SARC112 Assignment 3 Tutor: Tom Dobinson
View From The Pot
~
Keegan Davis 300 320 137
Tri 2 2014
B R IEF R EQ UIR EM ENTS View Surface Furniture
PROGRAMME KEY FEATURES
Tranquility - Silence / Stillness / Solitude
Shelter - Safety / Enclosure
Intimate Space - limited seating encourages fewer people
Simple & Raw Materials - Wabi Sabi
Extension of Self - Transendence through architectural design
Define Relationship Of Interior Elements
The S i m ul a c ra - Pro jec t Statem ent & Des c ri pti o n What
The four images to the left are example of highly constructed interiors offering rich saturated
colours and high levels of visual interest. The windows offer similar emulated stimuli - both interior and exterior exist only to satisfy a visual sense. The pseudo-home comforts are lathed-on carelessly in an attempt to simultaneously appeal to home comforts and luxury hotel sensibilities. They exist only at face value. My interior hopes to be the antithesis of these gaudy arrangements.
Why
It is possible for material furnishings to embody memories, over time enriching the materials qual-
ity to a point where their intrinsic value out-weighs its physical value. This leads material furnishings to comfort one emotionally more so than impress one visually as the materials provide a meta-physically marked familiarity. This is where material possession begins to offer identification and sense of place. These finer, sensed deatils can only be felt and are not easily created or synthesised. The more we force something to be real the more simulated and less real it becomes. Interior design is to construct an intimate environment, a third skin, 1 between us and the outside world.
How
My interior design will result directly from the composition of these intangible ideals that strive to
highten human experience. In order to provide greater more real experiencial qualities these ideals will be translated and solidified to architecturally filter and thus enhance the surrounding world. 1 Hundertwasser, concept of the 5 skins - 1. Epidermis 2. Clothes 3. House 4. Identity & Social 5. Earth & Biosphere
physicality
Bamboo
River stones
Crushed Limestone
Project 1 // Landscape Materiality, Senses, Physicality
Exterior shots - Wabi Sabi, elementry materials
Project 2 // Elementry Architectural Materiality, Wabi Sabi
SUM MARY O F P RE VI OUS P RO JEC TS
Sum ma r y O f Prev io u s Pro je c t // I nter io r & Ex ter io r Views - M aterial Details
Grasses
Concrete
Rustic Timber Sleepers
Left
Right
Isometric Floor Plan
Sum ma r y O f Prev io u s Pro je c t // Plan - S ec t io n - E levat io n
Front
Isometric Floor Plan
North
South
Views fro m hu t
South
North North
Previous project
Hu t O r ientation O n -site
Sum ma r y O f Prev io u s Pro je c t // O r ient at io n O n Site - View Fro m H ut
View A
View B Shifting focus sharpens of softens foreground and background respectively. It could be important to consider how near or far objects are placed relative to one another and the viewer.
Preli mi n a r y View R e s e a rc h & Analysis // Paralax Effec t As Co mp osition al E lem ent
Fig. 1
Fig. 2
Near and far views out a window function in a similar way to a camera’s SLR aperture.
Window and view model
Window as an object, exterior seems to provide fill and is flatterned, window and exterior become one.
Fig. 1
Fig. 2
When close to the window its frame falls away the environment. When look from far through the window the frame and outside environment flatter into a object, greatly limiting the occupants view. When close to the window (Fig. 2), its frame moves to our periphary and the environment is our focus. When far from the window, its frame and the outside environment seem to flattern into one viewing plane. The frame and the environment are framed as one.
Preli mi n a r y View R e s e a rc h & Analysis // Framing & M anipu lat io n O f View
All viewing windows must be eliminated from the hut because a view would allow to much light to enter. In order to create an intimate space light and shade need to be managed carefully. Crepe paper covers a view
Early morning sun
Mid morning
Early afternoon
Early afternoon
Mid morning
Midday
Early afternoon
Sun light entering through the roof penetration and tracks through the interior as the sun moves across the sky.
The striking top-down lighting is a powerful element in this photograph. Replicating this strong directional light could yield simililar dramatic effects on materials and object with in my interior. Controlling placement and angles of lighting will be important to achieve this desired effect. Textures and form come into play.
V IE W / / Ph oto g ra p hic Ske tc hes - M o delling Po tent ial Light ing An gles - Top & S ide
Green lighting
Blue lighting
White lighting
In this iteration lighting has become a cynindrical object providing light. Colour was tested using blue and green cellophane. The lighting is softened and spread evenly by the crepe paper, providing diffuse space lighting.
V IE W / / P h oto g ra p hic Ske tc hes - M o delling Light ing As O bjec t
Precedents // Early light projection work by James Turrell (1968)
Left side lighting
Right side lighting
Top lighting - low intensity
Using textures to create lighting effects
White Crepe Paper
Textures Fibre Craft Paper
Top lighting - high intensity
Placing textures
Bamboo Skewers
Corregated Cardboard
Simple raw materials
SUR FAC E / / P h o to g ra p hic Ske tches - M o delling Po tent ial Light in g Pattern s & Tex tures
Precedents // Mashrabiya patterning
Interior Affect By eliminating viewing windows I am providing a place that will directly affect how visitors sense their environment. I expect their touch and hearing to be heightened while visual sense may rested. The shadows create great depth as the light tunnel channels and limits direct toplight from fully illuminating the interior.
Textural model is created using corregated cardboard to enhance interior wall and roof surfaces. Torch is placed on roof to illuminate light tunnel. Crepe paper is wrapper around clear acrylic sheet. Model is roughly scaled at 1:50
Fig. 1
Fig. 2
Fig.3
Fig. 1) Demonstrates clear opening and its potential for stricking shadow details across the floor. Produces high contrast between light and shadow. Bamboo skewers create stricking shadows under direct top lighting. Fig. 2) Placing crepe paper over the skylight greatly softens light and helps illuminate interior wall texture BUT almost completely removes shadowing. Fig. 3) Wrapping crepe paper around the glass tunnel helps to spread light through out the space - diffuse light
SURFAC E / / S YN T HE S IS 1 // P ho to graphic Sketches - M o delling Potential Lightin g on Tex tures
Does it suit the intended programme? The shadows falling across the floor and crepe paper are beautiful. A great tension is created where the scewers meet in a sharp point on the floor. BUT focus may be drawn too strongly downswards to this point, I don’t want visitors focus to be directed in this way. Infact, this particular skewer arrangement could be flipped and used as a device to guide visitors gaze upwards - drawing thiem into the space, towards the light.
Fig. 7
Fig. 8
Fig. 9
Skewer arrangement assists in guiding visitors gaze upwards towards the light. Even under low lighting (early morning & late afternoon) the point of the skewer arrangment remains visible, mysteriously emerging out of the darkness. Lowering the crepe paper to shroud the skewer arrangement invites visitors to draw closer to discover the hidden skewers.
Fig. 6
SURFAC E / / P ho to g ra p hic Ske tches - M o delling Po tent ial Light in g on Tex tures
Precedents // Contemporary Japanese top lighting - little or no side lighting
Fibers form the craft paper create beautiful and soft organic layers. The material falling from light into shadow brings mystique. This light tunnel as an iterior illuminating object that fills the room, inviting little more than a interesting surface to walk around.
Raising the material to partially coneal the skewers seems more inviting. The composition encourages visitors into the space as they try and satisfy their curiosity. “Where are those giant wooden poles going?” The wooden skewers / beams enhance shadowing which stimulates visual senses, while they also can be touched as people wonder through the ‘trees’ while the outside world recedes into the surrounding shadows.
SURFAC E / / S YN T HE S IS 3 // P ho to graphic Sketches - M o delling Potential Lightin g on Tex tures
The interior reveals itself as slowly. Visitors procede with caution.
First site of centre piece.
Approaching the centre piece.
SURFAC E / / S YN T HE S IS 3 // P ho to graphic Sketches - M o delling I nten ded Points O f I nterest
Wooden beams direct visitors to sky view.
You are in the spot light, in the reeds and among the trees - miniture. They rise to a point high above you in the sky.
FINAL / / M o d e l Sh ow in g View, Su r face and Fu r nit u re