INTRODUCTION
The two architects chosen for this task were Peter Zumthor and Mies Van Der Rohe. Both architects, although distinctly different in their approach to design and innovative architecture, present a number of similarities and differences through their works. While Zumthor focuses on the materiality and form of an object in order to connect it with its environment, Van Der Rohe does this through the vanishing and dissolving of boundaries to give the illusion of more space.
PETER ZUMTHOR (Alive)
Concept 1: Materiality: Colour and Texture
In all of Zumthor's work, special emphasis is given to the colour and texture of the structures he designs. This is empitomised in the Klaus Field Chapel, were a unique blend of concrete and timber logs is used to create a tent like structure. The use of warm and natural material allows Zumthor to merge his building with the surrounding environment.
Concept 2: Light and Shadow
Zumthor is often fond of using glass and facade to control the catchment and refraction of natural light within hise buildings, as evident through the Kunthaus Bregenz Museum Buildings. Use of this concept allows Zumthor to maintain a solid and imposing structure that still manifests laws of physics and nature to present a truly distinct structure.
Concept 3: Materiality: Function and Expression
This concept is best represented in the Thermal Bath Vals, where the concrete slabs were constructed from greiss extracted from the surrounding landscape. Thus, Zumthor employs this concept through the way his building is an expression of its context through its materials.
Concept 4: Form: Boundaries, Separation, Division
Zumthor, unlike Van Der Rohe, defines clear and distinct boundaries within the spaces he designs. For example, the Topography of Terror Museum represents a shape that is not symbolic however is incredibly powerful. This effect is achieved through the definition of such boundaries that create a solid and stark structure.
Concept 5: Geometrical Carvings
Perhaps the most prevalent concept employed throughout his designs, Zumthor often creates geometrical carvings in most of his architecture as an attempt to strictly define boundaries and separation but also to add dimension to the overall materiality of the space.
MIES VAN DER ROHE (Dead)
Concept 1: Form
Van Der Rohe's specific use of the concept of form is particularly evident through the Farnsworth House. The manifestation of a glass box allows Van Der Rohe to create a structure that feels bounderless and free, despite resembling the form of a cage or box.
Concept 2: Opacity: Positive and Negative Spaces
Van Der Rohe employs this concept through the creation of dynamic spaces created via the inclusion of natural light. His ability to manipulate and catch light adds to the bounderless aspect of his architecture.
Concept 3: Materiality: Function and Expression
This concept is also employed by Van Der Rohe but, unlike Zumthor, it is done in a way that allows the outside world and architecture to merge together. Van Der Rohe achieves this by exposing raw and natural material to achieve a connection to the environment and "bring the outside in".
Concept 4: Dynamism
Dynamism serves to further dissolve boundaries between the inside and outside in Van Der Rohe's work. It acts as a mechanism to enhance the transcendence of a building with its environment.
Concept 5: Dissolving Boundaries Between Inside and Outside
The most important concept used by Van Der Rohe, and the driving factor of his architecture. By dissolving the boundaries between built environment and natural environment, Van Der Rohe is able to achieve a level of architecture that not only manipulates the creation of space but also creates an illusion in the mind of greater space than there actually is.
CONCLUSION
Overall both architects represent distinct approaches to creating and dissolving boundaries between the inside and outside.WEEK 1: THE CONCEPT
TWO CONCEPTS
CONCEPT 1: MATERIALITY: FUNCTION AND EXPRESSION
This concept, used by Zumthor, will be used in the light rail stop to address the issue of SUSTAINABILITY. As a consequence I will be choosing materials, where possible, that benefit the natural world whilst also deliver beautiful finishes the structure being created. Zumthor often chose natural materials and exposed them to create form and give effect to his buildings, hence I will attempt to emulate this through the light rail stop.
CONCEPT 2: BOUNDARIES BETWEEN INSIDE AND OUTSIDE
I have chosen to incorporate BOTH of the architects' distinct approaches to this concept. Zumthor used this to create solid form and clearly define boundaries between the outside and inside, which I will attempt to employ. Van Der Rohe, however, used air and light to do this which I intend to also explore through other aspects of my stop. Overall my the employment of this concept within my stop will be a testament to both Zumthor and Van Der Rohe's distinct uses of this concept in their own work.
6 AXONOMETRICS
BELOW (LEFT TO RIGHT):
Inside/Outside - Boundaries, Seperation, Division - Light and Shadow
ABOVE (LEFT TO RIGHT):
Boundaries, Separation, Division - Inside/Outside - Form
LUMION
Chosen: Inside/Outside
WEEK 2: LAZINESS
3 INTERCONNECTING AXONOMETRICS
LUMION
The axonometric chosen to base my model off is the first one that appears above. The creation of the underground space in between the amalgamation of prisms immediately speaks to mind the idea of a "tunnel". This will be the core mechanic with which the light rail stop will be based on, with planes to lower the road in order to create more immediate space.
WORK IN PROGRESS...
The image above was a section that came to mind after experimenting with the prisms in different ways. As it shown, the chosen form of rectangular prisms has remained for the most part but certain aspects have been added and removed to create a shape that more closely resembles that of a light rail. Three, overbearing arches were added to create shade and define boundaries between the outside world and the light rail stop as Zumthor would have done. The rectangular forms to the right of the original prisms have been interpreted as buildings and infrastructure for the purpose of situating the design within its appropriate context. The various levels created in this stop help to reinforce the idea of "seperation, boundaries and division" that Zumthor used. However, the presence of large holes in the tops of the now spherical shape allows light and shadow to cast a presence at the stop thus allowing dynamism as Van Der Rohe explores in his architecture.
WEEK 3: TED
36 CUSTOM TEXTURES
FINAL LUMION CAPTURE
The final product is the amalgamation of both key concepts of materiality and boundaries between the inside and outside. The holes create in the large, concrete arches allow light and shadow to play a continuing role in keep the space alive. The use of raw and dense materials such as corrugated concrete and timber, however, creates boundaries within the space and thus an atmosphere of security and purpose.
Sustainability has been taken into account through the use and promotion of natural materials where applicable. On multiple levels, including the underground recreation/rest area, grass has been planted to promote greenery and to immerse the space within the environment. Continually, the use of timber columns to support the concrete arches has been carefully minimised, especially through the "jenga-like organisation" of the larger poles. Quite clearly, this design has been influenced by Peter Zumthor's "swiss sound box" which was created as a "raw space for people to exist and live".
A yellow light scales the concrete retaining wall of the stop, adding an opacity to the space at night. Moreover, red lights have been implemented into the floor which light up when it is UNSAFE to cross the light rail tracks.Custom textures have been included, featuring the tiles on the ground (LIGHT), the dark arches on the concrete wall (DARK) and the rectangular texture in the underground recreation room (MEDIUM) that can be viewed in the section below.
SECTION
The above section was included to provide a clearer analysis of the structure of the light rail stop, but also the concepts prevalent throughout it. Evidently, the underground recreational area/bathrooms are reminiscent of Zumthor's creation of a distinct boundary between the inside and outside. This is enhance through the materiality of corrugated concrete panels, as seen in the Klaus Field Chapel, that create warmth and more clearly define the underground structure of the space. Continually, the choice to situate this space underground removes it from the rest of the "outside" and thus more starkly contrasts the inside with the outside.
Dropbox Link
https://www.dropbox.com/sh/g0xw84m7ut8zext/AAAWSQ8vy0_ep_x3fRPIV5kxa?dl=0
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