Project 3 Concept

The concetpt is about shattering a space. Fragmented shapes and volumes allow a sense of continuity to exist without appearing unnatural, and this is to be developed from shapes to spaces.  

Studio 4: Project 1

 The above image is our historical map of Parramatta, including a variety of shading which is used to indicate different historical periods. All roads have been placed as they are in current day, however the lots bound by these streets have been drastically altered due to expansion and commercialisation of the city. As a result, what appears to be a typically residential, Western Suburbs precinct has been extensively renovated to allow for businesses which accommodate growth of outer suburbs.

 The above image is part of our site analysis, and has been used to [upper] describe our intention to recreate the 'hub' of Parramatta to its original, northern location [where the riverside theatre is located]. Our proposition is loose, however briefly describes the opportunity for economic and social growth if the site of Parramatta /council, public swimming pool and stadium is linked to Prince Alfred Park through the site of the Old Kings School. This could be achieved through refurbishing existing historic and school buildings to allow for civic and business centres. This would ultimately be accompanied by a small number of cafes.
The lower part of the image describes the topography and opprotunity for views from the site of the Riverside Theatre.

 A closer analysis of our intentions.

 Our journey through Parramatta, is described through our recording our reaction to the physical setting. Our journey was very much influenced by conflicting feelings of being enclosed and being open, while also feeling as if we were within an overly man-made environment. Some significant buildings and views are recorded through illustration.

The stage is designed to capture a sense of comunity, through including the audience in the arena. The basic layout describes the 'Jets' rebellion of authority, having the dignified Town Hall behind wire. This signifies the lack of authority existant in West Side Story. It also establishes a strong sense of place, being Town Square, and this is very relevant to our chosen scene [the opening scence, which exists within a wired off area of New York]. There are therefore profound parrallels which exist between our stage and that of the film, despite being a different time and city.  

Project Three:

The building is set over four floors:A studio apartment one level above Victoria Street; a gallery, storage space and entry hall at street level; the main loungeroom, kitchen and courtyard of the main residence one lvel below Victoria street; and Master bedroom, office and en-suite two levels below Victoria Street.
Each level is connected by a continuous staricase, which opens out to a double storey void at the linking point between the main residence and the Studio apartment. This point is located at Street Level.

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THE CONCEPT

The idea was to create a piece of architecture which can transform from being completely closed, to completely open. I want the materials used to be all natural and locally sourced, in order of respecting the heritage of its surroundings.

The hypothetical clients include [Client A] an art collector aged in her 50’s, who is recently retired from curating a large art gallery in Sydney, and [Client B] the art collectors daughter, aged 19 years old and studying Fine Arts at a local university. Client A owns the residence. She wants a space where she can show her large art collection to the public, and where she is able to run small, non-profit art classes for the community. There is a strong sense of community in Potts Point, and so this aspect of the local culture was to be translated into parts of the public design. Client A is happy to open part of the house to the public, however given the nature of Kings Cross she wants to have control over when this is going to occur. To resolve this, I wanted to design a facade that could be completely shut at any given time, and be completely open at another time.

Client A wants her living space to be closely connected to the living space of Client B, given their close relationship.

Client B wants to reside in a small studio apartment. In the intial design Ilocated tis apartment on the bottom level, below the loungeroom.

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THE RESULT

The final design includes spaces which ultimately represent this idea of transforming from closed to open, with use of primarily local/natural materials. These materials include Vertical Cedar cladding, which I want to be left to turn silver over time. This material wraps the majority of the house; I was considering its use on the roof, however for practical purposes I would recommend using a grey coloured slate, so that it is the same colour as the cladding.

The base of the home is Sydney Sandstone, arranged without any apparent order.

One of the most significant aspects of the architecture which has been maintained from my initial concepts, is the courtyard which is the centre of the kitchen, loungeroom, and a breezeway/staircase. This courtyard would have a reflective pond, and plant boxes. It would be used as an outdoor entertaining and dining area by both clients. The kitchen and breezeway completely open up into this space, through stacker doors which recede into the wall cavity. This gives the illusion the outside is inside, and vice/versa. This connection to the environment, and confusion of spaces is intentional and repeated in some other parts of the design [discussed later].

The images [clockwise from top left: Fig [A] shows the south western view of the home, which the sandstone base is the main bedroom and above that is lounge room and southern side of the breezeway, Fig [B] The facade on Victoria Street, where the pivet doors and windows are clad the same as the external walls of the house, so that when closed the facade appears completely shut; Fig [C], is the top view of the breezeway, loungeroom and courtward, where a small pebble garden is located upon the flat part of the roof, next to the skylight; Fig [D] is the courtyard, modelled without stacker doors, in order of expressing the desired openness; and Fig [E] an aerial view of the house, taken from the west.

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THE DETAILS

The 1.50 section was taken through the gallery space, 2.5m from the boundary wall. The section was taken at this point as it highlighted some of the key concepts of the building, which are both important and require some explaination.

The images [clockwise from bottom left] include; Fig [F] is an image of the entire section, taken from the south wesern perspective, looking toward Victoria Street; Fig [G] is very important. I displays how the master bedroom and ensuite in Client B’s studio apartment work. This is space is very important, as I want it, like the courtyard in the main residence, to confuse exterior and interior. When you leave the bedroom [left] and enter the bathroom [right] there is a glass roof and sanstone wall, so that you shower in an entirely open space which opens onto a pebble garden. Privacy is no issue, givent he neighbouring terrace has no side windows; Fig [H] displays the double height void in the gallery. this space has a glass roof, to allow sunlight from the north into this shaded side of the building; Fig [I] is an extension of the previous image, as it is part of the gallery space, however is single heigt. This space is ultimately used for art classes and more intimate events, with the two different height in the one room psychologically resulting in there being two separate spaces; Fig [J & K] are of the kitchen, and display how it is compartmented when closed off from the external courtyard. It consists of an open plan kitchen and large, hidden walk-in pantry. White panelling is incuded over all walls, to provide continuity between cupboards and blank walls. /this is for aestheitc pruposes only.

Final Submission Assignment 2

The materials used in the house are really interesting. Gehry built the home in the 70s, when in Santa Monica there was this left-wing political movement known as progressivism, which encouraged self expression. So the location was ideal for Gehry to experiment with material and form.

The most interesting materials include chain-link fence wire, corrugated iron and exposed studwork.

Gehry said that "a structure in progress is always more poetic than the finished product", and so these material choices and forms are supposed to reflect this.

Fencing wire and corrugated iron are materials used usually in commercial or public places.

Although it appears aggressive on the home, the fact that these materials are so open to public use [i.e fence wire on bball courts and parks], and indicates that perhaps Gehry wanted to create an image which could connect with society.

-public areas. The new addition has asphalt flooring; all these materials used the public ‘domain’ support this suggestion by Gehry that the structural process is so poetic. It appears in many senses incomplete; such industrial appearances are not the definition of the traditional home, which is part of the success of the architecture.

-private areas are far more refined, however maintain raw textures. All materials in these areas allow a sense of comfort within the spaces. It is so difficult to define how a space is used. On the exterior of the upper level chain link wire is used to create a transparent outdoor area where the person feels entirely protected.

Public vs. Private

I've got two main parts on the poster, and a model. I'm looking at how I would classify each section of the house, how you move between each area and how each set of areas is set out. What i found was an extremely clear result; as you move left the house becomes more private and more compartmented.

The four major parts are:

Yellow represents the addition; it is one fluid space which is entirely public. Despite its abstract physicality, its plan is modern and open-plan.

Orange represents the semi public/private area, which consists mainly of the lounge room, sitting rooms and veranda. All these are single spaces as well, usually boasting a larger area.

Blue represents the buffer between public/private. This principally involves passageways. They are very important spaces however in this design have inconsistent patterns.

Green represents the private sections of the home. They are the most compartmented areas. It is not open plan. The most significant sense of openness provided in these areas is the ‘open’ ceiling...private yet open feeling.

With the model im looking at this visual connection between different areas, which is most present on the ground floor. There is this extremely strong connection between street-kitchen, and then kitchen-loungeroom. The spaces only flow visually though; there is no easy physical flow between the areas. This adds to the privacy of areas such as the loungeroom, which i categorise as semi-public. It also really sums up this idea that as you move inward the house becomes more private.

In terms of psychology, ive really focussed on how light and the size of spaces in the home influence how the person experiences a room. The results i found was the the psychology of the home was closely related to the previous studies...different materials influence how you are going to use the home...

The privacy study i concluded that spaces became gradually compartmented with their levels of privacy, and this is highly significant to the manner which a room is going to connect with you.

The model ive made is to represent this idea...this shows four major sections...the kitchen, the loungeroom, the bedroom, the veranda. Each is colour coded according to light, and has appropriate openings.

Portfolio of Progression; post break

Contextual Map; Understanding the grid pattern of Santa Monica. I wanted to look at how the materials selected may be influenced by the patterns of suburbia.

Understanding how light and space influence how the person feels in a space, and how they choose to use it.

Portfolio of Progression: Interim Submission

2012 Design Studio Project One: Gehry Santa Monica

Ground Floor Plan:

First Floor Plan:

Sections:

Structural Floor Plans and Sections:

The majority of the load is carried through the original house. The original dwelling is in no way reliant upon the alteration.

Relationships:

There are three distinct spatial relationships within the house: private spaces, public spaces provided by the original architecture, and public spaces provided by the addition. Private and public areas are linked by smaller, semi-private areas.

Green: Public spaces in original home [lounge areas].

Orange: Public spaces provided by addition [functional areas].

Dark Blue: Private areas [bedrooms, en suites]

Light blue: Semi-private areas [bathroom and/or foyer, located between public and private areas].

Circulation of the house is quite clear.

Blue: indicates the path a person may take who seeks to use the house functionally. That is, they may wish to use the kitchen, or access the backyard. This is all provided through one clear space, in the new addition.

Green: Indicates the path a person may take who seeks comfort. That is, they would want to use areas such as a lounge-room to relax. These areas are hidden within the old home, however are for more exposed than the private areas located around it.

Brown: Indicates the path a person may take who seeks privacy. They enter the home and, in general, will move upstairs and into a bedroom. Access is easy, however perhaps not as inviting as the two public spaces aforementioned.

Landscape:

The home sits distinctively on a suburban corner block. Gehry’s wish to create a symbol of deconstructivism is powerfully expressed through a dramatic metal facade, and skewed windows. There is a stark juxtaposition between the house and the streetscape. Yet, traditionally, it defines the corner of the block well, and retains some order to the Santa Monica grid.

Vegetation softens the architecture, and provides an appropriate level of privacy for a building which so adamantly seeks to connect with the street.