Some Okay Ones

BEFORE WE START:

The links below have at least a design where concepts, landform, massing, textures and details are all coming together. 

Yen Dao

Steven Ke - Good Siting

Rebekah Araullo

Jacquelin Lindeman

Tai Danh Lien 

Evan Li

Jennifer Su

Sabrina Akter

Remember what ive talked about today regarding the difference between a DN and a HD in exp1. One brings all this together (concepts/site/architecture/detail) convincingly in one way, the other pulls it off in varying levels of complexity and resolution (rather than complication). 

"To be exemplar, the architecture student must learn to juggle" - my electroliquid aggregation.

Some Catchy 1+1=3's from the past.

These examples begin to incorporate the client and the brief. Notice how some of these start to mix the chosen architectural concepts (ie linear vs radial movement, fragmented spaces vs centralised spaces) into a story. More importantly, these also start to look at two sides of a story. Think two monuments to two architects with two very distinct ways of defining itself architecturally.


 
"In order to have original thoughts, students of architecture need to test their ideas, reiterate, go backwards and forwards, and be one with the environment around them. A narrow minded designer will imitate, go with the crowd, think in a linear fashion, and would only move forwards in a horizontal manner, but at the end they are invisible to the public."

When contemporary ideas are fragmented and dispersed upon concepts of the past the result is a meeting place for tomorrow's inspiration.

"Being strong and optimistic will lead to a gloomy and cold life."

"The Psychoanalysis observes

The studying professor often perform self inflected pain" 

 "If the rich and the poor work together, they can all become successful despite their difference in class, wealth and social wellbeing."

"A stubborn and anti-social person need not be two different people. More, one person following two different paths, of wealth and purity, to reach the same destination."

"Academics bounded by the rigidity of facts, wealth and social status must have a medium that is liberating; where reflection, meditation and creativity can stimulate new ideas."

And avoid long winded, overtly descriptive concept statements such as this below, yes yes... i probably havent been a good example, but - if you get a firm concept happening you'll be better than me at this afterwards!



"Architects and Civil Engineers both deal with the everyday built environment, yet both contribute differently to different aspects to create a complete structure. Without engineers, architectural ideas remain as just ideas. Without architects, a design may lack some creative flair. Visualisation Artists enable others to gain a better understanding of the structure."

Geometries, Architecture, and Landforms

From now on, the architecture would be lost if the landform is designed independently from it. Both your massing development/resolution and the sculpting of your landscape should occur concurrently, with both considerations completing each other in its beauty and in the synthesis of concept. Pay attention to the sketches (Concepts) and the built images of the following slideshows.


01 - Lima Houses, Eduardo Souto de Moura



02 - Mario Botta, Chapel of Santa Maria Degli Angeli



03 - Tadao Ando, Rokko Housing: Pay attention the process of sculpting the landscape that follows the placing of the masses



04 - Tadao Ando, Chikatsu Museum




05 - Tadao Ando, Naoshima Museum


06 - Jun Aoki, Aomori Museum of Art: Idea of space as that between the landscape and the mass, rather than the massing.  07 - Tadao Ando, Open Air Gallery in Kitayama, Kyoto: Some thoughts on massing structure, and architecture.

Experiment 02 - Consider a Variety of Scales

Not simply the same thickness from your sketch. Think about the threshold, the moment when you are about to exit one scale and enter another.

Dont go over 10 rectangular masses, but above is an example of how different scales can come together in suggesting movement, light/heavy, and densities (or absence of) in an architectural composition. 

Some Thoughts on Week01 Exercise for EXP 2

Let the following advice guide your approach to translating concepts into 3 dimensional relationships:

1) Distill your concepts into digestible parts, or rewrite a more condensed version of a concept on our list: Some of the sentences today are quite long winded and yes, ive taken the greens and reds out so as to avoid confusion. The key is to be selective in reinterpreting these concepts into forms - there will be another task where you'll go deeper into these. For now, as an example, if you are looking at a loaded sentence such as:

 "The geometric and angular exist in contrast to the monochromatic and monolithic, this disorientation revealed by precis openings and skewed paths of light," 

you might want to focus on how geometric and tilted rectangles can come together to create light openings, or you might want to look at how - thru texture - you might be able to isolate a continuous shape or surface from a combination of disjointed rectangles. If you are rewriting a concept on the list, i will still reserve the right to review it!

2) Dont double up!: For example, "The geometric and angular exist in contrast to the momochromatic and monolothic, this disorientation revealed by precis openings and skewed paths of light," is very similar to "Architectural originality and futurism can be achieved by breaking rectilinear and euclidean rules of geometry, creating a creative adventure between function and experience." Refer to point 1 above:- a smart student will start to break these two apart and recombine them into new sentences if he/she sees the value in sketching both of these concepts. 

3) Refer back to the architecture and architect that the concepts are drawn from: Retrace the steps. Re-identify how that concept have been interpreted. Go back from the general (the sentence) to the specific (the architectural precedent). As the saying goes, take a step back in order to leap forward!

4) DO THE CRYENGINE TASK: A part of self-teaching on new software is to iron out the issues and familiarise yourself with it, early on. Do what you have to do to get your model into cryengine (ie come use the labs in uni late at night) and remember to keep a blog record of what went wrong as well as what went right. Last minute consequences are too familiar and unforgiving. See below:

Concepts

Daniel Libeskind:

- A harsh collision of axes and linearity emerges into a network of disoriented movement through the internal space.

- The geometric and angular exist in contrast to the momochromatic and monolothic, this disorientation revealed by precis openings and skewed paths of light.

- Architectural originality and futurism can be achieved by breaking rectilinear and euclidean rules of geometry, creating a creative adventure between function and experience.

- A process of interlocking connects two different forms, yet the resulting spaces are unpredictable, and the experience can be chaotic.

-  A bold composition that is absent of discernible sides can engage with the landscape and provide moments of viewing the architecture in different ways. 

- An iconic and unprecedented architecture should be shared with the rest of the public realm, to act as a catalyst and converge sorrunding public spaces. 

Hans Scharoun:

- A collision of textures and geometry results in a layered effect that create distinction between spatial foreground and background.  

- Kinks in layers and the breaking of repetition breaks open the solid, and liberates the spaces.

- The interplay between curved and straight surfaces creates an unsettling experience of movement and chaos that tapers, accelerates, and decelerates. 

- The play between mass and void harnesses a harmonious relationship between internal and external spaces. 

- Individual, unique entities can be arranged to work harmoniously to contribute to a whole.

- Simplification of the exterior leads to an appreciation of the interior and the program structure.

Daniel Libeskind

Daniel Libeskind (1946-)

Notable Works: 

Denver Art Museum (2006), 

Jewish Museum, Berlin (1998), 

________________________________

Denver Art Museum, Colorado (2006)

Youtube Video

Diagram, Concept Model

Exterior, Night

Exterior, Day

Exterior, Entry

Exterior, Facade Surface Detail

Interior, Atrium

Interior

Interior

Plan, Ground

Plan, First Floor

Plan, Second Floor

Plan, Third Floor

Section

________________________________

Jewish Museum, Berlin (1998)

Youtube Video - Must Watch!

Exterior, Birds Eye View

Exterior, Ground View

Exterior, Facade Detail

Interior

Interior

Interior

Interior

Interior

Plan, Lower Level

Plan, Upper Level

Hans Scharoun

Hans Scharoun (1893-1972)

Notable Works: 

Berlin Philharmonie (1963), 

Schminke House (1933), 

Berlin State Library (1978)

________________________________

Berlin Philharmonic, Berlin, Germany (1963)

Exterior

Exterior

Interior, Lobby

Interior, Lobby

Interior, Auditorium

Hans Scharoun, Berlin Philharmonic, Sketch

Plan, Entry and Base

Plan, Auditorium

Section

Youtube Video

________________________________

Schminke House, Lobau, (1933) 

Exterior

Exterior, Balcony Soffit

Exterior

Interior

Interior

Interior

Plan, Ground Floor

Plan, First Floor

Youtube Video

Architecture vs Shapes - Details Details Details

Just an advice to all of you.

As time is short and most of you will at this moment be concentrating on getting all of your forms modelled in. However, as Mies Van Der Rohe once said "God is in the details."

In particular, please be mindful that there is a difference between a 3 dimensional model resembling a series of shapes, surfaces and geometries, and compared to a scheme where these said elements are expressed architecturally. For example; the difference between a lofted plane of transparent material and a glazed architectural skin (with structure, mullions, etc). The difference between a hollowed out 3 dimensional form and a architectural enclosure with internal and external environments. Let the following illustrate this point across:

1) Shapes vs:

Architectural interior/exteriors and architectonic elements:

2) Transparent Sketchup surfaces; vs:

Architectural Skin:

3) "God is in the details":

Use your textures