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CHARETTE Migratory hides
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Pattern forming, folding and locating migratory hide
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MIGRATORY HIDES Charette week was an event where all years were encouraged to work as a team within the completion of a specific project. I was in the ‘Migratory Hides’ team in which the brief was to design a costume for a ghillie that must adapt to its environWment
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The projects ( the Chamber, Show Store and Master plan) are explored using the idea of variations of theme, and developing matching motives. I have explored the use of bricolage. In particular identifying various elements or ‘objects’ that do not necessarily fit together and attempting to reconfigure them to form a new whole. The next drawing demonstrates this example.
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Peter Zumthor sees architecture as ‘a membrane, a fabric, a kind of covering’. John Cage: ‘As far as consistency of thought goes, I prefer Inconsistency.’ A conflict is created when trying to confront the notion of boundary.
Primer Sentences from music theory and architecture theory
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Prototype 1 Design Framework
16 Diagram 2 Concept model
Prototype 1 Design Framework
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Design a room for the rehearsal of a selected piece of music, connected via a secondary space or route to a smaller space for rest or contemplation. This should be presented at 1:50 in model form using materials which reflect the qualities of the intended construction. There is no site or context for the model. Focus on spatial relationships and materials, the model should not include extraneous detail
Prototype 2 spatial study
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TENERIFE SCHOOL OF SCENIC ARTS BY GPY ARQUITECTOS
The example shows how light is the conflict between the concrete and the timer. Significantly the contrast between the linear, monolithic timber. 'The interior roofed patio, of the wooden surface of the roof, is conceived as a scenic box' Light is also considered as a building material - the light that fills the interior empty spaces. In other words 'their behaviour in the presence of light.'.
Reference Investigating light as a third material
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PROTOTYPE 3
CONSTRUCTION METHODOLOGY
Prototype 3 Construction Methodology
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FIELD TRIP
Portugal - Lisbon - Porto
Formation of elements housing a specific object
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The field trip to Lisbon and Porto, Portugal furled inspiration in terms of studying Architect such as Douto de Moura and Alvaro Siza’a personal thermatic design approach. I was particularly interested in how Souto de Moura design’s for a building’s function by using critical regionalism and materials. Eduardo Souto de Moura
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THINKING THROUGH MAKING Joining different materials together
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Points of interest
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Points of interest
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A representation of the Contemplation spaces in numerous spaces in the Chamber.
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‘In SwallowWWs the Poison Apple’ - Paula Rego Pastels on prepared canvas
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The Nolli diagram demonstrates the relationship between the urban context of the incubator and the vegetation context.
A strong connection between disconnected parts of the site and its surrounding landscape, enable key views and routes through and articulate the topographic qualities of your scheme.
Site Analysis Approach
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1800s
Castle and Chares connecting Quay side to city
1910s
Victorian building mass followe dafter the industrialisation.
1970s
Fragments found on the site
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Incubator Site - Spaces that are defined by a hierarchy of ‘objects’ that are not realigned
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Incubator model on Site.
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A Palimpsest is a manuscript used by Monk’s to write . They would rub out the previous information and recycle the paper. The layers and layers of information remains as its used pver time. This theory is evident in architecture that explores the urban landscapes were there is a sense of the strongest things which remain and the other elements are erased. Hence I am gathering elements of history and reinterpretation the layers.
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Master
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Show/Store and Chamber Master plan
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Interpretation concept of the Masterplan by incooperating existing spatial qualities surrounding the site
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Paula Rego - Snow white Series - The Show/Store will house this particular series.
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Spatial concept develop of ‘Under the sky/ Under the ground’ Rego’s technique of layering pastels in order to create tone is evident in the way I layered elements to create a new form.
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Realisation stage where the concept of using two elements were one is heavy and the other is light and shifting the in order to create unique atmosphere qualities
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The precise integration of concept and topography gives the building a unique profile. The building form derives from the spatial concept “under the sky”/“under the sea”
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Spatial organisation using bricolage in plans and sections
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* Perspective of the study spaces - The library Roof light views to the sky Variations in atmospheres
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Interiors spaces of archive, Show stow and how light is difďťżfused
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Long Section of Show/ Store. The image reflects the dark exhibition spaces opposed to the light Study spaces at the top
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* Light Strategy - ‘Light boxes’ have a light primary Structure to diffuse light down the proposal
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嘀䔀一吀䤀䰀䄀吀䤀伀一
吀䠀䔀刀䴀䄀䰀 䴀䄀匀匀
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Variations in materials
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A glass ceiling in Zumthor’s Bregenz Kunsthaus bring in diffused light
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Tadao Ando, Koshino House - Light as a third element. Light is the result of shifting forms in order to create unique atmospheres.
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Variations of material thickness’s
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Elevation of Show/ Store, Looking south
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