AADA10 Site - Volume - View

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1 Lund University, Tverrfjellhytta, Norwegian Wild Reindeer Pavilion (Plan)

2 Tasks Task 1: Site Select one of the site CAD files provided in the course and create a site surface in Rhino using day 1 tutorials. Please check the scale of your site using the dimension tools and make sure your file units are set to meters. Objectives: To become familiar with basic surface modeling techniques through modeling and modifying a site location Task 2: Volume + View A client is interested in building a pavilion on the site that s comprised of 2 primary spaces. A space that has a view to the south and receives morning sun from the east. A space that views the trees and receives afternoon / evening sun from the west. Final Presentation Materials 2 person group: 4 A3s 3 person group: 6 A3s (2 additional drawings / visualizations are required if working in a group of 3) Note: All final work to be handed in as a single PDF file for each group. The work will be projected and reviewed Friday October 13. Please use appropriate PDF settings for line work / drawings to be digitally projected. Any renderings should be at a resolution appropriate for projecting. Software Links Rhino - V-Ray for Rhino - Additional design notes: The pavilion should be between 100 and 500 m2. The pavilion can be spaces joined together or separated. The pavilion must clearly define an interior condition that is large enough for a person to enter. The client is uncertain about style, form and material, but has provided a list of work as inspiration for designing with landscape. List of works: Allied Works (Maryhill Overlook) Eduardo Chillida (Mount Tindaya) Lapeña & Torres (La Granja Escalator) Peter Zumthor (Bruder Klaus Field Chapel) Rintala Eggertsson Architects (Seljord Lookout Points) S.M.A.O. (Chapel in Villeaceron) Snøhetta (Åkrafjorden Hunting Lodge + Norwegian Wild Reindeer Centre Pavilion) Use the above as initial design inspiration. Investigate ways in which volumes and forms can be integrated into the landscape and the way light will enter the spaces. How can orientation and views inform surfaces, shapes, and openings in your model? Objectives: To become familiar with intermediate surface and solid modeling techniques for exterior and interior shapes / volumes.

3 Schedule Week 41 M :00-10:00 Software Installation 10:00-12:00 Course Introduction / Tutorials: Rhino UI, Fundamentals of NURBS 12:00-13:00 Break / Lunch 13:00-16:00 Tutorials: Surface Modeling 16:00-18:00 Eget Arbete / Open Working Session - Task 1: Site T :00-12:00 Tutorials: Surface + Solid Modeling 12:00-13:00 Break / Lunch 13:00-18:00 Eget Arbete / Open Working Session - Task 2: Volume + View W :00-12:00 Tutorials: 2D Output / CAD 12:00-13:00 Break / Lunch 13:00-18:00 Eget Arbete / Open Working Session Th :00-12:00 Tutorials: Rendering (Tentative) 12:00-13:00 Break / Lunch 13:00-18:00 Eget Arbete / Open Working Session F :00-12:00 Eget Arbete / Open Working Session 12:00-13:00 Break / Lunch 13:00-18:00 Review

4 Maryhill Overlook, Allied Works Goldendale, Washington, USA 1998 The Overlook is organized as a single, eight-foot wide ribbon of concrete that emerges from the earth, rising and falling as it moves to the edge of the cliffs. Along its 150-foot length are eight volumes that open and close to the sky. From a distance the form dissolves and reemerges as line or plane in response to the quality of light, the shape and intensity of shadow and changing point of view.

5 Mount Tindaya, Eduardo Chillida La Oliva, Fuerteventura, Islas Canarias Unbuilt To create a space means to set limits, to delimit it, to define it: inserting a space or emptying it. For Chillida, to empty the heart of Tindaya means to create a space, between the sky and the earth, from where one can contemplate the horizon and abandon oneself to the light and the architecture created by the light itself.

6 La Granja Escalator, Lapeña & Torres Toledo, Spain 2000 The external escalator designed by Lapena & Torres cuts into the hillside, zigzagging its way up the slope. It never reveals the whole view at once, but concedes glimpses of the surrounding town between folds in the concrete. The architects have cleverly done in section what the streets of the town do in plan. In Toledo one s view extends only as far as the next bend in the labyrinthine streets. The escalator is an example of modern architecture confidently and sensitively merging with landscape and context.

7 Bruder Klaus Field Chapel, Peter Zumthor Mechernich, Germany 2007 Gaze is pulled up by way of obvious directionality, to the point where the roof is open to the sky and night stars. This controls the weather of the chapel, as ran and sunlight both penetrate the opening and create an ambience or experience very specific to the time of day and year... On a sunny day, this oculus resembles the flare of a star that can be attributed to a refereence of Brother Klaus s vision in the womb.

8 Seljord Lookout Points, Rintala Eggertsson Architects Bjørgeøyan, Seljord, Norway 2011 The viewing platform was then given the form of a tower with a main space at the top overlooking the lake and two smaller spaces on the way to the top, one facing a nearby bird nesting area and the other one facing the crown of the two big pine trees. With this organization one was able to establish a final destination by the lake with a distance from the town and the parking area which gave the visitor an experience of the landscape before arrival. A preparation for the visitor makes the meeting with the waterfront less abrupt; it gives the visitors a broader perception of the surroundings and allows for a travel onwards into a more personal landscape and into the myths around the serpent of the Seljord lake. The viewpoint becomes thus not the final destination, just a resting point between the landscapes of the known and the unknown.

9 Chapel in Valleacerón, S.M.A.O. Almadén, Ciudad Real, Spain 2001 The Chapel is developed around the study and manipulation of a focally tensed box-fold. It is set at the top of a slight rights, making it the reference point in the landscape seen from the property entrance 2 Km away at a low point, as well as in different visions from the entire itinerary. The Chapel has a naked design and lacks artificial lighting. The exterior-interior spatial relationship determines its focus, its meaning. Only a cross and an image at the focal point underscore the symbolic aspects of the project. The proposed fold in the box, the corbusian boîte, gives rise to a single material: golden concrete that captures all the nuances demanded of the volume, from the trapped direct light that bursts in like an additional plane in the spatial composition, to the transmission of the unstable, coloured smell of dawn. Light thus takes on the role of a second material in the Chapel a material that contrasts with the concrete fragile, changing, mobile, unstable; dominating or vanishing.

10 AADA10 Site - Volume - View Åkrafjorden Hunting Lodge, Snøhetta Etne, Hordaland, Norway 2012 The hunting lodge is beautifully situated, alone beside a lake in the untouched mountain areas close to Åkrafjorden in the western part of Norway. It is accessible only by foot or horseback. The integration of the hut into the landscape has been an important part of the concept. The terrain is characteristic with grass, heather and rocks, and the hut s shape, orientation, and materials are dictated by this.

11 AADA10 Site - Volume - View Tverrfjellhytta, Norwegian Wild Reindeer Pavilion, Snøhetta Hjerkinn, Dovre, Norway 2011 The building design is based on a contrast between ideas - a rigid outer shell and a soft, organic inner core. The wooden core is shaped like rock or ice that has been eroded by natural forces like wind and running water, and is placed within a rectangular frame of raw steel and glass. The interior s shape creates a protected and warm gathering place, while still preserving visitor s access to spectacular views.

12 Drawing Examples Plan A horizontal section cut through a building showing walls, windows and door openings and other features at that level. The plan view includes anything that could be seen below that level: the floor, stairs, fittings and sometimes furniture. Objects above the plan level can be indicated as dotted lines. Ex: Maryhill Overlook, Allied Works. Cross Section A cross section, also simply called a section, represents a vertical plane cut through the object, in the same way as a floor plan is a horizontal section viewed from the top. In the section view, everything cut by the section plane is shown as a bold line, often with a solid fill to show objects that are cut through, and anything seen beyond generally shown in a thinner line. Ex: Maryhill Overlook, Allied Works.

13 Drawing Examples Multiple Cross Sections Showing spatial and structural variation through a series of multiple section cuts in one direction. Ex 1: Vertical section cuts through Maryhill Overlook, Allied Works.

14 Drawing Examples Multiple Cross Sections Showing spatial and structural variation through a series of multiple section cuts in one direction. Ex 2: Vertical section cuts through Chapel in Villeaceron, S.M.A.O.

15 Drawing Examples Axonometric Isometric and axonometric projections are a simple way of representing a three dimensional object, keeping the elements to scale and showing the relationship between several sides of the same object, so that the complexities of a shape can be clearly understood. Ex: Procedural / Process axonometric diagrams of Chapel in Villeaceron, S.M.A.O.