Peer Marking

Website

Dear All... Please follow the link below to my website.

PS. Also, the server didnt allow me to upload files over 20mb so my 25mb PDF is stored in Filefront (follow link on page 2 of site)

Final Submission 9:17pm 30th Oct

www.davidbutterworth.freehostia.com

Final Renders of the Re-Designed Silkeborg

Draft Layout

3DS MAX Model Draft 1- ReDesign

Re-Designing the Silkeborg

In my transformation , I'm going to focus mainly on re-designing the circulation and movement throughout the museum. When I studied the circular ramps initially, I decided that the longer ramps would take too long to move around. Instead of this, I am going to propose a lift system where four glass elevators will move up and down between numerous platforms. The transparency of the elevator shafts will allow a unique view of the bowls of the Silkeborg, the four lifts working together will allow swift movement without congestion. Also, the floors of the Silkeborg will be more like floating platforms staggered in uneven steps. Smaller ramps will connect the outer layers of platform that are away from the main shafts. Not only will artworks be hung on the curved faces of the walls, but also hang in mid air off the platforms, just out of reach of the viewer. Mood lighting will fall on the art which will seem to hover over the deep abyss below.

Apart from the circulation system, I will keep the "shell" similar to Utzon's initial design.

Textures for the Silkeborg

10 Words and 3 Sketches

Smoothed
Untold
Arcane
Sculptural
Embedded
Void
Implanted
Echoing
Cavity
Entwining

Sunrise over the Silkeborg

My 3ds Max Animation of the Silkeborg (Draft)

Draft 3DS Max Model

250 Words about the Silkeborg- Jorn Utzon.

-Built underground to avoid disruption to the environment around
-3 storeys down, one above ground
-Gives the effect of a cave or oven
-Curved shapes highlight the rectangular canvases
-Curves act as sculptures themselves which comment on the use of scale. Art containing art.
-Lighting is controlled through chimney's and blinds
-Ramps are supposed to allow viewer to glide through space without disrupting

The unbuilt Silkeborg museum was proposed to nestle into the environment it was to the built. Its presence in its geographical context was intended not to disturb the nature around, to overcome this, three floors of the museum where designed underground. Personally, I love the idea of an underground space. Utzon bravery in exploring this uncommon area is great and his supporting reasons back up his need for an underground gallery. My favourite dimension to this building is the idea of contrasting geometry such as the curves of the chimney-like roofs and the cubic interior along with entwining ramps. Also, being an open underground space, allusions to caves and catacombs appear which add interest and surprise to the viewer.

About.com

A Danish artist named Asger Jorgensen (who later changed his name to Asger Jorn) approached Utzon in 1961 to build an addition to the Silkeborg Museum where a collection of his art work could be housed. He even volunteered to pay the architect's fees because he could not see anyone other than Utzon designing the addition. Describing his plans, Utzon wrote:

"The musuem, which lies in an old, well-stocked garden with a wing divided into bays, is designed so that it does not disturb the surroundings, but concentrates 100% on the interior. A building of several storeys above the ground would be like a bull in a china shop, and the respect for the existing calm wing of the museum calls for a solution that will not dominate the surroundings on account of its size.

"It feels natural to bury the museum in the ground to a depth corresponding to the height of a three-storeyed building and only to allow the upper part - the roof lights taking up one storey - to appear above the ground level.

"The design of this buried museum has a character rather like a cave or an oven. Because they are direct continuation of the walls of the museum, the visible one-storey roof lights suggest this cave-like character and clearly demonstrate the reason for their special design.

"In contrast to a square room, a cave has a distinct enclosed effect thanks to its natural shape without right angles. Continuous shapes such as we have in the museum express and emphasise the quadrilateral canvases and objects in the same powerful way that a cyclorama on a stage emphasises the individual characters and the flats.

"The floor, too, has been included in this continuous movement, and these dramatic shapes also correspond well with the idea of digging the museum out underground.

"The inspiration for the design of the museum comes from many different experiences -- including my visit to the caves in Tatung, west of Peking, where hundreds of Buddha sculptures and other figures are carved in caves in the rocks by the bank of the river. These sculptures appear in all shapes in contrast to or in harmony with the surrounding space. The caves are all of varying sizes and shapes and with varying illumination. The old Chinese sculptors haave experimented with all possibilities, and the most fantastic thing is a cave that is almost filled with a Buddha figure with c.7-metre-high face. Three platforms linked by ladders give the visitor the possibility of walking around and coming to close quarters with this gigantic figure.

"Here, in this museum, it is possible to exhibit paintings and sculptures the size of a three-storeyed building so that it is possible to walk around the objects on all levels on the system of ramps, and perhaps the possibility of this kind of exhibition leads to a new line of development in decorative art in place of the ordinary form in public buildings today, which are merely easel paintings on a gigantic scale.

"The various works of art can also be exhibited individually or in groups in every conceivable manner. It will also be possible in one of the large ovens to isolate a single large painting or sculpture that must be viewed on its own.

"The continuous space in the museum provides surprising background effects with varied light for paintings and sculpture - a background effect of the same infinite character as a cyclorama on a stage.

"The chimneys give the museum a clean, but varied roof light. The amount of light can be varied by means of blinds, and if it is so desired the roof light in the chimneys can be replaced with direct spotlight directed on a single object. The mullions supporting the roof lights are provided with suspension points so that they act like rigging loft in a theatre, so there will be the possibility of placing an object anywhere in the room.

"The light mainly falls in along the walls and on the floors without disturbing shadow effects at the corners, and the irritation element from the direct light from above is avoided.

"It will be with a sense of surprise and a desire to penetrate down into the building that the visitor for the first time sees the three-storeyed building open beneath him. Unconcerned - stairs and corridors which normally disturb - the viewer will glide almost effortlessly down into the museum via the ramp, taking him through the space.

"Strict geometry will form the basis for a simple constructional shape. The visible curved external surfaces are to be clad with ceramics in strong colours so that the parts of the building emerge like shining ceramic sculptures, and inside the museum will be kept in white.

"In the work with the curved shapes in the opera house, I have developed a great desire to go further with free architectural shapes, but at the same time to control the free shape with a geometry that makes it possible to construct the building from mass produced components. I am quite aware of the danger in the curved shapes in contrast to the relative safety of quadrilateral shapes. But the world of the curved form can give something that cannot ever be achieved by means of rectanglular architecture. The hulls of ships, caves and sculpture demonstrate this."

Source- http://architecture.about.com/library/blutzon-silkeberg.htm

Silkeborg Museum, by Jorn Utzon

Unbuilt project
Jørn Utzon
Silkeborg Art Museum extension
Silkeborg, Denmark

“It will be with a sense of surprise and a desire to penetrate down into the building that the visitor for the first time sees the three-storey building open beneath him. Unconcerned - by stairs and corridors, which normally disturb - the viewer will glide almost effortlessly down into the museum via the ramp, taking him through the space.
Strict geometry will form the basis for a simple constructional shape. The vible curved external surfaces are to be clad with ceramics in strong colors so that the parts of the building emerge like shining ceramic sculptures, and inside the museum will be kept white.”
Jørn Utzon

Source-

http://www.arcspace.com/architects/utzon/silkeborg.htm

THE FINAL LINK !!

CLICK HERE

Snapshots of my Website

3D Renders of Villa Mairea

Final Template for Web Site

Draft web page backgrounds

Web Page Layout

3D Walkthrought animation of Villa Mairea

Video Walkthrough- Villa Mairea

Villla Mairea- Alvar Alto

Villa Mairea, 1938-39, Noormarkku, Finland. Architect: Alvar Aalto

Villa Mairea is a private residence designed by Alvar Aalto for Maire and Harry Gullichsen the co-founders of Artek. Although Villa Mairea is extremely luxurious, Aalto also considered it an experimental building where he could try out design solutions and materials which were applied to later buildings. Villa Mairea is filled with standard and custom-made furniture and lamps by Aino and Alvar Aalto. There is also an exceptional collection of Finnish and international modern art and design objects. Today Villa Mairea is owned by A.Ahlström Osakeyhtiö and open to public by prior reservation. Reservations: Mairea Foundation

Source- http://www.artek.fi/en/projects_a.html?Id=5&P=2






























































































Villla Mairea by Alvar Alto

Design- Alvar Aalto
Location- Noormarkku, Finland
Date- 1937-39
Style- Modern


This country built house was designed for one of Aalto's Friends, Marie and Harry Gullichen. It employs an 'L' shaped plan which allows for a formal enclose from the public, and a more naturalistic fade into the forest behind. Situated on the top of a hill surrounded by pine forest, the layout is said the mimic the traditional Finnish farm style. The kidney shaped pool and sauna are encased by a rugged pergola, which also demonstrates Aalto's concerns for nature. This section of the site contrasts heavily to the main building of stone, bricks and natural woods. These materials are mirrored on the interior which is a variation of large and small spaces.

Visualisation Process-

Photos/Sketches
Sketchup Model
3Ds Max Model
Final Vray Renders
Review Text, detailing specs and a description
3d Animation using Premier
3 Page Website




References-

http://www.archiplanet.org/wiki/Villa_Mairea -accessed 28/08/08
Curtis, JR, William., Modern Architecture since 1900, Phaidon Press Limited, 1982, pg 232-233
http://www.greatbuildings.com/buildings/Villa_Mairea.html -accessed 28/08/08
http://www.democraticspace.com/architecture/portfolio/villamairea/villamairea1.shtml

Plans, Sections and Elevations: Key Buildings of the Twentieth Century

By Richard Weston

Published by Laurence King Publishing, 2004

http://www.architecture.uwaterloo.ca/faculty_projects/terri/arch_crs/f06/pdf/drawings_how_to.pdf

http://books.google.com.au/books?id=3xC94YX9GLcC&pg=RA1-PA148&lpg=RA1-PA148&dq=Villla+Mairea+section+plan+elevation&source=web&ots=echKOx4WjU&sig=Mf7-9eh_nHXYnEqez5CEc7-oc-Q&hl=en&sa=X&oi=book_result&resnum=5&ct=result#PRA1-PA148,M1

http://books.google.com.au/books?id=GdIbk8X4HTEC&pg=PT46&dq=Villla+Mairea+Finnish&sig=ACfU3U2wtptMTe83x0KrgSJ5K9pXFNR4Dw#PPT46,M1

3 Images of Built Architecture