Mass + Void + Site
1. Site
Creating the site was a rather straightforward process. I simply added more rings to the current contour, so that it would better resemble an actual landscape. I also decided that the gradient would result in a mount so that if I were to situate a structure, it would be an opportunity to deal with mounts/hills/mountains. However, on hindsight, I realised that I was not challenging myself to a more interesting site.
2. Mass + Void
In working on the Mass + Void relationship, I found myself rather interested in the process of cut and fill. It posited a challenging parameter to work with that I had to unravel. I think that in its essence, the process can be broken down into the act of addition and subtraction from a fixed volume (200%). What I think the tutors wanted was the hollowing out of volumes to create enclosed/semi-enclosed spaces out of primitive shapes and ensuring that the final form responds well to the site and the user.
Pondering over the nature of the instructions also spawned 3 questions that I found instrumental to the design process particular to this project:
A) What is a Mass + Void relationship?
Having done some research on Tadao Ando and John Scott's work, this was an extremely daunting question to answer due to its complexity. I can only sum it up as an interplay between volumes and air to create relationships between light, shadows, atmospheres, materiality, textures, elements of nature, sounds and views, which results in a range of infinite emotions and experiences. And the skill of the Architect will determine the quality of experience that the user is put through.
B) What insights can I glean from the previous work?
C) How can this model relate to the site and how can a person use it?
As I am also concurrently working on my design theory, I felt that I could also take this opportunity to play with my approach.
1st Iteration
For my first iteration, I developed my own brief that the site was to be a mountain of perhaps 3000m high in altitude. I thought that this scale would best mimic most real world projects. I then applied my sensitivity to the site. The following is an excerpt of my imaginary brief:
"Mountains have for generations been a highly sacred feature of cultures across time and space. In this time and age, their sublimity and relevance seem to be out of sync with the march of progress. I wish to re-establish this importance through Architecture. Through a thoughtful manipulation of mass and void, I hope that the resulting interplay between nature and space will inspire a peaceful inner dialogue."
I then decided to develop forms that were derived from the contours of the site. As I felt that one of the ways to inspire a peaceful inner dialogue is to put the user through a Journey Motif, I wanted the derived-contour-forms to snake up to the peak. This would allow the user to be confronted with multiple views of the surrounding scenery and therefore realise his humbling insignificance in this world.
Due to the Cut and Fill method, I used the additional forms to emphasise the verticality and the gradient of the slope. These additional forms would interact with the light to conceal and reveal the surrounding natural environment.
I discarded my 1st iteration because I felt that it appeared boring and lacking in the qualities of timelessness.
2nd Iteration
For my second iteration I decided to give myself the imaginary brief of a residential project similar to the Ando's Rokko Housing Project. I built upon what I developed in the first iteration and tried to create a residential project that evokes a grandeur and sacredness that is comparable to the Nepalese Mountain Temples.
I discarded my 2nd iteration because I felt that I failed my objective.
3rd Iteration
For my third iteration, I was a little frustrated that I kept failing to harmonise my ideals with the parameters. The cut and fill method was getting on my nerves. So I decided to change the scale of the site into that of a little mount. I also wanted to make my form more monumental so that it would be easier to create using polystyrene. I looked at the mount again and the idea of sharing a contemplative moment with nature resonated within me. It reminded me of the famous Romantic Movement painting, Wanderer Above the Sea of Fog, by Caspar David Friedrich. I wanted to capture and elevate that emotional depth. This was when I decided upon the idea of a monumental looking viewing platform. The imaginary brief I gave myself in the first iteration can find new expression in this third iteration.
I carried out some exploratory sketches to develop these ideas before settling for this final design.
I settled for this form because I felt that it can formally be very relatable to different people. It is inspired by some of the architectural pieces from the Brutalist movement and by the idea of Ascension. I felt that such an aggressive form would complement the contours of the mount. I also wanted the interior to be sensitive to the human psyche.
The approach attempts to put the user into a solemn mood as he exchanges the bright environment for an environment of growing darkness. From the approach itself, he can see light that illuminates the opening at the extreme end of the building. The dark interior attempts to give this light a new vitality that the user can transfix his gaze upon. I physically isolate the user and put him in an environment whereby the encroaching darkness forces him to confront his self. The overlapping gaps invite faint and soft light that can serve as a powerful metaphor to however the user chooses to see it. He might perhaps view it as a glimmer of hope, or warmth, or guidance in life. As he approaches the opening at the end, he is confronted by a view of nature, which I hope will lead to a peaceful inner dialogue. This experience is further enhanced by the experiences that he was put through from the approach onwards.
However, this is not my final model for I felt that I might have been too eager to apply my ideas on existence to a project that is more interested in how an abstract form can relate to a site.
The following are pictures of the final product.
The following are pictures of the final product.
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