[Reference] Danteum | Terragni

 Danteum, model, front and rear view

The Danteum was a project that was envisioned to carry out the celebration of words of Dante,

 considered a primary source for Mussolini’s creations. It was to promote, in Italy and abroad, 

courses on Dante and to help initiatives that foster the character of Imperial fascist Italy . The

Danteum, as many nationalistic monuments, glorified the arts along with politics, and rendered

them transparent. Building function was to house the museum and the library, containing all

available editions of Dante. As Dante represented both medieval and ancient for Terragni, he chose

the relationship of medieval to ancient as a primary inspirational idea. He incorporated this notion

into the Danteum site and the building program. Set of watercolors were prepared as a presentation

material to describe the spatial qualities and experience of the building.

 

from: ' The Danteum', p.50, p.52 and p.54 

Danteum plan, level one   Danteum, decomposition of the golden rectangle
from: ' The Danteum', p.45

Danteum is designed with use of geometrical manipulations and golden section. It is symbolic
of Dante and Imperia. As a visitor, one takes on a journey, and moves through spaces as one
would move through the chapters of the Divine Comedy, where every change of environment
in the book is represented physically in the change of level in the Danteum. As opposed to
finishing in Paradise, difference is that Danteum journey ends in the room of Empire which is
positioned as to lay parallel to the Via dell Impero, street on which Danteum is located, thus
making Danteum a microcosm of Terragni’s conception of the Empire.

Danteum site plan in Via dell'Imperio. The Danteum is at upper left.    
The room of Empire,  the "germ of architectural whole"

from: ' The Danteum', p.40 and p.55 

Schumacher, Thomas L. The Danteum. New York : Princeton Architectural Press 1993. 

PROCESS

form finding process 2

 

 

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fin

form finding process

Form finding process

try to transform 2D pattern from Mandala to 3D. 

transform geometric logic into spacial design.

(model made by piano wire)

 

 

 

component is rotated follow the trajectory captrure from when ppl doing mandala yoga.

because i found mandala hv intimate relationship with human body. 

and when human body begin moving, the mandala start to rotate.

 

sequence?

4 stages in mandanla is Earth, Fire, Water, Air(wind).

I wanna transform this four stages into a series of spacial sequences.

earth ->  fire  ->  water  ->air

body   ->  speech  ->   mind

material     ----> no material

 

?

[ Chinese perspective in Mandala ]

I wonder if i use this way to express modern architecture, what will happen?

1) In Architectual Mandala, it always use the aerial view of Chinese perspective（cavalier perspective ) which can sufficient express the structure, plan and facades of the architecture all together at the same time. 

Chinese perspective, a perspective that had no explicit vanishing points; every scene of the scroll painting would be seen individually and a vanishing point that lies outside the viewport creates a disoriented view of the scene.
The Chinese scroll paintings show a development in time --a form. of "narrative art", in contrast to the paintings that were made in Europe at the time, which show a "situation" rather than a development.

2) It also drawing some relevant process and story about the building around it. 

i think it have the narrative quality.

 

 

Project Proposal: Spacial Intelligence in Mandala

I saw an impressive Sand-Mandala in Tibet last year. The whole process and pattern always in my mind. I truly believe Mandala has a magical power. On Oct 2009, I went back to Tibet to learn drawing Mandala Thangka.

Background

Mandalas are commonly used by trantric Buddhists as an aid to meditation, a spiritual map. More specifically, a Buddhist Mandala is regarded as a sacred space, a pure lands or a place of nirvana and peace. A Mandala, which is depicted with Mount Meru, can also represent the entire universe.

Tibetan architecture and Urbean Planning all follow the forms of Mandala, even the people. 

I want to choose mandala as my research topic and explore the mandala in geometry, mathematics aspects, inform the forward thinking and experimental mandala and output of the architecture and how space communicate with human body. 

People is an important part of mandala, it said when ppl moving in the mandala, it begin to rotate. It kinda like the relationship between ppl and space. When ppl moving in the space, feel the spacial sequence, became a part of the space.

My concern relate to investigate an narrative space based on Mandala. Since the initial design, the main issue is to find the potentiality of novel space derive from rationally research on the geometric logic in Mandala. The exploration will be done by osillating between digital methodology and physical experiments throughout the research process and finally cereate a research system (2D-3D-Space) and the spacial intelligence in Mandala.

Four stage:

Formation (Form Finding)

Conversion

Enternal Mind

Recreate
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Reference 5 (Installation): Lexus by Tokujin Yoshioka

 

Images from Tokujin website

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update on Nov 10

love this one so much..
actually it s made by 2 different artists, but looks v v similar..

 

 

Reference 4 (Painting): Still Life by Giorgio Morandi

I like Still Life painting v much.

In Italian. 

It s called "natura morta".

means dead nature.

Still Life/dead nature. Is that interesting?

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Giorgio Morandi

My favorite Still Life painter.  

His painting make me feel peaceful. I can also feel the power in his painting. In Still life, u can find the relationship between objects is v amazing.

 

 

 

 

－－－

Gerhard Richter

  

fin

Reference 3 (Architecture): Le Cobanon by Le Lorbusier

 

Plan of Le Cabanon: Radial Scheme and Circulation

 

L’intérieur du cabanon de Le Corbusier
Photos Marc Heller, Gérard Roucaute
© Région Provence-Alpes-Côte d’Azur – Inventaire général 

 

终极平面

柯布一直主张自由的平面，然而休闲小屋最引人注目的是最初动笔时确定的基准线和正方形框架，这不能说是自由的平面而是理性的平面，这个正方形平面实际上是 由9个隐形小正方形构成然后演绎成4个226厘米×140厘米的长方形和一个86厘米×86厘米的中央正方形来分割正方形空间，然而一个从入口进入的螺旋 形动线串联室内空间这个螺旋形动线，是柯布特有的构成原则，这个原则持续了几十年之久。

太极回旋运动

         柯布认为螺旋是成长的自然法则，有机的生命体都从属于和再现这种法则。我们知道柯布西耶被海中的海螺所迷恋，是因为海螺中隐藏着螺旋的运动，休闲小屋就是 将螺旋运动具象化，可见柯布构筑的是最有限的居住空间和自然法则之间的协调关系，这也是为什么柯布曾对一位来访的记者说“就是死在这儿也可以”，柯布已经 把它确认为精神回归的场所。

         柯布西耶的作品与螺旋形运动的关系已经是众所周知的事，然而柯布最初的休闲小屋草图，显示的力学图像是在一个正方形中做对称性回旋运动。休闲小屋的平面是 16平方米，而室内功能的分配为昼和夜两个领域，这两个领域的回旋运动实际上是一个阴阳太极图。我们还可以在日本榻榻米的组合空间上找到同样的类型，由此 可见，当寻找运动的规律时所有的图像都会呈现出相同性。柯布正是被这种自然法则所迷恋，几十年居住在这个南法尼斯地中海的海岸，并愿意与之同归。

         勒·柯布西耶的休闲小屋让我们思考，一个人一生到底需要多大的空间才够，或许身无长物这个成语，是中国人衡量理想生活方式和空间的尺度。

Reference 3 (Architecture): Kait Workshop by Junya Ishigami Architects

Photo by Iwan Baan


The client wanted to built a place where students could work on diverse self-initiated projects to make things. KAIT workshop consists with 305 steel columns. He want to only use columns to seperate space and make ppl is easy to found space.

"The studies we did to examine these issues became quite extensive. We did models in numerous scales ranging from small to extremely large. Sketches were made with the plan depicted in dots, to explore just what kind of spaces would exist between pillars. Studies of the plan were done with a program written for this project on an special CAD. We had an Excel program created to do trial calculations and give us general ideas on the structural soundness, and so on."

Photo by Iwan Baan

Photo by Iwan Baan

Photo by Iwan Baan