Paper Model Scheme 3 Development

 Emma Farmer: Refined Model scheme 3, March 2013, AutoCAD, 180gsm card & PVA glue.

Refined Scheme 3 Drawings

Emma Farmer: Level 1 Plan of refined scheme 3, March 2013, Autodesk Revit & Adobe Illustrator.

Emma Farmer: Level 2 Plan of refined scheme 3, March 2013, Autodesk Revit & Adobe Illustrator.

Emma Farmer: Section of refined scheme 3, March 2013, Autodesk Revit & Adobe Illustrator.

OUTLOOK DIAGRAM - Client Groups Private Outlooks

Client Groups Private Outlooks

- Large arrows represent full visual outlook

- Small arrows represent limited outlook

Emma Farmer: Outlook Diagram for each client group, March 2013, Adobe Illustrator.

AREA DIAGRAM - Client Groups Site Allocation

Client Groups Site Allocation

- The Group of 5 Friends are allocated the front as they are the most likely to be coming and going at late hours. The outdoor living is also placed on the second level as there is little requirement for a private grassed area.

- The Multi-Generational Family is pared with the Group of 5 Friends as they have similar sleep/public/private time use.

- The Retired Couple are pared with the Nuclear family as they have similar sleep/public/private time use. Due to their retirement, they are also likely to be home during the day and can interact and help support the young parents of the Nuclear Family.

The Nuclear Family is located at the back of the site due to having young kids. The further away from the street the safer they are. They also have the largest direct outdoor area as they require it the most for the children to play.

The Communal area runs down the south side of the site and acts as a threshold between the groups. Communal services such as laundry and toilets, as well as bike storage, garden tools and mailboxes allow groups to interact.

Emma Farmer: Area Diagram for each client group on site, March 2013, Adobe Illustrator.

SCHEME DEVELOPMENT

Emma Farmer: Massing layout S1, March 2013, Ink on Paper.

Emma Farmer: Massing layout S2, March 2013, Ink on Paper.

Emma Farmer: Massing layout S3, March 2013, Ink on Paper.

Emma Farmer: Mass Model scheme 1, March 2013, AutoCAD, 180gsm card & PVA Glue.

Emma Farmer: Mass Model scheme 2, March 2013, AutoCAD, 180gsm card & PVA Glue.

Emma Farmer: Mass Model scheme 3, March 2013, AutoCAD, 180gsm card & PVA Glue.

TIME DIAGRAM - Space use for Client Groups (typical Mon-Fri)

Emma Farmer: Time Diagram of Public/Private space use, March 2013, Adobe Illustrator.

BRIEFING DIAGRAM - Requirements for Client Groups

Emma Farmer: Briefing Diagram of spaces required, March 2013, Adobe Illustrator.

DIORAMA - Personal Ideal

Diorama of a future ideal home

Key Elements:

- Timber Weatherboards
- Black Framed Windows
- Internal courtyard
- Fruit Trees
- Outdoor BBQ area
- Chickens!     

 Emma Farmer: Diorama of Ideal home, March 2013, Card, MDF board, Paper & Glue.

Collection of Physical Artifacts

Collection of Physical Artifacts found on the threshold between the home and the land.

HISTORIC RESEARCH - Ideal Home 3

Patterson Associates (2010)

Pattersons Associates: Local Rock House Plans, http://www.pattersons.com/#/gallery/LocalRockHouse/1 (accessed 19.03.2013).

The Local Rock House represents an ideal home for the 21stCentury, where the houses are getting larger and more introverted, surrounded by high fences to create privacy. The view of the home from the street is often concealed, more privacy representing more wealth. The homes are designed to be luxurious, with larger open plan living spaces both inside and outside, multiple living rooms and larger garages to accommodate the growing consumerism of our society. Another key ideal of the 21st Century home is individual and private spaces, resulting in larger homes to allow each family member their individual bedrooms and sometimes bathrooms. The location is a key component to the ideal home, the views of the New Zealand landscape being highly desirable, houses no longer focused on being one with the site but an observer of the site. Having a large outdoor living area is an important component to the home, often including a swimming pool which reinforces luxury as an ideal.

Emma Farmer: 21st Century Ideal Home Collage, March 2013, Adobe Photoshop.

HISTORIC RESEARCH - Ideal Home 2

Group Architects (1950’s)
The Lush House represents an ideal home for the 1950’s where there was a change in the way the house and land were connected. The land became a key component to the ideal home, where the connection to the site allowed for the use of outdoor living with a better indoor-outdoor flow. A key component to the ideal New Zealand home was the quarter-acre site with a large backyard which allowed the kids to play. The houses were also orientated towards the sun, specifically designed for the New Zealand environment; many also had fruit trees and vegetable gardens. The internal layout of the house evolved to one with a more open plan living where the kitchen and living are combined. The exterior of the home was a modest one, some key ideals being simplicity, sanity and harmony with nature.

Redrawn by Nick Sayes: Plan of the Lush House; Barry McKay Industrial Photography, Group Box: Lush House, Group Architects: towards a New Zealand Architecture edited by Julia Gatley p93.

 

Emma Farmer: 1950’s Ideal Home Collage, March 2013, Adobe Photoshop.

HISTORIC RESEARCH - Ideal Home 1

Bay Villa Ideal (1900’s)
The bay villa represents an ideal home for the 1900’s where the home is a visual representation of one’s social status. Simplicity was associated with poverty whilst complexity showed wealth, hence the more intricately adorned the villa the higher the social status. The villa is designed to represent the English lifestyle, bringing along many of the English ideals, where the ideal home is one with a picturesque image when viewed from the street. The veranda is an important part of the ideal home as it was used to show wealth and leisure at the ability to sit and observe the neighbourhood and workers. The picket fence helped to represent the threshold of the home, it was not used to create privacy, instead it encouraged communication within the neighbourhood. 

BRANZ: Typical small villa plan, http://www.renovate.org.nz/ (accessed 14.03.2013)
Victorian Age 1850-1900, “Home Building 1814-1954 the New Zealand tradition” p13.

Emma Farmer: 1900’s Ideal Home Collage, March 2013, Adobe Photoshop.

CONCEPTUAL MODELS

Emma Farmer: William Gilpin Concept Model, March 2013, Plastic glasses frame, White paint & Acrylic.

William Gilpin 'Three Essays'
The reading talks about exploring what makes something picturesque. It points out the idea that everyone views things through the eyes of their training, it cannot be narrowed down to one thing, it is the combination of layers that make it beautiful. Picturesque is more than an image, it is an ideal, a lifestyle, an emotion or feeling.

Emma Farmer: Michael King Concept Model, March 2013, Pot plant, MDF board on black card.

Michael King 'The Penguin History of New Zealand'
The reading talks about the New Zealand landscape and mans impact on the land. When NZ was colonized we tried to alter the land to be like the 'English Picturesque'  (rolling meadows). However, in doing this the land deteriorated and we lost not only the english ideal picturesque but NZ native picturesque.

 Emma Farmer: Francis Pound Concept Model, March 2013, Perspex & MDF board.

Francis Pound 'Frames on the Landscape'
The reading talks about the picturesque and how the meaning is "like a picture". There are strict rules for painters, the painting must consist of a foreground, mid-ground and background. objects are re-arranged to fit the 'rules' of picturesque images. Using John Guly's painting the subject (landscape) was abstracted it and used as the frame.

John Gully: Mount Cook, 1872, http://collections.tepapa.govt.nz/theme.aspx?irn=941 (accessed 20.03.2013)

 












Geoff Park 'Theatre Country'
The reading talks about the idea of Picturesque being about the 'captured view' more than the view itself. It talks about the Claude Glass and how people would turn their back to the view in order to see it as 'picturesque' in their claude glass. I used a piece of glass to represent this idea of the picturesque being the reflected image. Glass allows images to be reflected while still allowing the image behind to be seen meaning what you view becomes layered, altering the 'picturesque image' you have turned your back to and instead creating a new picturesque. It also draws on the ideas from William Gilpin's reading about the combinations of layers which make the image 'picturesque'.

Emma Farmer: Jeremy Salmond Concept Model, March 2013, MDF board on black card.

Jeremy Salmond 'Old New Zealand Houses'
The reading talks about how New Zealand has no style, all our houses are European copies. However, it talks about the way the NZ 'copies' were built becoming a style in itself due to the emerging "carpenter architects". The essay talks about pre-manufactured parts being attached to the houses simply because they were there. This model draws on that idea or pre-made details being attached without following a particular design asethtic or style of building. "The took the simple 'Georgian' cottage and added American gothix bargeboards and the Anglo Indian Verandah." It is the 'mix-match' of different styles which gave NZ houses their own style.