Case Studies

Junya Ishigami
Plaza with sloping floor for the Kanagawa Institute of Technology in Japan.

The way they are cut changes the scene depending on the weather. If staying in the space for a long period of time, you can watch as the clouds and the sun move.

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Three-pronged visitor centre for Dutch park with Marieke Kums of Rotterdam practice Studio Maks 

I love spaciousness of this pathway, and how it crates a divide into the sections of the space, though being about to experience all the sections of the space within it as well. Thought walking through it the bass is sectioned and which direction you face it is like a frame, so as you walk through, with each frame the view slightly transitions. By the end of the route, you would have ended with a whole new direction and picture.

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Cloud Garden nursery with cloud-shaped walls inside a high-rise block

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Oribe Tea House by Kengo Kuma
https://www.thisispaper.com/mag/oribe-tea-house-kengo-kuma

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just an image I saw on Pinterest, though I couldn’t find the source. However, this is the kind of think light I wish to translate in my entrance.

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How have I connected different scenes?
I have used the transitions of crossfade and fade in play out through my site documentation.
I will incorporate these transitions into my spatial models by allowing various components ie. sunlight, sound etc. into the space to alter it throughout time and/ direction.

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Circulation

http://portico.space/journal//architectural-concepts-circulation

Different types of circulation require different considerations

• direction of movement: horizontal or vertical;
• type of use: public or private, front of house or back of house;
• frequency of use: common or emergency; and
• time of use: morning, day, evening, continuous.

The circulation types I hope to play upon are horizontal, vertical and public. The only one I wish to cut out is private as we want to bring back the social life that is conveyed Roxy and Everybody’s flowing into the Imperial lane as well. I will play upon transitions of light, and reflection – light and sound in my spatial model prototypes.

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Sound inducing Material Research

Light and sound waves works in the same way. When thinking about light, off your head, you’d think of a surface that’s more polished but in fact every single object reflects light. That’s how we perceive it at least. the human eye is not able to catch such small reflectance that we only would think what we can see is the truth. This is the same with sound waves, people don’t tend to situate themselves within a space because of sound. Bit just because we can’t hear every little bit of the sound reflection doesn’t mean it isn’t there.

Certain properties make sound reflection more successful:
Hard: which is why acoustic foam is a sound absorber, rather than a reflector
Dense: because porous materials can trap air and, therefore, sound as well
Flat: even though irregular surfaces, flat ones are better at bouncing the sound evenly in all directions

if a material lacks one of these properties, it loses some of its reflective ability.

Examples of Materials that reflect sound:
marble
granite
clay brick
ceramic tile
smooth concrete
plaster
metal
glass
plastic
wood
calm water
heavy flat curtains

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How cuts show time and space.

I will probably create the opposite of this scene where it would be emerging, as I would like to create a scene that unfolds what is there what cannot be seen in the beginning.

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I randomly came across this sculpture by Sergio Redegalli when I was trying to find if there were any large-scale glass/acrylic designs for me to find out if it was possible to create a entrance installation out of glass- would it be stable or sturdy enough? I was surprised to find Redegalli’s Float Glass and Silicone sculpture as it really resembled the wave formation as I had created in my surface design. Allowing me the confirmation that it is possible to work with glass in this if I wanted.

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One of the things I love about the the surface model I had put together was how the solvent created mini waves within the larger piece so I wanted to trace it to see if there is anyway I could further develop to incorporate it in the facade. To me after sketching it, it looks like a map with mountains and roadways crossing through. I started asking myself ok so I have this outline drawing, now what? Yes the shapes has kind merged into one, but I can also see the layering of the shapes. Could I possibly create another piece of layering on the facade of the building. Possibly using some sort of metal or I even continue this line pattern and creating lights layering over each other kinda like the existing eyesight lane that is extended through the lane building.

I tried playing with how I could possibly layer over the building to create a facade. I duplicated it and rotated it to fit it on the building and it kinda continues the wave like figure but towards the entrance from both sides to draw visitors to the entrance. I tried out drawing solid shapes to possibly layer it over each other and see how it appears.

Decided to resize and adjust to the one of the Imperial buildings as that is the space I wanted to transform. Also changed the colour of the sketch since that is not colours I plan to uses it also looks like fire. It’s going to be also thick glass layered over each other.

I did this as I was confused if I needed to change the façade of the building when I just did the entrance. However, after talking to Sue I realised the façade is just the front of the building and it is already altered a bit by my entrance so I might night go with this anymore. However I could incorporate in into the interior of the building later.

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Conceptual Key terms and how I will integrate it in my design.

• AID
  an aid is to give help or assistance.
  I plan to convey this aspect throughout my chosen space. Starting at the entrance,
  
• LAYERS
  a sheet, quantity, or thickness of material, typically one of several, covering a surface or body.
  With each layer the visitor should be able to unravel/uncover the true picture.
  
• WAVE
  1. a long body of water curling into an arched form and breaking on the shore.
  2. a sudden occurrence of or increase in a phenomenon, feeling, or emotion.
  I plan to incorporate this aspect into my design as I wish people to experience the high change of emotions – intrigued, confused, scared? excitement. The whole point is it would change through each moment into new sections of the space.
  

Case Studies

Entrance curtain, Chazen Museum of Art, Madison, Inside Outside (Petra Blaisse), 2008-2011.
Material: pleated cloth
“In this project we wanted to introduce angular, relatively stiff shapes that contradict the fluidity of the textile they are connected to. It became an experiment with ‘positive’ and ‘negative’ fractal patterns in different scales, creating gradients in all directions, from horizontal to vertical and even diagonal. Cutting, stitching, pleating; connecting and releasing, the objects grew into spatial walls with each their own narrative.”
Effect: softens the light entering the space.

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Paul Smith, London, cast iron façade, 6AArchitects, 2013.
Material: iron panels
Assemble: laser cutting and layering- although when looked at as a whole it appears that the whole piece is identical throughout. However, I noticed some of the panels seem to pop out a bit whilst others is indent.
Effect: the indent panels between the panels that pop out appear to show the opening to enter into the space as it is the panel for the door.

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Alexander Brodskyat ArchitekturzentrumWienin2011
“testing spatial and sensory boundaries”
Material: overhead lighting, metal cylinders, mirrored flooring
Assemble: over the mirrored flooring metal cylinders are arranged as an aisle to hold vines? of sort overhead, whilst light shines overtop in a dark room
Effect: the light shines though the vines? creating a beautiful silhouette on the mirrored flooring, due to the high contrast between light and dark.

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Felt light
https://archello.com/product/felt-light

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[poetics of space, relationship to site] These projects reflect the site as the vivid materialling of aspects of the site and the shadowing transparency the site offers. Throughout the years from the transformation from the theatres and now a lane. It came from a solid building to a lane where people can pass through and sets the transparency between two spaces, joining them together.

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[model1]

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[model2]

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[model3]

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[sketch for surface design] -tracing

I have chosen this image as the surface I wish to develop as it appears the most interesting, from the half hidden/half transparent walls, forming like inside of a wave? To the shadow reflected in the centre from the walls of the surface, how from the shape and opacity of the layered shadow, looking like flames? bad omen?

Using the capture/sketch from above, I decided it’d be cool to create the wave like effect it appears to somewhat form referring to the coastlines that once sat on Fort Street. I like how it gives somewhat half hidden area form of the ocean and a little more transparency of the other side, giving different views in one image as I had conveyed in some of my documentation of the site.

With undated pencil annotations of streets after reclaiming of land in Commercial Bay, such as Custom House St and Commerce St, as well as the streets Albert and Hobson. 1842

[materiality, assemble and detail]

Material – Acrylic; it give the transparent look I wish to portray and if wanting to create hidden sections could always cover over.
Assembling – Acrylic is typically glued using solvent-based glues, such as Weld-On 4. Unlike many other gluing processes, acrylic glue softens the surfaces of the acrylic and welds them together, chemically bonding the two pieces into one. When I was up in the wet lab laser cutting the layers of the surface, the lab technician recommended to use methylene chloride which is a solvent glue and best used for the attachment of acrylic for this surface model.
Detail – the key detail is the translucency but I am considering inner edges of each sections would be painted over which is seen outside as lines forming a wave like tunnel, but inside will just be coloured walls. the outside is more hidden. However, I am unsure if I would really go through with it yet, as the outer sides looking in, the thickness of the acrylic is thick enough to semi hide the inside from the outside, giving a silhouette shape which would create a pull towards it – with questions: what is there? what is it for? how do I enter?

The way I applied the Methylene Chloride solvent in-between the layers, was to hold the pieces together with masking tape on the top sides and I apply the solvent in-between the layers overtop with a syringe. Even though the glue does expand inside, the surface in-between is a bit bigger and tight so it didn’t expand as much. However, it expanded a little on the edges creating a cool bubbly kind of effected as each layer is different and the amount of solvent could vary, the look of the solvent that is transparent through the acrylic is memorising to look at as it varies throughout the whole surface.

as in the image below, it appears blurry but not totally incomprehensible to what’s on the opposing side. It is the same on both sides of the structure.

25 July 2022, Monday

The weather wasn’t very good today to take photos, so most of the shots were taken indoors. I was disappointed by the outcome of the shots though. I think the spacing between were not measured accordingly so the reflection wasn’t captured as I had hoped in the shots. I am thinking to alter the device a little before going back tomorrow to the site. I hope the weather will be okay as well for me to take better shots.

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26 July 2022, Tuesday

Whilst coming back to take the shots again, I realised that what I thought that the weather was the key variable for not getting as many good shots of the site yesterday is not exactly the case. The weather was okay, well at least at the time I was out on site. But I still was not getting the output I had envisioned. Impulsively I decided to break and rearrange my device, in a way I thought would possibly possibly give the output I hope for.

After some not very successful attempts I decided it would be easier and possibly better idea to take the photos with only the mirror aspect I my device and have the lenses scanned and laid accordingly over the image instead.

These are the images I took with just the mirroring aspect to possibly overlay/project the lens over. I was thinking to alter my device even more to take more photos of the site as I wish to convey.

I went back to the site at night as well to see how the space has changed in the difference of time. Obviously the lighting in the space is more prominent as in the day due to the contrasting to the darkness. More people are seen in the space to go to the clubs/restaurants. However, I noticed the difference of the lane in comparison between day and night. In the day the lane tends to be more for vehicles as a passageway, but at night it acts more as a social space with little to no vehicles as it could be closed for people to move more freely around waiting to get into the restaurants, clubs, etc.

Transition as light enters the space

Projected

more photographs in imperial lane…

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Another approach to documenting the site I had created ‘drumsticks’ of sort and decided to got about the space recording an audio aspect of what kind of sounds were found in the site as it is an aspect want to explore as well.

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Feel like the best location for me to utilised would be more so Imperial Lane or Queen’s Arcade as sound is amplified in a closed space so I was researching imperial lane, finding out that it once used to be a two picture cinema in that space.
However, was gutted and abolished by a fire. Which later were upgraded to a more social space, welcoming, retail stores, restaurants, bars, and even a cafe in the Imperial space, entering from Fort Lane. I read that (Imperial Lane) “From early morning till late at night, The Imperial is open to guests, offering a new hotspot for the city’s social life and saving one of Auckland’s most important heritage buildings from oblivion.” However, as of late as I walk through Fort Lane, Imperial Lane doesn’t seem to be open anymore. The cafe is not running and offical sites doesn’t work and even when searched up shows its “temporarily closed”.
reference: https://www.floornature.com/blog/cinema-reloaded-the-imperial-buildings-auckland-8723/

Peer group discussion _ 12th July 2021, Monday

Giuliano Bruno’s Public intimacy 

Bruno, G. (2007). Public Intimacy: Architecture and the Visual Arts (Writing Architecture): Vol. Writing architecture series (pp. 17-21). Cambridge, Mass: The MIT Press.

Quoting/Response to Text
pg 19 ‘the filmic path is the modern version of architectural itinerary, with its own montage of cultural space’ the relationship between the film making and the architectural promenade
Pg 21 ‘…the art of memory is a form of inner writing’
‘They bear the layers of a writing that can be effaced a nd yet written over again…’
The links between the cinematic arts and the architectural aesthetics.

pg 21 ‘we require therefore places, real or imaginary, and images or simulacra which we must, of course, invent for ourselves…’ we use places as wax.
When we go to a site visit later this week, I’ll focus capturing my voyage/experience through the lane over time; a sequence of sensory experiences rather than still images or moment

pg 19 ‘film inherits the possibility of such a spectatorial voyage from architecture.’
History and the connections to the architecture whether it’s near or far. The museums are displaying stuff that show history and culture – there was a lot of research and studies before editing down the information to the essence for public display.

pg 21 ‘It bears the mark of the art of memory……..’
In every art piece there’s a story (experiences or interests) to unfold to why it was designed that way, this architectural paths holds the designer’s memory and will now hold new visitor’s memory

Reading the previous text has allowed me to think more about ‘memory’. Bruno states “memory interacts with the haptic experience of place” as it each has their individual memory of spaces depending on how they interact with the space. A normal person could use all five senses to experience a space. However, I am just lacking a tad bit in the auditory department, so is unable to experience it as a whole like others. This led me to think of a video created by Chella man who is also a deaf creator. In the video the words – “But through this loss, there is great gain … other senses heightened … Establishing a continuum of people who are different… yet connected.” were said and it really resonated with me as the amount of times I have sat in my room with my cochlear implant detached, existing in the world with with one less sense to a normal being. Seeing and feeling the world as it moves past me as silence embraces. Humming in the background as small whispers in my ear but oblivious to the surrounding noises as it all sounds the same. 

Chella Man. (2021, March 15). The Beauty of Being Deaf [Video]. YouTube. https://www.youtube.com/watch?v=BRBfhQm8Lss

After reading the Giuliano Bruno’s ‘Public intimacy‘ and remembering the videography of Chella Man’s ‘The Beauty of Being Deaf’ led me into a spiral and discovered a neurological condition called synesthesia. Synesthesia is a neurological condition in which stimulation of one sensory or cognitive pathway (for example, hearing) leads to automatic, involuntary experiences in a second sensory or cognitive pathway (such as vision). Simply put, when one sense is activated, another unrelated sense is activated at the same time. This may, for instance, take the form of hearing music and simultaneously sensing the sound as swirls or patterns of colour. I wish to explore this term within my project.

It is said that auditory in a space allows the visitor to better connect with the space. Chueng-Nianby et al., (2002) reveal that research states “suddenly deafened adults reported that subjects feel a sense of disconnection from their surroundings.” As an individual who is profoundly deaf, losing my hearing at a young age I found it rather difficult to feel a sense of belonging into a space as I don’t feel like I’m experiencing it fully as I could be.
Sound is an emotion-trigger. Sound tend to bring back memories of their own experience, emotions and impressions (Yamanaka et al., 2010).

Chueng-Nainby, Priscilla & Marsden, Phil. (2002). Designing Auditory Spaces to Support Sense of Place: The Role of Expectation.
Yamanaka, Toshimasa & Mougenot, Céline & Aucouturier, Jean-Julien & Watanabe, Katsumi. (2010). Comparing the effects of visual and auditory stimuli in design creativity.

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Cinematic devices research

Connection with the chosen devices above of cinematology are they tend to use the a mirror as a reflection to capture onto a smaller frame.

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My own cinematic device

Based off the cinematic research the ones I found quite compelling relevant to my project are ones that contain layering, reflecting and amplification. Some work from Olfur Ellasson even though are not cinematic device I found it could be the substructure of how I construct my own device. The components I hope to integrate into my device are mirrors and layering. The mirror I hoped to use was more a concave mirror, to be able to distort the image. However, I was to able to find one so normal mirroring would have to do. Though for the layering aspect, is to create a filter over the captured shot, also possibly have some hidden/blurred sections of the shot. With this project I am hoping to curate a space to experience it in a perspective with a disability.

Sketch work for cinematic device

My device consists of four circles as the lenses/filter, eight curve cut rectangles as the base to hold the circles in place, four even more curved rectangles as the base to give the circles a right fit, eight small rectangles to be as the end supports though they weren’t very necessary and lastly a large rectangle to hold it all together. Later I decided to add mirrors in between each set as I thought it’d be interesting to see from different angles in one perspective. I wasn’t too sure of the circles on what technique I wished to use to give the hidden/shadowed effect I hoped to convey in the images. I had chose to use acrylic as the overall material for this device as it gives the transparency I wanted to capture the image but to construct it to hide certain aspects. Originally I hoped to use a knife to leave scratches or use a bulletpoint pen, but acrylic is thick and hard to cut through and would not work with a pen so instead I opted to paint on it.

The film uses a lot of dark backgrounds to emphasize the unknown surrounding what is happening to the characters. I will create a semi-dark space as I hope to create a sense of confusion that will lead to their knowledge of the space later on as they enter more into the space.

The movie essentially is centered around the division of the phone calls between different periods of time. It is shown how it is translated through the opposing sides of the call. So the impact on one side is received on the other side.

The idea is to have metal balls falling in the space between the surface and the glass creating a melodic sound. Can be an interactive activity in the site as it is outside creating an atmospheric audiology for the inner and outer room.

Zimoun.Zimoun.zimoun.net

This artist intrigued me is the auditory aspect in his design.

thevinylfactory.com/films/ryoji-ikeda-exhibit-test-pattern/