20
Eduardo Chillida - Euzkadi V, 1976 SUBJECT OUTLINE + PROGRAM ABPL20027 / SEMESTER 1 / 2015 ARCHITECTURE DESIGN STUDIO EARTH
Eduardo Chillida - Euzkadi V, 1976
SUBJECT OUTLINE + PROGRAMABPL20027 / SEMESTER 1 / 2015
ARCHITECTURE DESIGN STUDIO
EARTH
This SUBJECT OUTLINE + PROGRAM has been made in accordance with the provisions of Part VB of the Copyright Act forthe teaching purposes of the university. It is only for use by the students of The University of Melbourne enrolled in: ABPL20027 : ARCHITECTURE DESIGN STUDIO: EARTH / BACHELOR OF ENVIRONMENTS / THE UNIVERSITY OF MELBOURNE
CONTENTS
1. WELCOME
2. SUBJECT OUTLINE
3. PROGRAM
4. POINT / LINE / PLANE
5. FRAME AND INFILL
6. MASS
7. A PLACE FOR KEEKING SECRETS
8. AVOIDING PLAGIARISM
Footprint by Buzz Aldrin. The Moon, 1969
WELCOME
01
to ABPL 20027 Architectural Design
Studio: EARTH. This is a 12.5-point studio-
based subject, consisting of three studio
contact hours per week, with an associated
series of weekly one-hour lectures. These
notes describe how the subject is taught
this semester, and are a specific version
of the generic subject outline given in the
handbook.
SUBJECT OUTLINE 01 These notes describe how the subject is taught this semester, and are a specific version of the generic subject outline given in the handbook
02. EARTH AS the THEME
Earth has a wide range of meanings and associations. Even in architecture, it can become complex, intricate and contradictory: this is to be welcomed as contradiction is one of the primary conditions for creativity.
‘Earth’ (in English) is the name of our planet. For us, gravity is earth-bound. We can’t manipulate gravity, except by using huge amounts of energy, but we can play with it.‘Earth’ is also the generic name for dirt, from loose sand, to loam, to clay and to granite. It sustains plants, and through them, sustains us. We shift, extract and transform this kind of earth for many of our raw materials.
Earth readily gives us an experience of above and below, in which ‘above’ is our usual space, and below is an underground solid. Caves and basements are physical spaces of the chthonic, the hidden, the secretive and mysterious. Above ground space is (at least before our articulation of it), open, obvious and easily traversed.
Earth is also one of the prime elements: one of four in European thought, one of five in Chinese and Japanese thought. It is a mytho-poetic description of a state. Earth/Water/Air/Fire is possibly the same sequence as Solid/Liquid/Gas/Energy.
Of the many meanings that ‘Earth’ has, the most architectural involves the ground, or site as architects like to call a specific part of it. To be grounded is to be stabilized and set in a specific place. At the same time nomads are also ‘grounded’ but stretch their place over a vast terrain. The juxtaposition of Nomads to Dwellers forms a neat pair: the mobile horizontal versus the stationary vertical.
This short summary is not exhaustive, but should give some idea of the issues that the architectural project might engage with.
03. THREE RELATIONSHIPS
To bring the architectural project into existence, and help it unfold, there will be three preliminary design exercises, each related to a specific architectural techtonic. These will run for two weeks each, and will be allied to a specific ground-related space, so that:
1. point/line/plane, will be explored as it affects the ground surface;
2. frame/infill will be used to explore the space above ground.
3. mass will be explored as an underground spatiality;
Each of these exercise is expected to produce some kind of technique, form or idea which will then be the basis for the architectural project in the second half of the semester.
A set of photographs and plundered images of examples, the former from existing local built environment, and the latter from any other source will be required for each of the techtonic themes.
01. SPACE IN PRACTICE
STUDIO EARTH is designed to introduce students to a number of spatial systems used by architects.
Although this subject will be biased towards the study of particular spatial systems, it will do this in the context of site amenity, aspiration and bias, with some acknowledgment of gravity and materials.
In other words students will explore architectural space not as an abstract idea but as part of a designed and synthesized project.
Over the next few years, students may face further design semesters where materiality, techtonics, social program, energy issues, urban connections and other issues will form the basis of architectural discussion and research. For this semester, it is SPACE, while thinking about EARTH.
02
04. the ARCHITECTURAL PROJECT
This is five-week project, using the research gained from the preliminary exercises. It will be for the design of a small building which holds secrets.
The site is Herring Island in the Yarra River at South Yarra. It is expected that the project will be designed, described and presented through drawings and physical models.
Earth Diagram,. AS, 2015
03
05. the PRINTED MODEL
A digital printed model is to be made, using the MASS exercise as a starting point, and with attention being paid to the Herring Island project.
This is a logistic and technical extra to the tutorials, and specialist technical help will be provided during tutorials in week 6. There will be guided access to printers.
06. the LMS
The LMS will be loaded with material from theory, philosophy, and links to works of literature, art, and architecture. All of these are to be considered as related ideas, issues or compositional procedures.
This material will be added to as the semester progresses. The LMS replaces what would have been the reader in the past.
SUBJECT OUTLINE 02 These notes describe how the subject is taught this semester, and are a specific version of the generic subject outline given in the handbook
07. LECTURES / TUTORIALS / VISUAL DIARY
There are three streams of production to this subject, all directed towards the invention, making, and representation of an architectural design. Firstly, the lectures are designed to present the intellectual framework of the projects. The reader extends the lectures into broader architectural issues. Secondly, the tutorials or studio sessions. These are more complex, being both individual and group-based in their action. They are "office time" in which to make things, try out ideas, engage in discussion, clarify matters and present designs. STUDIO/TUTORIALS ARE THE CORE ACTIVITY OF THIS SUBJECT. Thirdly, the visual diary, which in our case is in the form of a Blog. This is to be used to hold the image-gathering requirements of the three two-week exercises, and continue into the Herring Island project. There will be one blog per tutorial group, to limit the number of access points, and so that tutorial members can share.
08. ASSESSMENT
During the tutorials, you will receive a mixture of comments regarding your work. Listen to all of it; it is the first kind of assessment you have to note. Part of the discipline of design is to act creatively to all comment and reaction.
At the end of each of the three exercises, there will be a presentation and feedback session with your tutor, with a Merit, Satisfactory or Unsatisfactory grade being awarded. This is the second kind of assessment.
In the last tutorial session, you will be required to pin-up and present your architectural project in less than 10 minutes. This will also be given a M/S/U grade.
In the examination period, after the end of the semester, in the fourth kind of assessment, you will be required to present your entire semester’s design work. This, and the M/S/U grades accumulated over the semester will be used to establish a final % mark for the subject. Assessors will take the following into consideration:
a) the student's ability to compose in each of the three spatial syntaxes;
b) the conversion of a syntactical idea into a building design which resolves issues of occupation and site;
c) the clarity and appropriateness of the presentation of designs and ideas;
d) the potential of designs and ideas for further elaboration;
e) improvement in skills and handling of design processes over the semester.
Contribution to studio discussion, the notebook/sketchbook and the actual projects will also be considered at this final assessment.
The handbook specifies this breakup: weekly tasks 30%; architectural project 50%; visual diary (the blog) 10%; contribution to studio culture, this last item being measured by week fourteen’s final book and presentation 10%.
09. ACADEMIC POLICIES and PROCEDURES
For all administrative matters, see the Faculty of Architecture Building and Planning website:
www.abp.unimelb.edu.au.
Under Current Students, go to Administration, then Policies and Forms. In particular, your attention is drawn to matters of extensions and special consideration.
10. STAFF
The subject-coordinator is Alex Selenitsch, who designed the program, and will present all the lectures.
The senior tutor, who co-ordinates the subject, is Arturo Ruiz.
Tutors who take studio sessions will be drawn from higher degree candidates of ABP, and from Architectural Practice.
Arturo Ruizsenior tutor STUDIO EARTHroom 415, MSD; tel 9035 [email protected]
Alex Selenitschsubject co-ordinator STUDIO EARTHroom 331, MSD; tel 8344 8768 [email protected]
Feb 2015
04
PROGRAM
WEEK BY WEEK
01 02 - 08 MARCH
02 09 - 15 MARCH
03 16 - 22 MARCH
04 23 - 29 MARCH
05 30 MARCH - 02 APRIL
06 13 - 19 APRIL
07 20 - 26 APRIL
08 27 APRIL - 03 MAY
09 04 - 10 MAY
10 11 - 17 MAY
11 18 - 24 MAY
12 25 - 31 MAY
14 08 - 14 JUNE
03 -12 APRIL
BLOG
point / line / plane: in DETAIL 5 PHOTOS (local) + 5 EXAMPLES + 5 COMMENTS
mass: in DETAIL 5 PHOTOS (local) + 5 EXAMPLES + 5 COMMENTS
frame / infill: in DETAIL 5 PHOTOS (local) + 5 EXAMPLES + 5 COMMENTS
secrets: in DETAIL 5 PHOTOS (local) + 5 EXAMPLES + 5 COMMENTS
EXERCISES
// introductions // POINT / LINE / PLANE(scheme 1)
P/L/P(scheme 2)PRESENTATION
F&I(scheme 2)PRESENTATION
INTERIM SECRETS3D Conceptacle + Concept Section + Site Analysis + Plan(s)
MASSa PLACE for KEEPING SECRETS (3D Conceptacle + Site analysis)
a PLACE for KEEPING SECRETSFINALPRESENTATION
SEMESTER's BOOKFINALPRESENTATION
MASS (scheme 1) (Section-Secrets-Conceptacle)
FRAME / INFILL(scheme 1)
LECTURES
FRAME / INFILL(feeds into weeks 03-04 exercise)
INTRODUCTION TO THE COURSE(lecture on P/L/P in tutorial)
on COMPOSITION
on DIGITAL DESIGN & FABRICATION
on PAVILIONS
on MASS(feeds into weeks 05-07 exercise)
on MODELS
on SECRETS
on DRAWINGS
MATTER MUTTER
no lecture
no lecture
no lecture
EASTER BREAKEASTER BREAK EASTER BREAK
05
SEM 1 _ 2015
WEEK BY WEEK
01 02 - 08 MARCH
02 09 - 15 MARCH
03 16 - 22 MARCH
04 23 - 29 MARCH
05 30 MARCH - 02 APRIL
06 13 - 19 APRIL 07 20 - 26 APRIL 08 27 APRIL - 03 MAY
09 04 - 10 MAY
10 11 - 17 MAY
11 18 - 24 MAY
12 25 - 31 MAY
14 08 - 14 JUNE
03 -12 APRILHERRING ISLAND CLOSING DAYMonday April 6
SUBMISSIONS
P/L/PMODEL + PRESENTATION (10%)
F&IMODEL + PRESENTATION(10%)
MASS PRESENTATION (10%)
SECRETS (hard copy to presentation & electronic submission req'd - 50%BLOG (10%)
SEMESTER's BOOK and PRESENTATION (10%)(electronic submission req'd)
TUTORIALS / WEEKLY FOCUS
P/L/P preserntations
F&I working session
F&I presentations
Mass working session
Tutorial session will be split in two:1 _ Computer Session to help out finalise 3D Conceptacle2 _ Mass presentation
Site Analysis, Choice and Conceptacle PresentationDeadline: 3D Mass Model Rhino Files to be submitted before the commencement of tutorial session
Tutotial part 1 _ recording of AS's lecture on Point/Line/PlaneTutotial part 2 _ PINTEREST account creation + P/L/P exercise development (Model material to be brought to the session)
3D Mass Model DevelopmentSite Analysis & ConceptacleBlog development
Design DevelopmentIn-class discussion and feedback
Interim PresentationTUTORS ROTATION
Design Re-DevelopmentIn-class discussion and feedback
Design RefinementIn-class discussion and feedback
Secrets PresentationGUEST CRITS
Final Semester Presentation
RESEARCH EXERCISE 01
06
Capture from Simon of the Desert by Luis Buñuel, 1965
POINT/LINE/PLANE
A PLACE TO LIE DOWN, SIT UP, STAND AND WALK (and back again)"Drawing is taking a line for a walk" (Paul Klee); "a line is a dot taken for a walk" (probably not Klee)
SCHEDULE
First week (March 4th): view recorded lecture, preliminary discussion, model making and first feedback;
(between the two weeks: make revisions, according to feedback);
second week (March 11th): present revised model, codify design discoveries.
During these two weeks, take 5 photographs of Point/Line/Plane architecture from the real world of Melbourne, and extract five images of Point/Line/Plane architecture from the internet. Put these images into your blog, giving titles, locations for the photographs and titles and web addresses for the images.
THINK
Levels and slopes
Curved and straight (the limits thereof…)
Becoming (where something becomes, naturally, something else)
BRIEF
SOLIDIFY THE GROUND
Design a combination of levels, possibly with some slopes that explore ways of defining ground-related space, by using the progression of point to line to plane, and by analogy, from standing to sitting to lying down. No part of the composition should be higher than a seat.
Make it out of cardboard and some balsa sticks. Work directly on the model, with no preliminary drawing. Work at 1:50. The site could be anywhere: or rather, the site is the baseboard for the model, which you should establish first. Come to the first session for this exercise with the baseboard already cut, with card and balsa, glue, cutting equipment. Keep the overall size of the models such that you can easily carry it around, maybe even put it in your carry bag. Or your locker.
LOOK UP
Steven Holl (particularly the early work)
Khai Liew furniture
Donald Judd
07
RESEARCH THRESHOLDS
EXPERIENTIAL MAPPING(Map above: New Babylon-Paris by Constant)
Drift, don't think. Then look back, recall, interpret. Take the feeling-less map, make it yours, give it a soul; to read, to think. So you can move forward.
ABORIGINAL AUSTRALIAN ART (Artwork above by Gulumbu Yunupingu)
Mapping the territory, its feelings, its story. Find your way, walk it, share it.
STEPS / LEVELS(Image above: Ideas-Collage by Enric Miralles)
Imagine you are 2 foot high. What do you see? How does it feel?
THE PLANE - SCALE AND PERCEPTION(Image above: Rolex Learning Centre by SANAA)
Look at this project from afar: light, weightless, paper-like. Or is it?
ARCHEOLOGY / TRACES (Above: 64 Zinc Squares by Carl André, 1969)
Look at the image. What do you see? One square? 64 squares? Anything else?
LANDSCAPE / LAND ART (Above: Garden of Australian Dreams by R. Weller)
Look at the land. Read through it, try to understand. Interpretation, transformation, what does this mean?
INSCRIPTIONS / ENGRAVINGS(Image above: Nearmnew by Paul Carter. Fed Sq.)
Words and images are entangled. Emotions, thoughts, reflections...Old as the cave paintings, new as graffiti. Is it temporary or is it here to stay?
GEOLOGY / TECTONICS (Image above: High Line by Diller and Scofidio)
Fold a stone and then turn it into wood. Crack it open and grow some grass in the slot. Is it a grass field on which a stone walkway has been cut through or the other way around? Or both?
COMPOSITION - POINT/LINE/PLANE(Image above: Composition by Mies Van der Rohe)
Sequencing, scaling, capturing space. Mies' point / line / plane personal and sophisticated composition approach is scientific and artistic at once.
RESEARCH EXERCISE 01
Composition in Red, Blue,and Yellow, 1937-1942 by Piet Mondrian
08
RESEARCH EXERCISE 02
FRAME & INFILL VIEW OF THE SKY, VIEW OF THE HORIZON, VIEW OF THE GROUND"Each wall of each hexagon is furnished with five bookshelves; each bookshelf holds thirty-two books identical in format; each book contains four hundred ten pages; each page, forty lines; each line, approximately eighty black letters." Jorge Luis Borges from The library of Babel
SCHEDULE
First week (March 18th) : preliminary discussion, model making and first feedback;
(between the two weeks: make revisions according to feedback);
second week (March 25th): present diagrams of frame/infill system, codify design discoveries.
During these two weeks, take 5 photographs of Frame and Infill architecture from the real world of Melbourne, and extract five images of Frame and Infill architecture from the internet. Put these images into your blog, giving titles, locations for the photographs and titles and web addresses for the images.
THINK
Transparency
Temporary and permanent
Anti-gravity
BRIEF
MAKE A STRUCTURE / COMPOSITION
which stands above ground, possibly into the air, and which focuses views out of it, and which shows this quality through its form. Stairs, steps need only be indicative.
Make a frame 2 bays x 2 bays x 2 bays, using balsa sticks, pinned or glued or both. Bay dimensions can be 3m to 6m. Approx. Make at least these elements:
2x flat2x 1-fold2x 4-fold2x a solid-form or volume.
These elements should have a least one or two dimensions smaller than the frame bay dimension. Position the elements to create interesting and useful spaces, with a plausible entry and circulation. Model at 1:50.
From this model draw an explanation of the frame and infill system you have invented. Do this in perspective or as a projection, axonometric or isometric, as a narrative or as an exploded image.
LOOK UP
Case Study Houses, especially the Eames House
Piet Mondrian, New York paintings
Bernd and Hilla Becher photographs, especially Fachwerkhauser
09
FRACTAL / TOPOGRAPHY / FIELD (Above: Serpentine Pavilion by Sou Fujimoto)
Take a basic geometric form. Develop a pattern. Grow it. Make sense of the process. Sou Fujimoto generates a geometrical cloud in his Serpentine Pavilion, one that welcomes visitors to fly through and have a rest.
MODULE / ASSEMBLY(Above: Eames House, by Charles and Ray Eames)
Parts being assembled. Modular complexity. Proportion. The fine work of Charles and Ray Eames is an invaluable example of how to build uniqueness straight from the factory.
SERIES / SEQUENCE / PERMUTATIONS (Above: Fachwerkhauser by Bernd & Hilla Becher)
This project by Bernd and Hilla Becher documents with great beauty the many variations of structural frame (and infill) solutions in vernacular German architecture. Do you think these permutations respond to particularities or are they just random ones?
RESEARCH THRESHOLDS possible paths to thinking about this exercise
BALANCE / SUPPORT / SKELETON(Above: St. Caterina Market models by E. Miralles)
Sky topography; the skeleton of an organism that hovers over the old Santa Caterina Market in Barcelona. A landscape in its own right.
FIGURE / BACKGROUND (Above: Abysmal Red Structure by Plácido Romero)
Look. Deeper. Closer. Until you can see the matter itself. Its molecules, atoms and bonds. In this place different rules apply. Dive through. Come back up. Is everything looking the same?
SECTIONING / PLATFORM / STRATA(Above: Jussieu - Two Libraries. Model by OMA)
Layers get drilled, holed, deformed, pushed together and pulled apart in this building by OMA. The apparent stiffness of the frame is twisted and stretched in order to accommodate programmatic infil(l)trations.
MATERIAL / FILTER / SHADOW & LIGHT(Image above: Dominus Winery by H&dM)
Light as an ever changing factor. Filtering light, generation of shadows. Negative space. Fade aways. Day and night. In and out.
MIRRORING / DUALITY(Image above: Serpentine Pavilion by SANAA)
Is the image above upside down? Or is it downside up? Horizon, gravity, perspective, individuality. Japanese architects SANAA reflect on all these questions through a wise use of materiality and geometry.
COMPOSITION - FRAME AND INFILL(Image above: Miami Art Museum. Model by H&dM)
Gravity and weight. Materials and composition. Suspension. Framing. Growing from the ground; just to be able to live above it.
RESEARCH EXERCISE 02
San Pietro in Montorio. Cross section by Donato Bramante, Rome.
SCHEDULE
First week (April 1st): preliminary discussion, first drawings and first feedback;
(between the two weeks: make revisions, according to feedback);
Second week (April 15th): present revised drawings, codify design discoveries.
During these two weeks, take 5 photographs of Mass architecture from the real world of Melbourne, and extract five images of Mass architecture from the internet. Put these images into your blog, giving titles, locations for the photographs and titles and web addresses for the images.
During the Easter break, design the digital model. See below.
RESEARCH EXERCISE #03AA LITTLE MODEL OUT OF MASS
A CONCENTRATION, A SIMPLIFICATION, AN ESSENTIAL REALISATION OF SOLID AND VOID: DARKNESS AND LIGHT: TOUCH AND SEE
Imagine a 3D version of some aspect of your drawings for the MASS research. That is, translate some aspect of your idea or composition into a solid/void composition.
Consider this model as a preliminary version of the conceptacle. See the Herring Island project outline for what this might mean.
The design is to print out within the size limits of 60x60x60mm. Do not put in sticks or sheets, as these take a much longer time to print. We expect each model to take 2 to 3 hours to print, so the size and form restrictions are there to limit printing time.
The translation/idea is to be converted into a digital file, checked, and then printed. Printing schedules and availability will be advised.
THINK
Figure/ground gestalt
Volume
Refuge/security (including from the weather)
BRIEF
DRAW A SECTION
thru the solid ground with spaces carved out of it, or in it. Include an access space from above the ground, or the ground surface, and design two spaces: one DARK and interesting to touch and feel your way around, and one which uses LIGHT in an interesting way.
Use charcoal, or fat black pens on cartridge paper and tracing paper. Use the cartridge drawing as the main or controlling section, and the tracing paper for adjustments and revisions, and possibly for adjacent or multiple sections if they are required.
Draw at 1:50, which probably means A3 sheets minimum.
LOOK UP
Land Art
Cold War architecture
Bunker architecture
MASSSOLID AND VOID: DARKNESS AND LIGHT: TOUCH AND SEE"When it comes to excavated ground, dreams have no limit" (Gaston Bachelard, The Poetics of Space)
RESEARCH EXERCISE 03
10
RESEARCH EXERCISE 03
THE SECTION - GRAVITY AND WEIGHT(Image above: Hamburg Philarmonie. Section Model by Herzog and De Meuron)
Sectioning is a way to reveal secrets, don't you think?
RESEARCH THRESHOLDSpossible paths to thinking about this exercise
ADDITION / SUBSTRACTION (Image above: Truffle Section Diagrams by Ensamble Studio)
Dig a hole. Fill it with hay. Pour concrete over. Then find a calf to empty your place. Finish as per client's indications. Enjoy.
MAPPING / LAYERING(Above: Serpentine Gallery Pavilion by H&deM)
Selecting information. Analyse it, establish the boundaries, draw the field. Critique what you just did. Try again.
EXCAVATIONS / EXPLORATIONS(Artwork above by Pablo Palazuelo)
To access lower levels, older levels, stronger levels (or passageways to parallel levels)... is art the best way?
ABSTRACTION(Image above:Untitled (fragment) by Mark Rothko)
Abstract art deals with the materiality of paint and painting process. How can you deal with the materiality of mass?
ARCHEOLOGY / TRACES(Image above: Nebulouse by G. Amat)
Mass(ive) constructions. Protection, hiding, camouflage. Fortresses, bunkers. Resisting the impact; inhabiting the hostile.
DRILLINGS / PERFORATIONS(Image above: Dwellings. Cappadocia, Turkey. Photo by Denis Schofield)
How narrow does a tunnel need to be for you to lose the notion of up and down? What happens when you slice it open?
GEOLOGY / TECTONICS (Image above: Maidum pyramid , Egypt)
Emerging from (or sinking in?). Is the purpose of the pyramid to hide a secret or to make it public?
COMPOSITION - MASS / INFILL(Image above: Tindaya by Eduardo Chillida)
On mass, time, space and scale. On body and Earth. On sculpture and architecture. On light, on geometry, on weight.
11
A PLACE FOR KEEPING SECRETS SOMETHING LIKE A PAVILION, ON HERRING ISLAND
the SPATIAL NECESSITY
This is a project for proposing relationships between the ground surface, below ground, and above ground. These three zones can be made evident through spatiality, materials or amenity.
Considering spatiality: could the three zones be sequential ie in a row, vertically or horizontally? Could they be symmetrical or asymmetrically arranged? Are the three zones the same or different, and how? Etc.
Considering materials: could the three zones be made in three different materials? Or the same? Or could one material extend as part of each zone? Could the tectonics/syntax morph from one zone to the other? Etc.
Considering amenity: is there a different kind of secret in each zone? Or is the one secret split up over two or three zones? Is the total composition made of one piece, two pieces or three (or more)? Etc.
the SPECIFIC SITE
The site for this project in the EARTH studio is Herring Island, in the Yarra River, South Yarra.
Before the project is scheduled for tutorial sessions, site data for the Island will be placed on the LMS, and hard copies given to tutors for the groups.
You have a number of weeks to visit the site, photograph, draw etc. to FIND THE SITE FOR YOUR PROJECT. (Tutors may take their own direction on this: groups may choose to all do individual sites, all somehow related, or all use the one site etc.)
You should have a site analysis and site data done for week 6.
Note: You can visit Herring Island during the weekends until the 5th of April only. At least two visits are recommended. Refer to LMS for details.
Some preliminary thoughts on what you are designing may help you to look eg are you after a large flat area, or the highest point or the lowest? Etc. Some preliminary thought means you have to consider the issue of secrets…
INTRO
This project asks you to:
a) make a composition using the research results from the three 2-week exercises;
b) do so on a specific site; and
c) engage with architectural i.e. spatial, images of existential issues: in this case, those of SECRETS.
SECRETS: the BRIEF#1
The secret or secrets must be IN THE ARCHITECTURE. To this end
a) provide a place for at least one of the following:
i) a place where a small object can be viewed by only one person at a time, for a maximum of five minutes;ii) a place where a recording must be listened to by only one family at a time;iii) a time capsule to be opened in 200 years time.
b) include some secret spaces, as children would identify them;
c) consider the possibility of the architecture having a secret which may or may not be revealed.
MANDATORY SPACES: the BRIEF#2
Provide:
a) a sheltered place for a small number of people, say, three families;
b) a technical room for recording/display machinery, approx. 2 squ.m;
c) a small store for internal use, approx. 2 squ.m; a lockable store with direct external acces for chairs, tables etc, approx. 4 squ.m;
d) M, F, disabled toilets, cleaner’s cubicle. This may be sited a little away from the pavilion itself.
Confirm sizes and spaces by direct observation and measurement.
12
ARCHITECTURAL PROJECT
13
A PLACE FOR KEEPING SECRETS SOMETHING LIKE A PAVILION, ON HERRING ISLAND
HOW TO START... the CONCEPTACLE and ITS USES
Conceptacle is a word coined by architect Nigel Westbrook in Melbourne in the 1970s, as a contraction of ‘receptacle for concepts’.
Although he meant it to describe full-size architecture, for this project, ‘conceptacle’ is meant to be a small object, a model in every sense of the idea, a model which sets out the composition in the most diagrammatic way, and which then acts as a kind of reference point while working through the design development stages of the project.
Your conceptacle should model how the three zones relate, and could do this through different forms and materials.
Scale may not be crucial.
Make the conceptacle so that it easily sits in the palm of your hand.
The digital model coming out the MASS research would be a good starting point for a conceptacle. You could re-imagine the model (now that you can look at it), or make a model where the other two techtonics are added to it, etc etc.
MORE BLOG
Continue the blog in the same way as for the three research exercises ie 5 examples of pavilions images taken by you form local sources, and 5 images taken from other sources.
SCHEDULE
1. Look for, and file/upload/copy examples of spatially expressed secrets, as precedents, analogues, references; begin this in week 3;
2. Preliminary site visits and analysis: by week 6;
3. CONCEPTACLE, over the Easter Break, between weeks 5&6;
week 7: 5-minute presentation, discussion and feedback on site choice and the CONCEPTACLE;
week 9: present first sketch/concept plans for feedback; tutors will move to another tutorial group for this presentation to allow for a different feedback viewpoint;
week 10: design development;
week 11: design development and presentation design;
week 12: present final scheme.
the PRESENTATION PACKAGE
Begin thinking about the final presentation of the architectural project at its very start.
You will be expected to explain your scheme through diagrams, plans/sections/elevations, 3D representations, physical models.
The number of images and their scales should relate to your design, but use the standard architectural scales. You will be guided in this by your tutor.
The journey from the two-week exercises to the conceptacle, and then to the final architectural project, will be the subject of the presentation held during the examination period.
This presentation will be to people who will not have seen your work during the semester, so all of the research, findings and material produced through the semester should be packaged in a clearly understood, logical and beautiful way.
ARCHITECTURAL PROJECT
A PLACE FOR KEEPING SECRETS A COLLECTION OF SECRET APHORISMS
ARCHITECTURAL PROJECT
14
SECRETS
there is a different secret in each copy of the same book
the book of secrets is loose leaf
silence is the thunderstorm of secrecy
when light plays on a page, secrets jump up and down
all secrets dream of the perfect revelation
in a roll-call, not every secret turns up
(in a roll-call, some secrets actually turn up)
a secret is the jailer, not the prisoner
the secret of luck is – luckthe secret of money is – moneythe secret of love is – love
a secret is the shortest distance between two
a secret is the lock on the inside of the door
a secret is a room with no doors and windows
the secret of faith is – disbelief the secret of hope is – despairthe secret of charity is – destitution
a secret known to everyone is one that has vanished
a secret wants to be known only for itself
SECRET is a word made up of large flashing letters
a secret cannot be known to only one person
a secret is the furthest distance between two
ASJuly/August 06
15
A PLACE FOR KEEPING SECRETS A TEMPORARY COLLECTION - THE SERPENTINE GALLERY PAVILIONS
ARCHITECTURAL PROJECT
Herzog & de Meuron with Ai Weiwei, 2012photo by Herzog & de Meuron with Ai Weiweihttp://www.dezeen.com/2012/05/31/serpentine-gallery-pavilion-2012-by-herzog-de-meuron-and-ai-weiwei-2/
Sou Fujimoto, 2013photo by Iwan Baan http://www.thetreemag.com/diario?offset=1377524777277&category=Hub
Peter Zumthor, 2011photo by Kevin Pollardhttp://lauraelizabethdavidson.com/2012/05/thoughts-traversin-summer-spaces-donald-judd-the-serpentine-summer-pavilion/
SANAA, 2009photo by Nick Weallhttp://www.e-architect.co.uk/london/serpentine-gallery-pavilion-2009
Rem Koolhaas with Cecil Balmond, 2006photo by John Offenbachhttp://www.archilovers.com/p80826/Serpentine-Gallery-Pavilion-2006
Frank Gehry, 2008photo by Tony Hisgetthttp://commons.wikimedia.org/wiki/File:Serpentine_Gallery_Pavilion_4_%282732913671%29.jpg
Alvaro Siza and Eduardo Souto de Moura, 2005photo by Aruphttp://www.studio-twist.com/ImgUpload/201311/2013112511260822120.jpg
Jean Nouvel, 2010photo by Atelier Jean Nouvelhttp://www.dezeen.com/2010/07/06/serpentine-gallery-pavilion-by-jean-nouvel/
Olafur Eliasson and Kjetil Thorsen, 2007photo by Olafur Eliasson and Kjetil Thorsenhttp://www.dezeen.com/2007/04/26/2007-serpentine-gallery-pavilion/
Oscar Niemeyer, 2003photo by Sylvain Deleuhttp://www.archilovers.com/p80828/serpentine-gallery-pavilion-2003
Toyo Ito, 2002photo by Toyo Itohttp://www.thetreemag.com/diario?offset=1377524777277&category=Hub
Daniel Libeskind, 2001photo by Hélène Binethttp://www.dezeen.com/2009/07/11/serpentine-gallery-pavilion-from-2000-2009/
This information has been prepared with the assistance of the Academic Skills Unit and the ABP Teaching & Learning Unit
WHY DO YOU NEED TO ACKNOWLEDGE THE WORK OF OTHERS?Most university writing tasks require you to draw on a range of academic sources to support your claims, arguments and ideas. To distinguish between your thoughts and words, and those of others, it is essential that proper acknowledgement be provided. By acknowledging your sources, you are also giving credit to the original authors or creators of the work you are using, while placing your work in the context of previous scholarship.
WHAT IS PLAGIARISM?Plagiarism is the act of passing off others’ work as your own. This means all types of work, including published and unpublished documents, images, photographs, research, ideas, design and audio-visual material. Note that plagiarism can be either deliberate or accidental.
WHAT IS COLLUSION?Collusion is the act of representing as your own, work that is the result of ‘unauthorised collaboration with another person or persons’ (University of Melbourne 2005). This includes copying another person’s work even if you have their permission. In this instance both the person presenting the work and the person/people involved in supplying the material may be charged with academic misconduct.
PENALTIES FOR PLAGIARISM AND COLLUSIONPlagiarism and collusion are serious offences. If you are found to have deliberately or accidentally plagiarised or colluded with others, you will be formally investigated. If the instance is severe you will be charged with academic misconduct. This may lead to failing the subject, suspension from your course or termination of your enrolment.Accidental plagiarism is not an excuse for academic misconduct and you will still be held accountable.
HOW CAN I AVOID PLAGIARISM?To avoid plagiarism, work on building your academic skills. For example:• Manage your time to avoid completing assignments ‘at the last minute’.• Make a conscious effort to develop your reading, note-taking and writing skills as well as your English language (for example, by accessing ASU programs and services and/or through self-study).• Keep detailed notes of all your sources, including all reference details and page numbers.• Analyse and evaluate what you read.
BASIC REFERENCING HINTS• Always acknowledge your sources by citing others’ work (including their ideas, images or exact words) in the body of your work and in the reference list or bibliography.• If you are quoting someone’s words, use quotation marks and ensure that you quote the original words exactly.• If you are paraphrasing someone’s work, you must use your own words, while still retaining the author’s original meaning.• When citing your sources, you must follow a referencing style (e.g. Harvard or Chicago) consistently and to the smallest detail. Style guides are available on the University’s library website.
AVOIDING PLAGIARISM
16
Il Pozzo de San Patrizio, Orvieto Emblematic Plan, The halh Monolith/'Half Manylith' Drawing by Mary Ann Ray
“Heaven is under our feet as well as over our heads.” ― Henry David Thoreau, Walden
