Sharon Koshy

Monday, 3 June 2013

Draft Model 2: Bridge and Elevator

In Sketchup:

When Placed in CryEngine:

Sketches of Plan and Section for Sketchup model

Sources Of Inspiration for My Architectural School Design

vITRA fIRE sTATION, 1991-93 - ZAHA HADID

- Sharp, converging lines and narrow horizontal planes create a extremely dynamic structure

- Bent and angled roofs provided a more versatile spatial experience as it breaks the flatness of the structure.

- Based on Deconstructionist Theory- where she uses painting as a medium to gain an understanding about space and form

Taiyuan Museum, 2007-2013 - Preston Scott Cohen

- Light weight exterior appearance and honeycomb textural qualities also add to the enormity of scale

- Galleries single linear floor

- Predetermined Flow but seamless circulation

- Explores the notion of continuous and discontinuous
- Details of the outside facade plays with light and line

Monday, 27 May 2013

Monday, 13 May 2013

Experiment 3 :Mashup between three articles

Mash up:

Urban buildings need to be in flux, to suggest that while they may look this way today, they might well be turned into something else tomorrow. Koolhaas’s modernist dream of total flexibility—designed to be open to social and programmatic evolution.The process of ‘decentring’ ourselves/our architecture from an imposed system is the dominating principle in deconstructivism. Deconstruction questions solidarity, uniformity, and cohesion. 'Architecture is representation of itself as construction responding to a purpose' (Peter Eisenman ). It will no longer aim for stable configurations but for the creation of enabling fields that accommodate processes that refuse to be crystallized into definitive form … (Koolhaas 1994) Primacy of form. Eisenman is not interested in the isolation of modern forms per se; he is interested in a language and order which uses geometrical solids as absolute points of reference for any form of architecture. He is looking for an inherent order derived from a geometric reference.

Koolhaas’s desire as an architect is to design the stage, not to write all of the lines to be spoken on it. Eisenman differentiates a subdivision of form into two types: generic and specific. Deconstructive architecture that appears fragmented, non-linear, with bent/uneven outlines and incomplete forms are indicative of this theory. The final appearances of buildings in this style are characterized by a stimulating unpredictability and a controlled chaos. To be able to understand volume, he introduces the notions of movement and experience.

References:

Paul Goldberger , 'The Architecture of Rem Koolhaas', Architectural Digest, 2000, pp1-3.
Arie Graafl , 'Peter Eisenman: The Formal Basis of Modern Architecture’, Footprint Trans- disciplinary, Autumn 2007, pp. 93-96.