søndag den 20. januar 2013

NEW YORK_LOBBY ASSIGNMENT 01

Instead of talking about inside and outside as divided elements, non-related spaces, unequal parameters, I suggest a discussion about atmospheres. Seeing the change in spaces, from inside to outside or outside to inside, as a change in atmospheres by movement rather than a transition between actual, physical spaces. The discussion about inside and outside seems no longer to be challenged or relevant in a society where activities, happening, and habits appear without the border created by the understanding of the division between outer and inner. In a city so cultivated and organized, busy, the created spaces constantly overlap and emerge, fluently interconnecting in a dynamic movement and build, both in the concrete created structures and buildings as well as in the individual’s experience by moving throughout the city, from inside to outside to inside again. By talking about the build of atmospheres the two different understandings start connecting in a similar language as a result of the word being able to capture both the defined outside and sensed inside of mind. The boundary in between dissolves and creates a fundament for a different interpretation of the understanding of spaces and the transitions in relation them. 


In this perspective the lobby as an architectural element is to be seen as the altering medium in the build of atmospheres. A build of different parameters such as acoustics, spaces, height, lightening, environment, materials, time – people – feeling, mood, noise, sight, movement. A wide collection of materialistic and unmaterialistic influences playing and interacting under the same overall conditions.    


     

NEW YORK_LOBBY ASSIGNMENT 02

When going into Mies van der Rohe’s Seagram Biulding the change in atmosphere was clearly experienced in the change of noise. Mainly in its instant meaning but also in a more visual understanding. The building is calm. Strict and systematic in its build. You are being met by a flawless atmosphere, every detail has been thought through, every material carefully picked out, every combination and meeting without any coincidence. A picture without any noise or disturbance, only lines and rules in every aspect, from overall surroundings to the people going in and out and the employees, the guards. As they stand behind their desks or at the entrances they supplement the experienced atmosphere. Stiff faces and without notable movement. In this the change in atmosphere from before and after entering the building is evident. 

The street is, as the city itself, a collage of buildings and spaces. In this area the collage is put together by elements of the same character. Glass, steel, long coats, polished shoes, suitcases, the wide alley and march forward without any stops. Hectic but structured. In the structured the atmosphere of the street and the atmosphere of the building overlap. At this point the building fits perfectly in the context as an extension of a certain observation in the build of atmospheres. From this the extension becomes an atmosphere and space of its own. The noise and disturbances have been removed and replaced with a calm and fascinating environment. Yet strict and controlled but warm at the same time. The crossing movement that you were a part of, without noticing, in the streets becomes clarified in its absence. By the rotation of the doors the movement and overall city collage is specified into one simple expression. The vision of the relationship between context and building, city and visitor is clear, and the change in atmosphere significant, connected but different.

NEW YORK_LOBBY ASSIGNMENT 03


Comparing Hotel Marriott Marquis by John Portman & Associates with Seagram the differences are obvious. Here we meet a building that is an extension to the surrounding city in so many ways that it tend to become a city of its own. Instead of removing or erasing the noise from the context as in Seagram the architect has reinforced it. The play with different elements, structures, patterns, lightening and hierarchy supplements and speaks the same language as the atmosphere of Time Square on the other side of the walls. The space of the lobby is massive, overwhelming. Hectic in every aspect, visually and physically. Elevators going up and down in an almost cyberspace-like system, multiple flat screens showing different TV-shows, fountains, shifting light bulbs, sculptures, perforated walls. 

Out of all places in New York City Times Square seems to be the space of most conflicting elements. A broad collage of signs, buildings, and people creating a dynamic atmosphere. A picture so unconnected that it starts connecting, unifying. The pull and extending in different directions, the distraction, becomes the factors that assembles the experience. In the chaotic build an underlying structure is sensed. 
    The lobby of Hotel Marriot Marquis works in the same way. The atmosphere is built upon the atmospheres surrounding it. A space so large that the atmosphere manages to assemble the different distractions and conflicting elements. The underlying structure is sensed as the rhythm of floors grows measured upwards. The repetition in the differences creates a chaotic but convincing expression in which the building becomes a part of the city, the build of atmospheres.   

EVENT SCRIPT (GROUP WORK)_MAPPINGS


 
Mapping_Activity and routes




 Mappings_Context and the small details of the event



PROJECTED FUTURES_FINAL INSTALLATION 03

Click at the link below for a short film of the final installation:


Screenshots

lørdag den 19. januar 2013

PROJECTED FUTURES_FINAL INSTALLATION 02

PROJECTED FUTURES_FINAL INSTALLATION 01


PROJECTED FUTURES_PROCESS

Building the final models

PROJECTED FUTURES_PROCESS MODELS


PROJECTED FUTURES_DEVELOPING


...The story of the construction behind the façade and the developing structure. By projecting the models up in a bigger scale we are forced to consider the build of the small elements in the bigger picture and work with different compositions in order to create a flowing whole. From having two clearly defined elements in our first models – the flat scene and the dynamic construction behind – the two aspects seem to work into a unified picture in the projections as changing spatial structures. These spatial potentials were to be investigated and developed individually and intuitively – taking out excerpts and translating them in a new material. By this the story of the construction behind, the story of the real reality, starts developing its own language and become the dominating expression of the projected future...

PROJECTED FUTURES_PROJECTIONS

Process_Arranging models and projecting them
The creation of a new reality and spatial potentials

 
 The chosen combination

The drawn projection

PROJECTED FUTURES_PROCESS


PROJECTED FUTURES (GROUP WORK)_FIRST MODELS


  

 "The Truman Show"_Interpretations of four chosen scenes

lørdag den 12. januar 2013

NEW YORK_WINDOW SAFARI 02

Working further with the relationship between opening and facade and questioning the way we look at it. Taking the main focus from the first “Window Safari”, the questioning of the opening as an opening but rather as a façade in itself and hereby the change in the understanding of the interrelationship between window and façade, and developing this. A development in which the space in between the window and the façade, or rather the space of the meeting between those, becomes the investigated object. This often overlooked space or area becomes the main character in the build of a new narrative in which the meetings meet each other in a different composition creating new openings, frames, spatial potentials, and connecting parts.



The original photos - The meeting between window and facade.

 The first step in the creation of new relations.

Creating a different narrative and composition.
The new interrelationships.