Sunday, November 1, 2009
Friday, July 17, 2009
Thursday, July 2, 2009
Form/Envolvement/Living
FORM
-->Division for car park
-->Separate terraces
-->Allows views through to the heritage
-->Opened restaurant and jazz bar to the street (curtained wall is read as invisible)
-->The light internally is cast onto the curtain walls, lighting the wall- and creating an almost lit display board to attract people for the centre of Coogee to come and explore this region.
-->Visual array from apartments
-->Spatial array in the layout
-->Sense of rhythm and movement
-->Glass boxes from the apartments and the jazz bar are infused with bright fluorescent light that fills the space and glows around the darkened apartments – symbolising the private - public division
ENVOLVEMENT
-->Involves local vegetation
-->Cross Ventilated
-->Sun orientated
-->Material sensitivity
-->The apartments are counter levered out from the building alluding to the metaphor that they are on the sea (from the bedrooms you can’t see any underlying structure).
-->Plants are used to blur the boundaries of the lines in the structure – to bring back a vegetative state to the building and local environment
LIVING
-->Heightening and redefining the way that you live – compartmentally
-->Ambiguity of not knowing where the apartments lie and what encompasses them
-->Massing is visually separated and disintegrated into the landscape and the site
-->Private and public spaces are literally represented as all public spaces (Jazz bar and Restaurant) and semi-public spaces (the entertainment room of the apartments) are visible through a transparent glass curtain wall, and all private spaces are hidden within the walled parts of the structure
-->The building is ‘cut apart’ to filter light through the circulation light shafts, through the gaps in the building to the lower residential levels, and into the far reaches of the base of the structure.
Saturday, November 1, 2008
Project 1: drop22 Theoretical context & issues, aims and design strategies
Firstly, its shape is created by a literal visualization of motion flows of pedestrians, cars and buses across the site, Provides an effective demonstration of how fluctuating dynamics can be incorporated into architectural forms.
The dynamic setting; cars and buses, pedestrians and vehicles, underground and over ground, land and water, was initially simulated as a set of forces and geometric particle systems of varying physical weights and velocities.
By allowing form and structure to be designed within an unstable realm of variable, fluctuating dynamics and movements, Lynn believes that architecture will move away from its inert logic of stationary relations into an operative rhythm of transmission and interaction.
The dynamic simulation takes into consideration the effects of forces on the motion of an object or a system of objects, especially of forces that do not originate within the system itself. Physical properties of objects, such as mass (density), elasticity, static and kinetic friction (or roughness), are defined. Forces of gravity, wind, or vortex are applied, collision detection and obstacles (deflectors) are specified, and dynamic simulation computed.
Lynn believes that the defining element of the topological architecture is its departure from the Euclidean geometry of discrete volumes represented in Cartesian space, and the extensive use of topological, “rubber sheet” geometry of continuous curves and surfaces, mathematically described as NURBS - Non-Uniform Rational B-Spline curves and surfaces. In the topological space, geometry is represented not by implicit equations, but by parametric functions, which describe a range of possibilities.
The shape of a NURBS curve or surface is controlled by manipulating the location of control points, weights, and knots. NURBS make the heterogeneous, yet coherent forms of the topological space computationally possible. By changing the location of control points, weights, and knots, any number of different curves and surfaces could be produced
My second set of explorations were developed in response to motion and kinetics as my first set of explorations except that I conceptualized motion as inherent actions that have the ability to affects their external environment through their movement. I started off with spheres of influenced that were of varying magnitude (scale as well as shape) and placed them in particular order and orientation beside one another. I then simulated their forces and began to play with their influence on the other forms in reference to their magnitude.
From this point I decided to introduce more stimuli to the physical form I had created. I simulated external forces passing over the area of manipulated spheres and ellipses and predicted the actions that would result from such an experience. My modeling emulated the type of occurrence that would happen when wind, water or some fluid substance would pass over solid matter and leave particular flow patterns and movement.
The fluid smooth textured form that was created was them concentrated into a form that could be manipulated through the illusion of motion, described earlier as frozen movement. This movement expressed an almost unique characteristic that is both dynamic and static. Through rotated movement and then a captured and frozen frame my model started to take shape emulating cinematic stop motion picture or photo frames. The form became static when it has to freeze at a certain state so that it may be modelled.
PROGRAM, FUNCTION & USE OF SPACE
Open plan- Le Corbusier’s Pilotus. For area flexibility & use i.e. functions
Ease of transition between spaces governed by the orbital foyer.
Transparency of the bldg all spaces -necessary for the concept of communion with nature
Centralized use DYNAMIC/ decentralized inactive spaces STATIC
Overlapping of function areas i.e. (1)multipurpose rooms open into each other (2)storage spaces intercede (3) bathroom open into change rooms that open into the hall etc. (4) cleaning spaces are hidden and linked to required areas. (5) Grand stand
Also segmentation of the areas i.e. storage, multipurpose rooms, sporting, café etc.
Curved walls swell and move in response to the bldg shape and governing traffic paths dominant and define throughout the structure
Open centre that unifies all levels through the openness and the open plan both applies horizontally and vertically in this way.
MATERIALITY
I imitated and appropriated my materials from the visibility of the site
Organic concrete imitates the sand on a micro scale with its structure and form
"Organic Concrete by e-studio” Organic Concrete with a permeable surface allowing plants to grow out of it. Exploiting the ability of concrete to trap and retain water, Organic Concrete can harbor and nourish plants even during a dry spell. These permeable living surfaces will allow you to incorporate a bit of greenery directly into your designs.
Concrete such as this is used to bring the site into the structure in a tame and manageable manner
Glass reflects the sea for urban and vice versa for the hills of the grass chaemilic quality.
Glass in its self is a slow moving liquid not a solid and therefore appropriates the sea in its material and light quality
The glass is used to bend light into the deeper regions of the structure – convex lens
Grass and concrete is used to imitate the site and blends the surface of the bldg into the site
The grass roof also assists in the thermal properties of the structure
Open fa̤ade is green as it captures winter sun light and projects it onto the thermal mass Рconcrete and radiates the heat later when the temperature is lower Рthus warming the bldg
The bldg relates directly to the oval & so does the car park creating a valley or site region in which the landscape orientates.
This gives a sense of community within this geographically enclosed space
Spectators and team players are unified as they are all on the same field with no fence divisions or barriers.
Friday, October 31, 2008
Thursday, October 23, 2008
Tuesday, October 21, 2008
Thursday, October 9, 2008
Saturday, October 4, 2008
Thursday, September 4, 2008
Friday, August 22, 2008
Friday, August 15, 2008
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Thursday, August 14, 2008
Friday, August 8, 2008
Wednesday, June 11, 2008
Saturday, June 7, 2008
Thursday, May 29, 2008
Monday, May 19, 2008
Tuesday, May 13, 2008
Monday, May 5, 2008
Saturday, May 3, 2008
Friday, May 2, 2008
Thursday, May 1, 2008
Monday, April 28, 2008
Project 2: A start...
I've got all the tools and materials needed for the construction and i have worked out the dimensions of the model.
Sunday, April 27, 2008
Thursday, April 24, 2008
Project 2: Model form
I have decided to build the model out of perspex and hebel stone with a plaster render.
Tuesday, April 22, 2008
Project 2: Model form Exploration
These Sketches are just a first proposal for the form of the model. The materials required for the cavity-like-construction would be heble stone/plaster casting/air-dry clay
Wednesday, April 16, 2008
Project 2: Spatial Narrative
Deepened windows, a stark light, and a display container for the suffocated man
Deepened windows- Voyeur from windows across the street
Stark light- relates to the fluorescent light tubes in the bar
Display container- the curved glass without interruptions, the bar is open for all to see
Suffocated man- Loneliness and desolation by its emptiness or by the presence of anonymous, non-communicating figures.
Deepened windows- Voyeur from windows across the street
Stark light- relates to the fluorescent light tubes in the bar
Display container- the curved glass without interruptions, the bar is open for all to see
Suffocated man- Loneliness and desolation by its emptiness or by the presence of anonymous, non-communicating figures.
Project 2: Spatial Narrative ideas
NO WAY OUT:
Look closely; there’s no entrance to this diner. We as observers are shut out, and the figures are trapped within. The only door looks to be a service exit to the kitchen, so the only figure who can escape is the busboy, who is separated from the diners not only by the counter, but also by his white-clothed innocence and youth.
IT MOVES IN MYSTERIOUS WAYS:
Hopper used angles to bring movement to his paintings. Notice the intersecting lines in "Nighthawks." The base of the diner is angled to intersect with the angle of the street and the verticals of the window frames. Look at it another way, and the diner forms a wedge that’s like the bow of a ship running into the solid row of shop buildings.
SHEDDING SOME LIGHT:
The bright light in the diner has the yellowish cast of fluorescent bulbs. Being artificial light, it changes the woman’s skin tone and reflects harshly off the silver of the coffee urns.
Nighthawks conveys a mood of loneliness and desolation by its emptiness or by the presence of anonymous, non-communicating figures.
Hopper began painting it immediately after the attack on Pearl Harbor. After this event there was a large feeling of gloominess over the country, a feeling that is portrayed in the painting. The urban street is empty outside the diner, and inside none of the three patrons is apparently looking or talking to the others but instead is lost in their own thoughts. Two are a couple, while the third is a man sitting alone, with his back to the viewer.
The corner of the diner is curved; curved glass connects the large expanse of glass on its two sides. Weather is understood to be warm, based on clothing worn by the patrons. No overcoats are in evidence; the woman's blouse is short sleeved. Across the street are what looks like may be open windows on the second story. The light from the restaurant floods out onto the street outside, and a sliver of light casts its way into one of the windows.
If one looks closely, it becomes apparent that there is no way out of the bar area, as the three walls of the counter form a triangle which traps the attendant. It is also notable that the diner has no visible door leading to the outside, which illustrates the idea of confinement and entrapment. Hopper denied that he had intended to communicate this in Nighthawks, but he admitted that "unconsciously, probably, I was painting the loneliness of a large city." At the time of the painting, fluorescent lights had just been developed, perhaps contributing to why the diner is casting such an eerie glow upon the almost pitch black outside world.
Look closely; there’s no entrance to this diner. We as observers are shut out, and the figures are trapped within. The only door looks to be a service exit to the kitchen, so the only figure who can escape is the busboy, who is separated from the diners not only by the counter, but also by his white-clothed innocence and youth.
IT MOVES IN MYSTERIOUS WAYS:
Hopper used angles to bring movement to his paintings. Notice the intersecting lines in "Nighthawks." The base of the diner is angled to intersect with the angle of the street and the verticals of the window frames. Look at it another way, and the diner forms a wedge that’s like the bow of a ship running into the solid row of shop buildings.
SHEDDING SOME LIGHT:
The bright light in the diner has the yellowish cast of fluorescent bulbs. Being artificial light, it changes the woman’s skin tone and reflects harshly off the silver of the coffee urns.
Nighthawks conveys a mood of loneliness and desolation by its emptiness or by the presence of anonymous, non-communicating figures.
Hopper began painting it immediately after the attack on Pearl Harbor. After this event there was a large feeling of gloominess over the country, a feeling that is portrayed in the painting. The urban street is empty outside the diner, and inside none of the three patrons is apparently looking or talking to the others but instead is lost in their own thoughts. Two are a couple, while the third is a man sitting alone, with his back to the viewer.
The corner of the diner is curved; curved glass connects the large expanse of glass on its two sides. Weather is understood to be warm, based on clothing worn by the patrons. No overcoats are in evidence; the woman's blouse is short sleeved. Across the street are what looks like may be open windows on the second story. The light from the restaurant floods out onto the street outside, and a sliver of light casts its way into one of the windows.
If one looks closely, it becomes apparent that there is no way out of the bar area, as the three walls of the counter form a triangle which traps the attendant. It is also notable that the diner has no visible door leading to the outside, which illustrates the idea of confinement and entrapment. Hopper denied that he had intended to communicate this in Nighthawks, but he admitted that "unconsciously, probably, I was painting the loneliness of a large city." At the time of the painting, fluorescent lights had just been developed, perhaps contributing to why the diner is casting such an eerie glow upon the almost pitch black outside world.
Saturday, April 5, 2008
Tuesday, March 11, 2008
Monday, October 22, 2007
Final Submission: Experiment #3,2,1
Experiment #3: The Bridge
http://files.filefront.com/DM+ARCH1102+templateEXP3ut2/;8863672;/fileinfo.html
Experiment #2: The Edge
http://files.filefront.com/DM+ARCH1102+Ryan+Townsendut2/;8863688;/fileinfo.html
Experiment #1: Datum http://files.filefront.com/Submission+designskp/;8863718;/fileinfo.html
Final Submission: Architecture and Image Captures
The Hanging spaces are a challenge to the convention high-rise structure in both their layout and the conventions of being hanging. Although they appear like a series of platforms or levels they function in a different way where the levels are combined and some platforms are placed side-by-side. The hanging spaces emphasise a heirachy as they have a focal point within them that acts as the centre of the building where all other levels are visible from this point.
Relating to Ratan Tata's quote, the space was constructed to resemble the operations of a power plant where the system is coordinated from a central focal point inside the structure.
Carlos Slim's space is a series of L shapes that create a relationship with each other and therefore form a space, or environment when placed in a strucuture. The space was created like this to mimic the various number of business' and wealth that Carlos Slim owns, being placed under him, and all his business have an input and relationship to his wealth.
Relating to Ratan Tata's quote, the space was constructed to resemble the operations of a power plant where the system is coordinated from a central focal point inside the structure.
Carlos Slim's space is a series of L shapes that create a relationship with each other and therefore form a space, or environment when placed in a strucuture. The space was created like this to mimic the various number of business' and wealth that Carlos Slim owns, being placed under him, and all his business have an input and relationship to his wealth.
Final Submission: Elevators and Dinning Table
Surrounding the table is shear darkness that emphasises the superiority of the space. The walk to the dinning table is quickened by the architectural elements and the combination of lighting giving a form of repitition and movement to pass the threshold into the intended space.
The Dinning Table is the most centralised element in the architecture; all pathways lead to this point. The Dinning table is also the highest point and the converging space between the two hanging spaces of the bridge.
The Four Elevators for the Architecture move in a circular motion; travelling down through the centre of one of the distinctive hanging spaces and up through the centre of the other distinctive hanging space.
What separates the elevators from any others is that they are completely transparent and are only visible by the radiating red light that shines on certain elements of the architecture as they pass by.
The Dinning Table is the most centralised element in the architecture; all pathways lead to this point. The Dinning table is also the highest point and the converging space between the two hanging spaces of the bridge.
The Four Elevators for the Architecture move in a circular motion; travelling down through the centre of one of the distinctive hanging spaces and up through the centre of the other distinctive hanging space.
What separates the elevators from any others is that they are completely transparent and are only visible by the radiating red light that shines on certain elements of the architecture as they pass by.
Sunday, October 21, 2007
Final Submission: Three Quotes
http://www.thehindubusinessline.com/2006/08/03/stories/2006080302770500.htm
Ratan Tata
“Mr Tata said that Tata Power was actively pursuing power projects with a total capacity of 15,000 mw. It would include two coastal power plants in Maharashtra with a capacity of 2,000 mw... Mr Tata said that the company has received request for qualification for two ultra mega power projects totalling 8,000 mw.A 1,000-mw Maithon Right Bank Thermal power project in a joint venture with Damodar Valley Corporation and 1,000-mw coal based power project at Chola in Uttar Pradesh were being pursued.
Ratan Tata“Mr Tata said that Tata Power was actively pursuing power projects with a total capacity of 15,000 mw. It would include two coastal power plants in Maharashtra with a capacity of 2,000 mw... Mr Tata said that the company has received request for qualification for two ultra mega power projects totalling 8,000 mw.A 1,000-mw Maithon Right Bank Thermal power project in a joint venture with Damodar Valley Corporation and 1,000-mw coal based power project at Chola in Uttar Pradesh were being pursued.
http://online.wsj.com/article/SB118615255900587380.html?mod=most_viewed_month
Carlos Slim"Carlos Slim is Mexico's Mr. Monopoly.It's hard to spend a day in Mexico and not put money in his pocket. The 67-year-old tycoon controls more than 200 companies -- he says he's "lost count" -- in telecommunications, cigarettes, construction, mining, bicycles, soft-drinks, airlines, hotels, railways, banking and printing. In all, his companies account for more than a third of the total value of Mexico's leading stock market index, while his fortune represents 7% of the country's annual economic output. (At his height, John D. Rockefeller's wealth was equal to 2.5% of U.S. gross domestic product.)"
http://www.busrep.co.za/index.php?fArticleId=3636278
Zhang Yin"Zhang Yin started collecting wastepaper in 1990 in Los Angeles and shipping it to China to make the cardboard needed by growing export industries. Her company, Nine Dragons Paper Holdings, is now China's biggest packaging maker. Nine Dragons' stock has risen fourfold since its initial public offering in March last year, pushing Zhang's fortune to $4.7 billion (R34 billion)."Other people saw scrap paper as garbage, but I saw it as a forest of trees," says Zhang. "I had to learn from scratch... China's exports have increased fivefold to $762 billion during the past decade."
