ABOVE || Circles are extruded up to a truncated cone, and down into the ground plane as a cylindrical void. Rectangles are extruded up to angular masses to create elevations and hierarchy shown in plans.
A truncated cone informs an imaginary point which has been flattened, adding mass and visual anchor to the form. The cone is raised the amount the central circle is dropped. A cone indicates a sole point of importance, the tip acknowledging importance.
The square is extruded up to a mass similar to the overlapping rectangles, forming a point in reference to the plan arrangement. In balancing the square and rectangular mass, this form is taller but has a smaller footprint.
The overlapping rectangles take a quarter of the central circle, and are extruded up to a mass similar to the square. Massing the quarter-circle creates a cradle for the circular void, and also creates a counterpoint to the cone (cone is missing a quarter).
The square and rectangular masses are extruded along a similar angled line to draw relationship to similar shapes.
A cylindrical void sinks the center of the composition in to the ground plane. The depression creates a counter point to the raised cone, and informs a space with gravity to draw movement from all axes.
The composition in elevation continues to draw upon the the arrangement in plans, having the circles in counterpoint, and the masses in balance. The cut-out cone becomes the highest point, and the rectangular masses flank the cone as secondary points. The front of the composition sits at the lowest point, and the angle of the mass emphasizes a driving force in to the ground-plane being the lowest extrusion.
The composition creates a rectangular bulwark which cradles and protects the circular and sacred spaces created, while also inviting visual and physical movement in to the space.
BELOW || Angles of the physical model demonstrating the 'protected' space, balance in asymmetric forms along the project center-lines.
BELOW || 40 iterations exploring 4 masses and 1-2 voids, interchanging the location of the void to examine how to preserve similar hierarchies to the plan arrangement. Exploration included simple vertical extrusions to investigate mass relationships, pronounced vertical extrusions to investigate tower-like forms, and angular facades to investigate dynamic forms.
3 final iterations explore the intended composition through complex and simple forms. (Simple form highlighted for physical modeling)
Exploring simple extrusions and overall mass relationships
Exploring vertical extrusions and towering form hierarchy
Exploring angular and dynamic facades
BELOW || Studio notes...
Ideas should be presented, repeated, defended
Model bases provide standardization, enable work to be compared, work presented on mass
Model bases provide standardization, enable work to be compared, work presented on mass
Presented Composition
3 notable sections to the composition:
- Shapes arranged in an angular 'V'
- Circle A 'Void'
- Circle B 'Truncated Cone'
- Shapes arranged in an angular 'V'
- Circle A 'Void'
- Circle B 'Truncated Cone'
Irregular extrusions in the regular elements (rectangular) - on angle
Regular extrusions in circular elements (cone) - directly up or down
Regular extrusions in circular elements (cone) - directly up or down
'Mews' created in gap between rectangle
- A row of things is created in a gap between buildings
- The gap can create vignettes in to spaces
- The gap can create focus and points of alignment
- The gap explores curiosity in to spaces, relationships between spaces - a dialogue is formed
- A row of things is created in a gap between buildings
- The gap can create vignettes in to spaces
- The gap can create focus and points of alignment
- The gap explores curiosity in to spaces, relationships between spaces - a dialogue is formed
Truncated Cone vs. Pinnacle Cone
- Resolving space vs. unresolved space
- Grounding vs. creating importance
- Resolving space vs. unresolved space
- Grounding vs. creating importance
Cones and Circles
- Focus areas, hearth-like
- Radial and symbolic
- Focus areas, hearth-like
- Radial and symbolic
View Towers
Forms which create views
- Being vs. seeing
- The object outside of you, or being the object
- An object on site is placed on a ground plane, an object in site is part of ground plane
- Being vs. seeing
- The object outside of you, or being the object
- An object on site is placed on a ground plane, an object in site is part of ground plane
Enabling movement in voids
- A void is not just a breezeway, it is an absence of mass / material
- A void is not just a breezeway, it is an absence of mass / material
ex. BIG '8 House'
Movement Space
Creating spaces with no intersections
Alignment comes from views left when spaces extruded up
Light-wells in to masses
Alignment comes from views left when spaces extruded up
Light-wells in to masses
Resulting in a form which is totemic, jutting out from the site and is part of the landscape
ex. Grottos, HDM 'Museum Blau'
Cutout Form
Irregular and random forms and cutouts on glance, but composition appears natural
Voids create gravity and movement in and out
- Masses want to 'fall in'
- Participants want to 'push out'
Voids create gravity and movement in and out
- Masses want to 'fall in'
- Participants want to 'push out'
Creating moments of Tension
- Fragmentation vs. Pure Constructed
- Construction and reconstruction
- Layers and stratification
- Movement of mass, cut out building and place elsewhere
- Cut out landscape in contrast to building
- Tension creates narrative
- Fragmentation vs. Pure Constructed
- Construction and reconstruction
- Layers and stratification
- Movement of mass, cut out building and place elsewhere
- Cut out landscape in contrast to building
- Tension creates narrative