Wednesday, April 23, 2008

EXP2.WK5 - INSPIRED IDEAS

When one door closes another one opens, but we so often look so long and so regretfully upon the closed door that we do not see the ones which open for us.
By Alexander Graham Bell



I searched for already-built houses or buildings, which represent similar ideas to that in Edward Hopper's painting, 'Rooms by the Sea'.

EXP2.WK5 - PAINTING SELECTION

The painting that I have selected for Project 2: Rooms and Narrative is 'Rooms by the sea' by Edward Hopper, 1951.

  1. Edward Hopper (American, 1882-1967)
  2. Rooms by the sea, 1951
  3. Oil on canvas, 29 1/4 x 40 in. (74.3 x 101.6 cm)
Hopper designed and built a sunny studio at Truro on the bluff overlooking the ocean. This painting is based on the view out the back door of the studio. While the view from the studio suggested the composition of Rooms by the Sea, the image is more an evocative metaphor of silence and solitude than the transcription of an actual scene.

(http://artgallery.yale.edu/pages/collection/popups/pc_amerps/details19.html)

The emotive and phenomenal qualities of this painting include silence, openness, deserted, endless, and boundless.

Monday, April 21, 2008

EXP1.WK4 - FINAL PRESENTATION



The final presentation took place on 10th, april at Red centre Level 6.
The first image shows the overall presenation, including the final model + the final drawing done by myself and my partner, Terri John.
The second image shows the final drawings, both parti and poche.

EXP1.WK4 - FINAL MODEL




The final model with a horizontal section-cut.
All of the images above, shows similar perspectives of the model.
However, the second image displays how the section cut affects the concept of the overall building.

Wednesday, April 9, 2008

EXP1.WK4 - FINAL POCHE DRAWINGS


I have drawn section and plan view of the building as my poche drawings. The main important thing that I wanted to convey through my drawings, was the relationship between the building and the surroundings (environment,,etc). Since the building incorporates the use of indoor and outdoor spaces, it is best to show the context, how the building is situated in terms of the landscape and the surroundings. Also, the section view of the building is related to that of plan view, just to make it easier for you to imagine the whole building in your mind.

EXP1.WK4 - FINAL PARTI DRAWINGS

1.Structure

2. Enclosure

EXP1.WK4 - FINAL DRAFT MODEL


The draft model, with a vertical section-cut.
We (Terri and myself) thought it would be better to make the model with a horizontal section-cut, since the building is a very wide (horizontally) building.

Anyway, the images above show the final product of draft model. Our final model should be as similar as to that shown above, with just a different section cut.

EXP1.WK3 - PARTI DRAWINGS

1. Structure
2. Geometry

3. Geometry
4. Circulation

EXP1.WK3 - MODEL PROGRESS


These photos show the progree of my group's model-making. The model details the main facade of the building, and its connection to the upper floor.

EXP1.WK2 - PARTI DRAWING

1. Circulation
2. Enclosure

3. Structure

EXP1.WK2 - MATERIAL EXPERIMENTATION

Material selection - me and my partner decided to make the model with the screen-board, to reflect the materialism of the actual Geoffrey Bawa's building.

The photos above, show the upper floor of Geoffrey Bawa's building. I made this little model just to see how the material affects the overall concept(feeling) of the model.

Sunday, April 6, 2008

EXP1.WK1 - INTRODUCTION (IMAGES)

House for Dr. Bartholomeusz, Geoffrey Bawa
view towards main office pavillion

the main entrance arch


the pool court

EXP1.WK1 - INTRODUCTION (TEXT)

House for Dr. Bartholomeusz, Geoffrey Bawa


In 1961 the house in Alfred House Road that had been designed for a Burgher doctor called Noel Bartholomeusz was cancelled as it was nearing completion and Bawa persuaded his partners at E. R. & B. to take it over as their office. The original design was developed in the spirit of the Ena de Silva House, though the plot was narrower and longer.


A first courtyard, separated from the street by a two-storey lodge containing garages, servants' accommodation and an entrance archway faced a single-storey pavilion containing a dining room and kitchens. Beyond, a formal pool court led to the main pavilion, which was occupied by the principal living room with bedrooms on an upper floor. The living room opened via a covered verandah into a final garden court.


The change from house to office was effected with so little effort that one is left to wonder whether Bawa had prior knowledge of his client's intentions. With its courtyards, loggias and verandahs, the building created a pleasant and comfortable working environment that obviated the need for air-conditioning and offered a sample of the practice's work to any prospective clients. The design of the building incorporated two innovations: polished coconut trunks were used in conjunction with granite bases and capitals to protect them from termite attack, and the 'tile-on-cement' roof made its first appearance.


Bawa had already concluded that the roof was the critical element in tropical architecture and experimented with a number of alternative materials and methods of construction: flat roofs were difficult to seal and tended to get hot, though earth-covered slabs had yielded interesting results; interlocking 'Calicut' or 'Mangalore' tiles were lightweight and required relatively minimal timber support but offered little insulation; traditional flat Kandyan tiles needed high maintenance and had to be laid to steep pitches; corrugated cement sheeting was light, easy to support and highly waterproof but unbearably hot and totally unattractive; the half-round 'Portuguese' tile produced a pleasing texture and good thermal mass, but its double layering required a complex and costly timber structure of battens, close-spaced rafters, purlins and trusses.


While seeking a solution for the roof of a house in Jawatte Road, Bawa hit upon the idea of laying Portuguese tiles in and over the corrugations of cement sheeting. This marriage combined the advantages of the two materials - excellent waterproof qualities, good insulation and attractive appearance and minimized their disadvantages. Extra tiles were laid at the ridge and the eaves to prevent slippage and improved adhesion was achieved by adding cement fillets.


The new office offered the perfect opportunity to try out the new idea on a substantial building, and its immediate success prompted its adoption for many subsequent projects. The office was used until the end of the 1980s, when Bawa slowly withdrew from E. R. & B. and began to work more and more from his home off Bagatelle Road. The house was rented out to Shanth Fernando, the proprietor of a chain of design shops. A simple roofed pavilion was added to the furthermost garden to serve as an open-sided restaurant, and the rest of the ground floor was turned into a gallery and shop. This conversion has given a new lease of life to the complex, while respecting something of the spirit in which it was designed.


Source: Robson, David. 2002. Geoffrey Bawa: The Complete Works. London: Thames and Hudson