r f t o
Søren Høbjerre 4 0 0 4. Arkitektskolen
contains jects, ings,
5 3 semester Århus
layman project, done in realtion to 1st year exams. Following pages contain sections of the finished project in the assignment of creating a hostel on a specific site in Aarhus Aadal.
CC following page contains a topview handsketched drawing in scale 1 : 100 of a proposal for a hostel fit for kayakers.
1:100 section commonarea
creating a sancturary for kayakers. The assignment was to make a proposal for a hostel, independently choosen inhabitants, no size-requirements, must contain enough space to fit at least 9 inhabitants at one point. creating a poetic movementpattern from arrival to exit. arrival, by kayak or by foot parking the individual kayaks recieving keys for individual private sleeping pods moving through the bathing area to wash away excess dirt placing items in the private sleeping pod moving towards the commonarea eat, socialize sleep return keys
SNIT - KROP OG RU 1 : 50 s a i l a w a y.
A floating facility The entire facility is given a floating appereance by placing the fragments on pillars to combat the changing tides.
Ankomst fra land
Arriveringsniveau fra vand
Kajak opbevaring Nøgle afhenting
Soigneringsområde //herre Toilet
DD Soigneringsområde //damer
Sove-kabine CC Vestvendt terrasse
Sove-kabine Spisestue Østvendt terrasse
Sove-kabine Køkken Sove-kabine
Stueplan 1 : 100 Lokalitet 4
Søren Højbjerre Unit 1B 27.06.17
sections and facades m o v e m e n tSNIT - KROP OG RUM floating elements1 : 5 0 b a t h i n g DD s l e e p i n g common area 1 : 2 0 0
SNIT - KROP OG RUM 1 : 50 DD
2nd year research for upcoming exams, assignment in accordance to creating temporary homes for visitors. Site on Godsbanearealet, Aarhus. mapping, Vision - experiment independent study
it is creating f a m i l i a r i t y in the u n k n o w n . Creating a symbiosis of the a b stract and the practic a l making it comprehensible.
Mapping is particularly instrumental in the construing and constructing of lived space. In this active sense, the function of mapping is less to mirror reality than to engender the re-shaping of the worlds in which people live. The Agency of Mapping af James Corner, Reader F18 side 119
Denne fase er at få et indgående kendskab til selve sitet og bydelen dels gennem mapping og registreringer på stedet, dels gennem Aarhus Kommunes publikationer om visioner for området. Det indsamlede materiale redigeres og indsættes i semesterbogen, samt opsættes på én A1-planche højformat. Materialet er en del af grundlaget for senere at udarbejde et programark for designudviklingen. Mapping og registrering Ved hjælp af forskellige redskaber og teknikker indsamler og afdækker I relevant materiale, der tilsammen afspejler stedets karakter, stemning og faktiske forhold. De forskellige redskaber og teknikker kan være notationer, tegninger, diagrammer, collager, fotos, film, beskrivende tekst, umiddelbart
med nye. Aarhus Kommunes visioner På baggrund af en række nyere publikationer fra Aarhus Kommune studerer I visionerne for Godsbanearealerne og baggrunden for visionerne samt inspirationskilderne. Måske kan nogle indslag og afsnit inspirere til supplerende mappingstrategier og parametre. Måske kan de inspirere til senere beskrivelse af intentioner for jeres boligbyggeri og hvordan I forholder jer til området.
lader sig registrere. Hvordan kan man fastholde, afdække og kortlægge dels de faktuelle forhold og historiske lag, dels stemninger og arkitektoniske virkninger? For at strukturere en mapping- og registreringsproces kan områdets helhed opdeles i f.eks. tre overordnede skalaer – stor, mellem og lille skala. 1. Byens store skala f.eks. stedet som en del af Aarhus Ådal og en del af byens kulturelle akse. 2. Godsbanearealernes bydels-skala f.eks. stedets karakter og elementer. 3. Sitets lille skala med specifikke forhold. De valgte parametre suppleres af kort beskrivelse, der underbygger notationerne. I kan med fordel bruge og bygge videre på erfaringer fra jeres tidligere mappings – gentage, udvikle og udfordre de teknikker, redskaber og strategier, I allerede kender, og supplere
The mapping was created in order to conceive Godsbanenâ€™s placement in accordance to where likely temporary inhabitants would be called in to. The specific places where mapped and pointed out, a route was recommended, as well as a specific mean of transportation and the estimated duration of transport. The scale of 1 : 25 000 was chosen to understand the larger context, as the project, a structure for temporary inhabitants deals with the city as a whole entity. The closer context will be delved into in the following pages.
The vision was as much a study in cooperation, but also following the manifestoes topics of individuality and lonelines versus solitude.
We hypothezied following scenarios could occur when the meeting happens. It could result in - a conclusion of the work. - a cooperative continuing.
The experiment was done by rolling out a piece of 1,5 m x 5 m long canvas, providing paint and brushes, and then by not comunicating two partners slowly make their way towards each other. The interesting aspect of the experiment happens when the two in question cross paths.
Materials; Fabiono paper, 120 g, 10 m x 1,5 m
Colors; red, black, yellow, green, blue, white
OBSERVATION The experiment concluded in a cooperation of the two partners. We found a great respect in each others respective creativity and did on one part not want to disturb the others work, but on the other hand also wanted to be a part of it.
It showed how to very different creative beings work together, and also work in general under similar conditions.
independent research, writing on the colourscheme used in Casa Gilardi, by Luis Barragan, Mexico. Following pages contain comparisons to mexican artist of the 20th century, in accordance to the making of the villa, Casa Gilardi.
C A S A GILARDI A r c Luis
t e c t , Barragan
Tacubaya, to Federal,
The following text will be a written reflection on the use of color in the 1976 villa, Casa Gilardi in Tacubaya, done by Mexican architect Luis Barragan. The text will be searching for the the idea behind the color scheme used in Casa Gilardi and doing so the text will inevitably become subejctive as these will be my personal opinions and how I translate the color-story. In order to understand and apppreciate the beauty of a place like Casa Gilardi, one needs to understand how a piece of art like this cannot be repeated elsewhere. The mere beauty of it lies in its uniqueness. It’s a cultural piece of Mexican history, but more important than anything - more important than notoriety, awards, beauty, aesthetics or anything else the villa had to serve a purpose. Serve as a home. It was not an experiment. It was the last piece created by Luis Barragan, and being his last piece it contains his entire carreer. The villa is a showpiece of an incredible mastering of colors, a freedom of expression rarely found in single-family dwellings. It is a testiment to how we as human beings can dwell on this earth, how we are affected by our surroundings and how a specific place, a material item like a house can shape the way you live your life. A home is not merely bricks forming specific rooms with windows allowing in sunlight. I has the ability to be so much more than that. The shortfilm NOWNESS Casa Gilardi, directed by César Pesquera in 2016 tells us better than
anyone how a home can affect your entire life, your career and even how you are as a person - and the film is only 5 minutes long. Martin Luque and his family, who now reside in Casa Gilardi was there when the house was built for Mr. Luque’s advertising agency partner Pancho Gilardi. He explains how he adapted his lifestyle to how the architecture was, and goes on by saying how he one day will reincarnate to live in the house once again. Mr. Luque and his family has such a strong connection to this place, because it is so unique. They have done everything to make sure the house is the way their friend and colleague Pancho Gilardi and the architect Luis Barragan left it. The film explains how the house took shape. How Luis Barragan was told to use all the ideas Pancho Gilardi still had in his head. Complete and total artistic freedom. Built on a relatively small ground of 10 x 36 m, the house is constructed around an old jacaranda tree, as a criteria set forth by Barragan.
“Color isn’t just a surface decoration for Barragán. It’s not an afterthought. It’s foundational to his architecture. His spaces can’t stand alone without the color.”1 Mark English
In this quote Mark English talks about how Luis Barragan creates. He talks of color in such a way that it makes one wonder if he was fascinated or litterally scared. He goes on to talk about a fear of someone, one day deciding to paint it all white. He feels the spaces cannot stand alone without the colors, and I agree. If someone were to paint over the specific colors and make them white, it would not be the same experience. The spaces rely on the colors in order to give a specific feeling or atmosphere, as much as the colors rely on the space to conquer that feeling. It would be like destroying a piece of art, a piece of art where life is lived. Not perfomance art, or social realism - but actual realism. The house, Casa Gilardi is as much appreciated today as a home and a tourist destination as it was when it was first built. Many great buildings by many great architects claims to do the same, but in reality, the Casa Gilardi is one of the only ones still being actively used as a home. The house is more than its spaces. It is alive somehow and serves a purpose, like 1 https://thearchitectstake.com/editorials/casa-gilardi-by-luis-barragan/
many of us strive to find our entire lives. It is a product of creativity and freedom and altering it would be to deprive it of its intended purpose, which was to delight - as it was actualy built as a party-house. It was designed to be interesting and fun. Pleasing to the eye and respectful of its surroundings. And now, 42 years later it continues to do so. Diving into the colors so important in this house, explaining them is almost impossible. In their unity they form the atmosphere, take one away and it is ruined. Add one and the senses may become too stimulated. Barragan managed to find an excact balance of contrast. The idea of the contrasting colors in the Casa Gilardi is said to have been inspired by many of that times influencial Mexican artists, such as Frida Kahlo, Mathias Goeritz and most importantly Jesús Reyes Ferreira known as Chucho Reyes. His works have simple lines with a naïve quality, but also with bold colors. It shows influence from Mexican folk art, colonial art and pre Hispanic art as well as popular architecture.2 The colors-scheme in the villa includes golden yellow, pinks, purples, red, and different shades of blue, aswell as white and natural occuring colors in marbles and tree. A color Barragan restrained from working with was green, as he believed it should be left for nature to contribute.
Caballo Rosa by Chucho Reyes
to provide some sort of function. The warm yellow color ensures a calming transition into the cool blue area. Blue seeks peace and tranquility and promotes physical and mental relaxation. The color blue reduces stress and creates a sense of calmness, relaxation and order.1 As opposed to yellow which is the brightest color that the human eye can see. The color yellow is related to learning. It is a color that resonates with the left (or logical) side of the brain, where it stimulates our mentality and perception. The color yellow inspires thought and curiosity and it is creative from a mental point of view – the color gives new ideas. Using these specific colors pokes our curiousity. It urges us to explore. Using the phsycical elements of sunlight and water, Barragan creates an interesting contrast of what can be seen, as opposed to what can be touched. Being a very religious man, the golden yellow color used in the villa is said to have been a testament to Luis Barragan’s faith. In the shortfilm NOWNESS Martin Luque refers to this aspect of spirituality in the house, and talks of a specific corridor bathed in golden yellow light, streaming in through a long row of narrow windows covered in translucent yellow paint. Martin Luque calls it the altar of the house. Comparing a place in the villa to such a sacred thing as the altar makes it clear that this place has a special meaning to Mr. Luque. Ending in the indoor-pool area, he explains how everyone in his family learned how to swim there, and you get the feeling of how the family, does not in fact live inside the house, but more “with” the house. It is a part of them, a part of their memories. The house provides their living accomodations, but with it, it gives them experiences. Colors. Light. Watching Mr. Luque wander through the warm yellow corridor and open the doors to a very different space, one really gets the idea of the changing colors. They are used
Contrasting the elements by implementing small streaks of light and the bold red concrete collumn, implies a respect. A respect for the elements in question and how they do not exist despite of one another, but because of each other. The Sun provides heat, vitamins and especially in Mexico where the Sun is very bright, humans need water to cool down. Placing the pool indoors does not exclude the Sun as it peeks through small stratically placed windows allowing the rays to pierce the waters surface, illuminating the bottom.
Caballo Roso by Chucho Reyes
â€œWe arrived at the house, located in a modest, typical Latin American neighborhood characterized by two- and three-story anonymous facades. The only hint that something unusual might be found within this house was its brilliantly colored front.â€?1 Mark English
what is inside. Like Mark English describes, one cannot help but be fascinated. Hot pink is passionate, playful, sensual and loving. It radiates warmth, joy and a love for life.2 It reveals a despair for what is or should be allowed, but it also pays homage to traditional Mexican residential housing. The color pink allows us to see the villa from far away as it attracts the eye, and being a house made for parties it brings a sort of life to the house. It gives it personality, a yearning to be something more. And most importantly - it gives it a sense of humour. It does not take itself too seriously. Wrapping around the building like a curtain the pink color continues in the courtyard. It allows the building to stand alone, but simoultanously confer with its surroundings. The pink of the building compliments the blossoming jacaranda tree in the summer and creates a wonderful tension between the seasons changing, as the house always looks as if it is blossoming. It holds eternal summer and youth in its playfulness. It holds the party, be it summer or winter. Taking inspiration from Chucho Reyesâ€™ paintings of brightly colored horses and chickens, reminissing of late futuristic work by italian painter Umberto Boccioni, the colors seem in their own way adventurous and unreal. Painting a dream that cannot
Utilizing a color like pink as the first encounter with the house it creates an idea of 1 gan/
Gallo Colorado by Chucho Reyes
exist, but in its daring â€œcome what mayâ€?-attitude - does. It should not be able to exist, but look, it actually does. Looking at a colorscheme such as this is like looking into a dream, as dreams often represent a present state of mind, a yearning for something and how we feel when we are completly honest. What we truly want. Looking at Casa Gilardi I see a house of great memories. It holds so much happiness in its effervescence. It lures us in, and demands our attention. It holds bright colors bursting behind hidden doors and shown in plane sight aswell, but it allows these colors their own place. The house has respect built into it. The colors dont seem to be fighting for attention, but have respect for each others domain. The bright colors are in a way catalysed by the calming white and natural coloring also found by the use of wood, marble and bare stucco creating texture and shadow. It creates balance. The way every color seems to be in a dialogue with each other it gives the house a poetic quality the spaces do not contain alone. The spaces are simply the canvas. The colors create the tension, and holds the power over the beholder.
A shorter summary of works