EARTH
ARCHITECTURE DESIGN STUDIO: S1, 2016 SUBJECT STUDENT BOOK Zeb Kitchell
(698728) Studio 11 with Andrew Ferguson
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A Pavilion for exposing secrets...
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CONTENTS 001.0
TECHTONICS RESEARCH / RELATIONSHIPS
004.0
FINAL DESIGN SCHEME
001.1 Point/Line/Plane
004.1 Site plan
001.2 Mass
004.2 Perspective 1
001.3 Frame & Infill
004.3 Perspective 2
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SITE ANALYSIS
002.1 Herring Island 002.2 Site response
003.0
CONCEPT DEVELOPMENT
003.1 Secrets theme
004.4 Floor plans 004.5 Sections 004.6 Abstracting water flow 004.7 Exploded isometric 004.8 Interior perspectives
005.0
REFLECTION
006.0
BIBLIOGRAPHY
003.2 Conceptacle(s) 003.3 Sketch design
*All images have been created by the author unless otherwise noted.
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001.0 TECHTONICS RESEARCH / THREE RELATIONSHIPS Three architectural techtonics were researched as a means of generating formal ideas and spatial compositions; point/ line/plane, mass, and frame/infill. Each techtonic was applied to a particular aspect of the ground (earth), to explore the relationships between form, space and earth. Point/line/plane was utilised to affect the ground level, and subsequently act as a transitional phenomenon between above and below. Mass inherently lends itself toward the underground realm, due to its natural ‘struggles’ against the law of gravity. Adversely to mass, frame/infill easily rises above ground level, almost ignoring gravity altogether.
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Photograph by Muna Abdullah, no date.
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001.1 POINT / LINE / PLANE The forms of points, lines, and planes are the simplest components in any composition. A point marks a place in space, which when extruded becomes a line. A series of lines can be considered a plane, the visual strength of which is determined by the proximity of lines to one another. All three aspects of the techtonic combine to make 3D forms. The architecture of Mies van der Rohe provides good precedent as to how point/line/plane can be used to affect the ground surface. The Farnsworth house is a simple composition of two planar elements suspended above the ground, whilst the columns (points) connect with the ground. The country house is a composition purely of planar ‘T’, ‘L’, and ‘I’ shaped wall portions, arranged to create transitory and occupiable spaces. In Melbourne the iconic Melbourne Gateway is comprised of a series of points extruded into lines that cantilever over the ground, implying a space.
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001.1 POINT / LINE / PLANE The key idea explored with this model is not only the transitions that occur between point, line and plane, but also between void and solid mass. A corridor/approach type space establishes a rhythm beginning with simple points and lines articulating the ground surface. This motif developes and grows in complexity to become, vertical and finally enclosure. Simple and singular elements become the basis of more complex and intriguing forms. A plane may establish itself strongly as a singular entity, or adversely it can dissolve, appearing more as a cluster of lines. Planes are visually stronger when they appear to float, as opposed to being firmly connected with points (columns).
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Photograph by Blog spot, no date.
Photograph by Open House, 2015.
001.2 MASS Mass is a system that conforms to the laws of gravity, it characteristically features large volumes, and the stacking of elements. Large masses exert a strong visual presence onto users via scale and proportion. Whilst mass is used to define space, mass itself occupies a significant portion of space, the accentuating and revealing of this space is formally interesting. The earth that is built upon is arguably the greatest mass of them all, the design explores the relationships between the mass of earth and built mass. The form of the design has largely been concealed within a mound, whilst a built mass protrudes from the ground, its purpose is at first unclear. Within, two key spaces are themed around light and dark. In the dark space users must grasp at tactile stone extrusions to make their way to ‘the void’, a secret and inaccessible space.
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Photograph by Bowen Jessup, 2015.
001.3 FRAME & INFILL Frames are a lightweight structures that generally consist of linear elements defining a quadrilateral area, these elements are then repeated horizontally, and often vertically. A frame can exist as a sole entity or be ‘filled in’ with glass or mirrors, in all of three of these conditions the space surrounding or within the frame becomes accentuated, therefore being ‘framed by a frame’. On the other hand infill can be quite solid and overpowering, meaning the frame may be indistinguishable. Even a gridshell can be described as a frame/infill system, as seen in JWA Summer Pavilion. Here the frames are much smaller and no longer planar, they are defined by intsersecting steel beams and infilled in a sensitive manner with colourful plastic, so both the frame and infill become equally important to the overall composition.
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001.3 FRAME & INFILL This design explores the conrast between solidity versus transparency that can be achieved through infill. The frame system is built off of an initial dimension, that is repeated at different proportions, and then extends above the ground in defiance of gravity. Infill effects the interior space through the amount of light transmission it allows, in some cases the infill is temporal, and can be removed like a curtain. Solid infills can affect the interiors spatiality. An infill (wall) projecting inward partially divides the space, creating a sense of rhythm originating off the wall, and focusing users towards a point.
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002.0 SITE ANALYSIS
HERRING ISLAND
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002.0 SITE ANALYSIS 002.1 HERRING ISLAND
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The site was created in the early 20th century as means to stop the Yarra river from flooding. Initially created purely for human gain, the site has since progressed into a place where the natural landscape should be venerated. The island is home to a myriad of Australian native flora and fauna, and is maintained by social and government groups. The existence of the island itself is almost a secret, a notion amplified by its limited accessibility. Users of the island are encouraged to explore its meandering pathways and discover sculptures along the way.
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Relationship between humans and nature... 21
002.2 SITE RESPONSE Through site analysis the focus on the site became it’s history, particularly that its (secretly) an artificial construct made to serve human needs, yet still a bubble of natural landscape in an urban context. Therefore the design agenda is to explore the relationship between the natural environment and human eccentricity. As the site itself is contradictory, so to is the site response, which employs the concept of ‘gentle subversion’. The concept of an ‘object in space’ and restricting water views are used, and explored in greater details in the design phase.
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003.0 CONCEPT DEVELOPMENT 003.1 SECRETS THEME
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The projects focus within the theme of secrets is spatial secrets which are employed as a means of engaging users, with the theme of human/nature relationships. The meaning of ‘spatial secrets’ has been fully explored to further develope a formal language for the final project. Spatial secrets can mean, inaccessible space, i.e. spaces that can be seen but not occupied. They could be ambiguous entrances/thresholds that give no clue as to where one is heading. Within a secret space something may be concealed, that may or may not be revealed to the user, but suggested at in some way.
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Photograph by Nursery Tree Wholesalers, 2016.
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003.2 CONCEPTACLE(S) The focus of the first conceptacle is on the theme of hierarchy and gradations within secrets. It is split into 3 zones, each of which represents a certain level of secret. The conceptacle has been designed as an interactive object that should be handled by the observer. The bottom most portion reveals the deepest level of secrets, those that are unrevealed. As the user handles the conceptacle they can hear some object rattling within, but it cannot be seen or touched, the secret is merely suggested at. In the middle level an object can be seen, but not touched. This represents an intermediate level of secret where much is revealed, yet much is still hidden. The topmost level represents full disclosure, the box has broken away, reveailing a myriad of materials on the inside that can be seen and touched, fully engaged with. The second conceptacle explores the site and techtonics, it depicts a mass (representing the island), supported by a frame (representing human construction). This idea of something being ‘artificially natural’ is perhaps most eloquently stated with the Japanese bonsai tree.
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003.3 SKETCH DESIGN The initial design idea was to have a ‘floating box’ located centrally on the island as an object in space. The box would consist of a light frame supporting a heavy mass, and a secret would be concealed within the mass. The overall form serves as a simple transitional space that conceals a much more complex program below the ground. This initial formal idea was governed by the notion of ‘gentle subversion’. By placing the building in the islands centre there are no water views, therfore subverting the island. This idea is strengthened by employing composition of an ‘oject in space’, whilst the rectolinear mass contrasts with the organic curves of the site. To subvert gently, some sensitivity must be shown to the site. The idea of using the same stone and timber seen in the sculptures was formed. Whilst the floating box appears almost monumental, the design visually occupies little space at ground level. Finally the built form itself should not even appear strongly as a building, but more as a sculptural object, so it becomes part of the existing sculpture trail.
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004.0 FINAL DESIGN SCHEME 004.1 SITE PLAN
Users approach the design via the existing meandering pathways, upon reaching the clearing they are confronted with the seemingly floating sculptural box, this is the pavilion. The pavilion serves as a place of relaxation where users can sit, relax, and reflect. The floating mass is framed by a gateway, these gateways are storage pods containing fold-out chairs and tables for people to use. Within the gateway a ramp gradually descends into the earth, forming an axial approach that allows users to experience the mass of earth, and the mass of the pavilion. In plan all of the above elements are a composition consisting of a line, between two points.
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004.2 PERSPECTIVE 1 The materials used for the sculptural box are stones as seen in the sculptures on the island. The stones are arranged as in a gabian wall, however weathered timber battens(as seen in the sculptures), conceal the steel of the gabian system. The columns are finished with a surface of mirror so they dissolve into the landscape, strengthening the notion that the box is floating.
Descend into the earth... A sculptural floating mass...
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004.3 PERSPECTIVE 2 Where conventionally buildings occupy a large amount of ground space, the pavilion occupies very little. The terraced seating orients users inward, away from the islands edges. Attention is then focused upward towards the ceiling structure that articulates the lines between the points of columns. The centralised column is the focal point, users will question what the overhead mass is concealing? Water flowing within an outer shell of glass around the central column hints at what might be contained above. The water flows downward and dissapears into the earth, leading users further below ground.
From above, to below ground...
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004.4 FLOOR PLANS
GROUND PLAN
With the pavilion and external storage situated above ground, the bulk of the program is underground. A spiral staircase wraps around a circular glass elevator which together connect all three levels. As users descend the staircase they become disorientated, losing their sense of direction. The spaces they enter are more curved and organic to the rectolinear built forms above the ground.
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The space below ground is a centralised arrangement around a circular (secret) room. This room is a double height space that can be seen but not occupied via a balcony on the B1 level. 3.
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GROUND PLAN
B1 PLAN
B2 PLAN
1. SPIRAL STAIRCASE
1. WOMEN’S BATHROOM
1. MEN’S BATHROOM
2. ELEVATOR
2. EARTH WINDOW
2. EARTH WINDOW
3. TERRACED LEVELS (SEATING)
3. DISABLED BATHROOM & CHANGE ROOM
3. INTERNAL STORAGE
4. COLUMN/WATER FEATURE 5. RAMP 6. EXTERNAL STORAGE
4. CLEANERS STORAGE 5. AUDIO-VISUAL TECHNICAL ROOM 6. HANDRAIL
4. SPACE WHERE RECORD- -INGS OF DRIPPING WA- -TER & NATURE CAN BE HEARD 5. ALCOVE WITH BONSAI 6. SECRET SPACE
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B1 PLAN
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B2 PLAN
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A spiral staircase wrapped around a circular glass elevator connects the three levels...
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A column remi 004.5 SECTIONS On the B2 level the central secret room can be accessed only via a crawl space. Within the space it is functionally an extension of the above ground pavilion, i.e. a place for relaxation and reflextion. A central column rises from a pool of water that should be reminiscent of a tree. Here users can relax in bean-bags and reflect on their relationship with nature. There is a room where a small amount of people can listen to ambient music featuring the sounds of nature, whilst they look over a pool of water, towards a rough textured stone wall, where they observe water dripping down its face. The public user will have some notion of a space directly above them, where the audio room is located, but they cannot access the space.
SECTION THROUGH AUDIO ROOM AND LISTENING ROOM
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SECTION THROUGH CENTER OF RAMP
iniscent of a tree branch rises from a pool of water...
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The Island abstracts waterflow, therefore the pavilion abstracts water flow...
004.6 ABSTRACTING WATER FLOW A tank concealed within the pavilion feeds water through the central column and down into the building proper. Within the underground building water pools and services are fed via this water. The design draws a parallel between building and nature. The island itself was in essence a built ‘structure’ with the function of abstracting water flow. Hence the design has abstracted water flow in interesting ways to engage users with the idea.
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004.7 EXPLODED ISOMETRIC As the spiral staircase wraps around the elevator, a corridor wraps around the central circular space, this corridor forms an ambulatory. The rest of the program is clustered around the corridor. A small alcove contains a hidden (secret) bonsai that can only be viewed by a single person at once. Male and female toilets are located one below the other, with disabled toilet and baby change room nearby. The cleaners storage has been located close to the toilets.
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004.8 INTERIOR PERSPECTIVES
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005.0 REFLECTION Studio Earth has been a valuable learning experience as I’ve had the freedom to explore a wide range of formal possibilities through the techtonic exercises. The exploration of the three techtonics coupled with a thorough analysis of the site meant when it came to the designing of the final project, I had plenty of interesting and relevant ideas to draw from. These aspects of the design process mean the ideas, concepts and forms within my work have generally been well thought out, however I have had difficulty balancing these aspects against design presentation. For example in my frame/infill assignment I became to focused on producing a presentable model, and the depth of design ideas suffered because of this, whereas in the other techtonic projects, there was more of a balance. In my final presentation, given the small time frame we were given to prepare, I had to make hard decisions about how I would present my ideas. I made the decision to not make a physical model, believing my time would be better invested else where. Still, I definitely would like to improve upon my presentation graphics further, by embelleshing them into work with more ‘character’ or ‘feeling’, and making a physical model. I realise that choosing to respond to Herring Island with the contradictory idea of ‘gentle subversion’ was a risk, as its difficult to achieve and communicate. I’m interested to find out from some external feedback, from without the studio, if this notion has been communicated effectively. I gravitated towards this concept as I was unclear myself how I felt about the site, if it was a natural landscape that should be venerated and responded to in the most sensitive way, or if the building should dominate the island as a bold statement about its history. In the end my response really explores both sides of the argument, but tends more to the side of dominating the island. A challenge with the final design project was compiling all the techtonics, program, site response, concept, and personal ideas into one piece of architecture. I believe I have achieved this, but some aspects could be improved. For example aside from the mirrored frame of the pavilion I have not utilised the frame/ infill techtonic much, likely because I did not make many discoveries within the initial assignment. That being said I’m confident I’ve satisfied the program requirements for the brief, and even managed to work in some of my own values, i.e. utilising a rain water tank to provide water for the building.
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006.0 BIBLIOGRAPHY
Abdullah, Muna. ‘Farnsworth House’. No date. Photograph. Available from: https://architoss.wordpress.com/miscellaneous/essays/a-study-of-mies-van-derrohes-farnsworth-house/. Blog spot. ‘Shrine of Remembrance’. No date. Photograph. Available from: http://3.bp.blogspot.com/-aoAvVdEybU4/TsmjVRD4FvI/AAAAAAAAAz8/ kKUltIlBh2o/s1600/Shrine+of+Remembrance+Melbourne.jpg Jessup, Bowen. ‘140 William St’. 2015. Photograph. Available from: https://en.wikipedia.org/wiki/140_William_Street#/media/File:140_William_St_-_Photo_2. jpg Nursery Tree Wholesalers. ‘Juniper Bonsai Tree’. 2016. Photograph. Available from: http://www.nurserytreewholesalers.com/collections/outdoor-bonsaitrees-for-sale Open House. ‘Shrine of Remembrance’. 2015. Photograph of model. Available in Open House 2015 publication.
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