RyanJamesTownsend

Parametirc Tower Module Detail

2010-08-28T20:19:00.000-07:00

Parametirc Tower Module

2010-08-28T19:05:00.000-07:00

Walker's Residence Extensions Turramurra

2010-07-14T01:23:00.000-07:00

Pymble-Turramurra Kindergarten Indigeous Interactive Garden

2010-06-23T19:55:00.001-07:00

Pymble-Turramurra Kindergarten Indigeous Interactive Garden: Draft Plan

2010-06-02T17:59:00.000-07:00

Summary of Bondi Apartments

2009-11-01T02:48:00.001-08:00

Summary of Wave

2009-11-01T02:12:00.000-08:00

Summary of Coogee Apartments

2009-11-01T01:56:00.001-07:00

Summary of EXP3

2009-11-01T01:27:00.000-07:00

Epping Residence Drop7: Final Product

2009-07-17T18:20:00.000-07:00

Epping Residence Drop6

2009-07-17T18:14:00.000-07:00

Epping Residence Drop5: New Solution

2009-07-17T18:08:00.000-07:00

Epping Residence Drop4: Amended Long Slope Solution

2009-07-17T18:03:00.000-07:00

Epping Residence Drop3: Long slope & Short slope solutions

2009-07-17T17:59:00.000-07:00

Epping Residence Drop2

2009-07-17T17:57:00.000-07:00

Epping Residence Drop1

2009-07-17T17:56:00.000-07:00

Deck Design for an Epping Residence

2009-07-17T17:43:00.000-07:00

Presentation

2009-07-02T20:40:00.000-07:00

Section

2009-07-02T20:37:00.000-07:00

Form/Envolvement/Living

2009-07-02T20:33:00.000-07:00

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.

Final Plans

2009-07-02T19:57:00.000-07:00

Progressive Drop #5

2009-07-02T19:55:00.000-07:00

Progressive Drop #4

2009-07-02T19:52:00.000-07:00

Progressive Drop #3

2009-07-02T19:49:00.000-07:00

Progressive Drop #2

2009-07-02T19:40:00.000-07:00

Progressive Drop #1 & Precedence Allsorts

2009-07-02T19:23:00.000-07:00

Precedence #3 Nexus World Housing, Japan

2009-07-02T19:11:00.000-07:00

Precedence #2 The Ivy

2009-07-02T19:05:00.000-07:00

Precedence #1 EDO Apartments

2009-07-02T19:01:00.000-07:00

Patterns

2009-07-02T18:52:00.000-07:00

1st Experimental Massing Model

2009-07-02T18:37:00.000-07:00

Shadow Diagrams Of 1st Attempt

2009-07-02T18:21:00.000-07:00

Site Panaramas : Context

2009-07-02T17:45:00.000-07:00

Project 1: drop22 Theoretical context & issues, aims and design strategies

2008-11-01T20:19:00.000-07:00

DESIGN CONCEPT & FORM PRODUCTION

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 façade is green as it captures winter sun light and projects it onto the thermal mass – concrete and radiates the heat later when the temperature is lower – thus warming the bldg

RELATIONSHIP BETWEEN BUILDING AND SITE

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.

Project 1: drop21 Submission images

2008-11-01T16:44:00.000-07:00

Project 1: drop20 Submission Project

2008-10-31T23:36:00.000-07:00

Project 1: drop19 perspective/interior views

2008-10-23T14:57:00.000-07:00

Project 1: drop18 Model/Spaces Section

2008-10-21T00:00:00.001-07:00

Project 1: drop17 Construction Images

2008-10-09T21:51:00.000-07:00

Project 1: drop16 Submission Images

2008-10-09T21:41:00.000-07:00

Project 1: drop15 Revit Model

2008-10-04T02:00:00.000-07:00

Project 1: drop14 Structure

2008-09-04T19:14:00.000-07:00

Project 1: drop13 model

2008-09-04T17:25:00.000-07:00

Project 1: drop12 views

2008-08-22T21:25:00.000-07:00

Project 1: drop11 Sections

2008-08-22T20:34:00.000-07:00

Project 1: drop10 Massing by Programing/Site Situation

2008-08-22T20:00:00.000-07:00

Project 1: drop9 working on programing

2008-08-15T23:19:00.001-07:00

Project 1: drop8 Final Models

2008-08-15T23:13:00.001-07:00

Project 1: drop7 Initial Models

2008-08-14T22:12:00.001-07:00

Project 1: drop6 submission drawings

2008-08-14T21:35:00.001-07:00

Project 1: drop5 Evolo

2008-08-08T00:44:00.000-07:00

Project 1: drop4

2008-08-08T00:32:00.000-07:00

Project 1: drop3

2008-08-08T00:27:00.001-07:00

Project 1: drop2

2008-08-08T00:16:00.000-07:00

ARCH 1202

2008-08-08T00:11:00.000-07:00

Coogee Beach Community Centre

Projects

Project 3: Model and Sketch Model Images

2008-06-11T06:10:00.001-07:00

Project 3: Submission drawings

2008-06-07T22:32:00.000-07:00

Project 3: Artist George Gittoes

2008-05-29T19:59:00.001-07:00

Project 3: Insight

2008-05-29T19:56:00.001-07:00

Project 3: processing...

2008-05-19T02:35:00.001-07:00

Project 3: Site Videos

2008-05-19T02:33:00.000-07:00

Project 3: Site images

2008-05-19T01:45:00.001-07:00

Project 3: Art Galley / Shop / House

2008-05-13T23:09:00.001-07:00

This is the location of my site:

Project 2: Narrative

2008-05-05T19:35:00.000-07:00

Deepened windows,
A stark light,
And a suffocating chamber
For the encumbered man

Project 2: Visual Thought Processes that lead to the Model

2008-05-05T17:39:00.001-07:00

Project 2:

2008-05-03T20:41:00.000-07:00

Project 2:

2008-05-03T20:35:00.001-07:00

Project 2: Model Video- Light effects

2008-05-02T23:06:00.000-07:00

Project 2: Model Video

2008-05-02T22:58:00.000-07:00

Project 2: Light Effects - Model Images

2008-05-02T22:44:00.001-07:00

Project 2: Model Images

2008-05-02T22:36:00.001-07:00

Project 2:

2008-05-01T17:26:00.000-07:00

Project 2: "Re-made"

2008-05-01T03:23:00.001-07:00

Project 2: Thought processes

2008-05-01T03:20:00.000-07:00

Project 2:

2008-05-01T03:03:00.000-07:00

Project 2: A start...

2008-04-28T17:00:00.000-07:00

I've got all the tools and materials needed for the construction and i have worked out the dimensions of the model.

Project 2: Model to be built - Additions

2008-04-27T23:21:00.000-07:00

Project 2: Model to be built

2008-04-24T15:23:00.001-07:00

Project 2: Model form

2008-04-24T01:02:00.000-07:00

I have decided to build the model out of perspex and hebel stone with a plaster render.

Project 2: Model form Exploration

2008-04-22T01:34:00.000-07:00

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

Project 2: Spatial Narrative

2008-04-16T03:18:00.000-07:00

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.

Project 2: Spatial Narrative ideas

2008-04-16T01:13:00.000-07:00

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.

Project 2: Edward Hopper: NightHawks 1942

2008-04-16T01:09:00.000-07:00

Edward Hopper; Nighthawks, 1942

Oil on canvas, 30 x 60 in.

The Art Institute of Chicago

Project 1: Finished Model Images

2008-04-05T16:37:00.001-07:00

Project 1: Comments

2008-04-05T16:36:00.001-07:00

Project 1: Model in Creation

2008-04-05T16:32:00.000-07:00