387974 ABM

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A L I S TA I R M C D O N A L D 387974

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C O N T E N T S 4

POINT/LINE/PLANE

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MASS

1 2

FRAME/INFILL

THE HERRING LINE

1 6

INTRODUCTION

1 8

SITE

2 0

SECRETS

2 2

DEVELOPMENT

2 4

SECTIONS

2 6

ABOVE GROUND

2 8

ON GROUND

3 0

BELOW GROUND

3 4

REFLECTION

3 5

REFERENCES

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P O I N T L I N E P L A N E

M I E S VA N D E R R O H E I N S P I R E D J A PA N E S E DRY GARDEN

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M I N I AT U R E L A N D S C A P E : R O C K S A S M O U N TA I N S / P O I N T S

RAKED DRY GARDEN: R E P R E S E N TAT I O N S O F WAT E R / R I P P L E S / L I N E S

J A PA N E S E G A R D E N S

STEPPING STONES: POINT/LINE IMPLIED MOTION

F L O AT I N G PLANES AND SLIDING LINES LINEAR COMPOSITION EXTENDS INTO LANDSCAPE

B A R C E L O N A PAV I L L I O N M I E S VA N D E R R O H E , 1 9 2 9

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POINTS CRUXIFORM STEPPING STONES EXTENDING TO LANDSCAPE OFFSET INTERSECTION DISRUPTS MOTION

LINES STEPPING STONES B E C O M E PAT H PAT H S S K I R T E D B Y WA L L S WA L L S TA P E R E D T O I M P LY LANDSCAPE

PLANES TEXTURAL PLANES FROM S PA C E S C R E AT E D TEXTURE DEFINES EACH P L A N E W I T H O N LY 6 0 0 m m E L E VAT I O N T O P L AY W I T H 3 LEVELS [200MM EACH] GROUND F L O AT I N G S L A B F L O AT I N G T I M B E R P L AT F O R M TEXTURE DEFINES EACH PLANE

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EXTRUDED MASS

S K Y L I G H T S A N D WAT E R

THE DAM HOUSE

CLERESTORY WINDOWS

This intervention experiments with the ground line, redefining the notion of “below ground”.

LIGHT LOUVRES

L I G H T S PA C E

D A R K S PA C E VA N I S H I N G U P I N T O BLACK

LIFT ENTRANCE FURTHER HIDDEN

S TA I R S T O D A R K N E S S

SECTION 1

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M A S S

ENTRANCE

Positioned in a valley between two steep slopes, the upturned pyramid dams light to create two below ground spaces that exist ABOVE the g r o u n d l e v e l e n t r y.

While appearing massed and full o f w a t e r, t h e s t e e l structure is only clad in concrete and topped with a shallow pond.

The entrance is a through tunnel, the missing mass of which appears to have been extruded through to the roof/new ground level island viewing platform.

Upon passing through the tunnel, one might not see the dark stairs, however as these stairs are carved from the bedrock, a textural difference hints at a secret.

E L E VAT I O N 1

SITE MAP

SECTION 2

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MARCEL BREUER CANTILEVERS AND CONCRETE CLAD M O N U M E N TA L I S M

ST FRANCIS DE SALES, MUSKEGON, MI, 1964

BEGRISCH HALL, NEW YORK UNIVERSITY 1961

W I T N E Y M U S E U M O F A M E R I C A N A R T, NEW YORK, 1966

S VA L B A R D G L O B A L S E E D VA U LT [SWEDEN]

GRANDE DIXENCE DAM TA L L E S T D A M I N T H E WORLD [SWITZERLAND] DAMS ARE THE L A R G E S T A N D H E AV I E S T MANMADE STRUCTURES

T H E “ D O O M S D AY VA U LT ” C A R V E D O U T O F T H E E A R T H I N T H E [ P R E V I O U S LY ] P E R M A F R O S T O F T H E A R C T I C .

C A R R I E S T H E W E I G H T O F H U M A N I T Y, S T O R I N G O U R CROPS. C O N C R E T E E N T R A N C E S T R U C T U R E FA N S O U T L I K E A P L A N T, I M P L Y I N G R O U T E S Y S T E M .

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NGV: IAN POTTER STEPPING UP INTO LIGHT

F R A M E / I N F I L L N AT U R E V I E W I N G P L AT F O R M 3 S PA C E S : ROOFTOP SKY VIEWING P L AT F O R M COVERED BOX IN THE TREELINE LARGE BIRD CAGE

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JEAN PROUVE, MAISON T R O P I C A L E , N I A M E Y, 1 9 4 9

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ISOMETRIC WIREFRAME 1:50 @ A3

FRAME

2 X FLAT

2 X 1 FOLD

2 X 4 FOLD

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2 X VOLUME

SECTIONS 1: 100 @ A3

MARCEL BREUER’S FURNITURE ABOVE: MODEL B32 [CESCA] CHAIR: FRAMED CANTILEVER B E L O W : M O D E L B 3 [ WA S S I LY C H A I R ] : R E M O VA L O F N O N - F U N C T I O N A L

ELEMENTS

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F I N A L P R O J E C T: T H E H E R R I N G L I N E

THE HERRING LINE DERIVES ITS NAME FROM THE LOWLINE STYLE APARTMENT BUILDING [LEFT] AND THE NEW YORK HIGHLINE [RIGHT].

FORMAL IMAGERY OF MOTORWAYS, OCEAN LINERS AND RAILWAY STATIONS

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SITE MAP SHOWING VIEWING PLATFORM AND ENTRANCE

1:500 @ A3

THE M1 MOTORWAY

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CITIPOWER EXCHANGE

STEERAGE, JILL PECK, 1997, GRANITE

THE QUIET BUT QUITE BEAUTIFUL NORTH PATH

The valley on the western end of Herring Island has a luring, mysterious atmosphere. The overgrown ridges and dense undergrowth create a secret garden amongst older trees, a mood which I intended to preserve, along with the older trees, as both take decades to form and seconds to destroy.

SITE ANALYSIS

SHOWING: 1M CONTOURS, OLD GROWTH TREES AND CIRCULATION

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SECRETS IN THE UNDERGROWTH Herring island is a nature reserve in the middle of the city, isolated by the Yarra River.

Conservation of nature on the island is a big priority, here a small framework protects native flower buds, recently planted.

VALLEY ATMOSPHERE Overgrown but not impassable.

Filtered light.

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JOHN DAVIS The artwork “A HILL A Hill, A RIVER, TWO ROCKS AND A PRESENCE” by John Davis does not exist on Herring Island as was originally intended. Orginally fabricated from dirt, branches and twine, the ephemeral work has since disintegrated.

The branches, however, were cast in concrete to last for the ages. I believe this is an afront to Davis’ art but these concrete casts could be used to carry forth Davis’ notion of short-lived sculpture, as part of a new open air gallery.

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D E V E L O P M E N T

THIS SCULPTURAL MODEL DEMONSTRATES THE BASIC IDEA OF THE HERRING LINE: AN ABOVE GROUND PLATFORM, CANTILEVERED OVER A RIDGE, APPROACHING BUT NOT TOUCHING IT. TWO STONE PILLARS REPRESENT THE BELOW GROUND ENTRANCE, WHICH CONNECTS TO THE PLATFORM ONLY AND THE UNCONNECTED ONGROUND, OUTDOOR GALLERY CONSTRUCTION.

The form of the structure is largely in conversation with the Citipower exchange and the M1 motorway, both to the north. Illegal, secret parties have taken place under this motorway in the past, and I want to create a space where such events can be sanctioned, in an intriguing and relatively unknown place, so close to the city.

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CONCEPTICLE

P L P : S PAT I A L COMPOSITION

MASS: UNDERGROUND ENTRANCES

MASS: RIDGES AND CLERESTORY WINDOWS

FRAME/INFILL: CANTILEVER

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SECTION 1

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1:100 @ A3

SECTION 2

1:100 @ A3

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VOID

ABOVE GROUND

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1:100 @ A3

Above Ground are two spaces at different levels: A viewing platform, above the ridge at roof level. [Right] A glazed functions room in the treeline, below the level of the ridge. [Below]

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ON GROUND

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1:100 @ A3

JOHN DAVIS GALLERY The casts of “A HILL A Hill, A RIVER, TWO ROCKS AND A PRESENCE� are being repurposed as pedestals for a new ephemeral art work to be presented at the opening of each Herring Island Summer.

A viewer must enter the first set of walls and circumnavigate the stepping stones to view the work from the four corners.

The implied movement of stepping stones, coupled with the absence of a step at the corner itself, results in the artwork only being viewed in motion.

The idea is that a viewer experiences the art and does not photograph it.

CANTILEVER Approaches but does not meet the ridge, minimizing impact on the ridge and encouraging vegitation to grow up onto and accept the frame into the landscape.

The space created below is preserved and framed, with a low overhead, as a secret garden for children. An offshoot of the stepping stone path suggests a secret underneath.

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The act of going underground to access the above ground disassociates a viewer from the surroundings, resulting in an objective viewpoint. In the herring line, this means viewing nature, whie disconnected from it.

CLEANER

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Below ground, the amenities are hidden, as well as the technical room, which belongs in the industrial underground that mimics a train station.

BELOW GROUND AND RAMP

1:100 @ A3

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R E F L E C T I O N

When I set out for Herring Island, I did not expect to so comprehensively include work from throughout the semester. Having struggled to do so in Designing environments, I was prepared to design something completely inspired by the island.

I arrived, analysed the site and began conceptualizing and the three tasks were unavoidable. I suspect that the research blog had a great deal to do with engaging with the tectonics, as this was missing last semester.

Additionally, I found the tectonics much more interesting.

The lack of emphasis on technical drawing in this course allowed for more creative interventions, working with sketch models and hand drawing allows for greater exploration into form.

Its such a shame I was ill for the last third of the semester, this design was created in isolation, with only the only feedback coming from the SECRETS presentation.

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B A R C E L O N A PAV I L I O N http://ichef.bbci.co.uk/wwfeatures/wm/live/1280_720/images/live/p0/1h/cf/p01hcf85.jpg https://s-media-cache-ak0.pinimg.com/originals/c2/e7/60/c2e760db25d3aa6b85f17fc222dce83f.jpg

I M A G E S

J A PA N E S E G A R D E N https://upload.wikimedia.org/wikipedia/commons/f/fc/Kyoto-Ryoan-Ji_MG_4512.jpg http://2.bp.blogspot.com/-lkbXlC1ik3A/U43MS90QUWI/AAAAAAAADe8/Ibe9jrLm2Ng/s1600/DSC_0149.JPG https://s-media-cache-ak0.pinimg.com/originals/a1/00/de/a100deb14b48de6cac8e1c896f9566ba.jpg S VA L B A R D S E E D VA U LT https://cdn.croptrust.org/wp-content/uploads/2014/12/seed-vault-location-slide-2.jpg h t t p : / / w w w. o d d c i t i e s . c o m / w p - c o n t e n t / u p l o a d s / 2 0 1 5 / 0 3 / S v a l b a r d - G l o b a l - S e e d . j p g https://s3-eu-west-1.amazonaws.com/static.nextnature.net/app/uploads/2007/09/seed_bank02.jpg BREUER AND MASS https://s-media-cache-ak0.pinimg.com/736x/da/ec/7f/daec7f56cb769b7c8c223e007a2b7b9e.jpg https://s-media-cache-ak0.pinimg.com/originals/f3/30/a8/f330a8ae1c37ca5f9d23a0f6dddea307.jpg h t t p s : / / w w w. k n o l l . c o m / n k d c / i m a g e s / d e s i g n e r p a g e s / W h i t n e y - M u s e u m - M a r c e l - B r e u e r - 7 0 0 . j p g GRANDE DIXENCE DAM http://civilengineersforum.com/wp-content/uploads/2014/08/Grande-Dixence-Dam-view-2.jpg LOWLINE HOUSE https://s-media-cache-ak0.pinimg.com/originals/d0/91/2b/d0912bd05989e89b6bead3e8b3c807a7.jpg h t t p : / / w w w. m o d e r n h o u s e . c o / w p - c o n t e n t / u p l o a d s / 2 0 1 4 / 0 5 / M o d e r n - H o u s e _ L o w l i n e - B _ M N P 3 7 0 8 - 0 1 7 B W. j p g BREUER FURNITURE h t t p s : / / w w w. k n o l l . c o m / m e d i a / 8 3 7 / 9 5 1 / Wa s s i l y _ p r o d u c t _ s t o r y, 0 . j p g h t t p s : / / w w w. k n o l l . c o m / m e d i a / 1 9 / 6 4 3 / Wa s s i l y _ p r o d u c t _ s t o r y 2 . j p g h t t p : / / w w w. s w i v e l u k . c o m / m e d i a / d i m e n s i o n s / 8 0 2 8 B A . j p g MAISON TROPICALE h t t p : / / w w w. d a n i e l l a o n d e s i g n . c o m / u p l o a d s / 7 / 3 / 9 / 7 / 7 3 9 7 6 5 9 / 9 9 6 1 4 2 _ o r i g . j p g h t t p : / / 2 . b p . b l o g s p o t . c o m / - T V h L 2 s X p l z A / U J N o O P R q q 3 I / A A A A A A A A A u w / m R o p B n X E 9 4 U / s 1 6 0 0 / 4 2 9 2 4 11 8 1 6 _ f 0 2 d 3 4 1 5 c d _ b - t o u c h e d . j p g J O H N D AV I S h t t p : / / w w w. a b c . n e t . a u / r e s l i b / 2 0 1 0 0 9 / r 6 3 6 6 1 8 _ 4 3 7 8 5 0 8 . j p g h t t p : / / w w w. h e r r i n g i s l a n d . o r g / r i v e r 2 . j p g HIGH LINE https://s-media-cache-ak0.pinimg.com/originals/df/83/ee/df83eef2db647c843ba32d24276223f1.jpg

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