With the language of point / line / plane, a series of field lines were (perhaps instinctively?) established from the streetscape, ritual path, building footprints, setbacks, arrangement of trees and the altitudes of the summer and winter solstices. The array of field lines implies an order that determines the placement of building elements, and consequently the spatial quality. Conversely, these elements help the viewer/user develop an awareness or understanding of the surroundings. Together the building and the context interplay one another.
The ritual axis is glorified with a 9 meter wide path. Echoing the pattern of the trees is a sequence of post. A gentle ramp suggests a progression towards a new space. The path consequently leaks, drawing the visitor in through an array of oblique walls and voids. The ground plane folds up defining a roof deck offering panoramic view. In contrast, another folding plane floats at a state of unrest, inverted, and defines the main hall.
OF LIGHT AND SPATIAL EXPERIENCE
Color, shadow, reflection, transparency - all play a role in developing the quality of the rooms. Various tonal shades are generated as light bounces of one material onto another. The orientation of the folding planes ensure the meeting rooms receive generous amount of winter sun, yet only indirect summer sunlight. And then there are the slits on the floor that triggers an interplay of light, artificial and natural, static and dynamic.
OF THE DESIGN PROCESS
The design process was an organic one. There is consistency and flow between the various stages of the inception, from the sketches to visualizing the project in three-dimension (through model making). While the project allowed me to be fairly experimental, there was also a conscious attempt to articulate the built elements in its techtonic honesty of point / line / plane; an awareness of how it might be built.
NOTE: This scheme, and the previous post are essentially the same project interpreted differently.
