1. Through a series of architectural sculptures
I have tried to captured the main essence
of this building. As an extrusion from the
buildings facade, true to the Donald Judd
style of the building I have designed three
cubes with individual identity, symbolism
and counterpoints to pay tribute to the
architecture. The first cube symbolizes the
massiveness of the building. This cube is
made in the portland stone and are resting
heavily in the south western part of the room.
Seen from the South the cube is massive,
but when walking around the cube it is
revealed that is actually hollow and narrow
lines are cut out through out the structure to
break it up and lighten it like in Peter Zumthor
Therme Vals. Further the structure is in half
the size of the other cubes. This is done to
create a counterpoint to the massiveness of
the original structure.
The second cube consists of a thin frame
outlining the shape of a cube. The cube
seems fragile but it is twice the size of the
portland stone cube and it is also supporting
the roof counterpointing its fragility.
The last cube is placed just outside the
door within the perfectly square openings
in the facade underlining its relationship to
the building. The Cube is made in mirror
and reflect both the light and the nature
surrounding the building. This symbolizes
the natural light in the building as well as its
relationship to the surrounding nature. As a
counterpoint to the natural light and nature,
a dark space with limited view and access to
nature is created between the cube and the
entrance.
The cubes are given its location to visually
balance the room, the heavy cube is placed
in the visual lightest area while the fragile and
light cube is placed in the visual heaviest part
of the room.
T R A N S F O R M AT I O N
R O Y A L C O L L E G E O F A R T
C A R L - A N D R E A S B E R G A S P E L U N D
Caruso St John has made a cafe in the Chiswick park that seeks a very direct engagement
with its neoclassical context. A single-storey pavilion, encircled by an arcade of Portland
stone piers, its image is essentially that of a little temple, if one that has undergone
considerable abstraction. For one thing, its proportions are of a stolidness that feels closer
to the “one-thing-after-another” mindset of a Donald Judd sculpture than the palladian
architecture of Burlington. Wide piers read as short lengths of wall rather than columns
and on the principal elevation frame three perfectly square openings. Inside of the walls or
colloums the heavy construction is resting on a thin shell of fragile glass creating a visual
counterpoint. These massive windows washes the whole interior in bright natural light while
nature is surrounding the building.
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