Primitive:
We were interested in exploring potential architectural expressions of species. Species operates under a regime of progressive growth and mutation, allowing systems of repetition and transitional aggregation to alter form. One can begin to apply species by exponentially adapting formal configurations to generate an overall system that functions at each scalar level: from surface, to textures, to individual modules, to clusters of modules, to an overall massed form. By utilizing this principle, species becomes a relevant tool in initiating a new condition: how the notion of form relates to aesthetics while also organizing the volumetric and programmatic parameters.
How does one rethink a home?
Home is the space that we inhabit and belong to. It is were we engage naturally within our individual spaces that fulfill our basic needs and desires. This project draws together the applied research that seeks to establish a new way to redefine the typology of the traditional house. This house takes place in very different contexts in which the house design is a remedy to the phobia, Cleithrophobia; which is the fear of being completely enclosed. Phobias and anxiety came to be seen as the mental condition of modern life. They became incorporated into the media and arts, in particular the spatial arts of architecture, urbanism, and film.
Form:
Starting from a simple module, the articulations rise in complexity and hierarchy to sprout a summerhouse in the mountains of Innsbruck, Austria. The overall system suspends above, whose structure attaches to the adjoining mountain and suspends vertically. The section is organized around 6 levels that are in one open space. In plan, the aggregate of primitives conglomerates around an open void.
An aggregation of similarly specialized cells that nest in the house collectively performs as a service system. The landscape is reinforced in which is becomes part of the interior in such a way that the boundaries are blurred. It investigates the idea of architecture as an open structure as opposed to the long held tradition of architecture as an enclosed element. This system generates primitive cells that are multiplying producers and act as a mechanism to develop formal and aesthetic logic possibilities for mutation or for contamination.
Techniques:
The beauty of the summer
home is in the juxtaposition of distorted arrangement of skin, structure,
services and their relations to breaking space. It is not about the elements,
but of how these entities are brought together. These repetitive elements were balanced
by attention to aesthetics. (Layering Linking and Combining)
The
animation is the final platform for this project, and therefore formal
attributes, geometries, panelization and organization are solved strictly
according to specific motions and behaviors rather than to classical
architectural dogmas such as stability, functionality and materiality. Setting
such limitations aside, new and unexpected relationships emerged between form
and movement, in contrast to the more familiar and well-explored relationships
between form and structure or form and organization. This sets up a network of individual components, which can be
manipulated to alter matter in their environment, reworking and repositioning
this material in time and space.
These
relationships act on the morphology, posture and function of the elements,
which thus cease to behave as unrelated—instead, they begin to develop complex
character from cohesion and hierarchical arrangements through mutation. Mutual
intertwining occurs on a variety of levels.
