POR TFO LIO
Micro Studio - Review - Smail Azmat
The user experiences a disconnection from the routine and from daily life, once in this space. By the elimination of artificial light, nature is the only way to follow. It brings a change in occupants’ life style by forcing them to live and work according to the hours of light during the day and it dictates that night is the time to rest; assumed that the cabin is not used in winter.
PRECEDEN T 2 https://archello.com/project/space-of-mind
https://archello.com/project/space-of-mind
BUILDING: ARCHITECT: YEAR: LOCATION:
SPACE OF MIND STUDIO PUISTO 2020 PORVOO, FINLAND
Being a modular building it can be used in several, different ways, as stated by Archello (2020) “Space of Mind can serve as anything from a spare bedroom to a gym to a home office with the flexibility to be placed nearly anywhere in the world.” The hierarchy of space is expressed through the visualization of the structure internally, in repetition with the external envelope. Its versatility and the clearness of the internal space are chose for the Micro Studio project. The use of wood can be replicated to lower the impact on the environment and the minimal structure can be a starting point for the undertaken studio space design. With a footprint lower than 10m2 it can be the perfect example to start Archello (2020), “Space of Mind, a modular cabin”,available at: with.https://archello.com/project/space-of-mind (accessed on the 31st October 2020)
https://archello.com/project/space-of-mind
MAT ERIALS INSPIRAT ION The timber framed structure is the main inspirational element of this building for the Micro Studio project, however, the exterior shell finishing is a component that would perfectly work for the designed cabin: perhaps in a darker finish. The main structure will be attached to the concrete base using the conventional bolding and steel plates method.
https://www.dezeen.com/2020/10/16/space-of-mind-modular-cabin-studio-puisto/
https://archello.com/project/space-of-mind
https://archello.com/project/space-of-mind
PRECEDEN T 1 BUILDING: ARCHITECT: YEAR: LOCATION:
A45 KLEIN B.INGLES GROUP 2018 NEW YORK, USA
Thanks to irregularity of its shape, this building offers different layouts, depending on which angle you’re looking at it. The main glass façade offers maximum connection with the surrounding thu neutralizing the internal environment. The connection with nature is made also thanks to the “exposed” structure on the glass façade which marks the verticality and materiality(mainly wood) of this building. Its base rests on four concrete pears, “This method is intended to allow owners to construct their tiny houses in remote areas, without the need for heavy machinery”. B.Cogley (2018) The choice of the cladding, which makes it stand even more in the middle of nature, it’s mainly made by natural materials to better connect with the surrounding.The sharp forms and the use of glass can be used for the Micro Studio and can help to make it more efficient and connected with the surrounding and the valley. B.Cogley (2018) Dezeen, ” BIG designs prototype tiny cabin in Upstate New York” available at: https://www.dezeen. com/2018/05/17/big-designs-prototype-a45-tiny-cabin-klein-upstate-new-york/#/ (accessed on the 1st November 2020)
MAT ERIALS INSPIRAT ION The laminated veneer lumber, used for the floring here, will be replicated in the student’s cabin. The contrast with the dark exterior will define the internal environment as it will be ligh-catching , thus giving a sense of openess to the cabin.
All images downloaded from: https://www.dezeen.com/2018/05/17/big-designs-prototype-a45-tiny-cabin-klein-upstate-new-york/#/
PRECEDEN T 3 BUILDING: ARCHITECT: YEAR: LOCATION:
MUJI HUT MUJI 2017 JAPAN
With a footprint of 12.2mq, Muji Hut is the perfect small cabin. Made with “japanese wood”, as stated by D.Mac (2019), the hut has its conctrete foundation protecting it from moisture. The 3mq, covered, veranda makes the occupiers feel in a larger space when inside the 9mq resting area; thanks also to the large, glazed, slinding door, which opens to the exterior. The minimal interior can be intended as the metaphor of a simplistic life, away from the confusion of everyday’s life. The linearity of space and form are also focusing on a steady and relaxed environment: a place to find peace in. The regular for of this cabin and it’s openness to the nature can be inspirational for the Micro Studio project but the main point to learn from will be the use of a small veranda as a transition from the inside to the outside. D.Mac. (20190, Detail, “The Emptiness of the Cabin: Muji Hut”, available at: https://www.detail-online.com/blog-article/ the-emptiness-of-the-cabin-muji-hut-33724/#:~:text=Muji%20Hut%20combines%20a%20compact,Ryohin%20Keikaku%20 Co.%2C%20Ltd.&text=Muji%20Hut%20is%20the%20successor,Konstantin%20Grcic%20and%20Jasper%20Morrison. (accessed on the 3rd November 2020)
MAT ERIALS INSPIRAT ION This building is the most similar to the cabin designed by the student in its form and shape. The use of the concrete base and the verranda is taken from this building. In contrast with this design the student has added multiple openings thus eliminating the use of artificial light.
All images downloaded from: https://www.muji.com/jp/mujihut/en.html#:~:text=The%20MUJI%20Hut%20has%20a,freely%20
I T ERAT ION 1
I T ERAT ION 2
In this first iteration the idea of form and space has evolved around extraction of material from a perfect cube, thus achieving a dicetype shaped cabin. The main elements are the openings at 2.5 m from ground, and the odd angles of the dice reflected in the interior space through shadowing. As the concept is based on a building free from artificial light, the light inlets are used on all the 4 sides of the buildinging, thus illuminating the whole cabin in poor light condistions as well.
In this second concept the building’s design follows the forms of imperfect surrounding (rocks, slopes and odd paths). It consists in a 3.5m by 4m cabin. Facing South, the large window maximizes light and colours in the cabin. The occupier feels continuesly in interation with the surrunding nature thanks to the openings, lowered now at 1m from the ground. The west side facade has no openings as enough light’s allowed from the two windows.
I T ERAT ION 3
I T ERAT ION 4
With this 3rd iteration the user experiences an interruption of the visibility as the building states the biundry between the human and the valley in front of him. However, once inside, the structure drivers the occupier to the full hight opening, which brings back the connection with nature. The building is designed to have a narrow entrance whereas the span increases reaching its maximum once at the window. The light at the end of the tunnel. Two triangular windows are located on the roof to offer direct sun light.
A simple cube shaped cabin, offering light from the vertical window on the south facade, changes its nature thanks to the cantilevered glass floor. The occupiers, here, has a unique experience of nature, at ground level first then a feeling of floating in the nature emerges. A contrats between wonder and fear , transition from steady to movement. A moving element has been added to allow more light . Depending on the light conditions and need s this can be either closed or
I T ERAT ION 5 This last iteratiion is based on a combination of all of the others. Starting from the simple shape to the large opening on the valley, offering an external verranda as a connection point with the interior. This cabin, as the one in iteration 3, focuses on the valley. It form’s showing to the ccupariers what is the surrounding offering in there; acting like the abstract eye of nature. A concrete base, lifted from the ground by 2.1 m is working as a shelter to the non occupants but at the same time is minimazing the impact of the construction to the site, as only 4 pillars are ancored to the rock instead of the whole cabin. Window openings are located both around the working space , thus allowing enough light to read or during the day. A foldable glazing is used to connect the balcony to the interior; once totally opened it increases the area of the cabin . SITE PLAN
FURNISHED FLOOR PLAN
2 POINT PERSPECTIVE
SECTION A-A
AXONOMETRIC
NORTH VIEW
FLOOR PLAN, USAGE ALLOCATION
ROOF PLAN
STRUCUTRAL LAYOUT
https://www.aeandkcircuit.com/
https://www.francisfrith.com/alderley-edge/alderley-edgestormy-point-2005_a29702k
http://www.bbc.co.uk/manchester/content/articles/2007/05/11/110507_alderley_edge_erosion_feature.shtml
SK E TCHBOOK ILLUST RAT IONS AND SI T E IMAGES