The finished product. Check out The Inverted Violin in SketchUp. Read on for Animated Sections, Images, Sketches, and description.
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| The 'Front Entrance' |
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| Studio Stradivari |
One important note; the music stand in Studio Stradivari was not constructed by me, but sourced from the 3D Warehouse. All other elements are original.
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| Studio Kimura |
I decided to use only three textures from my set of 36 in this submission. 'Smooth' was used on the rof and underside of Studio Stradivari. 'Opaque' was used for Stradivari's windows. 'Layered' was used extensively on the bridge and in the curved floors of Studio Kimura.
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| Smooth |
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| Opaque |
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| Layered |
The violin functions through a balance of tension and compression: the strings are wound to high tension, compressing the body of the violin longitudinally. The strings place pressure on the bridge at the rear of the body, compressing the upper panel of violin. This compression is transferred to the sound post within the violin. This compression not only holds the bridge and sound post in place, it also allows the transference of vibration from the strings into the body cavity where it is amplified.
I inverted this concept in constructing Studio Stradivari; the studio space is suspended from the uppermost support - the 'bridge' - whose physical form references the four strings of the violin. The studio space itself is suspended from floor to ceiling by cables. This system of hanging each surface beneath the one above extends to the spiral staircase and all the way to the ground. This hanging structure holds the system of cables in tension, and touches the lower surface - the selling floor - only lightly, and the weight of the whole studio is transferred to the ground only through the bridge above.
The space for Studio Kimura has been designed to be minimal and clean. The space occupies the underground section of the structure, and is simple, and uncomplicated.
The stairs are designed to reflect the work of the client. Both stairs have been intentionally designed without balustrades. I made this decision on reflection that the work of both Stradivari and Kimura is highly refined; a statement of purity and elegance, without the need for embellishment. In addition to this is the consideration that I intend only for my client to enter his studio space. In a practical sense, the lack of safety features is a useful feature to ensure the privacy of my clients while they work.
The upper stair is light, delicate; an intricate balance of elements to reflect the precision and subtlety required to make a high quality violin, and a structural metaphor for the transcendental potential of music.
The lower stair is the only element of Kimura's space where I allowed myself to explore an element of intricate detail. The concept for the lower stair is a metaphor for riding the motorbike that ascends along with Kimura. The staircase is realised as a series of cantilevers anchored in alternating sides of the stair well. The rationale for this approach is that in order to safely reach the top, Kimura must pay attention, and keep the centre line. As with motorcycling, the further you stray from your centre line on this staircase, the greater the danger. As with riding, even when safely traversing, Kimura is not entirely safe.
The staircase rounds two 90 degree bends. This presented a unique challenge for the way I wanted to construct the stairs. The bottom right plan below shows this concept from base to top. The bottom left is an early concept sketch to prove that it could work. The interlocking mechanism of this staircase is a small nod to the complex mechanical workings of Kimura's design, and the corner also extends the metaphor of riding a motorcycle. The danger here is greatest when rounding a tight corner; The path narrows, the way is not as clear, and to the inside of each bend is a void with no safety measure preventing a fall.
The stairs are designed to reflect the work of the client. Both stairs have been intentionally designed without balustrades. I made this decision on reflection that the work of both Stradivari and Kimura is highly refined; a statement of purity and elegance, without the need for embellishment. In addition to this is the consideration that I intend only for my client to enter his studio space. In a practical sense, the lack of safety features is a useful feature to ensure the privacy of my clients while they work.
The upper stair is light, delicate; an intricate balance of elements to reflect the precision and subtlety required to make a high quality violin, and a structural metaphor for the transcendental potential of music.
The staircase rounds two 90 degree bends. This presented a unique challenge for the way I wanted to construct the stairs. The bottom right plan below shows this concept from base to top. The bottom left is an early concept sketch to prove that it could work. The interlocking mechanism of this staircase is a small nod to the complex mechanical workings of Kimura's design, and the corner also extends the metaphor of riding a motorcycle. The danger here is greatest when rounding a tight corner; The path narrows, the way is not as clear, and to the inside of each bend is a void with no safety measure preventing a fall.
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