Thursday, July 30, 2009
Thursday, July 23, 2009
Wednesday, July 22, 2009
Tuesday, July 21, 2009
Chinese Writing
Once Zhuangzi dreamt he was a butterfly, a butterfly flitting and fluttering around, happy with himself and doing as he pleased.
He didn't know he was Zhuangzi. Suddenly he woke up and there he was, solid and unmistakable Zhuangzi.
But he didn't know if he was Zhuangzi who had dreamt he was a butterfly, or a butterfly dreaming he was Zhuangzi.
Between Zhuangzi and a butterfly there must be some distinction! This is called the Transformation of Things.
-Zhuangzi, Zhuangzi Dreamed he was a Butterfly
He didn't know he was Zhuangzi. Suddenly he woke up and there he was, solid and unmistakable Zhuangzi.
But he didn't know if he was Zhuangzi who had dreamt he was a butterfly, or a butterfly dreaming he was Zhuangzi.
Between Zhuangzi and a butterfly there must be some distinction! This is called the Transformation of Things.
-Zhuangzi, Zhuangzi Dreamed he was a Butterfly
Project 4: C-Street Sushi
I've decided to take advice from one of my good friends and actually keep this project as a working progress. Basically, everything we do for this project will be posted rather than just the final process. This way, everyone can see how ideas develop and work progresses.
As the final project of the semester, this exercise provides the opportunity for the class to demonstrate what we've learned throughout this course as well as continue to explore new issues. Specifically, proportioning systems, scale, and principles will be investigated as new issues. We will also be working with an architectural program, a physical site, and a given conceptual beginning.
The project is the design of C-Street Sushi and Art Gallery on the west end of Commercial Street in Springfield, MO. this facility is intended to be used by Drury University local residence, as well as a gathering place to socialize over artwork and the eating of sushi. It is to incorporate spaces for indoor and outdoor tables as well as a small gallery that can also serve as a gathering area used for receptions or critiques. A small kitchen, some storage, and a serving counter support the facility. Most importantly, a strong connection between the adjacent buildings and Commercial Street is crucial.
As a conceptual starting point, we are to refer to Zhuangzi's writing of Zhuangzi Dreamed he was a Butterfly, in particular, studying the concepts of transformation, enlightenment, and awakening.
As the final project of the semester, this exercise provides the opportunity for the class to demonstrate what we've learned throughout this course as well as continue to explore new issues. Specifically, proportioning systems, scale, and principles will be investigated as new issues. We will also be working with an architectural program, a physical site, and a given conceptual beginning.
The project is the design of C-Street Sushi and Art Gallery on the west end of Commercial Street in Springfield, MO. this facility is intended to be used by Drury University local residence, as well as a gathering place to socialize over artwork and the eating of sushi. It is to incorporate spaces for indoor and outdoor tables as well as a small gallery that can also serve as a gathering area used for receptions or critiques. A small kitchen, some storage, and a serving counter support the facility. Most importantly, a strong connection between the adjacent buildings and Commercial Street is crucial.
As a conceptual starting point, we are to refer to Zhuangzi's writing of Zhuangzi Dreamed he was a Butterfly, in particular, studying the concepts of transformation, enlightenment, and awakening.
Saturday, July 18, 2009
Project 3 Quote
"As we walk upon the earth, our hearts experience anew that overwhelming joy we feel as children when we discovered our ability to move in space - the alternating disruption and restoration of balance which is walking. We rejoice in the progress of our body across the uneven surface of the earth. Our spirit delights in the endless interplay of the three dimensions that we encounter at every step, shifting and changing with the mere passage of a cloud."
-Dimitri Pikionis, Imitations of Tactility
-Dimitri Pikionis, Imitations of Tactility
Project 3: Entry, Path, and Destination
We have been studying form and space and the numerous issues these subjects introduce, including spatial relationships and organizations. Another critical aspect of space becomes the human movement through it. With this project, we examined the ideas of entry, path, and destination. We were to design a spatial sequence that connects the top and bottom of a sloped site. The sequence incorporated a series of spaces and explored a few of a list of architectural ideas. Some of these ideas included symmetry and asymmetry, centralized and linear, ascending and descending, tension, axiality, and distortion (this is not the entire list, mind you).
Understanding the importance of movement through space is vital for architects. Christian Norberg-Schulz, a noted architect who writes on the meaning of place, has asserted that the path represents the leaving of a place and a journey to another, representing "a basic property of human existence and is one of the great original symbols."
The ideas expressed in my model are compression and expansion, with the path and spaces repeating this pattern. As you can see from the model, the circulation throughout the path was designed to expand into larger spaces and compress down to just enough room for people to squeeze through. In doing this, the site begins to mess with the mind. For example, let's say you were walking through a very narrow space. At the end of this path there is a room 10' x 10'. Not necessarily a very big space, but it would feel bigger after coming out of the narrow space as opposed to having a wider path leading into the space. This effect also works when pacing something into a large space to make it feel smaller. Take a look at the model. About half way up from the starting point are a set of columns within a curved space. This space is actually decently large, yet it seems constricted and packed just because the columns were placed there.
At the end of the path is a large space that extends out a bit. This was placed so that those walking through the path could oversee where they've just been and reflect on how they felt during this journey.
Understanding the importance of movement through space is vital for architects. Christian Norberg-Schulz, a noted architect who writes on the meaning of place, has asserted that the path represents the leaving of a place and a journey to another, representing "a basic property of human existence and is one of the great original symbols."
The ideas expressed in my model are compression and expansion, with the path and spaces repeating this pattern. As you can see from the model, the circulation throughout the path was designed to expand into larger spaces and compress down to just enough room for people to squeeze through. In doing this, the site begins to mess with the mind. For example, let's say you were walking through a very narrow space. At the end of this path there is a room 10' x 10'. Not necessarily a very big space, but it would feel bigger after coming out of the narrow space as opposed to having a wider path leading into the space. This effect also works when pacing something into a large space to make it feel smaller. Take a look at the model. About half way up from the starting point are a set of columns within a curved space. This space is actually decently large, yet it seems constricted and packed just because the columns were placed there.
At the end of the path is a large space that extends out a bit. This was placed so that those walking through the path could oversee where they've just been and reflect on how they felt during this journey.
Wednesday, July 8, 2009
Project Horsey Overview
What kind of movement does space have? The motion of a horse has pattern, rhythm, and elegance with fluidity that can also be found in the best of architecture. The rider and horse move with a compelling unity through space. Great architecture can provide the same unity, moving people through spaces that also express pattern and rhythm, elegance and fluidity. This assignment began to explore spatial relationships and organizations. Building on the previous project (Project Poem) of form and space, this project examined a more complex understanding of space in relation to an activity that has spatial characteristics: the motion of a performance horse. We were asked to design a series of spaces based on a specific style of performance through form, rhythm, proportion, scale, and balance.
The performance style that was assigned to me was dressage. This style is both an art and a sport. The horse and rider must share a strong bond in order to perform various maneuvers. It was originally used in Ancient Greek times as battle tactics, both offensive and defensive. Today, it is a challenging discipline as well as an Olympic sport. The main objective of dressage is the harmonious development of the physique and ability of the horse. This makes the horse calm, loose, and flexible, but also confident, attentive, and keen. This achieves perfect understanding with the horse and rider. Skill in dressage lies in the ability to persuade the horse to perform the required movements gymnastically and with power, but without resistance.
Before I explain the meaning of the design, it should be noted that the area with no elements or defined spaces is the northern most part of the site plan. This is also where the audience enters. Now, as they enter, they see the first structure to their left: the horse and rider relationship. You may notice that the thick plane has an element going through the center which supports the overhead thin plane. A closer look reveals that both planes do not actually touch each other, but share a bond with the element. This symbolizes the relationship between horse and rider in such a way that it establishes both as a separate entity united together by a simple cause.
As the audience begins to move from the first space, they will notice a series of smaller elements forming a path heading south. This relates to the canter motion, which is a three-step movement that the horse takes in long strides. Looking at the pattern, you can see that three elements are lined up, leaning in one direction, while another set of three leans the other way. This effect creates motion along a path as well as forming small spaces.
By the time we reach the platform, the elements begin to transition into a structural support on the back of the western wall. This area begins the lateral trot motion. The trot is a two-step movement which can be seen in the overhead plane attached to the wall. The wall itself is actually placed in a way that moves the audience to the right in a lateral motion, where the stairs play off of that movement to enhance the effect (to get a better feel of this lateral motion, go to YouTube.com and look up dressage horses).
The final platform consists of four thin planes arched in a way to represent the rearing motion of a horse. It begins to lift higher and higher off the ground, much like what it would look like watching the horse in slow motion. Elements are placed through each plane to show structural support, as well as create an interesting effect.
Now, most would think that this is the end of the journey and that they can step off the platform to exit. Not so. The idea here is to turn around and experience everything backwards. In design, experiencing circulation, spaces, and forms in a variety of ways begins to effect how we see the area, enhancing the experience and possibly drawing in more interest. You can definitely begin to see different things as you walk through the site the opposite way back to the beginning of the journey.
The performance style that was assigned to me was dressage. This style is both an art and a sport. The horse and rider must share a strong bond in order to perform various maneuvers. It was originally used in Ancient Greek times as battle tactics, both offensive and defensive. Today, it is a challenging discipline as well as an Olympic sport. The main objective of dressage is the harmonious development of the physique and ability of the horse. This makes the horse calm, loose, and flexible, but also confident, attentive, and keen. This achieves perfect understanding with the horse and rider. Skill in dressage lies in the ability to persuade the horse to perform the required movements gymnastically and with power, but without resistance.
Before I explain the meaning of the design, it should be noted that the area with no elements or defined spaces is the northern most part of the site plan. This is also where the audience enters. Now, as they enter, they see the first structure to their left: the horse and rider relationship. You may notice that the thick plane has an element going through the center which supports the overhead thin plane. A closer look reveals that both planes do not actually touch each other, but share a bond with the element. This symbolizes the relationship between horse and rider in such a way that it establishes both as a separate entity united together by a simple cause.
As the audience begins to move from the first space, they will notice a series of smaller elements forming a path heading south. This relates to the canter motion, which is a three-step movement that the horse takes in long strides. Looking at the pattern, you can see that three elements are lined up, leaning in one direction, while another set of three leans the other way. This effect creates motion along a path as well as forming small spaces.
By the time we reach the platform, the elements begin to transition into a structural support on the back of the western wall. This area begins the lateral trot motion. The trot is a two-step movement which can be seen in the overhead plane attached to the wall. The wall itself is actually placed in a way that moves the audience to the right in a lateral motion, where the stairs play off of that movement to enhance the effect (to get a better feel of this lateral motion, go to YouTube.com and look up dressage horses).
The final platform consists of four thin planes arched in a way to represent the rearing motion of a horse. It begins to lift higher and higher off the ground, much like what it would look like watching the horse in slow motion. Elements are placed through each plane to show structural support, as well as create an interesting effect.
Now, most would think that this is the end of the journey and that they can step off the platform to exit. Not so. The idea here is to turn around and experience everything backwards. In design, experiencing circulation, spaces, and forms in a variety of ways begins to effect how we see the area, enhancing the experience and possibly drawing in more interest. You can definitely begin to see different things as you walk through the site the opposite way back to the beginning of the journey.
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