Dream Proposal

DREAM

RIPSIME VARDUMYAN IA 366 Contemporary IA History and Theories

Randy Stauffer December 10, 2009

Fall 09

TABLE OF CONTENTS

Proposal Argument 3 Proposal Analysis 3-4 Proposal Definition 5-6 Topical Essay 1 – Systems and Meanings 7-8 Topical Essay 2 – Mediation 9-10 Topical Essay 3 – Layering 11-12 Topical Essay 4 – Contested Sites 13-14 Proposal Conclusion 15-16 Bibliography 17-18

PROPOSAL ARGUMENT

In Surrealism, an irrational expression of imagination as revealed in dreams

interweaves with the notion of float in an architectural framework. Due to an act of

insurrection against society, surrealists create a range of creative sources to liberate their

imaginative pictorial subjects and ideas. As their subjects become identified in their work

of art, an act of release and revolt is expressed between the cracks of controversy

amongst any two opposing social groups, and an elevating phenomenon manifests within

its confined boundaries. In this liberate space, the elevating phenomenon is the epitome

of overlapping planes floating in an atmosphere of fantasy where planes are supported

and lifted by its barrier. The phenomenology of floating in an architectural proposal is at

this moment revolutionized by the emergence of Surrealism, and embraced as a motif in

the rest of the design framework.

PROPOSAL ANALYSIS

When looking in the interior of a proposed architectural space, the analogy

between the subject of Surrealism and the design attribute is combined to emphasize the

notion of float. As seen in fictional imageries in which one finds in Surrealism art, a

framework filled with fantasy and dream is introduced in the context of an architectural

setting. Playful and dynamic forms overlap one another creating a unified form exposing

and burying between the structural barriers. Between the structures, horizontal floating

planes add a drop of artificial light effect to embellish the interior and embody its identity

as a dream. Whether suspended or attached, these dynamic floating planes can also direct

the circulation path allowing an endless dream-like environment. Through the paths, one

experiences back through the traces of Surrealism and the impact it had on life.

During Surrealism, a poet Andre Breton writes in his “Surrealist Manifesto” that

the “rational thought was repressive to the powers of creativity and imagination and thus

inimical to artistic expression.” This belief added controversy, and was one of the causes

that cracked many bodies in society. Yet, the existence of Surrealism still remained

within the frames of many fields. The cracks between arguments amongst two opposing

opponents open and release circulation freely throughout the natural contours of the

space. As the cracks portray the vandalism between individuals, broken and shattered

surfaces accentuate the contour of the walls. These markings represent the scars of

individuals who have been conflicted through the social conditions of Surrealism. They

remain exposed throughout while some remain as stains on materials. To break away and

free oneself from these cracks, the notion of float becomes the support mechanism that

carries all the negativities away.

One supportive mechanism is based off of the overlapping planes. The

overlapping planes between the boundaries provoke a sense of awakening from

liberation. It elevates ones experience and changes from deep markings to released

beginnings. The space is enclosed by a structural barrier, supporting the overlapped

planes as each plane is lifted to provoke the notion of awakening. The overlapping planes

express the hierarchy to be free and imaginative as surreal art portrays. Each layer of

planes that overlap over one another connects through a branch-like chain that has been

peeled off from its structure. This branch-like system can also serve for vertical

circulation allowing a connection between the forms and the planes all throughout the

design. The connection between the structure and the internal partitions all become a

unified form.

PROPOSAL DEFINITION

The integration of natural free flowing forms is played out to express a notion of

imagination. Theses forms are built as the tectonics of the design and they require

additional support from the exterior structure. Using floating techniques, such as

translucency and suspension, as the dynamic forms overlap, they support one another.

Because of their playful forms, they evoke a sense of musical tone that jump from one

space to the next. Due to there chaotic movement, the forms have order and geometry

that can create a well defined space.

As the cracks between opposing sides represents vandalism, it also represents the

space planning. Between the cracks, an open space allows circulation to flow. As shown

in the diagram, there is a breaking point between the cracks creating a sense of freedom.

The cracks are enclosed by barriers or walls in which creates separation from the other

programmatic spaces. The material uses of these walls are natural deep colors of wood

with cracks within them. The barriers emphasize the structure built inside the walls to

also expose and hid in various parts.

Because the exterior structure is part of the stair structure, a connection between

them is vital. Positioned in the center of the space, a vertical stair is designed to elevate

and support the overlapping planes. These overlapping planes are made up of thin layers

of polyethylene so their appearance can appear to float. They are there to provide

directional lighting and to act as stepping platforms for vertical passage. Each plane

varies in size and shape to allow it to be dynamic and free. When one steps on the

overlapping planes, one plane at a time, one experiences the lift and elevation from

moving upward. Following along the vertical path, the overlapping planes widen as they

move up. Based on the analysis, the notion personifies the awakening from liberation.

Theses planes freely isolate from different directions allowing them to become dynamic

and imaginative. A structural chain made up of thin steel tubes links the planes together

by supporting and penetrating from each one.

TOPICAL ESSAY 1 – SYSTEMS AND MEANINGS

“The floating vapor is just as true an illustration of the law of gravity as the falling avalanche.”

John Burroughs

Bodies of elements adjoining and transforming into different components to

define a new rule in design. The continuation of the new reform becomes public and

transmitted from one designer to the next. Many new designs are designed to reflect a

notion impacting the premises and the ambience it reflects. While multiple projects take

on a role for new inventions, a quick notion falls in many design solutions becoming well

recognized in many contemporary works. The term float is essentially used to define a

new term in architecture. As it pertains to other logics, floating has been liberally

expressed as an individual practice that works structurally. The sun cannot exist without

its core; therefore architecture does not exist without its structure. In the greatest

achievements, masonry constructions such as those found in the Roman Pantheon, Hagia

Sophia, Brunelleschi's Dome at Florence, the dome of St. Peter's have all faced the

meaning of structure. Fully understanding the technicality, structure has changed and is

going to change because it helps shape the shell for a new design from conformity.

Structure not only helps shape the outer shell of architecture but also helps to support it.

Float is ultimately defined as the act of resting on the surface of a structural element,

whether noticed as synthetic or natural, it demonstrates a scientific philosophy by the use

of what exists in nature and what is man made.

When the term float is mentioned in architecture it is “defined by its synthetic

practices of representation and design.” Piotrowski (63) It conveys a concrete structure

that comes within the portrayal of floating elements. In interior architecture and in

furniture design, the term float can ultimately become a repeated word used in the

architectural terminology. Designers seek to find precise words that can help define the

importance of their design, and float is part of that significance. For example, Max

Longin, who is known for his famous float bed designed on the concept of a suspension

bridge, and held on steel elbows. His prerogative was to allow the bed to be perceived as

an object that floats with supporting structure as oppose to it literally floating off the

ground. The synthetic structure is fabricated by the designer with a frame of suspended

bridges holding the flat plate sitting on top to create the float effect. In other projects,

there are new structures created to allow the element float. Some of them are designed to

look as if it’s touching the ground as little as possible. Mostly these structures are evident

in thin light forms and materials that are designed differently so they can all define their

own individualistic creation.

Because the term float can also be lifted from natural structure, it can definitely

portray the type of floating through other objects. For example, hot air balloons are

floating by the support of Mother Nature, air. Air is an intangible element that cannot be

imitated, yet it serves the same instincts as a synthetic structure because it is also

responsible for the support it offers.

While the two conflicting meanings of the word float have supporting structures,

neither of the meanings dominates over another. Because both share the same result, float

is derived from one to be proven literally and one to be proven to create the effect. As a

future designer, it is important that understanding the difference between the two

meanings help the design process exceed. More so the appearance of an object or person

floating is what appeals me to study more about the chosen word. Viewing it from

different angles and coming up with new innovative structures excites me more to design

more in this level of conspiracy.

TOPICAL ESSAY 2 – MEDIATION

Before a space is given its own purpose, it needs to pass a few steps while it can

be merely identified. Along these steps, one develops a thorough understanding of the

space by perceiving, conceiving, and living.

Going through a process of perceiving, the most obvious aspect of an interior and

exterior view of a space is looking at the scale. Scale can help identify and distinguish the

elements from one another. In Frank Lloyd Wright’s famous house Falling Water, lying

on the hills in the forest of Pennsylvania, is difficult to quickly capture this house when

walking in the area because the body of the house almost disappears from it site. The use

of its organic materials and the scale creates a blending tone to its surrounding

environment. The structural system includes a series of bold reinforced concrete

cantilevered balconies. A number of balconies with beams together cantilevering out

have the same scale and serve the same function. These cantilever balcony scales differ

from the overall walls of the house. Like leaves fluttering from the branch in the air, the

smooth and delicate short walls of these balconies similarly branch out from the structure

so it can create a floating effect. While the rough heavy surfaces of boulder walls look

very voluminous seem to have a steady set as a tree does when grown from its roots.

Thus, the balconies not only serve a different function from the rest of the spaces of the

house but they also distinguish from the use of the aesthetic and the texture of the

material.

http://decoratingflair.com/designskills.htm

http://cheeryobservations.wordpress.com/category/home-design/

In Wrights residential design the fireplace was centered in the living room as the

“hearth of the house”. This expression remained as a designation for the fireplace in all of

his works because the center was an important feature during the modern times. Like the

Falling Water, a typical traditional home has a living room in the center of the house

where the fireplace is built. In a living room, you’ll usually find the comfortable sofas

with big chunky pillows, a small coffee table, and a flat screen television. The idea of a

living room brings the family close together. I think a living room can be anything

because it is a space to let loose and to be comfortable to all kinds of things that can

happen. At last it is called “living” so we should experience the space however we wish.

http://commons.wikimedia.org/wiki/File:Frank_Lloyd_Wright_-

_Fallingwater_interior_5.JPG

He uses the structure by setting boulders onto the columns as it protrudes slightly

through the rest of the second and third floors. This becomes a significant feature that the

rough earth-like boulders can quickly be perceived from an exterior and an interior view.

The whole purpose for the material and experience is based on the organic architecture.

The surrounding high rise trees, the dry dirt, and the sound of the water fall become part

of the interior’s existence.

http://www.paperbean.com.au/blog/fallingwater.jpg

Inside the house, another element such as a piece of branch protrudes vertically

from the ground into the first floor. Because the branch is viewed in the design, it no

longer becomes identified as a piece of branch but as an architectural element that can be

used as a column. The column can then become the artifact for the structure because it is

another element that serves the same function as the structure.

http://cheeryobservations.wordpress.com/category/home-design/

The main idea of the house was the cantilever which was “an essential part of the

horizontal expression of the prairie in Wright's early work.” When there is a low wide

ceiling, there is more movement because of its broad space. A space that’s wide like the

living room provides room for more circulation and the low horizontal ceiling pushes

forward. This type of space is good when there is a lot of traffic but having them built in

all rooms of residents are not needed.

TOPICAL ESSAY 3 – LAYERING

From small narrow enclosed spaces to vertically big open spaces, one can

experience a different phenomenology. These experiences come from our five senses that

can be relatively used to define the notion of float. As a whole, some of these senses such

as sight, touch, and hear changes our perception and emotion in different spaces. Because

the difference of the materials can change our perceptions and emotions, they are one of

the elements that help us feel a certain way.

“Vision is the art of seeing things invisible.” Jonathan Swift

In regards to the notion of float, the central space becomes the hierarchy of the

entire space, the observer with no doubt can miss all the phenomenological aspects it

retains. In this particular space, a spiral stair circulates in the central part of the building

allowing it to be noticeable. Because our eyes are meant for seeing everything from

nature to art, this gift is never wasted by the beauty and relevance of any thing existing.

Allowing one’s eyes to see the material and its form of the spiral stair, one can observe a

floating custom staircase using translucent, light-transmitting material. Or one can see the

stair and the second floor as one element spiraling down, while the translucent glass

appears invisible. To circulate within this space, one experiences either moving up or

down. The force of pulling one’s self up is the way the form of the stair is designed. It

can lure you in due to its spiral and concaved form.

“Snowflakes are one of nature's most fragile things, but just look at what they can do when they stick together.”

William Cullens

When a space is viewed, it then can be touched. The touch of a material can

identify the characteristics it possesses, and it shapes the psychological emotion. In this

case, a material so light and thin seems too fragile to stand on its own. Like snow, wire

cables carry the qualities of fragility, yet they can also maintain their strength if they

work together in a bundle. In addition, more strength and support can be given to its

structure. In the Sewer museum in Paris, a combination of wire cables were used to hold

up exhibit works concealed with glass. The wire gives more strength and support for the

displayed works that were exhibited in the museum. When one experiences this

phenomenology in a narrow space, one can feel the floatation of the exhibit works around

them because of the tightness and closeness of the space between the person and the

exhibit.

“Music is the harmonious voice of creation; an echo of the invisible world.” Giuseppe Mazzini

The sound of every tone heard in a space is often silent and static. Yet, we hear

sounds in our minds as we see the formality and the relation of theses forms. Whether the

forms can be static or moving, they are creating a melody of different forms. In the

Stretto House located adjacent to three ponds made from concrete dams. The sound of the

water flowing over the dams is reminiscent of “stretto” in music, where one musical

phrase overlaps another. Like the musical piece, the house is formed in four sections.

Each section is divided into two units, one made of heavy masonry and the other of light

metal. Keeping with the stretto theme, each of the four sections of the house overlaps into

the spaces of the next section. The house is complicated, but is created with a balance that

makes it peaceful and sophisticated. The different overlaps indicate the free-floating

notion. When hearing the melody of a music play, we hear the sound echoing or

repeating long the chord line. In the notion of float, the Stretto House is similarly

identified as elements that move and play at different levels of the melody. This act of

playing and moving can be identified as the act of floating. Therefore, the

phenomenology is heard through a chord or elements of music and movement as one

observes the architecture and its key notes.

TOPICAL ESSAY 4 – CONTESTED SITES

Due to economic means, a well functioned house was built to accommodate the

needs of the owner. More welfare was given to disables because of their needs for better

living. While some cases where disables purchase their needs, some like the owner Rem

Koolhaas's Maison à Bordeaux to design to accommodate a man who is confined to a

wheel chair. Koolhaas describes the building as three houses because it has three separate

sections layered on top of one another. In Maison A Bordeaux’s design, the floating

element in the space is viewed differently than any type of element in a space. The actual

lift of this unique element is what makes the space so special.

The act of floating is what makes it different from the rest, because it is the only

space that moves. Because the act of floating means the act of elevating or lifting, one

perceives it as a space actually being raised from above ground. The elevating floor that

moves up and down within the space represents identity. The meaning of identity and the

floating element in the space are both viewed as unique.

thinkmobility.davidkrieg.com/

PROPOSAL CONCLUSION

Based on the Surrealist theory, imagination and freedom is the subject matter that

ultimately explains the concept for this design proposal. In the context, the overall design

is meant to argue that the phenomenology of float is combined with the imagination of

realty where floating can occur in an interior space, yet the structural support is given to

emphasize. Before experiencing the phenomenon of elevating plane, first one would

experience the social conditions of Surrealism. The social condition of Surrealism is

experienced between the boundaries of the overall structure.

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