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ARCHITECTURE DESIGN STUDIO: EARTH S1, 2015 SUBJECT STUDENT BOOK

NICHOLAS DEAN(699066)

HELLA WIGGE , T10_afternoon

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CONTENTS

1.0 THREE RELATIONSHIPS1.1 POINT LINE PLANE1.2 FRAME & INFILL1.3 MASS

2.0 CONCEPT MASS 3D MODEL2.1 DESIGN DEVELOPMENT & DIGITISATION2.2 OUTCOME

3.0 HERRING ISLAND: A PLACE FOR KEEPING SECRETS3.1 SITE ANALYSIS & CONCEPTICLE3.2 CONCEPT & SKETCH DESIGN3.3 DESIGN DEVELOPMENT3.4 FINAL DESIGN DRAWINGS3.5 FINAL DESIGN MODEL

4.0 REFLECTION

5.0 BIBLIOGRAPHY

1.1POINT / LINE / PLANE

PRECEDENT STUDIESBARCELONA PAVILION

The Barcelona Pavilion is a perfect example of point, line & plane through the effortless intersection of such elements. Planar roof elements are seen to cantilever over wall structures, of which vary in materiality, ranging from stone, to glass, even marble. The slender support columns are subtle and establish the linear elements within the architecture of the building.

It is through the notion of intersection that I drew inspiration for my own design. I intended to design a folding planar structure that formed an artificial hillslope, with linear elements protruding through to create backrests.

(Miesbcn, 2015)

PHYSICAL MODELMODEL PHOTOGRAPHY

Working with boxboard and balsa wood to further show the dis-tinction between the planar and linear elements, my point, line & plane model seeks to create an artificial hillslope for users to traverse over, or, more intentionally, to gather together and con-verse with others.

The linear columns are seen to cut through the surface of the hill-slope as a means to establish a continuous design. The columns were purposefully offset from the edge of the planar element in order to establish a slight cantilever over the structural supports.

1.2FRAME & INFILL

PRECEDENT STUDIESLAFAYETTE COLLEGE ARTS PLAZA

The Lafayette College Arts Plaza depicts the fundamental elements of frame and infill through the use of exposed steel framework tied in with a variety of materials like that of brick and glass that create the interior space. The building as a whole follows a very distinctive geometric layout, with many of the interior and exterior spaces being square or rectangular in form.

The mixture of exposed and concealed framework was an aspect I wanted to develop further in my own design.

(Arch Daily, 2013)

PHYSICAL MODELMODEL PHOTOGRAPHY

Generating my model both physically and digitally, I was want-ing to design a frame and infill structure that consisted of an exposed timber frame, as drawn from the precedent study, with infill elements that vary in material, colour, and extent of perfora-tions as a means to manipulate light.

It was also intended for the design to incorporate planar floor elements that create the illusion of a hollow frame when ap-proaching from ground level with no passage for users to tra-verse through.

1.3MASS

PRECEDENT STUDIESGUGGENHEIM MUSEUM

The protrusions and overlapping nature of the Guggenheim Museum by Frank Gehry were the primary inspiration for my mass draw-ing, more specifically, the notion of alluding to concealed interior spaces.

Whilst the Museum is quite fluid in form, consisting of many curved faces, the scale and materiality of the structure are what cat-egorise it as a mass building. The way the organic forms all trace back to a central origin near the door visually creates a certain weight through a vast, dominant form.

(Pagnotta, 2013)

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CHARCOAL DRAWINGPOINTS OF ATTRACTION & INTEREST

Inspired by the notion of alluding to concealed spaces, my mass section drawing illustrated a hab-itable space that is was carved into a two-slope hill. The use of linear skylights created two distinct rooms, both of which had contrasting spatial experiences due to the extent of vision and awareness of the surrounding environment.

Aspects that add complexity to the design are ones that echo the notion of concealment, encour-aging exploration through movement. The cut-away entrance, the excavated sky lights and the protruding mass structure all incite wonder in the viewers mind.

2.1DESIGN DEVELOPMENT & DIGITISATION

DESIGN DEVELOPMENT & DIGITISATIONPROGRESSION FROM DRAWING TO RHINO

When analysing the mass section drawing, it was clear that the area with the most complexity and ele-ments of concealment was the protruding structure.

Mimicking the natural slope of the hill, I cut angled linear tubes through the entirety of the model in or-der to replicate the same channeling of light into the underground space. The mass form was then cre-ated, and through the intersection tool, the hillslope and building became a single, closed form.

2.2OUTCOME

3D MASS MODELILLUDING TO CONCEALED SPACES

Using the 3D printer for the first time, the experience was quite exciting in a sense that a digital model could be replicated, with precision, into a physi-cal model. The printed model successfully illustrates the key aspects of the design, the protruding mass structure and the sunken sky lights.

HERRING ISLANDA PLACE FOR KEEPING SECRETS

3.1SITE ANALYSIS & CONCEPTICLE

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SITE ANALYSISEXPERIENCE & OBSERVATION

The site choice for my design was based off the ability to conceal interior spaces be-low ground, whilst also har-nessing the aspects of natu-ral light and views on, and above, ground.

The two-stage slope al-lowed for the structure to venture underground, in-teracting with the natu-ral topography

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CONCEPTICLECONTINUITY THROUGH FOLDS

Inspired by the possibilities that planar elements have to offer in their ability to form floors, walls and even ceilings, I worked with the notion of folding to create a continuous planar structure that established both internal and external spaces.

After producing the concepticle, it became apparent that the aspect of continuity through folding would be one that would work well on my chosen site, due to the undulating topography of the land.

3.2CONCEPT & SKETCH DESIGN

CONCEPT & DESIGNUNDULATING PLANAR SURFACES

Furthering the idea of continuity through folding I examined the possible spaces that could be created by only using planar ele-ments.

It was found that the tectonic granted the opportunity to form interior spaces, open or semi-open walkways and even elevated platforms.

3.3DESIGN DEVELOPMENT

Incorporating the tectonic of point line and plane on my cho-sen site started off through bub-ble diagrams that examined the flow of spatial experiences achieved in different rooms.

I then generated rough ideas on how a folding planar design would look on site, both in plan and section and also through an experiential sketch.

DESIGN DEVELOPMENTCREATING A JOURNEY ON SITE

3.4FINAL DESIGN DRAWINGS

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SECTION A-A

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SECTION B-B

3.5FINAL DESIGN MODEL

The final resolution of the design seeks to incorporate can-tilevering planar floor elements which flow effortlessly into folding planar walls and roofs, of which trace through the entire site.

In specific reference to the physical model, the contrasting materials further emphasises the distinct planar elements within the design.

REFLECTIONHERRING ISLAND PAVILION

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When reflecting on the past se-mester, I can confidently say I have gained a significant amount of theoretical and prac-tical knowledge about the key tectonics in architectural design, and ways to communicate those tectonics through both manual and digitsed drawing methods.

The lectures provided me with the necessary framework for un-derstanding architecture through tectonics, and with varies ar-chitectural examples displayed each week, showed the practi-cal application of such elements. I feel as though the lectures were crucial in gaining inspiration through famous architects and famous architectural buildings.

I thoroughly enjoyed the practi-cal side of the course in our tutori-al groups where we were able to explore these tectonic elements through sketching, model mak-ing and even digital represen-tations in the form of rendered models and montages.

Looking ahead, I feel as though I have furthered my model mak-ing skill significantly, making the most of the laser cutter in the Fab Lab to produce quick and accu-rate forms.

Before this subject I had never taken the time to learn Rhino or V-ray, but throughout the duration of the semester I have worked to develop my skills in digital model-ling and was able to produce a piece that was able to commu-nicate the visual and spatial as-pects of the design.

From feedback, it was made ap-parent that the concept behind my design needed more depth and that material choices may have prevented my tectonics from coming across clearly in the final presentation, therefore, clar-ity and a solid understanding of the complexities of the brief is an aspect that I will continue to work on.

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4.0BIBLIOGRAPHY

Arch Daily. (2013). Lafayette College Arts Plaza/Spillman Farmer Architects. Re-trieved from http://www.archdaily.com/355593/lafayette-college-arts-plaza-spill-man-farmer-architects/

Miesbcn. (2015). The Pavilion. Retrieved from http://miesbcn.com/the-pavilion/

Pagnotta, B. (2013). AD Classics: The Guggenheim Museum Bilbao / Frank Gehry. Retrieved from http://www.archdaily.com/422470/ad-classics-the-guggenheim-museum-bilbao-frank-gehry/