FOLIATED - Caroline Milo

FOLIATED By: Caroline Milo

FOLIATED

QUESTION HOW DO WE MANIPULATE THE EXISTING ATMOSPHERE AND SURFACE OF AN AVOIDANT ALLEYWAY, TO CREATE A SPACE THE USER TRAVELS IN?

ATMOSPHERE AN EXPERIENCE TRANSPORTING OR DISORIENTING THE USER WHILST IN THE SAME PLACE, CREATED FROM SPECIFIC MANIPULATIONS OF LIGHT, COLOR, MATERIAL RELATIONSHIPS, MATERIAL TEXTURES, VOLUME, INTERIOR VS. EXTERIOR RELATIONSHIPS, AND NOISE.

DARK QUIET NARROW GARBAGE GARAGES CLUTTER ELECTRIC METERS TRANSFORMERS FIRE ESCAPE TELEPHONE EQUIPMENT LITTER

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SITE WHAT DETERMINES AN AVOIDANT ALLEYWAY?

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PRINCIPALS DESIGN PRINCIPALS LAYERS

REPETITION LAYERS

MOVEMENT REPETITION MOVEMENT PUNCTURE PUNCTURE

SHADOW & MATERIAL RELATIONSHIP STUDIES

PERCEPTION STUDIES

SCALE STUDIES

SCALE IN SITE STUDIES

RESKIN STUDY

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JEWISH MUSEUM BERLIN STUDIO LIBESKIND DANIEL LIBESKIND WHEN DESIGNING THE JEWISH MUSEUM IN BERLIN, WANTED TO EXPRESS FEELINGS OF ABSENCE, EMPTINESS AND INVISIBILITY, ALL EXPRESSIONS OF DISAPPEARANCE OF THE JEWISH CULTURE DURING WWII. ATMOSPHERE IN THIS BUILDING IS PERCEIVED THROUGH EMOTIONAL SENSIBILITY. FROM THE BEGINNING, THE USER IS PUT THROUGH A SPECIFIC EXPERIENCE AS THEY ENTER THE MUSEUM FROM THE ORIGINAL BAROQUE MUSEUM IN AN UNDERGROUND CORRIDOR, LOSING A SENSE OF DIRECTION BEFORE COMING TO A CROSS ROAD OF THREE ROUTES. SPECIFICALLY, USING AIR, NOISES, COLOURS, MATERIAL, FORMS AND LIGHTING, A POWERFUL ATMOSPHERE IS CREATED IN THE IRON FACE ROOM. AS THE USER WALKS, THERE IS NO WAY TO IGNOR THE SOUND OF THE STEPS AGAINST THE IRON FACES ON THE FLOOR AS THEY ECHO AGAINST THE TALL CONCRETE VOID CREATING AN UNSETTLING AND COLD SPACE. ATLAS, THE PATIO OF THE MUSEUM CREATES A GREAT PHYSICAL DISORIENTATION.

PRECEDENT C

BLUR BUILDING LAKE NEUCHATAL DILLER + SCODIFIO THE BLUR BUILDING CREATED FOR THE SWISS EXPO OF 2002, IS AN ARCHITECTURE OF ATMOSPRE AS A FOG MASS ENCOMPASSES MUCH OF THE SPACE. THIS PRECEDENT IS A GREAT EXAMPLE OF AN OPEN CONTAINER HAVING AN ATMOSPHERE, RATHER THAN JUST AN INTERIOR CREATING ONE. THE ATMOSPHERE IS NOT NECESARILLY UNCONTAINED. WHEN ENTERING THE BLUR, THE USER’S ACOUSTIC AND VISUAL REFERENCES ARE ERASED AND TE UNDERSTANDING BETWEEN CONTAINER AND SPACE IS DISORIENTED. AN ATMOSPHERE IS CREATED BY MAKING THE USER DEPENDENT ON VISION ITSELT BEING NOTHING TO SEE BUT A SHIFTING FOCAL POINT. MOVEMENT IN THE ATMOSPHERE IS UNREGULATED BECAUSE OF THE SHIFTING FOCAL POINT.

PRECEDENT A

INFINITY MIRROR TOKYO/ SINGAPORE YAYOI KUSAMA THIS CREATES ATMOSPHERE BY THE PARTICULAR MANIPULATION OF MATERIAL RELATION TO ANOTHER AND LIGHT. YAYOI KUSAMA USED MIRRORS MULTIPLYING PROPERTY TO CREATE THIS PERCEPTUAL EXPERIENCE MULTIPLYING THE LIGHTS IN THE ROOM WITH ENDLESS REFLECTIONS TO CREATE THE ILLUSION OF AN INFINITE SPACE. SHE MAKES THE IDEA OF TOUCHING A SURFACE HARDER TO UNDERSTAND FOR THE USER SINCE IT IS REFLECTED IN ALL DIRECTIONS CREATING A FALSE SENSE OF LONG AND WIDE SPACE AND BLURRING THE EDGES. IN ONE OF HER INFINITY MIRRORS INSTALLATIONS, SHE INCORPORATED A CHANDELIER, WHICH CREATES A NEW SCALE OF REFLECTED MATERIAL AMONGST THE INFINITY MIRRORS.

PRECEDENT B

SAINT BENEDICT CHAPEL SUMVITG PETER ZUMTHOR THE SAINT BENEDICT CHAPEL IS AN EXAMPLE OF ATMOSPHERE CREATED BY LIGHT, MATERIAL, CRAFT, AND MOVEMENT. THE BODILY MASS OF THE ARCHITECTURE IS A MODEST AND HUMAN-SCALED CHAPEL RECREATING THE AURA OF WARM AND PEACEFUL RURAL HOMES. THE MATERIAL IS WOODEN SHINGLES AND SNIPS SIMILAR TO LOCAL HOUSES OF THE VILLAGE AND THE MOUNTAIN FOREST AROUND IT. NATURAL LIGHT PASSES THROUGH AT ALL HOURS OF THE DAY, ALLOWED VIA THE RING OF VERTICAL WOOD COLUMNS AND GLASS PANELS. A PEACEFUL AND HARMONIOUS ATMOSPHERE IS THE PRODUCT OF THE SMOOTH AND ZENITH LIGHT. SPARSE FURNISHING ON THE INTERIOR CREATE A LEAF LIKE CIRCULAR MOVEMENT AROUND THE INTERIOR, ALONG WITH AN AXIS FROM THE ENTRANCE TO THE ALTAR ALTHOUGH IT IS NOT SYMMETRICAL WITH THE BUILDING.

PRECEDENT D

SAN GIOVANNI BATTISTA CHURCH MONGO MARIO BOTTA ATMOSPHERE IS CREATED IN THIS CHAPEL THROUGH METICULOUS MATERIAL MANIPULATION, LIGTHING, AND VOLUME. THE PREVIOUS CHURCH THAT SAT IN THE SAME SPOT WAS DESTROYED IN AN AVALANCE IN THE 1980S AND REPLACED BY THE NEW BY MARIO BOTTA. ALTHOUGH THE CURRENT HAS RELATIVELY MODEST DIMENSIONS COMPARED TO THE LAST, IT INTRODUCES A NEW IMAGE AND LANGUAGE GIVING WAY TO A COMPLETELY DIFFERENT ATMOSPHERE THAN THE LAST. THE MATERIAL IS A GREY GRANITE AND WHITE MARBLE WHICH ENCOMPASS THE OUTSIDE ALONG WITH THE INSIDE, CREATING PATTERNS AND LENGTH LINES. THE LIGHT GLASS ROOF AND THICK STONE WALLS ALLOW LIGT TO FUNNEL IN FROM THE TOP WHILE GIVING THE BUILDING A SENSE OF RESISTANCE IF A FUTURE AVALANCHE WERE TO OCCUR. LIGHT DANCES AROUND THE SPACE AND ADDS TO ITS SPIRITUAL QUALITIES AS IT CHANGES PATTERNS AND RELATION TO THE COSMOS THROUGH THIS CIRCULAR GLASS ROOF.

PRECEDENT E