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Every room has an extended view through either a
glazed window, a doorway or an internal cut window.
These views will often pass through at least 3 sepa-
rate spaces and in rooms where this was not possible
a double height was used. This creates the sense that
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A plain white interior removes any depth a room or
series of rooms may show. By creating a two di-
mensional view it is hard to interpret the actual size
of each room the 16mm thick steel walls contain.
This bathroom is narrower at one end to exaggerate
the perspective view. From one end this gives the im-
pression that the room is longer than if it were a stand-
ard rectangular space. The wider end has a window
extending ones view out into the built environment.
Alison and Peter Smithson
Upper Lawn
1959-1962
references:
Lotus, no.119, 2003, pp. 58 - 73
Architecture and Urbanism, 2006 Mar, n. 3 (426), p.
112 - 117
A + P Smithson, Changing the Art of Inhabitation (Lon-
don, Zurich: Artemis, 1994)
A + P Smithson, The Charged Void: Architecture (New
York: The Monacelli Press, 2001)
References:
- Shigeru Ban, Princeton Architectural Press, 2001
- The Japan Architect no.20 ; Special issue 1995 Anuual
part 2, 1995
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Japanese house.
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up.
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connecting space. Due to this, the spaces are
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left out.
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one corner.
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than it is actually.
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of fabric for the curtains to go around the long
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larger than it is in scale.
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Michael Markham, Field Consultants
Holyoake Cottage
2000
Holyoake Cottage, Hawthorn, Melbourne, Australia Ar-
chitectural Review Australia, no.73, Spring 2000
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Weekend House, apan, 1999
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elevation 1:500
Leça Swimming Pools
Alvaro Siza, 1966
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A single wall perfoms two fun-
cions. First to direct the bathers
to the swimming pool, second to
lead the eye to a chosen view, in
this case the atlantic ocean.
The eye naturally follows lines,
a curved line will draw in more
information into a space than
a straight line as the view is
captured perpendicular from
the edge. In this example the
outer edge facing the ocean is
curved, much like an ampithea-
tre.
The only architectural presence
seen from the road are the deep
shadows formed by parapetted
walls.
The program of the swimming
pool have been divided into two
contrasting elements. Once in-
side the changing rooms there
is no view of the ocean and
the shadows that run off the
thick concrete walls darken
the space. This is designed to
enhance the transition from
changing room to natural envi-
ronment where is appears that
all built form has disappeared.
There is an area of transition
between two edges. The two
edges being the hard sea wall
and the gentle ocean. Here you
can see the slow break up of
lines into angles then curves.
This prevents any strong juxta-
postions occuring which may
threaten to contradict the idea
of the architecture existing sec-
ondary to the natural environ-
ment.