Project 2: Wk 3 Third Attempt

We had a really productive workshop with Felicity yesterday. The note sheets, show our discussion where we explored some different approaches to the design decision process. Felicity also very generously will allow me to construct my model on a base bigger than the 250x250mm regulation. This was very important to me as my conceptual design of the organisation and definition of the rooms with the manipulation of openings was developed very closely with the fabrication the model at a big scale so it would be easy to visualise myself, and the strangers of the narrative, inhabiting the spaces. One lesson learnt from making the model in the Bawa project was that the small scale we used did not do any justice to our understanding of the spaces- as it was completely inadequate in communicating its unique spacial qualities. I will now explore these new ideas by modifying and testing the working model. 

Project 2: Wk 3 Second Attempt

As it stands the narrative now reads 'Out of a long constrictive hall emerges an elevated, harmonising tower with projecting alcoves for apparent strangers who read, engage in conversation and reach a heightened understanding of themselves. I have been cultivating and exploring my concepts by using this deconstructable working model, which allows me to easily and quickly test different spatial ideas. I have used this method very deliberately because it integrates with my thought process and allows me to think clearly in a physical way and test lighting qualities- better than my initial SketchUp model. Admittedly I like to be hands on with my projects, and really enjoy the analogue element of model construction in architecture.

An outline of the spacial arrangements and articulation...

The shards in the long carriage are reflective of the lack of engagement between the characters. This is an expression of what I found really jarring about the painting... that even in this texturally warm, tranquil space, it does not encourage interaction, and also doesn't elevate the characters out of their seemingly unengaging stupor.

I developed the spacial qualities of my initial arrangement in a number of ways. I wanted to encourage interaction/exchange and playfulness... in my first design the alcoves were too comfortable, by that I mean, the windows were regularly placed and abundant providing almost everything someone would need, not encouraging them to venture out of the space and interact... so in the 2nd stage the windows are placed in unnerving, almost comical ways, so the space can't satisfy them and presses them to leave the space. The space is intended as a place for brief private reflection breaks between interacting with the others. The windows in the alcoves are arranged, so the long vertical ones keep neighboring strangers facing each other(permeability- maintaining same level of view as in a train carriage). The verticality of the room binding the alcoves then encourages the strangers to come together and explore space... as they walk up the stairs and are gratified with more views eventually reaching the top main alcove that affords the ultimate view once they reach the top alcove which acts as the main point of congregation. The roof allows for the projection of a pattern across walls as sun moves around.

Project 2: Wk 3 First Attempt

The more I read the brief what distinctively emerges is a need to design spaces that express the phenomenal qualities of the painting through architectonics- specifically the focus on lighting qualities that are defined and sensitively examined through the main feature of windows in Hopper's paintings. As well as add to this by generating exaggerated and transcendent spaces. With this in mind I've been particularly attracted to and inspired by the work of Steve Holl and his unique technique of generating poches that explore the influence of light and its integral presence in the interplay of the forms of the spaces. He manipulates the geometries of the spaces very deliberately to allow openings, which filter in light, to add a distinctive quality to the space- so the two are integrated to create the unique experience of the space.

Project 2: Wk 2 Second Attempt

The site I have chosen is one of Sydney's little gems, Lang Park bounded by York, Lang and Grosvenor Streets. I was immediately attracted to it when I thought of the calming and contemplative nature of Hopper's texturally warm painting. It is also a very appropriate metaphor for a train carriage environment, because outside of the park there is the seamless buzz of motion of cars, especially with the nearby Bradfield Highway linking up to the Sydney Harbour Bridge. But within the site there is a complete juxtaposition to this with a small and open space that is ideal for reflection, rest and relaxation- where this vivid contrast and static nature of the space almost suggests time has stopped.

My draft of the encapsulating sentence is 'Equals, enjoying the company of apparent strangers and discovering their inner qualities through the exchange of human experience in a timelessly elevating, harmonising space.' I have tired to construct it in such a way that it hints at the idealistic ambitions for the space, and some of its constantly present contrasts.

Project 2: Wk 2 First Attempt

Made a small marquette of my series of rooms, without roof. It helped me visual the quality of the space is a physical sense, as constructing the model assisted me in understanding the space arrangement. I am starting to interrogate whether this arrangement best expresses my narrative. Tomorrow I will choose a site and do a draft sentence encapsulating my narrative.

Project 2: Wk 1 First Attempt

Over the week I have been slowly developing an understanding of the brief, and a conceptual framework and sort of 'spirit' with which to approach it. I am now clear on the narrative, that I feel I have partly uncovered and partly superimposed on the drawing, Edward Hopper's 'Chair Car'. I am still thinking of an appropriate site that best complements the spatial qualities of my concept, but I have narrowed it down to one in Sydney in either a 'natural' public place or an urban setting. I have included my progressive thoughts that represent the shaping of my concept based on observations, as well as some form studies derived from my initial parti diagram. I really want to finalise my site to introduce some contextual meaning, and encapsulate my narrative in a succinct yet evocative sentence.