Room and Narrative: Final Model

Platform Openings

There are six different types of openings on the platform where the craftsmen perform and they represent the six characters on the painting. The small rectangular windows on the edges are just dark openings that allow the public to get a glimpse of the characters in the painting that are not directly involved in the act. The platform that comes out represents the orator and the square of light due to the roof opening represents the character that rests on the orator. The opening in the centre is the brightest and correspond to that of the jester. Finally, the opening with the horizontal and vertical lines is a bright but resting one that relates to the character that rests on the window.

Ramp Openings

The uniform rectangular windows of increasing height give a glimpse of the curtain of light and guide the users to the platform as they perform. The handrail on the ramp has the same pattern as the voids on the wall but they are solids. This allows the light to filter through the lower floor very dimly as to not disturb the working area.

Lower Floor: Working Area Openings

There is a curtain of light on the back wall that allows the natural light to come in on the working area of the lower floor but at the same time keep storage and other spaces dark. There are also three square openings on the wall of the stairs that are diagonally connected to the exact same three openings on the back wall of the platform, and this creates an indirect connection of the lower floor with the performing area as to avoid any disruptions but create acknowledgement.

Room and Narrative: Final Poches

Axonometric

Plan

Section A

Section B

Room and Narrative: Mock-up Model

Room and Narrative: First Poche Attempts

Plan Poche

Section Poche

Site Plan

Room and Narrative- The Painting Narrative

A space for craftsmen to work and entertain local crowds

Project 2: Room and Narrative-Painting and Site

Chosen Painting: The Rhetoricians at a Window in Philadelphia, Jan Steen

The Rhetoricians at a window in Philadelphia (fig. 7) shows stock rederijker figures, the poet, the critic, and the fool in the red cap, who is played by Steen. Steen's attitude toward the rhetoricians remains an open question. By the I66os these once highbrow, humanist literary societies had suffered the decline of popularization, gone out of fashion, and become the object of ridicule in more sophisticated drama and poetry. Steen too pokes fun at the rederijkers in paintings like these. But the strong element of self-mockery suggests that, while the rederijkers served as a vehicle for his comic criticism of humanity, they also commanded a certain respect as the source of a theatrical mode that had a profound impact on his art. I am not convinced that we should interpret this kind of imagery as entirely negatively as some recent critics have done.

(extracted from http://www.jstor.org.wwwproxy0.library.unsw.edu.au/stable/pdfplus/3795297.pdf)

Chosen Site: Petare-Caracas, Venezuela