Project
Chrome Chasm
Year: 2023
Skills: Rhino, Illustrator, Photoshop, Dimension5
Similar to the painting “Annibal Simla” by Le Corbusier in 1951, space is layered, rooms within rooms are composed to hold a bath house. Decomposition of the painting into individual objects takes place, each property and significance is evaluated individually, finally creating a new volumetric composition. Each object’s properties contribute to the overall forms and distinctions between different rooms. The objects themselves undergo a series of clashes and shifts to create an object-void relationship as the centerpiece, with voids becoming rooms within rooms, while discrete objects hover outside establishing additional connections. The main mass holds the critical voids, the main bathing chamber, and the passage hall. These spaces become critical experiences as they are grandiose and complex. Connecting voids create moments of compression and release, articulating distinctions between main voids and transitional spaces to allow for separate rooms. These moments also give greater value to the open spaces below, enhancing the bathing experience. To create a continuous atmosphere between various voids and objects, chrome is the continuous material that speaks to the repetition of forms through reflections. The bouncing colored lights help designate zones for different experiences while aiding in the continuous feel, despite the strong geometry at present. The project dwells under a waterfall engulfed in rocks, receiving water to fill the baths and flowing freely beyond. Rather than having separate pools, the water flows throughout the voids to enhance the continuous feel. Even as the geometry changes, the water flows continuously, reinforcing the concept of separate entities forming a continuous space.
Peace and serenity can be achieved through calming spaces. Some feel this through enclosed areas while others in open spaces. Both of these qualities are achieved in the main chamber through the use of layering objects, creating new voids and environments. The continuous volume and bouncing of light allows for this seamless transition of spaces, despite the geometry, creating a peaceful, serene environment.
Taking into consideration the continuous volume, the concept of a waterfall emerges. To mirror the continuous volume, the water flows freely through the baths and out. A seamless transition of space allows for the uninterrupted flow of water. The surrounding rocky landscape engulfs the volume to speak to the language of collision which formed the volume from individual objects.
Layering allows for interactions in all directions, including within closed space. The understanding of space has to be considered with the separation of interior and exterior elements and voids in addition to the presence of unifying components. The interactions of the three allow for continuous space, despite being composed of individual objects or being formed by their resulting voids. The clash and layering of these objects and voids has allowed for the designation of pools, rooms, passage, and more.
As objects come together, new arrangements emerge, each object gains its own purpose, shape, and characteristics. Exploring different interactions allows for various interpretations of the same space. By categorizing and ordering these objects, their purpose becomes more prominent in the entirety of the composition, allowing for their individual characteristics to be implemented seamlessly.
The void of the hall articulates the effects of vastness and intricacy. The resulting environment is grand, guiding the eye to evaluate every surface. Volume and surface, at the same time, work together and against each other, intentionally. Both qualities are present in the painting, the left remains vast while the right is populated by a cluster of objects. The same is represented in the hall as the vast chamber resides on the left while intricate reflections populate on the right.
Sabrina Akbarally
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