Project Three: Final Submission

The basis of my design for this project is centred on an examination of the standard architectural order which exists in the surrounding terraces and residential units of the Potts Point area. Through the numerous site visits I identified that all the surround architecture follows the same set of principles, for example defining the front facade as a direct parallel to the street it fronts, and the boundaries as perpendicular extensions of the street. Considering these principles I began to further consider the manner in which such manages the separation between public and private spaces. Following these principles I discovered that such spaces are managed very directly through simply a vertical facade, which sharply distinguishes the public and private spaces. 

Therefore I intended through this project to manipulate such principles and standard architectural notions to inturn consider how the distinction between public and private spaces are able to be blurred. Further by defining the two clients as an extrovert and an introvert, the manner in which the overall architectural form may blur their coexistence via a communal garden, while further reflecting their state of existence through the creation of relative spaces. 

My design thus consists of numerous interconnecting curves which upon the facade blurs the distinction between public and private space. Such occurs through the creation of depth further enhanced through the manipulation of light and shadow over the surface of the numerous curvilinear planes. This notion and manipulation of standard architectural order is furthered throughout the design, allowing the public gallery to coexist within a private residence for example as the occupant moves directly through the gallery while remain detached. Curvilinear planes further allow a continuity of space to exist within the internal form.  For example within secondary house at the rear, the central living spaces appear openly defined, however remain functionally separated. The following collection of drawings beneath portrays my design in further detail.

Project Three: Week One - Statement

This week my progress has been based on conceptual form finding and visualisation, as I have begun to explore the manner in which the contortion of an external form defines the internal space, expanding to consider over numerous levels. Further, comparing a complex and yet controlled form against the linear framing of the site. I have begun also to consider how an architectural installation within this context, could defy the standards of architecture (hence front and rear facade with a body) to suggest a form of continuity, providing a single form which extends throughout the site, while defining individual spaces through the contortion of the responders perception.

Project Three: Week Two - Precedent Studies

Study One: Zaha Hadid – Contemporary Arts Centre (Cincinnati, Ohio)

The image above presents an interesting play of form over the facade of a structure, forming unique spaces internally as a result. Further leading to a unique division and proportional relationship of glazing, resulting a framed perception of external frame of view.

 Study Two: Itiquira House (Rio de Janeiro, Brazil)

The collection of images above begins present my consideration of the material pallet of the proposal hence, combining rusted iron, with stone and clean white surfaces. The result is an interesting play of light, comparing the harshness of the iron with the softness of the white, together enhancing the form.

Project Three: Week Two - Sketches

Within the series of sketches above, drawn both at the site visit and home, I have begun explore the surrounding context in both elevation and section. Identifying the manner in which the landscape has been adjusted to accommodate structures placed upon it, and the manner in which the internal section of the current structure responds. Further, I have begun to explore the division which exists in the current architecture, hence a front and rear facade, with an internal body. Thus there is no continuity through the architecture. Finally, I have begun to look at a possible landscape, hence gradual stepping, to provide an external space of a functional height shift.

Project Three: Week One - Initial Intent Statement

The initial intent I am looking at for project three consists of a proposal which itself works as an artificial art installation within a greater urban fabric. An installation which blurs internal and external spaces through interconnecting curvilinear forms, thus allowing multiple spaces to exist individually defined, let at the same time not. Providing a continuity of space between the internal and external dimensions, thus allowing the standard hierarchy of human interactions to be contorted directly through the architectural form.

Project Three: Week One - Precedent Studies

Study One: Herzog and de Meuron ‘Signal Box’ –

This project located in Basel, is an interesting project as it explores a linear facade strategy which appears, at the correct angle almost curvilinear. Such is achieved through layering, hence the layering of elements together allows the contortion of the responder’s perception. 

Study Two: Frank Gehry ‘Walt Disney Concert Hall’ –

The interior image presented above portrays the curvilinear notion of individual interconnecting elements which I am looking to achieve. A notion which blurs the extension of the space, allowing a continuity to exist internally, which suggests an undefined connection to the exterior space.

Project Three: Week One - Concept Sketches

The collections of sketches above have been intentionally left un-noted in order to enhance the curvilinear form portrayed. The series of sketches presents my initial concept of a proposal;  one which is based upon numerous interconnecting curvilinear segments. Segments which define a unique interplay of spaces, blurring the definition of where space begins and ends between the interior and exterior, thus blurring the transition between the two.

Project Two: Final Study and Conclusion

The overall approach I decided upon to address the Bordeaux House produced by Rem Koolhaas is one defined upon a research and discovery basis. Thus I developed a core conceptual notion which would interconnect distinctive sub categories of study to expand such a notion further. The core concept I decided upon discussed architectural prosthetics, or the contortion of a responders experience and existence through an architectural form itself. This would be expanded after further research within the context of the Bordeaux house to consider the emancipation of a responder and thus the creation of spatial freedom achieved within the architecture itself.

The first point of study I addressed concerned the architectural relation between detail elements and the whole form with regards to the natural surroundings. Thus the port holes provide an artificial and therefore prosthetic connection between the internal spaces and the exterior garden. A connection which is subconsciously achieved through the placement of the holes along common paths of movement and at places of use such as a desk or bed. This is portrayed within the model below where the skewer lengths and direction suggest such connections.

Expanding this notion of artificial connections to consider the combination of glazing options used within the project, identified the use of clear and frosted. A combination which provides a transitional separation between internal and external spaces as perceived from the interior. Thus altering the perceiver’s depth of view between the interior and exterior and therefore the relative connection achieved as suggested within the following drawing.

Concluding this point of study regarding the combination of glazing types and detail form, the artificial connection identified which occurs as a result is evident. A result which stimulates the psychological perception of spatial freedom within the design, however one which further stimulates movement, and thus suggests a prosthetic contortion of the responders experience. Suggested within the image below.

The second point of focus I decided to focus upon concerned such a psychological relation between internal and external zones within the Bordeaux House, thus considering such stimulated movements. Therefore I decided to focus on how such movement is stimulated through both detail elements and major elements within the design. Identifying the manner in which the articulation and positioning of major form element such as walls, provides spatial continuity between spaces providing a psychological perception of freedom as portrayed through the drawing below.

While, the individual detail elements such as the port holes provide an inverse influence of the external perception internally. Thus the void of the inverse perception which defines movement, more importantly defines the spaces in which interactions occur, as framed by the major elements including walls. This notion is suggested in the model below.

The result of considering these major and detail elements is a suggested range of interaction fields which subsequently defines the spatial syntax throughout the design concerning stimulated movement. Thus a spatial syntax which evokes psychological freedom through the creation of numerous branched pathways and places of interaction which therefore limits the control the architecture itself has upon the responders. The spatial syntax is suggested below.

The final point of study I decided to carry out concerns the blurring of internal and external spaces thus considering the illusion of freedom. Therefore I produced the model presented below which provided a simplistic interpretation of the blurring between internal external spaces over the first floor. Therefore resulting in the artificial production of external spaces, internally.

Further, I expanded on this blurring of spaces by considering the spatial syntax, and the relative influence which occurs between the two. Thus I identified through the mapping of the syntax over each floor with regards to only the movement, (within the floor, from the exterior to the interior and a combination of the two), the manner in which the syntax responds to dictate the connection between the internal and external spaces with regards to the type of interactions which occur within the space, or simply whether they are private or public. Thus public spaces are detached from the exterior through a linear syntax, while public spaces are connected through a branched syntax. These diagrams are explored below.

 While finally I expanded this notion of the blurring of internal and external space to consider the blurring of vertical and horizontal spaces about the central lift shaft. Thus identifying the space defined by the level the lift is on but further examining such to consider the void which is left, particularly when the lift is motion. Hence we conclude the void as a result of such defines the illusion of freedom as it presents a undefined space which is further connected to the exterior appropriately. The variety of spaces defined internally across the vertical and horizontal planes are portrayed below.

Statement of Concluding –

In concluding this study I identified that Rem Koolhaas has employed numerous architectural techniques to define an illusion of freedom within the project in order to re-define the owner’s instability of life. Thus defining the architecture to become a prosthetic extension of the human form, where each technique in sense represents a nerve, which through the architecture becomes a single prosethetical replacement.

Project Two: Preliminary Summary of Study Direction

The image above presents the preliminary summary of thoughts which I discovered regarding the Bordeaux House concerning three fields including the structural strategy, formal devices and detail to the whole. Furthermore though I realised after placing my thoughts down on paper together, the lack of depth I had in fact discovered through my study and therefore realised I needed to further develop such thought processes.

Project Two: Study of Structural Strategy

Although within my final project presentation and conclusion I focused on areas of study other than the structural strategy, I found it important to still address what I discovered. Hence through such I discovered the true instability which exists within the Bordeaux House and the manner in which it applies to the conceptual nature of the design and hence the owner, as suggested through the expressions defined above.

Project Two: Initial Study Path Summary

The collection of images above provides a summary of my initial thought process carried out regarding an in depth study into Rem Koolhaas Bordeaux House. This would involve a study into the structure, detail elements and formal device used throughout and their significance to the overall project.

Project One: Final Drawing Analysis

Structural Analysis: Within this analysis portrayed through the drawing above my intent was to define the individual key structural elements which are core to the construction of the project. Presenting them in manner which allows there interaction with one another to become evident.

Section Analysis: Upon considering the major built elements within this project, I decided to use an axonometric, which defined the hierarchy within the design. A hierarchy which occurs on two levels, firstly the clear separation of floors, and secondly the individual division within the floors depending on which occupant uses the space the most.

Circulation Analysis: The intent within this drawing was to portray the manner in which individuals circulate throughout the Bordeaux house from three perspectives, firstly the owner (solid line), the rest of the family (hatched line) and a guest (white line).

Landscape Analysis: The intent of this drawing regarding an analysis of the houses interaction with the surrounding landscape was to present precisely that, however in way which outlined this more than simply placing the building on a contour drawing. Thus the drawing portrays the manner in which the house is sliced into the slope in one instance, and in another is placed upon it, where the natural geometrical form of the building allows responders to frame the external environment.