[Art]Haus { A liveable Artwork } Stacey Mountfort MArch[Prof] 4th Year June 2016
2
[Art]Haus { Abstract }
20 Image Curation: The curation of 20 images critiques artworks (specifically paintings) subject to the modernist home/pavilion to reveal the differences in each artists’ expression of modernism. In each, as with most art, there is a distortion of the artists’ imagination of the architecture, compared with its actual reality. Rather than focusing on the illusion –what the artist is conveying; there is a focus on the disillusion –the deception art can have on actuality. However, I do not wish to use this as a critique of the artists intensions, but to question why architecture (or the home specifically) cannot become this disillusion; to be the artwork itself. This seductive power of art can be translated into the language of the built, and livable world. –A home as a rhetoric of illusory mood, space and experience.
10 Model Iterative Research: Therefore a study was done to understand how to translate the function of artwork into an architectural language. This was explored through the deconstruction of an artwork into 10 elements such as line, tone, composition, value, depth, sfumato etc. These were then translated into the complimentary architectural qualities. These qualities were critiqued in regards to the traditional ‘house/home’ in order to create a rhetoric of illusory mood, space and experience through architecture. As a result, the 10 Architectural qualities were applied to a standardised floor plan of the Farnsworth House by Mies van der Rohe. Each model then expressed a critique of the ‘traditional’ home in relation to the 10 elements outlined. This floor plan was chosen because it is an exemplary representation of both the International Style of architecture as well as the modern movement’s desire to juxtapose the sleek, streamline design of Modern structure with the organic environment of the surrounding nature. These very ideas are addressed in the selection of artworks.
Re-Imagined House Model_The [Art}Haus: The final outcome is formalised as an artwork that when viewed from its elevations alludes to work of Mondrian through its transparent layers, strong orthogonal elements, and panels of colour. This in turn denotes the notions of Modernism. As a livable house, the 10 reconceptualised qualities discovered in the iterative models is combined into one final design. Therefore, as a compositional artwork and a livable house, the ephemeral and dynamic qualities of this model critiques 1. The house as functional living space to become a livable rhetoric of illusory mood, space and experience; and 2. Seeks to question the stability of Modernism and Mondrian’s ideals of Neo-Plasticism.
3
The ‘Why’ behind [Art]Haus: The modernist ideals of minimalism, and the open plan associated with Le Corbusier are pushed by creating suggestions of an open plan that is no longer a singular plan but a series of levels that undulate within a complex lattice of transluscent orthogonals and planes of colour. The spaces are divided by ephemeral walls of thin cotton, and no longer is modernism a notion of stability and functionality. Mondrian as an artist, theorist and writer, believed that his art was to be a pure type of abstract art (Neo-Plasticism) that adhered to strict rules of composition and reflected the underlying spirituality of nature. He simplified the subjects of his paintings down to the most basic elements, forms and colours as a fundamental language for all cultures to understand and reveal the essence of “energy and forces” that governed nature and the universe. I wanted to question this sense of truth and balance in this ‘essence’ by questioning his reasoning of colour and order. Through the shades of pink cotton, I replaced the primary colour of blue with the non-colour, white to suggest that the 3 primary colours are not fundamental to the creation of all other colours but in fact pink would not exist without the existance of white (specifically in painting). Through ‘disorder’ there remains a sense of utopia, spontenaity, fantastical and the sublime.
4
5
Part[2] { 10 Model Iterative Research: }
Analytical Elements:
{ Architectural }
8
{ Artistic }
Farnsworth House
1.
Mondrian: Composition C
Circulation
2.
Line
Form
3.
Shape
Materiality
4.
Colour
Apeture
5.
Value
Thickness
6.
Tone
Depth
7.
Depth
Transparency
8.
Medium
Form
9.
Composition
Transition
10.
Sfmato
1.
6.
2.
7.
3.
8.
4.
9.
5.
10.
9
10
House and Home:
[ Architectural ]
[ Traditional ]
Farnsworth House
1.
Circulation
2.
Form
3.
Materiality
4.
Apeture
5.
Thickness
6.
Depth
7.
Transparency
[ Reconceptualised ]
Modernist Home
Idealised interpretation/critique of modernist home
Enfilade Hall
Journey / Narrative
Gable typologies
Layered planes as a “pure� abstraction of natural environment
Appropriate to typology and relating to form or context
Relates to Atmosphere and composition to create focal points
Framing view Functionality
Internal and external apetures for lighting effects
Efficiency of materials and functional living
Experiential and communicative of an idea
Proximity of spaces defined by functionality and room ambience
Dramatic for experiential narrative purposes and composition/aesthetics
8.
Privacy and Publicity Mood
Affect and subdue/reveal compositional elements
Form
9.
Fit with Typology or urban context
Communicate the speculative
Transition
10.
Division of spaces for room functionality and appropriation
Purposeful transition to enhance the experience
11
Part[3] { Re-Imagined House Model_ The [Art}Haus: }
14
15
16
17
18
19
20
21
22
23