amendakelders

[amendakelders]

Reflection

When I first realised I was going to have a gap period i was very worried that i would become very lazy and bored. Since I like to be very busy. I started planning months ahead as much as possible things i wanted to work on in order to keep myself busy. Since starting the 2nd year and getting a lot more “freedom” in manner of working/amount of assignments compared to the 1st year I constantly felt annoyed when my week did not feel busy enough.

During the minor however, I for the first time realized the importance of working for yourself. Not because I was told to make a certain step in the process by a teacher but because I myself wanted to make progress. Because the minor was a semester instead of trimester i got much more attached to my project. It became a design of what I envisioned and found important. Not a Semi tailored thing based on what I thought the teachers liked. I was doing it for ME.

I was very happy that i had this epiphany before starting the twisted studio project. Because I could now  “test” out this realization of designing what I am proud and interested in. When Peter gave us the opportunity to really think about what we wanted to learn I had so much that I didn’t wanna narrow it down to one thing. What i did notice was all of what i wanted to explore were theoretical knowledge based things.

In activity we cram down the design process to focus on the end product. Which never really (for me) gives me the time to digest relevant information or projects that already exist. This could be very helpful and time saving with certain steps. instead of having to re inventing the wheel every time. So my initial impulse was to create a database of design related information. A database i could acces when starting a new project and see what I can learn from people who have already tried before me.

Since “design database” can be very broadly interpreted i narrowed it down to Architecture. which is still verryyyy broad. So i narrowed architecture down to urban design. Urban design related to the public realm. Why the architects take certain decions(designs) and how we as users adapt to these designs became what I focused on.

Everyday i eagerly set out to take pictures or go buy new books to further expand my knowledge. What I am most happy about is that there was not one day were i had to tell myself to go to work. I would just find myself photographing or reading into an interesting topic i found in a book. It came naturally not because i was afraid of being bored but because i had an urge to discover. And by discovering I played.

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The database

Everything i studied during these weeks I took note of. Based on these notes I am going to create my database. A leperello database containing the most “pronounced” types of architectural and urban design. 

These are the categorized branches of the things I studied

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Color Psychology

One of the most striking results concerning color connotations and color mood associations is its consistency cross-culturally from one individual to another and group to group. The great number of studies comparing human subjects worldwide, such as men to women, children to adults, laymen to architects, and even monkeys to humans show that color is an international visual language understood by all.

The impression of a color and the message it conveys is of utmost importance in creating the psychological mood or ambiance that supports the function of a space. A classroom has a different function than a hospital patient room; an office space is not a production line, etc.

To mention a few examples concerning colors and what they convey: Pastel yellow gives the impression of sunny, friendly, soft. The message in the interior space is stimulating, brightness, coziness. Red is arousing, passionate, provocative, fiery, aggressive. The message in the interior is aggressive, advancing, dominant. Green is balancing, natural, calm with the message of simplicity, security, balance. White expresses open, vast, neutral, sterile. The message being purity, sterile, emptiness, indecisiveness.

Obviously this is a very small example since all colors change their character when modified in their lightness factor (light to dark) and saturation.

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Visual Ergonomics and Color

Probably one of the least known factors of appropriate color specification is its role in safeguarding visual efficiency and comfort. The eye's adaptation process involves the immediate reaction of the eye to changes in the degree of illumination. Lower light reflectance causes the pupil to dilate, and the reverse is true for higher reflectance. The eye sees luminous density and not the intensity of illuminance. Luminous density is what the eyes receive when light is reflected from a surface (floors, walls, furniture). If the differences between the luminous densities within view are too great, the iris muscle is strained due to constant adjustment, thus causing eye fatigue. Studies have shown that appropriate differences in luminous density can prevent eye fatigue and raise visual acuity, and thus also productivity.

The colors of surfaces absorb and reflect a certain amount of light. These measurements are referred to as light reflection values. Practically all paint companies show them on their color fan decks under LR or LRV.

The international norms are the 3-1 light reflection ratio within a space. This suggests that floors should reflect about 20%, furniture 25-40%, walls 40-60%. The 3-1 designation means the lightest color (60%) divided by the darkest (20%) is a ratio of 3-1. However, visual ergonomists are not color designers. A yellow wall at 60% is not a yellow anymore but a tan. The only solution is if the walls are raised to 75% light reflection for example, so must then be the percentage of floor and furnishings also be raised to insure that there still exists control of extreme contrasts in dark and light. Interesting fact is that if these rules were known by the design community, white walls would not exist – only ceilings are where 80-90% is accepted.

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Color Study: Squares with Concentric Circles by Wassily Kandinsky

Unfortunately Kandinsky didn't distinguish between blue and indigo. Apparently they were the same to him.Green: stillness and peace, but with a hidden, passive strength. "Green is like a fat, very healthy cow lying still and unmoving, only capable of chewing the cud, regarding the world with stupid dull eyes." Translated into sound: quiet drawn out middle position violin.

Wassily Kandinsky's art explored the relationship between color and its viewers. He eschewed the greys, browns, and blacks of Cubism, embracing color as the primary vehicle for expression. In doing so he completely separated painting from a need to depict a subject. The goal of Kandinsky’s art was to capture music in a plastic medium, to evoke the same feelings a piece of music could evoke through shades and hues.

The theories he developed about color and meaning would prove influential in all creative fields, with the De Stijl movement expanding his philosophies and incorporating color into industrial design and architecture. Employing the color wheel, Kandinsky went through each hue, explaining the feelings it evoked, emotions it captured, and the sound it "made."

Red: alive, restless, confidently striving towards a goal, glowing, “manly maturity.” Translated into sound: "sound of a trumpet, strong and harsh," Fanfare, Tuba, deep notes on the cello, clear violin.

Orange: a mixture of red and yellow, radiant, healthy, serious. Translated into sound: middle range church bell, an alto voice.

Yellow: "warm, cheeky, and exciting, disturbing for people, typical earthly color... representing madness in color, an attack of rage, blind madness, maniacal rage." Translated into sound: loud sharp trumpets and high fanfares.

Blue: deep, inner, supernatural, peaceful. "Sinking towards black, it has the overtone of a mourning that is not human... typical heavenly color." Translated into sound: the flute, cello, and organ.

Violet: a mixture of red and blue, "morbid, extinguished...sad." Translated into sound: the english horn and bassoon.

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Color

When growing up in the spirited and multicultural Caribbean I was always surrounded by color and varying architecture. This abundance of color never came home to me until I moved to the Netherlands to study. I arrived in a place where at first every building seemed to look the same; all bricks no variation or bright colors whatsoever.

When I visited home for the first time after 1 year it felt as if I had arrived in an alien, totally new country. During the drive from the airport to home, I realized for the first time how much color there was on my tiny island! Every building, every billboard, every person and every car was brightly colored. That vacation I fell in love with the colors of my culture.

After being overwhelmed by this new color awareness I started noticing our island’s architecture and infrastructure. The numerous cultures that mix together on the island blossom architectural styles that vary from neoclassical to colonial to art deco to modernism. From material use to construction techniques; each style that I observed taught me something new for my own designs.The beautiful architectural variation was amazing to become aware off.

Designing this database is a way to observe these two completely different ways. Comparing and learning from each styles.

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Telling a story

After my talk with the group I had a lot of input floating around my head. I know now I want to tell a story but am a bit lost now what story I want to tell. What I did the last two days was shooting without thinking, mostly macro shots. while shooting I vaguely had the idea of capturing the texture/color of architecture.

When looking back at the things I shot I am not impressed or triggered. since I am going to Portugal today i really want to have a “story line” figured out before I arrive so I can use the new surroundings to the max. By the end of today I will have a plan.

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Fort Werk aan 't Spoel park

Fort “Werk aan ‘t Spoel” is a national monument dating from 1794. Part of the New Dutch Waterline a military defence line making use of intentional flooding - it served to protect one of the inundation locks. The municipality of Culemborg and Foundation Werk aan ‘t Spoel would like to see the derelict fort become a public attraction. In its new function, the fort and a yet to be built fort house should be able to accommodate a wide variety of events and activities initiated by the inhabitants of Culemborg. 

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The Paleisbrug park

The park on the bridge is in line with the views, but also with greenery along the Dommel River and the recreational area around the Hofvijver in Paleiskwartier. By turning the bridge into a park-like area, more than 2,500 m2 of park has been added to the centre of Den Bosch. Weather-proof steel Plants, trees, paving, furniture and lighting have been integrated in folded sheets of weather-proof steel. The rusty colour of this steel is characteristic for the Paleisbrug. Weather-proof steel is a steel alloy with a dense corrosion layer, bringing the corrosion process to a virtual standstill. This means the metal can be left exposed.

The new green creates a new eco system in the city centre, offering room for new flora and fauna. A drip feed watering system with detection has been installed in the flower beds on the bridge. The discharge from the planters is fitted with an additional overflow pipe, so that the plants will never receive too much water. In the evenings, the plants, benches and paths are lit up by LED lighting, which means the bridge is a pleasant area even after sunset. Solar collector In order to be able to keep the bridge free from ice during the winter, floor heating with a low temperature was a departure point in the design.

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Hovenring, Circular Cycle Bridge

As Eindhoven City Council refrains from cyclist underpasses and didn’t want a level crossing roundabout either, they asked Dutch bridge specialist ipv Delft to look at possible solutions. A circular cable-stayed bridge soon appeared to be the best option.

One of the challenges of the design process was the spacial integration. The existing infrastructure and buildings set the boundaries for the grades of the slopes leading up to the roundabout. As space was limited, it was decided to lower the ground level of the intersection underneath by a metre and a half, allowing for a comfortable slope for pedestrians and cyclists.

[amendakelders]

Dutch Bridges

‘I have been inspired by the Torensluis bridge across the Singel,’ she says. ‘That bridge is magnificent, much more than just a bridge, it is a square. I wanted to achieve something similar at the Zuidas District.’ That is what architect Liesbeth van der Pol had in mind for the new ‘Lex van Deldenbrug’ bridge across the Boele Canal (Boelegracht), Amsterdam

The Lex van Delden Bridge not only connects the Boelelaan with the Gershwinplein but more-over the city centre to the suburb. ‘That is why it is not just a means to cross on foot or by bike, but also offers the opportunity to give a moment’s thought to all that is happening in the city. 

The bridge allows traffic to cross and at the same time it offers a stopping place, where one can comfortably sit down and have a good look around. Tables, chairs, and residents enjoying a glass of wine in the evening sun.

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The Hague Central Station a cathedral of light

Benthem Crouwel Architects has designed the new station as a roofed urban plaza, a place for residents and commuters alike. Its additional entrances have strengthened physical ties between the city centre and the financial district . There are four entrances in all and this foursidedness returns in the roof, which has been designed as a diagonal pattern of lozenge-shaped panels. These present a spectacular play of light and shadow whenever there is sunshine. The lozenges provide ventilation by opening automatically in warm weather, act as solar protection, contribute to the acoustics and open as smoke vents should fire break out.

Eight elegant columns support the station roof, which is the size of two football pitches. The station building, which measures 120 by 96 metres and is 22 metres tall, is almost entirely of glass. Once inside, all modes of transport (train, tram and bus) as well as retail and hospitality areas can be taken in at a glance. The design provides a natural and flexible organization of traffic flows. Multiple routes are possible, in fact every traveller or passer-by creates a route of their own. The new station conveniently locks into Haagse Loper, the pedestrian boulevard running diagonally through the city, and the station concourse has itself become a meaningful public space.

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Rotterdam Central Station duality

One of the fundamental elements of the Centraal station was the difference in the urban character of the north and south side of the station. The entrance on the north side has a modest design, appropriate to the character of the neighborhood Provenierswijk and the smaller number of passengers. The entrance gradually connects to the city. In the Provenierswijk the character of the 19th-century Dutch provincial town is strengthened. Large architectural extensions are avoided on this side of the station, the presence of green is ameliorated and the station is transparent.

In contrast, the grand entrance on the city side is clearly the gateway to the high-rise urban center. Here the station derives its new international, metropolitan identity from the hall made of glass and wood. The roof of the hall, fully clad with stainless steel, gives rise to building’s iconic character and points to the heart of the city.

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Utrecht Central Station wave

During the design phase Jan Benthem and Mels Crouwel had the idea to design the original flat roof of the Central Station as a wave that radiates a dynamic movement and also functions as a natural way finder. Transverse to the tracks, in the longitudinal direction of the hall, the wave refers to the entrances and exits. The wave has three ‘undulations’: the highest above the train station, the lower ones on each side contain the tram and bus stations. The waves also represent the logical distribution of functions in the station.

To receive more natural daylight in the terminal, glass skylights were designed, which also function as smoke hatches. The undulating movement is emphasized by the continuous LED lights on the ceiling. Thanks to the significant wavy shape of the steel roof and a relative low-rise building (18 meters high) the station is clearly recognizable among the neighbouring buildings and offices.

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Dutch Train stations

In a very short time, Dutch rail travel and train station surroundings have had an intensive makeover. Six central stations Utrecht, The Hague, Rotterdam, Arnhem, Breda and Amsterdam South are called the New Key Projects since 1997: projects where not only the train station is transformed , but also the connecting surroundings around the station. This integrated approach to station and station environment reinforces the identity and vitality of the city.

These new train stations are also referred to as ‘cathedrals of a new era’: public transport terminals that provide travellers and city dwellers with various comforts and functionalities in the area. The past few years, one after the other station has opened, manifesting themselves as ‘city buildings’ in five major city centers.

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yesterday for the first time instead of walking around looking for instances I sat and observed. I went to the station chose a spot where I wouldn't be noticed easily and started shooting. An obvious pattern that was immediately evident was how everyone was either looking at their phone or at least had it in their hand. regardless if they were walking or waiting.

The second thing i noticed were all the people that instead of using the available sitting area stood at “random” spots in the area. it did not seem to matter how long they had to wait. Some stood for a minute one even for 20 minutes. Usually the ones that would stand and wait were the ones that were waiting for someone else.

Sitting really helped because I got to know the place more and more and eventually it started feeling like i could time what was going to happen.

I am now in a state where I observe things that happen intentionally or unintentionally. I want to “speed” up the process at which I notice these things so I decided that starting today I would start to every day research existing projects. Exploring what these project aim to intentionally want to influence,

[amendakelders]

In addition to taking pictures I also bought this book yesterday in order to get a better base knowledge of what I see around me. Studying this book will hopefully help to be able to describe and understand better why certain design choices are made in the cases I study.