church-of-st-john-switzerland-3271.html

Ishimoto, Y 2011, Katsura Rikyu Old Shoin, photograph, viewed 24 March 2015, https://www.pinterest.com/kelsangchandra/katsura-palace/

Iwamoto, L 2009, Digital Fabrications: Architectural + Material Techniques, Princeton Architectural Press, New York, USA.

Korsgaard, S 2010, Organic Cube, photograph, viewed 11 March 2015,http://www.designboom.com/architecture/soren-korsgaard-organic-cube

Loxodrome Architects 2011, Villa van Lipzig, photograph, viewed 24 March 2015, http://www.dezeen.com/2011/09/18/villa-van-lipzig-by-loxodrome/

MAD Architects 2011, Ordos Museum, photograph, viewed 6 April 2015, http://www.trendhunter.com/trends/ordos-museum-by-mad-architects

Mass Studies 2003, Pixel House, photograph, viewed 6 April 2015, http://www.archdaily.com/90028/pixel-house-mass-studies-and-slade-architecture/jon13/

Roberge, C 1998, Rising Cairns, photograph, viewed 24 March 2015, http://www.mymodernmet.com/pro-files/blogs/celeste-roberge-rising-cairns

Shu, W 2008, Ningbo History Museum, photograph, viewed 6 April 2015, http://blog.2modern.com/2009/09/ningbo-historic-museum-by-wang-shu-of-amateur-architecture-studio-china.html

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