EXP 3
PEER REVIEW
Wednesday 26 June 2013
EXP 3
BRIDGE & SCHOOL
The bridge is vital to enter the school premises and each room. It is what connected the school together. The bridge is curved however almost linear. Particularly in my bridge and school, there is much experimentation with curves and the nature of how they will create a space. This idea is inspired by Herzog de Meuron plan (shown below) and by the random lines and curves that are seen on batik patterns. It is spontaneous and has an organic feel to it. This is how I interpreted the pattern to design the school and bridge. I wanted an organic and natural feel to the final appearance so I detailed the school and bridge with flowers stemmed off curves that run off the edges of the walls. The non-linear appearance of the final model allows you to wonder how spaces are created. I also wanted the spaces to be open so only some parts of the building has some walls, however they are transparent to allow light and still provide the desire of the building to be an open space. The creation of the building has been appropriated from patterns seen from Indonesia culture, but it is then manipulated in a way that respects the culture and does not steer away or represent something different of what it really is to avoid negative cultural critique as this is what my theory has recently been stated in the previous mash-up. This way it allows the building to stand for itself with some connection to the Indonesian culture and its natural surroundings.
PLAN INSPIRATION
DEVELOPED MODEL
Bridge
School (divided into 2 parts)
Part 1:
Texture Used:
Walls
Flowers
Part 2:
PLAN INSPIRATION
Textures Used:
Walls:
Flowers:
PART 1 + PART 2 + BRIDGE
EXP 3
ELEVATOR FOR THE DEAN
The elevator for the dean is more intimate due to its smaller scale compared to the elevator for the students. This too also plays with curves as a stretched box curves and wraps around the entire elevator. This offers a strange yet interesting appearance ; also inspired from spontaneous/ curvy lines of batik patterns. The texture also plays with the same idea of curves and circle to connect to the appearance of the elevator.
Developed Model:
Texture Used:
EXP 3
ELEVATOR FOR THE STUDENTS
The elevator for the students plays with curves and tessellated patterns, one that resembles of batik, however it appropriates from different styles of batik and manipulates them to make a space. For the texture, I used a weave pattern to somewhat connect to the tessellated squares. The varied extruded squares plays allows for seats and groups to interact with each other. It has a much larger space to cater for 100 students compared to the deans elevator.
Developed Elevator:
Applied Texture:
Monday 24 June 2013
EXP THREE
DEVELOPED FOLLY WITH TEXTURE
The folly is derived from the two point perspective F shape drawing (shown below). The vine going through and around the folly was decided to allude to my theory of cultural appreciation and appropriation. The vines were inspired by batik patterns, an organic/ natural pattern traditionally and culturally derived from Indonesia. The folly is not an exact representation of the batik pattern but rather a minor appropriation of its traditional pattern. The appearance of the folly will also aid the representation of the organic/natural behaviour of the school and bridge.
Chosen Perspective Drawing:
Developed Folly:
DEVELOPED FOLLY WITH TEXTURE
Chosen Perspective Drawing:
Developed Folly:
Applied Texture:
EXP THREE
UPDATED MASH-UP
Traditionally, every human community is defined by the
community’s shared values, understanding and expectations. In relation to architecture, it needs
mechanisms that allow it to become connected to culture. However, cultural spheres and individual desires of the
architect may overlap and interact with one another to such an extent that binaries rarely occur, and,
when they do, they are fleeting by
their very nature. Architecture can no longer afford to structure itself as an instrument that either
reaffirms or resists a single, static idea of culture. To avoid this
problem, one
can
appropriate aspects of culture capturing the forces that shape society as material to
work with, but one cannot rely heavily on culture to produce their architecture. Progress in architecture
occurs through new concepts by which it becomes connected with this material, and it
manifests itself in new aesthetic compositions and affects.
n.a., n.d., Living Economies Forum, accessed 23rd June 2013,
<http://prattf10.files.wordpress.com/2009/06/moussavi-kubo_function-of-ornament1.pdf>
______________________________________________________________
This updated mash-up takes further consideration of cultural appropriation and appreciation in contrast to the first mash-up that was arranged. In order to create architecture that is influenced by a particular culture, one must be weary when appropriating material and ideas to avoid negative cultural critique and clashes between the desires of the architect and the members that follow the specific culture. Rather than entirely influenced by a culture, one may appropriate ideas and manipulate those to create something that may remind/represent them of that particular aspect of culture whilst not taking the meaning out of the material to respect its traditions.
Traditionally, every human community is defined by the
community’s shared values, understanding and expectations. In relation to architecture, it needs
mechanisms that allow it to become connected to culture. However, cultural spheres and individual desires of the
architect may overlap and interact with one another to such an extent that binaries rarely occur, and,
when they do, they are fleeting by
their very nature. Architecture can no longer afford to structure itself as an instrument that either
reaffirms or resists a single, static idea of culture. To avoid this
problem, one
can
appropriate aspects of culture capturing the forces that shape society as material to
work with, but one cannot rely heavily on culture to produce their architecture. Progress in architecture
occurs through new concepts by which it becomes connected with this material, and it
manifests itself in new aesthetic compositions and affects.
n.a., n.d., Living Economies Forum, accessed 23rd June 2013,
<http://prattf10.files.wordpress.com/2009/06/moussavi-kubo_function-of-ornament1.pdf>
______________________________________________________________
This updated mash-up takes further consideration of cultural appropriation and appreciation in contrast to the first mash-up that was arranged. In order to create architecture that is influenced by a particular culture, one must be weary when appropriating material and ideas to avoid negative cultural critique and clashes between the desires of the architect and the members that follow the specific culture. Rather than entirely influenced by a culture, one may appropriate ideas and manipulate those to create something that may remind/represent them of that particular aspect of culture whilst not taking the meaning out of the material to respect its traditions.
______________________________________________________________
This updated mash-up takes further consideration of cultural appropriation and appreciation in contrast to the first mash-up that was arranged. In order to create architecture that is influenced by a particular culture, one must be weary when appropriating material and ideas to avoid negative cultural critique and clashes between the desires of the architect and the members that follow the specific culture. Rather than entirely influenced by a culture, one may appropriate ideas and manipulate those to create something that may remind/represent them of that particular aspect of culture whilst not taking the meaning out of the material to respect its traditions.
EXP THREE
WEEK ONE
MASH-UP TEXT/ THEORY
Architecture needs mechanisms that allow it to become connected to culture. It can no
longer afford to structure itself as an instrument that resists a single, static idea of
culture. Mixing different aspects like the present and future course of life, the history
and cultural background of the area where one finds oneself, this kind of architecture
can offer a new level of comfort. They do not aim at being disconnected but,
rather, contaminated with culture. Instruments (codes, symbols, languages etc..) simply
repeat without variation. As a function of culture, architectural forms need to vary in
order to address its plurality and mutability. achieves this by continually capturing the
forces that shape society as material. The aim was to make an architecture that would
accommodate a great variety of elements and create a situation in which each part were
connected to the others. It seeks to move built forms away from essentialism. It seeks to
establish a productive relationship between architecture’s dynamic nature of culture. It
requires great variety of elements that architecture gains an ability to define their own
ground. Order does not have to be restrictive but rather limit itself to defining the
relationships to build its own system of evaluation and identifies through the repetition
and differentiation of forms.
Iwan Baan, “Tetsuo Kondo: House in Chayagasaka,” Domus 969, 13 May 2013, accessed 21 May
2013,<http://www.domusweb.it/content/domusweb/en/architecture/2013/05/13/tetsuo_kondo_houseinchayagasaka.html>
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