16/6/09
Project 3: artgalleryshophouse IDEA
Narrative:
A dealer who likes art work, especially sculpture, is willing to share art works to public.
In this project, site 3 is chose to design an art gallery. It is located between two buildings. The heights of the left and right buildings are 9 m and 13 m accordingly.
As the topics of art gallery is COMMERICAL. That’s mean it has to sell the art work successfully. Then what I think is that the building should be attractive to draw public attention in the street.From the site analysis, there are canopy on most buildings’ facades (yellow tracing paper 1).
Secondly, as a commercial art gallery, it should be maximized the visual space to public as possible. In order to achieve this, wall is avoided to use as possible in the gallery because it will block the view within the gallery and the view from street. However, it is still necessary to divide spaces. Therefore, concept of “changing level” is introduced. The “changing level“ concept can be achieved by using few steps so that different height level of areas can give visitors the sense of space division.
Moreover, in traditional art gallery, eye level of visitors is kept in horizontal only to view the art work. However, concept of “changing level” can give visitors more angles to view the same art work. Through the “up and down” movement, visitors can get the rich visual experience within the gallery (yellow tracing paper 3).
A dealer who likes art work, especially sculpture, is willing to share art works to public.
In this project, site 3 is chose to design an art gallery. It is located between two buildings. The heights of the left and right buildings are 9 m and 13 m accordingly.
As the topics of art gallery is COMMERICAL. That’s mean it has to sell the art work successfully. Then what I think is that the building should be attractive to draw public attention in the street.From the site analysis, there are canopy on most buildings’ facades (yellow tracing paper 1).
The façade will block the pedestrian’s view to the surrounding buildings. Therefore, I would like to make a difference or make a statement from the street. As the dealer likes the sculpture art work, I treated the façade as the sculptural form (yellow tracing paper 2). 
The uneven form can give the unpredictable feeling to public. From the high transparency façade, most art works in gallery can be valued. The opening is also able to act as the “media” to keep the communication between inside and outside.
Secondly, as a commercial art gallery, it should be maximized the visual space to public as possible. In order to achieve this, wall is avoided to use as possible in the gallery because it will block the view within the gallery and the view from street. However, it is still necessary to divide spaces. Therefore, concept of “changing level” is introduced. The “changing level“ concept can be achieved by using few steps so that different height level of areas can give visitors the sense of space division.
Moreover, in traditional art gallery, eye level of visitors is kept in horizontal only to view the art work. However, concept of “changing level” can give visitors more angles to view the same art work. Through the “up and down” movement, visitors can get the rich visual experience within the gallery (yellow tracing paper 3).
Because the dealer likes sculpture, the courtyard is designed at the centre of building and is at the centre of circulation. From the dealer’s house, there is a long viewing platform for him to view the courtyard directly.
Finally, the workshop and storeroom is designed at the end of the building near the lane so that it will be convenient for moving the large art work from the lane through courtyard to large gallery.
10/5/09
Project 2
Painting
The Astronomer, 1668 by the Dutch painter Johannes Vermeer. Actual size: 51cm x 45 cm
The Astronomer, 1668 by the Dutch painter Johannes Vermeer. Actual size: 51cm x 45 cm
An astronomer is sitting in front of a window where light comes from. Simultaneously, he is stretching out as if he is finding something. The light seems to be clues for helping him to find the truth. Maybe he is trying to communicate with the universe and God.
Based on the narrative, I think about the relationship between window and light. For the top yellow tracing paper, the left window is a traditional type. For me, it is a passive type because they just receive the light in flat surface. Therefore, I tried to push the four corners to make it become convex so that light from differentdirections can be condensed at a particular position. The shape of the window seems reaching the light in active. Through change the shape of windows, particular light directions can be achieved and rich the interior actively.
On the other hand, I considered the thinking process of astronomer. I simplified it as three steps: no idea > clues > final answer.
Therefore, after combined above two ideas, the irregular openings/windows at the top of building is formed. For the circulation, the exterior's flat and nothing surrounded is like no idea moment. After entering the interior, experience of rich light from different directions is like a person getting some clues from the sky/God. Finally, entering the dark room with only light source is like a person got a final answer. Then according to the unique light source, he followed the stiar to exit the interior through walking along the narrow path. Then he communicate with God/the universe.
Model:
7/4/09
Project 1 - Parti and Poche Drawings
Le Corbusier: Villa Savoye, Poissy near Paris, 1929
MAIN IDEA
1. Promenade architecturale: experiencing spaces through movement
2. Demonstration of five pointss of the new architecture:
- pilotis (columns)
- roof-gardens
- the free plan
- the free facade
- the horizontal window
POCHE
PARTI
PROGRAM
STRUCTURE
MAIN IDEA
1. Promenade architecturale: experiencing spaces through movement
2. Demonstration of five pointss of the new architecture:
- pilotis (columns)
- roof-gardens
- the free plan
- the free facade
- the horizontal window
POCHE
PARTI
PROGRAM
STRUCTURE
The screen walls on the roof had to transmit their loads unevenly through the slab to columns not directly placed beneath.
The structure cantilevers beyond the columns at front and back, while running with it along the sides. This pulls the pilotis within the building to appear as free-standing columns in the most important room.
The structure cantilevers beyond the columns at front and back, while running with it along the sides. This pulls the pilotis within the building to appear as free-standing columns in the most important room.
Geometry
For geometry, villa Savoye is applied the grid sytem. It bases on the repetitive element: grid, 9 identical squares, to form a unique form finally.
The concepts of golden ration, symmetry and balance are applied.
For geometry, villa Savoye is applied the grid sytem. It bases on the repetitive element: grid, 9 identical squares, to form a unique form finally.The concepts of golden ration, symmetry and balance are applied.
Enclosure
The ground floor envelope was shaped by the flow of arriving car. Coming from behind, it drove underneath the edge of the house, dropped the owners at the front, and was parked in the garage at the far side on dynamic diagonal. The irruglar entrance hall shows its in-between-ness, caught between other rooms and open to the outside though its screen of glazing. It also makes a contrast to the symmetrical frame formed by the column grid, double drive and centrally placed ramp.
The ground floor envelope was shaped by the flow of arriving car. Coming from behind, it drove underneath the edge of the house, dropped the owners at the front, and was parked in the garage at the far side on dynamic diagonal. The irruglar entrance hall shows its in-between-ness, caught between other rooms and open to the outside though its screen of glazing. It also makes a contrast to the symmetrical frame formed by the column grid, double drive and centrally placed ramp.Circulation
After climbling out of car, owner will enter the villa through taking the centrally placed ramp to the first floor where living and sleeping rooms encirle an open countyard.
The ramp rises from the main court in the open air to arrive at top floor. In a typically deft move, a glassless window frames the view at the top of the ramp, as a termination to the promenade architecturale.
The need for the staircase to show itself promoted its being given a round end as the design developed, and it became increasingly sculptural, making a nice contrast with the ramp.
After climbling out of car, owner will enter the villa through taking the centrally placed ramp to the first floor where living and sleeping rooms encirle an open countyard.The ramp rises from the main court in the open air to arrive at top floor. In a typically deft move, a glassless window frames the view at the top of the ramp, as a termination to the promenade architecturale.
The need for the staircase to show itself promoted its being given a round end as the design developed, and it became increasingly sculptural, making a nice contrast with the ramp.
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