Precedent Study/Concept Research

Kiasma Museum of Contemporary Art/Stephen Holl
The Kiasma Museum of Contemporary Art was designed to provide for a variety of spatial experiences. Providing a space which would be able to house a variety of artists. The gallery creates a quiet atmosphere to create and build intensity. A silent and dramatic backdrop is created through the use of an almost rectangular form, with a sloped wall. The use of stark white increases the intensity, creating silence, while avoiding being static. This is done by making sure all the rooms area unique through irregularity of form.




Holl uses linear elements to create focal points within a space. We see a strong focus within the middle of the space created by the lines of the balcony above, the solid straight wall, the point of the window above as well as the line created by the double storey opening. This image shows a second focal point: from a ramp moving up toward the second floor of the museum. As the ramp follows the curved wall, the shape intersects a solid vertical line created by a solid wall. The connection between the straight wall and ramp creates a focal point where the two forms collide.


The Kiasma Museum uses a sloped roof to differentiate and vary spaces. Within a single space, different characters are created through the sloped roof. The contrast in height means that you are more inclined to place your back against the side with the lower roof and face toward the area with double height. This is balanced out by the use of vectors, such as those created by the skylights, leading toward the shorter end of the slope.


Paramount Hotel/ Philippe Starck

Starck was commissioned to refit the lobby of the Paramount Hotel in New York by Ian Schrager. Schrager had already asked the designer to redesign the interior of the Royalton Hotel. The staircase of the Hotel Lobby is unique in form. The stairs are designed into an A line form, diverging outward from the lobby to the upper floor. This shape outward from the lobby creates a sense of openness. However as you walk down the staircase, the linear elements create a focal point below, accentuating the length of the staircase, and create a slight sense of unease, as you move through the narrow space.

Project 2 - Intro

New York Movie/ Edward Hopper

Painting Analysis
The painting shows a scene within a cinema. A movie is playing, with couples watching the scene being played. Our view of this is skewed however, as our attention is focused on a single woman standing on the outskirt of the room. The usherette is leaning against a wall, staring at the ground, deeply in thought. She stands in a position from which is off angled from the movie being shown, the audience as well as the staircase leading up. However, we still feel that the woman is linked to the film and the cinema, through her leaning against the room wall for support as she thinks and by the wall light which is engulfing her creating a sense of warmth. The usherette’s awkward placement in the scene as well as general disposition suggests a darker mood. The lack of perspective from which she can view these other subject matters, suggests an uncertain future. The painting shows a high use of contrast and highly textured materials such as carved stone columns and heavy draped curtains. The use of contrasting light helps present focal points for the painting.
The warm light surrounding the woman while she stands in the room suggests that she hold a close link to the world of film, though her view of the screen is disjointed. There may be a sense of disconnection between the woman and the cinema, as both try to fight for the attention of the audience.



Narrative
A Theater for a Lonely Actress trying to find her Voice in the World of Cinema



Site
Urban generic site in New York City



Concept
My concept will focus on three main aspects:
1. Film: The idea of moving images based around a set frame. How is a film different from live theatre or photographs? How is the audience’s view of film different from live performance?

2. Perspective: Edward Hopper uses perspective in his painting. It is used to direct the viewer to certain aspects of the painting, while diverging from others. Within the painting, perspective controls what the usherette is able to see: her view of the film, up the stairs and to the audience.

3. Contrasting Light: The use of light in the painting allows areas of the painting to be focused on more than others. While the painting is mostly dark and shadowy, we see areas of brightness: such as the wall lights to accentuate the emotions of the key figure.


First designs

Final Model - Villa Savoye

Final Drawings - Parti

Final Drawings - Poche

Drafts

Villa Savoye - Analysis

Le Corbusier – Villa Savoye
1929

Le Corbusier describes architecture as a machine for living. This idea can be seen to be reflected in the Villa Savoye. Designed as a residential building for the wealthy Savoye family as a holiday house, the building represents the ideas of early modernism and the ’international style’ (known for the use of columns, ramps, strip windows, a flat roof and floating boxes). The Villa Savoye is a clear example of Le Corbusier’s idea of the Five Points of Architecture:

1. Ribbon window - Long slender horizontal windows along facades to provide light and ventilation.

2. Pilots - Use of supporting columns on the ground level to create a ‘floating’ level above.

3. Free façade - A thin ‘skin’ like wall consisting of windows and doors without any structural constraints.

4. Free Plan - Created through the elimination of load bearing walls.

5. Flat roof terrace - the creation of a domain for domestic use as well as a garden area.

The Villa is located in an opening surrounded by a cluster of trees, and was designed to cause as little disturbance to it’s surroundings as possible. Le Corbusier believed the approach and initial experience to the building was important, he used this idea to create a sense of wonderment when upon arrival. The building was designed to approached by vehicle, this reflects the development in industrial revolution and uprise of the motorcar and Le Corbusier‘s acceptance of contemporary ideas. The building was listed as a historic monument in 1965 and was restored after the WWII between the years of 1985-1997.