1. Continuity - both in light and use of white. Seijima actively seeks to minimise a sense of hierarchy within her spaces.
2. Uniformity of facades - typically her facades are either translucent, reflective, porous or have filters.
3. Openness - Spaces are open and liberal. This is often reinforced by the use of translucent materials compound the feeling of openness in a space.
4. Materiality - austere choice of materiality, opting to usually choose glass and white finishes.
5. Architecture is seen as a more temporary phenomena. Architecture creates spaces that allows for actions to take place and does not impose on the individuals within it.
Oscar Niemeyer - Concepts/Case Study
Congresso Nacional del Brasil
1. Monumentality - monumental and dramatic usage of geometrical forms
2. Gravity - emphasis on the interplay of gravity and large concrete forms.
3. Surreal - Curvilinear forms contrasting with linear.
4. Ramps - use of ramps to join spaces.
5. Materiality - chose often just to use simple concrete forms.
Concept - Axonometrics
Continuity
Gravity
Monumentality
Open
Surreal
Temporary
Lumion Trial - Surreal
Sunday 2 April 2017
Week 4
'Light' and 'Light-Weight'
'Rigid'
Black Stone and Green Glass
This diagram illustrates the importance of the glass skylights to the underground levels. Inspiration drawn on from the architect Tadao Ando.
Animations
Week 3
Below are a series of 36 textures that were responding to the 36 words 'brainstormed' to typify the qualities that might be seen in a super-material.
Chosen Three Textures
Word - 'Light'
Word - 'Light-weight'
Word - 'Rigid'
Designer Textures - Louise Bourgeois and Issey Miyake
Louise Bourgeois
A painting done by Bourgeois. A selection of spiders that are very reminiscent of the stimulus given in first week:
The aim of the studio space was to replicate the sense of precariousness and danger Bourgeois installation conveys. The above texture attempting to reinforce the message of the forms created.
Issey Miyake
Miyake's fashion line is renown for its geometric and pattern-like structure. This piece was chosen for its linear and deliberate qualities. The studio space for Miyake was designed to echo these sentiments found in his work.
Inspiration:
Issey Miyake
The works of Tadao Ando and in particular his 'Church of Light' was a large influence in the design process. Particularly for the representation of Miyake's spaces. Utilising quite simple and brutal architecture scheme and materiality, Ando's architecture capitalises on the use of light to make his works remarkable.
The personality and mood of a space that Miyake would thrive is a space that allows for observation. Observation of the natural and man-made forms around him. In order to allow for such, the space designed would need to incorporate a large amount of natural light, and as the Miyake studio would be situated below ground level, there would need to be thought around how to light would access deep areas of the architecture.
Ignoring the above space, the green openings are windows that allow natural light to penetrate deep in to the sub-terraining space.
Louise Bourgeois Bourgeois works, many of which are installation works, are often pieces of social commentary. Her work 'The Spider' (in the stimulus) conveyed many issues regarding the societal view of feminism, how it was deemed an unapproachable and intimidating concept in her context.
However, the nature of installation artwork is of impermanence in many cases. The Parthenon and many other Ancient Greek and Hellenic structures make use of dominating columns that have lasted since antiquity. Giving permanence to the ideals of their society. The materiality of the great inserting columns in the design space were much similar in purpose. To give a permanent space of ideas of Bourgeois to come to fruition.
There is also an attempt to mimic the sporadic nature of the spider legs in Bourgeois work 'The Spider'.
