Architecture Design Studio: Earth

ARCHITECTURE DESIGN STUDIO: EARTH S1, 2016 SUBJECT STUDENT BOOK

Albertus Magnus Yudhistira 755406 Scott Woods | Tutorial 12 1

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CONTENTS

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THREE RELATIONSHIPS

1.1 1.2 1.3

Point / Line / Plane: repetition of elements Mass: transition Frame and Infill: constraint x freedom

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HERRING ISLAND. A PLACE FOR KEEPING SECRET(s)

2.1 2.2 2.3 2.4 2.5

Site Analysis and Conceptacle Concept and Sketch design Design Development Secret as a Fantasy Final Design

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REFLECTION

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BIBLIOGRAPHY

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1.0 THREE TECHTONICS Point / Line / Plane + Mass + Frame and Infill. Those were the three main techtonics that need to be explored during the first half of the semester. Extraordinary and unorthodox ideas and concepts were greatly encouraged and developed during the process in order to explore of shape, form and design. It was necessary to push beyond the limit in order to break the rules and norms of architectural design. By using precedents as inspiration, development of ideas then could be generated. Ambitious and high-quality models and drawings were expected for each techtonics.

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1.1

POINT / LINE / PLANE "repetition of elements"

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".. the architectural imagination, freed from constraints of finance and buildability, should be uncompromising, always. One should imagine entirely new structures, spaces without walls, radically reconstructing the outermost possibilities of the built environment."

Geoff Manaugh, in an interview with Lebbeus Woods, 2007 9

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TERRAIN Lebbeus Woods, 1999.

Terrain model was the main inspiration for this techtonic. He briliantly blended the quality of chaos and order into a piece of unimaginable form. It was a terrific experimental architecture! The ideas that came out from this-which inspire a lot-was the exploration of shape and obviously the repetition of elements.

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DESIGN CONCEPT The concept was to create a repetition of similar elements and unify it to produce a flow of a single form, similar to Lebbeus Woods' Terrain. To achieve this, the P/L/P techtonic could be identified as:

/ Point: pointed into a focus point / Line: line that directs the flow of the object / Plane: produced from series of lines that naturally form into a plane

A dramatic moment was happening when the form was flowing from the ground and then rise with the ending nearly touches the ground. Similary, by left it hanging like that, the representation of focus point could be clearly seen. Moreover, the vertical "columns" in the middle of the form were made to contrast the horizontal flow of the main form.

Therefore, the theme for this was "from pieces into a piece".

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1.2 MASS "transition"

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".. the architectural imagination, freed from constraints of finance and buildability, should be uncompromising, always. One should imagine entirely new structures, spaces without walls, radically reconstructing the outermost possibilities of the built environment."

Geoff Manaugh, in an interview with Lebbeus Woods, 2007 17

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FAB-UNION ON THE WEST BUND Archi-Union Architects, China, 2015 The inspiration came from the usage of natural light to create a particular interior quality. The beauty of natural light translates the space and curve into a sense of hugeness. Moreover, the curve itself tries to break the rules of the surrounding shapes which straight and squary shape were dominant.

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DESIGN CONCEPT Mysterious + hidden were the main theme for this techtonic. Commonly, when the word "below earth" is coined, the imaginable correlation with that is something irrational, disturbing, chaos. Therefore, the ambience of uncertainty, being pressured and darkness were the quality that wanted to achieve.

Inspired by the precedent which playing with light + shadow, dark, void and transition, there was a potential to produce a dramatic senses of space could be produced. Moreover, the transition part itself could be felt in 3 parts of surface: soft, medium, hard. The hierarchy of surface were created by how the surface is exposed to the natural light.

Soft = exposed. Medium = semi-exposed. Hard = unexposed.

In addition, another orthodox idea that wanted to show was the clash between symmetry vs asymmetry. By adding a circle on the side of the mass, it contradicted the surrounding space which dominated by squary shapes.

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1.3 FRAME and INFILL "constraint x freedom"

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".. the architectural imagination, freed from constraints of finance and buildability, should be uncompromising, always. One should imagine entirely new structures, spaces without walls, radically reconstructing the outermost possibilities of the built environment."

Geoff Manaugh, in an interview with Lebbeus Woods, 2007 25

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LOSING MYSELF Niall McLaughlin and Yeoryia Manolopoulou, Venice Architecture Biennale, 2016.

What interesting was the idea that the "people" inside it seems trying to escape? get used to the space? experiencing?. Anyway, any ideas that popped were basically have the same principal foundation, which was to create something that based on the idea of constraint vs. freedom. A dramatic moment was being expressed by using opaque glass to emphasise the constraint state of the frame, like it wanted to let people see how "rudely" the frame did to prevented the infill to escape.

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TAPE VIENNA Numen / For Use, Vienna, 2010.

A briliant installation, which the inspiration came to create something that communicates the constrast between frame and infill. The infill is fluid, dynamic, and spills out from the frame, but frame is static, permanent, fixed, dominant. Related to this installation, they used clear plastic tape to show contrast with the classic building heavy mass structure. It was between dynamic and permanent.

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DESIGN CONCEPT Generally speaking, the certain hierarchy of frame and infill was: constraint is the frame and freedom inside the frame, just like the Losing Myself. Inspired by Tape Vienna Installation, the hierarchy then developed into deeper definitions of frame and infill: infill is fluid, dynamic, spills out from the frame and frame is static, permanent, fixed, dominant.

By questioning the hierarchy between frame and infill, it could be argued that frame did not always win. Being trapped for long, infill slowly collects its power to take over the domination. Finally, when infill has enough power to twist the condition, then it will.

Frame, as it starting to lose, would follow what the infill do. Infill spills out of the frame!

It defeats the frame that has restrained it for so long! It is a revolution! or is it a coup d'etat?

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2.0 HERRING ISLAND. A PLACE FOR KEEPING SECRET(s) "Some recent works in Victoria shows what can happen when we attempt to disperse art, in particular to somewhere called 'landscape'. One strategy is simply to replace the gallery with a park. There is no better new example in Melbourne than Herring Island, a semi-artificial island in the Yarra River ..."

Alex Selenitsch, Putting Art in the Landscape, 1998.

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2.1.1 SITE ANALYSIS Somewhere between exposed and unexposed.

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"In 1998, the site looks abandoned and is dominated by a neighbouring chain-linked, money-making carpark. One of the supports of the freeway access ramp nearby, someone has chalked ART? in a large blue letters. . . Here, the context has triumphed all the way to the bank, and revealed the underside of our landscape fictions: landscape is also a resource, fully exploitable, alterable and once used, just abandoned to look after itself."

Alex Selenitsch, Putting Art in the Landscape, 1998.

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LEFT: Location of the chosen site in Herring Island.

RIGHT: Graphic showing how the site is visually known to the cyclists, pedestrians and motorists.

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The words to best describe the island: being alienated and lost. As a man-made island (although as time goes by it seems more like a nature-made island), Herring Island provides quality that allow visitors to feel like far from the hustle bustle city life, get closer to the natural wilderness.

Being a bit hidden in the middle of Yarra River, this island blends perfectly with the surrounding environments, makes it less exposed to the people that wandering around the site.

Based on the observation, cyclists and pedestrians that came to the area for the first time tend to recognise this island not long after they went through the corner of the island (see graph above, indicated in gray line). However, motorists tend to recognised a bit longer as they had to focus driving on the curvy road, not far after the corner of the island (indicated in brown line). Accordingly, it is preferable to choose the site where it is somewhere in between exposed and unexposed (indicated in gray square) to create curiosity to the people that are passing by.

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2.1.2 CONCEPTACLE An assembly or composition. Representations of P/L/P, Mass and Frame and Infill.

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CURIOSITY

CONSTRAIN x FREEDOM TRANSITION

FROM PIECES INTO A PIECE THE WINNING LOSE OF DOMINATION

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DESIGN CONCEPT Basically just playing with the actual thing of the three techtonics. A new idea was tried which was moving upward the underground mass to the position between P/L/P and Frame and Infill. The idea behind this was again questioning the hierarchy of each techtonic by rearranging the above, on and underground state of each techtonic.

In relation to the "secret" idea, the mass "box" represents the secret which is hidden inside it and the Frame and Infill timber thing above it creates attraction that comes from the secret to create curiosity for people who see it. The timber thing was actually could popout if someone move the servo which located inside the alcove of the mass "box".

The feedback was to consider what is happening inside "the box" and need more clarity for the design and presentation.

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2.2

CONCEPT and SKETCH DESIGN Small details collide into a large unified object. Distortion + regularity inside it. Manipulation. Complexity formed from a simplicity

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INVERSION

ATOMIC: FULL OF LOVE, FULL OF WONDER

Dan Havel and Dean Ruck, Houston, 2005.

Nike Savvas, Melbourne, 2005.

The existence of life is being asked with this installation, was it from exist to "exist?". Though it is getting smaller, but one has, or must, to go if want to catch "the light". It created the mood of uncertainty but at the same time increasing one's curiosity.

The language "from a piece into pieces" was related to the P/L/P techtonic. There was no speciality in each ball-except from its color and position-that create a total uniqueness from each. However, it can be seen that there was a spatial quality that created from the dispered balls. A sense of trapped, pre-collide, distortion and regularity could be felt when someone was inside the installation.

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The concept was similar with the conceptacle which separate the design into three parts: something that creates curiosity, the secret which is inside the island and the floating structure that create curiosity and thus bring people inside to the secret.

The sketch above was the visualisation of the design. A walkway was provided in the middle of the structure as the access for visitors. However, according to the feedback, it is better to remove the sunken walkway as this particular structure has already exist.

As stated before, curiosity was the quality that wanted to be achieved. In order to add complexity, a mood of uncertainty than added to the idea, which will naturally appeal to those who have the courage to reveal the secret. People would be hesitant whether to continue the journey or not.

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2.3

DESIGN DEVELOPMENT

An active object or installation. Not a structure within a site, but a structure that becomes the site, egalitarian. Both intimidating and exciting. Trapped, uncertainty, but exciting.

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DEFLATING PAVILION (proposed) G mazars, London, 2014.

The description says, "It not only employs the environment but also our senses, and should not be looked upon as a structure within a site, but rather a structure that becomes the site, presenting a new understanding about our perspectives of reality."

It is undoubtedly a strong message and idea that the pavilion tries to say. It shows the egalitarian idea and humbleness of an architecture.

HOLLOW Zeller & Moye and Katie Paterson, Bristol, UK, 2016.

A feeling of complexity was there, which actually on the background the complexity itself was formed by a simplicity. The contradiction of opinion between complexity and simplicity created a quality that covers both intimidation and excitement.

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Inspired by the precedents from previous page, a mixture between intimidation and excitement was added to improve the spatial quality of the design. The floating structure would intimidate people who are afraid as they have the possibilities to fall into the river. However, for those whose curiosity defeats their fear would found this exciting as this is a challenge for them.

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"You might speculate why blank. Well, there is actu displa Nothing,

You might think that someth hid or kept out from you. Yo ing a s

The truth is, nothing is bein secret. The secret is actua perce

No need to speculate. No there is n It is just a

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y the previous page was ually nothing there to be ayed. literally.

hing was intentionally being ou thought that I was keepsecret.

ng hid nor I was keeping a ally inside your mind and eption.

o need to question. Since no secret. fantasy . ."

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2.4 SECRET AS A FANTASY There is literally nothing. Yes, nothing.

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A small space was then added to encourage people to think, imagine, speculate, question. Doubts and speculations that came out were derived from people's mind and response to what they see. The truth behind it might be different between one and another, depends on one's perspective. Like the pyramid in Egypt, people speculate a lot about what was actually happening inside. Too many secrets need to be revealed, but too many answers and speculations to be trusted.

Nothing. Yes, nothing. There is literally nothing inside the small space that ends the visitor's journey. It is a dead end. People might think that there is something inside, but unfortunately is not. Let them speculate.

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2.5 FINAL DESIGN Plan, section, 3D visualisation, model, and more that represent the idea of Secret as a Fantasy.

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OPPOSITE PAGE: Longitudinal section.

TOP: Sectional cut of the toilet and cleaner's cubicle.

LEFT: Sectional cut of "the secret".

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TOP: Scaled down site plan underground level. Consists of male, female, disabled toilets and cleaner's cubicle. Located under the ground to give a clear view of the installation.

RIGHT: Site plan - aerial view.

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TOP: Path diagram showing people's journey to "the secret". It shows how people would walk and explore the installation. Some would continue to find out what the secret is and some would give up.

RIGHT: Exploded drawing of the plan 68

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ALL: Final model for the project.

The up and down white blocks represent the flexibility and movement of the floating blocks when people walking above it and exposed to the waves of the river.

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3.0 REFLECTION

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As the first formal studio for my architectural journey, this studio challenges me to understand more of what I am doing. It is taught that I have to set a strong foundation for everything that I create and think.

The first three techtonics taught me the basic things and ideas framework for the final project. Breaking large problem into smaller problems making it easier to understand what we have to do. Therefore, in this studio, the three techtonics were the first thing that introduced so I could have a strong foundation and understanding of what I am going to do. I learnt a lot of how designers should think and why they have to make a sharp and critical approach of what they are designing. The first thing you need to do is to understand what, why and how will you design. It is a very important aspect of every design because without that, your design is nothing but a junk consists of dispersed ideas that you do not even know where that come from. It is only a shape without soul, something that normative, something that has no spirit, something that regular, something that does not push beyond the limit.

The most challenging part was to create something that ambitious, extraordinary, pushes beyond the limit, representation of an abstract idea (as those were the words that Scott kept saying during semester). His high expectation forced me to create something that I never try before, something that experimental. It does not matter whether it would be possible to build or not in the real life, but it is more important for now to just do the experiment, create something impossible, something that beyond our limitations. We were also asked to keep interrogating the meaning of each techtonic. Each people could have different interpretation for one thing, and I found it interesting. From there I keep asking myself when designing something with the question, "What if ...?". I believe that there are possibilities of answers of one problem. One is not enough.

Ideas often come from anywhere, and the bad thing is it usually comes when I do not want to find it. For me it was really challenging, especially when deadline is just in front of me and I am stucked with ideas. Therefore, precedents were very useful as it allowed me to found inspirational ideas and concepts, as well as forms and shapes. From blog entries, I could understand more the philosophy of each design and how the designers could came up with the idea. Surfing in the internet is one of good things to find inspiration from other places that is too far from where I live right now.

I am feeling grateful that I could learn so many things in this studio. Something that I regret was the final presentation which I did not push myself that hard. I presented only with a standard presentation materials and not enough preparation which actually below my own expectation. For the model, I was intended to create a moment where the white blocks will float as I pour the water in. I already did experimentation with various materials from cement, styrofoam, gypsum and mixed of those materials but nothing satisfy me. Actually, when I mixed the gypsum with styrofoam the block could float but unfortunately I got no time left to recreate the model from the beginning. Next time, I will do something better and start making the design right after the brief is given, so if something goes wrong I still have enough time to make a revision.

To sum up, this studio has dramatically changed my way of thinking about design and planning. Lots of new things were given and blew my mind. Now I get used to work in high standard to achieve a high result. Moreover, I want to start experimenting with technology in the model making process as model making is one of my passion. Outstanding appreciation to the tutors and lecturer that have driven me to this stage.

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4.0 BIBLIOGRAPHY

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Arch2o 2014, The Altered Reality of the Deflating Pavilion, viewed May 2016, <http://www.arch2o.com/the-altered-reality-of-the-deflaitng-pavilion-g-mazars/> ArchDaily 2011, Moses Bridge / RO&AD Architecten, viewed June 2016, <http://www.archdaily.com/184921/moses-bridge-road-architecten/> Chen, H 2015, Fab-Union Space On The West Bund, viewed June 2016, <http://images.adsttc.com/media/images/562e/bbd9/e58e/ce22/ae00/02fe/large_jpg/03_photo_by__ Hao_Chen.jpg?1445903304> Havel, D & Ruck, D 2005, Inversion, viewed May 2016, <http://www.arch2o.com/suck-in-space-dan-havel-and-dean-ruck/> Hill, J 2014, Terrain, viewed May 2016, <https://www.flickr.com/photos/archidose/13877100903/in/photostream/> Jobson, C 2012, Suspended bouncy ball installation by Nike Savvas, viewed May 2016, <http://www.thisiscolossal.com/2012/03/bouncy-ball-installation-by-nike-savvas/> McLaughlin, N & Manolopoulou, Y 2016, Losing Myself, viewed May 2016, <http://www.archdaily.com/787485/losing-myself-the-irish-exhibition-at-the-2016-venice-architecturebiennale> McClure, M 2016, Hollow installation by Zeller & Moye and Katie Paterson brings together 10,000 tree species, viewed My 2016, <http://www.dezeen.com/2016/05/11/hollowinstallation-zeller-moye-katie-paterson-bristol-university-10000-tree-species/> Manaugh, G 2007, Without walls: an interview with Lebbeus Woods, viewed May 2016, <http://www.bldgblog.com/2007/10/without-walls-an-interview-with-lebbeus-woods/> Numen, 2010, Tape Vienna, viewed May 2016, <http://www.numen.eu/installations/tape/vienna-odeon/> Selenitsch, A 1998, 'Putting art in the landscape', Artlink, Vol. 18 no. 2, pp. 29-31.

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June 2016

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