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BACK to the Concept
Buildings fulfilling a purpose are like tools. They are neither decorative objects nor works of art. The defining qualities are about use: ease and simplicity. One wants architecture to be elemental… but on the other handarchitecture demands beauty and aesthetics. Good design emphasizes the usefulness of a product whilst disregarding anything that could detract from it.
So, the design must care beyond the functional imperative but so subtly and neutrally, to leave room for the user's self-expression. A house is definitely not organic, its very rectilinear but it has a very kind of geological quality through the materials it would be contradictory to make organic architecture when all in all the architecture is immediately deemed unnatural, it is made made itself.
In summary. The design must be simple, unobtrusive, fulfilling its purpose, rectilinear in shape but poses a geological quality through materials to respect and pay homage to the landscape and environment but carefully so not to mimic it. Architecture should not hide what it is by pretending to be something it isn’t, but rather pay respect the environment it sits in.
One of the foremost important initial aspects of the design was based on the landscape. At the beginning of the design process we determined our landscape. I chose Scottish highlands mixed with the Australian Snowy Mountains.
The most important aspect of my architectural school/bridge was to RESPECT the nature, the environment and landscape. The first step for this was to visually and aesthetically do so. Careful and very time consuming consideration went into the placement of the building into the landscape. My key objectives were...
- Not to mimic nature (ie. it is contradictory to recreate nature because that in itself is unnatural)
- Rather than mimic, RESPECT nature (i.e. use materials, natural and organic to the landscape.)
- Also use of composition, structure, placement should carefully be considered not to obstruct or destroy the surrounding environment
The material choice was important and was determined, like most other areas of the design, in reflection of the natural landscape. The stone tiles used in this conceptual design would theoretically be sourced from onsite, from the natural stone hills. The idea being that the building would blend into the landscape better than any other chosen material.
Part of my design process was to nestles the bridge into the landscape. I thought much about different bridges to use, most ideas the traditional "across a valley" type, but I felt this contradicted my concept as it would not be subtle into the landscape's design. Being close to the waters edge for me is rather peaceful and tranquil, I took this idea and merged my bridge into the water, sloping down beneath the water but the deepest section only enough so one can still see with their head looking over the lake.
View of the bridge submerging into the lake and remerging up again at water level to the study retreat. Use of long slow angular planes to delicately flow harmoniously with the lake.
The more complex design of the study retreat is carefully hidden from outside view by angular external walls
Interior features include shadow gaps for ceilings and shirtings. All linear planes, pillars and columns are based off the one grid layout (in previous section of blog).
The interior switches from tiled ceilings and walls to just tiled floors and white washed walls and ceilings, in order to minimise visual noise and give focus to little features of natural embedded into the building.
Lecture room - details include, shadow gaps in ceiling, walls and birch timber seating. Connection to the exterior was important with open doorway and shallow window which is eye level to the hilly terrain outside to those sitting and the lecturer standing.
Study space - below water level, tall double height ceiling to combat being underground as well as natural light source (centre top left) from the lecture hall (see over view video for better understanding)
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