As we move through, we will look at three main levels of scale awareness to be referred to as "the across", "the adjacent" and "the within" and two in between states of mind and body.
The Across:
As suggested by its title, the across is a place far enough away where one is able to see the building in its entirety, (i.e. across the street) and therefore perceives it as an object. Positioned across from 1111, both its form and scale seem to be very apparent and well understood, allowing one to easily picture oneself in and around the building as if one had been there before. It is here where the physical and phenomenological aspects of ones surroundings interfere with ones perception of the scale. Placed next to the theatre and having tall trees adjacent to it, the garage seems to be well proportioned, only slightly larger that its surroundings.
It is at "the across" where the mind accepts and welcomes the scale. See figures 1 and 2.
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| Figure 1 |
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| Figure 2 |
In between 1:
As one accepts the garage for what it is, and moves towards it, the mind begins to question itself as to the previously made judgement. As one nears the structure and looks up, one begins to ponder 1111's monolithic qualities.
The Adjacent:
As the mind succumbs to the physical world, one's thoughts vanish as they encounter the shops located at the bottom of the structure. Now focused on "the adjacent" the body and mind release themselves of any deeper thoughts and engage in frivolous and materialistic activities. Scale is no longer a factor. Both 1111's architecture and its surroundings inform one's body and senses that verticality is no longer a variable, thus engaging the body into the flat, one story space.
Here the mind is at a lethargic state, not focusing on its surroundings, but rather on what is displayed. See figures 3 and 4.
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| Figure 3 |
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| Figure 4 |
In between 2:
Climbing out of its lethargic state, the mind once again engages the space, and wonders what else might be up there. Referring back to "the across" the mind grows curious and challenges its own state of being, asking to be informed.
The within:
Having questioned itself, the mind again muses on 1111's monolithic properties. It is on the way up where perception and ideas begin to concretize, and one's thoughts move forward and realize the true scale of the multi-story structure. However, one's body and mind aren't truly in sync until one steps out onto the vibrating poured concrete slabs. Here, both the body and mind perceive altitude and the idea that one is no longer grounded, but stands within a structure. This realization of scale reaches its final moments as one walks out towards the metal wires,and looks out into the city. Yet, true cognition of scale is only achieved as one realizes that one is still standing under a double story height reachable only by private residents. See figures 5 and 6.
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| Figure 5 |
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| Figure 6 |
2 comments:
The three main points you are making about the 1111 Lincoln Road are very reasonable and clear. The way that you are describing its monolithic qualities gives it a character, especially when you are talking about its scale, and how one perceives it different from across the street and from within the parking garage, and how the garage itself becomes a part of the adjacent objects that surround it.
I appreciate the narrative experience you are stitching together. I think that your scalar/spatial analysis of the contemplative versus over-stimulated experiences crafted by HdM's 1111 is very interesting and worthwhile, however I don't fully agree with you on where this is occurring.
In figure 1, look at how much brighter the 1111 is than even the bedazzled cineplex ... from the image, it's not a moment to be pensive, but is highly stimulating, and perhaps incites movement over stasis. How does this oscillate as you move into and through the 1111, through the stairs, from floor to floor. You will probably spend more time on levels 1,4, and 6 than 2,3,and 5 ... is that choreographed beyond the floor plate spacing? Is this fluctuation evident in how you move through the garage?
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