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We looked inside some of the posts by observerdesign3 and here's what we found interesting.
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21
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21
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4 days ago
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17
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Stage 3: Individual - the plan, in which the room is split into three areas, with varying degrees of privacy.
Studio - open, light, connection to the outside - but has the user ability to manipulate light and privacy in the space. Also has a painting area when the professor draws inspiration from observing the outside streets below.
Bedroom - translucent, slit apertures, leaking light within - allows a higher degree of privacy, also able to be manipulated, but able to enjoy view from outside without compensating privacy. this area contains objects for activities of low exertion - tv, music radio, books, and photostand.
Garden room - with coloured apertures of varying sizes which also act as a stand for the plants. this area is closed up, with the highest degree of privacy of the three areas - a meditative/ therapeutic room which allows for blockage from outside when the professor wishes to be in soliitude.
Stage 3: Individual - the section of room exploring how the client will inhabit the space. The area no longer becomes a shelter for the user, but rather the user’s own decorated space as an embodiment of his identity.
Also being aware of how the site and building create atmosphere, focussing on light, transparency, and mass. Representing this space of the inhabitant in a visually compelling atmosphere.
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Stage 3: Individual - Storyboard of the professors life in relation to the house and its site, inspired by Edward Hopper’s Nighthawks (1942), enlightening on the social realism of urban life and interrelationship between internal and external spaces. In this sense, what is shown inside reflects, to a certain degree, the atmosphere of the outside.
Influenced and motivated by surrealist films, this storyboard leans towards a more visually metaphorical potrayal of everyday life within a personal bubble, and suggests camera movement as we move from outside to in.
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Stage 3: Individual - the client of the new building is the Professor, a single man in his 60s. As an older individual with more time on his hands, invests in various hobbies, from music and films to fitness and gardening. However, he devotes himself heavily to his job and takes it seriously - he always finds himself fully occupying his office space, no matter how large it is.
The new building must accomodate his needs to best fit. The final room should be visually convincing as the professors own as a shell for him to house his many interests.
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Stage 2: Local - Groupwork and analysis of site, 4-8 Clyde Street, Epsom, Auckland.
Materiality of the site
Residential houses around the site mainly use brick, a more affordable and easily available option, and timber, which has easy installation and high availability.
Both cladding types have better insulation properties compared to other types of cladding. Appearance wise these are mostly darker coloured, with possible higher thermal conductivity.
Commercial buildings commonly use white fibre cement sheets due to their large sheet sizes which allows for convenience of installation for large buildings. Appearance wise these are more clean and eye-catching, however, they have lower insulation properties.
Compared to the materials for the precedents of our buildings, which are more transparent - as seen with the abundance of glass and thinner walls for idea of translucency - the surroundings use more typical residential cladding types.
Commercial map and analysis
Shaded in the commercial buildings, colour coded to the type of category it falls under - services, retail, restaurants, and accommodation.
The map shows the areas more north and closer to the busy five lane intersection fall more under retail businesses, as people may spend shorter time in these areas so have heavy crowds around- quick to come and quick to go.
In contrast, the south side has more services most likely due to ease of access for the residential area which has higher needs for availability and nearby/closer services - will be spending more time in these buildings learning, getting help, from these places. This area is noticeably closer to the site.
Accommodation and restaurants are scattered around.
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Stage 2: Local - the masterplan, exploring the position of 10 precedent buildings arranged on the given site of 4-8 Clyde Street, Epsom, Auckland. Through this masterplan we were pushed to consider how these precedents could be placed in the site beneficial to everyone, while maintaining the key qualities of the original precedents themselves. The surroundings of the site, including the location of trees, sound direction and intensity, and neighbouring buildings along with their heights, were also investigated for this masterplan.
The Curtain Wall House as placed on 4-8 Clyde Street faces changes to the placement of the building in its original site, back in Tokyo, Japan. In this masterplan, the ‘curtain walls’ now run across the North and East wing, giving better sunlight access to the bedrooms during the day. The building also now considers the civilian observing activities as not only for the busy streets outside, but for the surrounding precedent buildings as well, giving an new and refreshing outlook.
The building also serves as assistance of sound blocking of the loud public areas around to the other precedents, as some have the quality of originally being placed in a quieter area. The building is also placed in the lower corner, as to not project heavy shadows to neighbouring buildings.
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Stage 1: Global - technical drawings of the floor plan, exploded axonometric view, and site map for the Curtain Wall House(1995) by Shigeru Ban.
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Stage 1: Global - physical and digital model study of the Curtain Wall House by Shigeru Ban
Creating a three-dimensional model allows the user to see, from an omnipotent view, how the basic structure is formed, spaces work together, and how light is able to interact with the structure. Originally as a building where the moving counterparts are the main feature and key to the whole structure, these mobile components are preserved in the physical model.
In recent years the first floor is no longer an open space, and instead a closed garage. The curtains have also been removed from their original position most likely due to weather and maintenance issues.
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Stage 1: Global - workbook for the study of the Curtain Wall House(1995) by Shigeru Ban.
The ownership, materiality, floor plan, atmosphere and basic introduction to the building is explored, giving a better understanding of not only how the building operates, but the history behind it.
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