 |
| For these abstract models the word which drove me forward was a connection in nature to us and as many things in the world we live exists symmetry but it isn't always a perfect match so that's the concept behind these models. |
 |
| This abstract model consists of wood types to bring nature into the our world, Originally I had all the wooden toothpicks aligned along the same side with alternating heights, but this felt too bland so I altered the original. I turned the solid structure onto it's side and kept the alternating heights but now place the toothpicks into it's side to show that even though the symmetry is clear it doesn't exist on only one plane. |
 |
| In this model I kept the idea of dissimilar symmetry and used an L shaped from to give the idea that even though things are symmetrical they still are different. I liked using these spines as the general framework and they might make their appearance in the final model. |
 |
| In this final model of connection I wanted to try not to just have spikes piercing through the material but to have curves to embrace the site more gently. Also by having the curves sloping down away from the main structure I'm sure it would create an interesting form that people would find appealing contrary to the flat roofed structures currently in the area. |
check this out
ReplyDeletehttp://wirednewyork.com/forum/showthread.php?t=2900&page=31&p=427686
Wow, thank you professor, I actually read though what the posts say and I agree with it. Waterfronts shouldn't be cluttered with high structures which would obstruct the view to all of the buildings behind it, and the building proposal that is shown not only is visually appealing but it looks like it belongs there.
ReplyDeleteI like these models, start to see how they can be developed further into plans ans sections so you can start laying out your spaces. Your a beautiful beast by the way;)..
ReplyDeleteAlexis, the idea of 'appealing' is subjective. I would focus more on what types of moves you find to be powerful enough to evoke a response. If you think the curvilinear narrative has merit, and sets up an experience, then go with this, but be prepared to defend why you believe this to be the correct direction. The choice is yours and there is no right answer, only the strength lies in how you support your decisions at this point.
ReplyDeleteOn nature:
By using wood, on tables, walls, floors, etc, as represented by your 'spikes' does this really convey a sense of nature? In one way yes, because we recognize these materials to be from nature. On the other hand, they are not appearing, once cut, formed, adhered etc, in the natural sense or order that they might in say, a clearing in the woods, or springing from a tree. How does nature organically organize us when we are in its presence? Are there set rules for conveyance, for light filtration? What are the aromas and textures like in nature? Sometimes a connection to nature means allowing users of the space to simply look out over the landscape, rather than attempt to clutter the interiors with a false representation of "nature". I am not saying you do this, but I would suggest really testing your feelings on what Nature is, and how those important attributes might be re-presented here.
Alvaro Siza, a Portuguese architect has a wonderful space called the Boa Nova Tea House (Casa do Cha) in Porto, Portugal. The building is very hard-lined and contemporary in many ways, but also very organic and 'natural'. Here is why: when you first approach the Tea House, Siza turns you away from the Sea, then you circle around and proceed up the stairs to the entry. Upon reaching the top risers, you are once again presented with the ocean's expanse. You enter; the view from the inside is of the sky, a window placed on the opposite wall. Walking down the stairs you are pointed toward a view of the rocks below, on which the structure rests. You see crashing waves and suddenly inside the dining room you are presented with a view, once again, over the ocean. The entire experience and the three windows, tie together a very naturally occurring experience, leaving us aware of our surroundings outside the walls. This is an example of using nature without necessarily showing natural materiality on the superficial level. Good luck Alexis. acg
I like the direction you're going in. You seem to have this main element that connects this type of branching out and I think maybe if you play around with orientation or even add more to the model that you might be able to re-establish that concept...(I could be totally wrong about that concept but that's what I'm getting from these models).
ReplyDeleteBest of luck.
There is a certain misconception that utilizing objects found in nature makes an expression somehow "natural." It is incumbent upon the designer to evoke, allude to, frame, embrace or exude nature through the entire composition of the project rather than to start with a piece of wood and call it natural.
ReplyDeleteTo use a concept that is quite possibly trite and overused, your approach should be informed phenomenologically. That is to say, you need to consider the experiential aspects of the space you are designing, as it responds to the occupants and as they respond to it. Although, not the best source, look at the early work of Jon Jerde. The Jerde partnership was established on the moniker "Experience Makes the Place." Like the form or not, the objective of placemeking over form making is a remarkably subtle shift in approach which can inform both the relationship to one's context and one's physical form at the same time. The procession or orchestrated path becomes as important as the structure through which it passes.
Also, take a look at Greg Lynn's earlier writings (pre-2002 'ish) in which he enumerates on his philosophies and executions of asymmetric and non-uniform bi-lateral symmetries. Although the prose is rather dense, Greg lays out a treatise in which symmetry can be accomplished without the literal mirroring or rotating that is usually associated with the term. Some of this is moe fussy and related to planned computational anomalies (akin to British DJ's tweaking beats mathematically with recording software to skirt anti-techno/rave legislation)and others are more directly about massing strategies and deployments which are directly related to architecture.