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ARCHITECTURE DESIGN STUDIO: EARTH S1, 2016 A PLACE FOR KEEPING SECRETS

Xiaocheng WEI (Oriana)(716100)

DANI + STUDIO 8

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CONTENTS:

1.0 THREE RELATIONSHIPS 1.1 Point/Line/Plane1.2 Frame & Infill1.3 Mass

2.0 HERRING ISLAND. SOMETHING LIKE A PAVILION 3.1 Site analysis and Conceptacle3.2 Concept and Sketch design3.3 Design Development3.4 Final Design drawings 3.5 Final Design Model

3.0 Reflection.

4.0 Bibliography

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1.0 THREE RELATIONSHIPS

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1.1 POINT / LINE / PLANE

The art work by Donald Judd make me immediately think of the invisible discontinuous line forming by pieces of planes. The lines seem that it would extend to the sky. In this case, the lines are endless in a abstractive way. It could be bringing out by regular composition of plane like lining up or layering up and regular scale(s) of plane like changing in scales Also, the edges of the planes, which are lines, could create invisible planes.

Donald Judd, Untitled (1990)

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1.1 POINT / LINE / PLANE

This window detail is quite interesting. If I look at the window itself, it is a plane, which can form changeable space/volume when it is rotating around a line. If I look at the whole build-ing (walls), the window is relatively regarded as a line, which would create changeable plane when it is rotating based on a point. This can be link with functionalism and movement in the space.

Window detail, Void Space/Hinged Space Housing (1991)

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For my point line plane exercise, I was inspired by the art piece of Donald Judd with the idea of “invisible line”. I used negative and positive patterns to respond this idea. The size of negative and positive spaces is gradually changed. The patterns are defining the private and public spaces by forming 3 levels at ground level.

The centre area is a flat plane forming by the repetition of the line. The planes at two sides could rotate and it shows the flexible change between point, line and plane. The line, which is create by the cast of the light, could be considered as a movable line during rotation.

A PLACE TO LIE DOWN, SIT UP, STAND AND WALK.

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This library is framed by timber grid and infill with glass as well as wooden sticks cladding. It is located in a village on the outskirt of Beijing and the architect would like to create a reading space shows the idea of escaping from the city/ back to the nature. This concept can be showed in the material of the frame and infill: timbers are used. The timber frame is in grid form and it could be seen clearly from the interior and some glass infill allows natural light come into the library. The timber grid is not only being used as a structural element, the interior design also acts in cooperation with the structural frame: bookshelf, stairs, the platform of reading area, storage are all designed in grid from. The choice of material is crucial in blending with the regional characteristics. The wooden sticks cladding strongly respond to the surrounding environment, because the sticks, which are used to fuel the cooking stoves, could be found in all village houses. Using these sticks as cladding shows the dynamic of the infill while aging.

1.2 FRAME & INFILL

LiYuan Library (2011)

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The roof in National Gallery of Victoria is using the frame and infill structure, so it allows the light directly coming from the roof. The transparency is achieved by using the material of glass. Also the colours of glass help to distinguish the qualities and quantities of the infill.

1.2 FRAME & INFILL

Roof Detail, NGV

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CIRCULATION

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In my frame and infill model, three by three by three composition of grids are be used as a rigid frame. For the infill elements, I would like to make a contract with the frame, which is permanent, fixed and objective. The coloured transparent materials in red and yellow are folded to form a centre-focused volume. The fold of the coloured transparent material could have different infractions as well as inflections of light. So this infill is transient, fluid and dynamic since the light effect is changing in relation with the sun path. Also, the layering of yellow and red would create a new colour of orange. These warm tone colour would create a wellcoming atmosphere for the user. However, the lower part is contractive with the upper one because it is totally en-closed. The atrium at the centre is formed by four cubes, which are rotated out of the frame to redefine the frame with solid infill.

VIEW OF THE SKY, VIEW OF THE HORIZON, VIEW OF THE GROUND.

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1.3 MASS

Matmata Underground Houses

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The traditional underground “troglodyte” structure could be the representation of mass. The structures typical for the village are created by digging a large pit in the ground. Around the perimeter of this pit artificial caves are then dug to be used as rooms, with some homes compris-ing multiple pits, connected by trench-like passageways. The idea of mass could be considered as solid volume with limited or no opening.

According to the reading of Mass Meditations by Alex Selenitsch, mass could be represented by weight, opacity an texture/ material. Mass is about the absence of tension, total compression, talking gravity directly into the ground.

1.3 MASS

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For my mass section drawing relating with secret, the whole design is underground with num-bers of cellar spaces for a single person. The cellar spaces are in different height: the vertical linear space is designed to let people to feel the space by hearing because the high ceiling would reflect the sound with the different effect as lower ceilings. Some of the cellar space is designed with low ceiling in order to let people to feel the weight and compression of the mass. Different heights as well as lights condition would create different atmospheres. The sky window with gaps would let the light slight into the underground, as it would create the effect of linear light, which makes the light become an objective element.

In considering the idea of secret, the whole design could be consider as a secret. The sec-tion could also be regarded as a plan, which reflect the idea of anti-gravity. People could explore the cellar spaces without knowing the destination. Also, various of texture finished defining the boundary of spaces, so people could explore the space in a totally dark spaces without vision.

SOLID AND VOID; DAEKNESS AND LIGHT; TOUCH AND SEE.

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2.0 HERRING ISLAND. SOMETHING LIKE A PAVILION

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3.1 SITE ANALYSIS

The site I choose for my secret pavilion design is located at the centre of Herring Island. People will not be able to get the sight of it outside the island. Once they enter the island by boat, they could access the site by walking along the site. According to the site analysis, although the chosen site is located beside the main walking path, the usage of it is relatively low due to lack of facilities or art works. And the reason I choose this site is that I am going to design a pavilion which can increase the usage of the site. The above ground area could be a welcom-ing open public space, but there are something hidden part at the underground area, which is not very easy to be discovered. The contract between the above ground and underground in terms of exposure and at-mosphere reflect the brief of secret.

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3.1 SITE ANALYSIS

The chosen site is relatively flat with no or less tress but only some lawn. However, there are trees around the chosen site, which means the pavilion could be hid-den at the above ground level (the eyesight could be blocked by trees).

Also, the entrance to the underground part of the pavilion could also be hidden behind the shrubs and trees.

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3.1 CONCEPTACLE

THE CENTRE 4 SPACES

DOUBLE SPIRAL CIRCULATION

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3.1 CONCEPTACLE

KEY CONCEPT OF THE CONCEPTICAL -CENTER FOCUS WITH 4 BASIC SPACE -SYMSYMMETRY & IMBALANCE-CIRCULATION-SECRET SPACE RELATED WITH THE IDEA OF EMERGE

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3.1 CONCEPTACLE

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The two secret spaces have a panel of pin art in between, so people could leave their secret on it. The secret could be showed by the body language and emerged on the wall. And the people in the other secret room could see the secret. This wall with pin art could let people communicate and exchange their secret without knowing whose secret it is. So it still keep the secret as a form of secret without being completely exposed. However, the secret could also be changed by pushing frontwards and back-wards of the pin.

3.1 CONCEPTACLE

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3.2 CONCEPT AND SKETCH DESIGN

ACCESSIBILITY CONNECTION CIRCULATION

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3.2 CONCEPT AND SKETCH DESIGN

THE CENTER AREA SECRET ROOM :EMERGE

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CENTER FOCUSE & FORM DEVELOPMENT

3.3 DESIGN DEVELOPMENT

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CIRCULATION

3.3 DESIGN DEVELOPMENT

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3.3 DESIGN DEVELOPMENT

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3.4 FINAL DESIGN DRAWINGS

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37ROOF PLAN

EAST ELEVATION

SOUTH ELEVATION

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BASEMENT PLAN GROUND FLOOR PLAN

HIDDEN ANONYMOUS SECRETS “YOU SEE IT, BUT YOU WILL NEVER KNOW WHOSE SECRET IT IS.”

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GROUND FLOOR PLAN FIRST FLOOR PLAN

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SECTION A

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GETTING LOST IN THE SECRETS THE PAVILION ITSELF IS A SECRET. ONCE YOU ENTER, YOU MAY LOST.

The above ground part of the pavilion is a welcoming open space, where people could interact with. However, there are 2 levels of the underground spaces underneath. The people at the aboveground level will only find out the secret of the underground spaces when they walk up to the top of the aboveground part. The opening in the centre is actually the sky light of the underground atrium.

To enter the underground spaces, people need to find out the hidden entrance, which is in the ground with the ramp going down. And due to the perfectly symmetrical form of the pavilion, there are two entrances at separate side of the pavilion. These two en-trance will lead to different destinations. One entrance can only access to a specific secret room. The entrances are also located behind some bush and trees, which make it not easy been found.

The underground tunnels are the totally enclosed space, and you will not know if you locate underground or above ground.

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REVEALING SECRETS

YOU SEE IT, BUT YOU CAN NOT REACH IT.

The transparent tunnel with glass wall will let the user see the view of the other tunnel beside, but they could not access tunnel beside unless they enter the pavilion in the other entrance.

Also, the relationship of the spy room and the secret room1 is also the same. They know there is secret, but they are not be able to access it.

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INTERACTING WITH SECRETS THE SECRET COULD BE ERASED OR ADDED.

-- THE UNDERGROUND SECRET ROOM -- THE SECRET SPACE FOR CHILDREN AROUND THE CENTER COURT (USING LEVEVS TO DEFINE SPACE)

Around the atrium area, defferent ceiling height could de-fine the spaces. The lowest part is the special secret space foe children to dispaly thier secret. And it could block the eye sight of the adult due to the height.

Cellar secret space for children also have pin art to emerging the secret, but it is more focusing on communicating and exchanging the secret.

The pin art could be eased or added new content easily by other, and it show the secret is transient.

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ALLURE OF SECRETS

YOU SEE IT, BUT YOU DONT KNOW WHAT EXACTLY IT IS.

--CENTER COURT AREA WITH THE CONNECTION WITH SECRET ROOMThe atrium have a glass floor in the middel which could see pin movement of the underground secret space, but they will not know what exactly the secret is.

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ALLURE OF SECRETS

YOU SEE IT, BUT YOU DONT KNOW WHAT EXACTLY IT IS.

-- THE GLASS SPACE COULD SEE THE ENTRANCE OF ONE OF THE SECRET ROOM, WITCH IS NOT BE ABLE TO ACCESS

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3.5 FINAL DESIGN MODEL

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3.0 REFLECTION

At the beginning of the studio, we have been introduced 3 tectonics: point/line/plane; mass; frame and infill. The lectures and the blog research help me to understand what exactly they are. And the 3 exercise reflect our own understands of these tectonics and I found that it is interesting to look at others work and see the difference in the way we think and representation. During the semester, we have been asked to making models to start our design instead of using drawing or writing, and I found it challenging. I am not confident enough to model and design at the same time and I am always not happy with my prototypes. However, all these prototypes are actually the sketch of our design and they do not need to be perfect. Compared with the hand sketching, model making could make me have a better sense of the special relationships while designing, but in terms of the form sometimes I would be restricted by the material. So I still need to practice more to get used to these way of designing.

In the final section of the studio, we designed a pavilion that is related with secret and also take the three tectonic into consideration in formally or concep-tually. In my final project, I spend the most time in thinking what is my concept and how can I represent it in an architectural way. And I think it is the most important part in a design. During the semester, I have improved my model making skill in the three tectonic exercises and I found that start the design with making model would have different outcome compared with drawing. And it may helpful when I get stuck. After this studio, I am more focus on my concept during the design develop-ment and I have learnt different ways to represent the same concept.

The drawings beside were my week 12 presentation drawing which are unclear and unreadable. According to my tutor feedback, I have improved my plan and section drawings to show the spacial relationship. Also, some interior perspective are added to show my concept, which may not be clearly show in just plan and section drawing in terms of atmosphere, user experience and function. What’s more, one of the key things for me to improve is the time manage-ment in the studio. The intense workload in a studio will need a good time management plan for me to work on. Productivity improvement would be my next focus in my future studio study.

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FIRST FLOOR PLAN

GROUND FLOOR PLAN

BASEMENT FLOOR PLAN

Previous drawings on week 12 presentation

section A

section B

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Art Pin, https://www.visualnews.com/2011/05/29/life-sized-pin-art-in-fashionable-london/

Donald Judd, Untitled (1990), [http://thingsorganizedneatly.tumblr.com/post/47439524675/frostedwindows-donald-judd-untitled-1990]

Window detail, Void Space/Hinged Space Housing (1991), [http://www.stevenholl.com/projects/fukuoka-housing]

Liyuan Library (2011) , http://www.archdaily.com/256525/liyuan-library-li-xiaodong-atelier

Matmata underground houses, http://hubpages.com/travel/Matmata-Underground-Town-In-Tunisia

4.0 Bibliography