DRM AND DS1 final submission

P T L

O F I

SMAIL AZMAT

R O O

2020.

2021.

DRM. DS 1.

CONTENTS.

KIT OF PARTS.

MICRO STUDIO.

- INTRO - ITERATION 1-5, WITH REFLECTIVE TEXT - SKETCHES - PLAN, SECTION, AXO - FUSION 3D RENDERS, MATERIALS

- INTRO - SITE IMAGES - SITE PLAN - USER’S EXPERIENCE - PRECEDENTS STUDIES - DESIGN DEVELOPMENT (DRAWINGS) - DESIGN DEVELOPMENT (MODELS) - PLAN, SECTIONS, AXO, PERSPECTIVE

CINE SPACE.

SKETCHBOOK.

- INTRO - SCENE STILLS - PLAN - NARRATIVE PLAN - MODEL

- INTRO - ARCHITECT’S SKETCH - DOCUMENTED EXPERIENCES

KIT OF PARTS.

ITERATION 1

In this first iteration the focus is on the creation of two spaces whit in a singular structure. An alteration of light and openings, to create a sense of claustrophobic environment through shadows and darkness; in alteration with open and light-full spaces.

This model combines verticality with diagonal forms towards the sky to underline the direction of the light coming in.

ITERATION 2

In this model the idea was to create movement of structure, connecting the ground level to the top level of height. All this is achieved by a square shaped structure which moves from different heights. The ÂŤsquare-shapedÂť structure encloses a vertical and plane structure to enhance the transaction from diagonality to verticality of the model.The design focuses on the creation of different movements of space and form, alternating simple lines with more complex shapes.

ITERATION 3

This iteration began with the idea of moving upwards what, usually, is on the ground level. The developed design has a floating room, with light coming from the different openings and a roof covering to allow privacy to the spaces. The whole structure is held by a support structure on ground level; this plays the role of an eventual entrance as well, thanks to its shape and openes.

ITERATION 4

This model began with the idea of a ramp crossing an internal and covered space to connect to an open space. The design consist of a ramp, lifted from the ground level, to cross and connect two different type of spaces: - a private space, covered with a roof - an open space connecting to the surrounding environment, with no boundaries and limits of form and space

ITERATION 5

This is the final iteration and it’s also the one I chose to proceed with. It consist in a boxed structure from two sides and it’s open from the other two. In this model the diagonality it’s meeting the verticality from the external facades. However, from the inside a slope continues the movement started from the long tower and the openings are also following the same path, thus creating a “sharp” and well-defined space.

+15 +15 15mm

RIGHT VIEW 1:1

FRONT VIEW 1:1

A A A

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A

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+ 15 mm PLAN 1:1

TOP VIEW 1:1

SECTION A-A 1:1 A A

TOP VIEW 1:1

AXONOMETRIC 1:1

RENDERS.

ITERATION 5 RENDERS -FUSION 360-

Having iteration 5 rendered it’s clearly visible that each part of the model have its own role. Each part can be distinguished individually thanks, also, to its materiality.

Light reflection and shadowing are playing an important role as well in the visual impact of the model, which wasn’t really happening in the physical model as cardboard was used all around.

Another important difference is the increase in dynamicity as renders allows change in the perspective through the alteration of the visual angle. Furthermore the hand-made model can have imperfections while the rendered images offers a really low level of imperfection.

Positioning the model in an existing context, as the dried river in this case, it can perhaps acquire the role of shelther from the sun light.

MICRO STUDIO.

CONTEXT.

C E

FIGURE A

A

F B

FIGURE D

D

FIGURE B

FIGURE E

SITE.

FIGURE C

All images retrived from Google Maps

FIGURE F

USER EXPERIENCE

The user experiences a disconnection from the routine and from daily life, once in this space. By the elimination of artificial light, nature is the only way to follow. It brings a change in occupants’ life style by driving them to live, and work, according to the hours of light during the day and it dictates that night is the time to rest. It is assumed that the cabin is not used in winter. However, sustainable panels can be used to generate electricity for the appliances.

The internal layout divides the space into two different areas: - working area, with a computer desk, to concentrate and office appliaces; - a relaxing area, with a sofa facing the balcony, to read or enjoy

PRECEDEN T 1 BUILDING: ARCHITECT: YEAR: LOCATION:

A45 KLEIN B.INGLES GROUP 2018 NEW YORK, USA

Thanks to the irregularity of its shape, this building offers different layouts, depending on the angle you’re looking at it. The main glass façade offers maximum connection with the surrounding, thus neutralizing the internal environment. The connection with nature is made also thanks to the “exposed” structure on the glass façade which marks the verticality and materiality (mainly wood) of this building. Its base rests on four concrete pears, “This method is intended to allow owners to construct their tiny houses in remote areas, without the need for heavy machinery”. B.Cogley (2018) The cladding, which makes it stand even more in the middle of nature, it’s mainly made by natural materials to better connect with the surrounding. The sharp forms and the use of glass can be used for the Micro Studio and can help to make it more efficient and connected with the surrounding and the valley.

B.Cogley (2018) Dezeen, ” BIG designs prototype tiny cabin in Upstate New York” available at: https://www.dezeen. com/2018/05/17/big-designs-prototype-a45-tiny-cabin-klein-upstate-new-york/#/ (accessed on the 1st November 2020)

MAT ERIALS and INSPIRAT ION

PRECEDENTS.

The laminated veneer lumber, used for the floring here, will be replicated in the student’s cabin. The contrast with the dark exterior will define the internal environment as it will be ligh-catching, thus giving a sense of openess to the cabin.

All images downloaded from: https://www.dezeen.com/2018/05/17/big-designs-prototype-a45-tiny-cabin-klein-upstate-new-york/#/

PRECEDEN T 2 https://archello.com/project/space-of-mind

https://archello.com/project/space-of-mind

BUILDING: ARCHITECT: YEAR: LOCATION:

SPACE OF MIND STUDIO PUISTO 2020 PORVOO, FINLAND

Being a modular building, it can be used in several different ways; as stated by Archello (2020) “Space of Mind can serve as anything from a spare bedroom to a gym to a home office with the flexibility to be placed nearly anywhere in the world.” The hierarchy of space is expressed through the visualization of the structure internally, in repetition with the external envelope. Its versatility and the clearness of the internal space are chose for the Micro Studio project. The use of wood can be replicated to lower the impact on the environment and the minimal structure can be a starting point for the undertaken studio space design.

With a footprint lower than 10m2 it can be the perfect example to start from.

Archello (2020), “Space of Mind, a modular cabin”,available at: with.https://archello.com/project/space-of-mind (accessed on the 31st October 2020)

https://archello.com/project/space-of-mind

MAT ERIALS and INSPIRAT ION The timber framed structure is the main inspirational element of this building for the Micro Studio project, however, the exterior shell finishing is a component that would perfectly work for the designed cabin; perhaps in a darker finish.

The main structure will be attached to the concrete base using the conventional bolting and steel plates method.

https://www.dezeen.com/2020/10/16/space-of-mind-modular-cabin-studio-puisto/

https://archello.com/project/space-of-mind

https://archello.com/project/space-of-mind

PRECEDEN T 3 BUILDING: ARCHITECT: YEAR: LOCATION:

MUJI HUT MUJI 2017 JAPAN

With a footprint of 12.2mq, Muji Hut is the perfect small cabin. Made with “japanese wood”, as stated by D.Mac (2019), the hut has its conctrete foundation protecting it from moisture. The 3mq, covered, veranda makes the occupiers feel in a larger space when inside the 9mq resting area; thanks also to the large, glazed, slinding door, which opens to the exterior. The minimal interior can be intended as the metaphor of a simplistic life, away from the confusion of everyday’s life. The linearity of space and form are also focusing on a steady and relaxed environment: a place to find peace in. The regular form of this cabin and it’s openness to the nature can be inspirational for the Micro Studio project but the main point to learn from will be the use of a small veranda as a transition from the inside to the outside.

D.Mac. (20190, Detail, “The Emptiness of the Cabin: Muji Hut”, available at: https://www.detail-online.com/blog-article/ the-emptiness-of-the-cabin-muji-hut-33724/#:~:text=Muji%20Hut%20combines%20a%20compact,Ryohin%20Keikaku%20 Co.%2C%20Ltd.&text=Muji%20Hut%20is%20the%20successor,Konstantin%20Grcic%20and%20Jasper%20Morrison. (accessed on the 3rd November 2020)

MAT ERIALS and INSPIRAT ION This building is the most similar to the cabin designed by the student in its form and shape. The use of the concrete base and the verranda is taken from this building. In contrast with this design the student has added multiple openings thus eliminating the use of artificial light.

All images downloaded from: https://www.muji.com/jp/mujihut/en.html#:~:text=The%20MUJI%20Hut%20has%20a,freely%20

SKETCHES.

A DAY.

A MODEL

I T ERAT ION 1

In this first iteration the idea of form and space has evolved around extraction of material from a perfect cube, thus achieving a dice-type shaped cabin.

The main elements are the openings at 2.5 m from ground, and the odd angles of the dice reflected in the interior space through shadowing.

As the concept is based on a building free from artificial light, light inlets are used on all the 4 sides of the building, thus illuminating the whole cabin in poor light condistions as well.

I T ERAT ION 2

In this second concept the building’s design follows the forms of the imperfect surrounding (rocks, slopes and odd paths). It consists in a 3.5m by 4m cabin. Facing South, the large window maximizes light and colours in the cabin. The occupier feels continuesly in interation with the surrunding nature thanks to the openings, lowered now at 1m from the ground.

The west side facade has no openings as enough light’s allowed from the two windows.

I T ERAT ION 3

With this 3rd iteration the user experiences an interruption of the visibility as the building states the boundry between the human and the slope in front of him. However, once inside, the structure drives the occupier to the full hight opening, which brings back the connection with nature. The building is designed to have a narrow entrance whereas the span increases reaching its maximum once at the window. The light at the end of the tunnel. Two triangular windows are located on the roof to offer direct sun light.

I T ERAT ION 4

A simple cube shaped cabin, offering light from the vertical window on the south facade, changes its nature thanks to the cantilevered glass floor.

The occupiers, here, has a unique experience of nature, at ground level first then a feeling of floating in the nature emerges. A contrats between wonder and fear , transition from steady to movement.

A moving element has been added to allow more light. Depending on the light conditions & needs, it can be either closed or opened.

I T ERAT ION 5

This last iteratiion is based on a combination of all of the others. Starting from the simple shape to the large opening on the offering an external verranda as a connection point with the interior. This cabin, as the one in iteration 3, focuses on the slope. It form’s showing to the occupiers what is the surrounding offering in there; acting like the abstract eye of nature. A concrete base, lifted from the ground by 2.1 m is working as a shelter to the non occupants but at the same time is minimazing the impact of the construction to the site, as only 4 pillars are ancored to the rock instead of the whole cabin.

Window openings are located both around the working space , thus allowing enough light during the day. A foldable galzing is used to connect the balcony with the interior, once fully opened it increases the area of the cabin.

SKETCHES.

SECTION A-A 1:50SP

BACK VIEW 1:50

SPACE ALLOCATION 1:50SP

1:50SPA

FURNISHED PLAN

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4 3 A

2

1 . WORKING AREA 2. READING SPACE

3. NATURE INSPIRATION

4. ENTRANCE

1

AXONOMETRIC

1:50

TWO POINT PERSPECTIVE.

(THE GREAT GATSBY)

CINE SPACE.

https://dlpng.com/png/6618875

A

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C

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FURNISHED PLAN

1:50

NA RRAT I V E PROCESS -T HE GREAT GATSBY-

NARRATIVE PLAN

1:50

Through the Architecture it’s clearly visible that the main point of focus is the rugh in the middle of the living room area. The dialogues are all happening there while the rest of the people is silent. It plays the role of the theatrical light, illuminating the stage and leaving the rest of the space dark, inexistent. To be part of the conversation you need to be under the “reflector” and have your role in the action. s showen in figure B, where the person having a drink in the background is silent while the dialogue is happening between the people in the center of the room.

...!!!!

The attention will be shifted on the dining area, connected to the living space, separated by three French doors. Left the doors opened, the domestics are serving without disturbing the ongoing conversation around the table, until when the phone rings.

Now there are two different situations with two different actions happening: - in the diining area the two guests are talking about what’s going on; - the spouses are having a discussion about the phone call received by the husband.

The two dialogues are separated by the middle door of the living area, which is now closed to the external dining area. The two spaces are home of two different actions yet connected to the same argument.

SKETCHBOOK.

CAD SUPPORT SESSIONS.

https://www.asti.com/autocads-lesser-known-commands-saveall-and-closeall/

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SECTION A-A 1:100

A A A

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FRONT ELEVATION 1:100

A A

ROOF PLAN 1:100

FIRST FLOOR 1:100

GROUND FLOOR 1:100

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AXONOMETRIC 1:100