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Janusz Grzesik [Minimal Poe/(ma)t(r)ics]

ma.m2.5_ws 2011 [Minimal Poe/(ma)t(r)ics ] prof. kazu blumfeld hanada Š mßnster school of architecture 2012 1


01_ [ analysis unfolded ]

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Maison Louis Carré, 2011 Maison Louis Carré, 2007 Schnitt Ost/West Grundriss mit Zonen Grundriss mit Grünflächen Kamin + Schema, 2011 Treppe + Schema, 2011 Modellvariante, 2011 Modellvariante, 2011 Modellvariante, 2011 Modellvariante, 2011 Modellvariante, 2011 Modellvariante, 2011 Modellvariante, 2011 Finales Modell, 2011

Alvar Aalto - Maison Louis Carré

Alvar Aalto - Maison Louis Carré

1957 begann der Bau des „Maison Louis Carré“, benannt nach dem Bauherrn, einem Galeriebesitzer. Das Haus steht auf einem Hügel in Bazoches-surGuyonne nahe Paris. Aalto designte nicht nur das Haus, sondern auch den Garten, das Gartentor, die Garage und 1961-63 einen Pool und ein Poolhaus. 1959 war das Gebäude fertig. Das Haus, welches sowohl als Wohnung als auch als Galerie gedacht ist, zeichnet sich durch eine klare Trennung von öffentlichen und privaten Räumen aus. Die einzelnen Räume sind als einzelne Boxen um den Galeriebereich herum angereordnet. Jeder Raum besitzt seinen eigenen Außenraum. Sätlich Möbel, Accessoires und selbst die Türklinken wurden von Aalto entworfen.

In 1957, Alvar Aalto bagan building the „Maison Louis Carré“, named after his builder, a gallery owner. The house is located in Bazoches-sur-Guyonne near Paris. Aalto did not only design the house, but also the garden, the garage and a pool with a belonging house in 1961-63. The building, which is meant to be a appartment as well as a gallery, is characterized by a strict separation of public and private rooms. The single rooms are placed around the central gallery in, on the first sight, no specific order. Every room has its own outside space. Every piece of furniture, accesoires and even the door handles are designed by Aalto.

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Der Grundriss zeigt die Anordnung der einzelnen Räume um die Gallerie (2). Im Westen befindet sich der Salon (3), südlich die Schlafzimmer (6) mit jeweiligem Bad, im Norden das Esszimmer (5) und östlich die Küche (7) mit Räumen für die Bediensteten. An den jeweiligen linken Enden der freistehenden Wände in der Gallerie konnten Trennwände eingezogen werden, so dass der private Bereich komplett von öffentlichen abgetrennt waren.

The floor plan shows the arrangement of the rooms around the central gallery (2). On the western side there is the salon, the bedrooms (6) with their own bathrooms are located to the south, the kitchen (7) is on the eastern side of the building. To the north of the central room is the dining room. On each of the free standings walls in the gallery curtains could be pulled out to seperate the private and public parts completely.

Das Dach des Hauses ist der Neigung des Hügels nachempfunden, auf dem das Gebäude steht. Aalto zog das Dach über das komplette Gebäude, innen jedoch schuf er eine speziell geschwungene Decke, die den Besucher in das Haus ziehen soll. Die Decke entsprcht entspricht Aaltos „forms wthout form“ d. .h., sie ist unperfekt. Das sieht man beim Dach an der kleinen Kante nach der Rundung und an den Übergängen.

The roof hat the same inclination as the hill it stands on. Aalto put the roof over the wohle buliding, but for the ceiling he created one of his „forms without form“, a curved form with little „erors“ to make it inperfect, for example a little gap of 3 centimeters near the top and the inperfect transition between the parts of the ceiling. The ceiling itself should pull the viewer into the house.

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Privat /Private

Öffentlich / Public

Halbprivat / semi-private

Gallerie / Gallery

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Die grauen Flächen stellen die jeweiligen Außenflächen dar eines Raumes dar.

The grey areas symbolise the outside area for every room.

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Auch an anderen Stellen im Haus werden die sogenannten „forms without form“ sichtbar, so zum Beispiel am Kamin oder an der Treppe, wo Aalto sehr gezielt mit Vor- und Rücksprüngen sowie scheinbar zufällig gewählten Kanten arbeitet.

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There are some other places in the house as well, where Aalto shows his „forms without form“, for example at the fireplace or the stairs, where he works very selctive in with edges that seem to be chosen apparently.


Für die Analyse entschieden wir uns, die Räume, die Aalto scheinbar zufällig angeordnet hat, zu nehmen und durch verschiedene Anordnungen andere Gebäudestrukturen zu schaffen. Dabei war uns wichtig, die jeweiligen Außenräume auch bei jeder Variante zu erhalten. Ebenfalls haben wir auf sinnvolle Anordnungen geachtet, das also z. B. nicht das Esszimmer gegenüber der Küche steht. Wir haben die Maße der Räume beibehalten. Ebenfalls haben wir die Höhe der Räume übernommen. Die Ausrichtung der Räume bezüglich der Himmelsrichtungen haben wir außer Acht gelassen.

For the analysis we choosed to take the rooms, which seem to be arranged randomly by Aalto and tried to rearrange them to create different building structures. It was important to keep the outside areas in our variations. While trying, we looked for useful arrangements, so that, for example, the kitchen ist not on the other end as the dining room. We kept the measurements of the rooms and the heights. We did not look for the direction of the single rooms reagrding the sun.

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Wir haben uns für diese Anordnung entschieden, weil sie durch die Umkehrung von Außen- und Innenräumen zwar im Gegensatz zur Villa Louis Carré steht, aber gleichzeitig alle Prinzipien behält. Zum einen die Trennung von privat und öffentlich innerhalb des Gebäudes als auch die Zuordnung eines jeweiligen Außenraums zu einem Wohnraum. Zusätzlich dazu bildet der Außenraum durch die Verschachtelung eine unperfekte Form, in Anlehnug an

We decided to take this final model, because on the one hand, it is the complete opposit to the villa Louis Carré with the former outside areas now inside the building, but on the other hand it keeps all of the principles. It has the seperation of public and private rooms and every room has its own outside area. In addition to that the now central outside space creates a „form without form“ with its many edges and

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02_ [ contemporary artist analysis ]

01.00 01.01 01.02 01.03 01.04 01.05 01.06 01.07 01.08 01.09 01.10 01.11 01.12 01.13 01.14

Maison Louis Carré, 2011 Maison Louis Carré, 2007 Schnitt Ost/West Grundriss mit Zonen Grundriss mit Grünflächen Kamin + Schema, 2011 Treppe + Schema, 2011 Modellvariante, 2011 Modellvariante, 2011 Modellvariante, 2011 Modellvariante, 2011 Modellvariante, 2011 Modellvariante, 2011 Modellvariante, 2011 Finales Modell, 2011

Junia Ishigami

1974 geboren in kanagawa 2000 master of architecture and planning an der tokyo national university of fine arts and music 2000 bis 2004 mitarbeit bei sanaa 2004 eröffnung von junya.ishigami + associates 2007 erster bau: arbeits-/workshopgebäude an der kanagawa institute of technology 2008 japanischer pavillion auf der architekturbiennale in venedig We analysed work of young tokio-based architect Junia Ishigami. He is a former co-worker of SANAA, and personally a student of Kazuyo Sejmia. In 2007 he started his own office. His main architectural goals intrest fields are lightnes of strucure, well represented by his first project the table(02.00) or japan pavillion at the venice Biennale(02.01)

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03 _ [ minimal poematrics ]

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Maison Louis Carré, 2011 Maison Louis Carré, 2007 Schnitt Ost/West Grundriss mit Zonen Grundriss mit Grünflächen Kamin + Schema, 2011 Treppe + Schema, 2011 Modellvariante, 2011 Modellvariante, 2011 Modellvariante, 2011 Modellvariante, 2011 Modellvariante, 2011 Modellvariante, 2011 Modellvariante, 2011 Finales Modell, 2011

I have concentrated deeply on the research aspects of the topic, which was to find new typology of residences or housing. As a design method i have chosen collecting best ideas and models from different stages of the semester, colliding and combining them. It was a kind of evolution, when next generation model always had the best qualities of previous one. The end result has markings and patches from very early stages.

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I have concentrated deeply on the research aspects of the topic, which was to find new typology of residences or housing. As a design method i have chosen collecting best ideas and models from different stages of the semester, colliding and combining them. It was a kind of evolution, when next generation model always had the best qualities of previous one. The end result has markings and patches from very early stages.


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The urban analysis showed interesting conditions. The site is located in Hafen, nearby Hafenweg. It is on the border between two very clear structure territories. First(light gray) is very regular, single units are optically separated. Second structure territory(dark gray) are “Megastructures� organic patchwork like mixes of many building on massive scale, there are no clear borders between units. I wanted to combine qualities of both territories, so that the new structure

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In the first stage I have chosen house as a city model. To investigate deeper qualities of a typical city I researched geometry of a part of Venice, which is considered to be city with a very good pedestrian qualities. As a result of simplifying the structure I developed a organic pattern that was used to define borders of units.

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Many geometrical models were investigated in search for the final typology. Concepts from different stages were combined. Irregular organic pattern is a result of city model and Venice research. Circular atrium is a result of centered typology by Louis Carre decomposition. Units were first separated, with a tiny circulation atrium inside, then evolved into one massive structure with bigger atriums.

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Early stage concept section-drawing compared with final diagram. This pictures show qualities that were preserved. Units have a direct access by foot or bicycle. Each unit has two belonging outside territories. One semi-public entrance courtyard where bicycles, toys and tools can be left. Second is a private roof garden with small plants growing in boxes and bowls. Because of the high density, privacy is created by level differences.

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Because of the final model‘s compact structure it much easier to keep warmth, and it preserves against wind. Atriums provide proper air circulation and sunlight.

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03.08 Hole structure is standing on steel pillars, that define not only the

Also plazas are placed so that each unit has either contact with bor-

border of the building but also mark territories of courtyards. Un-

der of the building or with a plaza.

der the structure, there is a landscape of pillars, stairs and benches, between which many activities are possible. It can be interpreted as a forest. There are two plazas that can be meeting points, provide sunlight and openings.

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There are 33 apartments in the project, each individual size and geometry. In order to analyse the final model as housing I studied 3 units in detail. To try variety of possible typology I analysed largest, smallest and medium unit by floor area. 03.10

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Thanks to the round atrium in the middle there is no need for walls, variety of territories are created in the corners and borders inside are defined by narrow passages. There is no direct contact between different usage rooms, although atrium has many windows so that all parts of the house could be connected. Every room is attached to the atrium. Thanks to different levels different territories can be separated. This is a small house study. Although it is very small, in important places such as living room, eating room and by the entrance there are larger void spaces on the second floor. 03.13

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Janusz Grzesik Minimal poematrics