Monday, 22 November 2010
Rooms....
Designing from the inside out.
Using words to describe a place through either memory or imagination. Descriptions of tangible qualities change in the mind of the individual, they can associate each quality with a past experience or memory. What one individual imagines can or will vary from another.
My room
A labyrinth of books. Obscured views, small gaps, glimpes through, to secret spaces. These screens of words link long meandering spaces. An atmposhere generated from tangible objects, books, furniture, surface and light. The awareness of the artefacts, the user and their purpose. A distinct smell of mature books lingers in the air, history, knowledge and time.
Views beyond frame the activity of the street. Piercing light penetrates. Plentiful amounts of natutal light washes the crisp, glassy, polished, dark wooden tables.
Soft tones sensitively glide over the literature. As dusk breaks and light softens, modest intimate areas are lit with slender lamps.
Wednesday, 17 November 2010
Tuesday, 16 November 2010
rooms...
Particular kinds of light, objects, smells and textures are ways in which we can associate different experiences. We can relate with such through ways in which we experience architecture.
Our memories hold our innermost architectural experience. They evolve in to a means through which we can reminisce when designing.
Reflection on memories to some extent can seem somewhat transient, exaggerated and continually re-imagined. Through personally experiencing a space or not, these thoughts play an elemental role in informing a feeling or reaction.
An awareness and responsibility as the designer becomes apparent, sensitivity to the emotional aspects of our understanding, a way in which we can merit the subjective experience and note the multiple layers of feelings and anticipation can only enhance the series of memorable rooms.
My interest in architecture is one based around the qualities that light and shadow lend to a space. I believe that through these qualities architecture acquires a shape. By means of researching how light defines "atmosphere" I intend to gain an understanding of placing openings, orientation, scale and enclosure to create a successful space / room. My belief is that Atmosphere in a space is generated not only by the use of light and shadow but one of memory, experience and senses.
Our memories hold our innermost architectural experience. They evolve in to a means through which we can reminisce when designing.
Reflection on memories to some extent can seem somewhat transient, exaggerated and continually re-imagined. Through personally experiencing a space or not, these thoughts play an elemental role in informing a feeling or reaction.
An awareness and responsibility as the designer becomes apparent, sensitivity to the emotional aspects of our understanding, a way in which we can merit the subjective experience and note the multiple layers of feelings and anticipation can only enhance the series of memorable rooms.
My interest in architecture is one based around the qualities that light and shadow lend to a space. I believe that through these qualities architecture acquires a shape. By means of researching how light defines "atmosphere" I intend to gain an understanding of placing openings, orientation, scale and enclosure to create a successful space / room. My belief is that Atmosphere in a space is generated not only by the use of light and shadow but one of memory, experience and senses.
Tuesday, 9 November 2010
working as a group
As a group we decided to archive and catalog our process of collaborative mind mapping which we have named our "analogue blog".
This is our first group mind map exercise based around common themes.
This process allows the group to remain in dialogue and acts as a useful resource for collaborative work that will expand and develop throughout the year.
MIND MAP 05.11.10 from Stephen McCullough on Vimeo.
This is our first group mind map exercise based around common themes.
This process allows the group to remain in dialogue and acts as a useful resource for collaborative work that will expand and develop throughout the year.
MIND MAP 05.11.10 from Stephen McCullough on Vimeo.
Thursday, 4 November 2010
Thoughts...
The richest architecture that derives from the essence of shadows appears to be missing from modern architecture today. The frequent use of glass in contemporary architecture is the obvious development from New Architecture. Those today working with glass are thinking about light, but not consequently about shadow.
Light and shadow - Le Corbusier
In Corbusiers buildings, light plays. From his early trips, Greek architecture was an inspiration to him. The heavy walls and deep inner curves and surfaces of the archs and vaults of Roman and Romanesque architecture influenced his own designs and interpretations. Wall thickness and the expanse of vaults offered light a transition into interior rooms. In playing with light and undoubtedly in Le Thornet he noted that "Light and shadow are the loudspeakers of this architecture of truth, peace and power. The elements of architecture are light and shade, walls and space....." In corbusiers eyes shadow is only an extract, controllable accessory of light.
Light and shadow - Le Corbusier
In Corbusiers buildings, light plays. From his early trips, Greek architecture was an inspiration to him. The heavy walls and deep inner curves and surfaces of the archs and vaults of Roman and Romanesque architecture influenced his own designs and interpretations. Wall thickness and the expanse of vaults offered light a transition into interior rooms. In playing with light and undoubtedly in Le Thornet he noted that "Light and shadow are the loudspeakers of this architecture of truth, peace and power. The elements of architecture are light and shade, walls and space....." In corbusiers eyes shadow is only an extract, controllable accessory of light.
Wednesday, 3 November 2010
The beginning.........
Tado Ando once said..."I seek to lead light into the interior of architecture in a manner that will inform space with the depth and produce richly stimulationg places"
T.Ando, Church of water, church of light
I believe the atmosphere of a space directly relates to the qualities of light.
My intention is to revisit this theory for a basis of my investigation in to how light can affect architecture.
T.Ando, Church of water, church of light
I believe the atmosphere of a space directly relates to the qualities of light.
Exhibition Oslo | Copenhagen
After returning from the trip, the Material Studio put together an Exhibition of all the work carried out both before and after the trip.
After visiting the Louisana museum, our initial thoughts of the building did not change, they were enhanced by our experience. As a group we decided to supplement our model with a spatial syntax drawing, responding to the experience of the route. At Various points, the scale of spaces is somewhat overwhelming as the route channels through narrow corridors followed by considerable double height gallery spaces, together this expresses the interior and exterior relationship. The drawings illustrate a route we had taken, as you move through, Simultaneously, the arrangement of the glazing discloses views in one direction at any time, this further enforces the percieved linearity of the route.
After visiting the Louisana museum, our initial thoughts of the building did not change, they were enhanced by our experience. As a group we decided to supplement our model with a spatial syntax drawing, responding to the experience of the route. At Various points, the scale of spaces is somewhat overwhelming as the route channels through narrow corridors followed by considerable double height gallery spaces, together this expresses the interior and exterior relationship. The drawings illustrate a route we had taken, as you move through, Simultaneously, the arrangement of the glazing discloses views in one direction at any time, this further enforces the percieved linearity of the route.
Louisiana Museum, Humlebaek
Proir to the study trip, we were asked to pick one of the buildings that we were to visit. In groups, we were to start a process of analysis of the selected building.
As a group of four, Myself, Emily, Kirstin and Esmeail began a study of Louisiana Museum | Jorgen Bo, Vilhelm Wohlert.
The Initial approach to this process of analysis, having not been to the building was a search through various texts and journal articles that were available. A particualr interest became apparent at this time of the strong connection between the building and landscape and the interior and exterior connections.
The study explored the mediation between interior and exterior, focussing on the views out to the sound, swedish coast line, the man made lake and the picturesque enclosed park land.
By ways of modelling the topography and the building embeded within the vast landscape, enabled us to explore the scheme.
The model is cast in plaster and wire mesh. The process was realised in two stages, firstly the extreme topography, moulding the contours. Secondly casting the building out of plaster and delicately attaching it to the mesh base.
As a group of four, Myself, Emily, Kirstin and Esmeail began a study of Louisiana Museum | Jorgen Bo, Vilhelm Wohlert.
The Initial approach to this process of analysis, having not been to the building was a search through various texts and journal articles that were available. A particualr interest became apparent at this time of the strong connection between the building and landscape and the interior and exterior connections.
The study explored the mediation between interior and exterior, focussing on the views out to the sound, swedish coast line, the man made lake and the picturesque enclosed park land.
By ways of modelling the topography and the building embeded within the vast landscape, enabled us to explore the scheme.
The model is cast in plaster and wire mesh. The process was realised in two stages, firstly the extreme topography, moulding the contours. Secondly casting the building out of plaster and delicately attaching it to the mesh base.
Copenhagen | Oslo Study Trip
The material studio group ventured off to Scandinavia for a week, visiting Copenhagen:Denmark, Oslo:Norway and inbetween a quick trip to Klippan:Sweden. Our focus for the trip was on 4 buildings that we studied prior to the trip, Bagsværd Church (John Utzon) , Hedmark Museum (Sverre Fehn), Church of St. Peter (Sigurd Lewerentz) and the Louisiana Museum (Jorgen Bo, Vilhelm Wohlert).
Follow the link below for photos of the trip!
http://www.flickr.com/photos/54595862@N03/
The following image was taken from inside the Church of St. Peter.
Follow the link below for photos of the trip!
http://www.flickr.com/photos/54595862@N03/
The following image was taken from inside the Church of St. Peter.
Positioning
The following presentation is an outcome from a positioning exercise that was produced from individual mind maps that the material studio carried out. This is the first time we have discussed our own interests as a group allowing us to position ourselves in relation to one another.
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