final model

final design

initial thinking..

the site..

the concept - Camera Obscura

artist to be exposed..ABELARDO MORELL

Abelardo Morell travels the world and converts full-size rooms ( some spare, some ornately rococco) into immense camera obscura devices. He brings the outside in through a tiny pin-hole, and by the alchemy of optics, the outside is projected quite naturally upside down superimposing and hugging the surfaces of everything in the room. He then photographs the resulting 'installation' with his 8x10 view camera and enlarges the prints to mural size.

exploring concept of EXPOSURE in Architecture

STEVEL HOLL: Sarphatistraat Offices, Amsterdam

PRINGLE RICHARDS SHARRATT: Herbert Gallery, Coventry.

ANTONY GORMLEY: Blind Light Installation. White-Cube Gallery

STEVEN HOLL: Pratt Institute, Brooklyn, New York

Precedent Study

STEVEN HOLL

HERNING MUSEUM OF CONTEMPORARY ART

This gallery highlights the circulation pattern through the site in the lighting design. Slits in the roof allow light to guide the circulation from room to room, resulting in a dynamic set of spaces that are unified by the simple diffusion of light.

PROJECT 3 - Site Analysis

A LIFE AFFIRMING SPACE FOR THE GROWTH OF A WOMAN

Physical growth is manifest in the UPPER LEVEL in the form of a garden. Something which can be nurtured and cared for, natural beauty is often overlooked in Venice. It is here, where my garden hovers over the water. With a pregant profile shaping the plan, femine curves create an organic shape derived by strict circular geometry.

The LOWER LEVEL, seen as a developed pregnant profile in plan, is situated below the waters surface and reached by a central elevator that acts a structural column for the upper centerlever. Slender columns along the spine of the form support the glass roof that allows sun to filter through the water and garden beds above, creating a tranquil serene space for rest. The refracted visibility through the roof distorts all vision of physical forms outside, forcing one to look for clarity from within.

When considering GROWTH, we must account for both physical and emotional growth.

Therefore, 'growth' in design practice must be manifest in both the overall form and the experience of the individual.

Drawings