Andrew Weetman: Final Submission - Exp1

Three Project Images with Noun, Verb, Adjective

18 Sketch Sections

36 Textures

Two Draft Sketchup Models

Sceme 1 - Testing curved surfaces, geometrical shapes, textures and forced journey between the sceme.

Sceme 2 - Testing structural interplay and building landscape.

Three Project Videos Developing Scheme 2

Link to Sketchup Model on 3d Warehouse

http://sketchup.google.com/3dwarehouse/details?mid=d274fbd4f6b252eaa3efb7694ab7acdd&hl=en

The scheme, the stair, the space.

I initially underestimated the amount of thought and consideration needed to design a coherent scheme. Early drafts were majorly mixtures of either ornamental or volumetric shapes and textures that were minimal and were more for decoration then architectural communication. As I developed the scheme over several drafts, a design that I find coherent has emerged.

Shinya Kimura - Above Datum

I designed Shinya Kimura's in reverse, that is, I started with the geometry of an engine and 'architecturalised' it. The basic geometry of the design was created by combining elements of an engine block, cylinder block and exhaust system, I basically wanted this studio to be a 'mechanism for design'. I think Shinya Kimura would empathise with this design given the highly engineered style of his motorbikes. Different shapes have then been manipulated to form a machine shop, welding bay, and elaborate air extraction system which doubles as structural support for the outer edges of the building.

I have textured Kimura's studio in mainly white, this was not for aesthetics but to accentuate the aspects I have textured. The interiors of the two workshops and the air extraction system have been textured in my own textures, they were to give the appearance of a dirty, over used studio. All windows and glass features are a grey translucent to suggest the fact that they have not been cleaned.

The stair leading from Kimura’s studio to the exhibition space on the datum employs many features. There is a solid section, a cantilever section, and a subtle floating stair as well as two platforms. The floating stair is the first section of stair as you leave the upper platform. It is floating to contrast and accentuate with the strong robust element that holds it in place, as well as the solid, over built railings surrounding it. The next section joins the welding bay to the floating section, this small section of steps protrude from the main form and seemingly cantilever the floating steps upward. The solid section is the last section; it is wide and incorporates a thin ramp. All these elements have been incorporated to produce a striking stair which would echoes the noise and appearance of Kimura as he brought (rode) his motorbikes into the studio.

Exhibition Space - The Datum

I tried to keep the exhibition space simple. it is basically a caged walkway which combines aspects from both the upper and lower studio to tie the overall scheme together. The main feature, the cage, consists of thin rods and square textured supports, is designed to harmoniously combine and blend the physical qualities of Kimura's extraction system and Stradivarius's 'bridge' stair. The size closest to Kimura is built light, so light that is has to be supported by Kimura's extraction system. Conversely, the side closest to Stradivarius is build strong and robust (accentuated with arches), so much that it actually supports the majority of the weight from Stradivarius' stair. The vertical elements of the space are all straight whilst the longitudinal elements are curved, encouraging empathetic contrast.

Antonio Stradivarius - Below Datum

After several drafts, I decided that Antonio Stradivarius’ studio to be like an auditorium. Stradivarian instruments are beautiful to look at, however they are known for their sound. A studio for Stradivari had to be designed for the creation of instruments as well as music. Music would become the interior because of the reduction in physical noise; catenarian curves, textures and spaces enhance this notion.

The large wooden feature in Stradivarius' studio has been designed to enhance sound. Clean curves and a lack of corners have been utilized to accentuate this feature. The Wooden structure is mainly self-supporting through wires, however three columns give it further support from the base. The wires on this structure were also incorporated to make verbal noise if excited.

The large Concrete structure has been incorporated for both structural retaining and dampening of sound. The concrete feature surrounds three sides of the studio and protrudes from the surface of the landscape so that its robust nature of clearly visible from the upper studio and exhibition space, further tying the scheme together. It incorporates three circular indents that enhance the atmosphere of the studio through crisp geometry.

The stair leading from Stradivarius' studio to the exhibition space had to be the centrepiece of the Stradivarius workspace as it was the only element of complication. It was designed to look similar to the bridge of a wind instrument. Textured forms provide the main support for the stair, whilst wire provides tension and holds the banisters and rails in place. The stair treads and other elements are of minimal volume and the overall structure has been designed to look clean and minimal, even though the stair is actually quite large. The stair has a relaxed slope with long treads to facilitate a slow, elegant and enjoyable journey for Stradivarius as he brings his violins and music to the exhibition space.

Images From Developed model

Since there are videos to show overall sceme shape, I have used these images to show details which cannot be distinguished in the video, or found easily in the sketchup model.