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P E R S P E C T I V E I M A G E S
TOP: derivative
BOTTOM: entrap
S E C T I O N A L P E R S P E C T I V E S
section no. 9 - derivative / scale
(adapted later to form the final scheme, keeping the derivative-inspired circular form from section drawing 9 and combining it with the word 'entrap' for the bottom level, which was incorporated in part 1 of Experiment 1 (rib-cage staircase).
(adapted later to form the final scheme, keeping the derivative-inspired circular form from section drawing 9 and combining it with the word 'entrap' for the bottom level, which was incorporated in part 1 of Experiment 1 (rib-cage staircase).
P R E C E D E N T S T U D Y
My final scheme was highly inspired by both the simple crescent shape and the generous scenic views offered by the Crescent House.
Above: Crescent House
Lina Bo Bardi's Casa de Vidro (glass house) also inspired the concept of connecting the natural exterior landscape to the interior of the building, which like the Crescent House, was achieved by the excessive use of large glass panes. Casa de Vidro also inspired the use of a void within the structure to allow the appearance of a tree growing 'through' the building to further illustrate this balance between the natural outdoors and the urban interior.
The entire floor plan is composed of three main sections (categorised by each level) which are each 'derived' from the same crescent shape that resonates Mountain and Moon's branding image. The second stair design connecting the ground level to the first level into Mountain and Moon's studio is also derived from the same crescent shape, which appears to float around the curved inner surface of the ground level. Its lightness and delicateness (conveyed by my textures 'aerosol' and 'fluids') intends to create an ethereal experience that mimics the works of the client, Mountain and Moon, as they walk to their studio.
The crescent on the bottom floor is partially submerged into the terrain, which furthers the notion of entrapment first raised by the ribcage stair design.
For all three spaces above, below and along the datum, large glass walls were incorporated generously in connecting the built environment with the land upon which it is situated on. For Trent Jansen Studio, such a design choice physically places the client close to his conceptual artmaking, which is based on the deep connection with the Australian land and heritage. For Mountain and Moon, a local Western Australian business, this also allows the client to appreciate and embrace their local and sustainable efforts.
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