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ARCHITECTURE DESIGN STUDIO: EARTH S1, 2016 SUBJECT STUDENT BOOK

Georgia Wyrdeman699270

Toby // Studio 18

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1.0 THREE RELATIONSHIPS

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1.1 POINT / LINE / PLANE

Precedents.

MOVEMENT / REPETITIONexploring the guiding of the eye with composition of repetative elements.

LIGHT / SHADOWas an eye catching vehicle for showing movement.

Final.

SKELETALa skeletal abstraction of the precedent model.

the light and shadow that catches on the frames guides the eye to the single point.

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1.2 FRAME & INFILL

Precedents.

COMPOSITION Le Corbusier and his anthropometric drawings in ‘The Modulor’.

Piet Mondrian’s bold, contrasting colours

Final.

ANTI-GRAVITY possibility for circulation from any orientation.

PERCEPTION / SUBJECTIVITY each view has a unique composition of fill.

depending on the side, each element could be seen as a block or a near-invisable line.

fill is transient based on the angle of the viewer, the frame remains constant, though.

DIGITAL TRANSIENCEkey moments as opposed to continuous flow of experience.

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1.3 MASS

drawings are representative sections of objects or

buildings that feature clear solid / void moments.

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Precedents.

BUNKER 1950’s cold war architecture. Sturdy, solid, hidden.

SOLID / VOID space between solids as habitable.

ARCH the flying buttress and arch as compressive, masonry forms that reveal interesting void spaces.

Final.

INTUITION / FEELINGusing sense of touch and intuition to guide your self through the structure.

playground-like.

same childlike intuition.

LIGHT & DARKprogression from dark space into dazzling light space.

overwhelming.

you can’t see the expansive space you are in, but you can feel it.

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3.0 HERRING ISLAND. SOMETHING LIKE A PAVILION

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paths.

mindfulness.

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3.1 SITE ANALYSIS

I traced the areas I felt (and observed other people to be) mindful, engaged with the surroundings, thoughtful. These areas seemed to have a corrolation with the tree density and how exposed you perceived you were. I noted a lack of engage-ment with the environment at the very entrance of the island and saw an opportu-nity to draw attention to this area.

My drawings and photographs capture the visual themes of the island, organic forms, later to be juxtaposed with my final design.

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POINT/LINE/PLANE + FRAME/INFIL

based on angle perception

you see lines or circles depending on your point of view

initial conceptacle

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3.1 CONCEPTACLE

TIME

the idea of time, how you concieve time is subjective to how you percieve time in terms of it’s form as linear or circular.

the form draws from my Point/Line/Plane model and the concept follows the theme of angle perception.

final conceptacle.

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3.2 CONCEPT AND SKETCH DESIGN

circles progress to cylenders.

habitable.

positioning at the dock, relating to the site analysis outlining the lack of engagement with the surroundings at this point.

making the approach to the island more mysterious.

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underground exploration “larger than life”, the form portruding the island the cyclenders could house rooms

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design development of underground space

experimenting with interaction with the below ground area.

underground as the secret.

not a visable space, must be found.

a secret room that mymicks the form of the above structure.

3.3 DESIGN DEVELOPMENT

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right elevation

plan

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precast concrete cylenders with corten cladding

bbq + picninc facilities

sections of toilet design

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3.4 FINAL DESIGN DRAWINGS

MATERIAL

concrete with corten cladding

the corten will, over time and with rain, excrede it’s rusty colour and stain the conrete.

a visual record of time gone by.

FUNCTION

each cyclender houses a different function, or non-function, with the aim of encouraging adults and children to spend time.

cylenders range from 1 - 7 metres in diameter.

TIME

represents the passing of time as an unstoppable linear force made up of the life-cycles that structure time itself.

it emphasises the time in the present with the largest cylender in the middle, the smaller end at the island entry represents the past and the far end is the future.

the past end houses a time capsule of a sound recording of the island, facilitated by the recording studio in one of the cylenders.

the future end houses the underground chamber which is a stark white, depleting room, representing the impressionability of the future.

the scale and contrast to the surroundings makes it confronting, inescapable, attention seeking right from docking.

underground chamber

underground chamber with light perspective

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3.5 FINAL DESIGN MODEL

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4.0 REFLECTION

my design encapsulates the processes of thought from each of this semester’s projects.

specifically, the idea of visual perception from the Point/Line/Plane and Frame/ Infil as well as child-like playground intuition necesary to navigate a space as in the Mass project.

I am satisfied with my design process, which I think reflects the time and effort put into this subject.

I think my ability to present my ideas and work has especially developed through this project.

My final submission portrays my conceptual approach to this subject, which perhaps lacks a practical, realistic input, but I am now aware of that tendancy and can take this and improve it in my further studies.

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4.0 BIBLIOGRAPHY

PRECEDENT IMAGES

Erasmus Bridge, Rotterdam, Philippe Lejeanvre https://www.flickr.com/photos/plej92/Kiasma Museum, Steven Holl Architects http://archdaily.tumblr.com Sunflower, http://pcwallart.com/sunflower-photography-wallpaper-3.html

Piet Mondrian, New York painting http://abduzeedo.com/de-stijl-influenceLe Corbusier, Cité Radieuse de Marseille, http://panoramarchi.fr/?p=318

Flying Buttress Illustration, http://www2.uncp.edu/home/rwb/lecture_mid_civ.htmCold War Nuclear Shelter, http://www.apartmenttherapy.com/bomboozled-how-152142Soviet, cold war, brutalist stairs, http://designspiration.net/image/656351343268/

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