Irene Sergiou ARCH 202 - 'Human Topographies_ Emerging Identities' Alessandra Swiny, Yiorgos Hadjichristou, Student assistant: Christos Xenofontos
“All architecture is shelter, all great architecture is the design of space that contains, cuddles, exalts, or stimulates the persons in that space.” - Philip Johnson “Pleasure originates in an act and movement.” - Henri Lefebvre
An assignment was given with the aim of showing the relationship/contact between a human and a human and a human and an object out of a program, according to a quote, a note and a case study that were used as inspiration and had to be displayed through the attempts of modelling and drawing.
Considering the human as the most crucial point of designing, there’s a need of creating spaces, according to his needs, representing the flows of activities, circulations, uses, and giving the essence of them.
Public Space - Communal Spaces Relationship between human & human
Spaces to meet, communicate, exchange information, eye contact, gestures, space for leisure. Interaction between human and human leads to a continuous “collusion�.
Masses representing the people and their interactions ways of contact ,during a discussion.
Public Space - Communal Spaces Relationship between human & object Cycling is one of the most common activities that can be placed in a public space. Since “Pleasure originates in an act and movement�, we can realise the relationship between human and object, seeing human body as a kinetic mechanism, forcing the bicycle in order to move, that can be analysed.
Combining artistic vision with scientific analysis, Muybridge showed how an image that paralyses motion can catch the fluency of phenomena.
Public Space - Communal Spaces Multiple leg positions during cycling. Stop motion.
Public Space - Communal Spaces
Tongxian gate house office da thirty miles from beijing, a community of over 200 chinese artists of international recognition lacked a public institution or space that served as a magnet for interaction a place for the presentation of art or a setting for receptions. A consortium of artists critics and agents acquired a property to put to gethers a program for tongxian art, a multi-phase project the completed phase 1 is the gate house, which consists of housing and studio space for artists in residence, phase 2, the art center, houses the galleries public spaces sculpture courts admin istrative spaces and in frastructural needs of the institution. For their first contribution to the tongxian art center, its gate house, the architects test the possible interactions between brick concrete and plaster the architects pulled bricks out to create a textural pattern across the otherwise blank walls, while also recessing or even removing bricks to provide greater variety but they even went beyond this by varying the degrees to which the brick is projected in certain locations, so a continuity exists between these and the flat areas, almost like the brick is gradually pulling away from the facade.
Threads representing the axis of the relationship between human and object, showing which parts move most and which less, while cycling.
Investigating the possible movement of a cyclist in the space and inspired from the extruted texture of Tongxian Gatehouse, we can see some extruded simplified ways, resulting a dynamic model.
Movement - Different tons of grey - Connections
Conceptual Model. Extruded volumes in different levels connected with strings to create different textures and types of surfaces.
“Architecture is basically a container of something. I hope they will enjoy not so much the teacup, but the tea.� - Yoshio Tanigurchi A building is not an end itself. It frames, articulates, restructures, gives significance, relates, seperates and unites, facilitiates and prohibits. Consequently, elements of an architectural expirience seem to have a verb form rather than being nouns. - Juhani Pallasmaa
Jean Tinguely
Jean Tinguely (Born May 22, 1925 Fribourg, Switz.- Died Aug. 30, 1991, Bern), Swiss sculptor and experimental artist noted for his machine - like kinetic sculptures that destroyed themselves in the course of their operation. Tinguely studied painting and sculpture at the basel school of fine arts from 1941 to 1945 showing an early interest in movement as an artistic medium in his work there growing dissatisfied with the staid artistic climate of basel tinguely moved to paris in 1953. He then began to construct his first truly sophisticated kinetic sculptures which he termed metamechaniques or meet ame chanicals. These were robot like contraptions constructed of wire and sheet metal the constituent parts of which moved or spun at varying speeds. Tinguely’s art in plicitly held a wealth of ironic social commentary his whimsical machines deftly satirized the mindless over production of material goods typical of advanced industrial society they expressed his conviction that the essence of both life and art consists of continuous change movement and instability, and they also served to refute the static art of the past. Tinguely was an innovator in his appreciation of the beauty inherent in machines and junk and in his use of spectator participation in many of the events he engineered.
Private Housing - Units Influenced by Jean Tunguely’s work, I also tried to apply this continuation and flow on my models, mixing them all together creating merged spaces within the space.
Private Housing - Units Plan of the model showing enclosures, open spaces, surfaces.
Private Housing - Units Units. “Space within a space with in a space”
Private Housing - Units Strings on which people can hang from or even grow vegetation, tubes for water to flow.
Private Housing - Units Sectional moment showing a proposal of tensile structures for people to rest and also creating spaces. Notion of wind.
Plan
Cavities - textures - surfaces - activities - flows
Two Point Perspective Showing the circulation between the vertical panels, accompanied with a skin of fabric. pipes, and transformable surfaces.