TAREK

so this is what i've been working on since Friday.  ROCKSTAR Amandine, has helped me with my whitebook, so that is starting to see the light of day. Your thoughts please

Drawing with/without light




On Entering the Church


Site Plan Render

the application of texture (alabaster) is proving to be an issue, working on trying to fix it.

I need to model all the arcs, but I pretty much know what needs to be done, so before that want to tackle the program/ ground treatment.  At the tables Oliver suggested it be like a planetarium, which i quite liked so I've treated the pews in a way where the first row starts at 90 deg, and the last row is greatly reclined.  Still not sure how to treat the altar, but I know I want it to be the highest point, and a the alpha and omega of some sort of processional track.  I've also tried to treat the pulpit, it looks a bit gratuitous now, but just wanted to see how it worked in plan, i think the premise is sound.  the entrance of the church is raised and the pews are sunk, and the area behind the altar is also lower, defined by the two ground arcs, which for the time being are stairs.

View From Entrance (form of opening TBD)


View From Pews


View From Pulpit


View From Above

This plate I would like to mill a sheet of perspex (sea green square), what would be milled out is a trough for the model to sit in (orange), and the profile that created it which would sit above the model.  And etch onto the sheet the logic behind the profile (max/min thickness) and the circles that create the curve. 

I'm not crazy about the key, but it was the only way I cold think of that showed clearly the like points, the corners of wedges that had a common point.  Suggestions?

a first attempt, now its about seeing how to draw the arcs that connect them

 

I decided that all the high arches which deal with storys of the divine, deal with light in some form or other.  The arch of the Cross, has many moments of near 0 thickness and thus are luminescent.  The arch of the Blessed Virgin allows for direct light into the space, but hidden within a fold and washes over a smooth surface.  The Main Story arch, i'm not sure yet.

High Arches



Arch of the Cross



Arch of The Blessed Virgin






Main Story Arch

I began to look at the interior wholistically and look at points of the story arches as being emitters with texture radiating from them.  The first trial was dealing with the intensity of texture, which would get greater nearest to the point of the story.  The second trial was doing the same in a more rigorous method, there us always texture, but for structural reasons, ribbing happens so the tension cable can fit through it, where there is ribbing the marble would have a thickness of 60cm, where as in the concave areas it could get very thin.

I don't know why!  Been in front of my laptop for the whole weekend, and don't have much to show (edited dwgs mainly).  Working now on how the main frame fits together in the corners (what a B****)

Going back to the circle.  The post tensioned cables are arcs of a circle, so I thought it could be interesting if the start to define the texture of the surface.  The basic premise of thick vs thin, is thick in the corners (story points), and thin in the center.  The first image shows the edge of the surface and one direction of tension cables.  The magenta profile affects the magenta structure lines etc. 

the two methods of introducing light 1) breaking the shell into two parts (which can then be linked to the transportation issue since the pannels as they are, are too large for trucks), or bricks, in which case the whole thing would be floated down the nile.  (the cuts in the blocks, are currently rectangular they need to be designed, not sure if its worth pursuing)

With the light creases generally determined, the next thing is to design the actual panels.  I've been looking at a bunch of books and images from the beginning of the year, and I keep coming back to baroque ornament.  The first image is showing a tension cable mesh, the second, trying to determine a possible language of ornamentation for the sides of the panel, which would draw the eye up to the story points.  The third image is showing how a light crease can be introduced and the light emanating from behind a heavily ornamented portion. Possibly most of the high points great treated similarly with extreme ornamentation which spreads out.