After Jacky gave us the green light for using non-right angles and blocks which appear to be suspended in mid-air, I instantly decided that the idea of individual blocks still contributing to a whole entity could be pushed further. The rather primitive appearance of this monument contrasts with the rather pretentiously imposing monument on the left, alluding to the idea of futurism seen in movies such as Metropolis and Bladerunner.
Architectural originality and futurism can be achieved by breaking rectilinear and euclidean rules of geometry, creating a creative adventure between function and experience.
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Kinks in layers and the breaking of repetition breaks open the solid, and liberates the spaces.
A harsh collision of axes and linearity emerges into a network of disoriented movement through the internal space.
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Simplification of the exterior leads to an appreciation of the interior and the program structure.
Individual, unique entities can be arranged to work harmoniously to contribute to a whole.
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A bold composition that is absent of discernible sides can engage with the landscape and provide moments of viewing the architecture in different ways
A bold composition that is absent of discernible sides can engage with the landscape and provide moments of viewing the architecture in different ways
Architectural originality and futurism can be achieved by breaking rectilinear and euclidean rules of geometry, creating a creative adventure between function and experience.
A harsh collision of axes and linearity emerges into a network of disoriented movement through the internal space.
Hans Scharoun:
Kinks in layers and the breaking of repetition breaks open the solid, and liberates the spaces.
Simplification of the exterior leads to an appreciation of the interior and the program structure.
Individual, unique entities can be arranged to work harmoniously to contribute to a whole.
My very first attempt at creating and editing terrain in Crisis, and importing a sketchup model into it
DRAFT 2: As aforementioned, I chose to develop draft 2 as it more effectively embodied the mood and atmosphere associated with the chosen words "SENSUAL" for the studio space of Stradivari, and "MACHINE" for the workspace of Kimura.
According to Jacky, my main concern was to try and think of ways to resolve the relationship between the datum and the respective above, on, and below ground spaces, as they are expectedly interconnected, yet must differ and separate from one another in one way or another. This I have tried to embody through not only differences in texture and colour, but through the datum. It rises slightly to separate the floor of the exhibition space from the twisted wall which rises out of the ground in a gnarled, organic manner to form the above ground studio. It also opens up the space to the world outside, as visitors circulate around the walls providing both freedom and enclosure.
Kimura can be seen machining parts of his motorcycles in one of the several underground metalworking rooms. Notice how the steeply sloping terrain exposes some of these volumes. Kimura may recess to the buried workspaces, or reach open air with ease, riding his motorbike out onto the field.
Cross-section of the below-ground workspace
Stradivaris studio is much less complex in comparison, replying on a simplistic, softly-curving wooden form to fuel relaxation and inspiration.
A view of visitors lingering in and around the exhibition space.
While the staircase leading from the above ground space to the exhibition space extrudes and stretches from the surrounding architecture and material it is embedded in ("malleable") and gives off notions of familiarity and comfort while granting changing views of the space from different vantage points (see past blog post on the STAIR), The spiral staircase leading from the open space into the workspaces grants one a view of the vast depths below and the industrial, metallic atmosphere and noises. With each step at a rather uncomfortable height, and resembling a floating and unstable frame or crate, the experience is rather intimidating.
