Architectural Design 2 In Place/Any Place: CONSTRAINT 09/10
AD 2 09/10 In Place/Any Place Jing LIANG The University of Edinburgh
Skill Seminar
AD 2 09/10 In Place/Any Place Jing LIANG The University of Edinburgh
2
Le Cobusier, Le Modular, 1948
Collector’s House
5
SEAT
Dance Centre
CONTENTS
Reading Seminar
3-4
SURVEY
14-19
DANCE CENTRE
19-25
6-7 ROOM
HOUSE
7-9 9-14
AD 2 09/10 In Place/Any Place Jing LIANG The University of Edinburgh
Precedent Study Eames House, a landmark of mid-20th centeury modern architecture. The design of the house was proposed by Charles and Ray as Part of the case study house program. The idea of this was to hypothesize a modern household, elaborate its functional requirements by using modern materials and construcion processes. The house with 2.4m tall by 60m long, concrete retaining wall on the uphill side. A mezzanine level was added, making use of prefabricated spiral stair that was to have been the lower entrance. The upper level holds the bedrooms and overlooks the doubleheight living room. A courtyard was also introduced, seperating the residence from the studio space. The 5.1m tall facade is broken down into a rigidly geometric, almost Mondrianesque composition of brightly colored panels between thin steel columns and braces, painted black. 3
AD 2 09/10 In Place/Any Place Jing LIANG The University of Edinburgh
visualization
Double height living space
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Colored panels between thin steel colums and braces
AD 2 09/10 In Place/Any Place Jing LIANG The University of Edinburgh
Le Corbusier, Le Modular, 1948
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The Modular, a harmonious measure to the human scale universally applicable to architecture and mechanics wrote by Le Corbusier in 1948. Le Corbusier developed the modular between 1943 and 1955 in an era, which was already displaying widespread fascination with mathematics as a potential source of universal WUXWKV /H &RUEXVLHU ZDV LQà XHQFHG E\ WKH SUREOHPV KH VDZ LQ WKH LQGXVWULDO FLW\ +H thought that industrial buildings and housing techniques led to crowding, dirtiness, and a lack of a moral landscape. So he began to take physical form, mainly as houses that he creDWHG DV ´D PDFKLQH IRU OLYLQJ LQ¾ DQG ZKLFK LQFRUSRUDWHG KLV WUDGHPDUN ÀYH SRLQWV RI DUFKLtecture. For Le Corbusier, what industry needed was a system of proportional measurement, which would reconcile the needs of the human body with the beauty inherent in the Golden Section. If this system could be devised, which could simultaneously render the golden section proportional to the height of a human, and then this would form an ideal basis for universal standardisation. Using such a system, Le Corbusier proposed that architects, engiQHHUV DQG GHVLJQHUV ZRXOG ÀQG LW UHODWLYHO\ WR SURGXFH IRUPV WKDW ZHUH ERWK FRQYHQLHQW DQG delightful. According to Le Corbusier, the initial inspiration for the Modular came from a vision of a hypothetical man inscribed with three overlapping but close squares. Le Corbusier advised his assistant to take this hypothetical man with arm upraised, 2.20m in height, put him inside two squares 1.10 by 1.10 meters each, superimposed on each other, put a third square DVWULGH WKHVH ÀUVW WZR VTXDUHV 7KLV WKLUG VTXDUH VKRXOG JLYH \RX D VROXWLRQ ,Q WKLV ZD\ /H Corbusier proposed to reconcile human statue with mathematics. To further develop the Modular system, this time he started with the central square and then generated a golden section arc in one direction and another arc in the opposite direction, these arcs then generDWH WZR QHZ FORVH VTXDUHV ZKLFK DUH DOVR GHÀQHG E\ D ULJKW DQJOHG WULDQJOH ZLWK LWV ULJKW angle passing through the common boundary between the two newly formed squares. The idea being that the resulting form can be used to create a series of golden section rectangles at multiple scales. ,Q /H &RUEXVLHU VWDUWHG ZRUN RQ WKH ÀUVW SODQV IRU WKH 8QLWH G¡KDELWDWLRQ D EXLOGing for 1,600 inhabitants, comprising 26 communal services; his modular system was then put to a practical test. The building is 140 meters long, 24 meters wide and 56 meters high, ZKHUH WKH VHULHV RI ÀUVW H[SHULPHQWV DUH DSSO\LQJ WKH PRGXODU VXFK DV JHQHUDO SODQ DQG section, front elevation, the wall and the roof. Le Corbusier modular represents a curious turning point in architectural history. In one sense it represents attempt to provide a unifying rule for all architecture; in another it records the failure and limits of such an approach. He notes that the modular has the capacity to produce designs that are displeasing; he also abandons the modular when it does not suit and persistently reminds people that since it is based on perception then its application must be limited by practical perception.
AD 2 09/10 In Place/Any Place Jing LIANG The University of Edinburgh
SEAT Body Trace Choosing the gesture of reading, a body was traced in three different positions, indicating movement between them. The trace was done using strips of coloured paper reVXOWLQJ LQ D QHJDWLYH H[SUHVVLRQ RI the body. Line Drawing A line drawing was produced from a end elevation of the trace. First by hand and later in CAD. Chair Continuing on from the body survey, the line drawing of the middle position was used as a basis of a chair elevation. It was interpreted as showing both contraction and seat.
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AD 2 09/10 In Place/Any Place Jing LIANG The University of Edinburgh
Initial design
Model Making
Final design 7
AD 2 09/10 In Place/Any Place Jing LIANG The University of Edinburgh
ROOM
Room The room design was to create a space for reading. This developed into staircase which acted as a library as well as producing a secluded reading space at its peak. As ZLWK WKH FKDLU GHVLJQ WKH URRP WRRN LQĂ XHQFH IURP WKH SULRU VHFWLRQ WKLV WLPH DV D basis of its plan. A rib construction evolved from the trace, which would be timber and set up in a circular plan. These ribs would support the steps of the staircase as well as a seat at the platform and shelves at the back side. In the inner side of the ribs would EH WLPEHU FODG ZKLOH WKH RXWHU ZRXOG EH OHIW EDUH 3ULQFLSOHV ZHUH VHW XS WR GHĂ€QH WKH space: naturally lit from the top, library space caters for visitors while the reading space is private, the difference between the multiple purpose of the stair and the single purpose of the reading space and the basic idea of lots of books making up the space but only one book taken to top of the stairs. 8
AD 2 09/10 In Place/Any Place Jing LIANG The University of Edinburgh
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AD 2 09/10 In Place/Any Place Jing LIANG The University of Edinburgh
Collector’s House
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AD 2 09/10 In Place/Any Place Jing LIANG The University of Edinburgh
Advocates close
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AD 2 09/10 In Place/Any Place Jing LIANG The University of Edinburgh
Site Survey
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AD 2 09/10 In Place/Any Place Jing LIANG The University of Edinburgh 3 7 1 2
CConception
4
6
5 *URXQG ÁRRU
)LUVW ÁRRU
10 12
Boundary of light and shadow 11
9
8
6HFRQG ÁRRU
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Building form as intervention
1: Entrance&Reception 2: Garden 3: Gallery 2IÀFH 5: Toilet 6: Kitchen 7: Living room 8: Guest Bedroom 9: Reading room 10: Master bedroom 11: Bathroom 12: Balcony
AD 2 09/10 In Place/Any Place Jing LIANG The University of Edinburgh
Dance Centre
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AD 2 09/10 In Place/Any Place Jing LIANG The University of Edinburgh
EL-Clot
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AD 2 09/10 In Place/Any Place Jing LIANG The University of Edinburgh
Site Model
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AD 2 09/10 In Place/Any Place Jing LIANG The University of Edinburgh
,QGH[ VWXG\
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AD 2 09/10 In Place/Any Place Jing LIANG The University of Edinburgh
Location Plan
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AD 2 09/10 In Place/Any Place Jing LIANG The University of Edinburgh
Original Plans
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AD 2 09/10 In Place/Any Place Jing LIANG The University of Edinburgh
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New Plans
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1 4 7
6
2
*URXQG ÁRRU
8
10
9
)LUVW ÁRRU
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1: Entrance Hall 2: Cafe area ([WHUQDO 3HUIRUPDQFH DUHD 4:Changing room 5:Storage 6: Studio 1 7:Toilet 8:Studio 2 2IÀFH 10:Terrace
AD 2 09/10 In Place/Any Place Jing LIANG The University of Edinburgh
Section D
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AD 2 09/10 In Place/Any Place Jing LIANG The University of Edinburgh
Section C
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AD 2 09/10 In Place/Any Place Jing LIANG The University of Edinburgh
visualization
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AD 2 09/10 In Place/Any Place Jing LIANG The University of Edinburgh
Principal Studio visualization
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