Rethinking of what if question generated that new question: ‘What if Kaufmann House designed by Tadao Ando in Koshino House’s site?’. Therefore I tried to adopt the Koshino House’s site into my own design. Koshino House’s site is in the urban context which settled in a residential area and also it is very green zone as well because it is on the edge of the forest.
The site in my design has same qualities with Koshino House and also there are new inputs like a residential area followed across the street by the apartments buildings 3-4 stories height. On the north site of the field, the structure meets with a high density of people but on the south side of it meets with forest. The structure reacts differently those two different conditions. There is a similar contrast between West and East as well. On the East side, there is another residential building which separated by natural elements. On the west side of the field, the structure meets with entertainment area with cafes and bars. Therefore, I created a generic wall which controls the four site of the building and creates different relations with each other. The Generic wall is referring to Tadao Ando’s wall articulations. In detail, in the Koshino House and House in Utsubo are about the light and Invisible House is about the field structure relation. Also, the relation between structure and nature I tried to attain same quality with Koshino House. Therefore I tried to emplace to the green zone inside the structure and to design like ” the whole building works as a device that systematically draws ‘nature’ inside”.
Metropolis is an expressionist silent film that was created in Germany in 1927. It’s an early science fiction work that was directed by Fritz Lang. The film’s plot tells the story of a dystopian future city that is divided by a conflict between exploited workers class and an elite owner class. The film has endured in extremely controversial history since it was first released. Metropolis is a monumental futurist work decided dramatic influence over many issues including film, architecture and ultimately urbanism. The city represented in the film is a remarkable example of futurist ideas in the 1920s. It illustrates a future civilization with mass transportation, sky bridges, and huge skyscrapers. The film shows large vistas of the city with one enormous skyscraper referred to as the new tower of Babel. This structure high above all the other buildings in the film. It appears to represent the center of the city with aa roads leading to it. The image of the new tower of Babel has become an iconic futurist image of the 1920s. The new tower of Babel makes a visual and metaphorical referrence to the Tower of Babel. Metaphorically, the capitalism that built the tower and ultimately destroys the city.
The film Metropolis shows an extreme vision for what buildings and cities could become the future. It illustrates the world with the super highways, air transportation, and massive commercial towers. The city in the film is truly a magnificent futurist work in the 1920s.
I recently worked on Proposal and for the start, I re-analysed the case study. Kaufmann House by Richard Neutra was my major case study actually because I worked on it in the previous assignment as well. So, there is a core or the heart space in the Kaufmann House and spatial configuration depends on the core. The organization is like a pinwheel around the core or can be defined as a branching from the core. The core multiples itself and creates the wings which have different spatial qualities as well so like a combination of multiplying and diversify operations. Also, the relation between wings and the core is very much similar because the wings defined by the same method which is growing from cardinal points of the core. Additionally, the relation between the wings is not something similar to each other because some parts are more close or very far away from each other. So, I thought that I can refer to that kind of the spatial organization in my proposal.
About the spatial configuration, Wall House 2 was the powerful reference at this stage. I thought that the symbolic wall is the separation element of the private and public spaces. It was the initial inspiration for the Wall House 2 and it was kind of not logical supporting idea because the separation generated by the branching organization. (locations of wings and the relation between them already separate those kinds of functions) Also in this stage, the function or users were not our concern as well. As a general critic studio was about this kind of division of the spaces like private and public. The important and useful thing is to understand the spatial qualities of references. For example, in the Kaufmann House’s master bedroom looks the courtyard but it is still private. Now I do not want to separate the spaces this kind of simplest idea. On the other hand, the second idea about the symbolic wall is giving an identity without any functional concern. Actually, this idea was a combination of Azuma House’s front wall and Wall House 2’s symbolic wall and in my opinion, it was kind of related each other. I analyzed the Azuma House by Tadao Ando as the front facade of the structure appears to be closed for the blocks the relation with outside. In detail, it is related with environment actually because the environment is in the downtown and very dense so, the front facade generated by the problem. In my proposal, there was no similar problem or any site conditions as well but I thought that merging them for the purpose of creating a similar identity could be a reference from both them. However, taking a particular part of the structure and applying it in the same manner, could be a very formal reference as well. So derivation of those two references had two main purposes which were blocking the front facade of the structure like in Azuma House and giving an identity the symbolic wall. These two main purposes were not matching the branching configuration of Kaufmann House but in the stage, I tried to make some design actions which help me to merge them in a logical and working manner. Additionally, I worked on Villa Savoye by Le Corbusier like everyone else in the studio. And I focused on the ramps specifically because the ramps are not just circulation elements in the Villa Savoye. It has a certain spatial quality which is transition part between exterior and interior. Actually, it is kind of between space inside and outside. So, I thought that this spatial feature can create a very strong relation in the branching configuration, especially between wings. Stage I was like the preparation for the next step!
I started with Kaufmann House again and pinwheel/branching idea. The relation between Core and the wings is in the similar approach and this relation controlled by the circulation elements. The pinwheel configuration creates a very closer relation between the structure and landscape. However, the structure is not a single body and it is very heavy. Also, the core is not integrated with the wings, the core is so distinguishable. I want to remove this certain quality from the core because the integration does not depend on one specific thing and make it more like a single body or a whole. I think I like more minimalist approaches. So, I decided to search more examples about the pinwheel configuration.
For the start, I tried to produce a variation and asked particular questions such as ‘what if wings rotate and shift from the core?’. It was very helpful because the rotation and shifting operations were tools to decrease the distinguishable feature of the core and to increase the relation between the wings and the core. Somehow the core loses identity and integrates with the wings.
I started to search some real examples and met with Silocenter Sports and Leisure Center by Neostudio Architekci + BPT Jeplinski. There are not particular wings in the structure because of the circular form. Additionally, the core have certain features and it is obvious in here too but there could have 3 different parts which surround the core. My analyze is mainly the core still has distinguishable property and somehow connects itself with the parts. However, I do not want to refer it because all my research depends on the wings and obviously I could not adopt to the circular form.
So, I kept searching about pinwheel configuration and met with CML House by Ricardo Torrejon + Arturo Chadwick. I very much like the minimalistic approach here. In the pinwheel configuration of CML House generated by the intersection of two volumes. It has four wings and the wings have the same orientation and same relation with the core. However, the core does not have certain borders as well (in the diagram is not like this). The core did adopt itself with the wings and have a very strong relation with the wings in the way that a part of the branches and, the wings could act as a core. So, I decided to refer CML House’s general spatial configuration.
Also, in the CML House, there is an outside space actually it is not completely outside which could reference for Villa Savoye’s ramps because in my opinion they have similar qualities. Also, I tried to derivate this certain quality to something similar and I called isolated space. In this stage, I had no reference for the isolated space. So, I tried to work on it and produced couples of plans. Also, I tried to add some new parameters like topography to initiate new relations and to find a relation between landscape and isolated space. Also, about the thickness of the wall needs an explanation probably. Actually, I tried to refer Azuma House’s walls because Ando played with wall thickness, especially in the front facade. So I did refer to it but I ‘used’ same articulation with Azuma House and it was kind of formal thing.
In this stage, I re-analyzed the pinwheel configuration started with Kaufmann House and I realized that the circulation elements are also part of the wings so I tried to derivate this quality in a different manner such as ‘What if the circulation elements are outside spaces like in Koshino House?’. Next step was re-study of CML House. I created a variation of CML House’s plan and tried to discover some new relations between the wings and the core for this I used different operations such as playing with height and width of the volumes and cut up the volumes. In this operations, I also tried to identify the spaces like ‘Isolation Space’, ‘The Core’ and ‘Output Space’. Output space was kind of roof terrace between two volumes. However, I could not study this relation and I had no reference too so the next will be about identified and re-define this space. CML House study was very helpful because, in my opinion, I re-defined the definition of the spaces.
Actually, Koshino House by Tadao Ando was the major reference for this stage because the identification of ‘Isolation Space’ was created by the relation of landscape and two volumes of Koshino House. So, there is two parallel mass in the Koshino House and I started to analyze with a relation between two volumes each other and the landscape. The relation between two volumes has an outside space which is the main circulation element between masses so I re-named the space as a core because it has some kind of relation between masses like in the Kaufmann House’s the heart. The next step was the understand the relation between masses and environment. Each mass has an isolation space which is generated by the nearby environment such as trees. I defined the isolation space as a kind of private space or close to outside. In the Koshino House is in the city center and the isolation spaces are providing an outside space privacy for the users. So I tried to refer this quality in my proposal. I draw Koshino House’s plan in a very undetailed way and tried to produce variations of it. The key point was re-created the Koshino House by using the idea of pinwheel configuration. So the question was ‘ What if Kaufmann House designed by Tadao Ando?’. Also, I worked with plans and sections and tried to adopt the configuration adding new parameters such as topography.