2010年6月13日星期日
The artist
The gallery I have designed is owned by Hayao Miyazaki who is a master of japanese anime. He is a kind old man who loves strange and unusual sculptures which can inspire him to design particular characters and scenes in his anime. The famous "Howl's Moving Castle" and "Castle in the Sky" were inspired by sculptures. I think Hayao Miyazaki may really love the art works by American Abstractionist David Smith and hey may use the gallery as a source of inspiration and put his studio in this gallery. This gallery is set in site 1, however, Miyazaki is a man that likes quiet environment, and therefore I set the living area away from the gallery. Smith mostly make large outdoor sculptures and this requires a garden.
Site Analysis 2
This is the site plan I have hand-drawn in the image, it makes it easier to comprehend how I blend the new building into the site.
The use of natural light is very important to a gallery, in addition, as this gallery mainly exhibits metallic sculptures which are even more strict with illumination. The building I designed is in a narrow and long shape.
This image shows the information and idea I have referred from other sources in order to design my building.
This is the model of the entire site constructed using Google-sketchupSite Analysis 1
The site I chose was site 1 which locates between a supermarket and a cafe. The site faces King St upfront which is noisy and crowded. My perception is to design a transfer space or buffer area that can isolate the gallery and the street.
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2010年5月9日星期日
Design Studio Project2 - PartB
This entire building is designed to serve a small Christian group as a church. It locates in the rich area in Amsterdam in Netherlands. The Christian member can study, pray and deliver sermons here.
The design of this building is inspired by the oil painting by Jan Vermeer, ‘Woman Weighing Peals’. The young woman in the painting is weighing pearls, standing between the dark background of ‘the Last Judgment’ and the jewelry on the desk.
The balance that she holds has nothing on it, representing that she is comparing and balancing the weights and importance of ‘materiality’ and ‘spirituality’. It seemed that she had reached her conclusion.
My design aims to embody her conclusion. As the church has no glamorous decorations or surface, it has more ‘spirits’ and ‘virtue’ elements hidden behind its simple and plain looking. Every single component of the building serves its own purpose. Each space, the prayer room, the first floor main hall and the second floor library, has its own theme illustrating ‘Acceptance’, ’Absorption’, ‘Reflection’ and ‘Relaxation’ which comprises a journey of human life.
1. The studio in which the pregnant in the painting works, serves as a prayer room with capacity of two people only, the pastor and the person praying. The studio is supported by pillars and it is on the second floor, isolated and quite.
2. Main building of the Christian church. A huge cross-shaped window is positioned on the wall to the west, spreading across the first and second floor.
3. The roof of the main building has a skylight that enables the natural light to penetrate through to both first and second floor.
4. Veranda for site seeing, a stilt floor besides the riverbank. It connects the main building and the prayer room, gives a broad horizon to the praying people and makes people relax.
5. The window of the prayer room. Sunlight can penetrate through this window. The size of the window adjusts the degree of illumination making sure it is not too bright or dark.
6. First floor of the church. Pastors can deliver sermons here. It is a hall that can hold 8-10 people.
7. Library where members can study. Lots of books are stored here. The opening enables people to see through to the first floor. Sunlight from second floor can also be shared to the first floor in this way.
The design of this building is inspired by the oil painting by Jan Vermeer, ‘Woman Weighing Peals’. The young woman in the painting is weighing pearls, standing between the dark background of ‘the Last Judgment’ and the jewelry on the desk.
The balance that she holds has nothing on it, representing that she is comparing and balancing the weights and importance of ‘materiality’ and ‘spirituality’. It seemed that she had reached her conclusion.
My design aims to embody her conclusion. As the church has no glamorous decorations or surface, it has more ‘spirits’ and ‘virtue’ elements hidden behind its simple and plain looking. Every single component of the building serves its own purpose. Each space, the prayer room, the first floor main hall and the second floor library, has its own theme illustrating ‘Acceptance’, ’Absorption’, ‘Reflection’ and ‘Relaxation’ which comprises a journey of human life.
1. The studio in which the pregnant in the painting works, serves as a prayer room with capacity of two people only, the pastor and the person praying. The studio is supported by pillars and it is on the second floor, isolated and quite.2. Main building of the Christian church. A huge cross-shaped window is positioned on the wall to the west, spreading across the first and second floor.
3. The roof of the main building has a skylight that enables the natural light to penetrate through to both first and second floor.
4. Veranda for site seeing, a stilt floor besides the riverbank. It connects the main building and the prayer room, gives a broad horizon to the praying people and makes people relax.
5. The window of the prayer room. Sunlight can penetrate through this window. The size of the window adjusts the degree of illumination making sure it is not too bright or dark.
6. First floor of the church. Pastors can deliver sermons here. It is a hall that can hold 8-10 people.
7. Library where members can study. Lots of books are stored here. The opening enables people to see through to the first floor. Sunlight from second floor can also be shared to the first floor in this way.
2010年4月25日星期日
2010年4月7日星期三
2010年3月26日星期五
Assignment1-Introduction
Robert Venturi, John Rauch and Scott Brown (VRSB) is a Philadelphia firm that has had a significant influence on late 20th-century architecture. The firm was founded in 1964 as Robert Venturi and John Rauch by partners Robert Venturi and John Rauch. They were joined in 1967 by Denise Scott Brown who since 1960 had been collaborating with Robert Venturi in teaching and the development of theory. In 1980, the firm became Robert Venturi, John Rauch and Scott Brown.The firm's influence was first felt through the writings of Robert Venturi and Scott Brown, beginning with Venturis Complexity and Contradiction in Architecture widely regarded as the seminal document of the postmodern movement. Published in 1966, it is still in print and has been translated and published in nine languages.
Vanna Venturi's House
Vanna Venturi House, även kallat Chestnut Hill House, är ett mindre bostadshus i området Chestnut Hill i Philadelphia, Pennsylvania (USA). Huset ritades av arkitekten Robert Venturi som fått uppdraget att rita en bostad åt sin mor Vanna Venturi. Villan byggdes mellan 1962 och 1966 och var ett av Robert Venturis första uppförda byggnadsverk och kom att bli startskottet i dennes arkitektkarriär. Byggnaden stod klar i samband med publikationen av Venturis postmodernistiska manifest Complexity and Contradiction in Architecture och bär tydliga spår av dessa idéer i sin utformning. Av många anses den som den allra första postmoderna byggnaden.
Arkitekturen är komplext och lekfull och utforskande och innehåller många historiska referenser och stilelement, vilka dock konsekvent har omtolkats och tillspetsats. Planen utgörs av en relativt långsmal rektangel och använder sin bredsida som huvudfasad. Taket har formen av ett delat sadeltak med gaveln åt bredsidan. Den rektangulära exteriören står i kontrast mot interiörens sneda väggar och buktande ytor och en hög detaljrikedom som utstrålar Venturis motto "Less is a bore ". I bottenvåningen ligger köket, badrummet, vardagsrummet och moderns sovrum, medan det på övervåningen finns en takterrass och ett gästrum. Den öppna spisen i vardagsrummet har en kraftig murstock som accentueras även exteriört av ett upphöjt skorstenstorn.
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