BAS 140/145 PORTFOLIO WILLIAM DAVIS ID 19354916
CONTENTS Urban Acupuncture 4 - Site Analysis 6 - Perth Ciy and Site Map Small Acupuncture 8 - Interactive Water Feature 10 - Plan and Elevation Views
BAS 140 DESIGN
TITLE SPACE
Subtitle space
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Medium Acupuncture 12 - Street Performance Space 14 - Plan and Elevation Views Large Acupuncture 16 - Subterraneum Artspace - An Inner City Sanctuary 18 - Initial Iterations 20 - Development of underground space 22 - Concentric Circles 24 - Looking Up, Looking Down 25 - Model Space 26 - Sectional Elevation 28 - Planes of Depth 30 - Color Temperature 32 - Mirrored Lightwell 34 - Diagramatic Analysis 35 - Model Space, close-up 36 - Model Space, exteriors
URBAN ACUPUNCTURE site analysis
This empty lot neighbouring the Salvation Army Headquarters building was the initial proposed location for the small and medium acupunctures.
Alternate view of vacant lot
Site analysis indicating shadow positions early morning
Site analysis indicating shadow positions mid-afternoon
140 120 100 Age (y)
80 60 40 20 0 St Georges Portico
Government Printing Building
Commercial Building
Former Salvation Army HQ
Milton Chambers
No 1 Fire Station
Woods Building
Perth Government Stores
YAL and residence
Hotel
Office Building
WA High Court
Above and lower left: Surrounding buildings of the designated site shown with height as a derivative of their respective ages.
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PERTH CITY AND SITE MAP
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SMALL ACUPUNCTURE interactive water feature An interactive water feature in the vacant lot on Hay Street. Hundreds of micro-fountains controlled centrally by a computer respond to the movements of passersby and the curious. Above Left: a game of Tetris can be simulated, with the movements of the descending ‘water bricks’ dictated by the movements of those playing. Above Right: Interactive water feature not requiring any deliberate participation from the passersby. The small fountains simulate sine-waveforms and respond to the positions of the pedestrians, making sure they are always positioned at the trough of the wave regardless of their position. Paired photo-sensors on the surrounding structures co-locate and predict the pedestrians movements in a similar way to how the path of a tennis ball is tracked in a tennis match. Opposite: AutoCad rendering of the water feature in context of the Salvation Army HQ and Pensione Hotel
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SMALL ACUPUNCTURE
plan and elevation views (AutoCAD)
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MEDIUM ACUPUNCTURE street performance space The medium acupuncture is a simple elevated stage nestled above the small acupuncture water feature at the entrance of an alley way Above: various iterations of the stage, access stairs, and relationship to the large acupuncture. Opposite: Axonometric view of the performance space, shown here prior to the expansion and development of the large acupunture (subterranean art gallery) (AutoCAD)
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ELEVATED STREET PERFORMANCE SPACE
elevation and plan views (AutoCAD)
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LARGE ACUPUNCTURE subterranean artspace - an inner city sanctuary
Left: Initial designs for the ‘large acupuncture’ saw it as more of the medium-sized development, a climate controlled personal oasis, allowing the user to escape the oppressive heat outside. In order to better utilise the space provided by the alleyway, this concept soon developed into a larger more fully developed artspace, situated underground. The roof structure of the artspace dominates the laneway above ground, forming a timber-clad lightwell to illuminate the artspace below. Opposite: Atmospheric rendering of the elevated performance space and the suberranean artspace entrance and the spatial relationship between the two (Photoshop)
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LARGE ACUPUNCTURE
initial iterations of the artspace
This page: AutoCAD renderings of the first iteration of the subterranean artspace. This version featured a narrow entrance widening to the focal point of the room, under the lightwell. Opposite: A 1:50 scale model of the subterranean artspace in its urban context
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LARGE ACUPUNCTURE
development of the underground space
This page: Iterative process resulting in hollowed out plinths for sculptural art pieces Opposite: Atmospheric sectional elevation rendering of the artspace featuring the newly developed plinths and the centralised lightwell (Photoshop).
Rectangular space creating more usable space. Fins of varying depth create similar sense of compression and release (as was seen in the original design)
Inversion of the space, while maintaining a focal gravity towards the lightwell
Variation on previous fins, focussed towards the position of the lightwell
Fins attain mass, forming plinths onwhich to support sculptural art pieces
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Plinths enlarged and hollowed out to now ‘contain’ the art pieces
LARGE ACUPUNCTURE concentric circles Upper Left: One-point perspective view approximating what a visitor would see on entering the art gallery Lower Left: Sectional view showing the length of the artspace, and a (rejected) idea for using contracting and enlarging circular cavities. Opposite: Atmospheric rendering of the final version of the artspace, featuring timber-clad walls and ceiling, high-gloss black ceramic flooring, and rammed earth plinths. Sculptures included here are the Venus de Willendorf, a reclining figure by Henry Moore, and Cecora by Stanislow Szukalski (Photoshop)
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LARGE ACUPUNCTURE looking up, looking down Above: A one-point perspective abstracted view of looking up the lightwell, which is clad internally with mirrors to create an infinite space through which the viewer below can look up and observe. The white square in the centre is the actual skylight, while the criss-crossed darkness surrounding it is the reflective mirror space. Opposite: An atmospheric rendered floorplan of the final version of the artspace, emphasizing direct, indirect, and ambient lightsources (Photoshop)
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LARGE ACUPUNCTURE model space and sectional elevation Left: distorted macro photo of 1:50 model of the plinth Below: Short sectional elevation wtih context (Photoshop)
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LARGE ACUPUNCTURE planes of depth Left: sketches looking north and south down the length of the artspace (prior to the removal of fins and addition of plinths) Opposite: 1:50 foamcore sketch model
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LARGE ACUPUNCTURE color temperature Opposite: Alternate color temperatures viewed within 1:50 sketch model. On the left is a cool daylight lighting, with emphasis on a high midday sun streaming down the light well. On the right, a warmer golden color temperature with no direct overhead light source (dusk or dawn time of day).
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LARGE ACUPUNCTURE mirrored light well Left: Looking up into a 1:50 model of the mirrored light well showing the effect of various ambient lighting conditions and the ways these affect/react to the incoming light from the light well. Opposite: A sectional elevation indicating the relationship between the viewer in the artspace and the light well (AutoCAD)
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LARGE ACUPUNCTURE Close-up of 1:50 balsa wood and card model of the final design
4 3 1 2
Natural lightsources via entry and exits, as well as the mirrored light well
1. Entry/exit 2. Plinths 3. Seating for medium acupunture (elevated stage space) 4. Light well and roof structure
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Perpendicular axes of focus: horizontal alignment of circles and art pieces, vertical alignment of a rectangular lightsource
LARGE ACUPUNCTURE model space exteriors
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LOUIS I. KAHN
FISHER HOUSE
CONTENTS
BAS 145 METHODS
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40 42 43 44 47 48 49 50 51 52
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Site Context Axonometrics Relationship to hillside Diagrammatic Analysis North East Elevation Groundfloor Plan Exterior Impression Interplay of Light and Space Split Section Sectional Elevation
SITE CONTEXT Louis I. Kahn’s Fisher House is a small residential structure constructed in 1967 in Hatboro, Pennsylvania, USA. Located on a gentle slope facing evergreens and a creek, the stone and wood structure sits in perfect dialogue with it’s surroundings. While creating a strong formal geometric statement, the use of natural materials as well as large nature-facing apertures allow the structure to blend in harmoniously with nature, perhaps a reflection of Mrs Fisher’s occupation as a landscape architect.
IMAGE CREDIT: BILL BROOKOVER 2012
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AXONOMETRICS Below: Aerial view of Fisher House and it’s neighbourhood Right and Opposite: Various axonometric views highlight the striking geometric floor plan and its adherance to basic geometric forms (AutoCAD).
IMAGE CREDIT: QUONDAM 2007
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SITE CONTEXT
Living room and kitchen, to share and serve others
Bedrooms, bathrooms and study, to cater to the needs of the occupants
Oak and other coniferous trees
Large aperture windows embracing nature
Small aperture windows facing street
Relationship with Nature: The house is oriented so the large windows face away from the street side and towards the tree-covered hillside
RELATIONSHIP TO HILLSIDE (AutoCAD)
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DIAGRAMMATIC ANALYSIS (Adobe Illustrator)
Entrance and hallway divide opposing spaces
Divergence of Purpose: A central hallway serves as an artery to both halves of the structure: a cube for shared life, and cube for private activities
Use of Natural Light: The proliferation of large windows clustered in the corner of the living room creates a natural source of light as well as having a gravitational effect towards this important part of the house, alongside the fireplace
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IMAGE CREDIT: DON FREEMAN 2012
NORTH EAST ELEVATION (AutoCAD)
GROUNDFLOOR PLAN (AutoCAD) - this page EXTERIOR IMPRESSSION (Adobe Photoshop) - opposite
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INTERPLAY OF LIGHT AND SPACE Above left: Sectional view of the living room and kitchen ‘cube’ indicating how sunlight is allowed to stream in through the many windows and illuminate the central fireplace (AutoCAD) Above right: The fireplace was a pivotal feature of the home, both in terms of its social meaning, but also in terms of its structural relevance (Adobe Illustrator) Opposite: Atmospheric rendering of the living room area (Adobe Photoshop)
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SITE CONTEXT
SPLIT SECTION (AutoCAD) - this page SECTIONAL ELEVATION (Adobe Photoshop) - opposite
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REFERENCES Brookover, Bill. 2012. Rear Terrace. Digital Photograph. https://www.flickr.com/photos/wdb3b/7156975567/ Freeman, Don. 2012. Driveway and Entrance. Digital Photograph. https://savingplaces.org/stories/like-live-louis-kahn-house#.YDtl1V0zbjA Quondam. 2007. Aerial. Digital Photograph. https://www.quondam.com/33/3334h.htm
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