Muhammad Saiful Rafif

5013201096

Architecture addressing nature’s serenity (Example 1)

The first phase of this concept-based design engaged the same thinking pattern as the other
frameworks.There had been exploratory thinking through exploration that started with
questioning the role of the library, focusing through evaluation which chose to focus on study
and contemplation as a function of library, and the selection of a starting state to explore
(serenity as a quality of place).
HYPOTHESIS

REFINE
There was no attempt to consider architecture as nature, so there was no application of an
analogy. Instead, moments found in nature would be associated with moments in architecture. It
just combine them without transfer from another domain.
MAPPING
Reducing the moment of nature, then explore it. The reduction was explored through a series of
questions and answers. Site, context, programme are explored by forced based framework.

Architecturally, the priority was to create moments of blurred threshold that were points of
interaction between the architectural space of the library and spaces representing nature.These
could be reading nooks pushed into a natural surrounding and brought level with a grass field,
internal circulation brushing against the foliage of full-grown trees, the acoustic element of
falling water creating a quality of space, or an architectural water element activating visuals and
reflecting light. As the process continued, all aspects of the design were checked back against the
judgement criteria to maintain coherence to the overall intentions.
ARRANGE
To this point, the conceptual position had developed discrete moments with only tentative
relationship to the site context and the architectural programme. Moving back and forth between
the mappings, the moments, and their arrangement would develop a proposal for the building.
 Muhammad Saiful Rafif
5013201096

Figure 10.22: Transfer of conceptual relationship of events to building proposal in

section inARRANGE ELEMENTS

PROPOSAL
As the moments became associated with particular locations in the context and relevant
programmatic pieces, the final proposal began to take shape. No part of an architectural design
process is truly linear, although it has directionality – there is a sense of movement from a
beginning to an end.

Figure 10.23: Schematic design elevation with implied façade treatment in PROPOSAL