Carlo Scarpa - further precedent study

1) Tomba Brion-Vega.
I love the multi-layered thickness of the walls, the bold, perpendicular juxtaposition of horizontal and vertical lines, and the long narrow corridor which rewards the viewer with the framed view at the end.

2) Detail from Olivetti Showroom, Piazza S. Marco, Venice.
I love this interlocking squares, as well as the metallic qualities of the material. For me, this image evokes both a humble understanding of the material's natural properties, and a feeling of luxury and splendor.

3) Interior of the Olivetti Showroom.
Where to start? The polished timber on the ceiling, the alternating floating stair widths, the warm glow enhanced by softly reflective surfaces, and the bench made of two concrete slabs.
I would really like to emulate the lighting effect by using sepia wash or yellow tones, this also references the colour of the painting.

Clarity, dimensioning, materiality...the nitty gritty stuff.

Further exploration...

The part on the right was my original drawing....the left is Anu's add on. :)

Draft Model

I made a quick sketch up model to express my ideas. The 3D visualisation will help me resolve final design details. The above image is the only visible elevation, this view would be embedded within the cliff face.

Above: section cut looking from the cliff outward, showing the level changes, stairs and wall thicknesses.

Below: I wanted to explore the theme of interlocking lines not just by the overall form but in the interior and junctions detail.s The thickness of the steps here leading from the main room to the corridor are embedded within the thickness of the wall, each layer a different width to also expand on the idea of playing with proportion and perspective. I like the "frame" that is created for the entrance. Walking on the stairs is like literally through the frame itself, as if the frame is a space of its own, and not just a structure in between spaces.


Above: the corridor. I wanted to play with the proportions of solids and voids. Structures are typically mostly voids, and a small percentage of solids, usually just for structure and not often as a design feature. What happens when this is reversed? Especially for a small scale structure. The narrow sliver near the ceiling allows a very small amount of light to be let in. The placement references the high windows in Vermeer's paintings.

Below: view of corridor from end room. The top step is the corridor itself, again creating a "frame".



Two axonometric drawings give better indication of space and layout.

Further development of design...

I want the structure to consist of one open, exposed space for her to play music, perhaps in the presence of company, and another more private, secluded space.

Manipulating light....

Exploration and culmination of ideas....

Inspiration from Precendents

Falling Water 1934 by Frank Lloyd Wright

This building embodies all the elements I'm trying to express - privacy, seclusion, surrounded by nature, as well as the presence is also an interesting play between the "visual weight" of the concrete slabs and masonary, and the delicate glass. The juxtaposition of the horizontal and vertical elements are also an interesting component, and add to the arresting form of the design.

I want to create a simple, yet strong and bold form which speaks for itself and does not need unnecessary adornment.


Church of Light Osaka, Japan. 1989 by Tadao Ando.

I love his use of simple materials and natural light to create a dim, soothing atmosphere. He really understands the nature of materials, the simple design allows the concrete's natural beauty to show through. This building is also a good example of a simple, strong form enhanced with vertical and horizontal elements. Below: and interesting junction - interlocking of parts.

Week 1 Narrative, site and brainstorm

Things to consider: manipulation/distortion/filtering of light, spatial relationships, reflection. Presence of water and sound.

Narrative:

A dimly lit retreat of serenity for a reclusive musician.

My enclosure will be a sanctuary for someone who is socially introverted, and who finds solace in creating music. There will be a safe enclosed area that will be a private area, and a more open area, perhaps for a friend to come and listen. (As in the painting.)

I have chosen the location to be Milford Sound, in the South Island of New Zealand, because it is a shaded natural environment that perfectly expresses privacy, seclusion and a restful sanctuary.



The sounds have a multitude of gentle waterfalls, mossy greenery and misty mountain peaks. I want to place my building behind a small waterfall. It will be built near the top, where the flow is slower and gentler, and the entrance will be at ground level. A ramp will recede into the earth leading to the rooms. One room will protrude slightly out of the water, with an open facade. The presence of water flowing past will provide screening for the light, and a continuous gentle sound.

A cavernous space will provide an echoey, quiet space for playing music, and create an atmosphere of pensive solitude. Unlike Vermeer's interior however, my structure will be set in a contemporary context.

Some reference images:

Playing with ways to create "screening" - water running down glass, a modern version of stained glass windows? Water is also reflective, and expresses the idea of manipulating light to create distortion.

The surrounding greenery on the site would also be effective in filtering the light, especially dappled light on water, then projected into an interior wall through reflective glass...

Project 2 Room and Narrative

The Music Lesson 1662-65 by Jan Vermeer

The key themes I have identified (and that interest me) are:

Light - the source, the effect it has up one the materiality of different surfaces, whether manipulating or distorting where it's projected.

The window being partially obscured suggests ideas of privacy, screening, filtration, translucent light - again creating distortion, a dimly lit space.

Privacy: aside from the above mentioned, the placement of the figures hint towards the setting being a private moment. The key figure, the lady playing the piano, has her back turned to the viewer, and the placement of objects in front of them against the back wall, suggests that Vermeer has created a private space in the large room.

Manipulation - Vermeer's works are all carefully constructed. Aside from the composition, he considered everything from the way light is to affect the objects (the shadows are not always realistic, and some have been removed in order to create his desired atmosphere) to what objects to place so he can demonstrate a wider range of materiality. The mirror hung above the wall shows the edge of an easel, perhaps purposely to imply the presence of the creator.

The mirror - reflection/distortion. (the mirror is not true.) Again, this references the idea of manipulation.

Spatial relationships - apparently, the depth of this room is more shallow than we perceive, because Vermeer has painted the objects to have a greater contrast of size, to create a longer room. The beams and flooring contribute to this. The perspective lines draw our eyes directly to the subject - placed in the center background against a white surface. All these ideas express the way Vermeer manipulates the composition to evoke a certain atmosphere.

The constant presence of water is a recurrent theme of Dutch painting, perhaps as a religious reference. Here, water is present in the jug towards the edge of the painting.

The significance of music - the writing on the piano says "music companion to joy, balm for sorrow" - this evokes privacy for me again, private feelings and experiences. It also suggest sound, but calming, gentle sound, constant and fluid.

The strong horizontal and vertical lines - created by the patterned floor, the ceiling beams, the window panes, the piano keys.

References:

1)Franits, Wayne. E. The Cambridge Companion to Vermeer. Cambridge, Uk: Cambridge University Press, 2001.
2)Janson, Jonathan. Essential Vermeer. (2001-2009), http://www.essentialvermeer.com/ (accessed 13th April).
3)Wheelock Jr, Arthur K. Vermeer and the Art of Painting. Yale University, 1995.

Group Model

Poche Renderings

Aside from demonstrating mass and void, and considering shadowing, I have also considered the sense of enclosure of private and public spaces. For instance, the service rooms in the ground level are shut off from the rest of the house, and the lady's boudoir, at the heart of the house is perhaps the most private symbolically.

Final Parti

Further parti explorations...

Still experimenting with the best way to represent the information. I like to have a more minimal, diagrammatic approach, no writing. The information should be presented in such as a way as to make it easy to comprehend. I was very selective about which parts of the plans to trace, I find an overload of detail distracting, and it takes away from the overall drawing. Not having explanations also draws viewers in to consider and interpret the information for themselves.

Parti first attempts

Deciphering the layout.


I did a series of quick sketches exploring the layout of the ground, upper first and second levels. The ground level with the garage and utility rooms, and the upper first with the dining, kitchen and library seems to be based on a corridor system of circulation, whilst the second level with the main bedrooms is mostly a matrix system. Positioning the parents' room so close with the childrens' rooms, and even linking them together with multiple entrances was rather unusual at the time, and shows how the layout differentiates between public and private spaces. The matrix system creates easier accessibility throughout the family's private spaces. This contrasts to the ground floor, where a central corridor splits the level in half, clearly separating all the utility and service rooms.

While considering this, I realised that enclosure was also another key system, closely linked to circulation, in delineating spacial relationships and hierachy. I have used a heavier line weight to demonstrate areas of greater enclosure, and privacy, such as the basement storage rooms, the lady's boudoir, the master dressing room, and the children's play room. My interpretation of this considers whether each space had many access points or windows.


I struggled a bit with finding a simple, effective way to sketch the parti for the section. The main stair case is compact, yet joining all the levels it is shared by all the inhabitants. I also wanted to show the interesting rise and fall of the stepped heights of different rooms, as this exemplifies Loos' "Raumplan."