Notes #9: The Dead Units

A simple increase in thickness of the walls and creation of a negative space might suffice for the dead units

The problem is in conveying space which is dead. Its structure may become deformed, limp, dry and shrivelled, though its not the direct architectural translation of dead space.

Above, the original render of a dead unit had a few problems. It didn't convey the notion of 'dead space' that I was trying to achieve. In the render, the positive & negative space is rhythmic, on-off-on-off-on-etc. Breaking up this rhythm could contrast with the buildings sandwiched concrete walls better. Changing its pattern could also work, for example on-off-off-off-on, which would also differentiate itself from the structure. Also, The lines of the dead unit haven't been deformed, they are crisp and angular. something disastrous has to happen to the form, angles and curves have to be introduced to counter the form of the dwelling.

There could be, from the original render, sandwiched between the segmented concrete form, thick glazing distrorting the lines of the concrete.

The dead element could also be pronounced within the building, informing the spatial arrangement of the interior. Changing the 'protrusion' into the interior's vertical profile could be interesting. It could be deformed to allow access to rooms which it might be blocking.

Notes #8: The Graft

In the 3D model, the glass is sandwiched between the concrete walls, and expands between them as the concrete walls are forced apart at the cut. In this way the result is one of tension, tension in the deformed walls as they curve away from each other, and tension in the glass, being forced to expand between these walls.

The graft seems unstable, the thin connective point is exemplified by the angle of the walls leading into the connection. The result of this is overwhelming negative space, which could be used to an advantage.

Other examples of the cut
In the sketch example of the model, a repose is shown at the break point, the parent structure leads off to the left. whilst the sibling structure reconstructs itself on the right.

Based on the original sketch not yet published on this blog, the graft structure could be revised so the glass 'pushes' the concrete into tension, and the concrete creates deformed connections between the parent & sibling structure.

The collapse sketch could be done by offsetting a unit and turning it into a point of gravity that the curve responds to.

The graft 1 sketch could be achieved by deforming a unit to a connection point.

The graft 3 sketch could also be achieved and would offset the asymmetrical appearance.

Progression (18/09)

Here's a look at the progression in sketchup of the cuts. The end result is something very artificial, and almost resembles a break in the building from a birds-eye view. The cut is based on a 'graft' from the previous post, however the result doesn't portray a 'growth' at the cutting point, as I'd hoped. Though interesting results none-the-less.

The following image is the result of toying around with the free pov-ray rendering program. I like the way it has had difficulty rendering the glazing in-between the concrete walls.

Sketchup to POV-RAY plugin
POV-RAY

Notes #7: The Cuts

In DNA replication, connected reciprocal parts are torn apart, then new parts grow on the exposed surfaces. The helical structure is 'unwound' then torn apart like unzipping a zip, then replicated, and then finally rejoined & rewound. If we were to do something similar to the dwelling how would it be done?

The Elements
The curves are the base or trunk of the building to which the units grow from. The curve base is a strong, fluid structure and a cutting motion against this might be 'collapse', where the absence of units creates instability in the structure & the building continues growth through a proprietary unit modified to produce 'pseudo-curves'. It might happen through 'graft' where there are items removed & re-growth shown, or maybe, items are separated & growth happens between them. A cut could also be artificial, clean, maybe even surgical, where an external volume cuts through the form.

Sketches - Form Studies

The curve of the dwelling is important to the design. The First two curves in the above example are circular arcs, with a seemingly predictable progression. The arcs are defined by a point of radius upon the concave side of the curve. The two points are uniform but inversed upon a linear axis. The result gives a 'pushing' motion compared to the following bezier curve.

The bezier curve is tensioned from two points external to the structure. The points are defined on the convex side of the curve. This curve, which is as 'artificial' as the first two, portrays a more appropriate relationship to external forces for the dwelling than the previous two.

The connection between the unit and the curve is direct. As unit numbers increase, the curve numbers decrease. The grouping of the units affects the form of the curve similar to Equus - Fourth Design. However in this example the curve shape is maintained and the density altered, rather than the density directly affecting the shape of the curve. I think its artificiality is retained in this method. It interests me that the form be something attempting to replicate or symbolize something absent, rather than exploring its own organic form.

Notes #6: The Unit Block

The unit block may be something that needs to curve, and be straight as well. On second thought, it's be better to separate the curves and the straight lines. The unit block can be straight and the unit structure and navigate through curves and straight lines. The unit structure can be 'excited' then 'flawed' at separation points (see. Notes #2: Geometry & Growth). The 'dead' elements are extensions of the unit block, and the 'live' elements (or gardens), are extensions of the unit structure. The dwelling elements are a melange of the two.

Excited
Considering growth, an increase in the amount of unit structures should be considered as something like growth on an agar gel plate, producing an ideal maximum efficiency in construction, where joints become 'simpler' and easier to manufacture. Before the fact, the number of joints should be reduced, leading to a relatively complex construction (ie. creating a square with 7 corners), with thinner unit blocks maybe?

Flawed
Considering overgrowth, there is a refinement of the joints, but a disproportionate number of them, leading to thicker unit blocks and dead elements.

Notes #5: The Garden

Within the classes of elements; unit, access, distraction = garden? Maybe? First a review of the elements. First, logically is the entrance, then to corridor, then to the corridor/unit threshold, then to unit. On a larger scale it goes now Dwelling - Void - Dwelling.

Its context
An impulse, from the mutated form of the dwelling, is that the garden be in itself one of these units. Differentiated from the 'dead' units created by the mutation, the garden's form new abstracted life from the mutations.

Garden Typology
Karesansui, or the Zen Garden, can probably be used to symbolise or re-construct the 1 to 4 to 7 number sequence problem, however it might look out of place against the dwellings form. There is a possibility of re-considering the dwelling's form through the idea of a Karesansui, ie. the dwelling as a feature of the garden.

The Orangery, or Greenhouse, can be considered as an engawa type structure, addressing the connection between internal and external. It could be a more permeable unit structure stemming for the hierarchical corridor

The Brick Fruit Wall can extend the mutated architecture out into the surrounding environment. Extensions & segments from the structure can used to convey a reconstruction of a natural form, changing the landscape somewhat.

Note #4: The External

I have to deal with the fact that 3 other dwellings are to exist on the site. The ghosts (i think i should call them), 3 figures from my clients past that do not exist to my client. Albeit they do exit as avatars, a name and a restrictive context only.

Relations
A relationship is defined as something contextual. A is to B or A is not to B, simple. The problem comes with subjectivity, which could be defined in a plethora of meanings. However, two objects relating to each other subjectively without sharing some other commonality, like similar use or origin, is very uncommon. It seems to me a benign notion which could work to the clients profile

Defn: Relationship

State of being related; connexion; way in which two people affect each other; mutual dealings, feelings or ties.

Notions of Relations to the 'Ghosts'

• benign
• sterile
• naive
• superficial
• numb
• ignorant
• juvenile
• inebriate
• disengage
• withdrawn
• estrange
• alienate

Notes #3: Confines, Cut, Growth, Death

How does nature confine itself? Or, moreover, how does my client feel about being 'confined'?

Defn: Con•fine

1. To enclose within bounds; limit or restrict: She confined her remarks to errors on the report. Confine your efforts to finishing the book.
2. To shut or keep in; prevent from leaving a place because of imprisonment, illness, discipline, etc.: For that offense he was confined to quarters for 30 days.

Confine could be considered something unnatural coming into something natural, or, rather, a threshold against a fluid. A skin confines, a seal, a laminate. Something restrictive?

The Hypothetical Garden City Grid

The dwelling could be brought down to a flat plane using devices that seek to isolate the occupant. Thin walls rallying against thick restrictive boxes, manipulating the framework of the walls, forcing their exposure.

Views, connections & relations to the other dwellings could be vague. Rhythms half copied and half ignored. The structure then becomes deformed, segmented into the city grid, folded, as it were.

The Mystery Play

Our next submission is based around the four square design problem posed by Japan Architect to honor John Hejduk. A few problems come to mind considering the brief for this project. All of my previous designs encompass a slope and sprawl across the landscape. Translating these designs onto a flat surface is a thought that never occurred to me. Rather than modify my design to fit the slope of the site, I assume I must translate the idea of the design into simpler forms, like the joining of elements or the relationship between them. Consider the designs in a vacuum, rather, with only the three other students designs to relate to, hrmmm back to the drawing board.