The site for this project is in a village called Noormarkku which is situated in Finland.Tuesday, April 27, 2010
Site for Project 2, Room and Narrative
The site for this project is in a village called Noormarkku which is situated in Finland.
Room & Narrative: Inspiration from the Esherick House by Louis Kahn
Due to my decision to experiment with windows and openings which allow light into a space for project 2, I looked at certain buildings.
Louis Kahn's 1961 villa, known as the Esherick House was of interest to me. Kahn extensively worked with varying qualities of light for this house. There are many sorts of spaces in this villa, all allow different intensities of light through its various windows. The T shaped window was of particular interest to me. Then there were other openings and crevices around the chimney, etc which allowed light of various degrees. Here I am going to post a few pictures which depict the lighting qualities in the building, for future references.
Extract from a Book on Hooch's Painting
This is an extract from a book that I found. It explains the painting I have chosen to study, "Mother Lacing her Bodice". The writer provides an interesting explanation on the relationships between the figures of this painting.
[Book: Moving Pictures by Anne Hollander]
UNDERSTANDING THE PAINTING & NARRATIVE
For project 2 Room and Narrative, I have chosen Pieter de Hooch’s renowned oil painting “Mother Lacing her Bodice Beside a Cradle”.
Most of Hooch’s paintings, depicting domestic scenery which I have studied had female figures and children in them. This one attracted me the most because the central womanly figure reminded me of my own mother. The soft glow on her face, the half smile and the kindliness, these features are things we see in every mother. To be able to produce warmth, sense of security and comfort through a painting that does not use words is amazing. This picture evokes all those emotions within me and while looking at it, I find that I could have easily fitted into this domestic setting, without disturbing the balance of the scenery.
The aspects of this painting that I have decided to pursue in my design are as follows:
Comfort:
This comes from the homely setting of the room. The furnishings, such as the bed, baby’s cradle, hanging clothes on the wall and the look on the woman’s face enhance the feeling of comfort. The security which a child’s cradle by its mother depicts is important here. She could have chosen to be anywhere else, instead she decides to stay by her child. The dog in the picture turns his head at her expectantly, as if wanting the same kindness she is showing her baby. Therefore it can be said that she is “a woman who cares and provides with comfort”.
Mystery:
The element of mystery is created in this painting by the third visible figure, the young girl by the door way. She has her head turned away and we cannot see her expressions. We do not know what she is thinking; we do not know if she is longing to go out and embrace the freedom of the outside world, we do not know why she is not beside the lady. We can only guess her intentions. Therefore to us she appears mysterious.
Light:
The soft play of light is an important aspect of this painting. Light is seen coming through the high set window on the wall opposite the woman. It illuminates the surroundings without causing the lady to be blinded by its intensity, therefore the element of comfort remains.
Light comes through the door where the child is standing, it tells us that outside it is a bright and sunny day. But it hides the child’s face from us, therefore we know almost nothing about her.
Light however, gives a unique 3D spatial quality to this 2D painting. Through its shadows and dimness we understand the silhouettes of the spaces, the crevices and the corners better. Light also reflects the caring nature of the woman’s face and upholds her softness, thereby giving character to the figures in the room.
From my above study, I have concluded my narrative to be “A light filled space for the comfort of a caring mother” and have decided to design accordingly.
Most of Hooch’s paintings, depicting domestic scenery which I have studied had female figures and children in them. This one attracted me the most because the central womanly figure reminded me of my own mother. The soft glow on her face, the half smile and the kindliness, these features are things we see in every mother. To be able to produce warmth, sense of security and comfort through a painting that does not use words is amazing. This picture evokes all those emotions within me and while looking at it, I find that I could have easily fitted into this domestic setting, without disturbing the balance of the scenery.
The aspects of this painting that I have decided to pursue in my design are as follows:
Comfort:
This comes from the homely setting of the room. The furnishings, such as the bed, baby’s cradle, hanging clothes on the wall and the look on the woman’s face enhance the feeling of comfort. The security which a child’s cradle by its mother depicts is important here. She could have chosen to be anywhere else, instead she decides to stay by her child. The dog in the picture turns his head at her expectantly, as if wanting the same kindness she is showing her baby. Therefore it can be said that she is “a woman who cares and provides with comfort”.
Mystery:
The element of mystery is created in this painting by the third visible figure, the young girl by the door way. She has her head turned away and we cannot see her expressions. We do not know what she is thinking; we do not know if she is longing to go out and embrace the freedom of the outside world, we do not know why she is not beside the lady. We can only guess her intentions. Therefore to us she appears mysterious.
Light:
The soft play of light is an important aspect of this painting. Light is seen coming through the high set window on the wall opposite the woman. It illuminates the surroundings without causing the lady to be blinded by its intensity, therefore the element of comfort remains.
Light comes through the door where the child is standing, it tells us that outside it is a bright and sunny day. But it hides the child’s face from us, therefore we know almost nothing about her.
Light however, gives a unique 3D spatial quality to this 2D painting. Through its shadows and dimness we understand the silhouettes of the spaces, the crevices and the corners better. Light also reflects the caring nature of the woman’s face and upholds her softness, thereby giving character to the figures in the room.
From my above study, I have concluded my narrative to be “A light filled space for the comfort of a caring mother” and have decided to design accordingly.
Thursday, April 15, 2010
Chosen Painting For Project 2
Mother Lacing Her Bodice Beside A Cradle
Artist: Pieter de HoochYear: 1659 - 60
Technique: Oil on Canvas
Type: domestic interior settings
Location: Berlin
Thursday, April 8, 2010
FINAL SUBMISSION: My understanding of the Villa
When I first started looking at photographs of the Villa, I was confused. This was Le Corbusier's design and even though called a "villa" it was not one of those traditional French bungalows one would expect as somebody's vacation home. This was to be the weekend relaxation house for Corbusier's wealthy clients, the Savoye family.
From history we know that during the early 1900's when modernism was replacing old elaborate decorative architecture, Corbusier's designs had a huge effect. He was influenced by new technology and machinary and vehicles such as stream lined ships and cars. In his designs therefore he tried to incorporate this influence.
Villa Savoye was one of his last white houses. The whiteness of the entire house, which signifies the purity of its form was an aspect that I decided to uphold in our model through spray painting. The floating form of the house was hard to achieve, specially because the load had to be carried by unusually thinner columns. The windows on the facades and glass exterior of the ground level added to the transparency of the building.
These were all parts of his 5 points of modern architecture which I discussed in the blog below at an earlier time.
Since it was a white model and card was used, the smoothness of the material made it hard to convey the different textures of the building. Therefore I decided to make criss cross patterns on the roof ramp in order to show the texture of the tiles which were placed in the building at a special angle to aid in rain water drainage. I felt that this tiny detail would add to the model's reality.
Having made the garage level twice I had less time to utilise my drawing skills for the poches/partis but it has been a very good learning experience. In order to create the different complex spaces in one of Corbusier's most famous villas, we required a high level of understanding of his modernist views. After studying this villa I realised I would never look at another building the same way because from now on more than focusing on just its outside looks, I would pay closer attention to its interior organisation and its relationship to the building as a whole.
From history we know that during the early 1900's when modernism was replacing old elaborate decorative architecture, Corbusier's designs had a huge effect. He was influenced by new technology and machinary and vehicles such as stream lined ships and cars. In his designs therefore he tried to incorporate this influence.
Villa Savoye was one of his last white houses. The whiteness of the entire house, which signifies the purity of its form was an aspect that I decided to uphold in our model through spray painting. The floating form of the house was hard to achieve, specially because the load had to be carried by unusually thinner columns. The windows on the facades and glass exterior of the ground level added to the transparency of the building.
These were all parts of his 5 points of modern architecture which I discussed in the blog below at an earlier time.
Since it was a white model and card was used, the smoothness of the material made it hard to convey the different textures of the building. Therefore I decided to make criss cross patterns on the roof ramp in order to show the texture of the tiles which were placed in the building at a special angle to aid in rain water drainage. I felt that this tiny detail would add to the model's reality.
Having made the garage level twice I had less time to utilise my drawing skills for the poches/partis but it has been a very good learning experience. In order to create the different complex spaces in one of Corbusier's most famous villas, we required a high level of understanding of his modernist views. After studying this villa I realised I would never look at another building the same way because from now on more than focusing on just its outside looks, I would pay closer attention to its interior organisation and its relationship to the building as a whole.
FINAL SUBMISSION: THE MODEL
Building: Villa Savoye
Architect: Le Corbusier
Scale: 1:50
Materials: Thick cardboard
Colour: Primarily white with black ink showing the solids that have been cut in sections
Architect: Le Corbusier
Scale: 1:50
Materials: Thick cardboard
Colour: Primarily white with black ink showing the solids that have been cut in sections
FINAL SUBMISSION: PARTI PLANS & SECTIONS
PARTI
Ground Level
Circulation & Separation in space
For this parti circulation paths towards the building and around it is shown through arrows and by hatching the ramp and stairs. Space on this level was organised keeping the movement of vehicles in mind. The outside darker spaces between the columns would have been the route for cars to go around the villa and as one would enter they would be presented with a choice in the form of the stairs and the ramp.The lightly shaded portion would be the pathway of a human while going upstairs. Usable space would be the rooms at the back and the garage by the side which have been left unshaded to show the difference.
PARTI
Ground Level
Transition between interior
& exterior
The Villa Savoye is a highly transparent building due to the extensive usage of glass. The curtain walling surrounding the front of the villa creates a link between the outside and inside. The transition space from the exterior to the interior can be seen through the glasses while approaching the building from a distance. The comfort of the built environment may then be anticipated. This parti sketch deliberately omits thick lines to show the curtain walls in order to convey a special meaning, i.e how the boundaries are being merged.PARTI
Level 1
Exposure & Enclosure
As this is the main living level with most of the functions of the villa going on here, the spaces are divided into private, semi private and public. The outlined spaces in the sketch show the silhouette of the area which is rather compact and is intensely used as sleeping quarters. The living area on this level has glass doors around it and the huge terrace gives a sense of open-ness compared to the enclosed spaces on its side. This sketch therefore shows the difference between the enclosure and the exposed area.
PARTI
Level 1
Spatial organisation & use
In this sketch I have roughly attempted to show the divisions between the rooms. The area which is left empty shows that it is used less intensely. It is the hanging garden and is meant for relaxation. The other side in which the area is clearly divided with lines are the more functional private areas of the villa.
PARTI
Roof Level
The roof level has the solarium which is a small enclosed space for sun indulgence. The floor has voids in it and so has not been shaded. The solid part is grey and allows people to walk around. The portion within the interestingly shaped solarium is left white to give a sense of the light that can be felt from within this space. As it is a sun bathing spot, light is a very important element.PARTI
Section
Showing circulation
between the different levels of the villa
between the different levels of the villa
While the spiral staircase in the Villa is responsible for separating each of the levels, the ramp does the opposite by connecting them together. The ramp provides the rigid box like building with fluidity, as a person's movement along the ramp's pathway is not very restricted.FINAL SUBMISSION: Villa Savoye through my ink & brush
This is Villa Savoye, the way I see it. These sketches are not accurate measurement and colour wise, however they give an impression of the actual villa. It was important for me to make these drawings before I started modelling as it helped me to understand the form of the Villa. I added colour to get a feel of the actual greenery surrounding it against the glimmering white of the building's facades. The contrast was subtle and striking at the same time. Specially the ground level maid's living area, laundry and utility rooms which are painted in green in the outside show the connection between the landscape and the house. This white Villa was supposed to be a modern machine for living. Streamlined, mechanical and compact. Yet the green of the walls and the green of the grassland and trees surrounding it brought it all to life and the bond between the villa and the nature became evident.
FINAL SUBMISSION: POCHE PLAN & SECTIONS @ 1:100 SCALE
POCHE
SECTION A
POCHE
SECTION B
POCHE
SECTION C
POCHE
1st Floor Plan
1st Floor Plan
Subscribe to:
Posts (Atom)
