AC VIR TUAL
PARANDIS ABDI
Conforming with Malleable Architecture
Architecture was made through the formation of space using ele-
ments or materials for human use. If we shift the focus from space to time, keeping the human use as the common thread, this poses a few challenges as space has the possibility to remain permanent whereas time keeps moving. Space is more tangible in accordance to time. For this reason, time becomes the bigger context in which everything exists. If time is seen as the context where chaos resides, creating solid tangible objects become a way of organizing. Architecture tells a story of its time, the current aim is for it to control time. Light and shadow are constants in this motion and materials are secondary to it. For example, different materials react differently to light and shadow, not the other way around; light is stable and predictable. As context changes, architecture stays solid, but is there a way for architecture to change with time as context? Perhaps a malleable architecture where it changes with content, concept and context just as the humans that occupy it. Controlling the constants such as light can allow for this malleability using materials.
Experimenting with Constants
Building for Human Movement
Architecture has developed beyond the mere function of providing
shelter. Just as with any progress and process, it has advanced to achieve new feats. Humans, as the creator of architecture, have entered an age of discovery and exploration in architecture to see what new challenges can be overcome. Designs or spaces manifest out of connections to the built form’s surroundings, and we are trained to do as such. We study the contextual effects on the architecture: tangible things, quantitative things. It can be argued that the main factor in the process of creating and inhabiting architecture is not the context but humans themselves. Isolate the variables that change architecture.
If context is isolated as a variable, we may be able to study the
effects of human use and movement on buildings, as opposed to third or second hand effects? Hand changes done through context. This could be a way to evolve just as we have with the built form and context, but now to further human experience. Balance between built form and human use. Experimentally looking at architectural spaces, what other than passageways experience such constant human movement and interaction? These changes are noted, but not reflected on, organized, controlled, analyzed. They see constant motion. A kinetic space, often overlooked as simply the means to a room, or a destination. These comprise of fleeting movements, never static, yet always in control of the space as a whole. Movement= light, air, users
Design Through Pure Orthographics
Going back to architecture in its purest representa-
tional form, orthographics. Using this, I posed the challenge: a building that may be represented and appear even similar if not the same, in plan, section, and elevation. Designing is to play with imagination, as we never actually see the design as it is represented in architectural graphic standards; in plan, section, or elevation. But we are limited to design this way, leaving much open to interpretation.
A cube in plan would not be the same in elevation, as elevation
would add a line on the bottom to ground the cube hence adding a wall in plan simultaneously. This project aims to blur the lines of 3-Dimensionality and speak on the process of design as more of a final product. The space was created using paper as its only context and bounds, rendering a form which is derived from geometries within itself. Creating architecture for the sake of architecture, unrestricted by outside factors.
Context is What We Make It
Architecture has developed beyond the mere function of providing
shelter. Just as with any progress and process, it has advanced to achieve new feats. Humans, as the creator of architecture have entered an age of discovery and exploration to seek out new challenges to be overcome. Designs of places tend to manifest out of connections to the built form’s surroundings. We study the contextual effects on the architecture: tangible things, quantitative things. It can be argued that the main factor in the process of creating and inhabiting architecture is not the context, but humans themselves creating an interior context within architecture.
A building that is pure and ideal architecturally can be best repre-
sented orthographically. To strive for this, I posed the challenge of creating a building that is the same in plan, section, and elevation. Designing is an act of playing with imagination as we never actually see the design as is it is represented in architectural graphic standards; in plan, section, or elevation. But we are limited to design this way, leaving much open to interpretation.
One is made to be ideal only in representation, the other as deriva-
tion of the “perfect� orthographics turned into an actual house. This project aims to blur the lines of 3-Dimensionality and speak on the process of design as more of a final product. The space was created using paper as its only context and bounds rendering a form which is derived from geometries within itself. Creating architecture for the sake of architecture, unrestricted by outside factors.
PLAN. SECTION. ELEVATION
FLOOR 2
SECTION
FLOOR 1
FLOOR 0
RIGHT ELEVATION
BOTTOM ELEVATION
LEFT ELEVATION
TOP ELEVATION
Time is ever-changing. Context is relative to time. Remove factors bound to time. Architecture as a separate entity from context. Timeless architecture. Unbound architecture. Architecture as an inhabitable space; habitable through adaptation. Context is what we make it. A building that is pure and ideal architecturally can be best represented orthographically. To strive for this, the challenge posed is creating a building that is the same in plan, section, and elevation. This project aims to blur the lines of three-dimensionality and dwell in the process of design as the final product. It is made to inhabit the paper; the context now internalized. Using paper as its only context and bounds, Virtual House is derived from geometries within itself; and consequently, ideal in representation. Creating architecture for the sake of architecture, unrestricted by outside factors. A derivative of the archetype orthographics is then turned into Actual House. Those who inhabit the space must create their own context to render it habitable.
PLANS
FLOOR 0
FLOOR 1
FLOOR 2
FLOOR 3
SECTIONS
TOP
RIGHT
BOTTOM
LEFT
ELEVATIONS
TOP
RIGHT
BOTTOM
LEFT
T L
R B
4
1
3
BASEMENT FLOOR PLAN
FIRST FLOOR PLAN
SECOND FLOOR PLAN
THIRD FLOOR PLAN
SECTION 1
SECTION 2
SECTION 3
SECTION 4
BACK ELEVATION
RIGHT ELEVATION
FRONT ELEVATION
LEFT ELEVATION
2
B L
R F
