House NA is designed by Sou Fujimoto and located amidst “normal” houses in a quiet neighborhood in Tokyo, the home provides many functions for their needs. The space is easy to move about with stairs and ladders that connect the floor plates.With all those windows, you certainly get a great view of the neighborhood and outdoors, but that also means everyone can see inside too. Therefore, they installed curtains to provide some temporary privacy.
Personally, I really like the interior structure which creates a flowing space for people interacting with each other and the building itself, but the privacy issue is needed more concern and that is what I need to consider in my project.
basic material -The pavilion is made up of a series of perforated walls, which from a distance recall the woven wooden frame for a wattle-and-daub hut or for a celosia, a traditional breeze wall commonly found in Mexican architecture.
celling-The interior of the space is partially covered by a curving and initially disconcerting ceiling covered in mirrored panels and reflecting the various surfaces and textures of Escobedo’s design.
pool-Confusing typical notions of indoors and outdoors, the internal courtyard also contains a shallow pool that reflects the sky and the surrounding trees, the image on the water’s surface changing with the light, weather and time of day. Occasionally, the reflection is broken up by a visitor walking through it, either accidentally or deliberately, barefoot or in shoes.
She has created a beautiful and engaging architectural experience, which acts as an unobtrusive backdrop to life a well as being a prompt for key questions about how we experience buildings, from their materials to their location.
Architecture students' Dunescape-inspired design-build project transforms Iowa State University College of Design atrium
Seventy-seven architecture students in their studio at Iowa State University developed an installation intended to redefine the College of Design atrium as a public space.
Their interest was to challenge the conventional uses of the space, introduce new activities, etc. They tend to remain accessible to the public and the existing uses must somehow be preserved within the new design. It is a great example when I was searching about social architecture and it make me remain the multifunction of the structure itself.
I love fair-face concrete applying in architecture. The smooth fair-face concrete wall surfaces and soffits therefore provide a modern contrast to the wooden furnishings, but still fit in well with the style of the interior. Both inside and outside, all the details of this building have been carefully and thoroughly conceived, which meant that the various openings for doors and windows, even the recesses in the soffits for the flush-fitting lighting units, had to be constructed very accurately in order to do justice to the requirements placed on the design.
Also, it might create kind of serenity, philosophy atmosphere within itself, and encourage and engage people in philosophy thinking if there are well applying in some architecture. That is what I want to achieve at the end of this course.
13/3 is an abstract sculpture composed of identical modules assembled according to the simple plan documented in the title: a thirteen-by-thirteen grid from which three towers rise. Interestingly, LeWitt did not consider his otherwise systematic work rational. Indeed, he aimed to "break out of the whole idea of rationality." "In a logical sequence," LeWitt wrote, in which a predetermined algorithm, not the artist, dictates the work of art, "you don’t think about it. It is a way of not thinking. It is irrational." The work’s balsa wood legs cast shadows that multiply and disarrange the modules. In addition, the modules act as frames that fracture the surrounding space. Overall, 13/3 creates perceptual effects both vertiginous and disorderly.
From my point of view, he is the pioneer of the Minimalism during the history of art, he create his "structures," a term he used to describe his three-dimensional work. His frequent use of open, modular structures originates from the cube. That is his way to consider about the relationship between constructions and its surrounding space, I think it had influence Sou fujimoto's thoughts about his architectures and the other architects as well.
The architectures by Sou Fujimoto are the great reference to my concept since his work displays a graceful strength and poetic aesthetic, he usually present his thought about the relationship and balance between space and nature on his works. Still, every one of these attempts started with the questions that are the most essential to architectural –in the future, in what social environment, where and how will we live? What are the meanings of “human being and space”, “inside and outside”, “natural and manmade”, “individual and society”? I think these fundamental questions are really useful when I am considering the theme of the project.
15 Social Housings in Riaillé / Mabire Reich
Same idea as Quinta Monroy / ELEMENTAL
Serpentine Gallery Pavilion 2013
Built on the lawn outside the Serpentine Gallery, Sou Fujimoto's cloud-like pavilion comprises a grid of white poles that ascend upwards to form layered terraces with circles of transparent polycarbonate inserted to shelter from rain and reflect sunlight. The structure is artificial and he tried to create something between architecture and nature; that kind of concept has been a big interest in my career so it is really natural to push forward with that concept for the future.
Combining inside and outside space within the structure is a part of concept of my project and it is great example to study.
She did not have any specific image in her mind when she was painting. She just drew by her feeling, but the overlapping of painting naturally became beautiful shape. The outcomes were created very casual and the images look quite abstracted. These makes me think about the gap between outside and inside when I saw the conjunction parts on the paintings.
This 'half-a-house' designed by ELEMENTAL was essentially the core of a home, the half that the residents couldn't build on their own. The initial dwellings were double height, robust concrete block structures fitted out with the very basics - a kitchen, bathroom, some partition walls and an internal timber stair. Each of these box-like structures alternated with an empty space, of exactly the same size. In this vacancy the family could expand their own home, configuring the space however they desired.
The housing cores were inbuilt with generosity and flexibility. Each half a house was designed as if it was a part of a middle income home, with spacious rooms and good quality (although limited) facilities. Each had the potential to become a generous family home. As the residents moved in, they could take these generous spaces and tailor the structure to their needs, customising their space at their own expense and labour, adding colour, texture and life. Through this process not only did the dwellings grow in size and value, but the residents developed a sense of pride, ownership and belonging to their homes.