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.