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ARCHITECTURE DESIGN STUDIO: EARTH S1, 2015 SUBJECT STUDENT BOOK

David StevensStudent 584 702

Tutor: Heather Mitcheltree Group 19

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CONTENTS:

1.0 THREE RELATIONSHIPS 1.1 Point/Line/Plane 1.2 Mass1.3 Frame and Infill

2.0 HERRING ISLAND - Birrarung Quarry, Cultural Censorship 2.1 Site analysis and Conceptacle 2.2 Concept and Sketch design2.3 Design Development2.4 Final Design drawings

3.0 Reflection.

4.0 Bibliography:

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1.0 THREE RELATIONSHIPS

1.1 Point/Line/Plane 1.2 Mass1.3 Frame and Infill

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1.1 POINT / LINE / PLANE

Looking beyond the typical langauge of point line plane and exploring the evolution of form through this concept. Here the light emitted is the point, the path of the light is the line and the illuminated surface is the plane. This adheres to the chronology of point-line-plane - altering each affects the one following but not preceding.

Blog image; many blog im-

ages I selected reflected

frame and infill or merely the

“column and wall” language

described in lectures rather

than conceptual explora-

tion of this typology. This one,

however, sees repeating an

irregular elements exploring

the spatiality of point line and

plane. Source: author

Source: Wikipedia. Image by Unknown

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1.2 MASS

Misdirection - the focus of the site seems to be the penetration of light into the ground - but the moment of release from tension occurs as a second “view” from the cliff is presented.

Rough materiality is explored and must be touched to navigate the site, and the blending of site and built forms is intentional. Darkness and claustrophobia enhance the feeling of weight when climbing down the stair shaft; the initial light source fades, but a new light source is found at the base of the design, where a choice to return to free space or to continue enduring the oppressive mass is presented.

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(a) (b)

(c) (d)

(a) - rendered south elevation (b) - rendered perspective

(c) - rendered plan view (d) - rendered zoomed perspective illustrating frame and

infill elements switching roles

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1.3 FRAME & INFILL

An exploration of whether frames need be material, and how scale changes the identity of framing and infill elements. framing elements cut the infill, but infill is shown to cut through framing elements too. Frames are imagined as structural and psychological, considering the trench as a “threshhold”.

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2.0 BIRRARUNG QUARRY

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- Levees and foliage provide decent insulation for sound but traffic noise is expected

to be experienced if close to the two major roads to the north and south.

- Sun path is based on Victorian latitude/longtitude and for simplicity is shown as an

average seasonally.

- Prospective site based on sound and ideological positioning. Pathways are

more open and sightlines greater to the south of the site.

-Two ferry spots are located on the island but to ensure a consistent experience

during visits I will likely remove one of these locations.

Brief site analysis

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2.1 SITE ANALYSIS AND CONCEPTACLE

I noticed an attitude of sanctuary promoted on Herring Island, as though the planting of native vegetation eliminated the colonial history of the place; really, its identity as an island is an inescapable piece of colonial intervention. Flood levies ensure the landscape is protected and controlled. I became interested in allowing nature, and an Indigenous Australian respect for natural systems, to develop on the site. Exploring this was a reminder of the cultural censorship Indigenous Australians experienced through the development of colonial Australia. My site analysis involved looking at the colonial promenade created by pathways, and the language created by flood levies and bluestone.

My conceptacle explores the burial of an organic and responsive shape beneath a rigid shape; aesthetically, a brick mutating from within. I wanted to evoke in my final design the cultural censorship of Indigenous Australians; this censorship is the secret kept and represented. The spatial systems provided by Herring Island give precedent to an excavated design which alludes not only to the hierarchy of cultures created by colonial Australia, but also to the physical history of the island - dating to before it was an island at all.

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Mapping relationships between mass,

PLP and F/I. Continuing with language

established in those exercises, but now

seeking tectonic relationships between

each other rather than keeping sepa-

rate. For example, the fragmenting

energy of point line and plane meets

mass, creating varied sizes of infill in an

impact zone.

Given the narrative of the final design,

digging below the colonial facade and

finding a richer buried meaning that

proves more thought provoking using

the three relationships. The notes suggest

mass can explore oppression and burial,

so it is used to cloak the most indicative

elements of indigenous identity; the art

work inside the tanderrum area, and the

tanderrum recordings themselves.

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2.2 CONCEPT AND SKETCH DESIGN

General spatial mapping of the site in section form considering where each of the three elements will reside

in the design.

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Tide levels

Lightest blue for high tide range, darkest blue for low tide range.

As the tide fluctuates the site is less and more accessible for ex-

ploration, a reflection of indigenous respect for natural systems.

Tidal ranges for the Yarra river - dictates flooding table for the

quarry.

Site plan and location

Selected for proximity to lawn and flood levees. The langauge of

the levee is explored through the excavation and revelation of its

materiality, and the lawn as a censoring object is journeyed be-

neath to find the meaning of the site. Easy access to the Yarra for

the tunnel which feeds the stream here, and immediate access

to the entrance of the site. The new proposed colonial facade is

more immediately accessed than the old gallery and bathroom

and storage facilities are closer to the entrance. The site is visible

from several angles at the island’s highest trafficked zone, the

open lawn, and brings a new meaning to the lawn itself.

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2.3 Site plan and technical development

Sightlines

Considering the visibility of the site from the initial viewpoint in the thresh-

hold area. Frame and infill explore the fragmentation of the colonial aes-

thetic in favour of indigenous landscape, and make the destination more

of a mystery.

Left: Pre-frame and infill; full sightlines of design.

Indigenous Australian Art

Proposed to be represented on the walls of the Tanderrum space, and in the procession

through the oppressive mass area below the lawn. Tanderrum is to depict the ceremony

in question, where the procession into the earth is intended to depict the censorship.

While Herring Island is situated on Wurundjeri land, it is important to make reference to

all censored indigenous Australians; this might mean that specifically Wurundjeri art or

interpretations of Tanderrum might not be strictly adhered to. The intention is for a broad

and clear message to be sent that the indigenous Australian culture has been censored

culturally by a colonial invasion. The art depicted will be sculptural in the darkest parts

of the scheme to aid with travel and orientation.

Left: Painting, Peter Jangala Ross, 1995.

Right: Painting, Ningie Nangala, 1998

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Top right: Elevation of initial facade (South elevation)

Left: plan (top floor) of Birrarung Quarry

Bottom right: section as indicated in plan (left)

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2.4 FINAL DESIGN DRAWINGS

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3.0 REFLECTION

This studio has been a large learning curve. while there was some form of conceptual

design in Designing Environments, there was no language of the three relationships to

explore, and our site was much more easily observed and accessible. I feel the experience

has been mostly positive, although am somewhat disappointed at the lack of overall

training we’ve been provided with using programs like InDesign and Photoshop if it’s

expected to be used. In terms of the design process, I’ve had time to look at design

languages and tectonics i might otherwise have ignored and feel like I’ve been able to

play with traditional design and turn recognised forms into new statements. I’d initially

intended against using the colonial design language to make a statement, but found the

conflict between respect for nature and the spatial positioning of that which oppresses

my culturally censored subject to be a very useful opportunity. In future design work I

believe I will consider Studio Earth as formative, given that each of the three relationships

we explored can be pbserved across the architectural field; elements of each can create

journeys within design and evoke some very interesting moods.

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4.0 BIBLIOGRAPHY

All images by author except the following.

Double Slit experiment, n.d. photograph, viewed 5th June 2016 <https://en.wikipedia.org/wiki/Double-slit_experiment>

Google Maps, Herring Island accessed 12 May 2016 < https://www.google.com.au/maps/place/Herring+Island/@-37.8330733,145.0015683,18z/data=!3m1!4b1!4m5!3m4!1s0x

6ad6428855274ca5:0xf0456760530deb0!8m2!3d-37.8333725!4d145.0028386>

Water Dreaming, Peter Jangala Ross, 1995. Viewed 4th June 2016 < http://www.aboriginal-art.com/desert_pages/yuendumu_4.html>

Where the Country Changes, Ningie Nangala, 1998. Viewed 4th June 2016 < http://www.aboriginal-art.com/desert_pages/balgo_10.html>