a plan view with shadows
a view of the exterior circulation point where they would exit and enter
Tuesday, May 13, 2008
contextual images of the model
a plan view with shadows
a view of the exterior circulation point where they would exit and enter
The Space developped after our last tutorial
I have tried to eradicate some awkward areas in the circulation of the space as well as articulate the roof to make the interior space even more of a contrast between the exterior space.
Space as i had it before tutorial!
The Front Elevation detailing the frame like windows that allow her to see out from her wwaiting room. There is a signifigant rise in height amongst the three spaces and there isn underground area in the third 'standing' space to make her eye-level at street level
Details the how the inside area relates to the outside area through a horizontal plan sectioned. the arrows indicate how the public would move around the space.
These are other arrangements of the plan that got ruled out....
Details the how the inside area relates to the outside area through a horizontal plan sectioned. the arrows indicate how the public would move around the space.
These are other arrangements of the plan that got ruled out....
Idea of physical formation of the space
I want the space to have a fluidity and movement to it that is contrasted by the rigidity of the outside skyscrapers. I also want this to represent love and its 'ups and downs' plus lay reference to the symbolic drapery and fruit/rich colours etc that are within the actual painting (all of which are symbols of the fruits of love, which lead me to my initial interpretation of the painting)
An Influence of mine for this idea would be this lamp which has been created in a deconstructionist way, by Zaha Hadid.
initial ideas and concepts
To Wait: 1. to stay or rest in expectation; remain in a state of quiescence or inaction, as until something expected happens
2. wait on or upon, a. to perform the duties of an attendant or servant
3. to continue stationary or inactive in expectation of; await
4. the act of waiting or awaiting; delay halt
5. a period or interval of waiting.
I NEED: 3 waiting spaces that have three distinct purposes.... one for sitting, one for pacing, one for standing. inactivity is the key.... windows become the main focal point for the inactivity and the period of inactivity. They are like the visual access to a world outside that she doesnt not know and does not recognise because of her amnesia. the windows must always provide visual contact with the outside room so she can try and recognise the lover than she waits for, despite not knowing who he is.
THE CHARACTER: she is lost, contained, inactive, confused, anxious but finds everything repetitive.
CIRCULATION: horizontal space with run-on effects but integrity to each individual waiting space is needed. the size of each space needs to be determined by the amount of space needed for each type of waiting. ie: standing needs more vertical less horizontal, walking needs heaps of horizontal and the same vertical as standing, sitting needs small vertical and medium horizontal.
SITE: busy city perhaps new york city, where young women are often forgotten, situated above a busy street or in a lane where where there is direct linear outside circulation coming from only two directions, that is, both ends of the space. the space should therefore be long and narrow so that it can fit within this narrow street, or laneway. the space cannot stop the flow of outside traffic too much so i need to come up with a way for people to still negotiate themselves around the building without coming in direct contact with the girl, but only quick visual contact. The long horizontal form of my space would be contrasted by the huge overpowering towers adn skyscrapers that make up the city.
2. wait on or upon, a. to perform the duties of an attendant or servant
3. to continue stationary or inactive in expectation of; await
4. the act of waiting or awaiting; delay halt
5. a period or interval of waiting.
I NEED: 3 waiting spaces that have three distinct purposes.... one for sitting, one for pacing, one for standing. inactivity is the key.... windows become the main focal point for the inactivity and the period of inactivity. They are like the visual access to a world outside that she doesnt not know and does not recognise because of her amnesia. the windows must always provide visual contact with the outside room so she can try and recognise the lover than she waits for, despite not knowing who he is.
THE CHARACTER: she is lost, contained, inactive, confused, anxious but finds everything repetitive.
CIRCULATION: horizontal space with run-on effects but integrity to each individual waiting space is needed. the size of each space needs to be determined by the amount of space needed for each type of waiting. ie: standing needs more vertical less horizontal, walking needs heaps of horizontal and the same vertical as standing, sitting needs small vertical and medium horizontal.
SITE: busy city perhaps new york city, where young women are often forgotten, situated above a busy street or in a lane where where there is direct linear outside circulation coming from only two directions, that is, both ends of the space. the space should therefore be long and narrow so that it can fit within this narrow street, or laneway. the space cannot stop the flow of outside traffic too much so i need to come up with a way for people to still negotiate themselves around the building without coming in direct contact with the girl, but only quick visual contact. The long horizontal form of my space would be contrasted by the huge overpowering towers adn skyscrapers that make up the city.
assignment 2 painting
-------- a waiting room for a young lovesick girl with amnesia --------
"Girl Reading a Letter at a Window" Yohannes Vermeer (1657) oil on canvas 33x25in
"Girl Reading a Letter at a Window" Yohannes Vermeer (1657) oil on canvas 33x25in
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