Earth book Hoi Man Kwok 752464

ARCHITECTURE DESIGN STUDIO: EARTH S1, 2015 SUBJECT STUDENT BOOK Hoi Man (Priscilla) Kwok

(752464) Kirsty Fletcher - ST14

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1.0 THREE RELATIONSHIPS

Through modelling and drawing, the characteristics and principles of point, line and plane, mass, frame and infill are understood and incorporated in designs. Both similarities and differences are found between these elements; they together result in a space that provides particular experience for people who enter.

In the first modelling exercise, point, line and plane are combined and used in constructing a place for sitting and lying on. Scale and different perspectives are the major factors that play the role in determining each element. Light and shadow are considered in mass drawing which aims to investigate the how light is used and incorporated in mass structure. The difference between frame and infill, rigidity in contrast of fluidity, is explored through modelling and the relationship between the two is understood.

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Retrived from http://www.artsonia.com/museum/art.asp?id=22 563550&project=592424&gallery=y v created by Selena1041 in Grade 11 at Royse City High School from school project “One Point Perspective�

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Panel and Fold, photo taken by author

Point, line and plane model

1.1 POINT / LINE / PLANE

Point, line and plane are three fundamental elements used in creating architectural space. Here the three are put together and interact to create a experience for habitation.

Blasa sticks are the structural lines that construct the overall composition. They are laid vertically and horizontally which result in cubes that are connected by points. When view from far,these cubes appear to be points scattered around the space to provide seats and space for habitation. Yet when one enters the space, they become planes that are partially covered as seats and benches for sitting and lying on. The concept has to do with scale, which is what turns points to planes and vice versa.

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Mass drawing

Second Goetheanum by Rudolf Steiner, retrived from https://www. pinterest.com/pin/427349452120149458/

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1.3 MASS

Light and shadow play an important role in a mass construction. When there is gaps in mass, light goes through and casts shadow. This creates an experience for those who enter the space, either threatening or encouraging. This can be used as a mean to lead people towards or away from a particular secret.

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Sea Arts Hotel, retrieved from https://au.pinterest.com/ pin/219832025532976548/ Frame and infill model

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Exploded axonometric

1.2 FRAME & INFILL Frame and infill are two distinct elements that are very different in terms of characteristics yet often incorporated together in forming a structure.

The model effectively presents the rigidity and continuity of the frame.

Having regular 3 by 3 bays, it appears rigid and expandable. The use of thin balsa sticks also gives it a clean and concise appearance that features the elegance of frame. The infill is constructed of a number of cubes and platforms that are scattered around the space. Each of them fit within one bay of the grid frame; some are colour to enhance the sense of dynamic and fluidity. They are arranged so that they appear floating within the space.

The cubes also work as stairs that allows people to go up and get down, hence encouraging circulation.

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3.0 HERRING ISLAND. SOMETHING LIKE A PAVILION

Located in the city in between South Yarra and Richmond, Herring Island is an artificial island that aims to promote and maintain the natural habitat. Plants and sculptures on island features aboriginal cultural and history, which is what I will take into my project and extend on.

The idea is to create a pavilion that explores the relationships between the above ground, the ground surface and the underground, featuring the principles of point, line and plane, mass, frame and infill.

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Access

Access

Shadow

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Habitation

Contour

3.1 SITE ANALYSIS AND CONCEPTACLE

Four main aspects are looked at when analysis Herring island as a site.

Firstly, understanding the access to the island including the main routes and optional route that visitors take when they are on island help in understanding the site and led to the two factor, habitation of visitors. The different colours show the concentration of people at certain spots on the island, red being the most intense and blue being the least. This effectively gives hints as to where could the proposed design locate, whether to expose the secret by putting the pavilion in the middle of the crowd, or to hide it by having it built at a spot where little or none of the visitors would discover.

The contour map tells most of the information among the four. Not only does it show the landscape of different spot of the island which is critical when designing for the proposed pavilion, but also indicates the boundary of the island and where it connects with the river. Finally, looking at the shadows at different times of the day allows for light to play the role since my proposed design has to do with light and shadow that are present under the ground.

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Sketch designs

Conceptacles

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3.2 CONCEPT AND SKETCH DESIGN

To combine all the elements introduced, I intend to have a frame structure above ground which is connected to the underground mass construction, where the secret is.

The sketch designs shows the initial ideas of a regular grid frame constructed above the ground and extend to underground with different spaces of various uses. I then started building conceptacles that features all three elements. Each of them show some principles of the elements but none of them fulfill all three. Therefore, I decided to pick the last one which I pulled apart and re-modelled by adding in elements that are present on the other

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Proposed design (plan) Conceptacles

Proposed design (elevation)

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3.3 DESIGN DEVELOPMENT

Having reconstructed the conceptacle, I was able to combine all three elements together. I looked at the site analysis and picked on the 2m high mount at the spot where I will locate my pavilion because of its landscape that inspires me in design for the mass space of the pavilion.

I maintained the frame structure above the ground and connects it to the below ground space by putting in stairs that allows visitors to get down. The secret - a store room for storing time capsules is hidden behind the stairs that may not be discovered as most visitors will be led to the opposite side of the structure by stairs.

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Proposed design (elevation)

Proposed design (plan) 18

3.4 FINAL DESIGN DRAWINGS

Proposed design (elevation)

Proposed design (plan) 19

Exploded axonometric (above ground)

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Exploded axonometric (below ground)

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3.5 FINAL DESIGN MODEL

I constructed the physical model mainly with cardboard and blasa wood. The elevation view shows clearly the section of the structure and how the relationship between the above ground, the ground surface and the below ground space is investigated.

The structure is 5m high below ground, 6m high above ground. Having a tall frame structure allows visitors to climb up and have a different perspectives of the island when they reach the top. The high ceiling of the underground also effectively creates a sense of fear as people walk down the stairs. The first few steps are purposefully constructed with more depth so make visitors feel as though they are falling into an unknown space. The photo of the stairs shows how light gradually gets dimmer when one gets further down - closer to the secret.

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Final design (plan)

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Final design (elevation)

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4.0 REFLECTION

I first found it straight forward and easy to combine all three elements into designing for the pavilion because they are all commonly used in architectural structures. However I started to struggle when the site information and the concept of creating a place for secret, as well as criteria that have to fulfill all come together that have to be incorporated in the design. Details and all aspects have to b carefully and deliberately looked at and considered in order to produce a design that fulfill all criteria.

Physical model making is rather challenging compare to digital model as changes can be freely made digitally without affecting other parts, whereas the overall structure may be affected when constructing a physical model when one tiny change is made. Building a physical model is not a linear process; different steps have to be revisited in order to work out the best solution. It is also time consuming as all measurements have to be made manually and precisely to ensure quality and accuracy whereas digitally, it is much more to measure different parts with the tools provided.

Throughout the entire design process, there are three main things that I have learnt. Firstly, the commonly used principles in architecture, point, line and plane, mass, frame and infill are well looked at and understood, which would effectively help me in future designing projects as I am now able to incorporate these elements in my design. Secondly, I understand how important it is to not only consider the design itself, focus has to be put in analysing the site because its typology is critical in determining the location of the proposed design and is more likely to influence the design.

I believe there could be more research done on the site that would likely expose more information of the island which I could take into account when design for the place for secret. The shadow analysis should have been more detail in order to produce a design that is practical and features the secret space, which is the main concept and aim of the project.

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5.0 BIBLIOGRAPHY

Selena, n.d., One Point Perspective, drawing, viewed March 20, <http://www.artsonia.com/museum/art.asp?id=22563550&project=592424&gallery=y> Rudolf Steiner, Second Goetheanum, photograh, viewed April 10, <https://www.pinterest.com/pin/427349452120149458/> Sea Arts Hotel, n.d., photograph, viewed May 3, <https://au.pinterest.com/pin/219832025532976548/> A3@1_1000_CONTOURS, n.d., map, viewed June 3, < https://app.lms.unimelb.edu.au/bbcswebdav/pid-5098417-dt-content-rid-18678109_2/courses/ ABPL20027_2016_SM1/ABPL20027_2015_SM1_ImportedContent_20150114035541/A3%401_1000_CONTOURS.pdf >

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