Sunday, June 13, 2010
Sunday, May 9, 2010
Final Analysis
My final design is based on the concepts of film, perspective and contradicting light.
The use of film is a clear theme within Edward Hopper's New York Movie, where a movie is being shown in a cinema. The painting itself reflects a still from a film: with the bright hues, placement within the scene and dramatic mood. The idea of film in cinema is based on movement within a set, ridged frame. As images move in and out of the frame, we are only able to connect with what is within the square from which we view the film. The idea of movement within a rigid form are reflected in the circulation process within the spaces. This circulation was developed to imitate the stages of filming.
In the painting, an audience watches a film, imitating emotion. While the audience gain pleasure from connecting with these emotions, they fail to notice true emotion being reflected by the usherette behind them. This fight for attention is lost by the woman, and only the representation of emotion is able to be seen. This idea is reflected in the filming and projecting of the actress on the screen. While the audience is able to see the artificial play-drama on the screen, they can not view the true emotions reflected in the woman as she performs below.
Perspective is used within the painting to to create focal points within the painting. New York Movie contains multiple points of perspective. However many of these views are cut off from view to the woman. This reflects her lack of knowledge about her future (in the film industry). The use of focal points moving inward, create a different emotional effect to those moving outward.
The use of perspective and angling lines are inspiration in the form of the building. In plan and elevations, there is vectoring toward the amphitheater space: toward the screen and performance space, creating a focal point for the general public to watch what is being created. The womans 'lost' state is represented through the meandering staircases: as she moves around to each stage of the filming, she must turn around to be able to enter the area and see the space fully.
Within Hopper's painting, light is used to distinguish between spaces and project an area of focus within the scene. The wall light behind the woman creates a bright glow which surrounds her. This light causes us to focus on this usherette. The light creates a concentrated beam, creating vectors leading to the actress. dappled light is also used to create even, though dim, lighting in the cinema space. This idea is reflected in the created theatre though the use of intense lighting on the ground floor- where thin beams of light are allowed to stream into the space and create a 'spot light' on the actress below.
The use of film is a clear theme within Edward Hopper's New York Movie, where a movie is being shown in a cinema. The painting itself reflects a still from a film: with the bright hues, placement within the scene and dramatic mood. The idea of film in cinema is based on movement within a set, ridged frame. As images move in and out of the frame, we are only able to connect with what is within the square from which we view the film. The idea of movement within a rigid form are reflected in the circulation process within the spaces. This circulation was developed to imitate the stages of filming.
In the painting, an audience watches a film, imitating emotion. While the audience gain pleasure from connecting with these emotions, they fail to notice true emotion being reflected by the usherette behind them. This fight for attention is lost by the woman, and only the representation of emotion is able to be seen. This idea is reflected in the filming and projecting of the actress on the screen. While the audience is able to see the artificial play-drama on the screen, they can not view the true emotions reflected in the woman as she performs below.
Perspective is used within the painting to to create focal points within the painting. New York Movie contains multiple points of perspective. However many of these views are cut off from view to the woman. This reflects her lack of knowledge about her future (in the film industry). The use of focal points moving inward, create a different emotional effect to those moving outward.
The use of perspective and angling lines are inspiration in the form of the building. In plan and elevations, there is vectoring toward the amphitheater space: toward the screen and performance space, creating a focal point for the general public to watch what is being created. The womans 'lost' state is represented through the meandering staircases: as she moves around to each stage of the filming, she must turn around to be able to enter the area and see the space fully.
Within Hopper's painting, light is used to distinguish between spaces and project an area of focus within the scene. The wall light behind the woman creates a bright glow which surrounds her. This light causes us to focus on this usherette. The light creates a concentrated beam, creating vectors leading to the actress. dappled light is also used to create even, though dim, lighting in the cinema space. This idea is reflected in the created theatre though the use of intense lighting on the ground floor- where thin beams of light are allowed to stream into the space and create a 'spot light' on the actress below.
Sunday, April 25, 2010
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.
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.
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