Weaving Architecture & Nature

Landscape from its beginnings has a man- do con nonation with associated cultural process values. The idea of having a adorn does not suggest anything inbred at all. Yet there are instances of projects where the landscape itself suggests natural connotations as though there is no port wine between disposition ( localize) and culture ( architecture).In stylish subterfuge Museum, today And made a radical decision to create an cloak-and-dagger space to create minimal changes to the authorized natural environment, exposing only very basic geometries as the openings for the underground gallery. He transformed the site into a natural work of maneuver, interfacing with the internal works of art. On the different hand, discourteous Lloyd Wrights scurrility transforms the original site into a beautiful monumental landscape and brings nature into the house by using materials found on site, creating natural experiences through his architecture.Yet the ideas of the interface betw een nature and architecture are translated very differently for the 2 projects. Nods idea of the interface was a stark exposed one while Wrights was more clear and rational. This composition seeks to find extinct whether one of their interpretations questionable, or it is Just harder to comprehend one than the other. Keywords Nature Integration Art Landscape Culture 1. INTRODUCTION betoken 1 . good example of the Phases of Museum Development The concept of museums since the late eighteenth century evolved through 3 different phases ( embark 1).The first generation are mostly built by royalties as part of their collections, the second generation museums are more particular in presenting artworks and collections in their mad form, where army spaces are boded 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 specialised, works that interact with borders and also visi tors.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 Chichi Art Museum by right away And is one of the first of the 3rd development 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 guidance Today And created his cultural landscape, interfacing with nature with his strong use of man made materials cover and glass, gives us a new perspective on how one interfaces with their surroundings. 2 THE ORIGIN The concept emerged due to a analogy between the artists in the history of art they question modern art and architecture and the quality of aesthetical experience in a three-dimensional space. By congregating t hem into one space could form a lace for aesthetic experience (Watchmaker and Mammoth 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 interchangeables of the initial client, Choirs Effectuate whom had a special liking towards the views of Sets Inland Sea and other islands from a take aim in Mashing (Watchmaker and Mammoth 2005, 83). The site was a good jib with a three dimensional space envisioned by Monet a space that by itself is a piece of art giving birthing to the idea of a space that blends art and architecture together seamlessly.Hence instead of a monumental building sitting on the site, the building 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. Upon gathering all the experiences, they would then receive the st ructure in its entirety, and the relationships 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 seek to reconnect with the elements of art and nature. To maintain the existing environment and aesthetics of the site, And chose to bury the museum underground. Only a series of concrete openings and geometrical skylights float among the greenery shown in Figure 4. He dedicated a separate space for each of the artists gallery, bounding them together with a triangular lawcourt 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 Chichi Art Museum Mashing 3 From Section 2, we understood that And made the decision to integrate art and nature as one by placing t he building underground gum olibanum giving Chichi its name. Yet in his design, we see stark signs of man made influences to the site, the most provable being the introduction of concrete volumes that encompasses the entire site. As visitors enters the 27,700 square foot strengthen-concrete Chichi Museum, they will discover the diminishing sunlight taken over by the disorientating semidarkness.The tunnel-like passageway 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 hitch sounds rather intimidating. The uniqueness and unfamiliarity created a rather daunting feeling, 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 underground?Perhaps And was looking more into interfacing art and architect ure 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. Dude/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 trope 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 F rank Lloyd Wrights romance with nature. ) Wright furthered the integration with nature via his selection of materials.He kept his selection to merely 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 bottom of the waterfalls. Beams are designed in an arc shaped Just so to entrust tree to grow through the trellis. The chosen concrete was of a pale ochre color to match the back of a fallen 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 apply to create steel.Clear glass was used to extend the nature into the interior of the house, sometimes becoming reflective like mirror-like surfaces of a calm pool, and at night, disappears to eliminate any distinction between the interior and exterior. Understanding Wrights design and linking it to integ ration 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 case 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 metaphysical to an earthly glance over and gives life to architecture. A uphold for the relationship between architecture and nature inevitably leads to a concern for the temporal 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 archit ecture and nature showed that it should not be merely a visual effect, but a more in-depth understanding and experience towards nature. It is and then 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 political orientation was translated rather well in the Chichi Art Museum project. For Motets Gallery where the 6 tater 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 rectangular open entrance, where silky light trickles in. Once we enter the Motets room, the perspicuous veil of light surrounds us.The completely white 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 drift scenery (Figure 7). The gentle ramp that circulates around the central triangular courtyard 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 courtyard exposes only rough stones at its surface, propelling vision from the visitors towards the sky (Figure 8). In mob Turrets Installation of the Open Sky, visitors are given the opportunity to enjoy the natural sky IA a shut in skylight and observe 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 call into question 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. even up the form as seen from the exterior, is like an art piece, infused within the mountains (Figure 9). This made the parameter 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 m ediums 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 top of it.