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.

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.