Vuletic
Week Five: Site Seeing - Interior Sequence
Weekly Learning Outcome
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Discuss implications for the projects going forward.
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Produce composite drawing
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Consider visual and communication strategies to best present the design proposals.
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Pitch concept development process work, contextual and site research and documentation, and sketch design.
Shut Up and Write!
What is the focus of your project in relation to the cinematic spaces brief?
The focus of my project in relation to the cinematic brief focuses on the manipulation of space through light and shadow. Currently I am experimenting with highlighting movement throughout my space and allowing the user to interact uniquely rather than just visually. I have also researched into Ancient cinematic space and was inspired by the way they built their theaters in open-air spaces and placed accordingly, so the sun would come from behind the audience and fill the performance area with light.
What do you know about your project, and how are you going to articulate that?
I currently know how sun impacts the space mainly through the North end of Fort Lane due to the large surrounding buildings. Articulating this would be trying to create a space that captures all different lighting whether that be during the day of evening through forms that create everchanging shadows.
What is your key relation to the site?
The key relation to the site is currently light, I will be doing more research to develop this further and to create a deeper meaningful project that focuses on a wider context whether that be historical, temporal, materially or through sound.
What specific community is your design proposal in service of?
The specified community of my project is currently everyone. It is an open space that is encouraged to be visited by all. I want all passers to have a chance to stop and interact with the space whether than be for a long or short period of time.
How did your cinematic device document the site? And how did you respond insightfully to those findings?
Initially I focused on colour to grasp an idea of how different filters could change the way you perceived the space. After further development through fish eye lenses, and layering I became aware of light leaks that impact the image through film. It's unpredictable qualities is something I was interested in exploring which is why I began experimenting with the movement of light and how this can manipulate a space to alter your perception.
What are the key thresholds/scene transitions in your proposal? And how do these relate to cinematic scene transitions?
The key thresholds are the form of my surface designs, I was intrigued light whether that was the tone of light, strength or angle interacted and how this altered the shadows that were cast, by creating multiple forms I was able to explore movement and further experimenting with the idea of creating a cinematic space. Relating this to a cinematic scene transition would be the way I decided to place my forms on the façade of the building, throughout the day the shadows will change and create a new experience throughout the day for bypasses.
How does your proposed design activate the site as a public space?
How are you exploring surface conditions as an integral part of your design?
What has emerged from your material and design processes?
Imperial Lane Site Visit
Site Textures
Image Two
Perspective of Fort Lane
Key word observations:
Brainstorming:
Currently I feel that I need to gather a deeper concept for my design of Imperial Lane. Therefore I will be doing further research to help spark some ideas before the pitch of my design!
After feeling stuck I felt that brainstorming would allow me to let all my ideas out and help me find what interests me the most. As a result I have found myself being drawn to exploring the relationship between light and water and seeing how I could use these materials to utilize the space for its users.
Water and Light Research:
Notes from: Position of Light and Water in Architecture and Philosophy of Art.
Yurtyapan Salimi, A., Salimi, A., & Kara Pilehvarian, N. (2016). Position of light and water in architecture and philosophy of art. THE TURKISH ONLINE JOURNAL OF DESIGN, ART AND COMMUNICATION, 6(APRIL SPECIAL EDITION), 58-67. https://doi.org/10.7456/1060ase/006
"Light and water re key elements and indicators are in human life. Water as a lifeblood is important in views, philosophies and cultures in the world and its role is considered beyond its functional role as a symbol of purity, birth and beauty. In ancient Persia, water was a sign of lighting and purity and was so valuable. Architects have always tried to make the best possible use of the environmental resources and water that was an important element to use all the beauty and perfection of water, so water becomes a factor in order to calmness, cleansing and peace. Light reflects the effects and nature of God whose presence is manifested in architecture. Light has always been a symbol of meaning and the world kingdom. Hence, light, occupies a central place in religious architecture. Light and water were placed in contemporary architecture and philosophy and in terms of beauty, have offered outstanding works in philosophy and architecture. So in this study, we have tried to pay to the importance and application of light and water in architecture and the arts and philosophy. " (Yurtyapan Salimi et al., 2016)
- Water is clear, fluid, calm and quiet.
- Water in religious mirror and cited it as a sacred element, because water is a vital element, because the purity, dynamism, limpidity and light of water, is the principle of life, it has always been shining in Persian culture and religion and has been important.
- Light plays an important role in reducing rigidity and coldness of stone and building. Light gives dynamic quality to architectural ornaments. Light leads patterns, shapes and designs into the moment. Architecture thinks of embodiment of the designs and materials to reflect light shine as main manifestation.
- From prehistoric times, always luminous objects that awakened the embodiment of a living object in mind were praised and respected by human being and they were enthusiastically greeted, served and worshiped them.
- Light can forgive creative rhythm to the interior. Without light, form, color and texture cannot be felt. Lighting has important implications in interior. Proper lighting can make a space, pleasant and eye-catching. Beside aesthetic dimensions, lighting has practical dimensions too
Existing Projects
Ports of Auckland History
Situated on Point Britomart, and using the defences of an earlier pā, Fort Britomart was built as an army barracks. (The British flag was first unfurled on the headland on 16 September 1840.) The initial building was completed in 1841, and other buildings were added in response to external and local threats in subsequent decades. The fort closed in the early 1870s and operations were transferred to the nearby Albert barracks. Point Britomart was then excavated to provide fill for waterfront reclamations. This painting by Sam Stuart shows the fort in 1869.
Land Reclaimation
The first reclamation of Auckland’s early foreshore was the formation of Fore Street (later Fort Street) from the shoreline of Commercial Bay, completed by 1850. Providing wharves was an early priority for the new settlement. The Auckland Provincial Council undertook to construct Wynyard Pier between Official and Mechanic’s Bays before the end of 1851, and commenced work on the first Queen Street Wharf in 1852. By 1859 reclamation work was in progress between Fort and Customs Streets. By 1870 the reclamation of Commercial Bay reached as far as Customs Street East and in the 1880s Quay Street was formed.
Fort Street led along the original shoreline. There were steps up the hill to the Britomart Barracks. The Maori name for this area is Te One Panea, ‘beach of the heads in line’. It is said the heads of slain enemies were stuck on posts from one end to the other of the foreshore
Auckland City Waterways
Auckland’s first water supply scheme, with reservoirs in the Auckland Domain, began operation in 1866. Further reservoirs were later built across the city.
Early residents in the developing city of Auckland, drew their water from wells, natural springs and personal rainwater collection tanks. Without any sewerage system, wells and streams became polluted. The Waihoritu Stream, which ran down Queen Street, was soon an open sewer. As well as sanitation, fire was a concern. The only water available to put out a blaze was that hand-pumped from a horse-drawn fire truck. In a city built largely of wood, fire had the potential to spread quickly, often with disastrous results.
The first city water supply to be constructed was in the Auckland Domain. Water from natural springs in the Domain were directed into storage reservoirs. Today these reservoirs are the Domain duck ponds. A pipeline took water from the reservoirs to the city, with distribution pipes in Wellesley, Victoria, Wynham, Queen Streets and Albert Street. The system began operation in January 1866.
With dry summers and a growing population, the Domain scheme was soon inadequate. From 1872, the newly formed Auckland City Council was forced to purchase extra water to meet demand. As well as further storage capacity, the council also looked for sites whose height would provide greater water pressure. In 1872, the council purchased properties on the corner of Khyber Pass Road and Symonds Street, and on the corner of Karangahape Road and Ponsonby Road. Today, these remain major water distribution points for the central city.
The Waihoritu Stream
Parametric Design
Parametric design is a design method where features (such as building elements and engineering components) are shaped according to algorithmic processes, in contrast to being designed directly. In this method, parameters and rules determine the relationship between design intent and design response.
- Draws inspiration from nature
Sou Fujimoto
"Visitors will be able to simultaneously observe this piece of virtual architecture, floating and moving inside of the space that is confined by the gallery itself," said Yoyo Munk, Tin Drum's chief science officer.
"The structure is observing the entire group and changing itself based on what it's observing about the audience behaviours, rather than any individual," he told Dezeen.
"It explores the contrast between the individual and the collective."
The studio also used the primal attraction to light and underwater bioluminescence to inform the evolving dynamic structure.
"We drew a lot of inspiration from natural light structures like the aurora borealis (also know as the Northern Lights) and our connection to light sources," recalled Monk.
“Drift” Sculpture by Matthias Pliessnig
Imperial Lane Section
Brainstorming:
After my first brainstorm I felt it was quite helpful in terms of having all my ideas in one place. I was able to pick and choose the concepts that interested my the most and therefore further develop in my design process.
In this brainstorm I have written down ideas that I'd like to explore further and therefore will be doing reading and research to help strengthen these concepts!
Self Directed Readings
Architecture From the Outside : Essays on Virtual and Real Space
Embodying Space: An Interview Part One
"Speaking from the outside"
"A building is made up of other spaces within it that move and change, even if its own walls remain fixed."
"I think it might suggest the architect relating much more to not only the current state of the design or stylistics of Embodying Space – 7 6 the building but also to its potential and future uses."
" A distinction between the virtual and the possible."
"The possible is an already preformed version of the real. The transition from the possible to the real is a predictable one, not involving anything new or unexpected. The relationship between the virtual and the ac- tual is one of surprise, for the virtual promises something different to the actual that it produces, and always contains in it the potential for something other than the actual."
"Bodies are absent in architecture, but they remain architecture’s unspoken condition. This is of course not only a problem for architecture but for every discipline"