PROJECT 2 ROOM AND NARRATIVE

The art of painting by Veneer

1st Development stage
1st Development stage plans
Final Ground floor
Final first floor plan
Final section plan
Sketch up model viewsFront view of building1st level view from above

The art of painting project two to me is very inspiring how it is very conceptual in a way and real. First of all I started looking both types of paintings 17th – century Dutch paintings and Edward Hopper in the 20th century. To me I found Dutch paintings more interesting how the use of bright colors challenged my eye. I ended up picking the painting by Johannes Veneer called the art of painting. It is a very tricky painting how it was very hard to me to understand the brief what is needed to be done. But later I understood, most importantly you must understand the painting before anything. Analysis of the painting, the painting is subjected on the Cilc the muse of history which goes back to the Greek mythology and a person painting her which critics say it’s Veneer himself. The scene is very interesting how the blinds on the left side gives in diffused lighting giving an illusion of stage feel where no window can be seen only the source and also the customs on the table also suggest it’s has a drama background. What I have read about this painting is that this is an very odd painting how the painter has no paint pots or anything and also how a luxury lighting above can be found in a workshop. The dominate image here is the Cilc and this sense of focus is subjected by the painter, Cilc and lighting a triangle. The map the background gives a sense of volume because it’s a white wall. As for the floor it really distorts the sense of space and volume to my eyes.
From the analysis I ended up a theory of ‘acting’ the painter is no more than an actor too a subject to being painting which is painter them (Veneer). From there onwards I started to develop some kind of concept of ‘illusion’ what can be best described as illusion is using windows as if there is another world. I made a simple box and made an mirror cutting it crosswise as people walk in a sense of movement can be observed from the window the concept of the person himself is the actor and also the audience. Then I tested on different geometry of the building. But then I was asked to change to more realistic terms so I was guided to make a more theater feel that is when I came up with my narrative ‘ a theater for a man with many faces’.
I started to look at the earliest theater from the Greek how the hill made a nature theater how the stairs could be a passage way and also a seating ground that is where all my ideas came from. I came up with some concepts foundation for this project being entertainment (rest/motion), stage (level/height/angle), seating (focus/view) and light (mood). I tried to incorporate all of these concepts into my design using light as a indicator, where the stage would be how where the light is focused that is where the stage is. My design is simply said a stair path with the functions of a theatre. The building is very simple with a walking passage way where people sitting inside can watch as they go by as a motion picture. But also in a sense for people looking into the building seeing people sitting if this was a stage itself, the concept later discovered in history classes of Garneir’s Paris Opera House people are there to be see and to be seen. The seats inside also can be used as a stair going up to the second level which you would see an above glass. This glass is the function where the idea where light goes that’s the area of the stage so it all depends on the sun path and time.
My design produces many faces to view, the water pond in the front viewing self in it, the stairs outside viewing the landscape beyond, the seated people viewing the flow of people, the flow of people viewing the people sitting, the above glass viewing below the seated people, the first level lookout viewing the vast landscape and people below.

Recap for my intention of this design is ‘a theater for a man with many faces’ using the architectonics of light (gloomy/direct) and volume I was able to achieve the atmosphere of silence and still found in nature of theater and focus of the viewer.
The theater is situated on a hill, in summer.

PROJECT 1 BAWA OFFICE BY GEOFFREY BAWA

Poche drawings

First floor view 2nd part of building
Ground floor view main part of building
Ground floor view 2nd part of building
Front view of main building
View of courtyard

Front view of building Entrance view to the buildingView of front building
Gr0und floor veiw of front building

Our first project is to analyze and explore the parti and poches of a famous building which we have been given the house for House for Dr Bartholomeusz by Geoffrey Bawa.
For the parti drawings I found some very simple and some hard as for the start I did not really understand them at all then I got the hang of it.
Structures- very simple the outline of the foundations of the structure
Program - was one of the hard ones to understand but I made it as a sense of flow of movement as boxes. The bigger the box the more private it is and more functional it is so the pace is slower it applies the opposite to the smaller the boxes.
Enclosure- is simply the identifying the private and public spaces.
Geometry – is made up of squares and two circles which are used for trees.
Circulation- is very simple as it is a symmetrical building the main flow is from the centre I call it the leaf effect as little routes come off the main centre path.
The building to me is very interesting how it was symmetrical how the spaces flow from a main path and the use of this creates a continuous flow and the use of height from the section as the height becomes gradually higher as you walk in.

Extra information about the building taken from

http://www.archnet.org/library/sites/one-site.jsp?site_id=7285


In 1961 the house in Alfred House Road that had been designed for a Burgher doctor called Noel Bartholomeusz was cancelled as it was nearing completion and Bawa persuaded his partners at E. R. & B. to take it over as their office. The original design was developed in the spirit of the Ena de Silva House, though the plot was narrower and longer. A first courtyard, separated from the street by a two-storey lodge containing garages, servants' accommodation and an entrance archway faced a single-storey pavilion containing a dining room and kitchens. Beyond, a formal pool court led to the main pavilion, which was occupied by the principal living room with bedrooms on an upper floor. The living room opened via a covered verandah into a final garden court. The change from house to office was effected with so little effort that one is left to wonder whether Bawa had prior knowledge of his client's intentions. With its courtyards, loggias and verandahs, the building created a pleasant and comfortable working environment that obviated the need for air-conditioning and offered a sample of the practice's work to any prospective clients. The design of the building incorporated two innovations: polished coconut trunks were used in conjunction with granite bases and capitals to protect them from termite attack, and the 'tile-on-cement' roof made its first appearance. Bawa had already concluded that the roof was the critical element in tropical architecture and experimented with a number of alternative materials and methods of construction: flat roofs were difficult to seal and tended to get hot, though earth-covered slabs had yielded interesting results; interlocking 'Calicut' or 'Mangalore' tiles were lightweight and required relatively minimal timber support but offered little insulation; traditional flat Kandyan tiles needed high maintenance and had to be laid to steep pitches; corrugated cement sheeting was light, easy to support and highly waterproof but unbearably hot and totally unattractive; the half-round 'Portuguese' tile produced a pleasing texture and good thermal mass, but its double layering required a complex and costly timber structure of battens, close-spaced rafters, purlins and trusses. While seeking a solution for the roof of a house in Jawatte Road, Bawa hit upon the idea of laying Portuguese tiles in and over the corrugations of cement sheeting. This marriage combined the advantages of the two materials - excellent waterproof qualities, good insulation and attractive appearance and minimized their disadvantages. Extra tiles were laid at the ridge and the eaves to prevent slippage and improved adhesion was achieved by adding cement fillets.The new office offered the perfect opportunity to try out the new idea on a substantial building, and its immediate success prompted its adoption for many subsequent projects. The office was used until the end of the 1980s, when Bawa slowly withdrew from E. R. & B. and began to work more and more from his home off Bagatelle Road. In the summer of 1997, after eight years of disuse, Poologasundram and Bawa finally agreed to wind down the holding company that owned the office and Bawa became its sole owner. The house was then rented out to Shanth Fernando, the proprietor of a chain of design shops. A simple roofed pavilion was added to the furthermost garden to serve as an open-sided restaurant, and the rest of the ground floor was turned into a gallery and shop. This conversion has given a new lease of life to the complex, while respecting something of the spirit in which it was designed.
Source:
Robson, David. 2002. Geoffrey Bawa: The Complete Works. London: Thames and Hudson