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ARCHITECTURE DESIGN STUDIO: EARTH S1, 2016 SUBJECT STUDENT BOOK

Kenny Ken-Li Chong 716086

Scott Woods + Studio 12

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CONTENTS:

1.0 THREE RELATIONSHIPS 1.1 Point/Line/Plane 1.2 Frame & Infill1.3 Mass

2.0 CONCEPTACLE MODEL

3.0 HERRING ISLAND. SOMETHING LIKE A PAVILION 3.1 Site analysis and Conceptacle3.2 Final Design drawings 3.3 Final Design Model

4.0 Reflection

5.0 Bibliography

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1.0 THREE RELATIONSHIPS

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1.1 POINT / LINE / PLANE

What I found most interesting during this module was the manipulative nature of planes, specifically towards the direction and patterns created by lines. It is this geometric nature that I wanted to explore in my model. Each of the poles represent lines passing through a plane, which directs and changes their default path. Slits were cut out from the plane in the configuration of a triangle and a reverse traingle. The resulting pattern and path eventually causes the individual lines to collide with one another, creating a point.

The main influence of this idea came from Mario Botta’s Mountain Church (as seen on the left). The ways in which the walls are curved and cut off, created some very interesting patterns throughout the interior of the building. The patternation of the shadows on the interior walls was also an aspect I wanted to explore in my model.

Church of San Giovanni Battista (Switzerland) / MARIO BOTTA, 1998

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1.2 FRAME & INFILL

The main precedent I looked at for this module was the Serpentine Gallery Pavilion by Sou Fujimoto. What I was interested in was the ways in which the the poles interacted with one another. The use of white material caused a form of trickery in perception, making it difficult to make out what was in the foreground and what was in the background.

In my model, I attempted to further explore this idea to experiment if it was possible to frame these deceptions. I started with the thicker cut structure to act as the primary frame in this project. The intention was to direct attention to certain areas and the mind would fill in the gaps, making out a general idea of where the frame is. The frame would then be filled with thinner webbing poles and finally surrounded by thinner outer poles. the thinner poles acted as the deception and would occupy the role of the infill of the perceived frame.

Serpentine Gallery Pavilion (London) / SOU FUJIMOTO, 2013

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1.3 MASS

For this module I looked at Makato Aida’s Ash Colored Mountains. What I found interesting about this painting was how the artist represented mass through the use of smaller entities. The ability to conceive mass from a collection of smaller individual objects was what I explored in my drawing.

I started by creating three points of reference to act as fracturing points. I represented the depth of these cut outs by using different pencil shades, lightening as it moves away from the point of fracture. Although none of the geometries are touching, it manages to form another completely different shape.

Ash Colored Mountains / MAKATO AIDA, 2009

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2.0 CONCEPTACLE OUTCOME

From the past three projects, the main trend between them all was the idea of distortion. This was what I started the conceptacle with. While exploring the different ways of distortion and figuring out how it would relate to the function of secrets, I eventually decided to move into the route of surrealism.

The conceptacle then focuses on the pushing and pulling of simple geometric forms to attempt to create something familiar yet also straying slightly away from reality. This therefore would raise intrigue towards the finer details of the model.

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3.0 HERRING ISLAND. SOMETHING LIKE A PAVILION

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SITE PLAN CONTEXT

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3.1 SITE ANALYSIS AND CONCEPTACLE

Entering Herring Island through the ferry made me feel as though I was entering a completely different part of the city. It almost gave off the feeling of entering something forsaeken or even abandoned. The island was quiet and very few people were walking around. As I progressed through the path, I stumbled upon a few installations. The process of discovering these installations was what I found to be the most interesting aspect of this island.

Most of the installations weren’t put out in plain sight, rather they were placed slightly off from the track, with parts hidden away by some bushes. The journey from noticing something off in the distance and eventually arriving at it, had the experience and journey I wanted to incorporate with my design.

CONTEXT

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GROUND FLOOR PLAN BASEMENT FLOOR PLAN

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3.2 FINAL DESIGN DRAWINGS

My design process started with the site location. I wanted an area that can provude both shelter, while still receiving the required exposure to cause interest. I chose a small clearing on the north-west corner of the open and flat grassland. The trees in the area provided sufficient coverage from direct sight, while also revealing bits and pieces as the user progresses towards the site.

I started designing the form with two simple geometric shapes: the circle and the square. From there, I projected and tilted certain elements to create a feeling of degradation. The elements were sunk into the ground, makng users question the nature of the structures. The center area was fitted with a series of poles rising down from the the top oculus to the basement level. This not only directed sunlight to the basement floor, but also gave the hint that there was more beyond the ground surface. Users are led down to the basement where the patternations of the shadows on the collection poles.

The site is orientated so that, for a certain amount of time, the rays of light frame the poles.

BASEMENT FLOOR PLAN

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NORTH ELEVATION

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EAST ELEVATION

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NORTH SECTION

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WEST SECTION

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3.3 FINAL DESIGN MODEL

INTERIOR PERSPECTIVE

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3.3 FINAL DESIGN MODELEXPLORATION OF MAIN STRUCTURAL ELEMENTS

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RELATIONSHIP BETWEEN ABOVE AND BELOW GROUND

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4.0 REFLECTION

The three modules I worked on during the first six weeks of the semester has realy pushed me in realizing how many different ways I could approach a design project. It was interesting to see the range of work my studio has come up with throughout the different tasks. It was also very inspiring to see and learn from my studio to see how their way of thinking is like.

The importance of model making was definitely highlighted as one of the most important skills to have during the design phase. I never realized how different it was to be able to visualize something in your mind and to actually create a 3D object that can be manipulated and touched with your hands. The model making sessions have definitely helped me in realizing the potential of my 2D ideas.

Model making was surely the biggest challenge of the semester as I had very little experience in it. The course has definitely pushed me out of my comfort zone to experiment with more conceptual approaches and the intricacies of the abstract. This has been a huge stepping stone for me and I can easily see myself using these skills in the future of my studies.

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4.0 REFLECTION

5.0 BIBLIOGRAPHY

https://agnyana.files.wordpress.com/2013/04/bottachurch-int-langenbach.jpghttp://www.alumind.com/wp-content/uploads/2013/10/serpentine_gallery_london_pavillon-002_1498_1000.jpghttp://www.botta.ch/Page/Architettura/Sa%201998_113_Mogno/Mimg_01.jpghttp://www.domusweb.it/content/dam/domusweb/en/architecture/2013/06/7/sou_fujimoto_serpentinegallery/Serpentine%20SFA%202832.jpghttp://www.nyartbeat.com/nyablog/wp-content/uploads/2011/05/mountain.png

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