SERIES OF COLUMNS SET ON SITE. THEY WORK AS STRUCTURE AND SITTING AREA. STILL DEVELOPING A CLEAR IDEA ON HOW IS GOING TO WORK AND ALSO WORKING ON HOW THE ENCLOSURE OF MY SOCCER FIELD IS GOING TO LOOK.
These drawings are limited in description of scale and function. Certainly the stadium support will drive form and order, defining the sectional shape and organizing circulation. The last sketch with the elements in a group begin to suggest this potential. However, this sketch makes the elements seem too bulky and close together.
You might benefit from placing the grouping on the site to understand scale, orientation and relationships with entry and flow. I'm not sure how the other sketches, including the pealing up idea relate to the column. I do see a figure in one of these sketches, which is good. I would suggest making a habit of drawing figures in relationship to the forms and spaces you illustrate.
Just to echo Paul Adamson on this one and say that I would like to see the sketches begin to have more in common with your bubble diagram/ program and site context as opposed to individual form finding or detail designs. The 'skeletal' pieces are going in an opposite direction (thus far) from the lifting and peeling effect of the heavier, more grounded form shown in the sketch model #3. This model (3) looks like it is too similar in appearance for example to the Milwaukee Art Museum, without first conquering the 'why' of usage.
I find it interesting that you are studying the motion of the 'perfect' kick position for a goal, but I am not getting that in your structural analysis per say. Your site analysis (Olympic park) suggests you're into a very dynamic approach, curious that you havent explored a lot of Zaha Hadid's work (maybe you have?). To the contrary, the sketches seem you're looking into an anchoring of these structural pieces that would otherwise like to take flight and carry your design upward and outward. Look back to the 'why' and meaning of much of Calatrava's work, he is very much into the motion of an organic system, or human body and skeletal structural system. You are close to realizing this potential with your exercises and efforts, but I suggest exploring some more to get a feel for the 'why' of your moves, and how they relate on a larger scale.
Ariel it seems you are focusing on aesthetic elements that you have pulled from some of your examples, without addressing how they fit into your site and program context. While the details are important, there needs to be some more simultaneous thinking in terms of program and use. Try working alongside with your bubble diagram to start demonstrating an idea of spatial layout. Your details can certainly play a role, but don't get locked into a 'style' just yet.. Find your spaces and how they relate, how people pass through.. then you can begin to translate that idea into materiality, structural performance and appearance, etc.. Go back and forth in your scales if that helps.. Good architecture happens by answering a multitude of questions that we create on our own by doing this. What does this detail have to do with the greater picture? Where do I put the concession stands? Where do the light fixtures go, and how do they work in relation to my palate of materials? What is the fenestration pattern and daylighting scheme of my project? What do the window frames tell me about the overall spirit of this piece? Where do the bathrooms go, is there natural ventilation? what are the door handles made from? Am I expressing the notion of movement of a body? How do my materials, spaces, and structural layout address or support this? etc..
Also, you noted on sketch #3 that the 'peeling' form should be green but with one main function. What is that main function? I would argue that by keeping something green means to utilize that thing until you've extracted all possibilities, otherwise conserving in material, cost, and space. This peeling idea is intriguing, yet don't limit that potential to just one main idea. It seems you are suggesting the 'green' aspect may be a green roof. Could that space be utilized somehow in your activity?
WHAT I HAD SHOWED IN MY SKETCHES WERE JUST MY IDEAS. I WAS TRYING TO PUT EVERY IDEA THAT CAME INTO MY HEAD OUT THERE, BUT NOW IT SEAMS THAT ALL THESE IDEAS ARE PULLING BACK , SINCE I WANT TO DO SO MUCH. I'M GOING TO GO BACK TO MY SKETCHES AND PICK SOME IDEAS THAT COULD BENEFIT MY DESIGN. ALSO I WANT TO GIVE MY DESIGN A DIFFERENT SHAPE BUT YET KEEPING IN MIND MY CONCEPT MODELS.
THANK YOU FOR YOUR COMMENTS, THEY ALL MAKE SEANCE, ALSO ALL YOUR COMMENTS HAD HELP ME A LOT TO QUESTION MY SELF IN SOME OF THE STEPS I MAKE. I'LL KEEP POSTING MY PROCESS AND AGAIN THANK YOU.
Ariel, it's good the commentary is helping you decipher your own thoughts. It is afterall through your ideas that the project will begin to take form. I will continue to put forth questions to you which you can use for whatever purpose. I always found that a successfull design was generated by a thought process based on a multitude of iterrations, or experimental idea gernations. You're doing well in your thinking, and I am beginning to see your ideas take form in a site-context manner. Personally when I undertake a design task, I like to put all my ideas out there, small, medium, large (and extra large). I don't limit myself to anything until I have found the road to follow for that particular design. Feel also that you are free to sketch, model, diagram, and expose your feelings for what the project needs, all this with the pragmatics in mind alongside. Again I will reference Calatrava in that his work is highly technical with a level of engineering that few projects receive. However there was once a time at an office I worked at, where some of Calatrava's water color renderings had come to my desk. It was truly incredible to see how the type of work he develops begins with such impressionistic and free-form origins. Don't let go of your first true emotions for what you want your project to be, simply find the best road to follow to make that happen. Your vision will maintain if you record it with ink and vellum. Are you using trace paper (bumwad) for your sketch iterrations? This is a great way to maintain an idea, sketch over the top and continue the idea without starting from a fresh thought. You can continue to build on those original thoughts one over the other, without losing the original energy while you refine the program and design. Also, let your program develop a bit more before worrying about shape. The shape will come when you begin to determine how those 'bubbles' are held together. The unique structural forms you are looking at will become the connective tissue for those spaces. Are you working at all with the codes for your particular area? These are also an important rules by which your design (shape) will have to adhere. Successful architecture will happen when you learn to interpret the codes and laws that regulate our profession. Keep going. good luck. ag
Process sketches:
ReplyDeleteThese drawings are limited in description of scale and function.
Certainly the stadium support will drive form and order, defining the sectional shape and organizing circulation. The last sketch with the elements in a group begin to suggest this potential. However, this sketch makes the elements seem too bulky and close together.
You might benefit from placing the grouping on the site to understand scale, orientation and relationships with entry and flow.
I'm not sure how the other sketches, including the pealing up idea relate to the column. I do see a figure in one of these sketches, which is good. I would suggest making a habit of drawing figures in relationship to the forms and spaces you illustrate.
Just to echo Paul Adamson on this one and say that I would like to see the sketches begin to have more in common with your bubble diagram/ program and site context as opposed to individual form finding or detail designs. The 'skeletal' pieces are going in an opposite direction (thus far) from the lifting and peeling effect of the heavier, more grounded form shown in the sketch model #3. This model (3) looks like it is too similar in appearance for example to the Milwaukee Art Museum, without first conquering the 'why' of usage.
ReplyDeleteI find it interesting that you are studying the motion of the 'perfect' kick position for a goal, but I am not getting that in your structural analysis per say. Your site analysis (Olympic park) suggests you're into a very dynamic approach, curious that you havent explored a lot of Zaha Hadid's work (maybe you have?). To the contrary, the sketches seem you're looking into an anchoring of these structural pieces that would otherwise like to take flight and carry your design upward and outward. Look back to the 'why' and meaning of much of Calatrava's work, he is very much into the motion of an organic system, or human body and skeletal structural system. You are close to realizing this potential with your exercises and efforts, but I suggest exploring some more to get a feel for the 'why' of your moves, and how they relate on a larger scale.
Ariel it seems you are focusing on aesthetic elements that you have pulled from some of your examples, without addressing how they fit into your site and program context. While the details are important, there needs to be some more simultaneous thinking in terms of program and use. Try working alongside with your bubble diagram to start demonstrating an idea of spatial layout. Your details can certainly play a role, but don't get locked into a 'style' just yet.. Find your spaces and how they relate, how people pass through.. then you can begin to translate that idea into materiality, structural performance and appearance, etc.. Go back and forth in your scales if that helps.. Good architecture happens by answering a multitude of questions that we create on our own by doing this. What does this detail have to do with the greater picture? Where do I put the concession stands? Where do the light fixtures go, and how do they work in relation to my palate of materials? What is the fenestration pattern and daylighting scheme of my project? What do the window frames tell me about the overall spirit of this piece? Where do the bathrooms go, is there natural ventilation? what are the door handles made from? Am I expressing the notion of movement of a body? How do my materials, spaces, and structural layout address or support this? etc..
Also, you noted on sketch #3 that the 'peeling' form should be green but with one main function. What is that main function? I would argue that by keeping something green means to utilize that thing until you've extracted all possibilities, otherwise conserving in material, cost, and space. This peeling idea is intriguing, yet don't limit that potential to just one main idea. It seems you are suggesting the 'green' aspect may be a green roof. Could that space be utilized somehow in your activity?
WHAT I HAD SHOWED IN MY SKETCHES WERE JUST MY IDEAS. I WAS TRYING TO PUT EVERY IDEA THAT CAME INTO MY HEAD OUT THERE, BUT NOW IT SEAMS THAT ALL THESE IDEAS ARE PULLING BACK , SINCE I WANT TO DO SO MUCH.
ReplyDeleteI'M GOING TO GO BACK TO MY SKETCHES AND PICK SOME IDEAS THAT COULD BENEFIT MY DESIGN. ALSO I WANT TO GIVE MY DESIGN A DIFFERENT SHAPE BUT YET KEEPING IN MIND MY CONCEPT MODELS.
THANK YOU FOR YOUR COMMENTS, THEY ALL MAKE SEANCE, ALSO ALL YOUR COMMENTS HAD HELP ME A LOT TO QUESTION MY SELF IN SOME OF THE STEPS I MAKE.
I'LL KEEP POSTING MY PROCESS AND AGAIN THANK YOU.
Ariel, it's good the commentary is helping you decipher your own thoughts. It is afterall through your ideas that the project will begin to take form. I will continue to put forth questions to you which you can use for whatever purpose. I always found that a successfull design was generated by a thought process based on a multitude of iterrations, or experimental idea gernations. You're doing well in your thinking, and I am beginning to see your ideas take form in a site-context manner. Personally when I undertake a design task, I like to put all my ideas out there, small, medium, large (and extra large). I don't limit myself to anything until I have found the road to follow for that particular design. Feel also that you are free to sketch, model, diagram, and expose your feelings for what the project needs, all this with the pragmatics in mind alongside. Again I will reference Calatrava in that his work is highly technical with a level of engineering that few projects receive. However there was once a time at an office I worked at, where some of Calatrava's water color renderings had come to my desk. It was truly incredible to see how the type of work he develops begins with such impressionistic and free-form origins. Don't let go of your first true emotions for what you want your project to be, simply find the best road to follow to make that happen. Your vision will maintain if you record it with ink and vellum. Are you using trace paper (bumwad) for your sketch iterrations? This is a great way to maintain an idea, sketch over the top and continue the idea without starting from a fresh thought. You can continue to build on those original thoughts one over the other, without losing the original energy while you refine the program and design. Also, let your program develop a bit more before worrying about shape. The shape will come when you begin to determine how those 'bubbles' are held together. The unique structural forms you are looking at will become the connective tissue for those spaces. Are you working at all with the codes for your particular area? These are also an important rules by which your design (shape) will have to adhere. Successful architecture will happen when you learn to interpret the codes and laws that regulate our profession. Keep going. good luck. ag
ReplyDelete