EXERCISE 3: SCALE, MOVEMENT AND CONTEXT
3.1 Scale, Movement and Context 3.2 The Application of Scale and Movement to Abstract Form 3.3 Reacting to and Acting on Context
Charrette to produce a 6’’ cube from either linear, planar or volumetric materials.
contrast/ Strathmore museum board
This cube is really unbalanced as one side of cube is nearly empty, while the other side is full of objects. The pyramids are contrast with each other as well to create the feeling of unbalanced.
SYMMETRY/ BASSWOOD STRIPS
mondrian/ foamcore board
efficient/ foam
This cube is made of two exactly the same pieces. One piece is flipped and rotated, and then overlapped with the bottom one.
This cube is inspired by one of my favorite artist -- Piet Mondrian and his most famous artwork “Composition”. That’s how I arranged the rectangles. Also, The cut-out rectangles are folded to the other side of the cube.
I made this cube out of only three pieces of square foams. The cube is layered up by seven levels and every cut-out part on one level is used in the next several levels. This method creates very interesting negative spaces.
exercise 2.1 - 2.3:
Charrette to produce a 6’’ cube with internal spaces from linear, planar and volumetric elements ordered by one operation.
exercise 2.4:
Production of a 9’’ cube with internal spaces from a choice of any two formal elements ordered by any two operations. I tended to do something symmetical first, like the pinwheel cubes. Then I found that the gaps between each objectus were fascinating and got the inspiration of “Fracture”. However, the floating blocks need firm structure to support them and when the structure is interlock with each other, it could be solider.
I set two lines that go through every surface and form fractures on them by golden mean. The two pieces of foamcore that form the lines interlock with each other and are the main support in structure.
FRACTURE & INTERLOCK/ FOAMCORE BOARD & FOAM All the foamcores are interlocked with each other and foam blocks are set on the interlocked structure and create fractures that allows light to come through.
EXERCISE 3.1: Scale, Movement and context
Analysis of a campus building. Our building is Carnegie Library, which is really symmetrical on the inside. Instead of going directly into the reading room, we decided to have the spacial sequence that going from the hallways first, then towards the reading room, and this forms an “embraced� spacial sequence.
EXERCISE 3.2: the application of scale and movement to abstract form Transformation of object from Ex.2.4. As one of my operations is interlock, I came out an idea of having stairs interlocked into the structure and use different materials to distinguish the interloked stairs and others. Besides these, everything else is followed the same rules in Ex. 2.4.
EXERCISE 3.3: reacting to and acting on context
Transformation of individual building by designing a collective organization including other students’ buildings. All of the cubes in this site are connected with each other, which means people can visit the whole neighborhood and experience up and down, once them enter either of the cubes.
Formal and programmatic analysis of a house. The analysis of the Esherick House is mainly focus on Louis Kahn’s “Served and Servant Space“ theory, the privacy and natural environment.
Design of an artist’s studio. My art form is sculpture and main idea of the gallery is that visitors not only can see the artwork closely on the ground floor, but also can go up to see from an upper view, as well as going around to have a comprehensive aspect. What’s more, light would be another catchy point of the gallery.
4 cones help the gallery can hold 4 exhibitions at the same time and the stairs around the cones lead visitors go through each gallery with no repeat routine. The visitors can get to the roof in the middle of the journey and look down the cones to see the artwork. At noon, when the sun is at 90 degree above the gallery, the sunlight will go through the circles and from a spot that emphasize the sculpture, like a spotlight and makes the work look glorious.
The surfaces of the gallery cut the cones in section and form parabolic shapes on the outside. Here I used the operation – curving. Due to the curving, the space inside the gallery is divided into 2 parts – positive and negative. Since the studio and living room should be private, I decided to use negative space to develop that part and the positive one is set for the public. These two parts are not interact with each other, so their movements are partly separated.