part 2 of concept submission

DESIGN STUDIO 4 WAVERTON EAF concept submission posters

FINAL SUBMISSION

CONCEPT SKETCHES

INITIAL IDEAS

PART B ABSTRACT STUDIES

FINAL DRAWINGS FOR PART A

MOMENTS, RHYTHMS AND VOLUMES.

Adolf Loos thought of Villa Muller as an argument or statement for how people should live at the time.  He bluntly rejected the accepted emerging ‘modernist’ theory which advocated open plan, and horizontality by imposing a strict and austere or compressed articulation of spaces. He already had this idea of a predetermined hierarchy and he just connected the dots with ‘stairs’. Therefore, my initial concept for part ‘A’ is based around this tension between modernist theories of the open plan and the freedom that it provides against the directive and imposed circulation proposed by Loos. By looking at the level 1 circulation, I realized that there is an interesting ‘branching’ which takes place at the most exciting moment within the living area. It is exciting because it creates the network for the rest of the house and influences the ceiling heights and rhythms of movement throughout the rest of the villa.

HIERARCHY

He suggests the herarcy then his job is to connect it together. He just mainly focuses on the movement.

The materials

Inside and internal disengagement.

Refuge within refuge.

ORNAMENT AND CRIME.

Modernist motto FORM FOLLOWS FUNCTION.

He moved away from the idea of architecture being accepted as a sector of art. He felt it was incredibly important to distinguish art and architecture as having two separate purposes.

Part a

Branching point.

The point of decision like a branching network. The central core of the house. An interesting contradiction to the rest of the house which is controlled.

Part and the whole. Completely disengaged with the outside world. Perhaps this was inititated by the fact that there was a completely different architect who designed the garden. My model aims to show a complete lack of engagement with its surroundings.

5) He fails (in terms of because he proposes a complete disengagement from the outside world, and proposes a modern world which is disconnected from nature. Ironically he was correct in proposing our dependence on the interior of architecture as finding a refuge in a place of comfort.

Supply and demand regulate architectural form

economy and functionality. 

Scale, geometry imposing a functional program.

1) Beauty is in the functionality rather than emotion, and instinct.

Emotion in architecture is dictated by our ability to manipulate the outside to

3)  The visual distinction is not between complicated and simple, but between "organic" and unnecessary decoration.

4) He is depicting a functional beauty which he aims to set the standard for in the modern world. This is because beauty is defined as in harmony and balance with nature, and his work seems out of place.

Part B 1

PROSPECT AND REFUGE (public and private)

The perspective montages of the interior views looking out the windows provide the audience with the feeling of refuge and disengagement with the public landscape. By echoing the shortened foreground, and exaggerating the sky I aim to create the feeling of incredibly enclosed spaces and refuge within a room, which rejects its relationship to the outside world.

-To explore the internal focus of the ‘wealthy’ interior and its disengagement with public surroundings.

Collages movement of materiality through the space. Changing colours and textures comment on how the hierarchy of rooms are organized.

Photographs

Part B 2     RHYTHMS AND MOMENTS

Movement and circulation is dicated by form and geometry as they are strategically placed to create a series of thresholds.

Undulating levels and ceiling heights impose a hierarchy > exploring what sort of life Loos is suggesting.

Subverting the idea of a closed and austere representation allowing us to see and engage with the interior.

ABSTRACT MASSING MODEL: The mechanical purpose of art/architecture. His building is a living experiment of how our brains work in terms of organizing visual stimulus, in order to create something that is organized and symmetrical rather. It is in this functional organization that Loos’ notion of beauty comes through, and by employing this mechanical cognition, which is innate within all designers, beauty exists in functionality and predictable measures. How he turned to functionality and visual cognition in order to establish a way of living. He moved architecture away from emotion, and aesthetics and purely focused on a functional.