URBAN ITINERARY: CINEMATIC SPACE
Seeking to trace the Urban Interior as a point of origin and departure for Cinema
13. 09. 21
Detailing an aspect of your design narrative…
For our online studio session this week we were briefed with a context talk establishing the importance of detailing within our design narratives. How can we hone into our proposed design, its various aspects in order to determine what parts hold crucial significance to be fully detailed and expressed with greater emphasis? In consideration with our design programming and spatial concepts, we are to develop a detail or series of details for our design project into the Fort Lane Precinct. These details will help to communicate our project narrative. To determine the key elements of my design to be detailed, it is suggested that firstly I look through all my design documentation in order to identify an aspect of my design that warrants closer inspection. Some of these details may include a window, doorway, door handle, construction joint, edge detail, wall, screen or even object, the list is limitless. It is also important that I consider and research into the materiality components and functions that may uphold within my selected detail. Thinking about both the detail itself and its relationship to my larger design scheme. How does the detail respond to its wider spatial environment? How does it contribute to my spatial narrative in a profound way?
Within our detailing context talk we were introduced to a series of designers works who document and adapt the consideration of detailing very differently yet instinctively to their own practice. Details can be coherent within a project through its materiality, construction, formation, quality, and concept. However one particular project that stood out to me was the work of Flea Folly Architects who carefully detailed and crafted this distinguished, yet intriguing Hak Folly structure.
In collaboration with Dutch wood flooring manufacturer Hakwood, Flea Folly Architects designed and built ‘Hak Folly’, a 4.5m high temple of timber located within the historic St John’s Gate. The structure has been constructed from Dutch flooring company Hakwood’s finished planks, as well as leftover timber elements created during the manufacture of floorboards. Flea Folly Architects decided to use stacked wood after a visit to Hakwood’s factory in the Netherlands, where timber is often stored in “unusual tiered structures” that wouldn’t typically be seen by the public. Described as a high temple, this structure aims to create a “fleeting moment of peace and tranquility” that links back to the area’s monastic past. The construction and materiality consideration and detail within this work is incredibly captivating. I was drawn to their use and application of only one material, in its ability through its articulated form to create a highly detailed, layered composition. The stacking of each wood component builds up a carefully structured surface that enacts and becomes its own form entirely. Construction, stacking and material become the key components of interest.
Tucker, E. (2016, May, 25). Flea Folly Architects. Retrieved from https://www.dezeen.com/2016/05/25/hakfolly-installation-flea-folly-architects-hakwood-wooden-timber-temple-clerkenwell-design-week-2016/
Whilst browsing through an array of design and architecture websites, blogs and journals, I also came across this interiors space of a yoga studio that captured my attention. Designed by RO_AR Architects, the recently completed project creates a tranquil, light-filled space from the remnants of a 20th century warehouse. Within this design they were able to entail a balance between openness to the city and a sense of privacy and seclusion. Even though the interiors space itself is minimal, each detail has been carefully considered, composed and crafted to elevate the design entirely. I was drawn to their thoughtful design approach and how they were able to create such a stunning interior that stems on simplistic but purposeful details. Materiality finishes, surfaces and exposed architecture is what makes this design so effortless.
Novakovic, S. (2021, Aug, 27). A Yoga Centre Emerges from Brno’s Industrial Past. Retrieved from https://www.azuremagazine.com/article/a-yoga-centre-and-art-gallery-emerges-from-brnos-industrial-past/
The Frameworks embedded within my method of programming. The Details, Moments, Elements that are inclusive to my Proposed Design Project.
How can dance shape the city, redefine it, or help others to imagine it in a completely new way that reconsiders public space?
A practical studio environment but with a radical, unsuspected approach, fusing together both of my instinctive considerations to create this traditionally influenced dance studio space in a way that is open to the public, the passerby. An urban space that draws insight to reveal what occurs behind the curtain, the pre performance, the rehearsal space. A design that acknowledges and showcases performativity in these captivating, pure in live moments. A space that introduces un unfamiliar form of programming into the city, where it serves the city and its inhabitants in an unaccustomed way, a new world that is opened up for other people to enjoy and experience.
What kind of design proposal, narrative and programming of space am I wishing to implement into the Fort Lane Precinct? How will I enliven the space and reconfigure ones relationship with the lane?Through building a visual dialogue between expressing key aspects of my design proposal and the exisiting site, it will allow for established connections to start to be imagined, perceived and showcased as a communicative method that forms a sense of understanding. My composed storyboard aims to communicate a journey through my proposed spaces, and articulate key moments and events of my design narrative.
By using these drawings will I be able to continue drawing out more detail to distinguish, highlight and emphasise various features of my intervention, along with its relationship to the exisiting and public activity. Detail that helps to communicate, articulate and showcase my project narrative.
Detailing.
In order to determine the key elements of my design to be detailed out and explored with greater depth, I reflected over all of my design documentation in order to identify aspects that warranted closer inspection. However when considering selected detailing within this contextual spatial practice, it is incredibly important I think about both the detail itself and its relationship to my overall larger design scheme. Details inclusive of my pavilion structure, division wall, doors, entrance threshold, barre design and materiality.
These selective details within my design warrant the potential for closer inspection and exploration. For each detail I decided to go through and map out the main elements required to be investigated, clarified or determined for its design.
The main considerations to be implemented for each of my detailing components are relevant too: materiality, composition, plan, joinery, surface and its sensorial qualities.
For this array of details I am yet to decide which elements I wish to progress forwards with and comprehensively detail out further. Some of the features of my design scheme that I have chosen to detail are much smaller and would therefore be more subtle details of my design, in comparison to the larger more prominent, structural aspects. It is important that these predominant features uphold strong, well considered and established detailing, as their impact on the overall design is extremely critical. The main two details that I want to continue exploring and researching into are the pavilion structure and wall detail, as these components are major parts of my proposed design intervention into the Fort Lane Precinct. In order for me to figure out the best possible designed structure, materiality, surface and constructed composition of these features, I conducted an array of precedent research into a series of established outcomes.
The main purpose or significance of this design feature is to uphold a sense of structure and placement not only within the lane itself but for the dancers who may utilise it as an extension of their studio. This means that the coherence between its visual appearance and practicality is paramount. This is where its materiality and structure composition come into fruition to work seamlessly together. After reflecting on these design precedents and their varying approaches to creating these pavilion structures, along with the others who explore the fundamentals of material and surface, it allowed me to realise new potential ways of structurally materialising my conceptual frameworks in conjunction with my model and surface designs.
Particularly for this pavilion design I wanted to reflect on and explore further my surface design studies as a way of extruding out a more three dimensional form, something that could be translated into a covered structure. A design that is architecturally intriguing, captivating and draws the passerby’s attention to discover what lies down the lane. However it is important that it still upholds practicalities for the dancers, that they would be able to safely work around it and the roofing cover (structure) could sustain external environmental conditions. For these details I began sketching out an array of forms and surfaces that explored these frameworks in order to try visualise my ideas.
For the partitioned wall feature dividing the dance studio and the thoroughfare access into Fort Lane from Queen Street, the main purpose of this designed element is to firstly established this division between function of spaces but also to cut out, filter and screen off where needed. What is left visible to the passerby and what is kept hidden to build intriguement? This detail aims to build intriguement and curiosity as one transfer through the internal walkway. They will be captivated by glimpses of screening movement, subtle articulate dance cues as well as music filtering through and around the space. For this detail it is import that its design remains semi transparent to allow for these sensorial moments to occur. It begins the connection between opening up this private, rehearsal to be witnessed by the public, almost for the public. However for the pavilion structure detail I wish to utilise a combination of curved forms with these linear angular projections. One that perhaps upholds this arched base structure but has elements that intersect, splice or cut into the frame to build this layered, almost ethereal visual. By creating a structure that has a built detail, materiality or contrasting appearance against the external building facades of the laneway, it will allow for a much more eye catching and therefore impactful intervention into the exisiting precinct.
Along with not only the structural implications of my design into Imperial and Fort Lane, a crucial part of my design proposal will stem into these detailing finishes and overall aesthetic. How do I want to materialise my conceptual frameworks in a way that explores a rich layering of surface, pattern and detail. After much reflecting and design exploration I started to map out a series of influential material moments that could be inclusive to my design programming. These moments would almost juxtapose and contrast against the exisiting facades yet celebrate their beauty and character in a unique way. Emulating details within my design that emphasise this fusion between a private rehearsal and an open, public thoroughfare filled with bustling transitions.
Materiality and Hues…
Details that are more esteemed towards natural materialities, light, soft, delicate and acoustic. Recognising surface and texture as a way of enhancing the exisiting internal space, through layering, filtering, composition and placement. Featured below are an array of surface finishes and designs that I wish to draw upon and establish within this built dance studio environment. A combination of gathered sources and my own reflective practice studies.
The main materialities that I am considering implementing into my proposed design each would uphold their own aesthetic and function within the interior space and pavilion. The materials and detailed finishings that I wish to continue exploring and potential utilise within my design are inclusive too: an array of wooden finishings through incorporation into the pavilion structure, panel wall finishing or detail, hardwood flooring for the dance studio and a ballet barre, metallic or metal screening or filtering detail for wall or window element, clay textured tile or stone fluted tile wall treatment, ceramic tile screen detail, layered fabric or sheer curtain detail, and the potential to restore and maintain the existing exposed brickwork. I will not use all these finishings however a careful selection of these material finishes would allow for enhancements within my design that help to establish its significance and overall aesthetic into the exisiting Imperial Lane site. Other more structural materials that would be incorporated into my design are relevant to considering using polished concrete flooring within the thoroughfare and rest of Imperial Lane, plastered internal walls that are simply painted and large glass windows and retractable doors to create this connection between Imperial Lane opening out onto Fort Lane, the dance studio out in the public.
15. 09. 21
For todays studio session I was able to have a one on one conversation with my tutor to discuss how my design ideas and project are progressing in response to my conceptual and contextual frameworks. I had a really interesting discussion with her surrounding my storyboard sketches in their ability to start to communicate and frame my key design moments within this form of spatial programming and structure. We went over my design layout and floor plan in its response to the exisiting Imperial Lane space which was deemed incredibly positive in this way of how I have decided to frame out the internal space. She really loved my pavilion idea and how it would enact as another threshold of awareness that would draw people into the space itself or create some form of intriguement and curiosity. She drew upon interests in when the pavilion is in use for a personal or a performance how it becomes an obstruction, in that it would stop people from moving through the lanes. The placement of it is really interesting as if you were trying to navigate the laneway from the Fort Street end you would get blocked, but if you were navigating from Customs Street end you would still have a pathway out of there. The pavilion as an obstruction in order to create an opening or an awareness of the fact that there is a dance studio present within the internal buildings.
We also discussed this format of programming and who the dance studio would serve or essentially be utilised by. Rather than it being a space for higher, it could instead be a dance studio that had a choreographer in residence and that this was their studio. That it was theirs, it was funded, and that they could land in this place rather than it being a space for anyone and everyone to go and hire out. A space supplied for choreographers that have to go, transition and work in spaces that aren’t theirs. A new consideration or thought to ponder.
After my discussion it was also encouraged that I review back over my work in order to formulate a concise text reference for my design project that puts it into a simple context. To attach keywords associated to my project and write out a simple paragraph telling someone everything they need to know about how to read, position and understand my project. Where is it, what is it, describe the ‘thing’, how people or viewers interact with your ‘thing’ and the kind of experience they have, lastly to discuss your position in why it is you have created this ‘thing’, your observation, perspective or consideration on why it is you have designed what you have. This is what I observed, this is what I think about that, and so this is what I’ve done.
Writing a concise project description.
Locate, describe, situate and position my project.
A public installation work by Olafur Eliasson is a perfect example for how to build up a concise paragraph that sums up a design project with relevant keywords. His project Gesellschaftsspiegel has a distinguished, clear and concise text information to support his imagery as he locates, describes, situates and positions his work.
Featured below is our tutors notes to help us unpack, breakdown and recognise how Eliasson is utilising text as a way to establish and communicate his design project. Firstly to describe where it is and what it is – then to describe what the thing is, what it’s made of, a little bit about how it works – explain how viewers or participants interact with the work – an observation you have made, your position or proposal – and finally how the title offers insight into the conceptual territory of the project.
Using this as an excellent exemplar and layout format, I began noting down all the main elements of my design project in order to construct a concise project description inclusive of all the prompters above. I also generated a series of keywords to help establish the main driving and conceptual frameworks relevant to my project. Reflecting back over all my previous design work and developments was critical for helping me create this list. Keywords: private vs open public space, exposed dance practices, performance, embodiment, gesture, enthral, choreographed movement, urban space that is transformed, transitioned to invigorate the city through this creative, expressive art form, giving platform for dance practices to shape the city, redefine it, or help others to imagine it in a completely new way.
PROJECT DESCRIPTION ITERATION:
Located within the interiors of Imperial Lane, an unsuspected dance studio awaits as a space supplied for choreographers to expose the naturally performative enactments of dance practices. A carefully crafted yet striking pavilion façade situates itself between where the interiors intersect into Fort Lane, allowing for these traditional conventions of a dance studio to be open to the laneway, the passer by, the public. By drawing insight to reveal what occurs behind the curtain, the pre performance, the rehearsal space, Dancing Into the Building aims to invigorate the city by providing a platform for expressive, dance practices to shape, redefine and reconsider urban environments in a completely new way. This design introduces an unfamiliar form of programming into the city, one that intends to serve its inhabitants in an unaccustomed way, eliciting a transposing in habitual worlds where they become captivated by the unexpected gestures composed within these transitional spaces.
Spatial Design 