Showcase: Assignment 3

The Timeman's patience has finally been rewarded, as the design process for his dwelling has finally come full circle (pun intended). This is final the architectural proposal, located on Adam Street, Hindmarsh, SA near the Entertainment Centre and Cooper's Brewery. Each of the design principles that were developed through previous submissions, still stand, and have likewise been enhanced, and adjusted . Namely, the sense of the infinite embedded into the geometry of the circle. Considering that this dwelling has been forced into an urban suburbia, against The Timeman's will (according to the assignment brief), I took inspiration from this condition and similarly applied it to the client's design language. Hence, the linear interruptions which disturb (but do not obscure) the cyclical form, are reflections of society disrupting The Timeman's existence. The most potent examples of this are seen in the existing industrial brick wall at the street-front "camoflauging" the body of the building, as well as the central monumental entrance carved through the heart of the dwelling. Furthermore, this decision then supplemented another pivotal design condition, and a suggested critique from the last submission -arranging the floor plan programmatically according to the time of the day. In Adelaide, that means rising with the sun in the east, and setting with it in the west; which is made all the more poignant by this central linear void.

Time will tell how this dwelling performs, reacts, evolves and ages in conjunction with The Timeman.

Showcase: Assignment 2

For this submission, our collective group of architects wanted to take the opportunity to create architecture that shaped our clients lives for the better. In that, we wanted to overcome the limitations of our client's natures that are perhaps self-imposed, and isolating them from the rest of society. The Timeman's dwelling enables us to do so, as it was unanimously decided that it would be host to a series of catalysts that activate movement throughout the site -mostly initiated by interaction with the interior units (ie, pulling down the bed, sliding the kitchen benchtop across, and so on). This would then allow for moments of physical interaction between each of our clients dwellings, paving the way for emotional connections in the future. Collectively, these movements are attempts to open our clients up to each other and the world, and if not, at least allow them to be segregated together, united.  

As you can see, the design language revolving around the circular, geometric and infinite forms has carried through from the first proposals. Now, the interior and in particular the exterior conditions have become more realised, in that the dwelling has a dual dynamic skin that begins fully enclosed, and progressively opens up following specific catalysts. That is, the inner thick, sedentary concrete wall -contrasted against the outer lightweight timber screen- has opportunal partitions embedded within that can be pushed out, pulled down, slid across; creating new openings in the facade that allow light to flood in. And this process, which symbolically represents The Timeman opening himself up to the world, is very deliberate because when the dwelling is sealed off in it's isolated state, the only light permitted is through the central occulus. Consequently, the interior conditions around the perimeter of the design would consist only of darkness. This is a conscious design decision that I have deliberately made in an effort to open The Timeman to new possibilities and experiences. The layout in plan, revolves around a central axis which is the atrium, hence the organisation of units and furnishings is typically around the perimeter as dictated by a radial form. In typical real-world conditions, this form can be quite unfavourable due to the longer distance time it requires simply to get from point A to B, however, The Timeman, due to his psychological disconnection from reality, has no sense of urgency and is untroubled by this. So I've really played to this intriguing anomaly by maximising the distance one must cover simply to enter. If you refer to the plan drawings above, you'll see that entry begins outside on the ground floor, by travelling down exterior stairs below ground, then moving underneath the building into the central atrium, to then have to traverse up more stairs; all of which just to get inside back onto ground level. 

Ultimately, this design is dealt with quite whimsically, and attempts to resolve problems by reacting to the manner in which it is inhabited by my client The Timeman. This is how I have attempted to create influential, and perhaps transcendent architecture.

Neighbours

For Assignment 2, my client The Timeman is forced -as he would argue- into an urban environment with... Neighbours dum dum dum! The horror! Funnily enough, each of these neighbours are as eclectic, eccentric and unique as the last, and have all approached brilliantly talented architects like myself (HA!), simultanously. How fortunate. Consequently, in order to deliver an overall design solution, the four architects must work in conjunction with one another to ensure these new neighbours can coexist harmoniously. This situation also provides the potential for a deeper underlying contextual relationship between these characters, other than just geographically. The challenge for us architects will be to design in response to our client's unique nature, and create architecture that potentially, helps open these characters to new possibilities beyond their preconceived limits. For The Timeman, this means shattering the protective skin he has constructed around himself, and forcing him to engage with society (or at least his neighbours) for his own personal evolution and benefit. 

Showcase: Assignment 1

This post showcases the four designs I've envisioned for The Timeman; using analogue and digital mediums. In fact, the fundamental nature of the mediums themselves have driven the design language quite significantly. Notice the disciplined, geometric forms associated with the two models developed within SketchUp, and how they are completely contrasted by the twisting, organic curvatures of the clay models. Yet all of the designs attempt to engage with the same founding design principle that speaks of the client - the endless and infinite. 

Model 1 (Digital)

Diagrammatic plan illustration, 

inspired by the technical watch drawing posted previously

Cylindral elliptical form with central occulus

subterranean entry path, forcing occupants to move around

perimeter and then beneath and then back up again

to enter

Model 2 (Digital)

Diagrammatic plan illustration, 

inspired by the infinity symbol

Two major central spaces, one open (upper) and another

enclosed (lower)

Sweeping curvatures that wrap around and inside building

Model 3 (Analogue)

Twisting, knotted form with various facets that fold 

up, around and inwards

Central funnel aims to channel light and let it permeate 

through the space

Model 4 (Analogue)

Sweeping halo form that folds outwards from central void

Likewise, central peripheral aims to allow light to filtrate 

into the interior spaces 

This submission required the incorporation of a tower, to invite moments for reflection. My approach to this prerequisite was quite abstract as opposed to literal, where I thought of the tower as a void, or a subtractive volume instead of additive, that pierces centrally through each of the designs. The moments of reflection depend on the success in which light is allowed to penetrate into the interior. Perhaps this process can be enhanced using reflective surfaces such as mirrors?  

The resulting circular movement paths created by these forms are usually quite undesirable -in that they create longer travelling times and pose problems when it comes to furnishing the interior- yet this does not apply to The Timeman. He has no sense of urgency. Sprawling movement paths only further emphasise the design language. 

This is the first step, in an evolving process. Next, will be to move forward with ONE design solution that references elements from any to all of the original design proposals outlined here. 

Who Is The Timeman?

Who exactly is "The Timeman"? Legend has it that he is a man trapped in the endless cycle of time, unable to age. Nobody knows how this came to be, or what he did to deserve such a fate; but the truth of the matter is, this myth has been passed on for generations and yet this lone figure forever still remains. Cursed to watch on while the Earth continues its axis of revolution around the Sun. In fact, that is why he is referred to as "The Timeman". Everyday, like clockwork, he can be seen from a distance, keeping constant track of time, following the cyclical ritual of the rising and setting of the Sun. This compulsion has now grown to be similarly cyclical in nature, just as is the object of his obsession. They say that -in his mind- the only way to escape the burden of immortality must be to fixate on what it is to be mortal; and that is time.

Some would say he is enlightened, some crazy. But they all agree on one thing, that he is not to be approached. That is just how The Timeman prefers it. He is a recluse, with a profoundly intraverted nature in which he has had eons to nurture. And for those foolish enough to approach him, will be met only with silence and an impenetrable stare that feels as if he can see right through a person's soul. His past is a complete mystery, as his appearance is almost indescribable. With no easily identifiable nationality, no provided accent to suggest otherwise, and no interest in current affairs -other than the current time- The Timeman appears to be divine. A deity sent to keep track of time. Consequently, it is assumed that he is not reliant on any prerequisites of daily human life such as sustenance or sleep. Unbeknownst to the masses however, the interior of his current dwelling would say otherwise. He has surrounded himself in familiarity, and as such, his home is furnished accordingly -but to the bare minimum. This would suggest that while his needs transcend that of a human's, the bare necessities such as food, sleep and air, perhaps serve as more of a comfort to soothe the endless ache.

Architecturally, The Timeman's obsession makes several demands. For one,  no matter where he is in the dwelling, he must be able to tell the time, through one way or another. For him, this is achieved through the manner in which light filtrates space -internally and externally- and casts shadows. Such that the architecture acts a sundial through the condensation and purification of light to it's most concise being. The Timeman also requires  for space to exist in a state of equilibrium, that performs as a buffer from the chaos of external forces and life. With an emphasis on contemplative minimalism that fulfils the subtle balance between necessity and comfort.

Like Clockwork

After contemplating the notion of a clock, the next evolutionary step would be to consider the mechanics in measuring the passage of time, in say, a watch. Particularly in traditional mechanical style watches, the detail and precision required of each individual mechanism is astounding. Like a chain reaction, each element is dependent on the prior, thus promoting a self-enclosed ecosystem. If one fails, so too will the rest. 

As evident in the accompanying images, there is a vast amount of mechanical parts that comprise a watch. Some are circular, some are winding and intertwining their way through, some are anchored, and some seem to be floating. Yet, each and every element seems to coexist in perfect harmony. 

I think the most important caveat to take from this, and to implement into my design for "The Timeman", is the notion of an all encompassing ecosystem - or as Tadao Ando puts it, "to establish the single intent of the space". Hopefully this will encourage the achievement of "a maximum effect of equilibrium" and balance. 

Just like clockwork.

Tadao Ando

Tadao Ando is a distinguished japanese architect whose work, in my opinion, is utterly breathtaking. Simple in nature - though not to be confused with simplistic - the architect intentionally uses limited forms and materials to structure space and light in dynamic sequences.

""My intent is not to express the nature of the material itself," Ando has noted about his buildings, "but to employ it to establish the single intent of the space." With a refined formal vocabulary and an acute sensitivity to the effects of subtle atmospheric change, Ando creates spaces that produce what he has called "a maximum effect of equilibrium." Such spaces provide sanctuary from the chaos of daily life."

                                

It isn't surprising that Tadao Ando's was the first name that came to mind upon learning that for my studio course this semester, my character was "The Timeman". Light will play an incredibly important role in my design as contemplated in my previous blog post! Coincidentally, or perhaps it was fated, Ando has also perfectly articulated this notion of light supplementing architecture, in a manner that transcends beyond the various architectural philosophical arguments I've been presented with thus far. I think this is called "the Eureka moment".

"Light is the origin of all being. Light gives, with each moment, new form to being and new interrelationships to things, and architecture condenses light to its most concise being. The creation of space in architecture is simply the condensation and purification of the power of light." 

-Tadao Ando

These philosophies resonate deeply with me as a designer, especially whilst I begin to discover and develop my own design language. Let them serve as a guiding light throughout my foray into architecture.

The Timeman

The first image brought to mind when doing word association with the word "time" is... clock. Symbolically, the clock face is something recognised ubiquitously in society. Why, one of the first things we are taught at school is how to tell the time. We need to delve into the function and meaning behind the clock -and perhaps more specifically time- especially if I am to begin constructing a design solution for someone known only as "The Timeman". Who is this character? Is their life purposed only with managing the forward motion of time? Is it just to maintain all of the smaller, inner mechanical workings of a clock that create something larger than the sum of it's parts? This is what I need to contemplate. 

Obviously, we all use a clock to- you guessed it- tell the time! Because despite the best efforts of Hollywood to tell us otherwise, time has an endless forward-moving momentum. What is done cannot be undone. And so, because the amount of time in the day is never long enough, we use the clock as tool to track and organise our lives around the revolution of Earth around The Sun. In our daily lives, we experience this in the timeless ritual of the rising and setting of The Sun. Just as it is cyclical in nature, so to is the clock face.

Thus, I bet it is safe to assume that my client -"The Timeman"- will require a design language that wholly encompasses this cyclical ritual. Perhaps this occurs in the form of a perfect circle? Maybe elements of the design will act as a sundial of sorts, where the inhabitant will always be able to track the movement of The Sun no matter where they are. Hence, the permeability of the building's skin, or it's ability to let light through will be a crucial aspect (more so than usual) to consider within the design phase. 

Hmmm, I think this leaves more questions than answers... 

John Hejduk

This semester, our studio is structured heavily around the teachings and legacy left by the architect John Hejduk. It is fitting, seeing as we are now being pushed to consider the heightened role of context and the poetic in architectural form, which arguabaly is what Hejduk excelled in from what I've read.

John Hejduk. Bye House (1971), from the League's exhibition 200 Years of American Architectural Drawing

John Hejduk. House of the Suicide, from the Lancaster/Hanover Masque 1980-1982

"Through colliding architecture with poetry, he extended it. Extended the understanding of it in an ontological sense. And in my mind extended the possibilities for it. This was often, and I'm being very general here, accomplished through themes of the mythical, the pathos of history, narration, and anthropomorphism."   - Thomas-Michael


Thomas-Michael eloquently articulates the manner in which Hejduk approached his trade, and it definitely resonates with my impression of the architect. In my opinion his designs are just as much about storytelling and myth as they are about form and space.  The structures he creates are characters who inhabit the city, each with their own imbedded history and stories. This will be the basis for my studio course this semester, as we are assigned a unique character from one of Hejduk's works, to then create a design solution for.

A Little Inspiration

What can I say? They speak for themselves. Maybe one day my name will be amongst them...

Welcome!

Welcome to my first and foremost endeavour into the world of blogging. 1% Visible is a blog that will chronicle my architectural design process in "real time". I've almost completed my second year of Bachelor of Architectural Studies at the University of South Australia, and my lecturer has persuaded my peers and I to set up blogs such as this as a means to communicate with one another in a way that we otherwise may feel uncomfortable to do face to face. I say bring it on!