I really like the building typology you have chosen and the way you raise your argument on placing your building at Brooklyn. I would like to see how would you visualize this tendency of young artists to place themselves in old industrial spaces in Brooklyn. It would be interesting in your analysis to include some exploded diagrams using GIS data. So, mapping the density of existing buildings whose program is lately related to art creation in the neighborhood you are working on could be part of your analysis.
What is your programmatic manifesto? The program you have set so far, follows the path of any conventional building of this kind. Be rigorous about your program. Think what different will your building offer in New York city. What is unique about your proposal? Why your proposal is important since there are many other successful art schools in this city? (Look at Cooper Union by Morphosis) Analyze the programmatic concept of Sendai Mediatheque by Toyo Ito. It is a building - manifesto not because of its ‘crazy’ form but because its structure is at the same time its program; the channel though which data circulate through the spaces. You have to push your programatic concept more.
Think of the dipole public-private, introvert-extrovert, open-closed learning system. Is it an extrovert concept were the main spaces are open to the public and the city creating an interactive learning method or you focus on the artist as individual by working on ‘pod’ concepts (Look at metabolists)? In that sense, is it a building-cell where each space is carefully designed for the human unit-artist so as to use it as a shelter of creation? Would you elaborate the idea of placing beds in each student - artist’s lab? I am just throwing ideas to push you think out of the programmatic references you have experimented so far in your city. As soon as you define a powerful programmatic concept the form will go along with it.
Define the word art. Are you going back to the very beginning of art creation by proposing a building-canvas where the artist expresses his creativity with “traditional” means, using his body and his hand? Or is it about technology so you create a building machine, a building wire that captures all kinds of information from the city, smells, colors, sounds, decodes them and projects them in its interior? Maybe both. (look at francoise roche and his concepts, project Dustyrelief)
I like very much the building-references you chose to analyze. Extract a powerful diagram from one or more elements that interest you from each. For example, from the new museum in Chinatown by SANNA you could extract the concept of whiteness, of the wrapper, of stacking, or the concept of urban confetti. Do this kind of thoughts and generate diagrams that visualize these observations on existing design operations.
For your building analysis you could also take a look at Fundação Iberê Camargo in Porto Alegre, Brazil by Alvaro Siza.
I look forward to see your first diagrams. I hope this time you get my comments. Let me know.
Dear Renz,
ReplyDeleteI really like the building typology you have chosen and the way you raise your argument on placing your building at Brooklyn. I would like to see how would you visualize this tendency of young artists to place themselves in old industrial spaces in Brooklyn. It would be interesting in your analysis to include some exploded diagrams using GIS data. So, mapping the density of existing buildings whose program is lately related to art creation in the neighborhood you are working on could be part of your analysis.
What is your programmatic manifesto?
The program you have set so far, follows the path of any conventional building of this kind. Be rigorous about your program. Think what different will your building offer in New York city. What is unique about your proposal? Why your proposal is important since there are many other successful art schools in this city? (Look at Cooper Union by Morphosis)
Analyze the programmatic concept of Sendai Mediatheque by Toyo Ito. It is a building - manifesto not because of its ‘crazy’ form but because its structure is at the same time its program; the channel though which data circulate through the spaces.
You have to push your programatic concept more.
Think of the dipole public-private, introvert-extrovert, open-closed learning system.
Is it an extrovert concept were the main spaces are open to the public and the city creating an interactive learning method or you focus on the artist as individual by working on ‘pod’ concepts (Look at metabolists)? In that sense, is it a building-cell where each space is carefully designed for the human unit-artist so as to use it as a shelter of creation? Would you elaborate the idea of placing beds in each student - artist’s lab?
I am just throwing ideas to push you think out of the programmatic references you have experimented so far in your city.
As soon as you define a powerful programmatic concept the form will go along with it.
Define the word art.
Are you going back to the very beginning of art creation by proposing a building-canvas where the artist expresses his creativity with “traditional” means, using his body and his hand?
Or is it about technology so you create a building machine, a building wire that captures all kinds of information from the city, smells, colors, sounds, decodes them and projects them in its interior? Maybe both.
(look at francoise roche and his concepts, project Dustyrelief)
I like very much the building-references you chose to analyze. Extract a powerful diagram from one or more elements that interest you from each. For example, from the new museum in Chinatown by SANNA you could extract the concept of whiteness, of the wrapper, of stacking, or the concept of urban confetti. Do this kind of thoughts and generate diagrams that visualize these observations on existing design operations.
For your building analysis you could also take a look at Fundação Iberê Camargo in Porto Alegre, Brazil by Alvaro Siza.
I look forward to see your first diagrams. I hope this time you get my comments. Let me know.
Best,
Loukia