Collaboration/ Connor Gravelle
Instructor/ David Freeland
Taking the contemporary art museum as a platform, the project questions the legibility of the object, denying a clear reading part to whole relationships. This is achieved through subtle manipulations in formal organization, surface treatment and circulation. Reducing the legibility of the work of architecture beyond the immediate perception. This invites certain tactility and the element time when encountering the building which is played upon with the varying depth and orientation of the facade.
The museum composed of seven volumes that roll and shuffle down the hillside from Bancroft (the University in the North) to Durant (The dormitories in the South). The volumes choreograph a meandering path between the seven asymmetrical carved masses. The volumes fold, shear, over-hang, and overlap each other, producing interstitial courtyards syncopated by light wells.
Circulation is a continuous sequence of intertwined gallery spaces, sectional enfilades, and thresholds that negotiate obfuscates the objects relationship.
The volumes which are unable to be perceived in a singular vantage point create a multiplicity of readings. Legibility of the object is further complicated by the façade, the lines that are amplified by varied shade and shadow that both bind the objects together and introduce new distinctions.
An intentional set of choreographed overlaps between the building’s seven “objects” employ shifting material definitions in shadow and corners to provoke an uncertainty about what one perceives. The construction of this assembly in FRP, panels with surface diagonal hatching, rendered deep slices along its run, or exaggerate as louvers. A dichotomy between surface identification and surface void (in terms of the façade, ground and roof) combine less than conjointly in order to estrange the reading of individual parts from their wholistic perspective as a building. Exempted on the interior, blank and stark panels keep the interior space defined and subverted from sculpture art in the museums collection.
The museum composed of seven volumes that roll and shuffle down the hillside from Bancroft (the University in the North) to Durant (The dormitories in the South). The volumes choreograph a meandering path between the seven asymmetrical carved masses. The volumes fold, shear, over-hang, and overlap each other, producing interstitial courtyards syncopated by light wells.
Circulation is a continuous sequence of intertwined gallery spaces, sectional enfilades, and thresholds that negotiate obfuscates the objects relationship.
The volumes which are unable to be perceived in a singular vantage point create a multiplicity of readings. Legibility of the object is further complicated by the façade, the lines that are amplified by varied shade and shadow that both bind the objects together and introduce new distinctions.
An intentional set of choreographed overlaps between the building’s seven “objects” employ shifting material definitions in shadow and corners to provoke an uncertainty about what one perceives. The construction of this assembly in FRP, panels with surface diagonal hatching, rendered deep slices along its run, or exaggerate as louvers. A dichotomy between surface identification and surface void (in terms of the façade, ground and roof) combine less than conjointly in order to estrange the reading of individual parts from their wholistic perspective as a building. Exempted on the interior, blank and stark panels keep the interior space defined and subverted from sculpture art in the museums collection.