+ The Red Balloon
Movements in a Field
Co ntent o f S e l e c te d wor k :
+ The Habitable Light Well
The Tectonic Umbrella
+ The Water Wall
The Primordial Line
+ Le Petite Cabanon
Bound Space
+ The Light Box
Occupied Spatial Events
Movements in a Field [ The Red Bal loon ] Spring 2014 | Intro I Professor Sanders
phase one [ V i s u a l i n s pe ct i o n _ A n a l ys i s ]
Movements in a field was developed by
The Collage below emerged from a series of overlapping scenes
watching the given film ‘‘The red Balloon’’
of imagery. Each image was connected in a constructive way
directed by Albert Lamorisse. I analyzed the
to create a base of movements, rythm, continuity and hybridity.
film’s imagery, emotions/feelings, sites and structures of the movie to create ideas of habitable spaces, paths to create journeys, and a well constructed ground plane.
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Hybr idit y
Movement
Rythm
refined section drawings showing r ythm and continuit y,
phase two [ A ct iv ity_It in erary_Constru c ted g ro u n d pl a n e ] An occupational sectional was constructed. It was assembled in a way that the ground plane allows human activity, simple ideas of occupation and ways of traveling through the internal spaces.
A xonometr ic D rawing of the final model with stick y back emphazing connections bet ween the linear elements and possible moments of movement through the model.
Vo l u m e t r i c S p a c e s + I n t e r v e n t i o n s Angle shot showing the possible ways of hor izontal movement through the spaces and the r ythm of the occupiable sectional constr uct.
Occupied Spatial Events [ The Light Box ] Spring 2014 | Intro I Professor Sanders
Phase One Sk e t ch e s _ I de a s
This project is a complex combination of
the
kit
of
elements
and
the
red
balloon. This project was designed to be more inhabitable than the previous two. A complex combination of both concepts to create a composition with volumetric spaces. We were asked to incorporate
a
projectionist’s
studio,
a projection plane about 12’x12’ and a viewing room for up to 12 people.
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Phase Two St e re o t o m i c Spa ce _ M a t e r i a lity _ L ig ht I designed these volumetric spaces which can be inhabitable by individuals and or a large group of individuals. in the shot below, the space begins with the projectionist’s studio. As shown on my sketch
I built
my model in a way that artificial light can
travel
from
the
projectionist’s
studio straight to the projection plane.
Sectional D rawing + Human Scale Section D rawing showing human scale as well as activit y in the stereotomic spaces.
Viewing Room Projectionist’s Studio
Projection Plane
Bar rel shot from the projectionist studio. This angle shows the viewing room made out of plexi creating a reflection and showing transparency for the viewers to be able to enjoy what is beneath them. The projection plane is shown at the far end of the space.
Sequence_O rder of Spaces
Bound Space [ Le Petite Cabanon ] Fall 2014 | Intro II Professor Sanders
Designer: Tom Kundig
Delta Shelter
Le Petit Cabanon project involves an observation of three small cabins by Olsen Kundig Architects, Le Corbusie’s small
one
Chang’s
room
wonder
ever-evolving
and
Gary
apartment
in
Hong Kong. The objectives of this project is to understand the relationship between the
spatial
events
happening
in
the
cabins and the kinetic elements, as well as the tectonic building components.
Tye River Cabin
Gulf Islands Cabin
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Phase One Spaces _ Sliding _ Pulling The
project
origined
from
the
Delta
Shelter because of its open environment, and moving shutter. When closed by a hand crank it can create intimate spaces by depriving elements
derived
light. The kinetic from
structures
by
Gary
influenced
me
in
spaces
by
sliding
small
Chang
creating or
spatial which
displacing
pulling
planes.
Vo l u m e t r i c B o u n d a r i e s a x o n o m e t r i c
Phase Two M o t io n _Kin esis_Sl i di ng Movements,
motion
and
kinesis
were
emphisized. I assamebled this simple model to practice and study the possibilities of sliding
planes.
Displacing
small
spaces
by pullying the left section of the model.
phase three A r mat ure_In terac ti on The Cabanon was anchored to a ‘‘L’’ site Armature. The site was developed in a way to where it looked as it was part of the cabanon. The Site was created to interact with the spaces and to help human activity in the cabanon.
Phase four K in e ct ic Elem ents The Final cabanon was contructed anchored to the ‘‘L’’ Site. Keeping the relationship between the spaces and the site. In the first view the center of the cabanon is pulled upwards to open up spaces in the ground of the site and the embedded portion as well. The Second Kinetic element derived from the delta shelter
observation
of
the
moving
shutters. The plexi piece slides allowing light into the structrure, it also gives a sense of an open space allowing the habitant to explore its surroundings conditions.
Phenomenology of Light + Mater ial and Space
P l a n Section
Plan and section cuts, The hightlights of these drawings are the kinetic elements. The drawing also emphisizes in the dynamic spaces.
C r o s s Section
The Primordial Line [ T h e Wa te r Wa l l ] Fall 2014 | Intro II Professor Sanders The
Waterwall
A n a l yt i ca l di a gr a m s_ P r i m o rdi a l l i n e m a p p ing s recollects
I chose to use the music video ‘‘Power Trip’’ by
Movements in a field . It emphasizes
J. Cole to develop analytical diagrams based
on
the
on the events of the video. The video is about
and
a love triangle that ends in a catastrophic way.
studying
relationship
and
project
phase one
understanding
between
a
building
its surroundings. It required us to pick a site, and explore ideas of site. We had to decide if the field conditions needed to be modified in order for our models to fit in with the rest of its landscape and architecture.
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Phase Two R y t h m_S eq uenc e The line mapping from the first model guided me to assamble an inhabited spatial construct. Emphasizing spatial itineraries and the role of rythim and sequence.
Phase Three Movement_Sequ e n ce A wall was added to the model. The vertical planes added to the model helped to create more rythm, movement and sequence. The vertical planes also allowed to make connections within the line mappins. It helped to create more spatial itineraries.
D evel opment of I n hab ited Spatia l cons t r uct
Phase Four M ate r i a l it y_Tra n s pa ren cy_ Ref l ect i v it y The final objective for the final model was to situate the construct within physical context. In this final model , the wall was changed from museum board to plexi. the intention of this change of materiality was to emphasize transperency on the wall. The transparent wall travels through the middle of the construct intersecting and interacting with the movemens and rythm of the linear mappings. The musuem board planes help to create the spatial itineraries allowing for human activity and occupational spaces. The to
basswood allow
planes
movement
represents in
the
the
landscape,
underground
some
portion
of
are the
embedded structure.
Final model , this angle shows the transparency of the wall, the spatial possibilities created by the museum planes and the basswood planes emphasizing the landscape.
Pe r s pecti ve Rende r i ng s
The following renderings consist of two drawn perspectives and one arial drawing collaged with images of a site in USF’s campus. These renderings show dynamic spaces and supports human activity.
The Tectonic Umbrella [ T h e H a b i ta b l e L i g ht We l l ] Fall 2014 | Intro II Professor Sanders
Phase One L i g ht St ud i es
The Tectonic Umbrella focuses in building
The Habitable Light Well started by conducting
in a vertical way. Building from the roof
a series of light researches, as well as studying
down to the garden helps understand
diagrams on how light works in certain settings.
how different lights travel through spaces. The project explores and experiments ideas
of connections between space,
light and the sculpting/carving of space.
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D i rection and Movement of L ig ht th roug h T i me
P ha se T wo Negative Slices_Slivers_Volumes_Mass The mass was carved out to serve as a light filter to the shadow garden. I was given a negative kit which asked to carve out negative spaces in horizontal slices, vertical slices and hollow volumes to create light and shadow.
Floating_Suspension_Gravity_Balance
Section details through each lantern
Longitudinal + Cross Section Section drawing with tone representing where the mass was cut. This sections empasize the volumetric and stereotomic properties of space. The Scalies help understand possible ways of human activity in the mass as well as the lanterns
A view of all the lanters , from left to r ight this projects explores and testes ideas of and cor relation bet ween space, light and scale by sculpting masses to create spaces. in this view the habitant is able to exper ience Tenebr istic, Chiaroscuro, and chromatic light settings that i decided to combine. The mass gives a break to the human expierence and allows the habitant to travel to a more intimate and pleasing space powered by natural white light.
Chiaroscuro
In this inclosed space the lantern works as a tunnel covered inside by
a reflecting material such as mirrors in this case. The
mirrors diffuse a settle white natural light to the private space.
A red film is applied to the top of the lantern. When light hits this film, it creates a reaction by diffusing this dominant red Tenebristic/Chromatic
light. At the same time a small opening in the lantern allows direct light to travel down to a garden section of the model.
In this lanter studies and analysis of the ‘‘De Shaw office’’ in New York Designed by Steven Hall helped to develope this lantern. Chiaroscuro/Chromatic
A bright fluorescent pink Color was applied to a plane facing the mass, invisisible to the viewer within the space. Natural and artificial lights project this color back into the space around walls.
In this case the lantern was designed to bounce natural or artificial light back to the spaces in the structure. A Chiaroscuro/Chromatic
bright fluorescent green was used to show how powerful colors
can
affect
the
environment
in
a
spatial
itinerary.