Easter Update

Over the break so far I have been focussing on the design of the actual landscape itself, because I found I needed to tackle this to be able to move forward with my taxonomy and layered magazine edition.

I have modelled the majority of my site:

GCT model - main concourse

Vanderbilt Hall is still in progress, but almost done for now (although taken longer than I’d hoped).

 

I looked at alternate viewpoints that people will view the project from within the station itself:

Viewpoints A3 layout

(A3 draft layout – title to be on the left page)

Viewpoint Diagrams A3 layout

(A3 draft layout – captions to be underneath)

Then I had a look at some diagramatic information within my drawing to try and inform the design of the scheme; the viewpoints on each section of the project (Vanderbilt Hall; bridge; main concourse), concentration of viewpoints, boundaries of viewpoints, development.

For the last few days I have been stumbling over the actual design of my scheme. Going back and forth between my structure and form has just made matters worse – but I turned a corner this evening (I hope!) as I have devised how to move forwards. Firstly; finish my site model so that I can define the actual view points I want people inside the cloud to see – for example being inline with the walk-way windows at either end and seeing through some of the semi-circular windows at the top of the concourse. Secondly to model these like a mixture of train line and constellation in 3D (similar to the diagrams above) to inform where the journey within the landscape will take you. Then I will physically model what I’ve found/decided on. Having been stuck for what feels like forever on this I feel quite positive about moving forward this way – although if there are any glaring suggestions please can I have those!

Structurally I still want to incorporate pistons and movement amongst the mesh, but the rigidity of the truss beams is not helping with being stuck at the moment. Some of my more legible ideas are

Structural musings

 

 

 

 

 

 

 

 

 

 

I have been looking at structures like the 2013 Serpentine Pavilion, which manages to remain completely light and visibly permeable which is important to incorporate. Another element I am looking at was modular components to construct the landscape of.

One thought on “Easter Update

  1. Start to collage or sketch your landscape into the models that you are producing so that the scale of the landscape and its relation to the existing architecture can start to be proposed and understood. The viewpoint study contributes to providing an understanding of the current levels and spaces of inhabitation in the station but the next step will be to show how the experience of these spaces are changed by the introduction of the landscape.

    Here you have given a primacy to sight – looking out from a fixed location across the station – and it is good to be thinking about how the landscape will frame and alter views but also think how it will change and dictate movement and the range of spaces within the station. I had not understood the landscape to be so primarily a framing and viewing device but rather an opportunity to dictate the speed of movement and inhabitation. It may be that creation of views is one of these strategies but also begin to design the scale and interrelation of the spaces created by the landscape – informed by the taxonomy of pause generators. What kinds of spaces optimize the experience of your various pauses? ‘Valleys’, ‘caves’, ‘plateus’?
    I am glad that you feel like you have made a breakthrough after being stuck and looking upon your view studies as informing journeys through the landscape sounds productive. But think of a journey as not necessarily a straight trajectory to a seen conclusion. Think of journeys too that are rambling, revealing – these routes can help to sculpt the form for your design.

    Also consider the relationship of these trajectories to the existing spaces of the station – do you alter the existing routes around the station and how does this inform the 2 (perhaps at time conflicting) programmes of train station and museum of the pause? I think it would strengthen the emerging proposition to vary your perspective from the overview and perhaps provide us with some views from inhabitants in the landscape and station, looking at selected routes that you have created / identified. This will also help you to zoom in to a scale at which you can also depict the material, sensate experience – which is so important to your project. What’s it like to be in / on / under a landscape inside a station? Is it an enhanced experience of the station reached via curated experience of its pauses, or is it an experience of pause that takes us elsewhere to the station?
    http://www.remixtheschoolhouse.com/sites/default/files/superstudio%20-%20supersurface%20SMALL.jpg

    Will the access and/or configuration of the landscape vary along a schedule, as with the pauses being introduced to the station?

    Could Heatherwick’s Rolling Bridge be a useful precedent? http://www.heatherwick.com/rolling-bridge/ It could be said to be organic in its movement, what sort of movement do you want to achieve? Is it one complete movement like the bridge, taking it from one iteration of form to another? Or does it have component parts that move independently? Is it smooth like the bridge? Or is it labored? Does it feel organic or industrial? Design your problem – what you want to achieve and then work towards it and you will know what you can look for in your precedents.

    The analysis is good but start to bring all the elements together – your understanding of the station, your catalogue of pauses and matter effects. Don’t be afraid to play around with things in the process of designing, you can sketch and collage quickly however suits you best and then when something works start to define it more, detailing the elements that you want to take forward.

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