Before reading this short essay, I suggest you read #ARCHITECTURE / / / Museum of Woods - Experimentation of Space
*
[ chapter 3, design report
Museum of Woods, Experimentation of Space ]
During my study to complete my design report, I read literatures and focused my study in 'experimentation of space' as the part of 'museum design', theoretically. This is an English version of my design report Chapter 3’s summary.
1. Architecture and Space
WmH Wysong in a thesis 'Define Architecture' said that architecture is a habitable sculpture. The occupy parameter defines architecture form as a building, or structure, or a landscape which we experience. In 'Wastu Citra' by Romo Mangun, one of Indonesia emerging architect in the late 19th century said that architecture always relates to space –a study of occupying space- and 'gatra' – form and appearances. In the D.K. Ching book Architecture: Form, Space & Order, space is like a material but does not have a distinct form. Architecture is a study to create a space, which can be measured, seen, and experienced.
2. Boundaries - to define a space -
In Bernard Tschumi books, Architecture and Disjunction, he said “…Architecturally, to define space (to make space distinct) literally meant 'to determine boundaries'. …” Space can be experienced because of the boundary which creates it. And maybe, the essence of architecture is how to organise boundaries. This boundary does have undefined distinct form. There is no certain rule what kind of boundary it is. So, this boundary can be everything –a different elevation level, a different texture in the same level, a wall, a line of the column, a different light intensity, a different space volume, a different activity, a different human density, it can be everything-. The Space without boundary is only a 'space' –imagine you are in the ‘space’ or voids.
Markus Zahnd used the word 'spatial density' to define the relation between space and mass. He made the diagram to describe the relation between space and mass. (Please see the diagram bellow).
3. If space has boundaries, is there another space outside those boundaries?
In Architecture and Disjunction, Bernard Tschumi is also questioned about the relation between indoor and outdoor.
Sou Fujimoto in his book Primitive Future, said there is no interiority without exteriority. Indoor and outdoor is an inevitable combination. If you determine a boundary to make space distinct by defining the spatial density, naturally, indoor and outdoor space will be created.
But, how can you define which is inside and which is outside?
In the picture bellow, you can say that the orange dot is on the inside of the square or the blue dot is on the outside of the rectangle. But, if you think that the picture is a building plan and the grey shade area is the inside area of the building, you cannot say that the orange dot is on the inside anymore.
4. Forest, inside of outside?
Let's imagine. We are in the forest. The trees surround us and create a line of big column randomly in different density. The forest floor is full of leaves and small vegetation. Above us, the branches and leaves create a canopy. The gap between the leaves create a chink, and sunlight can pass through. Are you on the inside or on the outside? If you use the spatial density to determine space, so you may say that you are on the inside. But, you still can feel the wind, sunlight, and see the sky.
This bias characteristic of the forest, I want to experiment to design Museum of Woods.
5. Museum –Space and Sequence-
If we talk about the storyline, it will obviously relate to sequences and chronological events. The object arrangement inside of the museum space is related to what kind of the museum it is –art or historical museum, or etc-, or how to tell a story to visitors. For example, you can arrange fragments in a certain sequence to create a story. These sequences will create a movement for people who experience it.
“… Like the snapshots at key moments in the making of architecture, whether in the procedure or real space. Like a series of frozen frames. …” Architecture and Disjunction, Bernard Tschumi, MIT press, 1994 page 162
6. Museum of Woods, Experimentation of Space
Keywords: space, boundaries, sequence, movement
*
This summary is never published before. But, this documents had been presented in Suehiro Laboratory - Department of Human and Environment Studies, Kyushu University - weekly seminar on October 28th, 2014. Copyright Annisa P. Cinderakasih 2014.
[ ]
*
[ chapter 3, design report
Museum of Woods, Experimentation of Space ]
During my study to complete my design report, I read literatures and focused my study in 'experimentation of space' as the part of 'museum design', theoretically. This is an English version of my design report Chapter 3’s summary.
1. Architecture and Space
WmH Wysong in a thesis 'Define Architecture' said that architecture is a habitable sculpture. The occupy parameter defines architecture form as a building, or structure, or a landscape which we experience. In 'Wastu Citra' by Romo Mangun, one of Indonesia emerging architect in the late 19th century said that architecture always relates to space –a study of occupying space- and 'gatra' – form and appearances. In the D.K. Ching book Architecture: Form, Space & Order, space is like a material but does not have a distinct form. Architecture is a study to create a space, which can be measured, seen, and experienced.
2. Boundaries - to define a space -
In Bernard Tschumi books, Architecture and Disjunction, he said “…Architecturally, to define space (to make space distinct) literally meant 'to determine boundaries'. …” Space can be experienced because of the boundary which creates it. And maybe, the essence of architecture is how to organise boundaries. This boundary does have undefined distinct form. There is no certain rule what kind of boundary it is. So, this boundary can be everything –a different elevation level, a different texture in the same level, a wall, a line of the column, a different light intensity, a different space volume, a different activity, a different human density, it can be everything-. The Space without boundary is only a 'space' –imagine you are in the ‘space’ or voids.
Markus Zahnd used the word 'spatial density' to define the relation between space and mass. He made the diagram to describe the relation between space and mass. (Please see the diagram bellow).
3. If space has boundaries, is there another space outside those boundaries?
In Architecture and Disjunction, Bernard Tschumi is also questioned about the relation between indoor and outdoor.
Sou Fujimoto in his book Primitive Future, said there is no interiority without exteriority. Indoor and outdoor is an inevitable combination. If you determine a boundary to make space distinct by defining the spatial density, naturally, indoor and outdoor space will be created.
But, how can you define which is inside and which is outside?
In the picture bellow, you can say that the orange dot is on the inside of the square or the blue dot is on the outside of the rectangle. But, if you think that the picture is a building plan and the grey shade area is the inside area of the building, you cannot say that the orange dot is on the inside anymore.
4. Forest, inside of outside?
Let's imagine. We are in the forest. The trees surround us and create a line of big column randomly in different density. The forest floor is full of leaves and small vegetation. Above us, the branches and leaves create a canopy. The gap between the leaves create a chink, and sunlight can pass through. Are you on the inside or on the outside? If you use the spatial density to determine space, so you may say that you are on the inside. But, you still can feel the wind, sunlight, and see the sky.
This bias characteristic of the forest, I want to experiment to design Museum of Woods.
5. Museum –Space and Sequence-
If we talk about the storyline, it will obviously relate to sequences and chronological events. The object arrangement inside of the museum space is related to what kind of the museum it is –art or historical museum, or etc-, or how to tell a story to visitors. For example, you can arrange fragments in a certain sequence to create a story. These sequences will create a movement for people who experience it.
“… Like the snapshots at key moments in the making of architecture, whether in the procedure or real space. Like a series of frozen frames. …” Architecture and Disjunction, Bernard Tschumi, MIT press, 1994 page 162
6. Museum of Woods, Experimentation of Space
Keywords: space, boundaries, sequence, movement
*
This summary is never published before. But, this documents had been presented in Suehiro Laboratory - Department of Human and Environment Studies, Kyushu University - weekly seminar on October 28th, 2014. Copyright Annisa P. Cinderakasih 2014.
[ ]
Subscribe to:
Post Comments (Atom)
No comments:
Post a Comment