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DESIGN REPORT: WHITE WATER
Table content Page
1.0 Introduction 3
2.0 Analysis text and precedents 4
3.0 Contextual analysis 6
4.0 Program analysis 10
5.0 The argument for the "generation" of form 12
6.0 Building technology 16
7.0 Environment performance 20
8.0 Resolution 23
9.0 Reflection 25
10.Bibliogrpahy 26
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weisse schloss
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INTRODUCTION
The task of project 3.3: White Water is to design a canoe and kayak center which
contains two major functions, a place for kayakers during the time of the Freestyle Kayak
Championship and the multipurpose social place. The design is required to be
'sustainable, robust and have minimum impact on the environment/' The chosen site is at
the interception point between Murgasse street and Muradweg street. Being the
transitional node in the heart of Graz, the site has a close link to the people in Graz,
socially and culturally. The site however is considered non-place and wasted as it is
unable to attract and leave any impression on passerby . Besides the Freestyle/Rodeo
Kayak Annual championship Kayak taking place on the Mur river, the lower site is rarely
occupied or used. Situated in the cross road of different lanes of traffic; cars, tram,
bicycle ect. the site gives anyone who passes by here the vulnerability to be exposed to
the the running traffic which worsens the problem of making this site a meaningful place.
There is a great integration between the two site despite the existence of the current
staircase. The site is surrounded by a rich built environment having ranged from classical
Gothic buildings to contemporary glass-walled commercial buildings. The site is
highlighted with two major landmarks: the Kunsthaus and the Franciscan Church both
contrasting each other across the river of Mur. Since these two landmarks are considered
the symbols of Graz , a design should not disrupt the presences of these two building
violently.
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ANALYSIS TEXTS AND PRECEDENTS
The works of Daniel Libeskind in building
and urban design have always captivated my
attention due to the depth of intellectual
knowledge in each project. Daniel Libeskind
approaches each project differently but his
most trademark approaches of all are the use
urban matrix mapping and the style of
deconstructivism. One of the Libeskind's
less well-known projects which portrays
clearly the two trademark points above is the
Musicon Bremen. In this project Daniel
states" it's important to integrate the
building into the fabric of Bremen by
avoiding the all too frequent and negative
disconnection and destruction of urban
spaces at ground level with such space
command" Daniel subsequently marked out
a series of abstract mapping of passages
which reflects the "long-eroded historical
development" train line along the North-
South vector of the city which used to be
Picture 1: Daniel Libeskind's radix matrix mapping in Musico Bremen project
Feature 2: 3D Model of Daniel Libeskind's Musico Bremen
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considered the city image (Figure 1). Daniel
subsequently carries out his intercepting
block to produce the new "significant urban
space and a major concert hall" to the
overture of the 21st century (Figure 2). The
building is perceived to have integrated the
city's "musical culture, urban life and natural
environment"(). Though not carried to the
same scale and intellectual depth, the
technique of urban matrix mapping is later
attempted by me in this project White
Water.
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CONTEXTUAL ANALYSIS
Site analysis was carried out when on site
with measurement being taken and
environment notation being noted (Figure 3
- 6). The site is bounded with a mixed built
environment, consisting mostly the old
classical style of architecture. On streets like
Murgasse, most buildings have converted
their ground floor facade into contemporary
commercial glass window while keeping the
rest of the facade untouched. Graz town
layout reflects the plan of an old town with
main roads (like Murgasse) running as
bloodlines though the entire city. Small
roads formed from the distances between
building are normally connected to these
main roads allowing those who are familiar
with the city or the local to travel. The
centre of Graz is clearly divided into two
part, the West and the East, by the River
MUR. The old town, the Eastern part still
keeps the traditional city grid, hugging the
Feature 3: Sketchy site layout with measurement
Feature 4: Sketch elevation of the site
Feature 5: Scanned image of site study from sketch book
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mountain of schlossberg while the new town
to the west has followed a vertical grid
system to the North. Socially, the life in
Graz is observed as calm, quiet and
friendly. The quiet and probably country-
reminding life of Graz can probably be seen
in the way which people behave , drive ỏ
interact with one another. Picture 6: Scanned image of site study with sketch of the Tower of Franciscan Church
The study of Graz context is continued as I
gathered more information books and
Internet. Graz underwent different phases
and conflicts, from warfare invasions to the
clash of ideas in design. Since Graz is such a
historic city, the concept for project design
is later developed around the city history
context.
Design statement
“Graz” litterally means Castle in old
Slovene language. Living up to its name, for
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hundreds of years Graz has withstood a
significant number of invasion from foreign
power: from the Turkisk, Hungarian, French
empire ect. Given the long lasting history of
Graz and the site which serves as a cultural,
socail and economic junction, a design
approach based on historical context is taken
as the building take its form.
The directions of these mentioned invasions
were traced and interlaced to create the
spatial planning of the building (Figure 7).
In order to design with such relative floor
plans from the concept, the idea of
mezzanine/ half floor is used in order to
maximise the given space. Combining with
the current city grid and hugging the ground,
the building was laid out in such a way that
it does not over dominate the existing
Franciscan Church.
Taking up the historical aspect and the
contemporary bulky form, the building not
only serves as a social meeting place but
also testifies the ability of Graz traditional
Picture 7: Urban matrix mapping on the site of Graz
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architecture and the acceptance of Graz
people against the invasion of globalisation
and modernisation.
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PROGRAMME ANALYSIS
Picture 8: Programme diagram of design building
Given the lack of common activities, dry and wet areas are separated and only overlaps
in the administration office (Figure 8).
Dry area program is designed in such a way that the drinking area and working area are
separated and can function independently. The drinking area is located mainly on the
ground floor and the first half floor. While mostly located near the bar, the drinking area
can easily be expanded into second half floor, the race view and the third half floor in the
case when the working area are not in used. The two meeting rooms provided for
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working are located on the second half floor and fourth half floor which are alienated the
lively surroundings of drinking area.
The wet area is designed mainly for the purposes of kayakers who come here for the
annual championship event. The arrival platform is made much larger to provide space
for kayaker to put their kayaks and gears as they go inside the building to settle
administration issues. The storage rooms and showers can be reached shortly as kayakers
travel down the. Instead of introducing a conventional staircase like the existing one, the
introduction of a long ram will deal with some of the issues on site. The ram is included
inconsideration that it would be much more easier for kayakers to carry their kayaks
down to the surf site walking down a big gentle-sloped ram than a stiff staircase. Also the
ram also creates a new access for cyclists and wheelchair users to go down to the lower
site as currently there is no access for them to go down. Lower site platform provides
seating for competitors and audiences and a place for them to watch the competition.
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THE ARGUMENT FOR THE "GENERATION" OF FORM
The site is a complex site with the
disintegration between the upper site and
lower site despite of the presence of the
existing staircase. Both upper site and lower
site contain vague zones where people
simply walk past without having any
specific emotions about it. With the
requirement from the brief is to provide a
socializing space, a area for kayak event,
there are three aims which I hope to achieve:
Firgure 9: Urban mapping based from historical context
1. A design of an enclosed flexible space
which can be used for socialisation or
administration or both
2. A area with sufficient facilities for
kayakers taking part in the annual Kayak
champion ship with a race view office in the
building.
Figure 10: Scanned image of Flash design from Studio
3. The integration of the upper site and
lower site which a feature and an
introduction of activities to transform these
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vague zones to meaningful places, creating a
new congregation point for people in Graz.
Taking the approach used by Daniel
Libeskind in his project Musicon Bremen
(Philhamonic Hall Bremen) , the design of
the building in Graz "does not depend
merely on a discreet public building, but on
the re-interpretation of the invisible, eroded
and ever present lines of communication
connecting" Graz and Europe. The design
of Weisses Schloss is conceived as "an
urban matrix which brings together different
and heterogeneous areas" of Graz into a
'vital and imaginative whole' (Libeskind,
1997). The spatial planning is created from
the interlacing of direction of invasions that
Graz has withstood throughout history. By
doing this, the design vigorously
reestablishes the importance of the site (
which was a congregation space in the past
due to the presence of the Franciscan
Church but not anymore in the modern day )
Figure 11: Form generation diagram 1
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by transforming the non-place zone of the
city (the site) into a balanced area
corresponding to the history of Graz.
Since the spatial plan obtained from the
concept development is relatively small
space, the use of mezzanine floor is applied
in order to maximise the space available.
After all the mezzanine floors are laid out,
the skin is wrap around the structure to
create the envelope. The building is
subsequently rotated slightly to match the
existing city grid. As mentioned in previous
section, due to the lack of access
(particularly for cyclists and wheelchair
users) and activities taking place here, the
lower site gradually becomes unoccupied
and wasted. With an introduction of a long
ram will cater this group's needs to access
here. The existing park on the upper site is
modified and changed with grass field
extended out to the junction and an addition
of a new bicycle lane diverting the cyclists
from the old lane. The aim of this scheme is
Figure 12: Form generation diagram 2
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to reduce the vulnerability one may
subconsciously have when being at the
traffic junction and also give passerby a
place to stop by and sit down. Finally, a new
area is developed at the lower site, creating
a new focal point for people to gather, go
picnic, relaxing or just enjoy the beautiful
view of Mur river.
Figure 13: Form generation diagram 3
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BUILDING TECHNOLOGY
Building structure
The building is a relatively low tech
structure with the use of environment-
friendly features. The building structure
consists mainly two important parts:
alternating Mezzanine floors and the steel-
structured- frame that support the sculptural
envelope.
The mezzanine levels are laid out alternating
one another on the spatial plan determined
by the concept and are supported by the
conventional concrete walls. The
construction of these mezzanine floors and
concrete walls require relative inexpensive
material which can be obtain locally. (Figure
14)
Figure 14: Working model of concrete wall
The sculptural body of the building consists
of the main structural steel frame which
support the of envelope of the building.
This steel frame structure is a calculated Figure 15: Working model testing frame structure
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lattice arrangement of Circular Hollow
Sections with the connecting junctions
between each other (Figure 15) . The
junctions are similar to the junctions used by
Plasma Studio in their project Flowing
Gardens at the Xi'an World Horticultural
Fair 2011 (Figure 18). The junction is
designed so that up to six circular hollow
section can be joined or be wielded together
at different angles of rotation (Figure 17).
Figure 16: Working model, frame attach to floor
Figure 17: Proposed steel junctions
After the steel frame and the mezzanine
have been in placed, the end junction will be
connected with the edge of the mezzanine
level improving the stiffness and stability of
the entire structure (Figure 16).
Material consideration
The proposed material for the structural wall
is concrete. Given the fact that the building
supposes to function off-grid, a passive
system of energy storage combined with a
various of methods to minimize heat lost is
required to ensure a low energy usage for
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Figure 18: Steel structure and junction by Plasma Studio (dezeen_-The-Guangyun-Entrance-by-GroundLab-top)
the design. The high thermal mass properties
of concrete will allow the structural wall,
which is situated directly in the sun direction
in the months of winter, to absorb heat
energy , store and release this heat at night.
Not only that, 'concrete can also take on any
number of finishes, number and textures and
can be cheaply mass-produced' which makes
it very economical for the project (Croft,
2004).
Figure 19: testing model, frame structure
The envelope of the building is made out of
a multiple of layers from insulation layer
Figure 20: Exploded axo diagram
to metal cladding layer. Aluminum is
proposed to be used as the cladding
materials given its properties being 'one the
slightest and easiest metal to manipulate',
able be used commonly as roofing and
cladding and 'generally resistant to
corrosion' (Bell, 2006). In term of aesthetic
purpose, 'Aluminum is naturally a clean
silver/ white colour' which makes it
complementary with the intended interior
design of the building.
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Technology
Figure 21: Heating system circulation diagram
An inter-seasonal system is located under the first half floor. The system will take charge
of heat conserving from wall and human heat and distribute heat around the building.
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ENVIRONMENTAL PERFORMANCE
Natural light, sun path and heating
As the site face South, the building will
receive abundant sunlight throughout the
day (Figure 21 ). Located at the latitudes of
47' 05 North, the sun angle in Graz changes
significantly, from 60 degree in summer to
22 degree in winter. The mezzanine floors
are laid out in a way that during winter,
sunlight will still be able to reach all the
floors inside the building. On the other hand
the lay out ensures that during summer,
direct sunlight is avoided which will provide
more shading and get rid of overheating
problem.(Figure 23)
Figure 22: Sun path diagram and win direction
Figure 23: sun angle diagram
Double glazing glasses are installed coupled
with the use of energy conserving system
like BIPV Building Integrated Photovoltaic
or other heat storing devices will ensure the
building function offgrid efficiently.
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Figure 24: Solar spread and summer wind direction diagram
Wind direction and ventilation
Due the small scale of the building, an internal ventilation system is not incorporated in
the design. However as the site is located by river Mur, the building will receive air flow
throughout the day and this will ensure sufficient ventilation (Figure 22 ) According to
the information obtained from a weather forecasting website, Graz wind directions
change through out the year with wind flowing to the South East in the Winter and
flowing to the North West during summer (Figure 24) While summer wind will can
follow the ram entrance into the building and contribute to ventilation, the winter wind is
deflected upon meeting the building walls, thus unable to get inside the building and
cause heat loss.
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Noise
Situated at the busy node of Graz city, the
site is constantly affected by three main
sources of noise: Noises from the river, from
the highway and from the area by the
Tower of Franciscan Church. (Figure 25)
Figure 25: Noise diagram
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RESOLUTION
The urban matrix mapping
technique applied under the
influence from Daniel
Libeskind proved to be a
powerful method to taken
when one approach to design
a building on a site of such
complexity. A contemporary
design over the invisible
historical guideline of the site
is an attempt to testify
survivability of the traditional
architecture against the
invasion of modernisation
and globalisation.
Figure 26: Site plan with invasion direction overlay
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Figure 27: Lower site as a gathering place
The scheme proposed is an attempt to integrate the separating vague zones of the upper
site and lower site back together based on the historical context of the city itself. Not only
that it gives kayakers who come to the site for the annual championship a new
preparatory area, the proposed design opens up the access to the beautiful situated lower
site, providing Graz people a whole new site suitable for picnic gathering, relaxing or
simply enjoying the view of Mur river.
Figure 28: West Section montage of the scheme
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REFLECTION
Despite of having three weeks to complete this project, certain satisfaction was met as I
started to explore the concept of Urban Matrix mapping and applied it in the project. The
forms and interior space to me were interesting though some viewers may find them too
confusing and over complicated. However, I was disappointed in my lack of knowledge
and reluctance to react in regard to construction details, the key element which any
project would need to turn into reality. The discussion with my fellow course mates prove
to be resourceful as the suggestion for the structural details was abundant including the
suggestion of making the entire sculptural building concrete. The conversation with my
father make me see that my over-obsession with just form and spatial experience may not
be applied for all and allows me take a better look at how buildings as architecture should
take care of the surrounding and deal with the people need socially and culturally. The
application of urban matrix mapping and the concern of dealing with a site in a broader
term will continue to be used in my upcoming projects.
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BIBLIOGRAPHY
Books
Libeskind, D., 1997. Radix - matrix. Munich: Prestel-Verlag
Bell, V. B and Rand, P., 2006. Materials for Architectural Design. London: Laurence
King Publishing Ltd
Croft, C., 2004. Concrete Architecture. London: Laurence King Publishing Ltd
Jodidio, P., 2010. Architecture Now! 7. Italy: Taschen GMBH
Libeskind, D. , 1997. Radix - matrix [scanned image] (site plan)
Libeskind, D. , 1997. Radix - matrix [photograph] (The botanic Garden)
Electronic image
Ordiance Survey, 2010. Graz, Austria. 1:500. EDNA Digimap [online] Available through
Manchester Metropolitan University Library [ Accessed 27 November 2011]
[dezeen_-The-Guangyun-Entrance-by-GroundLab-top]n.d[Image online] Available
at<http://www.dezeen.com/2011/05/22/the-guangyun-entrance-by-plasma-studio/>
[Accessed 05 January 2012]
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DESIGN REPORT: COLD LIGHT
Table content page
1.0 Introduction 3
2.0 Analysis text and precedents 4
3.0 Contextual analysis 7
4.0 Program analysis 9
5.0 The argument for the "generation" of form 10
6.0 Building technology 14
7.0 Environment performance 17
8.0 Resolution 18
9.0 Reflection 20
10.Bibliogrpahy 21
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individual project cold light meditation
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INTRODUCTION
The project started off with the incorporation with The National Trust. The goal of the
project was to produce a pavilion-like architectural structure for the Winter Garden, of
Dunham Massey which is owned and functioned by The National Trust. Located about
12 miles to the South West of the centre of Manchester city, the historical site of Dunham
Massey lies between the urban development of Manchester and the Cheshire countryside.
Described by British novelist Elizabeth Gaskell as 'the lung of Manchester', the 300 acre
deer park houses a substantially large green space and a large number of vegetation
species. The mansion of the two families which used to live here was laid out at the core
of the park. Despite of the owners' social statuses and wealth, the mansion and houses
here were built in a conservative and simple classical style unlike many other projects of
the same scale and importance at that time.
The peaceful and calm environment of Dunham Massey has a great influence on the
design approach.
Figure 1: Naoshima Contemporary Art Museum - Tadao Ando
ANALYSIS OF TEXTS AND PRECEDENTS
As the primary intention (which will be
discussed in later sections) of the design was
to create a quiet and meditative space which
can gently blend into the surrounding
environment, the works of various Japanese
architects and Japanese architecture had
been explored. While the Modern
Movement has had a strong influence in
Japanese built environment, from the ancient
time, Japanese architecture has always
established a distinct intimacy with nature
(Figure 1). Whether it is architect of the
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Figure 4: Bamboo Wall House - Kengo Kuma- Main room (331g4ch, n.d)
older generation like Terunobu Fujimoto,
Tadao Ando or the recent practitioner of the
younger generation like Sou Fujimoto, they
all try to create architectures that 'harmonise
and unify with the natural surrounding it'
(Yuichiro, 2008). The work of Tadao Ando
in Komyo-Ji Temple is one of the exciting
examples of how architecture can create
such a meditative space while emerging into
the surrounding. Despite of being a strange
design to the Japanese traditional
architecture, the design fits in well with the
remains of the old temple(Figure 2). The
static composition of the Komyo-jin temple
like many of Ando's creation, combining
with the outdoor pool appears to be at rest
and deep in meditation. The vertical and
almost symmetrical wooden elements of the
temple's wall lattice suggest the idea of
permanence, firmness and tradition, creating
a calm and relaxing environment for visitors
who come here(Figure 3). The same idea of
meditative architecture can be seen in the
Figure 2: Komyo-Ji Temple - Tadao Ando (39_2_ando,n.d)
Figure 3: Komyo-Ji Temple - Tadao Ando-
vertical element (Komyo-Ji Temple,
Ehime, Tadao Ando,n.d)
work of Kengo Kuma in the Bamboo Wall
House. In this project, a 'wall of bamboo
meanders through the house like porous
screen, generating light and shadow'
reflecting the traditional bamboo usage in
the Asian home. The main feature of the
project is the central room which appears to
viewers as merging with the surrounding
and hovering above a closely shallow lake
(Figure 4). The room was described as 'a
beautiful reinterpretation of a lakeside
scholar's hut of old, affording solitude and
contemplation as well as lively
stimulation'(Figure 5)( Japan's art & culture
magazine International edition, 2004). These
above examples are two of the many
sources that later influenced my design
approach toward timber-made meditative
pavilion.
Figure 5: Bamboo Wall House - Kengo Kuma - Staircase (great-bamboo-wall-by-kengo-kuma-02)
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Figure 6: Chosen spot elevation sketch
Figure 7: Sketch plan of the chosen spot
CONTEXTUAL ANALYSIS
The site analysis was carried out with
several diagrammatic methods coupled with
researches obtained through books and
website (Figure 6-7). The chosen location is
situated at the South East end of the Winter
Garden. Surrounded by vegetation and
shielded away from the main area, the
location is separated from the main open
garden and only be distinguished clearly
from the context when the visitors approach.
Sheltered by the overhanging branches of
the existing trees, the spot contains a
enclosed volumetric space that is suitable for
a pavilion or a structure to be erected
without being 'out of place'. This enclosed
space here will also be able provides the
privacy or meditation one needed after being
exposed to the vast open space in the walk
through the garden. Being sited in the South
East of the Winter Garden, the chosen site
will receive brilliant shafts of light through
Figure 8: Enclosed space which offer a view to the main garden
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the trees especially in the morning to noon.
Dunham Massey hosts a large number of
tree species and many of them do not lose
leaves even in the winter and this offers the
chosen spot moderate snow and rain covers
throughout the year. The site is a nodal
junction, sitting at the interception of two
pathways, making it a spot where one can
stop by, sit down, rest and enjoy the view of
the main garden after a long walk. The
topology of the spot is largely level apart
from slightly elevated area near the two
existing trees.
Figure 9: Overhanging branches
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PROGRAMME ANALYSIS
According to National Trust website, Dunham Massey welcomes more than 500,000
visitors annually. Observation onsite on two separate occasions indicated the groups of
people who come to Dunham Massey are mostly senior citizens and young children. The
two groups of people hold two different needs: senior citizen's being sight seeing and
relaxing while young children's being exploring and playing. As such, the approach for
the design was to generate a suitable stopping setting for seniors after a walk through the
Winter Garden. The design also should contain a feature which allows young children to
engage with and play around while their family members are taking a break. Although
the site is surrounded with vegetation and trees, one can still can obtain a clear view out
of the main garden. Thus having incorporating this view into the program will give
visitors more reasons to sit down at the pavilion. (Figure 10-11)
Figure 11: Proposed activities which the addition of pavilion
Figure 10: Existing activities diagram
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THE ARGUMENT FOR THE 'GENERATION' OF FORM
The aim of the design was to produce a
architectural structure/ pavilion for Winter
Garden considering the two elements: The
nature environment of the garden and the
Architecture of Dunham's built environment.
The natural environment of the garden was
first considered in my first idea 'Old
hut'(Figure 12). The design was a sheltering
space set between the two existing trees on
the chosen spot. Following the pattern of the
overhanging branches, the pavilion
submerges completely into the nearby
environment and provides a solid and
enclosed stopping place for visitors.
However, given the height limit of 2.10 m,
the difficulty of finding a suitable material
for the structure and the construction time
requirement of two hours, this design is
discarded later.
As the second consideration for the
Architecture of Dunham's built environment
Figure 12: Old hut design
Figure 13: Interior window pattern
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Figure 14: Pattern simplifications and changes
is taken, I look into the interior details of the
existing main mansion. In contrast with the
information in the brief, even when it was
said that the formers owners of Dunham
Massey had a conservative taste and did not
wish to build their buildings in such an
extravagant way, the interior of the mansion
still showed a great deal of the families'
statuses and wealth. The features in the
house from rich-material furniture to the
delicate house decorations create a exciting
and dramatic feeling for first-time visitors
who just come in from a natural-friendly and
simple garden. This posts a question in my
mind of " Why not creating a space that is
simple and emerging with the garden from
outside but when the visitor approaches and
goes inside the pavilion, he can experience a
dramatic and exciting space?" The design
concept of my pavilion, just like the
relationship between the garden and the
mansion is thus the complex contradiction,
with all the featured programmes mentioned
Figure 15: Form
development diagram
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in previous sections. One feature of the
house which captivates me the most was the
window. Back in the day when electricity
was not available, lighting coming from the
window is the life-force of the building. The
mansion is orientated in such a way to
obtain maximum daylight and activities
within the house normally takes place along
the long and exposed corridors(Figure 13).
The pattern of the window layout is taken,
simplified and modified to create the general
layout of the pavilion. (Figure 14)
The pavilion is slowly designed up from the
general layout obtained from the window
patterns. The layout is positioned in such a
way that the pavilion lays against the two
trees and fits the site nicely . Applying the
concept used in Komyo-ji temple by Tadao
Ando and Bamboo Wall House by Kengo
Kuma, the pavilion is symmetrical and
consisted of vertical elements. The design of
the twisting curtain wall, is incorporated
from the Organic Cube designed by a
Figure 16: Early development sketck with vertical elements
Figure 17: Child engagement with Organic Cube (clip_image019_thumb 245C2BF7, n.d)
Figure 18: Organic Cube at night (clip_image020_thumb 0F53DF07 (1)n.d)
Danish architect Soren Korsgaard (Figure
17-18). The curtains wall not only provide
the dramatic effect to support my design
concept but also a place for young visitors to
engage and play with. Finally the seating
place is position in the central of the
pavilion enhancing the pavilion symmetry
and meditative space status.
Figure 19: Early visualisation sketch
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BUILDING TECHNOLOGY
Project 3.2.1: Cold light meditation
The structure of the pavilion consists of
many timber joints and are strengthened
with screws and nails (Figure 20). The
central part of the pavilion serves as the
primary support of the entire roof structure.
The curtain walls are also calculated and
arranged in such a way that they would be
able to support part of the roof weight.
The proposed material used for the pavilion
is lath which is used commonly in
construction of building interior wall. A
lattice of lath or lattice work is an interlaced
arrangement of lath which improves lath
overall durability and performance. Treated
lath can resist weather and water
penetration. Being the basic form of material
in construction, lath is economic and
abundant.
Figure 20: Working model joints | Cold Light
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Project 3.2.2: Organic Vista
The Organic Vista pavilion is built using
mostly natural materials. The structure of
Organic Vista is formed by interlocking
hazel branches and the pavilion is later
cladded with tree bark. Hazel, which is
abundant in Dunham Massey provides the
flexibility for bending in extreme angle
which enables the construction of each
separating part of the pavilion(Figure 21-
23). However, as hazel branches gets dry
after several days of usage, leading to the
loss their flexibilities making disassembly of
the pavilion almost impossible as it would
cost damage to the structure it self. Tree
bark serves as an outer skin of Organic Vista
pavilion and act as a rain screen apart from
the water proof membrane under itself.
Overall tree bark provides a decent amount
of rain screen but similar to hazel, tree bark
gets dry and becomes very fragile for any
further assembly or disassembly.
Figure 21-23: Construction of pavilion frame
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Furthermore, as after being exposed to water
for a period of time, tree bark will form odor
which will affect the pavilion ventilation
since organic vista is a closed pavilion.
Project 3.2.3: Twotwofourleaves
Twotwofourleaves pavilion is constructed
by stacking two hundred and twenty fours
prefabricated units and eventually secured
by tension rope tying to the group (Figure
25). The pavilion itself is self-support
structure and is able to stand on it's own. Figure 25: Pre-made Hessian triangle
Figure 26: Two two four leaves pavilion
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ENVIRONMENTAL PERFORMANCE
Project 3.2.1: Cold light meditation
Locating in the southeast of the Winter Garden and orientated facing South, the pavilion
will received abundant shaft of lights through the tree branches and never receive direct
sunlight. Being an open pavilion, fresh air constantly flows through the pavilion. As the
pavilion is located under the two trees which do not leave their leaves even in winter, the
pavilion is moderately sheltered from the severity of rain and snow during the months of
winter.
Project 3.2.2: Organic Vista
Due to the intention of making the dark environment, Organic Vista is constructed as a
closed pavilion. Located near the stone bridge with the closed entrance of the pavilion
facing South, Organic Vista does not receive abundance of lighting and only receives
direct sun light at the end of the day. The presence of layers of high vegetation in front of
the pavilion blocking makes the problem worse. Despite of being a closed pavilion, the
presence of a river and water source will provide the pavilion with decent amount of
fresh air for ventilation. The back platform of Organic Vista allows visitors a chance to
view the beautiful garden extent across the stone bridge which is be closed during winter
months.
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RESOLUTION
Project 3.2.1
Cold Light Meditation Pavilion is a meditative and exciting stopping space that
submerges in the surrounding context. Protected by the surrounding environment, the
pavilion forms a meditative atmosphere for any visitors who stop by after a long walk.
The curtain walls besides the role as structural support element divides the space creating
a dramatic effect for those in the pavilion to experience while providing a place for young
children to engage and play with.
Project 3.2.2
Organic Vista Pavilion is a silent pavilion. It is an enclosed space where one can take
shelter from the weather while submerging himself in the brilliance surrounding of
Dunham Massey park. The back entrance also offers any brave visitors a glimpse of the
magnificent extended garden across the river which can only be accessed during certain
time of the year.
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Reflection
Given the time limit of one week for concept and idea generation, the methods,
experiments I apply in project 3.2.1 shows decent result. However, satisfaction is not met
in regard to the form generation based solely on the window pattern as this method is
considered by many a shallow method. The 'complex contradiction between the interior
and exterior' concept development was decently well-developed through a long
contemplation and detailed observation onsite and offsite. Yet, for such abstract idea to
be transform into a real design, more research and study should be channeled in the future
project.
The involvement with Organic Vista pavilion in project 3.2.2 and Twotwofourleaves in
project 3.2.3 provide me much experience in architectural construction of a building.
Being able to work with Organic Vista offered me a chance to work with natural,
unstandardised materials of which properties change daily leaving a small window of
construction for the best usage of the materials. On the other hand, the realized
Twotwofour leaves make use of standardized and mass-produced units leading to quick
and efficient assembly while achieving the maximum aesthetic effect. Furthermore, being
a part of such a group working on a project like twotwofourleaves, I have a chance to
catch a glimpse of how an architecture firm may function, dividing into different
sections, working independently and communicating when needed to ensure the project is
completed.
Bibliography
Books
Edagawa, Y (2008) Japanese Identities 1st ed., Berlin: JOVIS Verlag GmbH
Jodidio, P (2007), Ando Complete Works 1st ed., China: TASCHEN
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Books
Edagawa, Y (2008) Japanese Identities 1st ed., Berlin: JOVIS Verlag GmbH
Jodidio, P (2007), Ando Complete Works 1st ed., China: TASCHEN
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