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

Finn Forsyth(742228)

Andy Ferguson + Group Number

2

3

4

5CONTENTS1.0 THREE RELATIONSHIPS 1.1 Point/Line/Plane 1.2 Frame & Infill1.3 Mass

2.0 HERRING ISLAND. SOMETHING LIKE A PAVILION 2.1 Precedent2.2 Site analysis and Conceptacle 2.3 Concept and Sketch design2.4 Design Development2.5 Final Design drawings2.6 Final Design Model

4.0 REFLECTION

5.0 Bibliography

61.0 THREE RELATIONSHIPS

7

81.1 POINT / LINE / PLANE

91.1.1 Precedents

Source: Finn Forsyth / 2015 / James turrel

Source: Finn Forsyth / 2015 / Wires over Southland Carpark

Source: Finn Forsyth / 2015 / Queens

Street Bridge

Finn Forsyth / 2016

10

1.1.2 Model

The basis of Design lie with the point the line and the plane. A point transitions into a line, aline, into a plane.

The composition pictured explores this transition.

In addition colour is used to help define areas and draw the eye across and through the composition. The black elements halt the eye and screen from view due to the great contrast to the surrounding. Conversely the white elements give the impression of clarity and permiabilitydrawing the eye through the composition.

Together the points lines and planes create space and define a space, even in a conceptual design.

11

The collection of points lines and planes while not a formal space, still poses elements that can be read as a space.

The composition explores the way in which spaces are formed with points blending into linesd which are subsequently extruded to make planes. Within the conceptual arrangment points are repeated close together and then become lines. Similarly lines repeat and transform into a plane.

Just as the arrangement of solid elements explore the transition from point to line to plane so to do the shadows. The points cast shadows, stretching out from the bas of each point to form insubstantial lines. Furthermore the lines project shadow planes across the surface of the ground plane. While these elements may be insubstantial they accurately illustrate theevolution of the point all the way to the plane.

12

1.2 FRAME & INFILL

13

1.2.1 Precedents

le Corbusier / Unite dHabitation / 1947-53

Daniel Graha / 1942 Huaxin Business Centre / HIC Arquitectura / 2016

Sou Fujimoto / Serpentine Pavilion / 2013Mies Van Der Rohe / Farnsworth House / 1945-51

14

1.2.2 Model & Design

Within the Frame and Infill system, the frame is permanant and the infill is temporary.

The axonometric drawing opposite explores this with each layer representing greater degrees of impermanance.

The design begins with the foundation, from which spring the frames. The frames are permanent.

Next come the infills, these weave inbetween seperate frames and around others to help define spaces within the frames. These spaces are ever changing, much like the walls within a gallery, these infill elemnts can be repositioned to create new and uniqure spaces and journies throughout the frames.

Finally the solid elements, these are last. The solid are the decoration, the exhibition, sculptures, the most temporary and thus the final layer.

15

The model of the frame and infill composition perpetuates the permenance of the frames and the impermanence of the infills.

The frames are bold and black to create a strong contrast with the rest of the model and thus exude a sense ofimmutability and solidity.

The infills exlemplify temporality and impermanence. The semi transparent paper stands between opacity, and thus by affinity solidity, and translucency. The trace paper resides within and on the frames, however the trasparencygives the perception of the ephemeral.

The solid elements are temporality intransigent. both are moveable and can be placed anywhere within the composition. One sits atop a frame, thus further emphasize the solidarity and strength of the frame. The other solid element whichis obstructed completely from view, only the silhouette can be seen through the infills, and what is more impermanent and moveable than a shadow?

16

1.3 MASS

17

1.3.1 Precedents

Source: Finn Forsyth / 2015 / Mona Source: Finn Forsyth / 2015 / Our Lady of

Victories Basilica

Lamego Multi purpose pavilion / Barbosa

& amp; Guimaraes / 2012

Shri Ram Centre of Art and Culture /

Shiv Nath Prasad / 1969

Treasury of AtreusTeahouse on Bunker/ UNStudio /

2004

Rem Koolhaas / OMA / Hamberg Sci-

ence centre Michael Heizer / Levitated Mass

18

1.3.2 Design

The Mass Composition explores perception, deception and gravitas. Ones progression starts at the pavilion above ground. As one approachs a weighty mass hanging high above the steps to the underground caverns below. This subset of the ceiling proper appears to be slipping through the whole in the roof on the verge of coming crashing down, forshadowing the confining, as well as lofty spaces below.

As one decends the darkness grows. at the bottom of the staircase, there up two directions: to the right and down and to the left and up.

Right - As one decends the crisscrossing ramps the ceiling gradually. Slashing the roof are deep fissures in the rock above, the depths (or heights) of which are hidden in darkness. Both these elements, the extended ramps and dark overshadowing clefts distort ones view and perception of distance and depth, thus compounding the feeling of the weighty rock overhead. The path however ends in bright sunlight. After ones ambulations take them through a doorway into the fuinal chamber in these journey the fissures of the previous chamber break through the surface and allow steams of light in.

Left - Once underground one would associate up with the way out. this is exactly the perception that this passageway exploits. at the end there is a faint glimmer and flicker of light. but this is all that can be seen. One is forced to feel there way along using the rocky cleft on either side of the passageway as a hand rail. When the end is reached, it is not fresh air and opennes that meets them, but a black wall, damp with moisture. The light simply comes from a small hole in the ceiling and refracts off the damp rock face.

19

2.0 HERRING ISLAND. SOMETHING LIKE A PAVILION

20

2.1 Precedents

Denton Corker Marshal / Australia Pavilion / 2015 Bahrain Pavilion / 2014

Gareth Hoskins / Scottish Pavilion / 2008 Pamela Rosenkranz / Swiss Pavilion / 2015

Croatian Pavilion / 2015

21

2.2 SITE ANALYSIS AND CONCEPTACLE

22

2.2.1 SITE ANALYSIS

1 2 3

4 5 6

7 8 9

23

The site produces a multitudinous array of possiblities, with both space for completely landlocked designs or waterfront designs, or even partially submerged. Additionally the contours of the land also posses a number of opportunities. The island is laid out fairly simply in terms of the path and located of artworks, most of which skirt around the perimeter, thus leaving a large open flat space in the middle.

On the northern edge of the island (depicted in images 3, 8 and 9) is the space for my chosen site. Here the land rises gradually up from the water and forms a crest and then dips back down again. this gradiated landscape will go a good place to explore the transition between the open air and underground all along the same plane. Furthermore, being the northern edge it recieves the most amount of sunlight, a fact that i will incorporate into my design.

24

2.2.2 CONCEPTICLE

The concepticle explores a number of concepts that will be manipulated in the later design. Firstly (1) is the textured surface of the balsa block. The surface looks rough hewn and hides the true nature of the material. Thus in my final design i intend to use materiality to alter perception of what is natural and what is madmade, an alegory for the island itself.

The second element (2) is the penetrating member throught the central mass. Both eneds of this element can be seen and viewed, however what lies within the mass is unknowable, the ends simply hint at what is beneath the surface. Additonally this member reflects transition, on one end the element is open to the air, on the other however the wire cage constrains and encloses it. This idea of transition is one that will be explored in relation with above ground to below ground

The third elemnt (3) the wire signifies restriction and confining. Like the bars of a jail cell the wire metaphorically restricts whatever is whithin. This will translate to the final design with a gradual restricting of space

the forth element (4) is the mass supported by four thin balsa sticks. This mass represents the concept of altering perception of mass, gravitas and structural integrity

25

2

1

43

26

2.3 CONCEPT AND SKETCH DESIGN

27

The concept I explored was the misleading and manipulation of truth by people. Witholding information is a form of secrecy, and is common occurance in society, these secrets have the affect of misleading people. Thus through materiality and spacial deception I explored how one could be mislead as they journey through the design.

Above is a preliminary plan of the design (external only) with an overshadowing mass element and a gabian wall diminishing under the surface 0f the water

Conceptual sketch exploring the distorting of space and journey through different shaped passageways

Experimentation without layout of spaces and using different adjoining passageways and rotated rooms to alter the senses.

28

2.4 DESIGN DEVELOPMENT

29

From the Concepticle I took both conceptual and physical inspiration. The wire mesh component led me to the idea of gabian walls, however as i was exploring the misleading of people through architecture, I had the idea of abstracting the gabian wall idea. To the left is a sketch of one section of this gabian wall idea. The wall would be made of the same sort of wire cages as regular gabian walls, however instead if being filled with multiple rosk they would be filled with clean cut indivudual stones that took a shape different to that of the steel cage.

However after some experimentation, I decided to move away from this approach and confront the ideas of the concepticle in a more subtle way.

30

After deciding to discontinue the gabian wall idea, I began working out dimensions of spaces as well as layouts.

Right was the original layout of spaces with the bathrooms as far away from the entrance and other parts of the major spaces as possible, however upon entry into the main interior space ones eyes would look directly across at the toilet doors, even if they were to be hidden with moulded concrete doors

Below was the final section (not to exact scale) which Was used to clarify the dimensions of each space as well as heights of the ceilings. from the external communal area through the internal spaces and ultimately to the passageway below ground, the ceiling height gradually decreases, from 5metres to 4 metres, to three metres and finally 2 metres in the passageway.

31

2.5 FINAL DESIGN DRAWINGS

32

33

The clear pillars incorporated into the design rely on lots of light, thus the northern edge of the island had to be chosen. Visible left, drawn in red is the suns azimeth as it traces a path accross the sky during summer (the island is only open in summer).

The chosen site had very little tree or foliage cover which meant that clearing the land would not result in the loss of many plants.

The existing path that perambulates around the island joins the site thus, one does not have to venture far afield to visit the pavilion.

land clearinging - clear as little as possible, the architecture is attempting to hide the fact it is manmade.

34

Transition / The progressional journey through each of the primary spaces sees a graduated transition from the light and open northern approach to the dark and confining passageway underground. The gradual darkening within each space helps to hide the true nature of the space, the rock walls pretending to be natures own creation.

35

Above are renderings of the main moments within the architecture.

Left is the lofty cantilevered, out-thrusting roof. Weighty mass of the roof is an imposing site on the approach and already hints at the confining interior. This is exacerbated by the clear pillars which do not appear to be able to take any great load (and arent in reality). On the approach the architecture is already manipulating the observer and leaves them questioning should that really be standing?

Right is the apogee of the design. The dark tunnel underground with nothing but a dimly-lit rocky cleft as a hand rail, leads one past all the misleading materials to the truth. Lit by the refracted light from the crystal pillar is the real rock, all natural stone.

36

The plan and section are closely related, thus the render shows them next to each other. the red dotted lines link walls and major elements between the plan and the section.

The interior walls of the underground passageway show the contouring of the faux rock molded in cement. also visible is the rocky cleft that acts as a hand rail.

37

2.6 FINAL DESIGN MODEL

38

Through model material I imitated, albiet more obviously the way in which the walls try to imitate the natural ground. Both are cardboard, however the walls are just a bit too clean and unnatural in contrast to the rough card. Similarly in the design the natural walls are too precise and too regular.

The two materials also offered a strong contrast between structure and the land.

The land mass above the internal structure can be removed so that the rooms can be seen

39

The model captures the two contrasting moments at the culmination of the design in the underground passageway. On the left, the dark and foreboding tunnel that must be first conquered. All the while the only sorce of light is small down lights illuminating the handrail carved out of the wall, a highly irregular and tactile furrow for ones hand to follow.

On the right the conluding view, where the truth is revealed by the light of the clear pillar, refracting the light from above into the small cavern. here the imitation stone is stripped back and the true island is revealed

Left is the main interior space. The cantilevered concrete roof visible on the outside, penetrates all the way into the space and casts a shadow against the wall. From this perspective the rest of the structure connot be seen but the observer knows that this passes through to protrude far out over the outdoor area.

40

3.0 REFLECTION

41

Since the beginning of the semester my ideas about the three relationships have come a long way, as have my understanding of them. My first model for point line and plane, despite the misunderstanding with the criteria was a bit unfinished and lacked the depth that my second conceptual model explored, which tackled the foundations of the point, line and plane and the transition from one state to the next through both material and immaterial means. Thus began my analysis of transition. The exploration into the frame and infill system opened up the idea of permanence and temporality within architecture, a concept which later influenced the use of light within my final design. Studying mass revealed a huge number of emotive qualities that mass and structures with gravitas possessed. They could challenge belief, hold monument an idea, intimidate and confine, as well as be overbearing and proud among many other things. Through my investigation into mass I explored deception and perception through challenging preconceived ideas of what is structurally sound as well as chiaroscuro to simultaneously hide and illuminate aspects within a space.

The ideas explored in the Three Relationships helped inform many of the ideas and concepts of my final design as well as opened up doors on how to explore other concepts.

On reflection of the design process and adaptation of the ideas learnt throughout the semester, there are a number of things that I feel need to be further developed and explored. Firstly I had hoped to develop my design a bit more before I started doing my final drawings however by the time we had presented our concepticle and started working on our final designs, I had run out of time to develop my ideas to the extent I would have liked. Thus there are many changes I would have made in the design if I were to do this task again. To begin with I confined and limited myself with what was acceptable and comfortable, which showed in the confining space i.e. the passageway under ground being quite large, by making it smaller, almost too small for a person to fit, I could have taken the feeling of being confined to greater extreme. Furthermore the arrangement of spaces is under developed. I would have liked to take the structure through to the ridge back out into the open. This could have been taken even further with the underground tunnel returning to the surface via a different and secret route, so as to eliminate the need to retrace one steps to exit. Again this could have been further enhanced by an alternate arrangement of spaces so that they were more linear. However, the current arrangement of spaces allows the pavilion like design to have multiple uses and thus adaptability. The interior space could be used as an art gallery to complement the rest of the sculptures of the island, with Truth Through Materiality, being part of the exhibition.

Given more time I would also have liked to explore the structural possibility of the design as well as the clear pillars. This comes down to whether the structure is possible and whether the number of thinner fiber optics would be more practical as well as having a more controllable effect underground in terms of light emittance.

Despite these things, the final design still accomplishes and explores the overriding themes and concepts that I had set down at the beging of the project.

42

4.0 BIBLIOGRAPHY

43