Framing the View is a small scale office space designed for a Photographer which uses the camera as a source of inspiration to create transferable views from the surrounding environment. By means of interior sliding panels and extendable architectural lenses an adaptable perspective is generated to the viewer. The panels constructed out of clear, transparent and solid materials filter or block out the light controlling daylight penetration therefore the interior has a variation of heavy shadows against light shadows. The office space gives the user flexibility in the function of the space but also helps with motivation and concentration, with the interior being ever variable.
My Client, Capture who specialise in portrait photography require an office space for their growing business. The main issues with their present office were the small studio space, lack of uncontrollable natural light within the studio and the lack of a view. Also being located in a built up area my client finds it hard to concentrate and feels stressed at times.
The arms of the office space are constructed from a metal frame clad in aluminium which has a ridged concertina facade, taking inspiration from the historic folding camera. This gives the impression of movement. The arms of the office extend and retract like the lenses on the camera to create an adaptable interior space, which can change depending on what the space needs to be used for. By being able to zoom into the view the onlooker gains a sense of perspective to the viewpoint outside. The architectural lenses move by hydraulic rams and feet counterbalance the distribution of the weight which move up or down depending on the position of the ground.
Internally panels are used to obscure the view outside creating a vision which is sharp or blurred acting as the depth of field to the user. These panels also have a functional purpose as they can be concertinaed away or moved to give the user flexibility of the space. This creates an environment that can improve concentration by allowing the user to block out distraction or include the view to help with motivation. The panels are constructed from either glass, glass with a opaque etching of the negative of the view outside or solid black leather taken from inspiration from the covering of old cameras. These three materials filter or block out the light creating a variation of heavy shadows against light shadows. The walls are painted with neutral colour so that the dying sun rays can sink into the surface. Wooden floors contrast against the metallic flooring of the core but also reflect light back into the interior. These features were inspired by looking at Japanese interiors and reading ‘Inpraise of Shadows’ by Junichiro Tanizaki.
The important studio space is located within the south architectural lens which allows for the best light entrance during the day. A ceiling skylight and window to the right allows for maximum light penetration. The photographer by means of a blackout and diffused blind can control the light within the studio. Curved edges allow for refraction of light. The studio can be pushed away when not needed so not getting in the way of the view.
My Client, Capture who specialise in portrait photography require an office space for their growing business. The main issues with their present office were the small studio space, lack of uncontrollable natural light within the studio and the lack of a view. Also being located in a built up area my client finds it hard to concentrate and feels stressed at times.
The proposed site is located in Topsham near the River Exe on the outskirts of Exeter, chosen by my Client the location is in semi-rural countryside and has amazing views. The site is based on a flood plain which has been reinforced with artificial land to give protection to the current buildings on the site. My design will be built on hydraulic feet which will lift the structure off the ground to protect it from flood damage but to also give extension to the views.
The main central core of the building has an upstairs office space and reception greeting space on the ground floor. Sweeping stairs allow for an employee entrance below and access to the office upstairs. Customer access is through a ramped slope. Surrounded by glass skylights this allows for maximum natural light penetration to the interior. Externally the central core is clad in hardwood cedar which will adapt to the surrounding area. Internally the Core uses mechanical brushed metals to create the effect of being in a camera.
The main central core of the building has an upstairs office space and reception greeting space on the ground floor. Sweeping stairs allow for an employee entrance below and access to the office upstairs. Customer access is through a ramped slope. Surrounded by glass skylights this allows for maximum natural light penetration to the interior. Externally the central core is clad in hardwood cedar which will adapt to the surrounding area. Internally the Core uses mechanical brushed metals to create the effect of being in a camera.
The arms of the office space are constructed from a metal frame clad in aluminium which has a ridged concertina facade, taking inspiration from the historic folding camera. This gives the impression of movement. The arms of the office extend and retract like the lenses on the camera to create an adaptable interior space, which can change depending on what the space needs to be used for. By being able to zoom into the view the onlooker gains a sense of perspective to the viewpoint outside. The architectural lenses move by hydraulic rams and feet counterbalance the distribution of the weight which move up or down depending on the position of the ground.
Internally panels are used to obscure the view outside creating a vision which is sharp or blurred acting as the depth of field to the user. These panels also have a functional purpose as they can be concertinaed away or moved to give the user flexibility of the space. This creates an environment that can improve concentration by allowing the user to block out distraction or include the view to help with motivation. The panels are constructed from either glass, glass with a opaque etching of the negative of the view outside or solid black leather taken from inspiration from the covering of old cameras. These three materials filter or block out the light creating a variation of heavy shadows against light shadows. The walls are painted with neutral colour so that the dying sun rays can sink into the surface. Wooden floors contrast against the metallic flooring of the core but also reflect light back into the interior. These features were inspired by looking at Japanese interiors and reading ‘Inpraise of Shadows’ by Junichiro Tanizaki.
The important studio space is located within the south architectural lens which allows for the best light entrance during the day. A ceiling skylight and window to the right allows for maximum light penetration. The photographer by means of a blackout and diffused blind can control the light within the studio. Curved edges allow for refraction of light. The studio can be pushed away when not needed so not getting in the way of the view.
