Folie Marks

According to the mark sheet, returned to us by Mirko, I didnt achieve the following requirements:

• Function of Folie
• Unique Experience
• Writing

Upon further investigation, Folie designs which received marks for Function, had at least 3 or 4 different functions. Mine unfortunately was without my inspiration, with viewing being the only thing someone could do there. In further assignments I will endeavor to put more thought into MANY function capabilities. My first thoughts of unique experience, were that all architectural installations should have a unique experience, but the criteria needed further depth of thought to achieve this. And well, writing, that speaks for it self.

Folie Poster

Presentation: of the site, its context and the function of the Folie.
Representation: of sight, of water, of materials which make up the site.
Beyond: aviator of space, engages the flow traffic.

Folie Submission

For this project I observed the site of Howard Smith Wharf and after analysing the condition I reasoned that the materials and simple forms of my Folie should be inspired by the context of the site. These can be seen more predominantly in the wooden materials inspired by the striking appearance of the interior of the wharf sheds, as well as the use of galvanised steel to represent a relationship with the Story Bridge.

The concept has been thought out to create a usable space for as little as one person to experience the unique sensations that this site offers to the user. The tectonics of this project were designed to create a space to pause on the journey from the City to New Farm. The aspect of the river, from underneath the bridge with a back drop of cliffs and the CBD creates a wonderful excuse to pause on your journey.

The recognition of the top flood heights is a link between the Folie and its context. It connects to Howard Smith Wharves through resilience and is a monument to what has beaten the floods in the past. From this the Folie also aims to connect to the user though the use of height, the higher up the structure a person travels, the more they understand just how high and devastating the floods were.
The design qualities used in this structure come from very sound design principles. These include tension, heaviness, and just like the wharves themselves, a lasting impression that this structure will not be washed away. The shape and uniqueness of the design is an interesting way of viewing the world, hopefully to challenge with viewer opinion of structure, as well as making them aware of where they really are in Brisbane, and how they can relate to it.

Photo montage: As the images shows, people can use the Folie as a viewing platform.

Juxtaposition between Bridge, river and wharves with Folie.

Elevation.

Elevation.

3D Image

Connection with site through use of flood heights.

Folie Initial Sketches

Initial Sketches: highlighting the use of timber in context to the site, as well as maintaining initial ideas regarding shelter, and people using the space underneath. 

Platforms formed though the use of timber poles and steel platting. Up high to take advantage of the view of the river. Reconnecting with the SITE context. Traveling up the structure, shows flood heights, connection to site.

Over exaggerating the timber poles to provide a statement as well as stability.

Is there enough room in the 5m x 5m x 5m box to capture height and main idea of the building?

 

How people would use the Folie. Interaction through use and through sight. 

Sitting between the arches, best place for view, interaction in the middle of the site, creates a juxtaposition between Folie and Site Context.

Site Context of Howard Smith Wharves

Site Context - Elements that I want to bring to the site include: shade, a chance to view the river, to connect with the devastation of the floods as well as the existing wharves.  

Site Context

Site Options

How people move through site.

Initial Sketch - some sort of shelter for people?

Connecting with the site from Kangaroo Point.

Before the construction started. Use of site: Pedestrian and Cyclists. Arches of Bridge are in the middle of the site, and nestled between wharves.

Rocky facade, can this material be used in the Folie?

Interior of Wharves, very striking wooden features. Timber will be represented in my Folie.
It is raw and exposed and has a fantastic strong affiliation.
The exposed beams look structural, as well as aesthetically pleasing.

Again, the use of exposed timber has a great affiliation with this site. This material will play a major role in my Folie design.

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Week 3 Lecture + Reading

Lecture: People: who, where, when and how?

My Experience of Howard Smith Wharves

Action: Traveling, walking, moving through the site, experiencing it, viewing, reflecting;
Reaction: construction site: dusty, dirty, unease due to height of cliffs, reacting to noise of traffic on bridge;
Interaction: through site, breeze on my face, smell of the river, height;
Memory: flood heights, the site before the construction, using the site for exercise, thoughts of new farm: unable to reach it;

Reading: Introduction & Frank Gehry

According to Dollens (2001) Models are an extension of rational thinking or of irrational experimentation, building models manifests iconic forms. Physical models are a fantastic way, in my opinion to experiment with spaces, light and form. But in an age of computer generated modeling, it is almost a shame if an Architect does not take advantage of brilliant software, and the “real life” features. Even at today’s level of materialistic Capitalism we exist in virtual contemplation while simultaneously existing in physical space (Dollens, 2001).With the Folie being a small and inspirational form, the use of a physical model can only go so far in exploring the form, lightness and extended context of the site. Dollens (2001) describes computer software as e-space which is considered as a field for the seeding of ideas and growth experiments. Another problem with hand-made models is that they require the architect to adapt them and adapt to them, to think and sculpt space in a way unimagined before (Dollens, 2001).

Dollens, D. (2001). Part 1: Introduction & Frank Gehry. In. D2A, digital to analog, 5-23. Santa Fe, N.M. : SITES.

Walk Shop

How we arrive at the site - from city.
The city walk gave us an understanding of "arriving" and what to do once we have "arrived".

Site from the Botanical Gardens

Site form Eagle Street Pier

Site from Customs House

Construction Site

Folie Research

Folie Design Ideas:

Week 2: Lecture + Reading

Design Though the Making : An Introduction:

Lecture:

Through our own interpretation of a folie concept, we should communicate our thoughts through our representations.

Reading:

Design Though the Making : An Introduction:

The article is relevant to the Folie because a Folie is a representation of a single idea. A Folie can almost be described as a thought. A whispery ghost of an image what is being projected into this dimension. As Sheil (2005) states the prospect of realising ideas into built form is a transition during which some qualities are gained and others lost. This can be applied to the structure of a Folie, while the image is there and the structure is physical, the idea is blurred and the concept may be lost. Sheil (2005) uses CAD operating systems to determine a built form, to draw and to make. But in my opinion, a Folie cannot be made to represent a specific idea. It is a growth, which portrays its unique ideas to individuals for interpretation of purpose, in respect of representation, behaviour and form (Sheil 2005).

Sheil, B. 2005. Design through making: an introduction. Architectural Design 75(4): 5-12.

Folie Inspiration

Thoughts on: Folie

In the reading Paris / La Villette. : Bernard Tschumi by Bure, I browsed the images for inspiration for my Folie design, what I took from the reading was Tschumi’s fantastic ability to integrate his Folie’s into their surroundings. This can be seen in a few of the images in the reading.

(Bure. 2008) This image shows how Tschumi's Folie blends in well with existing architecture, even though they are quite different.

Lewis Hughes-Evans: Psychology of Space : http://artphilosophy.org/ourspace/?p=33

What is the Psychology of space? “a whole toy box full of playful, inventive strategies for exploring cities. Just about anything that takes pedestrians off their predictable paths and jolts them into a new awareness of the urban landscape.”

Joseph Hart, “A New Way of Walking,” Utne Reader July/August 2004

Krijn de Koning, Installation Hasselt (B), 2009, courtesy Demisch Danant and the artist.

De Koning is best known for his architectural interventions which transform spaces through an intuitive manipulation of simple geometric forms and the playful use of colour. His work, often installed in museums, galleries, churches and public areas, reconfigures common elements of familiar spaces, challenging viewers to reinterpret their surroundings.

http://www.dutchartevents.com/2010/11/upcoming-krijn-de-koning-commissioned.html

This website has a large number of architectural installations which could be considered for my folie design.

Krijn de Koning, work for the Abbaye de Corbigny (yellow), 2006, Corbigny France, courtesy Demisch Danant and the artist.

Krijn de Koning, work for the Abbaye de Corbigny (yellow), 2006, Corbigny France, courtesy.

Week 1: Lecture + Reading

Lecture – Beyond Representation:
What is a folie?: "For Tschumi, the bright red folies were meant as "activators of space" rather than as sculptural objects.

Reading – Modern Architecture:

Modern in my opinion is very hard to define. Elements of what we believe to be modern, for example light and airiness of structure can be seen though out Architectural history. While small elements of Architecture must change through history, for example, how people occupy space and the change of social interaction, it is still the merging of form and function to adapt to human interaction. Modern Architecture in my opinion can only therefore be attributed to the use of new materials. Modern architecture should be based on new means of construction or disciplined by the exigencies of function (Curtis. 1996). For architecture is a forever changing element, centred around people. It has and always will change without society.

Therefore the term 'Modern' can be seen as a trend at any point in Architectural History. This leaves the use of new technologies as the constant factor in all Modern Architecture examples. New technologies and materials are what make Modern Architecture possible and in my opinion Modern architecture itself eventually created the basis for a new tradition with its own themes, forms and motifs based on these new technologies and materials (Curtis 1996).

Curtis, W. J. R. (1996). Introduction. In Modern architecture since 1900 (3rd ed.). pp11-17. Oxford: Phaidon.