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APRIL HANSEN ARCHITECTURE DESIGN 1-4 PORTFOLIO


D1 1 p3 THE CUBE p3 ROOM & GARDEN p5


D2 2

D3 p7

V I L L A S AV OY p 7 P O I N T S I N S PA C E p 9

D4 p13

SUPPER MARKET p13 REAR WINDOW p17

p18 MIDTERM p18 FINAL p18


E X P L O R A T I O N S O F S PA C E

The Design One Cube Project was an exploration of materials and architectural vocabulary. The Goal was to develop different sets of models that explored tectonic verses sterotomic space using various different mediums. As my knowledge grew I explored developing models based on specific architectural terms and varying sizes and styles.

THE CUBE


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D1 FINAL


ROOM & GARDEN The premise of pointillism is that the painting is made up of little dots of paint. When you stand at a distance you see the dots working together to form color or an image – like a blue dot next to a yellow dot making green, in the same respect when you stand a distance the room in my model works as a whole model . but in reality it is 3 models or separate color dots that make up a whole. Each of them rely on each other to make a more complete model.

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  Dissecting the importance of Villa Savoye allowed me to see architecture as having the ability to frame and create an experience. Additional y, one can develop a structurally sound free flowing floor plan. We started with the base grid of Villa Savoye and incorporated a few of the foundational elements and then further explored creating spaces around architectural terms as they pertained to Villa Savoye. I incorporated concepts of transparency, aperture, anchor space and hierarchy.

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D2 MIDTERM


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

 This side is my analysis of the sound in points in space. Although artistic in an of itself, I found the sound to be a repetitious sound, sharp and chunky not having any major variations in key. Just louder , softer- longer or shorter and I represented that by regressing and extruding parts of this surface to create space. The opposite side is my interpretation of the dance where by the longer extruded parts of plexi represent the pairs of dancers and I felt there was a little bit of a struggle to have their own dance but to also to work together as a unit . From a distance they

D3 MIDTERM


appear to be fairly similar pieces but up close you can see the spaces they create individually and together. I have my dancers working top to middle and an separate set working bottom to middle where I created an inset frame to house my analysis of the soloist – quick sharp sporadic movements inspired the creation of this cluster of smaller more precise spaces. In the process of creating this model we were encouraged to write 3 questions with our partner, in regards to points in space and a personal performance we presented to the class and illustrate the answers in our model.

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The first question I addressed was� does Sound ever interrupt space. My theory is yes, so I created an intersection through the model. For example if you are --walking through a space and a person stands in front of you, you have to go around. I feel the same is true for sound if there is a loud unexpected noise then I think you would react differently than what was intended to be experienced in that space. The second question was in regards to

D3 MIDTERM

D2 FINAL


space being created without specific intent. And I think you see that best in the center of this model where you have the cluster that was purposefully constructed on one side and the sound created on the other and threw the landscape you see a totally different perspective. The last question was that of color and similar to the first question I fell color can be a distraction or it can work alongside as a complement so I made a 2 part section down here with a cluster denoting the distraction and the longer spaces coming alongside the dancers as a complement. Over all I used the scoring on the landscape as a path to denote the struggle you experience watching points in space or our performances – you almost have to make a conscious decision to pay attention to one element over the other. Frosting was used to create more spaces when looking through on the landscape and to highlight the spaces I have discussed. The drawings line weight is also pertinent to the areas discussed with the top further addressing the intersection then the cluster spaces , the path, then the struggle of the dancers and finally the juxtaposed spaces created by my thoughts on color.

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D3 MIDTERM


 I picked Cascade dish detergent because several architectural applications were immediately apparent. After evaluation of this product through sensory models, chose to focus on overall Idea of transformation and itinerary. I developed layered and smaller clustered spaced derived from the physical properties of this product before it was used ; the first step in the Itinerary. I introduced the cradle which is representative of the water needed for this product to do its work. The Cradle is supportive and a framework for the model as the water would be a framework of which the product would have to work within. I also explored spaces created by laminating scans of the product into the layers of plexi , representative of the product and water working together. Next I derived the Idea of the of flatter longer projecting spaces denoting a transformation and drawn from the idea of the product dissolving and moving forward to do its work. Continuing with the Itinerary was the next step of intersecting spaces . I pulled this information from the idea of the product working, in, through, and alongside items to do its Job. I wanted to show that motion movement with these intersecting spaces.

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Finally in the itinerary you are left with a void space framed by some tectonic pieces; representative of the essence, the fragrance and the idea the something was completed even though the product was completely dissolved and nothing is left - hence a frame around a void.


 

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D3 FINAL (Info to come Jan. 2014)


D4 (Info to come spring 2014)

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APRIL HANSEN 407.212.2852 DOGBISCUITPUNCH@BELLSOUTH.NET


April Hansen - Architecture Portfolio