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E A R T H FOLIO OF STUDIO WORK

MATTHEW TIBBALLS 638803Tutorial 13Tutor: Heather Mitcheltree2016, Semester 1

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1.0 - POINT / LINE / PLANE Research, p. 4, 61.1 - POINT / LINE / PLANE Sculpture, p. 7

2.0 - MASS Research, p. 8, 102.1 - MASS Painting, p. 11

3.0 - FRAME & INFILL Research, p. 12, 133.1 - FRAME & INFILL Sculpture, p. 143.2 - FRAME & INFILL Axonometric Diagramm p. 15

4.0 - HERRING ISLAND Site Analysis, p. 16, 174.1 - SOMETHING LIKE A PAVILION Research, p. 18, 194.2 - CONCEPT DEVELOPMENT, p. 20 - 234.3 - CONCEPTICLE, p. 24, 25

5.0 - CONCEPT Sketch Design, p. 26 - 315.1 - DESIGN DEVELOPMENT Drawings, p. 32, 335.2 - FINAL DESIGN Drawings, p. 34 - 415.3 - FINAL DESIGN Model, p. 42 - 44

6.0 - REFLECTION, p. 456.0 - BIBLIOGRAPHY, p. 46

GLOSSARY

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THREE RELATIONSHIPS

POINT / LINE / PLANE

MASS

FRAME & INFILL

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POINT / LINE / PLANE 1.0

The Point, the Line and the Plane are the basis for creating architectural form and design. These elements embody the ideation process through sketching on paper, or the sculpting of materials in model-making, and thus manifest the designer’s thinking as a motive force on paper, and then transformed into a physical reality. An example of such force can be seen in many celebrated architectural works, including Coop Himmelblau, whose buildings come directly out of the emotionally charged sketches that begin the process.

The Point represents the first step of design. The point can be a place, a representation of coordinates or reference for visualization. The point is the event that punctures the blank canvas, creating an emotionally charged moment that can multiply to create lines and planes. It is both a beginning and an end, but it is not the in between, it does not occupy space.

The line is an entity which embodies the movement of the point along a vector/direction. The lines can establish form and delineate space, as well as encapsulate rhythm, motion and pattern. Boundaries can often be defined by lines without volume or solidity.

Between these connected lines is the Plane. The plane takes place when the line is pushed away from its original location and signifies the first step in the creation of volume. The plane is both wall and shelter, the enclosure and the frame as it occupies both horizontal, vertical and diagonal planes.

Information adapted from Kandinsky (1979).

1. ArchDaily 20132. Wallpaper 2016 3. Libeskind 20164. Lomholt 20145. Bigman 20136. Coop Himmelblau 20167. Ku 20088. Bunyan 20119. Tate Modern 201610. WikiArt 2016

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Together these elements constitute the conceptual form of architecture. They are conceptual in that even if they do not yet exist they establish a presence in our minds and thoughts and embody both elements of a designer’s self-identity and the prevailing cultural situation which conditions our thinking, thus furthering the investigation into form and space.

1. Conflict Space 3 - Lebbeus Woods 2. Matrix - Antony Gormley

5. Conflict Space 4 - Lebbeus Woods 6. Rooftop Remodeling, Falkestrasse - Coop Himmelblau

7. Composition VIII - Wassily Kandinsky 8. Composition A XI - Laszlo Moholy-Nagy

3. Jewish Museum, Berlin - Daniel Libeskind

9. Linear Construction No. 2 1970-1 - Naum Gobo 10. Composition A XXI - Laszlo Moholy-Nagy

4. Jewish Museum (Interior) Berlin - Daniel Libeskind

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POINT / LINE / PLANE 1.1

This sculpture is an interpretation of the elements of Point/Line/Plane through the exploration of the geometries and forms of Abstractionism. It began through the investigation of Laszlo Moholy-Nagy and Wassily Kandinsky, whose abstract paintings created forms and geometries destined to create un-conscious emotional responses. The emphasis on the abstract and not the representative was key to understanding how abstractionism and thus, the elements of point/line/plane are not about representation, but about seeing the invisible. Using form to touch the unconscious (Kandinsky 1979).

In this way, the sculpture began as two planes of differing lengths erected onto a planar surface. These two planes do not intersect as they are offset from one another. However, they are not parallel, meaning that eventually if permitted to continue, a conflicting intersection would occur. This began the process of designing a sculpture which was essentially about the invis-ible intersection, about how we can visualize points of conflict or tension without them actually occurring. The sculpture then increased in complexity as points and lines began to join the foray, creating hovering, diagonal, perpendicular and parallel intersections that can and often do not actually exist.

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MASS 2.0

The interaction of the body within space occurs both visu-ally and sensually. Through atmosphere, architecture causes visceral emotional impacts through the senses of touch, smell, hearing and sight. Mass, as the solid volume, is the tangible weight within these spaces which create architectural atmo-sphere. It is through a sense of weight and the presence of materials that we see architecture with our body, rather than with our eyes. The feeling of temperature, the sound of an echo, the entry of light into a dark space and the realization of scale and gravitas are part of this peripheral experience. It is the processing of unconscious and emotional responses, allowing us to experience architecture as embodied, spiritual beings where mass comes into play (Pallasmaa 2000).

The precedence shown explore the concept of mass in terms of physical characteristics and in atmospheric quality each in varying manners. The Bruder Klaus Chapel by Peter Zumthor, for example creates a mysterious and intriguing space through the interplay of light and texture within a blackened cavity. This atmosphere is then further enhanced through the slanted and darkened interior which is completely different to its rectilinear exterior also, creating a certain tension between the outside and the inside, made tangible by the mass of the materials (Zumthor 2006).Other examples include the Church of Light by Tadao Ando whose singular use of concrete focuses solely on how light enters the space in an almost ethereal manner, and then articulates the material’s presence further. Similarly, Caja Granada by Alberto Campo Baeza plays on mass through sheer scale and size. The interior massing is articulated through the large dominating columns in the vast central atrium. It creates a sense of gravitas when one can feel the weight of the huge structure.

11. Sveivan 201112. Langdon 201513. Casado 201214. Fradkin 201215. Eliasson 200916. Kroll 201117. ArchDaily 200918. ArchDaily 200919. Barozza Veiga 201020. National Park Service 201621. ArchDaily 201022. ArchDaily 2014

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19. Neanderthal Museum, Pilona, Spain - Barozza Veiga

11. Bruder Klaus Chapel - Peter Zumthor

15. Your Atmospheric Colour Atlas - Ollafur Elliason

20. Sand Cave - Cumberland Gap National Park 21. Ronchamp Chapel, France - Le Corbusier 22. Desert Courtyard House, USA - Wendell Burnette Architects

12. Caja Granada - Alberto Campo Baeza 13. Mount Tindaya - Eduardo Chillida -

17. Therme Vals, Switzerland - Peter Zumthor 18. Musical Studies Centre, Spain - Ensamble Studio

14. Battery Construction 129 Bunker

16. Church of Light, Japan - Tadao Ando

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MASS 2.1

An exploration of mass entails an experience of space that is purely emotional. It is perhaps the closest interaction that an individual has with the earth. Indeed, we feel the mass of a space when we are enveloped and surrounded, such as when one is underground. There, we feel the weight, compression and mass of the earth pressing upon us.This moment of compression is the central basis to the work presented here through the occupation of natural landforms within the earth. By understanding how caves can encapsulate certain qualities of mass, scale and gravitas, the work becomes an exploration of the sensual engagement that occurs in these spaces.

The painting, done in watercolor, is a dark, hazy depiction of the atmosphere one encounters in a space of immense scale such as a cavern. To emphasise the mass and scale, a distinct juxtaposition is made between the heavy black earthy textures surrounding the light-filled voids while thin, rectilinear and seemingly man-made light tunnels pierce through this earth to bring light, and shadow, into the underground cavity.

The atmosphere of the void is established through the mixture of light, shadow and mist, as well as the blurred details mixed within the rough and textured strokes of the rocks. In the back-ground, a perfectly horizontal structure creates a sort of bridge that contrasts with the irregularly of the rock-forms. Upon this bridge is an individual, whose blurred silhouette provides only a notion of scale in relation to the cavern rather than of detail. It is interesting to note how once a human is placed into the void, the sense of scale is therefore exponentially increased.

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1.2 FRAME & INFILL

Num pro et intrit, conimius, nost incerti silisque pat.Modiu quempl. Seritia civivastra, P. Ego nius obsed mei prae nitimus nonveni rmanum ium pris faucivem facitatis nem dierem. Serum octantem tuam. Dem patusa nortus vidiem ublicaet venat, Ti. Simusqui condius aceris cae fur. Si publis restrum Patiqueret dem steri cotam, tem nemus cultusque ta, consum nondam perore essimunte mus, ne dicaverceps, con terum opoenatrid re ponem.catus vit.

MASS FINAL PAINTING - ‘VOID’

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FRAME & INFILL 3.0

The delineation of boundaries and structure is made from the duality of Frame & Infill. These two notions are in part derived from the process of construction, in particular from traditional timber structures. Sometimes the frame and infill are one, as with concrete panels, and often they are completely isolated, as with glass and steel curtain walls (Selenitsch 2016).Perhaps the most interesting exploration of frame and infill occurs in the drawings by the Russian constructivist Ianov Chernikov which explore structure, in its raw, industrialized form, as an element of architectural composition rather than as something to be covered. In these drawings, the infill can be seen as elemental attributes between the structural frames, varying from curtain walls and windows, to balconies, doors, trusses and other elements of structure.Interestingly, the ambiguity between the two allows for many explorations both of frame, of infill and the dynamics bridg-ing the two. For example, ‘Thereotical Matter’ at the Heide Museum of Modern Art is a sculpture entirely made of steel frames which appears to be devoid of infill given its complete transparency between the frames. However, the blurring of the boundaries through the overlapping of the frame creates an infill out of this overlay, as transparency is obscured from one end to the other at certain moments.Contrastly, the Colonnade Condominiums by Paul Rudolph creates an ostensible dichotomy between the frame and infill, except through the inversion of their roles by having the infill as external to the frame. Here, solid volumes appear to potrude away from the columns/frame structure which maintains a regular, rectilinear form. This further emphasizes the ambiguity of the role of frame and infill, while also ac-centuating the sensations of open and closed, obscured and transparent building environments which is so fundamental to structure.

1330.16 Architectural Fantasies (1929) - Yakov Chernikhov

23. GC Prostho Museum Research Center - Kengo Kuma 24. Theoretical Matter 1999-2000 - Neil Taylor 25. Katsura Imperial Villa, Japan

29. The Colonnade Condominiums / Paul Rudolph

26. Sou Fujimoto - Serpentine Gallery Pavilion 27. Dominus Winery - Herzog & De Meuron 28. Callahan Residence (1965) - Paul Rudolph

32. Monument to the Third Reich - Vladimir Tatlin

31. 101 Architectural Fantasies (1933) - Yakov Chernikhov

23. ArchDaily 201224. Heide Museum of Modern Art 201625. Lederman 198126. Serpentine Galleries Pavilion 201327. Archer 200828. Cuzner 201029. Sveivan 201030. McGetrick 201431. McGetrick 201432. MOMA 1979

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FRAME & INFILL 3.1

This sculpture investigates the work of Ianov Chernikov’s ‘Architectural Fantasies’ through the exposure of the frame, the industrialized structure as a chaotic building environment.

This idea of an industrialized chaos of intersecting frameworks endlessly overlapping and intersecting leads to the creation of a blurred infill functioning alongside the ‘cladding’ mate-rial. The sculpture, lifted off the ground, evokes a sense of transparency with a strong emphasis on the intersections and joinery. The complex overlaps then created by such architec-tural tectonics then create an intellectual system that blurs the boundaries between structural frame and material infill.

It is a linear form, stemming from an idea of movement and speed that is thematically associated with industrialization and with the work of the Constructivist architectural movement.

153.2 FRAME & INFILL AXONOMETRIC - ‘TRANSPARENT CHAOS’

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SITE ANALYSIS 1:2000 Potential SiteArt Sculpture

SITE PHOTOGRAPHY (Author’s Own 2016)

Art Sculpture

Shelter

Jetty Dock Entrance

Jetty Dock Departure

Jetty Dock

Monash Freeway

Art Gallery

Boat House

Kanteen

N

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SITE ANALYSIS / HERRING ISLAND 4.0

Proposed Area

Open Picnic Space

1. CIRCULATION ON ISLAND

5. PUBLIC PRIVATE DIVISION

2. SECRET HIDDEN SPACES

6. BUILDABLE SPACES

3. ACOUSTICS ON ISLAND

7. ART EXPERIENCE

4. SUN PATH

8. POSSIBLE LOCATION

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SOMETHING LIKE A PAVILION 4.1

The Pavilion is a transient architectural typology which is usu-ally a small, tangible space which can be a vehicle for express-ing an architect’s own ‘aphorism’ (Selenitsch 2016). In other words, the role of the pavilion is to be a statement of a particu-lar architect at a particular time and place specific to a certain cultural/societal reality. Herring Island, as a man-made former basalt quarry within the inner city suburbs of Melbourne, is a site of absolute opportunity for such an endeavour.

The examples presented here are all pavilions of varying scales and types which in their own way, quite simply, say something and through their functions, can inform the proposal for a place for keeping secrets.

German Pavilion, World Expo 1967, Montreal / Frei Otto & Rolf Gutbrod

The German Pavilion, with its sweeping planes and massive tensile structures, was an extremely innovative display of modern technology, pre-fabrication and mass produc-tion. This display of human potentiality can be felt in the very fabric of the structure. It is interesting to note how such grand displays of architecture can invoke such strong emotions to a community and to the world, despite occupying such an ephemeral and minimal space on the earth. It indicates the role of architecture in our memories as well as func-tioning as a shelter.

Image Source:Langdon, D. 2015, AD Classics: German Pavilion, Expo’67 / Frei

Otto and Rulf Gutbrod, ArchDaily, accessed 01/05/2016 (http://www.archdaily.com/623689/ad-classics-german-pavilion-expo-67-frei-otto-and-rolf-gutbrod)

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Vieux Port Pavilion, Marseille / Norman Foster + Partners

This temporary structure is an elevated reflective/mirrored plane that stretches over an old Port in the city of Marseille. It is a steel structure supported by slender columns, whose intention is purely to reflect its sur-roundings. In a way, it accomplishes this and more by re-activating the urban space and by surreptitiously reflecting the community and culture back at its visitors. This idea of reflectivity complements the secret idea for Herring Island also, as mirrors can also be quite illusionary.

Image Source:Young, N. 2013, Photography adapted from Vieux Port

Pavilion, Dezeen, accessed 01/05/2016 (http://www.dezeen.com/2013/03/06/vieux-port-pavilion-by-foster-partners/)

Galerie Philippe Gravier, Paris / Kengo Kuma & Associates

This pavilion is a wooden structure composed of traditional Japanese crafted joints. The tectonics of this structure are an exhibition of the frame by creating lattice, a transparent boundary. Inside the lattice are numerous planes or rooms with which the public can enter and occupy the pavilion. While a very interesting sculpture/composition in its own right, the pavilion also deconstructs tradition-al perception of space for the community and challenges pre-conceived notions of structure and buildings.

Image Source:Tuchila, S. 2015, Photography adapted from ‘Kengo Kuma de-

signs Sculptural Pavilion in Paris (Santos, S), ArchDaily. Accessed 01/05/2016 (http://www.archdaily.com/776541/kengo-kuma-designs-sculptural-pavilion-in-paris)

Incidental Space, Venice Architecture Biennale / Christian Kerez

This intentionally inhabitable structure was the Swiss entry for the 2016 Venice Architec-ture Biennale. The Pavilion proposes a new way of interacting space, through climbing and crawling, creating allusions to rock landforms and caves. Such work enhances the idea of mass further by creating a space that questions and investigates the encounter with architecture and thus makes the user think about how their body relates to the space. It is, according to the artist, distinctly “not a ref-erential space, it allows you to initiate a pure encounter with architecture” (Dezeen 2016).

Image Source:Dubuis, O. 2016, Photography adapted from Dezeen. Accessed 01/05/2016 (http://www.dezeen.com/2016/05/27/christian-kerez-cavernous-cloud-installation-swiss-pavilion-venice-architecture-biennale-2016/

Cartoonish Gyrations, Serpentine Pavilion / Bjarke Ingels Group (BIG)

A pavilion constructed of oversized fiberglass hollow bricks that are made to undulate to create a free-flowing form like a ‘glacial cave’ (Wainwright 2016). This design is evocative in that the transparent grids combine to such a mountainous scale that the structure seems to be a permanent building. The monolithic nature of building blocks within the structure is quite typical of the transient nature of Pavilions. There is a very playful interaction between transparency and opacity within the structure that is really quite alluring.

Image Source:Wainwright, O. 2016, Serpentine Pavilion ‘Unzipped’: First look

at Bjarke Ingel’s design, The Guardian. Accessed 01/05/2016. (https://www.theguardian.com/artanddesign/2016/feb/24/bjarke-ingels-serpentine-pavilion-2016-first-look-design)

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CONCEPT DEVELOPMENT 4.2

The role of Herring Island is, in part, to provide a haven for the citizens of Melbourne to travel across the water and enter an isolated, detached zone for ‘art-lovers’. There are numerous art sculptures scattered throughout the island as objects to be dis-covered and happened upon. Engagement with the sculptures is a key aspect of the island’s experience, However, in spite of the Island’s isolation, one can still feel the peripheral noise of the urban environment, greatly constraining this engagement. As adults, the repetitious, ordered constraints of contemporary urbanism have nulled the senses of the human-mind, greatly inhibiting our ability to think autonomously and existentially. We know longer have the necessary transactions between the imagination, the body and the environment, leading to a de-sensualised state of existence (Pallasmaa 2012). The erosion of the senses is an obstacle to human existential encounter, greatly inhibiting the conceptual capacity of the individual to engage with their environment and with greater states of metaphysics such as art. Herring Island as a supposed art haven, requires an architectural response that can psychologi-cally and physically isolate the individual from the masses so as to stimulate the senses.

These elements of isolation, discovery are in part about achiev-ing secrecy within the built form through a more subtle archi-tecture that is about facilitating human existential encounters. Spatial devices that encourage sensual re-awakening such as blurred and fuzy details, darkness and hidden areas will aid in developing the design of this secret place.

1. CHAOS:Furthering the work of ‘Frame & Infill’, the concept of an ambiguously chaotic frame or grid pertaining to an inner tension becomes key to the design motif for the secret space. Especially considering how the unconscious mind is in a state of repression.

2. ISOLATION:Isolation in secret as an architectural tech-nique and how this can be achieved lead to a consideration of underground spaces within the mass of the earth. Places for individual introspection.

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3. GRID & SPACEThe design of the grid as its own entity, covering and penetrating spaces, controlling its context. A grid that is a transparent form allowing for multiple routes and events.

4. SLICE THROUGHInner chaos/repression of the mind as an event within the earth slicing through out the edge of the island. A representational sketch trying to understand the emotional tension of this state. Island fragmentation/disruption.

5.. ABOVE GROUND / BELOW GROUNDDivision between above ground and below ground. Disparate functions between surface grid as a sculpture, and the underground’s phenomenological interaction as a sensual, occupiable space.

6. ABSTRACT ELEMENTSThinking about the elements of abstraction-ism with their various intersecting geometries designed to touch the unconscious. How such elements can be stimulating and function as link between above ground and below ground.

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7. INTERSECTIONSAbstract elements disrupt the pattern of the grid, and follow through to the underground, creating very chaotic spaces. The elements of the point/line/plan as unconscious stimula-tion. Inspired by the intersections within the Berlin Museum by Daniel Libeskind.

8. VISUAL CHAOS ON SURFACEExploring the composition of these inter-sections as they disrupt the grid. From the surface users would be visually stimulated by such conflict, touching the unconscious. Stimulation through isolation and juxtaposi-tion.

9. SUPERIMPOSITIONOrdered grid superimposed upon fragmented singular spaces. Underground chambers are sliced through via lines of sight, as a means of encouraging users to explore and wonder. Ini-tial idea of users seeing the grid from within chambers, a secret place to observe the chaos.

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CONCEPTACLE 4.3

The conceptacle, as a physical manifestation of the initial idea was created through the various sketches that occurred during concept develop-ment. From these sketches, three systems and zones were identified as being intrinsic to stimu-lating the human imagination/unconscious.

1. ABOVE GROUND / THE GRIDThe grid on the surface, inspired by ‘Frame & Infill’, is the ordered, constraining entity superim-posed upon the other systems. It is an unnatural surface typology which serves to juxtapose with the irregularity of the other systems.

2. TOPOGRAPHY / HERRING ISLANDThe sloping and hilly landscape of Herring Island is a man-made form that creates very unique possibilities for the grid to intersect and hover on top. The topography functions as the division line between the surface and the below ground, between the ostensible visual chaos and the underground secret stimulation.

3. UNDERGROUND / ISOLATION CHAMBERSThe underground as being distinctly separate from the grid, through fragmented geometries. Idea that some of these spaces are habitable, and some are not, requiring an act of discovery, instill-ing secrecy into the mass of the underground.

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CONCEPTACLE PHOTOGRAPHY

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CONCEPT + SKETCH DESIGN 5.0

The form of the conceptacle is expressive of the ideas of conflict between zones and of uncon-scious stimulation. It also has the potential for direct translations into architectural form.

As such, the conceptacle is the fundamental basis for the sketch development phase. Initially, considerations were made towards positioning the proposal towards the centre of the island, near the open picnic space because of the grassy mounds which provide opportunity for natural camouflage.

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Initial proposal was to construct the pavilion in an area of less dense vegetation as a series of scattered chambers near the public picnic area. The reason for this was in part due to the natural camouflage provided by the trees and the mounds.The Floor plan was designed to have narrow, compressive-like entry ways into the underground whereby users follow in a linear progression and then are dispersed into an open floor plan. There is no distinct entry or exit as due to the nature of the island, people can wonder and happen upon the narrow entry ways in any order. Initial sketches also begin to explore how the grid can interrelate with these major circulation corridors.

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Feedback from the interim presentation was to increase the generosity of the proposal by enlarging the proposed area. This is because, as its purpose is to detach and isolate the individual, there needs to be an element of time and feeling of losing oneself. To do this, the underground needs to be larger and take-up much more of the island. As a result, the design developed to stretch out into other less dense vegetative areas which also offered similar camouflage.

Here we can see the growth of the design to facilitate a deeper experience underground for the user.

1. 2. 3.

DESIGN DEVELOPMENT 5.1

8. 9. 10.

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4. 5. 6. 7.

11. 12. 13. 14.

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The sub-conscious as a metaphysical state of experience is intrinsic to the human capacity for existential encounter and thinking. However, the unconscious is constrained by the desensualised, regulated and ordered constraints of urban reality which condition the individual to follow repetitious patterns of social imitation and behaviour. Thus, our senses and capacity for introspection is psychologically eroded, repressing the unconscious to that of an invisible, unattainable secret.

The architectural intervention at Herring Island will extenuate the island’s role as a spatial haven from the peripheral noise of the surrounding urbanism by providing a space to stimulate and bring to the surface, the repressed sub-conscious of the individual. This stimulation will occur through their isolation into singular fragmented spaces within the earth, creating a rhythmic and conflicting interplay between the underground chaotic state of the unconscious mind, and the fragile stability of an entity seeking to govern it on the surface. A synthesis between two opposites, the space of bodily presence, and the space of visual encounter. The experience of this space will then permit the individual to rediscover their existential self, and take with them the secret perception of the island.

FINAL DESIGN DRAWINGS 5.2

“Our culture of control and speed has favoured the architecture of the eye, with its instantaneous imagery and distant impact, whereas haptic architecture promotes slowness and intimacy, appreciated and comprehended gradually as images of the body and the skin” (Pallasmaa 2000)

35HAND-DRAWN PERSPECTIVE RENDER

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A

A’

B

B’

N

TOILETS, STORAGE

SITE PLAN 1:400

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A

A’

B

B’

NUNDERGROUND FLOOR PLAN 1:400

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EAST ELEVATION 1:400

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NORTH ELEVATION 1:400

40 SECTION B - B’, 1:400

1. THREE ZONESFrame + InfillPoint/Line/PlaneMass

2. ZONE INTER-RELATIONIntersectionChaosDivision

3. THREE SYSTEMSSurface GridTopographyUnderground Chamber

4. SEEING INVISIBLEInvisible IntersectionNegative space patternsImagination

5. CHAMBERCarved FragmentsLines of SightExploration

6. EARTH PENETRATIONSurface PunctureLight ChamberChaotic intersections

SECTION A - A’, 1:400

41SECTION B - B’, 1:400

7. DIRECTION/INDIRECTIONWonderingExplorationLoss of direction

8. HIDDEN DIALOGUEGlimpses of othersHidden identitiesSurface / Underground

8. ISOLATION / INTROSPECTIONIndividualitySilenceSolitudeUncertitudeMental / Body Presence

UNDERGROUND INTERIOR PERSPECTIVE (DIGITAL/HAND-DRAWN)

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FINAL DESIGN MODEL 5.3

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REFLECTION 6.0

Studio Earth has been an integral part of formulating my own authentic interpretations of architectural design, not purely in regards to buildings but also in terms of sculpture, land, art and design. While I entered this studio with considerable digital skill, I found myself thrust into a hands-on making design process where my own physical interaction with model-making and sketching helped to inform the process. It was a distinctly challenging but rewarding experience, especially in my new found understanding of phenomenological architecture, atmosphere and the engagement of the senses. Indeed, I now have a new found appreciation for thinking about architecture in a sculptural capacity.

I found that the structure of the studio into three zones was an interesting way to approach a design process. At first, I felt that leaving the final pavilion design to the final 1/3 of the semester. However, I’ve realized that each workshop had various elements that contributed to the final design in an almost unconscious way. Surreptitiously guiding my thoughts on how to achieve secrecy in architectural form. Additionally, by dividing architecture as a whole into disparate tectonics which are then amalgamated as a conclusion, I found myself considering elements of architecture that go beyond simple concept and translation of form. I found myself investigating the emotional impact and effects of systems, joinery, form and the aesthetic encounters that an architect can conceptualise in the environments we occupy.

In all, I have found Studio Earth to be a truly engaging design experience.

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BIBLIOGRAPHY 6.1

1. Archer, N (2008), ‘Winery architecture’,10 Jul 2008. Design Boom. Accessed 03/05/2016 (http://www.designboom.com/architecture/winery-architecture/)

2. ArchDaily 2014, ‘Desert Courtyard House / Wendell Burnette Architects’ 28 Jul 2014. ArchDaily. Accessed 01/04/2016 (http://www.archdaily.com/531473/desert-courtyard-house-wendell-burnette-architects/).

3. ArchDaily 2013, ‘SFMoMA: Lebbeus Woods, Architect’. Accessed 01/03/2016 (http://www.archdaily.com/316687/sfmoma-lebbeus-woods-architect/)

4. ArchDaily 2010, ‘AD Classics: Ronchamp / Le Corbusier’. 03 Nov 2010. ArchDaily. Accessed 01/04/2016 (http://www.archdaily.com/84988/ad-classics-ronchamp-le-corbusier/)

5. ArchDaily 2009, ‘The Therme Vals / Peter Zumthor’ 11 Feb 2009. ArchDaily. Accessed 01/04/2016 (http://www.archdaily.com/13358/the-therme-vals/)

6. ArchDaily 2009, ‘Musical Studies Centre / Ensamble Studio’ 08 May 2009. ArchDaily. Accessed 01/04/2016. (http://www.archdaily.com/21496/musical-studies-centre-ensamble-studio/)

7. Barozza Veiga 2010, ‘Neanderthal Museum : project 456’. Barozza Veiga Architects. Accessed 01/04/2016 (http://barozziveiga.com/project/#456)

8. Bigman, A 2013, ‘Lebbeus Woods, Architect’, Review, Art Practical. Accessed 01/03/2016 (http://www.artpractical.com/review/lebbeus_woods_architect/)

9. Bunyan, M. Dr 2011, ‘‘exhibition: ‘lászló moholy-nagy. the art of light’ at the ludwig museum, budapest’, Art Blart. Accessed 01/03/2016 (https://artblart.com/tag/moholy-nagy-k-vii/)

10. Casado, S 2012, ‘Eduardo Chillida Tindaya’, Vimeo. Accessed 01/04/2016 (https://vimeo.com/42119980).11. Cuzner, D 2010, ‘Paul Rudolph Drawings’, Grain edit. Accessed 03/05/2016 (http://grainedit.com/2010/02/03/paul-rudolph-

drawings/)

12. Eliasson, O 2009, ‘Your Atmospheric colour atlas’, Olafur Eliasson. Accessed 01/04/2016 (http://olafureliasson.net/archive/artwork/WEK100285/your-atmospheric-colour-atlas).

13. Fradkin, A 2012, ‘The Bunker Project’, Visura. Accessed 01/04/2016 (http://visura.co/user/alexfradkin/view/the-bunker-project).14. Heide Museum of Modern Art 2016, ‘Gardens & Sculpture Park’, Visit. Accessed 03/05/2016 (https://www.heide.com.au/visit/

gardens-sculpture-park).

15. Kandinsky, W, & Rebay, H 1979, Point And Line To Plane, n.p.: New York : Dover Publications, 1979.,16. Kroll, A (2011, ‘AD Classics: Church of the Light/ Tadao ANdo’, ArchDaily. Accessed 01/04/2016 (http://www.archdaily.

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