Amber Barton_Student Subject Book_Studio Earth

ARCHITECTURE DESIGN STUDIO: EARTH SEMESTER 1, 2015 SUBJECT STUDENT BOOK Amber Barton - 699287 Scott Woods - T08

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CONTENTS 1.0 Three Relationships 7 1.1 Point / Line / Plane 8 1.2 Frame / Infill 10 1.3 Mass 12

2.0 Concept Mass 3D Model

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3.0 Herring Island : Something Like a Pavilion

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4.0 Reflection

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2.1 Design Development 15 2.2 Outcome 16

3.1 Site Analysis 19 3.2 Conceptacle 20 3.3 Precedent 22 3.4 Concept 24 3.5 Sketch Design 26 3.6 Design Development 28 3.7 Final Design - Digital Model 30 3.8 Final Design - Physical Model 34

5.0 Bibliography 41

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1.0 THREE RELATIONSHIPS

Architectural Design Studio Earth explores spatial systems of architectural practice as they relate to the theme of Earth. Initial exploratory steps revolved around the segregation of three tectonic systems: Point - Line Plane : explores the space on the ground.

Frame - Infill : above ground.

Mass : underground.

These tectonics were introduced as key responses to gravity which form a way of thinking about the intersecting influences of assembly, site, budget, space and materials (Alex Selenitsch, pers. comm., 2015).

Two week design exercises were undertaken to explore each tectonic as it related to specific ground related space. These design exercises will then form the basis for the five week architectural project of Secrets.

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1.1 POINT / LINE / PLANE

Ideas:

Layers / From Flat to Levels

Precedent:

Pierresvives Building / Zaha Hadid / Montpellier, France

Zaha Hadid Architects (2012)

Concept:

Within the Pierresvives Building, three institutions of the archives, library and sports department find a unity. This sense of three separate elements forming a single identity within a built form was transferred into the design through the creation of three defined levels. The levels reflect anthropomorphic movements from standing, to sitting, to lying down. The creation of these levels was through folding and cutting of a 2D plane so that it grew into a 3D form along the same anthropomorphic motions.

Zaha Hadid Architects (2012)

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Elevation

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Plan

1.2 FRAME & INFILL Ideas:

Modular Progression / Perspective and Reflectivity

Precedent:

Geometric Forest / Sou Fujimoto / Solo House Project, Spain

Concept:

The primary structure of a lattice-like geometric volume is inspired by the delicate, light enclosures created by Japanese architect Sou Fujimoto. The verticle elements of the frame structure was laid out on a base grid so that an area of negative space lies within the centre. The secondary frame structure of the horizontal elements were then inserted to create an integrated system. Inspiration for this was drawn from the Week 2 lecture in which Alex describes the frame infill tectonic as needing foresight and consideration of order of assembly (Alex Selenitsch, pers. comm., May 13 2015). The infill consits of reflective cubes in a 3-2-1 relationship with the modular progression of the frame. The reflective materiality of the infill paired with the modular progression of the frame creates a distortion of views into the structure. A restriction exisits on what may be interpreted from any one angle.

Designboom (2013)

Designboom (2013)

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1.3 MASS

Ideas:

Transition / Geometric Distortion

Precedent:

Jewish Museum Berlin / Daniel Libeskind / Berlin, Germany

Concept:

The structure uses geometric distortion from the basic initial geometry of a one hand brick shape. This then undergoes stretching, compression and rotation with each distortion being added onto a twisting continuous void.

The overall effect is a transition from the basic to the obscure; from simplisity to complexity; from the regular to the awkward; and from the open to the claustrophobic. The floating reflective geometry becomes the dictator of the transition from one experiential area into another.

e-architect (2012)

e-architect (2012)

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2.0 CONCEPT MASS 3D MODEL

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2.1 DESIGN DEVELOPMENT In moving forward from the mass section to a 3D model it was important to begin to consider dimensions as they related to the distorted geometry. The chosen digital modeling software was Rhinoceros 5. The chosen method of fabrication was 3D printing using white polymer plastic. These placed the initial limitations of a 6x6x6cm model which had to have a physically printable orientation. These considered it was decided that a 6x6cm area of the design be modeled so that the sharp angles could be visualized as they relate to one side of the wall and the floor / roof planes. The key concept was the visualisation of internal depth. The resulting model drew inspiration from the Jewish Museum Berlin in its depiction of an interior of sharp, tense angles.

Isometric

Elevation

Plan

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2.2 OUTCOME

The overall outcome was a 6x6x6cm plastic model of splicing angles in which the internal volume alluded to by the irregular intersection of planes is the main source of visual impact. To be taken forward is the consideration of how geometry may be used to influence transition through a path.

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3.0 HERRING ISLAND : SOMETHING LIKE A PAVILION Herring Island is a man made island located in the Yarra River, 3km out of Melbourne CBD. It is accessible by punt from Como Landing during December to April. There is a second private landing on the North-East bank. Facilities on Herring Island include: toilets, picnic shelter, BBQ, sculpture park, and restaurant/ art gallery. Herring Island is unique as it is the only island within the Yarra River. In the 1900’s the area around Herring Island was used as a basalt quarry for Melbourne iconic Bluestone. Herring Island, originally Como Island, was created in 1928 to help alleviate flooding. It is now under the control of Parks Victoria as a passive recreational park (Parks Victoria, 2015).

1:2000

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3.1 SITE ANALYSIS The focus site is situated on the north most corner of Herring Island. This site is currently relatively unvisited as it is not connected to the walking trails and is also buffered by trees and the pre-existing art gallery. The topography of the site is descending from the south at the Art Gallery down to the north most tip where is levels out. The site is situated in a low use, hidden area within Herring Island.

However, in terms of the surroundings this site is very open to northern exterior.The movement and noise from the City Link, trainlines, city walking trail and boats along the Yarra, give this site an interesting tension between secluded and open.

1:1000

Road Boat

Hidden

Pedestrian

Revealed

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External Movement Paths

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84m

84m

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Existing Pathways and Access Points

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84m

Experiential Areas

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3.2 CONCEPTACLE

The conceptacle represents a unification of the core ideas from the three tectonics in a composition which reflects secrets. Its main aim was to explore the way in which these tectonics may coexist and interact in a complete system.

Point - Line - Plane : the use of regular geometry to create layers which dictate the level of ground plane interaction.

Frame - Infill : the extrapolation of view distortion through the materiality of translucent infill. The frame forms the relationship between interior and exterior.

Mass : the use of geometric distortion to introduce a passage which resides within the tension of what is hidden and what is revealed.

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3.3 Precedent

Kunsthaus Bregenz Museum

Peter Zumthor Illuminated interior Absorbs exterior atmosphere especially from the nearby lake to create a distortion of the interior and exterior Disortion of views into and out of the structure is created through the use of frosted glass panels.

Inner life is only revealed in glimpses creating a sense of curiosity from the tension of the hidden and revealed.

Jeweish Museum Berlin

Daniel Libeskind Translation of human experiences into an architectural composition.

Use of sharp angles to create an atmosphere of tension from the constant re-orientation of the user.

The architecture itself becomes the narrator of experirence, and can be used to personify the transitional nature of a secret.

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3.4 CONCEPT

Concept:

The tension in which a secret exists between the unknown and the revealed

Architectural Articulation:

Transitional space of geometric distortion - Unknown - Darkness - Hidden - Disorientation - Entrance - Underground - Tension - Glimpses - Changing Spaces - Transition - Links Underground and Above ground - Revelation - Lightness - Clarity - Understanding - Conclusion - Above Ground -

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3.5 SKETCH DESIGN The next step from the conceptacle was to begin to explore the experiential aspects of the design as it relates to the brief, site, materials and concept of secrets.

Brief:

A time capsule is to be viewed by one person at a time.

Site:

Extends pre-existing hidden and revealed views.

Reveals historical context through the insertion of shape.

Textures and relationship to water are incoporated to firmly place the secret within the site.

Composition:

Mass construction provides sharp angles of geometric distortion, which constantly re-orientates the viewer to personify tension. Angular shape prevents views of the time capsule until the end point of revelation.

Frame and Infill provide the experiential qualities within the secret transiton by distorting the views Point, Line and Plane dictate circulation across fractured geometric planes

Materiality:

Bluestone provides an impenatrable surface to dictate direction. Also reveals the historical context.

Australian grey gum will be used to blend with the tonal qualities of the site.

Frosted glass will be used to distort views into and out, further encasing the secret.

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1:100 Plan

1:100 Elevation

1:100 Section

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3.6 DESIGN DEVELOPMENT

The final stage of 2D design development involved the creation of a set of architectural drawings of the design. This measured drawing set allows for the true dimensions to be visualized at a 1:100 scale. Circulation along the fractured planes from the underground to the aobve ground is clarified. The relationship of the frame to the entire design also becomes clear. The ‘windows’ are shaped so that the geomtry correlates with the distortion stage of that segment of the transitional structure; further more the placement draws ideas of the tension of secrets as distorted glimpses are allowed of the outter world.

The measured drawing set also represents consideration of the functional spaces. It was decised that the functional spaces would form a mostly invisible clustered within the topography parallel to the main structure of the design. The next step is to transform the 2D into the 3D with a focus on placement within the specific site and the relationship of techtonics and materiality.

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1:100 Elevation

1:100 Experiential Section

1:100 Elevation

1:100 Plan

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1:100 Experiential Sections

3.7 FINAL DESIGN - DIGITAL MODEL

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1:200 Plan

1:100 Elevation

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1:100 Elevation

Exploded Sections

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Elevation

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3.8 FINAL DESIGN - PHYSICAL MODEL Materials:

Contours - 3mm box board Blustone Walls and Floor - Black Optix Card Wooden Frame - 2.5mm bulsa wood Frosted glass - 1mm polypropolene

Isonometric

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Plan

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Materiality

Materiality

Isonometric

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4.0 REFLECTION Architectural Design Studio: Earth is my first introduction to the design process as a synthesised project with the end goal of creating a resolved architectural space. The continual building from preliminary exercises through to a final design proposal was often challenging in terms of quality and quantity of expected output. However, the desire to continuously extend one’s own design in response to new learning content and tutorial feedback, created a selfdriven cycle to push the boundaries towards an innovative representation of secrets. Studio: Earth began with three preliminary exercises which focused on specific elements of architectural tectonics.

The first tectonic as introduced in lecture 1 is Point-Line-Plane, which deals with the space on ground level (Alex Selenitsch, pers. comm., March 8, 2015). This tectonic called for the creation of physical model which acts to solidify the ground as “A place to lie down, sit up, stand and walk”. This two week task was initially perplexing as previously I had only used physical models after a design had been conceptualised. I feel my Point-Line-Plane model was not a coherent whole, but instead a collection of partially formed ideas which needed further research to reach refinement.

The next tectonic of Frame - Infill is an interconnected system which involves foresight, order of assembly and consideration of live wind and load to create a relationships between the ground plane and above ground (Alex Selenitsch, pers. comm., March 15, 2015). This tectonic incorporated a physical model with a concept sketch. Sou Fujimoto was a particularly influential precedent that I will take forward as inspiration in further design studies. Modular construction and by extension the distortion of perspective was explored within this tectonic and then again in the final Herring Island project. The most challenging element of Frame-Infill was creating a precise model as I found it much easier to portray ideas of modular progression as a concept sketch.

The final two week exercise explored the underground tectonic of mass. I found this the easiest concept to grasp and also the most influential for my Herring Island design. The ease of this exercise was largely due to the lessons of design development from the previous two exercisers: begin with research, followed by initial sketches, followed by refinement with consideration of effects and overall concept. I found the concept sketch by Peter Zumthor of The Thermal Baths at Vals a particularly influential example as it used a visual arts based exploration of ideas. I feel one of the strongest aspects of Studio: Earth is the freedom to explore concepts using one’s own familiar skill set. I found Alex’s final lecture provided crucial insight into how artistic sketches may transition into architectural language (Alex Selenitsch, pers. comm., May 13, 2015). I believe this use of artistic expression through mixed media sketches within design conceptualisation is one of the most transferable skills for future studio study.

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The conceptacle provided an intermediate step between the tectonics and the Herring Island Project. The conceptacle was,introduced within the Subject Guide as a “receptacle for concepts” which I initially found hard to grasp, but became clearer as I broke it down into a functional object to clarify how the previously segregated tectonics could begin to form a coherent whole. I found the making of the conceptacle underwhelming compared to the actual growth of the concept behind it. The conceptacle provided the crucial step to applying the concept: “the tension in which a secret exists between the unknown and the revealed” into the architectural articulation of “transitional space of geometric distortion”.

The biggest challenge was finding a way to unify my concept of secrets within the site. My approach was to sympathise with the topography and incorporate materials relevant to the hidden history. The site analysis I presented in week 7 did not explore these intricacies of the site iand consequently my initial designs lacked clarity and were not site specific. Clarity within my design was initially hard to find as I became obsessed with the development of my mass section in terms of shape and materiality, without considering experiential qualities and circulation. This was one of the most challenging aspects to move on from. It was the multitude of examples within the lectures which spurred me to put the design on hold and conduct precedent research. The Jewish Museum Berlin and Kunsthaus Bregenz Museum were taken forth.

Overall, the strong basis of understanding developed by the three tectonics, followed by the conceptacle, and finally unified through sketch designs, created a solid conceptual grounding which allowed the final stages of the Herring Island project to move swiftly into digital and physical models.

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5.0 BIBLIOGRAPHY Designboom 2013, Sou Fujimoto: Geometric Forest for Solo Houses, digital model/sketch, viewed 2 May 2015, http://www.designboom.com/architecture/ sou-fujimoto-for-solo-house-series/ e-architect 2012, Jewish Museum Berlin, photographs, viewed 3 May 2015, http://www.e-architect.co.uk/berlin/jewish-museum-berlin-academy Parks Victoria 2015, Park Notes: Herring Island, viewed 22 April 2015, http://parkweb.vic.gov.au/explore/parks/herring-island Zaha Hadid Architects 2012, Pierresvives Building, photograph/sketch, viewed 3 May 2015, http://www.zaha-hadid.com/architecture/pierrevives/?doing_ wp_cron

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