First Year Portfolio by Samarah Siddique

Methods 2 | ARCH1016

PORTFOLIO C u r t i n Un i v e r s i t y A r c h i t e c t u r e S c h o o l Samarah Siddique 2021

FIVE-STORY HOUSE (2018)

architects: stpmj (seung teak lee, mi jung lim, jeong eun kim) location: naebalsandong, seoul, south korea

CONTENTS stpmj, five-story house axonometric process stpmj projects schematic drawings diagrams evocative perspectives AXONOMETRIC This drawing encapsulates the unique form of the Five-Story House with its combination of sharp, straight edges and contrasting arcs and curves.

P R E C E D E N T A N A LY S I S SKETCHES

P R E C E D E N T A N A LY S I S

Sketching the Five-Story House helped me understand all the different elements of the building that make it unique. The arrangement of the building’s void space, that seem to be cut out of the greater rectangular prism, add interest. The composition of straight lines and curves cast interesting shadows.

terrace >

entry >

Photographed by Bae Jihun (stpmj)

STPMJ PROJECTS Stpmj’s style is minimalistic and fresh. Their use of simple geometry, both angular and curved, make the structures distinctively theirs.

Stpmj is based in South Korea and New York, both densely built areas that generally have small building plots. Face-Lift Sangdo and Montage Hannam respond to this as they are both multi-storey buildings on small plots.

Shear House, residence

Invisible Barn, folly

Face-Lift Sangdo, film studio + hq

The Surface, folly

Montage Hannam, office

Amorepacific Kkotbit, public passage

The architects take inspiration from everyday structures and reshape them to become something new. Shear House and Invisible Barn, borrow ideas from the typical familyhouse silhouette and transform them to be works of art.

They often use small, repeated units for exterior cladding, such as narrow bricks and blocks and slim planks of timber; this is also seen in the Five-Story House. The external finishes are usually kept in their raw form to hero the natural materials.

GROUND FLOOR PLAN The first floor has a smaller area than the floors above it to make space for parking on the right side and for access to the left entry.

2ND FLOOR PLAN Kitchen and living area.

3RD FLOOR PLAN Bedrooms, bathroom and hallway enclosed by closets on both sides.

5TH FLOOR PLAN The top, narrowest section of the building holds one bedroom.

N O R T H E L E VAT I O N The front side of the Five-Story House faces the street and receives northern light through the windows.

S O U T H E L E VAT I O N The back face of the terrace can be seen starting on the 4th floor.

WEST SECTION This section best shows the Five-Story House literally being a stacked house with parts assembled on top of one another.

4TH FLOOR NORTH SECTION The floor connects to the terrace outside.

Terrace

DIAGRAMS

DIAGRAMS

Terrace

Staircases follow the direction of the sloped roof, towards the light of the northern windows

Staircases follow the direction of the sloped roof, towards the light of the northern windows

The curving slope of the terrace brings the occupant’s focus to the sky while the door opening makes the eye travel down

At night, the light shines from within to make the building look like a huge lantern

The curves of the structure are a result of portions being removed from the orignal rectuangular prism

Tall, narrow windows create striped light and shadow patterns

The curving slope of the terrace brings the occupant’s focus to the sky while the door opening makes the eye travel down

At night, the light shines from within to make the building look like a huge lantern

The outdoor terrace space flows into the intermediate indoor space of the fourth floor

The first floor is copmrised of a variety of different shapes created by the walls, timber floor and shadows

The curves of the structure are a result of portions being removed from the orignal rectuangular prism

The curves of the building create continuous lines that wrap around each face

(CONCRETE) JUNGLE EVOCATIVE EXTERIOR PERSPECTIVE

This perspective challenges the Five-Story House’s real setting that is built up and feels somewhat uninviting. This collage imagines what the building would look like in a surrealist, Korean, country setting and completely surrounded by nature. The two neighbouring buildings are dwarfed by the Five-Story House to emphasize its size amongst its surroundings.

ETHEREAL AFTERNOONS EVOCATIVE INTERIOR PERSPECTIVE

The building’s interior is very light and bight with white finishes and minimal furniture. I imagine when the afternoon light streams into the house it creates a glowing ambiance. I wanted to convey the feelings of comfort that being in the house would create, on a laidback afternoon through muted colours and soft light and shadows.

CITY OF SIGNS EVOCATIVE SECTIONAL PERSPECTIVE

The buildings surrounding the Five-Story House are represented by the collage of lit up signs arranged into a cityscape. This visual metaphor exaggerates the building’s built setting and critiques how it is mostly made up cold, human made structures and very little nature. This collage also addresses the constant and ever-changing visual stimulation we get from the built environment and how it can often desensitise us.

REFERENCES ArchDaily. 2019. “Five Story House / stpmj.” ArchDaily. https://www.archdaily.com/908712/ five-story-house-stpmj?ad_medium=office_landing&ad_name=article.

Divisare. 2019. “STPMJ Five-Story House.” Divisare. https://divisare.com/projects/411472-stp mj-bae-jihun-five-story-house. stpmj. 2021. “Five-Story House.” stpmj. http://www.stpmj.com/work#/fsh-single-family-resi dential/. stpmj. 2021. “stpmj work.” stpmj. http://www.stpmj.com/work.

Design 2 | ARCH1015

PORTFOLIO C u r t i n Un i v e r s i t y A r c h i t e c t u r e S c h o o l Samarah Siddique 2021

DESIGN CONCEPT This design creates a space in the city that changes the way people interact with an empty alleyway. While it still allows unobstructed access to the pathway, it encourages pedestrians to take a moment for themselves on the way. The city has barely any specific places that can help people better understand themselves in silence. My design carves out a small place in the city that has the same electric feeling in the air, but in a quieter setting. The pavilion creates a moody atmosphere driven by the main three concepts below.

CONTENTS design concept pavilion precedents process + iterations schematic drawings atmospheric drawings evocative perspectives

Please scan and skip to 05:12

The structure manipulates natural light to gradually darken the occupant’s view and focus them on the glow of light coming from the tower ahead.

Sounds of the city become muffled in the soundproofed tunnels and make the occupants anticipate that there is something to come.

The low and narrow tunnels create a feeling of compression while the tall and spacious tower creates a contrasting feeling of release.

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ATMOSPHERIC SECTION

The pavilion is composed of many different contrasting elements to guide the occupants through an experience of relief and realisation. The contrasting zones of the low, dark and quiet tunnels and the tall, bright and airy tower are subtly separated with single steps. The occupant enters either of the tunnels with a step up, hearing the sounds of the city fade as their footsteps become louder. This creates a feeling of anticipation as they approach the light of the tower, which they enter with another step down and are illuminated in the spotlight.

PRECEDENTS

Outer circle of the tower’s floor and arranged in a circular formation to bring the eye towards the centre

Inner circle of the tower’s floor to simulate the circle of light through the oculus even in darkness

MATE RIALS

Cobblestones

Black terracotta

Exterior of the tower with perforations and has natural undulations to mimic termite hills

coachella architecture installation

I took inspiration from termite hills when designing the tower because I like the natural inconsistencies of the forms and the ingenious perforations the termites make for ventilation. I find Peter Zumthor’s Bruder Klaus Chapel very intriguing in terms of the contrast between its setting and its interior. The materiality, volume and manipulation of light create a truly stirring atmosphere. The rest of the images by Edition Office and other independent designers helped me visualise what the tower’s central spotlight might look like against a dark timber interior.

Yellow concrete

Shou sugi ban / Burnt cedar board

Exterior and floor of the tunnels, interior walls of the tower. Using burnt Australian cedar is sustainable, fire resistant, low maintenance and creates interesting textural aspects.

ITERATIONS My early iterations included the general low-to-high ceiling silhouette but with variation in each element. At first, I considered having the whole design be a circle, with the curved tunnels radiating out of the tower almost like arms. This curvature would create a denial and reward interaction between the architecture and its occupants. The outdoor space enclosed by the tunnels would be a courtyard for meeting and resting. Finding a space within the city for a circular installation proved challenging, so I moved towards having squarer tunnels, to fit onto a rectangle plot and use the space efficiently.

Refining the main concepts: sound, light and volume

I adjusted the position of the tower in relation to the tunnels and whether I wanted people to be able to pass the tower without entering it, or have it be a vital part of the experience by purposely obstructing their way. I want my pavilion to be an experience and liken it to the experience of going to the movies. The first tunnel represents the dark passageway you take when you enter the theatre, anticipating the show to come. You might see glowing light ahead of you; in the pavilion it’d be the light through the oculus. You watch the movie and experience a range of emotions and then finally you walk back through the dark passage to the light and sound of the rest of the world.

Walking out of the pavilion would be similar.

Early forms and thinking of how to guide occupants

Summary of passageway shapes and exploring various tunnel openings

Zoning and dimensions

ITERATIONS

space behind buildings for tower

First site considered

Final model (scale 1:100)

Sketch models (scale 1:100)

Chosen site: Grand Lane Pavilion visualised within space

Further down Grand Lane

FLOOR PLAN

Barrack St.

Grand Ln.

SITE PLAN

Murray St.

My design is located on Grand Lane, an alleyway that is often used for commuters, but also the general public who want to cross through the block. The narrow space provided constraints to the shape and size of the design but now enhance the experience of pedestrians.

A closer detail of the tower floor and the way it connects to the tunnels. The tower’s concentric circles are made of different materials: the outer circle of dark cobblestones and the inner circle of light yellow concrete. The light inner circle represents the spotlight of sunlight the shines through the circular skylight, to make it the lightest point even when the sun isn’t there.

LONG SECTION

T he tunnel and tower zones contrast each other by height, volume and light, as well as the steps.

The subtle difference of planes is subconsciously noted by occupants but creates a physical difference in the way they interact with the two spaces. Occupants enter the tunnels with a step up, and enter the tower with a step down.

SHORT SECTION

The lower half of the pavilion is compressed by the neighbouring buildings, similar to the compression felt inside the tunnels. While the top of the tower is released from the compression of the buildings, alike to the release inside when stepping into the tower.

E L E VAT I O N

SECTION ITERATIONS

The zones are separated by one step: a step up into the tunnels and a step down entering the tower Large oculus for maximum sunlight.

Steps to separates zones and smaller oculus.

A brief set of stairs leads occupants down to the tunnels, being underground muffles the city’s sounds more effectively than at ground level.

The gentle decline of the tunnels subtly changes the plane of the central tower, but to stay within regulations the whole pavilion becomes too long.

The clean straight lines of the tunnels is contrasted with the organic form of the tower. The materials also contrast each other; one being clad in dark, charred wood while the other is covered in molded terracotta, painted black for the pavilion to be form a cohesive whole.

These iterations were developed soon after choosing this general shape of having two tunnels leading towards a central tower. As seen here, all the designs are symmetrical, with both tunnels being more than 20 metres long, but the design was later changed to be asymmetrical.

PERFORATIONS The sunlight streams through the tower’s perforations in delicate ribbons that pierce through the column of darkness inside, they surround the central spotlight of sunlight that shines through the oculus.

OCULUS The skylight illuminates the central point of the pavilion and shines a spotlight on the individual occupant. The light creates a sense of relief after walking through the darkness of the tunnels. The vertical timber cladding draws the eye up to the glowing orb.

SHOWERED IN STARDUST

SPOTLIGHT

ATMOSPHERIC SECTION: TUNNEL

ATMOSPHERIC PL AN

Standing outside the pavilion, from the street, it might look as if the person entering the tower has been transported through a portal of light with stardust showering on them. The darkness of the tunnels embraces them from both sides as the light from in front welcomes them.

The rings of concentric circles formed by the tower’s wall, the bench, rows of cobblestones and the central circle of yellow concrete emphasises the importance of this point in the pavilion. Every part of the pavilion revolves around the individual occupant who stands in the sunlight.

CAMPFIRE EVOCATIVE INTERIOR PERSPECTIVE

The tower has an ambient glow from the light through the oculus and perforations, while the dark shadows encircle the interior light shadows would around a bright campfire.

The person stands alone surrounded by the wondrous light and looks up to where it shines from above.

The viewers perspective is as if they’re standing inside the tunnels and almost feels as though they’re intruding on the person’s moment.

SANCTUARY

A N O R D I N A R Y D AY

EVOCATIVE SECTIONAL PERSPECTIVE

EVOCATIVE EXTERIOR PERSPECTIVE

Finding a place like this in the city could feel like a sanctuary to escape to. The light would seem alluring, pulling your eyes and mind towards it. The people walking up the mushroom staircase represents this.

In an alternate reality, the termite-hillinspired tower could be a home to large termites that live peacefully with the people in the city.

REFERENCES Accoya. 2019. “Black is Back! Charred timber is all the rage amongst architects and designers.” Accsys. https://www.accoya.com/au/black-is-back-charred-timber-is-all-the-rage-amongst-architects-and-designers/.

Archinect Firms. n.d. “A physical manifestation of “Ladies and Gentlemen we are floating in space” (Coachella).” Archinect Firms. https://archinect.com/firms/project/40820446/a-physicalmanifestation-of-ladies-and-gentlemen-we-are-floating-in-space-coachella/102713094.

Divisare. 2017. “Peter Zumthor Bruder Klaus Feldkapelle.” Divisare. https://divisare.com/projects/349303peter-zumthor-rasmus-hjortshoj-coast-bruder-klaus-feldkapelle.

Edition Office. 2019. “In Absence - National Gallery of Victoria - 2019 Architecture Commission (A).

Edition Office. http://edition-office.com/archive/in-absence-national-gallery-ofvictoria-2019-architecture-commission/.

Fairs, Marcus. 2007. “David Adjaye pavilion unveiled.” Dezeen. https://www.dezeen.com/2007/01/17/david-adjaye-pavilion-unveiled/.

Gagosian. 2017. “Richard Serra.” Gagosian. https://gagosian.com/exhibitions/2016/richard-serra-nj-2rounds-equal-weight-unequal-measure-rotate/.

Hammon, Dawn. n.d. ”Casa Terracota Represents Sustainable Architecture Made Entirely of Clay.” Dornob. https://dornob.com/casa-terracota-represents-sustainable-architecture-made-entirely-ofclay/.

Javier, Eric. n.d. “UnderWater SpotLight.” 1x. https://1x.com/photo/26460.

Kebony. 2021. “6 Reasons Why Shou Sugi Ban is the Hottest Trend in Architecture.” Kebony US. https:// us.kebony.com/blog/shou-sugi-ban-6-reasons-why-shou-sugi-ban-is-the-hottest-trend-in-architecture/.

Knowles, Jonathan. 2017. “Association of Photographers awards - in pictures,” The Guardian. https://www. theguardian.com/artanddesign/gallery/2017/oct/13/association-ofphotographersawards-in-pictures?page=with%3Aimg-12#img-12.

Nakamoto Forestry. n.d. “Our shou sugi ban siding won’t just last a lifetime, it will enhance it.” Nakamoto Forestry. https://nakamotoforestry.com/.

Sveiven, Megan. 2011. “Bruder Klaus Field Chapel / Peter Zumthor.” ArchDaily. https://www.archdaily. com/106352/bruder-klaus-field-chapel-peter-zumthor.

Zumthor, Peter. 2006. Atmospheres. Birkhäuser Verlag. https://www.academia.edu/6845615/Zumthor_peter_atmospheres.