Final Drawings

PARTI


The parti of Villa Can Feliz, in my opinion is the meaningful circulation throughout the villa. With reference to Xing's sketch of the three types of circulation (figure below), namely central courtyard house, matrix of interconnecting rooms and corridor/terminal rooms, I have produced my final parti.


POCHÉ

The house is neither each of the aforementioned types of rooms, but consists all three types of rooms. The courtyards are represented by the yellowish green patches; the matrix of interconnecting rooms is seen in the circulation line showing the passing through from the kitchen to the dining room to the private living room; and the terminal room is the space where it has another circulation line running from right to left. The terminal room is actually the covered terrace in which people can access the outside terrace, the three semi-public rooms and to the private quarters.

I have also distinguish the interior from the exterior by using line weight method. The bold borders surround the exterior while the thin lines surround the interior spaces. Soft lines are used for the interior as the interior ground is mainly cladded with smooth matte tiles whereas hard, bold lines are used for the exterior, signifying rough ground texture. The yellowish green areas signifies ground and nature, which signifies the desire to be close to nature by spending time with nature. This fits with the courtyards that are present in Villa Can Feliz.


POCHÉ

1. Plan


As discussed in the earlier post 'Understanding of Parti and Poché', poché is a rendered drawing to evoke atmosphere and emotions. Having speaking this, I am particularly interested in the play of light and shadow in Villa Can Feliz. Utzon's play of light on the Sydney Opera House had Louis Kahn proclaimed: “The sun did not know how beautiful its light was, until it was reflected off this building.”

Utzon's work on the Can Feliz once again established his love for the interplay of light and shadow apart from the time he worked on Can Lis. Light, as the giver of presence, makes the building more tangible and more concrete. As light is shone, shadow is casted and a 3-dimensional feeling is expressed here. The shadows also provide a sense of height of the structures, thus possibly giving a sense of human scale.

2. Section


Poché rendering for section works slightly different from how poché rendering for plan works. With the same idea of light and shadow in perspective, section poché rendering uses colour tones to give a sense of volume and depth. Faraway objects would look paler while nearer objects look darker and they command more attention.


Reference List
1. Xing Ruan, Three Housing Partis, http://arch1201-2010.blogspot.com/, 2010. Retrieved 27 March 2010.
2. Jørn Utzon, Sydney Opera House: Utzon Design Principles (Sydney Opera House Trust 2002)