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HUGO CHAN

PORTFOLIO - ARCH 1201 BACHELOR OF ARCHITECTURE UNIVERSITY OF NEW SOUTH WALES 3375308

UNSWARCHHUGOCHAN.BLOGSPOT.COM.AU


PRECEDENCE

P. 1

ABSTRACTION

P. 3

CONNECTIONS

P. 7

HUGO CHAN S 3375308 E hugo.chan1@student.unsw.edu.au W unswarchhugochan.blogspot.com.au


PRECEDENCE

VILLA MULLER | ADOLF LOOS

This precedent study was conducted with a primary focus on the interplay of levels within Adolf Loo’s work. In an attempt to examine how Loos embodies his firm belief in the Raumplan, a model and series of drawings were developed to investigate the project. Following on, more detailed investigation into how Loos deals with the rooms involved looking at the materiality and textures of different rooms. The model has been constructed as a jigsaw puzzle, where all internal components are movable. As the image sequence (far right) shows, this process helps to inform the interlocking and dynamic nature of the building that plans and sections simply cannot show.

“I do not design plans, facades, sections, I design space.” - Adolf Loos.

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Despite the primary means of investigation being used in this exercise as being the physical 1:50 scale model, these drawings have also been used as part of investigating the Villa Muller. The plans have been layered with different colours and textures to investigate the materiality of each individual room. This consideration allows us to see how Adolf Loos dealt with the intimate private spaces, such as the boudoir and the larger, more open public rooms. The sections, despite not being as informative perhaps as the model itself, nonetheless offers insight into Adolf Loo’s belief of the Raumplan, that each room, with its own unique function should have its own unique proportions and sizes and should not all sit on the same level. As a result, what we find is a dynamic series of sections where there is an ambiguity in level, with each room sitting as its own, independent entity. 2


ABSTRACTION SPATIAL DEFINITION

What we find in examining the horizontal floor plates of the Villa Muller is how individuality has been used as a tool for separation and segregation. Each of the rooms are neatly divided according to function, allowing the overall floor plates to appear stepped, revolving around the central void up to the bedrooms. The Villa Muller clearly does not have a fixed ground, first and second floors. Instead, there is a flow of spaces, each set slightly higher than the room before. As people move through the rooms, we revolve in a circular motion, moving slowly up through the planes until, unknowingly, we find ourselves at the top of the house.

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ABSTRACTION INTERIOR EXPERIENCE

As a clear embodiment of Adolf Loo’s Raumplan, what is clearly evident in this study is how the rooms of the Villa Muller have been designed as specific, tailored experience, dependant on its function. The internal proportions, the scale and placement of elements and in particular, the choice of materials all affect a person’s experience of the spaces. In this particular investigation, a detailed scale model of the boudoir has been constructed to better understand the relationships between these different elements. One of the most important elements within the room are the two built-in lounges. They have been designed specifically to ensure people sit facing inwards back into the room. There is therefore a clear sense of an introverted experience, as people are made to look back at the room, rather than out the window. The grain and dark mahogany of the room also gives it a warm, pleasant feeling, allowing the room to become an intimate and private space. Raising this room into two levels also helps create separation and a sense of journey from the door on one corner, to the other corner.

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ABSTRACTION MATERIALITY

The architect, Adolf Loos has been described as an architect of words. It was one of his beliefs that architecture did not need to be represented literally as drawings, but could instead be described in words. This set of abstractions has taken the notion and physically represented spaces in terms of words, describing the material or experience of a material. Scale is no longer determined by the space, bur rather the size of lettering. It is important to note in these studies which elements are particularly large/ small, and how as the rooms become increasingly private spaces, closed to visitors and more family oriented, the decor and subsequent dealing with materiality also changes. The levels of detail are also expressed in the description, with tight knit details using smaller, more ‘delicate’ wording.

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Far Left to Below: Series showing Boudoir Above: Series showing Dining Room

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CONNECTIONS 123 VICTORIA STREET

The unique site of 123 Victoria Street in Potts Point, Sydney offered an interesting palette of colours forms and textures to create an individual project. Connections, as the name suggests has been designed as a mediating Double House & Art Gallery on many levels. The building has been designed to connect the street with the wider Sydney cityscape, between different typologies in the area and expresses the relationship between the privacy of the inhabitants (Artist & Art Collector) and the public nature of the art gallery.

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As the images, renderings and drawings all attempt to show, this building is concerned with an attempt to mediate the different height and forms of the angular terraces on one side, and sleeker rectilinear forms of the terrace apartments on the right. At the same time, the building is also a mediation between the cliff at the back of the site. Sharp corners have been abstracted from the similarly sharp and steep angles of the cliff rocks. The art gallery involves a series of steps which open out into the City of Sydney, providing a link between the enclosure of Victoria Street with the larger cityscape of Sydney.

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The detail 1:50 section has taken out a small slice of the most dynamic points of the building. The primary connection between the artist’s residence and the glass art gallery pavilion. The tiny touching line between the frame of the pavilion and the cantilevering structure of the house shows the tentative ‘touch’, core to the concept of the proposal. Secondly, the section also investigates the strips of light penetrating the lower art gallery, creating another dynamic, engaging space.

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HUGO CHAN S 3375308 E hugo.chan1@student.unsw.edu.au W unswarchhugochan.blogspot.com.au

ARCH1201 Architecture Portfolio | Hugo Chan  

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