project15:Styling
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Once the visitor gets closer it becomes clear that the rippling of the facade is not just a stylistic choice, but that there is an underlying logic. The visitor realizes that it is only possible to see a certain number of points within the structure from one side, while being presented with a complete view of the inside from another perspective. The visitor is being made accutely aware of the importance of his or her perspective to being able to see, and thus understand, the whole image. The visitor is stimulated to go exploring along the borders of the structure to see what new perspectives are hidden in the facade. But how to explore this structure that rises out of the water, there is only one choice, going inside. | Once the visitor gets closer it becomes clear that the rippling of the facade is not just a stylistic choice, but that there is an underlying logic. The visitor realizes that it is only possible to see a certain number of points within the structure from one side, while being presented with a complete view of the inside from another perspective. The visitor is being made accutely aware of the importance of his or her perspective to being able to see, and thus understand, the whole image. The visitor is stimulated to go exploring along the borders of the structure to see what new perspectives are hidden in the facade. But how to explore this structure that rises out of the water, there is only one choice, going inside. | ||
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| + | [[File:15_style_zichtlijnenconcept1.jpg|275px]] | ||
| + | [[File:15_style_zichtlijnenconcept2.jpg|275px|float:right]] | ||
| + | [[File:15_style_zichtlijnenconcept3.jpg|275px|float:right]] | ||
Once the visitor steps inside, another world is entered. Within the confines of the large rectangular structure is another, free-form, structure. Where the first structure contains the public space, and reflects this in its relative transparency, the second structure contains the prostitution programme, and is thus seemingly very closed. | Once the visitor steps inside, another world is entered. Within the confines of the large rectangular structure is another, free-form, structure. Where the first structure contains the public space, and reflects this in its relative transparency, the second structure contains the prostitution programme, and is thus seemingly very closed. | ||
| − | [[File: | + | [[File:15_styling_Formstudy.jpg|850px]] |
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| + | These form studies are used to explore the possibilities of a free-form shape in the interior of the structure. The desired effect is reminiscent of Anish Kapoor's works in the crystal palace in Paris and the Tate modern in london. The aesthetics | ||
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| + | [[File:15_reference_crystalpalace.jpg|400px]] | ||
| + | [[File:15_reference_tatemodern.jpg|400px|float:right]] | ||
[[File:15_styling_Boxes_concept.jpg|850px]] | [[File:15_styling_Boxes_concept.jpg|850px]] | ||
| + | [[File:15_styling_cells.jpg|850px]] | ||
Revision as of 12:22, 12 November 2012
Hof
The concept at the base of the styling of the lusthof is the challenge of ones conceptions of reality. Just like the program for the structure styling is about challenging our visions of the world, and guiding our sight to those things that we do not know about.
When a visitor approaches the structure, he or she is presented with a box that seems to shimmer in space. Frozen waves ripple across the facade, distracting our eyes from its simple square shape, layering apparent complexity with inherent simplicity.
Once the visitor gets closer it becomes clear that the rippling of the facade is not just a stylistic choice, but that there is an underlying logic. The visitor realizes that it is only possible to see a certain number of points within the structure from one side, while being presented with a complete view of the inside from another perspective. The visitor is being made accutely aware of the importance of his or her perspective to being able to see, and thus understand, the whole image. The visitor is stimulated to go exploring along the borders of the structure to see what new perspectives are hidden in the facade. But how to explore this structure that rises out of the water, there is only one choice, going inside.
Once the visitor steps inside, another world is entered. Within the confines of the large rectangular structure is another, free-form, structure. Where the first structure contains the public space, and reflects this in its relative transparency, the second structure contains the prostitution programme, and is thus seemingly very closed.
These form studies are used to explore the possibilities of a free-form shape in the interior of the structure. The desired effect is reminiscent of Anish Kapoor's works in the crystal palace in Paris and the Tate modern in london. The aesthetics
