WOODEN HORSEsubmission 3

PROJECT FISSURE

I wanted employ the form and geometry from submission 2 however refine it to the point that it could physically be placed within an urban context with notions of the local context of neighbours considered as well. The form pushes away from conventional urban standards of square site boundaries with everything being held within a defined, controlling space. Instead i favoured going for a literal and physical interaction with my neighbour on the Eastern side after coming to an arrangement. Here the geometry links and interacts without sacrifcing privacy with the boundary itself taking on the form of my design.

The building is sunk into the ground by a metre in a gesture that the geometry suggests is the beginning of a fissure in the earth. This coupled with the fragmenting geometry of the structure disguises the residence by making it look less capable of holding life within. The large walls on the Western side act as effective screens against the main flow of traffic on the main st edge; hiding the buildings beyond. These walls allow an exaggerated continuation of a conventional footpath to enter the site. Even though the walls control this converging of public and private only allowing a small vista into the site an impression is given of a strong cross programming of public and private. Hence the residence also attempts to disguise itself through dissacociation as a residence; appearing as more of a continuation of the street edge. Inside the building these moments of publicity are treated with controlled care; where at one moment one of the fingers that make up the funnel is sunk into the ground providing a low and non-compromising vantage point of those walking by.

As in the last submission, this structure embraces the street edge even though this is disguised by the Western walls. The overall form and layout especially with the intriguing public path ramping up the outside of the wall, attempts to lead and encourage people into the overall community developement.

SUBMISSION 2 mystery play

SITEfisure

The overall building typology is inspired by the concept of fracturing and an element of action and effect; as the geometry of the structure is embodied in the site typography. The four residencies appear to orignate from the same point and then thrust apart forming independent gropups of two houses. The buildings were intended to have both an element of calm represented through the more conventional components and geometry but also to represent a chaos and turmoil indicated in my character's life. The fractured site is intended to weave across the city landscape.

A strong play between public and private spaces and feelings takes place within the site and residencies. On the street edges pictured above all buildings have some element of vista out to the very public places beyond; whilst also having some very private spaces tucked away in the heart of the building. I wanted to create a group of buildings that played strongly between feelings of comfort and vulnerability and inevitably spaces of reflection.

Similarly the overal site makes the same suggestions of the dual programming of public and private with the large geometrical components situated on the street edges to the North and West of the site block the majority of external influence; whilst the East and South faces are left relatively open.

Although seemingly separate the two fragments of building groups are essentially connected through the incorporation of large vistas between the buildings. These views although broad do not invade the private space of the houses theyre focused on however the do serve to nforce the idea of merging public and private space.

The required component of nature is incorporated through the use of water that skirts the buildings on two sides and the trees at the head of each of the buildings. The water also serves the purpose of points of reflection and a calming element amonst the chaotic geometry. Technique is represented through elements of storage on the sides of the buildings and underneath one that rises above the site.

Submission ONEequus

MODELone

Originally i conceptualised the overall layout and design theories of this sketchup model on paper creating a platform from whcih to launch the 3D model. Essentially this structure has several key design elements that are apparent programming in all the following models as well in varying extents. The concept of a 'tower' as a monument and expression is challenged as this moment of reflection is situated in the subterrain first room. Similarly the concept of a single point of reflection; the water component of the design was not only intended to create a comforting, peaceful and encompassing element but also many points of self reflection. A main component of this design is its split living areas with breaks apparent isolating the major points of use from each other and also reflecting the fragmented shades of character apparent in my character.

MODELtwo

This card model abstraction of the first model is a more literal expression of the driving design concepts. The form of the structure is far more energetic more directly plays with the idea of the link between structure and its effect on the physical state of mind. This is achieved through the design literally wrapping around itself creating a strong impression of an embracing and protective form. The water component is again evident, similarly wrapping itself around the back of the structure.

MODELthree

The third model is a further investigation of the loose form and overall makeup of the second model. As a whole this design is far more resolved than the previous, however, some spatial issues still exist; arising from the random nature of the geometry. A component of water is still evident bisecting the two components of the house; again linked to notions of peace and points of reflection. Unlike the previous wrapping card model this one allows movement throughout to take place in a fluid way through manipulation of internal spaces. The geometry and overall typology of this structure can speak symbolically about fragmentation and change in my character's life.

MODELfour

The second card model is again, not as resolved as the sketchup versions allowing for a looser read of the overal use. The driving ideas were again investigations into wrapping and folding planes indicating a building's 'embrace'. The design ramps up to a high point of reflection overlooking the whole structure. The fluctuating planes and unpredictable spaces again reflect my character's constant state of mental change.

HAMBURG, GERMANY architecture

HAMBURG, GERMANY

concert hall, ARCHITECTS herzog and de meuron

an der alster 1 office complex, ARCHITECT j. mayor h architects

deichtor centre, ARCHITECT bothe richter teherani architects

burohaus dockland, ARCHITECT bothe richter teherani architects

Character Profile... RESEARCH, STORY

LAVINA a city's embrace

Lavina Vanderlinden is a woman of 48 living in Hamburg, Germany. She indeed is a clear product of Hamburg's diverse culture. Lavina reflects the elegance and modernism that defines the existing city. Lavina and her two sisters are renowned for their social standing amongst the upper class of Hamburg's 1.8 million residents. The city's booming economy is no better reflected then in her fine taste and lifestyle. Lavina, a widow of 4 years had been left a substantial ammount of money from her departed husband; involved deeply with Hamburg's large ports and the associated sea trades. Despite being married for nearly 16 years Lavina never had any children, however, her relationship with her mother was strong especially since the death of her father 2 years previous.

In amongst all of her social finery Lavina still enjoyed the city's simple retreats, in particular moments of reflection by the arterial waterways and especially down at the docks. During these occasions her deceased husband always felt close. Lavina especially felt endeared by the Hamburg nights as the water adopted and emphasised the city's splendour assuming a life and character of its own. She loved boating around the waterways as it was always a fresh perspective of the city and the water helped to calm her and allowed her time to think. She particularly nevered tired of the city's glamour; always reveling in the architectural history and grandeur that portrayed Hamburg's glory to the world. The city's churches; Lavina found notably breathtaking despite living with the scenary all her life.

She had always considered herself to be a citizen of one of the most beautiful cities in Europe; and in her opinion the world. Lavina reflected this affluence and beauty in her home choosing oppluence and extravagance rather than modesty. She was an avid supporter of the fine arts Hamburg was so famously known for; often attending with her sisters and groups of the city's upperclass. Similarly she enjoyed the many fine shopping moments Hamburg offered; naturally as money was of no concern in her lavish lifestyle.

Lavina, however, appreciated a warmer ambience that was not immediately offered with the city's traditional materials of stone and brick and the sheer facades of the buildings. Colour also was a component that she felt Hamburg; and indeed her life lacked at times. The city's streets sometimes felt cold and dark, however, her home always welcomed her expression of energy and the enthusiasm when she desired it. Despite her flambouyant character Lavina saw herself in shades. Some days the pain of her husband's death drove her into a haze of gray whereas other days, light rose through the pain like the sun peaking over the horizon. These days she felt at calm like the Alster river, tranquil in Hamburg's early morning.

Ultimately, Hamburg was as much a part of Lavina as the blood in her veins; she loved her life and the city that supported it. Despite a longing for her late husband she lived in relative peace and had a sense that this German city was her supporter and love; embracing her with the warm embrace of a parent. Lavina felt this would never change.