NOAM HAZAN

Spent the day working on the mould for the resin model - unfortunately the method I chose was so much harder than expected. Wax or adhesive PP tape would have been MUCH easier!! - Will know for the next time I need to cast the 3rd floor of an entire city block. 

Viewing the third floor as an elevation permits the possibility to observe the role of the new urban landscape within St Pete. 

Through elevations, peeling them off one by one will reveal the condition of the 3rd floor and how it interacts with the city -  a play between interior and exterior. 

I have spent the last few days story boarding and composing the plates for my presentation tomorrow with Natasha. Still trying to make it run smoothly. Hopefully by tomorrow it will be! 

Currently working on my presentation and building the rhino model...

-         From the room to the universe and back again.

Within the monotonous Wunderkammer that is the Hermitage the journey is often interrupted with a glimpse of light through a small opening in the green or maroon velvet curtains, offering views on to the Neva and out into the city.

 

Curiosity prevails and the curtains are pulled aside, before a warden abruptly barks in Russian enforcing its imminent closure. This reverse psychology triggered by such a small prohibition causes the curiosity to grow fonder. Suddenly the imagination tears down the Palace walls. The ornamental plaster, the ancient brick work and the icicles begin to crumble, revealing a breath-taking panoramic view of St Petersburg.   

 

At that moment, the city was inverted into the room and became a cabinet of curiosities. The space within the Hermitage no acts as the exterior of the city.  

 

The city has a room nested within, and that is the 3^rd floor. 

 

3 things that my project is addressing. 

 

1.       Hermitage as insular container of art

 

The Hermitage demonstrates a very historical way of looking at art. Art displayed in a very linear process and is categorised according to artist, period of history or country of origin.

The art has been contained in this building for many centuries and when the art collection becomes too big for the enclosure, the enclosure expands - in order that it is constantly contained.

 

The art is contained in an island or annexed part of the city and was once privy only to selective parts of the aristocracy.

 

Nowadays the art is shared with the public yet rather than the art being brought to the public, it is still contained and controlled in this secluded part of the city. This is also the case with many of the world's leading art institutions. All these institutions were once impermeable membranes only for the upper echelons of society. Nowadays the art is viewable by the public, but is still confined.

 

 

2.       The relationship of art and the context

 

With the erasure of the third floor a new urban topography is created from the existing fabric of the city. By bringing the art into the city we are looking at a different way of experiencing art. Relocating the art removes the idea that art has to be displayed within a confined space, along galleries. The 3^rd floor urban landscape provides art with a new contemporary experience whereby layers of exhibits are overlapped with one another. The moment one looks at one artefact, they are automatically attracted to the next. Distributing the art into the city removes any conception of hierarchy and linearity. The experience can be purely a 'derived' one, which is how it should be when looking at art.   

 

The vistas provide a carpeted view of the diversity of art.

 

 

3.       The third floor as a new way to examine the city - new perspectives on the city.

 

The third floor allows for a new way to examine the city as much as the art within. The third floor allows for constant panoramic views of the city from heights where it has never been explored from before. Long vistas interrupted only by artefacts of history can be viewed anywhere within the 3^rd floor. This is not restricted to st P. It could be anywhere. The idea of the 3^rd floor in any city. Experiencing art and the city should be one and the same thing. One can't happen without the other. Buildings are a genre of art.

 

 

 

 

-         Deliverables

 

1. Real montage's of vistas through the city. - a collection of spaces

-         Plan large scale montages to surround the Jury

-         Specific design moments.

-         Entry, Spatial enclosures Infrastructure - Benches, plants, Bicycles?

-         What is each image challenging - what do they offer?? Spend more time on each image.

-         Create chapters for each scenario?

-         Glass looks too basic

 

2. Views showing a fabric of layers (or different artefacts using colour?)

        -        Maybe some options of how art can be organised - according to height? Size? Does the art have to be organised?

 

3. Elevation / sectional drawings cut through city

-         truss, kitchen or someone's interior - texture of home. 

-         drawing  - deep elevation.

-         Could start at the hermitage and work its way into the city??

 

4. One Rhino model for each of the city configurations. - Make it compatible with physical model?

 

5. City versus the 3^rd floor in plan

-         Nolli overlay with 3^rd floor in yellow or something??

 

6. Plan Physical Model

    

After modelling an entire city block with the 3rd floor insertion, it was interesting to finally see the landscape that the 3rd floor creates. 

3 Hours later and the Hotel is booked and the Visa forms are filled out. 

The project is about the possibility of self curation. 

This is the configuration of the glass walls on the 3rd floor. 

Working on TS model!!!

The following chart shows the relationship of the strength of glass to the transparency (and reflectional qualities) of glass.

Constructing the routes where my videos will travel through in the 3 walk through's. 

So, have not blogged in a while but lots of work to update you on about..

One of the story boards of one of my 3 screens.