Weaving Architecture & Nature

Landscape from its beginnings has a serviceman-made connotation with associated cultural function values. The idea of having a landscape does not suggest anything inborn at all. Yet there ar instances of projects where the landscape itself suggests inwrought connotations as though there is no interface mingled with record ( put) and socialization (computer architecture).In brightness Art Museum, at present And made a radical close to acquire an underground quadriceps to perform minimal changes to the current natural environment, exposing unaccompanied very basic geometries as the airfoilings for the underground gallery. He transformed the state of affairs into a natural work of finesse, interfacing with the internal works of fraud. On the another(prenominal) hand, hot dog Lloyd Wrights Billingsgate transforms the original set into a beautiful monolithic landscape and molds character into the house by using materials found on site, creating natural watchs d m aven his architecture.Yet the ideas of the interface between personality and architecture are translated very differently for the 2 projects. Nods idea of the interface was a unadulterated exposed cardinal while Wrights was more than clear and rational. This paper get a lineks to rise up out whether one of their renderings questionable, or it is Just harder to comprehend one than the other. Keywords record Integration Art Landscape Culture 1. INTRODUCTION Figure 1 . Illustration of the Phases of Museum Development The conceit of museums since the late 18th century evolved through 3 different phases (Figure 1).The first generation are mostly make by royalties as fail of their collections, the second generation museums are more busticular in presenting artworks and collections in their raw form, where exhibition spaces are intentional to segregate the works from any context using spaces that is ere and abstract. As art works progressed further, artists evolved to creating works that are more specific, works that interact with hedge and in like manner visitors.This concept itself brings out the definition of cultural landscape by Saucer (Saucer 1925, 46), where the art works themselves represents the cultural interference to the surrounding natural landscape. Here, the architect undertakes a special role as the direct influencer to the landscape. The alacrity Art Museum by Today And is one of the first of the 3rd emergence of museums, specially designed to house the works f Claude Monet, Walter De Maria and jam Turrets, or on a higher level, to integrate their works with the natural environment.The way Today And created his cultural landscape, interfacing with disposition with his strong use of man made materials concrete and glass, gives us a new perspective on how one interfaces with their surroundings. 2 THE ORIGIN The concept emerged due to a simile between the artists in the history of art they question modern art and architecture and th e quality of aesthetic experience in a multidimensional space. By congregating them into one space could form a beef up for aesthetic experience (Watchmaker and gigantic 2005, 83). Figure 2.Mashing, Japan (Source http//architects. Files. Wordless. Com/2011 /06/chichi_panorama Jpg) The chosen site (Figure 2) was based on the likes of the initial client, Choirs Effectuate whom had a special care towards the views of Sets Inland Sea and other islands from a place in Mashing (Watchmaker and Mammoth 2005, 83). The site was a good match with a three dimensional space envisioned by Monet a space that by itself is a piece of art giving birth to the idea of a space that blends art and architecture together seamlessly.Hence instead of a monumental twist sitting on the site, the create took the form of 2 an underground building with no apparent form. The visitor world experience each artists space, one by one independently, and was prevented from looking at the building as a whole. Upo n gathering all the experiences, they would then discover the structure in its entirety, and the consanguinitys and arrangements between spaces (Figure 3). Figure 3. Illustration of Separate volumes coming together in the site (Source Today And at Mashing art, architecture, nature. )The final museum itself, shown in Figure 3 embodies a mastery of light and materials that coverk to reconnect with the elements of art and nature. To maintain the alert environment and aesthetics of the site, And chose to bury the museum underground. Only a series of concrete openings and geometric pitchlights float among the greenery shown in Figure 4. He dedicated a separate space for each of the artists gallery, bounding them together with a trilateral court that connects all the exhibition spaces via a mixed sequence of spaces light and dark, open and closed. Figure 4.Concrete opening and Skylight 3 THE INTERFACE . 1 Today Nods swank Art Museum Mashing 3 From Section 2, we understood that An d made the decision to integrate art and nature as one by placing the building underground thus giving Chichi its name. Yet in his design, we see stark signs of man made influences to the site, the most obvious being the ingress of concrete volumes that encompasses the entire site. As visitors injects the 27,700 square foot reinforced-concrete Chichi Museum, they result discover the diminishing sunlight taken over by the disorientating semidarkness.The tunnel-like path provides a full separation from the external environment ND leads them into a square-sis forecourt carpeted with green stalks of bamboo-like grass (Pollock 2005, 116). This initial experience that And created as his trip up sounds sort of intimidating. The uniqueness and unfamiliarity created a rather daunting sense of smelling, and nature is nowhere mentioned or considered when one enters the space. Is the integration with nature only a surface treatment to the architecture by infusing the building undergroun d? by chance And was looking more into interfacing art and architecture together rather than interfacing the culture with nature. For our interpretation of a seamless interface with nature seem to be different from Nods radical representation of nature in his work. Yet where did our interpretation come from? 3. 2 Frank Lloyd Wrights Billingsgate Figure 5. Billingsgate and the terraces (Source HTTPS//blobs. Alt. VT. confrere/Kristin/files/2012/12/few Jpg) One of the historical buildings that perfectly epitomize the concept of one with nature is Frank Lloyd Wrights 4 Billingsgate.Wild animals live near it Trees surround it Water swirls underneath huge beclouded rest at its feet the houses terraces echo the figure of speech of the rock ledges below (Figure 5). Billingsgate seeks to find harmony with nature. Instead of scoping a natural landscape for its inhabitants, the Kauffmann, Frank integrated the waterfalls with the architecture and hence integrated the falls into their lives. Figure 6. Elevation and Section of Billingsgate with materials (Source Billingsgate Frank Lloyd Wrights romance with nature. ) Wright furthered the integration with nature via his selection of materials.He kept his selection to scarce 4 materials sandstone, reinforced concrete, steel and glass and integrated them as part of the natural environment (Figure 6). All the stone at Billingsgate was quarried from the click of the waterfalls. Beams are designed in an arc shaped Just so to allow tree to grow through the trellis. The chosen concrete was of a pale ochre color to match the back of a locomote rhododendron leaf (Hangman 2011, 40). Exposed steel was painted red to give a raw feeling reminding people of the red color of iron ore and also of the fiery method used to create steel.Clear glass was used to track the nature into the intimate of the house, some sequences becoming reflective like mirror-like surfaces of a calm pool, and at night, disappears to eliminate any distinct ion between the interior and exterior. Understanding Wrights design and linking it to integration with nature seemed almost redundant as the building encapsulates the whole concept. It is simple to relate the architecture as part of the landscape, and the concept of integration was strongly showed in every angle, which was not seen for the lineament of Chichi Art 5 Museum. 3. New Interpretation As a 3rd generation museum, perhaps we should not Judge the interface at its mere surface. Was there more to its looks for the Chichi art museum? From the Periphery of Architecture, And wrote Nature in the form of water, light ND sky restores architecture from a meta material to an earthly plane and gives life to architecture. A concern for the relationship between architecture and nature inevitably leads to a concern for the secular context of architecture. I want to emphasize the sense of time and to create compositions in which a feeling of transience or the passing of time is a part of the spatial experience. (And 2005, 465) Nods interpretation of the interface between architecture and nature showed that it should not be merely a visual effect, but a more in-depth understanding and experience towards nature. It is thus reasonable to feel that what And is doing with his architecture was in particular, to isolate natural elements in blending them with the architecture. Yes one would not feel the natural environment, for we have never experienced nature in its rawness. Our idea of sunlight goes together with landscape, with clouds, with mountains and seas.We do not see light as a unit on its own. Figure 7. A Collage of the Monet Gallery at Chichi Art Museum This ideology was translated rather well in the Chichi Art Museum project. For Motets Gallery where the 6 spud lilies situate, the experience starts with changing your shoes to soft indoor slippers at the shoebox followed by a vacant room before the exhibition gallery. The dim experience diminishes through the r ectangular open attract, where silky light trickles in. Once we enter the Motets room, the transparent veil of light surrounds us.The completely sinlessness atmosphere, the white frames, white walls, white ceiling, and white floors seem to be representative of the raw sunlight, as it fills the environment. This enabled the paintings to have an illusion that it is relieved of its endings to the frame and Joins the space as travel scenery (Figure 7). The gentle ramp that circulates around the central triangular lawcourt features a slit in the walls, exposing elements of light into the dim passageway creates a transition of space yet connecting the spatial qualities of the Monet gallery to the other galleries (Figure 8).This triangular motor inn exposes only rough stones at its surface, propelling vision from the visitors towards the sky (Figure 8). In James Turrets Installation of the Open Sky, visitors are given the opportunity to enjoy the natural sky IA a framed skylight and watch over the changes where visitors may see sunlight shining through the window, clouds drifting by or a lingering evening glow. Figure 8. The triangular courtyard (Source Chichi Art Museum Today And builds for Walter De Maria, James Turrets, and Claude Monet. The entire approach of Chichi Art Museum in integrating with nature forms a critical wondering(a) of the natural environment. It forcefully brings out nature via the use of concrete envelope. The physical interface here is the concrete building, although man-made, it seems to be the perfect medium to bring the isolated 7 tater into the art and architecture. The Chichi Museum is thus a successful effort between the architect and the artists, people and nature, acting as a specific artwork in itself. fifty-fifty the form as seen from the exterior, is like an art piece, infused within the mountains (Figure 9). This made the argument in 3. invalid as the approach took by And in creating a dramatic entrance was Justifiable if his intention of integrating with nature is as discussed. Figure 8. series of mediums illustrating the building infused into the site. (Source Chichi Art Museum Today And builds for Walter De Maria, James Turrets, and Claude Monet. ) The isolation of nature to provide the integrated experience is not a new concept. Even in Wrights Billingsgate, we can see hints of this method used. In integrating the waterfall into the architecture, instead of scoping a view, Wright chose to situate the house right on crownwork of it.