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George Hersey -The lost meaning of classical architecture 1988. Ornamental components derive from ancient Greek sacrificial ritualsOwen Jones-The grammar of ornaments 1856 .
37 propositions about geometry ,form and color.Semper-style in the technical and tectonic arts 1860Origin of architectural ornament is in the process of constructionLoos-Ornament and Crime 1908 Material based ornamentSemper>>>>Ornaments are results of material shifts.I would like to work with this idea and give them different materiality, that changes their scale, depht and funtion. (concrete, reinforced ceramics)
Ceramic tiles. Interior/Exterior.Very ornamented & completely flat and hygienic.Reinforced Ceramics(reinforced concrete??? pouring vs assembly)
How thick can a tile be until its not called a brick?Transition from tile to brick
The facade should be like a crunchy crust on the praline that keeps the chocolate
filling from spilling
The concept of moving from flat graphical to a volumetric goes also for the structure. A transition from a “linear” vector-active or surface-active truss structure in the public spaces to a form-active structure in the factory.
3 types of circulation
- -fast elevators for workers
- -cosy escalators and stairs for visitors
- -slide for kids
The visitors path should flow on the staircases and connect the public and factory areas I want to focus on them and give them significance.
>>>ornamental becomes structural
The site is located in the center of the 1st district. It is a corner building that faces Neuer Markt. Dehmel, Gerstner, Oberlaa, Heiner, other imperial pastry shops are very close.
In my previous projects I was interested in the transition, deformation of a skin, volume or structure by folding, bending or penetrating it to achieve various spatial qualities.
I experimented in various ways with the transition of pattern/ornament to structure. In my thesis I want to exploit the opportunities that lie in volumetric ornament. Moving from a flat ornamented surface to a structural ornament, should not just create a thick volumetric facade, but form the whole load bearing structure and interior.
The topic of this diploma is a chocolate factory for the company Niemetz. A factory with store and a café & restaurant where the visitors can glance into the manufacturing process of the delights.
The firm was founded in the late 19th century.Their now existing coffee shops in Linz and Salzburg as well as their whole company image is based upon the vibe of the monarchic coffeehouses.The idea is to develop a formal language drawing on the neoclassic ornaments of the turn of the century and marry it with contemporary aesthetics of the alien nature of the 1st ave machine scenery.
The architectural ambition is to show that ornaments as frieze, cornice and relief are not only decorative ornaments but have the potential to become structural and volumetric while keeping their qualities like softness and plasticity.
The intention is to move from a ornamented/graphical surface to a structural ornament.
Parallel to the design of the building the redisigning of the corporate identity and packaging of Niemetz will be processed with the same initial point by a graphic designer Anna Kasnyik as a diploma for the Kartak Studio. (Former Hickmann Studio)
