CONTENTS + CONTACT
STAGE 1 - 06 - Window Analysis in Arabia - 08 - Window Analysis in Japan -
010 - Black Teahouse Study, A1 Architects, Česká Lípa, Czech Republic 011 - Teahouse Digital Model Views 013 - Site Plan, Czech Republic 015 - Elevations 016 - Floor Plan, Sections 019 - 3D Details 021 - 2D Details 022 - Isometric Views 025 - Design Sketches
STAGE 2 -
028 - Redesign Concept Sketches 032 - Mizūmi Restaurant Concept 034 - Site Plan, Shinjuku Gyoen Gardens, Tokyo, Japan 036 - West Elevation 038 - North Elevation 040 - Floor Plan, Sections 043 - 2D Details 047 - 3D Details 051 - Isometric Views 055 - Digital Model View
WILLIAM JURY - a1667263 CONTACT - a1667263@student.adelaide.edu.au
RESEARCH/ ANALYSIS
STAGE 1
06
The Window in Arabia The traditional Arabic screen, commonly referred to as a Mashrabiya, is found in the countries of the Arabian Peninsula but also Northern Africa and the Middle East going into central Asia. The unique style of patterns is one of the many iconic symbols of Islamic architecture. Traditionally these beautiful patterns were made from stone and earth, today mainly from brick or concrete. The most predominant patterns are geometric using a mix of squares and triangles. This filters light from a hot desert day into a space, materialising it. There is no large frame as in western style buildings and the pattern style densifies luminosity and modulates light. Patterns continue through in the form of shadows inside, creating a mysterious mood that can only be understood by those who have experienced it. The Mashrabiya defies solidity while also not breaking up a space that usual windows do.
07
08
The Window in Japan The Japanese Shoji, is found across Japan in traditional and new architecture. The lattice frame holds paper or plastic with a foggy opaque effect. Rather than allow small sums of light as in the Arabian Mashrabiya, the Shoji creates an opaqueness of constant light. A luster from the unbroken luminosity gives a soft calming glow that is the perfect setting for Japanese times of reflection, such as that of a teahouse. Although the screen is framed, light is dispersed evenly throughout a room. Light dispersion in western style windows however, has many different levels of harsh light intensity throughout the day with shadows like knives that cut the space. The shoji is much more calm and changes over a day with light changing the opaqueness of the screen, giving a gradual constant glow increase or decrease. Because of this light dispersion, many homes in Japan still use the shoji over western styles.
09
Black Teahouse - A1 Architects, Česká Lípa, Czech Republic The Black Teahouse by A1 Architects is a European interpretation of the traditional Japanese teahouse located in a wetland. It was studied and used as the basis of the stage 2 redesign. Built from timber and a meshed interior cone structure, it reflects the quiet and reflective space with a northern touch.
010
NW View
SE View
Site Plan, Česká Lípa, Czech Republic, 1:100
012
013
Black Teahouse Elevations, 1:50
014
015
Deck Plan Detail (021)
Black Teahouse Floor Plan, Sections, 1:50
Screen Track Plan Detail (021)
016
017
Black Teahouse 3D Details
018
Teahouse Frame
Hearth Wood Frame
Wood Screen Hearth Screen Tracks Timber Supporting Beams
Screen Detail
Hearth Frame Detail
019
Black Teahouse 2D Details, 1:10
020
Deck Flat Head Nail Timber Side Board
Screen Tracks Timber Deck
Deck Flat Head Nail
Timber Deck
Teahouse Frame Wood Screen
Teahouse Frame Deck Plan Detail, 1:10
Screen Track Plan Detail, 1:10
021
Isometric Exploded Views
022
023
Concept Sketches
024
025
REDESIGN
STAGE 2
Redesign Concept Sketches
028
029
"In making for ourselves a place to live, we first spread a parasol to throw a shadow on the earth." - pg17, In Praise of Shadows, Jun'ichiroTanizaki
Stage 2 Redesign - Mizūmi Restaurant Concept, Shinjuku Gyoen National Gardens, Tokyo, Japan The Mizūmi Restaurant concept was designed in keeping with the Japanese theme, around the ‘parasol’ motif in the writings of Jun’ichiro Tanizaki. This base was interpreted as a cone with which the restaurant is centred around, made from traditional thatch work. The rest of the restaurant takes basic elements based on the Black Teahouse by A1 Architects, with keeping a timber and natural feel. The main restaurant area is centred around a circular kitchen with tables that can be used outside on the lake facing decks. The three circular eating areas are surrounded by shoji, to create a dim glow that is a contrast to the shadows of the timber. Two smaller private dining areas are located within trees over a short bridge which act to bring the traditional eating described by Tanizaki, into the city. The word ‘Mizūmi’ is a literal translation from Japanese meaning ‘lake’ which reflects the aim of the design, to create a lakeside restaurant with traditional motifs to break up the fast pace of the city.
032
Site Plan, Shinjuku Gyoen National Gardens, Tokyo, Japan, 1:500
034
035
036
Miz큰mi Restaurant, West Elevation, 1:200
037
038
Miz큰mi Restaurant, North Elevation, 1:200
039
Plan Detail, Shoji Connection (045)
Miz큰mi Restaurant Floor Plan, Sections, 1:200
Section Detail, Deck (043)
2D Section Detail, Deck, 1:10
042
Restaurant Chair
Flat Head Nail Timber Side Board
Timber Deck
Timber Supporting Beams
Teahouse Frame
043
2D Plan Detail, Shoji Connection, 1:10
044
Timber Deck Timber Side Board Deck Flat Head Nail Shoji Screen Tracks
045
3D Detail, Kitchen Unit
046
Red Cloth Interior Divider
Nail Base and Steel Plate Anchor
Stove and Cooking Surface
Deck Timber
Stainless Steel Kitchen
047
3D Detail, Timber Roof Connection
048
Roofing Timber Flat Head Nail
Groove Connection
Charred Timber Frame
049
Isometric Exploded View 1
050
051
Isometric Exploded View 2
052
053
Digital Model View, Looking SW
054
Thank you.
- William Jury - a1667263@student.adelaide.edu.au -