Project 3: Final model

My scheme arised in particular from the following description of Armanious' work 'frequently utilises the process of casting to reconsider interrelationships between likeness, resemblance, material and function' and the intention to integrate the apartment and gallery architecture.

In this way i attempted to cause people to reconsider the interrelationships between a gallery and apartment and their similarities and differences in terms of privacy, display and viewing.

above - some moments of contrast in the scheme

Project 3: Final Plans and Sections

Project 3: Process models

The change the the appearance and feel of the model was quite dramatic from 1:200 to 1:100

Project 3: Selected site and Artist

Site:

I decided to work with site 1 for the interesting opportunities that could arise from from the long and narrow site. The site fronts onto King St., backs onto a small reserve, and is flanked by a a small retail store (carpark at rear) and the dendy cinema.

Hany Armanious

I decided upon Hany Armanious as the artist who would inspire my design. His works are extremely interesting and offered a lot when I was developing my scheme and concept. Below is a small summary and selection of his works.

Armanious frequently utilises the process of casting to reconsider interrelationships between likeness, resemblance, material and function. These often digressive investigations are frequently imbued with an oblique form of mysticism. Armanious’s fake artifacts evoke both playful analogies and metaphysical problems that ultimately remain unresolved.

Philosopher’s Stone, 2009
cast polyurethane, pigment, cast 24 carat gold

52 × 102 × 60cm

Sphinx, 2009
Cast asphalt, cast polyurethane, gouache
54 × 42 × 66cm

Project 2: Room and Narrative - Concept Models and Final Model

I will attempt to briefly explain the concept behind this simplistic looking model.
Initially, when analysing Edward Hoppers Excursion into Philosophy the primary things I noticed were a melancholic looking man, deep in contemplation in a room with a window leaving a large patch of sunlight at his feet. I read some information on this work which suggested the man was contemplating Plato, life on earth and the afterlife. However, from this my narrative developed into something along the lines of:


A ROOM FOR A WRITER, STUCK IN SUBURBIA, SEARCHING FOR PURPOSE AND PERSPECTIVE.


Beyond my analysis of this work, I began to look at Hopper’s works in general and how the patches of light coming through the openings are painted as a solid colour, unlike in the Dutch paintings, and how they fill the room. I began to imagine these light patches as solid shapes, simultaneously polluting, and creating the bounds of the room. This is represented in my first concept model.


Taking this idea, I began to create the space out of simplistic shapes representing light/openings/program. My main focus was on shifting openings and degrees of transparency. So, at first the room is uninhabitable, there is no evidence of program – the solid light pollutes the room-this conveys my characters confusion and his fixed position in suburbia. Then as the openings shift, they become the program or reveal the program, and suddenly there are inhabitable spaces. Simultaneously, as these openings shift (can convey the passing of time and hence the characters contemplation and reaching resolution), new openings are created, and offer new perspectives outwards.


The function of windows and their role in creating program are some things I questioned.


I used plaster, resin and acetates of various thicknesses is exploring transparency.


I think this explains my thought process and the basics of what became a fairly conceptual model.

Concept Model 1

Concept Model 2

The Model:

This shows the 'polluted' room, uninhabitable

The Openings/light shift and reveal the program. I imagined the plaster shape to the right as a private outdoor room, the left wall is louver-like windows, which move outwards to offer a bookcase internally. The back wall opening moves inwards to create a table, making a new opening in the wall. The central stairs lead to an upper library level hosued in the resin block.

Project 2: Drawings

Project 2: Some Progress Work

Trial embedding objects in resin

Cutting Ascetate walls

Making moulds for plaster and resin casts

Project 2: Chosen Painting

Excursion into Philosophy, 1959
Edward Hopper
30 x 40 in. Oil on canvas

Project 1:Artifice, Villa Muller, Parti Diagrams and Poches

Structure - This diagram was the most straight forward, Villa Muller has thick structural outer walls and four main columns

Geometry – At first look geometry wasn’t too obvious within Villa Muller, I don’t think it was an overriding concern. I focused on the shifting geometry of the room volumes in section and the general orthogonal nature of the plan.

Program – Loos believed that each room, having a different function purpose should have a different height and shape to accommodate that function. In drawing out a series of important rooms in section with their plan underneath I was hoping to demonstrate the varying shapes and sizes of the rooms. The inclusion of detail was to convey how meticulously Loos planned each room to suit its program.

Circulation – The circulation in Villa Muller is rather complex and there is no clear level rather a series of connected spaces. I overlaid the stairs and doors of every plan to try and convey this complex system. Circulation in section reveals the lack of levels and also makes evident the contrast between the rapidly ascending staircase intended for servant use and the more gradual rise of the stairs for the owners of the Villa.

Enclosure – Loos stated that "The building should be dumb outside and only reveal wealth inside." This is most evident as the somewhat sterile nature of the exterior appears completely removed from the warm and luxurious inside. My diagram aimed to show this in entirely removing the internal plan from the heavy exterior walls.

Project 1:Artifice, Villa Muller, The Model

Section Cut – We decided to remove just the West wall of the villa for the section cut as this keeps the model mostly intact, like the large, heavy cube like structure that the building is. In peeling back this wall all the essential features of Loos design are evident with the different height spaces connected and related to each other not in a series of levels.

Modelling materials – more apparent in this photo is the watercolour paper we decided to use to contrast the white card used for the exterior of the building. This was to demonstrate the detachment between exterior and interior. The texture and slight cream colour of the watercolour also helps to convey the rich nature of Loos interiors.