Diagram 2: The image shows three distinct areas, a communal area with a couch, an intermediate area used for movement and the third being the kitchen. These elements are all defined by a set of boundaries. The first boundary/threshold exists between the couch/carpeted area and the area surrounding that space, the couch defines a communal area whereas the surrounding area is used for travel. The intermediate space between the communal area and the kitchen is defined with a wrapping effect, the wall wraps to the floor which engages the two knee wall elements and begins to wrap up the opposite wall. The kitchen is broken up through the use of the floor materaial and the furniture. There are also minor thresholds within the image, such as the door to the outdoor space, the mirrors and the fireplace.
Further investigations on thresholds:
The following diagrams look to further explore the idea of a threshold that "wraps" a space. The idea of the threshold is to act as a transition between two spaces, created by a penetration or change of material or architecture. The thresholds investigated appear to act as a buffer space between areas of semi-privacy (although there is no privacy) and areas of confrontation/conflict.
Two thresholds are exhibited in this image. The first is the doorway into an adjacent room, this is defined by the opening in the wall as well as the change of material. The second threshold, shows up at the division between the bedroom and the hallway (hallway acts as a threshold).
The hallway acts as a threshold into an area beyond, as well as having a penetration in the wall (not visible). The wrap appears to run the length of the hall and wrap vertically on the rear wall, which appears as a plane beyond, the walls of the hallway also create a wrapping effect that starts at the top of the wall runs down to the floor then wraps vertically on the adjacent wall, creating an overlapping effect.
There are two instances of the threshold wrapping, the floor of the bathroom extends into the hallway and appears to continue into the penetration, therefore, the threshold moves vertically up the door. The second threshold moves along the walls of the hallway and wrap down the floor and appears to extend into the plane/volume beyond.
Diagram 3: The strategy for the third image was set-up through the repetitious pattern within the photograph. The photo contains many modular units, the cushins, the pillows, firepit and the windows. The pillows reflect a 2-1 ratio with the seat cushions and the seat cushions then reflect a 2-1 ratio with the windows. The relationships become less evident as depth of the image increases.
Image 4: The last image was explored by looking at image as solids (grey) vs. voids (blue). Within the diagram, there are literal and implied interpertations. The literal can be seen through the "windows" to awning relationship while the green space becomes the implied. The void apprears this way, since the solids appear as three dimensional objects as opposed to a two-dimensional plane/surface. After further analysis, the space below the canopy on the far right reflects a voided space as well (although coded as a solid).
3 comments:
It fascinates me, as I look through each of the posted diagrams thus far, how different the approaches are....some are focusing on a specific element common to many of the shots.. others, energy within the views, and still others, such as yourself, the underlying geometry and patterns....now that you have broken out the geometry within the views, I would be interested in finding out if you can find any type of theme?? does certain geometry illicit certain responses?? does the viewers angle to the geometry make the view more or less relatable?? This feels like one of those projects that will leave us with more questions than answers once it it is done...nice job...
(1) I think by “flattening” the perspective such that it is a 2D “painting” rather than a 2D representation of a 3D space has pushed you to consider the horizontal and vertical LINES rather than the horizontal and vertical SURFACES. In your diagram the top of the table and the side of the kitchen island are the same color (pink) but they are very different things … one defines an edge to a space and the other creates a space for activity/interaction to occur on.
(2) The identification (and your subsequent diagramming) of the “threshold” between the kitchen and the living space is well done. However, I am not sure that your “minor thresholds” are really that. Are there other thresholds within the house? Are they treated in a similar “wrapping” manner?
(3) No comment.
(4) Rather than (or as an extension to) “solids” and “voids” I wonder if you should consider “surfaces”. The ground plane (i.e. the grass) is one large surface with multiple penetrations (hot tub, pool) and multiple surfaces layers onto it (patio, gym area, etc.).
These additional diagrams are a strong continuation of your initial studies. Well done. (My suggestion that you continue to explore this “condition” deeper was predicated on the fact that, of all of your initial diagrams, the notion of a “threshold” seemed to have the most “opportunity” – both to better understand the underlying logic of the Big Brother House and something which may be used during the design project later in the semester).
Bedroom: If you are to consider the doorway to be a threshold, then I think you should classify it as a “thin” threshold. It is not a very apparent threshold – simply a door jamb. “Hallway as threshold” is interesting. If the doorway is a “thin” threshold, then the hallway is a “thick” threshold – i.e. a place large enough for activities to occur (i.e. recompose yourself as you leave one area where you “lied” to one houseguest and head towards another area to “lie” to another.) This counterpoint between the two (in the same image) is interesting. Well chosen perspective.
Hallway: What is of interest to note in the hallway is that is actually has a ceiling (and therefore is quite a compressed space). See Anne’s blog for some images of the point where the Big Brother House switches from “house” to “stage set”. Many of the rooms do not have a “ceiling” (to allow cameras, etc. to have unobstructed views).
Bathroom: The concept/possibility of a “Y” or “T” shaped threshold (as depicted by your red tonal overlay) is a very very interesting one.
As you progress with Assignment #2 you should keep in mind the thresholds and perhaps redirect your assignment to document the relationship between/among all of the thresholds?
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