project08:Styling

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SEPAC form is arranged around three "ribbons", which act as bridges connecting project The Fifth Season with land on the Eastern side. Some ribbons change their direction the after crossing each other and create the frames for SEPAC form. The building basically revolves around the ribbons.
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<div style="height:30px; width: 850px; margin:0px; padding: 0px; padding-top: 20px; border: 0px;">
  
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The first ribbon connects the green area with the Pier and The Fifth Season. It intersects the second and third ribbon in the points, in which they start to create the roof of the SEPAC.
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<div style="float:left; width: 270px; height 30px; border: 1px solid #aaa; margin-right:17px; " align="center">
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[[project08:interactions |'''Interactions''']]
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</div>
  
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The second ribbon runs much lower and touch the surface of the water. There the small spaces are located on two levels. Walking on the first level the user can reach the entrance to the SEPAC. Also continuing on the second ribbon the entrance may be reached. The third way to reach the entrance is to walk down from the first ribbon and enter the SEPAC from the second entrance on second ribbon.
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<div style="float:left; width: 270px; height 30px; border: 1px solid #aaa; margin-right:17px;" align="center">
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[[project08:styling |'''Styling''']]
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</div>
  
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The third ribbon creates the roof of the buffet and later creates the arch above the first entrance to SEPAC. Later on it can be developed as a joining element to the rest of the Continuity project.
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<div style="float:right; width: 270px; height 30px; border: 1px solid #aaa; " align="center">
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[[project08:performance |'''Performance''']]
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</div>
  
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SEPAC address the local and external audience. The southern part is addressed mostly for the local community. Smaller spaces are used for cafeterias, local shops, small gym and acts as an urban fabric that host functions which are the reason why inhabitants travel now to Rotterdam. For now we agreed with Atrek that this part may be the part of the Continuity project.
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</div>
  
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The main solid hosts performance and exhibition complex. This consists of lobby, service, buffet, workshop area, administration and finally the scalable performance and exhibition area (internal and external). The main area can shrink and grow accordingly to the spatial needs of current activity. This is achieved through movable roof and one facade.
 
  
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The movement is achieved through a translation along a surface of the terrace, rotation of the construction element of the facade along the fixed axis and angle change at the connection of the roof to the facade and the ribbon. This action can decrease the volume of the main space by 500 m3 and lower the height considerably. Together with the enlargement of the inner space, the area of the external area shrinks. This process is thought to continue indefinitely, adapting the space to the amount of the actors inside. However the geometrical deformation is not linear, neither managed centrally, so the amount of the internal and external area is an outcome of the amount of the people in both areas.
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=Styling=
  
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The dynamic roof and façade is limited geometrically by the solid, concrete wall at the border of the first ribbon from one side and the sharp, high form on the other. The vertical form hosts the administration, vertical communication and the technical facilities. The face that is turned towards the terrace acts as a media façade, which displays the content relevant to the cultural program of the SEPAC.
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==One curve - one project==
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The title of the paragraph is a rephrase of a quote from Kas Oosterhuis. At the beginning of the design process my ambition was to come up with a grasshopper script that would be able to accept one long curve as an input and output an architectural body which consists of series of shorter elements, that are a derivatives of extruded, right angled surface. Every next element is given incremental rotation and translation along the incrementally rotated vector. More parameters were defined to implement additional qualities. Please refer to the gh script to find out more. As an outcome of this generative process, the main body of SEPAC was derived.
  
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MORE TO COME...
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<div>[[File:Proj8 one curve (1).jpg|400px]][[File:Proj8 one curve (2).jpg|400px]]</div>
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<div>[[File:Proj8 one curve (3).jpg|400px]][[File:Proj8 one curve (4).jpg|400px]]</div>
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Looking from the perspective of time, I see that this definition had a great potential to develop into a system that can accept curvilinear, cyclic and three dimensional power curves. Sadly the outcome of the generative process was heavily criticized and I spent too much time defending the concept by argumenting the qualities represented by just one element from the design space, rather than being able to discuss the possibilities that this particular system can deliver.
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==Formal proposal for the SEPAC==
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Following paragraph will focus on elaborating the spatial qualities represented by the outcome of the generative design process.
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<div>[[File:Proj8 styling (1).jpg|850px]]</div>
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During the discussions I saw that my proposal can be seen by some as chaotic, fragmentary and contradictory in itself. I want to state that this impression is intended to some degree. I intentionally use elements which are working against each other. Intersections, smooth and grungy materials touching each other, detailed louvers next to massive roof surfaces. Separate building masses, that intersect each other, establishing hierarchy. This technique creates tension which is used to create identity, convey meaning and grab attention. The building is somewhere between the colage and hybrid. It is truly dynamic but also relative. Contradictive in its substance. The qualities I am describing here were disused by the decostructivists in their works, and by more contemporary trend of hypertension which was  established later and represented by Odile Decq. I see the architecture of SEPAC as a way to merge some of the qualities described above with the agenda of Hyperbody and language of contemporary architecture. This is my way to translate the language of the RDM dock of today into the language of contemporary architecture. I believe that even if the reRDM  redevelopment would have happened, the atmosphere of the old dock would still be sensed in this place. Taking as an example the NDSM Dock, which was undergoing constant change for a longer time,and we can still feel the postindustrial spirit there.
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<div>[[File:Proj8 styling (6).jpg|850px]]</div>
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We can also see this building as a system of a rotated and translated blocks. But some of the blocks are deformed to mark importance of certain places in the design. For example the main entrance on the water level is marked by scale action of the entity of the serial rotation system, making it smaller and creating a gate. This place is important, because it is also the intersection point of the body and the loop. Another formally important point in the design is its northern end. Here the body is not limited by another building mass, so the border condition is the fact that the element is perpendicular to the water surface. Since it is more rectilinear, I intentionally made it more bold and heavy. The interior is also proposed to follow this intent. Last segment cantilevers to create spatial mark and a low roof for the outdoor cafeteria. The louvers in the glass facade are getting more opaque in towards the scaled down element to underline it's meaning as a gate. The louvers on the office block are directed towards the rotating body to make the intersection moment more dramatic.
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<div>[[File:Proj8 styling (7).jpg|850px]]</div>
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SEPAC is also expressing the RDM area as a whole - new development under the roofs of the old warehouses (RDM campus expressed as the main body of the building) touching completely new fabric (Hyperbody reRDM proposal expressed as the office building).
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<div>[[File:Proj8 styling (4).jpg|850px]]</div>
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<div>[[File:Proj8 styling (3).jpg|850px]]</div>
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<div>[[File:Proj8 oldvsnew (1).jpg|850px]]</div>

Latest revision as of 06:57, 22 January 2013


[edit] Styling

[edit] One curve - one project

The title of the paragraph is a rephrase of a quote from Kas Oosterhuis. At the beginning of the design process my ambition was to come up with a grasshopper script that would be able to accept one long curve as an input and output an architectural body which consists of series of shorter elements, that are a derivatives of extruded, right angled surface. Every next element is given incremental rotation and translation along the incrementally rotated vector. More parameters were defined to implement additional qualities. Please refer to the gh script to find out more. As an outcome of this generative process, the main body of SEPAC was derived.


Proj8 one curve (1).jpgProj8 one curve (2).jpg
Proj8 one curve (3).jpgProj8 one curve (4).jpg


Looking from the perspective of time, I see that this definition had a great potential to develop into a system that can accept curvilinear, cyclic and three dimensional power curves. Sadly the outcome of the generative process was heavily criticized and I spent too much time defending the concept by argumenting the qualities represented by just one element from the design space, rather than being able to discuss the possibilities that this particular system can deliver.


[edit] Formal proposal for the SEPAC

Following paragraph will focus on elaborating the spatial qualities represented by the outcome of the generative design process.


Proj8 styling (1).jpg


During the discussions I saw that my proposal can be seen by some as chaotic, fragmentary and contradictory in itself. I want to state that this impression is intended to some degree. I intentionally use elements which are working against each other. Intersections, smooth and grungy materials touching each other, detailed louvers next to massive roof surfaces. Separate building masses, that intersect each other, establishing hierarchy. This technique creates tension which is used to create identity, convey meaning and grab attention. The building is somewhere between the colage and hybrid. It is truly dynamic but also relative. Contradictive in its substance. The qualities I am describing here were disused by the decostructivists in their works, and by more contemporary trend of hypertension which was established later and represented by Odile Decq. I see the architecture of SEPAC as a way to merge some of the qualities described above with the agenda of Hyperbody and language of contemporary architecture. This is my way to translate the language of the RDM dock of today into the language of contemporary architecture. I believe that even if the reRDM redevelopment would have happened, the atmosphere of the old dock would still be sensed in this place. Taking as an example the NDSM Dock, which was undergoing constant change for a longer time,and we can still feel the postindustrial spirit there.


Proj8 styling (6).jpg


We can also see this building as a system of a rotated and translated blocks. But some of the blocks are deformed to mark importance of certain places in the design. For example the main entrance on the water level is marked by scale action of the entity of the serial rotation system, making it smaller and creating a gate. This place is important, because it is also the intersection point of the body and the loop. Another formally important point in the design is its northern end. Here the body is not limited by another building mass, so the border condition is the fact that the element is perpendicular to the water surface. Since it is more rectilinear, I intentionally made it more bold and heavy. The interior is also proposed to follow this intent. Last segment cantilevers to create spatial mark and a low roof for the outdoor cafeteria. The louvers in the glass facade are getting more opaque in towards the scaled down element to underline it's meaning as a gate. The louvers on the office block are directed towards the rotating body to make the intersection moment more dramatic.


Proj8 styling (7).jpg


SEPAC is also expressing the RDM area as a whole - new development under the roofs of the old warehouses (RDM campus expressed as the main body of the building) touching completely new fabric (Hyperbody reRDM proposal expressed as the office building).


Proj8 styling (4).jpg


Proj8 styling (3).jpg
Proj8 oldvsnew (1).jpg
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