earth book - 699033 - patrick dennis

1ARCHITECTURE DESIGN STUDIO: EARTH S1, 2015 SUBJECT STUDENT BOOK

Patrick DENNIS699033

Helen Chen: Studio 17

3Please note that for a number of reasons beyond my control (ankle surgery and subsequent lengthy recovery, family violence interruptions and destruction of par-ticular elements of this submission), not all of this journal is complete. This page is left intentionally blank for these reasons.

5CONTENTS: (below is the basic requirements and you are free to add more or change to suit. Throughout the journal cross reference relevant precedents, lecture materials, required readings, independent research & personal design work)

1.0 THREE RELATIONSHIPS 1.1 Point / Line / Plane 1.2 Frame & Infill 1.3 Mass

2.0 HERRING ISLAND. SOMETHING LIKE A PAVILION 2.1 Site analysis 2.2 Conceptacle and sketch design2.3 Design Development: Plans, sections, elevations, axonometric and /or models2.4 Final Design drawings: Plans, sections, elevations, axonometric 2.5 Final Design Model: Include a photomontage

3.0 REFLECTION This section should be a critical reflection of your overall design process and experience. What have you learnt, what aspect of the studio did you find challenging? How can you improve your design and where do you think things went wrong or well?

4.0 BIBLIOGRAPHY: Use Harvard system; http://www.lib.unimelb.edu.au/recite/citations/harvard/generalNotes.html

71.0 THREE RELATIONSHIPS

1.1 Point / Line / Plane

A place to lie down, sit up, stand and walk

1.2 Mass

Solid and void: darkness and light: touch and see

1.3 Frame and Infill

View of the sky, view of the horizon, view of the ground

91.1 POINT / LINE / PLANE

This piece attempts to encapsulate the idea of progression in the context of the point, line and plane techtonic. This progression is reflected in the brief through the analogy of sitting (the point), walking (the line) and lying down (the plane).Junctions of cards (intersecting at points) are extruded linearly (as per the model) in a straightforward manner. These are then tented or bent to segment the line and establish planar forms. The origins of these segmented lines is accentuated by the balsa steps. This process establishes internal volumes (the innermost shadowed area - possibly an entrance of sorts?).

The overruling geometry and slope of this piece is trying to be gentle and natrual in order to challenge the the obvious limitations of the techtonic, given its rigidity and linearity/angularity. This natural curve and overall geometry will balance in an interesting manner in the setting of Herring Island - in contrast and replication of its surrounds.

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1.2 FRAME & INFILL

My frame and infill composition is defined by a basic underlying cubic framework. This was intentionally done to reflect the inherent foresight required by this techtonic and its industrial nature. Planar elements (purple in the Rhino diagram) establish usable space that is two-storey with a ramp linking these spaces. Flat vertical and 1-fold ements act as partitions to subdivide spaces. Each of these relatively geometric infill elements direct views in a variety of directions. Particular elements serve to emphasis particular horizontalities or verticalities and play with the users perception of what should be a straightforward cube formation.

The colour scheme is adopted from the De Stijl artistic movement, which uses primary colours to achieve a reductive minimalism and stress elemental aesthetics, akin to my own design.

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1.3 MASS

My work is an exploration of excavation within a mountainous form and into the ground plane. Through this method, I have achieved a largely natrual, cavernous form. Yet this is immediately juxtaposed with angular geometry of manmade excavations (the right portion, akin to ideas of the quarry).

There is a focus on contrasts, whether these be light/dark; natural/machined or contrasts of sensation and tactility. Rough walls contrast with smooth surfaces of the stairs underfoot and the user passes through a number of thresholds. This, combined with the focused beams of light, establish a spiritually engaging and holy space. Variety in light intensity creates intrigue for the user within the space and entertains the possibility of secret spaces.

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Please note that for a number of reasons beyond my control (ankle surgery and subsequent lengthy recovery, family violence interruptions and destruction of par-ticular elements of this submission), not all of this journal is complete. This page is left intentionally blank for these reasons.

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2.0 HERRING ISLAND - SOMETHING LIKE A PAVILION

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Vegetation &pathways

A

A B

B

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2.1 SITE ANALYSIS

The manmade Herring Island provides a unique environment unlike anything in the surrounding area. In the heart of urban Melbourne, this is a small gem of greenery and secrecy. From the adjacent roads and overlooking residences, hardly anything can be gleaned as to the nature of Herring Island. Even upon approach from Como Landing, the patron is confronted with intense vegetation that obscure the overall shape and contents of the island. As such, Herring Island becomes a perfect location in which secrets can be interred.

The natural setting is punctuated with a small number of basic and functional manmade structures, making any addition likely to contrast significantly. The developed conceptacle (PTO) acknowledges this to carve its own identity on the island. Central to the premise of this conceptacle is ideas regarding safety and security, which is acheived through an enclosed (almost cage-like) system. This instills the feeling that the individuals secrets (or rather the secrets within the architecture) are safe and secure.

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2.2 CONCEPTACLE AND SKETCH DESIGN

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2.3 DESIGN DEVELOPMENT

My design is fundamentally oriented around the fluid nature of secrets. By their nature, secrets are protected staunchly, hidden within the depths of our consciousness, while at other times, we may choose to unburden ourselves and present them to the world out in the open. I have attempted to express this through the architecture of my particular pavilion. Most notably, this design snakes in and out of the contours of Herring Island, reaching a critical moment at the eastern end, which projects out into space into a balcony.

The analogy here is through unburdening our secrets, we expose ourselves to the world. As such, the balcony elements which emerge from the contours of Herring Island are lightweight and exposed using timber and natural elements to reflect these ideas. In contrast, the internal spaces within the earth are predominatly concrete and heavier material, with orthogonally-planned spaces.

The whole structure is arranged similar to that of Le Corbusiers Ville Savoye, with a gridded plan. This is expressed most noticeably to the mesh/cage like element of the balcony and projecting elements. This is consistent with the secrets motif, as the cage terminates at the apex of the pavilion.

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2.4 FINAL DESIGN DRAWINGS


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2.5 FINAL DESIGN MODEL


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3.0 REFLECTION


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4.0 BIBLIOGRAPHY

Schroder House, Utrecht, 1924-1925, Gerrit Thomas Rietveld.Robie House, Chicago, 1909, Frank Lloyd Wright.Villa Savoye, Poissy, France, 1923-31, Le Corbusier (complete with analytical drawings)Competition Entry for the design of Abu Dhabi Mosque in WTC, AL_A.Katsura Imperial Villa, Kyoto, Japan, 17th century.406 La Trobe Street - Multilingual Corporate Services facade27 Dwelling, Sao Miguel, Portugal, 2011, Eduardo Souto de Moura & Adriano Pimenta.Chandigarh Secretariat, Chandigarh, India, 1962, Le Corbusier.Royal National Theatre, South Bank Lambeth, London, 1976, Denys Lasdun.ANZ Bankm 187-301 Collins Street, Melbourne, 1939, Stephenson & Turner.Old Melbourne Gaol Magistrates Court, 377 Russel Street, Melbourne, 1914, George B. H. Austin.25 Green, Turin, Italy, 2012, Luciano Pia.Casa 5, La Calera, Colombia, 2011, Arquitectura en Estudio.Farnsworth House, Illionois, USA, 1951, Mies Van der Rohe.Proposal for House in Bardolino, Austria, Sissibay.Goulding House, Enniskerry, Ireland, 1973, Scott Talon Walker Architects.https://www.flickr.com/photos/madark/5880951255/https://au.pinterest.com/pin/530580399831075623/https://au.pinterest.com/pin/530580399831262488/https://au.pinterest.com/pin/530580399831262508/https://au.pinterest.com/pin/530580399831313470/http://www.archdaily.com/384289/serpentine-pavilion-sou-fujimoto

earth book - 699033 - patrick dennis

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