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This assignment set was based on the precedent Villa E. 1027 by Eileen Gray. The Villa focuses on inhabitation and routine. It is meant to be a user friendly and occupied space. The connection between indoors and outdoors is important and is emphasized by large windows, an outdoor kitchen, rooftop terrace and expanse of balcony space. The division of space is based on the use of public versus private space and the quality of enclosure.

My parti focuses on hierarchy of spaces through enclosure. There is a direct line of site from front to back yet the path is indirect when in the private or enclosed spaces. Light is a directional factor in the space, fl ooding from the direction of travel. Openings are used as indicators of which way one should travel.

The model enters on a direct axis into an uninterrupted space. Movement through the space is controlled by a secondary axis created by openings on the North South axis of the model, acting as directional points. There are nuances within each level, creating a new experience on every fl oor. The materiality and façade were based on their neutrality and ability to manipulate grain, creating a balanced scheme. The location on site was chosen to enhance the view and create both a sense of being grounded and being weightless at the same time. It is set back into the landscape yet it is cantilevered over the slope.

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The main focus of this project is spatial hierarchy. I took the idea of the three fi gures forming a large square and small square on a diagonal and manipulated the composition to unite and centralize the project, moving from the outer fi gures inward towards the prevailing 1x8 fi gure; a stair step pattern is used to achieve this dramatic ascent. The band around the lateral center of the composition frames the directional movement from left to right while the prominent bass wood center marker of the 1x8 confronts this path. Both fi gures on either side correspond to this lateral band while allowing for longitudinal travel framed by a series of cutouts.

FRANK LISKE PARK NATATORIUM

FRANK LISKE PARK NATATORIUM

FRANK LISKE PARK NATATORIUM

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FRANK LISKE PARK NATATORIUM

Using Villa Muller as a precedent, the idea of Ruamplan or the fl ow or continuum of space, I translated this into a nexus. This idea applied to Frank Liske Park brought about a site with the same qualities, being centrally bound.

Than nature of the program necessitated an area of enclosed spatial quality and exposed spatial quality. These properties of site are refl ected within the building as well; the connection to water, the implied diagonal from entrance to destination, a side for enclosure and a side for exposure.

The pool acts as the nexus of the building and forms the proportional ratio for the buildings layout creating consistency throughout. This ratio has an inherent grain which determines both path and structure which creates different qualities of enclosure. Spectators move with the grain, in areas of exposure, and swimmers move cross grain, in areas of enclosure.N

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Proportional Relationship to Pool Spectator vs. Swimmer OccupationGrain and Crossgrain Spectator vs. Swimmer Path Enclosing Solids vs. Exposing Transparencies

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Henning Larsen Architects was established in 1958 in Copenhagen Denmark by Henning Larsen himself after working with Yorn Utzen (architect of the Sydney Opera House) and Arne Jacobsen as well as a study trip to the United States.

Henning Larsen Architects is known for their use of daylight to enhance the experience of presence within the space. Spatially, they also rely on the idea of what they call the inner of the building, this is in essence creating the form of the building to promote internal connection and interaction not only in a spacial manner, but socially as well.

Among their extensive portfolio, the Reykjavik Concert Hall, the Nordea Bank Headquarters, the Opera in Copenhagen, Jatta Vocational School, and Roskilde University Library are a few examples of the way in which they translate inspiration into reality.

A key example of this is the Reykjavik Concert Hall, whose facade was created in conjunction with artist Olafur Eliasson. It is situated on the edge of the harbor with an expansive view of the ocean and sky. The buildings inspiration derives from its indigenous surroundings. The basalt rock surrounding the harbor is massive and dense, mimicked by the form of the building. Its crystalline form known as a quasi-brick and almost prism like behavior refl ect and captures light of different colors, creating interaction between the building and its surroundings. H

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Images and information accessed from http://www.henninglarsen.com

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Olafur Eliasson was born in Copenhagen, Denmark in 1967 and was raised in the region. He attended the Royal Danish Academy of Fine Arts where he was classically trained and graduated in 1995. In 1996, Eliasson became acquainted with Einar Thorsteinn, an architect and geometry expert that had been a friend of Buckminster Fuller. It is through Thorsteinn that Eliasson learned how to manipulate geometry to create illusions. He represented Denmark in the 2003 Venice Biennale and has had many exhibitions worldwide. Today he resides in Germany and works with a host of professionals from artists and authors to architectural theorists and engineers. In 2011 he fi nished the facade design of the Reykjavik Concert Hall in conjunction with Henning Larsen Architects.

A majority of Eliasson’s work is instillation art that is not meant for permanent display or preservation, but rely heavily on the observer to experience the pieces and differentiate between “The experience of seeing and the knowledge or expectation of what we are seeing.” (Eliasson) Much of what he creates has the quality of an illusion, which is why the observers role is important to each pieces success.

The materials which Eliasson uses vary from project to project and ultimately manipulate and enhance natural elements to create the work. He uses light in a majority of his pieces and relies on materials that might refl ect, disperse, or change the light in some way. He also uses water to create mist as the medium for atmospheric color.

The geometric quality of his work is something to be admired, in mediating such order with the unpredictable nature of human reaction into beautiful and highly intuitive pieces.O

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Images and information accessed from http://www.notablebiographies.com/, http://en.wikipedia.org/wiki/Olafur_Eliasson and Google images

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CHANEL BROWN 949-350-5048 cbrow210@uncc.edu