Week 3: SketchUp

In class last week, I came up with two simple stair case concepts to fit my model from my last post. For Kimura, it was a simple cube carved into the ground, lines with a series of cantilevered platforms that met in the middle of the void to create a path. The stair was to act as a metaphor for riding; the further you stray from the centre line, the greater the danger, and even in your safe zone, you are never really safe. You must always pay attention.

For Stradivari, it was a skeleton spiral suspended by wire from the base of this hanging workshop. The aim of creating an insubstantial catwalk was to emphasise the ethereal and transcendental in music, and to complement the fragile and delicate process of violin making.

To respond then to a completely unrelated space took some thought. First, I thought through a new staircase for Kimura, with a new above ground workshop space in response to the stimulus of 'Standing.'

I retained and extended the metaphor of the initial staircase. Now I have a series of cantilevers meeting in the void to create a path, but this second iteration comes with an enhanced sense of danger. Not only is there no balustrade, but the path is fragmented. The first step is not connected to the ground, nor are the upper and lower halves of the stair in any way connected.

Taking my inspiration from discussions with Russell last week, I incorporated a series of interlacing metal beams to act as the supports, and I took the opportunity to further extend my motorbike metaphor. To me, this staircase does resemble a piece of machinery, and the interlacing metal spokes that hold it all together mirror the spokes of a wheel.

With the concept for Kimura's stair firmly in my mind, I moved on to the challenge of Stradivari's stair. All of a sudden I had to deal with the idea of Stradivari being buried underground, yet responding to the stimulus of 'Posing.'

And so, I cut in to the side of a hill to create Stradivari's workshop, clad in glass around all exposed surfaces, not only allowing the passage of light, but creating a space where the work of making musical instruments would be proudly on show. To complement the work being carried out, all other surfaces in the workshop are clad in timber. This choice continues into the lengthy staircase outside. 

The stair well itself references a back stage space; the ascent is hidden from view, and not until Stradivari is at the pinnacle, above his showroom space may he be seen. It is at this point that the path of Stradivari cuts sharply out of the confines of his stepped tunnel, and at which the private and intricate process of constructing a violin gives way to the public performance of showcasing his art. 

And here are the sections that began this process. It's all a bit messy this week; an indication of how much I actually did stress over how my designs would work, and what I wanted them to do. They still have a lot of work to be done. 

The Workshop Section. Posing, Standing

The pain this stair case caused me...

Relatively simple. A nice break.