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Anxiolytic Architecture Year III [Interior Environments]: Fall 2011: Half Term Project Inspired by 17th Century genre paintings of the interior, the project’s aim was to design a dweling that both depicted and challenged convential ideas of domesticity in the 21st Century. Drawing from the focus on threshold and liminal spaces in the paintings, a house was envisioned for clients with sever anxiety disorders; the transitory spaces in the house are some of the stimuli to their anxiety, and the house is designed to use the notion of domesticity to reduce stimuli and promote growth and self relience for the clients. ‘What if anxiety disorders, commonly treated by by harmful drugs (anxiolytics), could be treated by Architecture instead?’
Early investigation of liminal spaces based on the painting “View of a Corridor” by Dutch painter Samuel Van Hoogstraten.
Top: The site, in Midtown Toronto, Ontario. Below: Exterior Elevations of the house.
Top: Site Plan. The liminal space between the street and residence is extended and blocked. Below: House rendered floor plan. Four bedrooms are arranged around a central common area node. Again, liminal spaces are focused on, bringing outdoor elements inside, and removing or altering traditional thresholds altogether.
Top: The Foyer. The transition zone is barricaded and lengthened . A glimpse of the space beyond is seen through the portal.
Top: Hallway Rooms are void of thresholds, utilising angled walls to provide privacy, and ownership.
Below: ‘Courtyard Dining’ Residents dine in a synthetic outdoor courtyard environment, associating regular meals with their anxiety, reducing its negativity.
Below: Kitchen and Common Area An intimate space for patients, grounds them and reduces all stimuli except for a doorway to an enclosed outdoor patio,
Lambent Discourse Year III [Interior Environments]: Fall 2011: Half Term Project A lighting fixture, with the volume of a sphere contained within the form of a sliced acrylic cube. The fixture pursues the effect of light through the cut acrylic, through repetition and rhythm in the spacing of each acrylic layer. A cube tipped on its corner is the essential form. Projected light/images are reflected within the fixture creating multiple layers of imaging. A microphone translates the max volume frequencies in the space into light; the fixture now acts as an interpreter for the space to respond to its user(s). lambent |ˈlambənt | adjective poetic/literary (of light or fire) glowing, gleaming, or flickering with a soft radiance discourse |ˈdisˌkôrs | noun written or spoken communication or debate a formal discussion of a topic in speech or writing , a connected series of utterances, a text or conversation.
Top: The Cube The original inspiration was a hollow sphere within a cube.
Top: The placement of the acrylic dowels connecting each acrylic layer.
Bottom: Horizontal slices were taken from the cube with a hollow sphere to obtain the form for the light fixture.
Below: The fixture sits on a simple black wooden stand, that houses the projector and fan.
Top and Bottom: Cutting diagrams for each acrylic slice. The black holes represent etching to precisely place the connecting dowels.
The fixture seen as a whole, glows with the projected light attracting people to interact with it and come closer.
Close up, the layers of projected light and image are clearly seen, almost floating in the hollow cub interior of the form.
Participants interact with the fixture. The noises they make resulting in exploding bursts of color . The idea is that the fixture has a dialogue with the room and the people within it. If there is only a single person it is quiet and the light is only enough for them to interact with the fixture but too dark to interact with other people. As more people interact with the fixture the more light is created with the bursting colors and the larger group can now see and interact with each other.
Survival Year II [Environmental Design]: Spring 2011: One Month Project Objectives: Examine the effects of a disaster. Create a site analogue. Propose a shelter that explores how physical and formal apparatuses can re-engage post-trauma conditions, either as infrastructure and/or temporary setups, and how it can foster new opportunities within displacement and destruction. The aspect of community was very interesting to me. It is the factor which spurned civilization as we know it, and still remains the center from which all life/activities spread from. I was especially intrigued by the differences and variations in community around the world, especially between developed vs. developing nations. Throw in the catalyst of the trauma due to dislocation, and the dynamics and manifestations of community are greatly affected. Especially in countries such as China, experiencing massive growth and change, the trauma of dislocation experienced by workers at construction projects the nation over is very prevalent. I was intrigued how the disruption/ absence of community can be rectified through architecture. Because of the importance community plays in everyday life, the increased significance in times of trauma is obvious. So it makes sense, that a re-establishing of community and ‘localizing’ of the victims, is indispensable when surviving the trauma brought on by dislocation. How can architecture (shelter) (re)establish community in the post-traumatic condition following the dislocation of migrant construction workers in China?
Ordos China, was chosen as the site due to its large scale building, and large numbers of migrant workers. Image courtesy of: gokatayama
Top: Typical construction site shanty town. How could these structures be better built and implemented to improve the life of workers and add to the existing built project?
Top: A tradional yurt was the inspiration for the form of the living unit. Instead of many small spars for the structure, a few large bamboo spars are used, as seen in the middle image.
Below: Typical scaffolding in China using long spars of Bamboo. This material informed the structure and form for the proposed worker housing units.
Middle: Bamboo spars form the tent-like strucutre, able to house one worker.
Images Courtesy of: HRKVC
Bottom: How the unit might crowd and conglomerate to form a community. Images Courtesy of: coyurtco & Alex Maclean
Top Left: Experiments with permanent cladding of the strucutre, utilizing a fiberglass fabric as the base structure. Below: Example of how two modules might combine and be clad together using a mixture of fabric and cement.
Top: Experiment in permanent cladding using a mud, adobe like plaster over the fiberglass fabric base. Middle: Experiments in permanent cladding using a wire frame and cement.
Top Left: Six modules are combined to form one larger dwelling. The permeable fabric and plaster cladding provides protection from the elements while still allowing light and air to filter through.
Top: The modules are built right off the constructed project utilising it as a base and anchoring point from which the community can grow. Below: Many module are linked to form a community of workers living around the construction site. Using tarps during initial construction, the community will begin to be cast in concrete as the building finishes so that by the time the project is completed , there is also a community built and ready to support the life and community in that new area.
Delineation Year II [Environmental Design]: Spring 2011: Ten Day Project Objective: Explore the idea of ‘boundaries and edges’ in the con-
text of the individual studio space. Speculates possible boundary condition(s) of the space. Conceive and construct a boundary condition around the studio space, discussing the delineation of ‘my space’ and its (physical, perceptual, temporal) negotiations with ‘others’ spaces’.
To investigate my boundaries and spatial conditions, I created synthetic boundaries and environments and super imposed them on my world to contrast and compliment my reality. Creating synthetic boundaries and thereby creating synthetic environments was my ultimate goal. A boundary is not that at which something stops but, as the Greeks recognized, the boundary is that, from which something begins its presencing. - Martin, Heidegger, Poetry, Language, Thought, trans. A. Hofstadter, (New York: Harper and Row, 1971), p. 154.
Top and Bottom: Experiments with differnt folding systems for the shell. A rounded shell was preffered for its similarity to the eye and having a curved panorama that was seamless for to more convincingly blur the projected and real boundaries/environments.
Top: The set up of the shell and projector to create the semienclosed viewing space. Below: The shell assembled, already begins to delineate the workspace even without the fabric covering.
Top and Bottom: The projected content can be interacted with allowing the user of the shell to communicate with others, and signify their presence. Outsiders are also able to touch and interact with the projections and shell.
Top: The projected content appers to float in mid air, working to blur the line between real and projected boundaries. Bottom: A view looking out from inside the shell, the boundaries of the studio are contrasted and complimented by the synthetic boundaries of the tropical beach projected into my vista.
Graphic Design Work Year I - Year III
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One of my loves in the various aspects of Design, is Graphic Design, and I am always working with it to compliment my projects and as a personal hobby as well.
Architecture
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