Objective: Design a space for the study of ‘something’ on an abstract 25’ x 25’ site.
Response: The project uses the basic principles of optics to craft a transformative space through the social exchange of knowledge. In response to the lack of definition of site, this project seeks to abstract the most fundamental elements of Architecture and representation.
This project is an experimental response to the abstract nature of the given site. In both it’s assembly and representation, Column Field seeks to undefined the elements of both Architecture and how its communicated. The field of vertical elements are arrange on a 1’ x 1’ grid. This produces an unaccessible area made up of neither columns (they are not supporting anything), walls (they are not surface) or volumes (it is completely porous). A Cartesian grid is then projected from above unto a sculptural surface and creates a dynamic space that has no real boundary. As the grid collides with the surface it creates a woven pattern that adds significant structural qualities and a figural pattern that creates interest and beauty.
The nature of optics does not allow us to perceive anything but perspectival views. This project is literally impossible to be understood through perspective alone, as the central figure can only be seen in fragments as one moves around it. The nature of the figure can only be understood through orthogonal projection, something that is afforded by architectural drawings. One will notice that while the figure is very evident in perspective and even axonometric representations, it is not at all perceivable in plan. Since the projected grid is maintained and only distorted in the Y-axis, the birds-eye projection of the project is simply a grid. In elevation and section the figure becomes very evident, and can in fact be seen in its entirety, unlike in the perspective views.
All of these operations create a strange cyclical experience for the inhabitant. While one sees an ever-changing figure as they move around the project, the views are equally as dynamic from within the figure. The sculptural nature of it creates unique patterns at every point from the projected grid, but also the remaining column field that has been untouched beyond the figure changes in depth and perceptibility.
Completed: April 2015
Course: Graduate Studio I at the Yale School of Architecture
Critic: Eeva Liisa Pelkonen