Shari Cheung

4-1

2008-11-04T11:04:00.024+11:00

Final Submission 3/11

[COMMUNITY: A COMMON UNITY]

The proposed design deals with a very important theme – the idea of a community. Community was interpreted as a common unity – a place for gathering, a centre, a common point. It works as a tree-like structure: an organism that grows and changes, affected by the natural and man-made. Islands and space exist within this structure, held together by the centre.

[ARCHITECTURE + LANDSCAPE]

Architecture is often imposed on the landscape as a “grid”. The design proposed uses this idea, reversing this grid-wave relationship, with the wave reinserted back onto the grid instead. In overlapping these two ideas, the design becomes one which is derived from both, rather than one overpowering the other.

[MAPPINGS - 2/5 THEMES]

[Insertion]
Returning to the first exercise completed this semester - insertion was explored through cutting/tracing out parts of the site which had been "inserted" by humans into the landscape.

[Materiality]
Was quite interested in exploring the potential of the site to give clues to what materials should be used - For example, the heavy stone wall separating the beach from the built areas (third image across). Have attempted to reference back to this in my gym hall

[INSPIRATIONS]

[Mario Botta: André Malraux Theatre and Cultural Centre, Friedrich Durrenmatt Centre]
The use of light on concrete through skylighting, along with a gentle curve signifying a slight progression.

[Sean Godsell: Peninsula House]
The idea of timber lattice being able to create a space open, yet closed, transparent, yet opaque, was inspiring. A decision was made to use this to replicate this effect at the entrance of my community centre, where visitors are "funnelled" in, from the street, underneath an overpass, out to a plaza area with a view to the oval.

[Steampunk Treehouse]
Just rethinking the idea of the fusion of Nature and the Man-made.

[DESIGN]

[Images]
- Site Plan w/roof
- Floor Plans
- Sections: Top through foyer, underground access; Bottom through gym hall

[Images]
- Elevations
- Sketches: Entrance, Foyer
- Perspective Views: Overall, Entrance, Stairwell, Gym Hall

[Model]
- Views: Overall and Close Up (with "contoured" roof)
- Plan View: parts
- Elevation: Oval and Street

[Design]

Entrance: As explained previously, timber lattice will be used so the foyer space will appear opaque/transparent depending on what angle you approach the building at, and where you are currently standing. The curve on the lattice was also an attempt to make the transition from street to oval more seamless, guiding the way in instead of having to turn any sharp corners. It also becomes a point people are naturally attracted to.

Tree-like structure: My opinion of a community centre has always been one which possesses a strong centre, and branch out to touch and link those affected. This has been explored with the central circulation staircase accessing all levels, branching out to all areas.

Grandstand: I was tempted to demolish the grandstand, considering the limited views if the oval it offered, and how new structures would possible further obstruct these views. The decision to keep it was made in the end through considering how it could possibly be recycled, and how it could be connected to the new structure, becoming a metaphor for bridging the past and present.

Contours: Seeing as how the site had been carved out of the ground and filled, I sought to recreate the existing "contours" of the site. This was done on the roof/wall of the ground floor above the void/café/café kitchen. This was also combined with the idea of how the site gradually "steps down" with a gentle slope. It was also hoped that these would create interesting shadows along with the timber lattice.

Seating: Apart from keeping the existing grandstand, the existing seating facing the oval was also extended above the gym hall to accommodate for more visitors. Rooms for filming and equipment would be provided at the top of these steps. Cover is also provided here by the gym roof.

Landscaping: It was decided that the gym roof was to extend from the street level and up and over the seating, forming a seamless line. Ramps and stairs are provided to accommodate for the change of levels from the street to oval, and an extra plaza and green areas.

[Design Planning]

Foyer: The foyer houses the central circulation spiral staircase which provides access to the upper and lower levels. An entrance is also provided through the the café on the same level. A lift is also available for disabled access.

Administration: Ground floor reception area, with manager's office. Main administration located on Grandstand level 2.

Café + Kitchen: The café is accessible from both the building itself and from the street to accommodate for opening hours of the café/main community centre block. The café was made to frame the view of the oval/street.

Storerooms: Garage and general storeroom are located in the recycled garage. AV and technical room are to be located on top of the extended seating area to overlook the oval, allowing for filming and such.

Workshop: Located on ground level garage. A first aid room is also located on the same floor if anyone happens to be injured while operating heavy machinery.

Multipurpose rooms: Located on upper floor of main block, able to be opened up to accommodate for a larger number of people. A small kitchenette will also be made available there.

Toilets and changerooms: Located on lower level, separate men's and women's. Baby's changeroom, and disabled toilets also available.

Gym halls: Located on lower level, branching off from the main "block". Concrete blocks with skylighting was to be used on the western end of my gym hall, to create a similar effect as in shown in above in Botta's buildings. Designed for the gym audience to look at along with the game, the levels of light would change according to the time of day.

Community Kitchen: Located on lower level. To be a fairly transparent area encouraging access and use.

First aid facilities: Located in two places: Grandstand (for the Flexible Workshop) and Lower Level (for Gyms and Field.)

[End! Thanks for reading (: ]

3-1

2008-10-17T10:17:00.000+11:00

Submission 3

Main Ideas:
- the grid vs the waves (man-made/natural, imposing grid on landscape - is it possible to reverse this relationship? using curves to guide/channel)
- architecture + landscape (fusion, blurring boundaries, architecture that rises out from the ground and extends into landscape - need to work on second point)
- incorporating/recycling/reusing existing conditions ("guidelines" from angled grandstand, extending seating into my structure, bridging old grandstand with new structure)
- grounded, solid structure representing stability, and a strong centre (material use: masonry - pre-fab concrete, concrete block, some timber finishings, timber lattice)

[Drawings]

Overview of Drawings

Plans

Sections

Elevations

[Model]

Site Model

Minus Roofs

Views from side

Field and Street elevations

[Development of Scheme]

I was advised I should have incorporated my more expressive drawings from my planning stages instead of adopting a more technical approach. Have supplied these for documentation.

2-3

2008-09-21T21:09:00.006+10:00

Trying to find some inspiration: architecture, landscape, fusion, materials.

Some things I've been thinking about:

Greg Burgess: use of timber, undulating forms that mimic landscape

Brambuk Living Cultural Centre

Eltham municipal library

Uluru-Kata Tjuta cultural centre

Savill Building: the roof structure is composed of a complex grid, but is also reminiscent of the landscape

Steampunk Tree House: just a fascinating image and idea.

Malcolm Wells: idea of earth shelters, embedding structures into the ground, integrating it into the landscape, green roofs

Daniel Libeskind: Proposal for Guggenheim in Vilnius, Lithuania (link for more info.) Accessibility, sustainability. Incorporating landscape into architecture.

Images belong to respective owners. More info provided on links.

2-2

2008-09-20T20:09:00.003+10:00

This section was drawn with the thought of the community centre having a strong centre, shown graphically with the darkening of the centre line. Was based primarily on the Week 3 Construction section submitted. Major changes to take place.

A section showing a "community as islands and space" approach - foyer and admin spaces to left, gym hall to right. I also wanted to emphasise the idea of buildings extending into the landscape through their roof forms.

Planning using the grid: this neglected the waves of the natural landscape, making the design of the rooms simply "blocks" with no real connection between them. Another idea was to use the angle of the grandstand to add to design (perhaps creating "centre" at the meeting point) but more thought needed to be put into the function of spaces and how this community centre would function as an actual community centre. During this phase, was also interested in the idea of stepping down from street to oval level, and extending the seating onto the roof.

More focus on waves, perhaps inserting the grid into the waves, or vice versa? - A reversal of the grid imposed onto the existing landscape. Interested in separating different functions on different levels (some underground to prevent views from being blocked) accessed via a central atrium. Also green roofs and/or undulating roof forms.

Full sized sections sections to be scanned.

2-1

2008-09-14T09:14:00.001+10:00

[design proposition]

to explore and rediscover the idea and meaning of community - as a common unity, expressed by a tree-like structure, but also as islands and space

to explore the potential of architecture and landscape to give rise to new possibilities

to create an architecture that grows, changes and adapts to human interaction and the environment

community: common unity

implies centrality, common pt
tree-like structure: organism that grows and changes, affected by natural and man-made, sculpture standing in landscape
islands + space: implied more individual grouping - emphasis perhaps made on a central island that bonds all these groups together - common meeting point, from where facilities etc branch off

architecture+landscape

nature vs man-made, dealingwith idea of insertion
architecture imposed on landscape as "blocks": the grid (controlled) vs the waves (flowing, random) of natural landscape
overlapping of these two to construct an architecture derived from both, instead of one overpowering the other

growth, change, adaptation

architecture that is "fixed" after building stage in comparison to natural that keeps on growing
moulded by humans and environment to tell its own story

[ideas]

"tree-like structure"
central pt/pts - "core": centre = void - would this break up building or encourage unity?
structure that coexists with landscape, is derived from landscape (considerations of surroundings)
grid vs waves (man-made vs nature)
boundaries - overlapping, transparency/translucency, indoor/outdoor, dense/open gradations
split level to accommodate site, or step down
combination of past/present/future, old/new
everchanging, organic - allowed to decay, etc: transformed through human interaction, suitable for location (concerns of salt attack?) - use of timber
function/aesthetics
lighting: natural/artificial
islands + space
framed views
linear vs radial
the line - constant/consistent vs change
recycling grandstand?
embedded

1-1

2008-08-19T13:28:00.000+10:00

Coogee Beach Community Centre: Design Exercise 1

[Presentation Overview]

[Site Analysis: Tracings]

Top: zones, wind direction, population "clusters" and sun path diagrams are overlayed on top of the original map

Bottom: Places are mapped according to their location on the grid, following the layout of the streets at Coogee.

[Site Analysis: Mapping]

An idea following on from the Coogee grid layout - the Coogee lifestyle/culture seems to suggest a more relaxed layout woven into the site rather than a strict grid which imposes on the landscape. Also contrasted different patterns to show these differences - grid begins to dominate as we move further from the coast.

[Samples of the given concepts]
Line, horizon, boundary.

Materiality: I have chosen different areas of the site and drawn over them in charcoal. Through this, I aimed to blend them together, to highlight the differences and similarities in the material qualities.

Threshold: Standing in front of the oval, I took snapshots of the site in 360°. The ends of the image are connected to the same point. To me, there is no defined "boundary" of the site - it extends far beyond physical boundaries, or what can be seen beyond the horizon. I have also begun to cut away at the top and bottom of the image to allude to this idea.

Insertion: In this photomontage, I have cut out objects that have been "inserted" into the landscape to see their impact. A single line/horizon traces out these inserted elements.

[3D conceptual model]

Again, using the idea of "lines". This is a focus on what a community should be and should have: a tree-like structure, with a strong centre, and "roots" and "branches" reaching out and expanding its influence.

[Site Plan, Site Model 1:200]

Early photos.

_ARCH1202

2008-08-19T13:18:00.000+10:00

ARCH1202 Architectural Design Studio 4

4-0 Project Links

2008-06-17T23:17:00.000+10:00

ARCH1201 Project Links

[Project 1] final model, final drawings.

[Project 2] final model, final drawings.

[Project 3] final model, final drawings.

3-7 Project 3: Final Drawings

2008-06-17T11:16:00.000+10:00

Plans

Elevations + Sections

Vignettes

3-6 Project 3: Final Model

2008-06-16T23:16:00.000+10:00

Site Plan

Elevations + Sections

Section parts

Facade

Interior + Exterior views

3-5 Progress: Model

2008-06-10T23:10:00.000+10:00

Drawn out pieces of the facade

Section part 1: entry space, gallery space to the back

Section part 2: office and stairwell

Section part 3: apartment at the top, small gallery room and kitchen on ground level, and basement below

Section part 3: opposite view

3-4 Sketch Models

2008-05-30T22:30:00.000+10:00

Sketch model 1: starting to experiment with different levels and working along with plans. Have two small secret private walkways for client to travel between spaces (unbeknownst to the visitors.)

Sketch model 2: more developed model, with most of my spaces planned out.

Entry space, extending full height to the ceiling, in contrast to entrance. Office overlooks this space.

A walkway linking end to middle, intended as a walkway to view works on the wall next to the courtyard, but which I eventually decided against.

3-3 Sketches

2008-05-30T10:29:00.000+10:00

Beginning to organise configuration of the plan. Interested in the geometry of the site (sharp slants) and the division of space.

Sketch plans. The second one contains most of the ideas in my final model, but some alterations were made, seen in the third image.

Design of the facade: I wanted to place emphasis on the facade in order to draw attention to the gallery. I initially chose my site for the locality to the intersections, and was very interested in how the building would be viewed from the street. I thought a facade that unfolds and changes as the viewer walks past would work quite well here, and I also made it extend over the walkway for more impact.

3-2 Ideas

2008-05-23T10:22:00.000+10:00

Some initial ideas for this project

[client] split personalities, division of public/private (which is dominating force?), self-identity
[gallery themes] manifestations of the self, division, defragmentation
[artists] Imants Tillers 1 2

Imants Tillers
Aftermath II, 1997

synthetic polymer paint, gouache on 120 canvasboards, nos. 50736 - 50855
304.8 × 381cm

Imants Tillers
Nature Speaks: AF, 2002

synthetic polymer paint, gouache on 16 canvasboards, nos. 71104 - 71119
101.6 × 142.2cm

Imants Tillers
The Road to Nhill, 1999

synthetic polymer paint, gouache on 168 canvasboards nos. 60857 - 61024
305 × 498cm

Images from Roslyn Oxley Website.

3-1 Chosen Site: 243-245 King Street, Newtown

2008-05-19T10:18:00.000+10:00

Chosen site: 243-245 King Street, Newtown
Rear parking available via Church Street entry.

Site maps

Front view of existing and surrounding buildings

Rear view of existing and surrounding buildings, taken from carpark

Views from Church Street/King Street intersection

View down Church Street from opposite side

2-7 Project 2: Final Drawings

2008-05-09T13:08:00.000+10:00

Plan

Section

Axonometric

2-6 Project 2: Final Model

2008-05-09T10:08:00.000+10:00

Overview

Views of spaces

2-5 Progress: Model

2008-05-08T10:07:00.000+10:00

Stair section of model with connected lower space (which will be embedded in site.)

2-4 Narrative

2008-05-02T10:01:00.000+10:00

The aspiring philosopher, holed up in his secret underground chamber, ponders on the truth to the universe.

2-3 Concept Sketches

2008-04-30T21:30:00.000+10:00

Some initial sketches, putting down ideas to paper

Narrowing down to a general idea of the three connected spaces:
[1 study] research, underground, cave, closed
[2 library/staircase] climbing, ascent, steep slope, emerging
[3 lookout] apex, completion, enlightenment, transparent, open

Some feedback from Bernard as well.

2-2 Ideas + Words

2008-04-29T09:28:00.000+10:00

Some ideas while looking at the brief and Vermeer's painting.

Ideas of words for the narrative.

[figure] exploration study pondering contemplative philosophy aspiration
Content in being by himself, seems somewhat oblivious to what lies outside? Possibly gain knowledge (what he aspires for) if he ventures outside - ascent to enlightenment.

[light+dark] diffuse glow secretive concealed mystery discovery
Gentle spread of light, again the idea of enlightenment with the angle and direction of light. Light casting shadows, but without it there would only be darkness.

[globe] centrality obsession universe truth
Figure reaching for globe, eyes glazed, mesmerised - even obsessive? Centre/focus of both painting and astronomer.

An idea for site: floating island? - grounded but floating at the same time. Something out of the ordinary, suspended in the air (like the stars?)

2-1 Vermeer: The Astronomer

2008-04-17T09:16:00.000+10:00

Have chosen Jan Vermeer's The Astronomer as the basis or "catalyst" for my Project 2 work.

The Astronomer
c. 1668
Oil on canvas, 50 x 45 cm
Musée du Louvre, Paris

Detail of The Astronomer: Celestial Globe
Both images from The Web Gallery of Art.

More information on the artist and this work:
Biographies: wikipedia, artchive
Artwork: wga
Assorted: essentialvermeer, artcyclopedia
The Astronomer: essentialvermeer 1 2

1-9 Project 1: Final Drawings

2008-04-11T15:08:00.000+10:00

Plan + Section Parti, Programme Axonometric

Plan + Section Poché

1-8 Project 1: Final Model

2008-04-11T15:04:00.000+10:00

Facades

Facades + Interior

Interior + Exterior views

1-7 Progress: Model - Plan 5

2008-04-07T19:01:00.000+10:00

From the section.

Angled shot.

Also have completed the balconies.

East facade - balcony protrudes out.

1-6 Progress: Model - Plan 4

2008-04-07T11:10:00.000+10:00

Spent Sunday doing this. Somehow a lot less frustrating than the other bits.

Added main hall/dining/prep/kitchen walls.

Closer shot of the relevant areas on this plan. The hole there at the time the photo was taken is where the elevator should be.

Focusing on dining, though admittedly nothing much to see there. Gives a different view though.

Addition of elevator later on:

From the section (compare it with before.)

Top.

An interior shot of the kitchen, because I felt again it would be a shame that this gets covered up.

1-5 Progress: Model - Plan 3

2008-04-05T22:36:00.000+11:00

A short update since there's not much on plan 3 for this side of the building.

Just the start of the main hall and the pantry actually.

Side view from section.

Top/angled.

This and last post were done over period of 14 hours or so.

1-4 Progress: Model - Plan 2

2008-04-05T17:55:00.000+11:00

Will be updating photos of the model based on the plans for the villa. There aren't actually any proper levels as such. I keep saying this, but I feel the hierarchy of the rooms is extremely important: the heights and sizes of the rooms, etc, indicate their importance to the overall building. So that explains the lack of set levels.

Just putting the rooms in plan 2 in - not stuck in yet. You can see I failed to see the walls extended further than my south wall there - will be fixed. Also a slight curve to the building base (the glue?)

An angled view.

Top view.

Actual piece of plan 2 shown here - front (i.e. what will be seen in the section.)

Back of piece. Will actually be pretty much hidden from view - the tiny windows don't let you see too much really. Kind of a shame.

[Plan 1 is simply the base by the way.]

1-3 Progress: Model - Walls

2008-03-31T01:00:00.000+11:00

Doing the exterior walls for the villa is tiring and unbelievably time consuming. I think it's the windows.
6 layers of 1mm thick white cardboard, x4 walls (and an indent):

South: ? hours
West: 5 hours
East: 7 hours = one day at Uni
North: 3 hours
Piecing the whole thing together = 5 hours (Big "oops" and several little ones involved.)

Worktable

West facade

East facade (the hole is where one of the balconies is supposed to go.)

Top view into the building. Section cut already made, and you can kind of see the layers of cardboard. The North side doesn't look too straight now... but it should be fine when we add the levels in.

We're also thinking of having a detachable roof in addition to the section cut, but I guess this kind of depends on how much time we have left to do this anyway.

1-2 Parti, Poché

2008-03-27T01:36:00.000+11:00

5 sets of parti diagrams + poché drawings (will be doing 2 - one plan, one section)

Have done outlines and such for parti and plan poché (blackened.)

Worktable

Section: chose to do this section because I thought it showed more of the building than some of the other ones did, AND contained stairs (to see some of the circulation) and what I think will have interesting lighting effects.

The section I'm choosing to do for the parti diagrams cuts a bit before the stairs, which is good to show for diagrams, but for poché drawings, I don't think there's anything really interesting about just looking at the outside of rooms. Also provides a different way to see the building since it's cut the other way.

1-1 Adolf Loos: Villa Müller

2008-03-12T09:11:00.001+11:00

Villa assigned to for Project 1: Villa Müller (1928-30), Prague
Architect: Adolf Loos (1870-1933)

Team member: Yu Wen Du (& mysterious person who never appeared)

Information on the building:

Villa Müller site
Villa Müller: A work of Adolf Loos (1994) by Leslie Van Duzer, Kent Kleinman [Google Books link]
Adolf Loos (2003) by August Sarnitz, Peter Gossel [Google Books link]

_ARCH1201

2008-03-11T09:10:00.000+11:00

ARCH1201 Architectural Design Studio 3

3-13 Final Submission

2007-10-24T16:32:00.000+10:00

Final Submission!

Screenshot overview

Images from Unreal Tournament

Interior of Zhang Yin's Space
Architecture as a progression. Zhang Yin has worked her way up from the bottom, and from here we see her accumulation of power, layer by layer.

From Slim's Space to Meeting Space, through to Zhang's Space
Appearing from both ends of the narrow space, the clients are separated by the dining table, forcing them to communicate via the two ends, creating tension even on this neutral ground.

Perspective of Meeting and Zhang's Space.

Inside Bridge, Slim
Powerplay was explored through the use of lighting within Slim's space. Dark contrasted with the light and obscured what could be seen.

Exterior of Slim's Space

Link to file.
Rebuild all! That grate isn't there :<
Notes when walking through space:
*You'll need to trigger the table, then jump and walk over to the other space. Wasn't intending for it to be accessible.
*When accessing the movers from Slim's space to the meeting space, try to be patient when waiting for it to arrive... and if it doesn't come for a while, when try walking further down the bridge, and then walking back to see if it gets triggered again. (On some occasions it may trigger and leave, not allowing the player enough time to get on.)
*The fragments work fine. They should not bump you off.

Thanks for reading :D

3-12 Drafts, Recap

2007-10-24T16:00:00.000+10:00

Links to Drafts:
Draft 1
Draft 2
*Note movers aren't really working for above two drafts.
Draft 3
*Progress work - not where screenshots are from as I can't remember which file it was. This one has random parts still in space though.

If the above links don't work, files can be found here.

SketchUp Animations
Elevator v1 - vertical path
Elevator v2 - part 1 of 2 winding pathway
Elevator v2 - part 2 of 2 winding pathway
Early stages of developed elevator.

3-11 Progress Work on Unreal [Draft 3]

2007-10-23T06:57:00.000+10:00

Progress work

Plans for spaces, elevators

Zhang: progression, build up, layer by layer, glass ceiling, persistence.
Slim: monopoly, control, dominance, manipulation, oppression.

Images from Unreal Tournament

Zhang's Space, testing the flying fragments
Zhang Yin's space is made up of a series of levels, similar in shape and size, but which appear to grow from being small to large in size. These spaces also go from being very dark spaces to ones flooded with light to highlight the idea of Zhang's wealth, fame and power. Glass vs solid walls was also important in constructing this space.

Fragments 1/2

Fragments 2/2 - these move from one level to another to signify how she has built up both her wealth and power. This idea is also explored through the multiple levels of her space.

Zhang's space and meeting space from afar, stairs and one of Slim's movers in foreground.
There is more than one mover intended for Slim to access the meeting space, indicating how his power has come from different sources. These, however, stem up to a single point to emphasise Slim's monopoly. Developed elevator from previous, to floating platforms...

...which you see here D:

Exterior view of Slim's space
Protrudes out of the bridge, with a cluster of space to show Slim's control over Mexico: 'Notwithstanding wide agreement on the need for competition, few here are confident that any candidate can get elected without owing his victory to the likes of Mr. Slim. Those who dare to question monopoly privileges are said to be flirting with political or financial suicide. With the Slim empire controlling an estimated 40% of advertising in Mexico, it's not surprising that there is a rumored reluctance to publish criticism of the man who can call the country his very own latifundio.'

Interior of Carlo Slim's Space
Slim space is an orderly space; rigid, serious, stern, unforgiving.

Unreal - Glass

2007-10-10T01:40:00.000+10:00

For making a glass wall, window, etc on Unreal Editor:

1. Select the texture for the glass. Transparent/translucent textures can be found in the UCGeneric package.
2. Shape the red construction brush into the shape of the glass.
3. Click "Add Special Brush" in the Toolbar (above "Add Mover Brush"), select Semi-Solid for Solidity.*
4. Click "OK".

*The difference with having it "Semi-Solid" instead of making an addition is simply that when a semi-solid brush is added in, it does not overwrite the pre-existing additions or the textures that might be on a common surface. Just found this to be useful when placing in glass since it would make surfaces that weren't supposed to be transparent see through.

3-10 Elevator2 on Unreal [Draft2]

2007-10-10T01:28:00.001+10:00

Images from Unreal Tournament

Overview - meeting space
Pathway that runs all over the space, client (Slim) given full view of space while in tube to emphasise power?

View from inside elevator shaft - meeting.

View from inside elevator shaft - stairs and entry from second level.
Meeting Space to be suspended in air? Culmination, high point, intense?

Link to file.
Just meeting space, really.

3-9 Elevator2 on SketchUp [Draft2]

2007-10-10T01:26:00.000+10:00

More Plans

Approx locations, mover numbers, sizes, mover rotations?
Movers with more than 8 keys ?

SketchUp Animations

Part 1 of 2. Meeting to Platform.

Part 2 of 2. Platform to Bridge.
Prefer this one because of the pace?
A bit difficult to get inside the tube, and also views - no landscape views as yet, so kind of pointless being inside really. I think it's more useful to be outside and see the direction, observe the rotation.

3-8 Dining Table on SketchUp

2007-10-10T01:23:00.000+10:00

Plans for Dining Table

Image from SketchUp

When fully folded out.

SketchUp Animation

When the client approaches the space from either side, the table will fold out to full length. The table will take up all (or most) of the narrow space so the clients will be unable to physically contact each other, and be forced to talk over the table. I mainly wanted to emphasise the idea of equal power on equal ground, with the meeting space as a neutral area for the two clients to meet.

3-7 Textures

2007-10-10T01:21:00.000+10:00

36 textures = 6 different sets of 6 textures.

Textures for movement: linear, scalar, undulate, fluid, rotational, dynamic

Custom textures used in final map:

3-6 Elevator on Unreal [Draft]

2007-10-03T13:02:00.000+10:00

Images from Unreal Tournament

Low shot of space from shaded side

View from other side

Inside Bridge
Light contrasting shadows to emphasise entrance/ascent from meeting place to inside the bridge

Link to file.
This was all done in Unreal Tournament - had no idea about how to fix missing faces at the time.

3-5 Elevator on SketchUp [Draft]

2007-10-03T00:59:00.000+10:00

Draft model based on combination shown below:

Plans for Elevator

SketchUp Animation

Draft of elevator pathway from meeting space to upper space (bridge.)

[Plan] Textured platforms to be movers which combine to form larger platforms as the elevator ascends into the upper space. On arrival, client walks down the steps from the platform (similar to a podium) to gain a sense of power and superiority. For descending, there will be more focus on how the space opens up as one walks out of the elevator on the level.

3-4 Two Point Perspective

2007-10-03T00:56:00.000+10:00

3 two point perspective drawings on 6 arrangements = 18 drawings.
The 3 views for each arrangement are shown in the same image.

3-3 Pathways on Unreal [Draft]

2007-09-18T23:08:00.000+10:00

Chosen pathways from sketchbook

Images from Unreal Tournament

Exterior view, with shadows

Closer view of pathway (interior)

View from platform

3-2 One Point Perspective

2007-09-18T22:54:00.001+10:00

3 one point perspective drawings on 6 arrangements = 18 drawings.
The 3 views for each arrangement are shown in the same image.

3-1 Articles and Clients

2007-09-12T00:33:00.001+10:00

Ratan Tata

'Ratan Tata showed in the wee hours of Wednesday that grace, composure and nerves of steel can sit easy on the same personality, as he marked an audacious milestone in his career as Tata group chairman by winning over Anglo-Dutch steel maker Corus Group with a bid worth $12.1 billion.

In venturing into new areas, fighting corruption in his own industrial empire and in going ahead with his car plant in West Bengal despite protests over land acquisition, the 69-year-old has shown he does not budge an inch once he has made up his mind.

...

His grit and determination are best epitomised in what he said in an interview. "I am unfortunately a person, who has often said: You put a gun to my head and pull the trigger or take the gun away, I won't move my head." That is a rare insight into a man who protects his privacy, integrity and patriotism in equal measures.'

- "Ratan Tata, the soft-spoken man of steel," Hindustan Times [January 31, 2007]

Zhang Yin

'Most of the world's richest women inherited their wealth: from the Walton sisters of Wal-Mart fame to the daughters of the men who created Mars candy bars, L'Oréal cosmetics and BMW.

But not Zhang. She started out from a modest background, the daughter of a military officer. Now she dominates the world's paper trade through her giant companies, one centered in Dongguan, just outside Hong Kong, and the other based in Los Angeles.

"She's a visionary," said Herman Woo, an analyst at BNP Paribas, which helped her large paper company list shares in Hong Kong. "She doesn't mind putting a lot of money in at the beginning, to build the company."

That company, Nine Dragons Paper, is now the biggest paper maker in China. It raised nearly $500 million when it went public in Hong Kong last March.

Since then, shares of Nine Dragons have quadrupled, giving the company a market value of more than $5 billion. The Zhang family controls 72 percent of the company, which makes it one of the richest families in China.

...

"My goal is to make Nine Dragons, in three to five years, the leader in containerboards," Zhang said emphatically during a short interview in her Hong Kong office. "My desire has always been to be the leader in an industry."'

- "China's 'Queen of Trash' finds riches in waste paper," David Barboza, International Herald Tribune [January 15, 2007]

Carlos Slim

'A decade after supposed deregulation, Telmex has 95% of the country's fixed-line market, resulting in relatively high telephony prices and a sub-optimal ratio of telephones to Mexican homes, particularly in rural areas. Telmex controls almost all data traffic and consumer choice in broadband, Internet and voice over Internet services is practically non-existent. It's still not clear whether the wireless market can develop competitively.

Competition is not mentioned in the Chapultepec Accord, perhaps with good reason: Telmex's owner is living the high life from the company's dominant position in Mexico. But the rest of the country has suffered from the company's favored position. In a modern age when businesses need low-priced, high-quality telecommunications to compete in a global economy, Mexican growth has borne the cost of Mr. Slim's privilege. Any genuine effort to help the poor necessarily requires more healthy competition, starting in the telecom market.

...

Notwithstanding wide agreement on the need for competition, few here are confident that any candidate can get elected without owing his victory to the likes of Mr. Slim. Those who dare to question monopoly privileges are said to be flirting with political or financial suicide. With the Slim empire controlling an estimated 40% of advertising in Mexico, it's not surprising that there is a rumored reluctance to publish criticism of the man who can call the country his very own latifundio.'

-"A Telecom Monopoly Cripples Mexico," Mary Anastasia O'Grady, Hispanic American Center for Economic Research

2-9 Developed Unreal model

2007-09-09T22:42:00.000+10:00

Final model

Screenshot just to see what we're looking at...

Inner Space: Darwin
Meeting Space: On the ramps
Outer Space: Hawking

Images from Unreal Tournament

Inside Hawking space; central atrium, stairs and "room"
Exploring the idea of the "boundary" through use of glass and lights – where do spaces start and end, or are they continuous? Challenging viewer’s perception.

Ramp to meeting and outer spaces
Again, glass is used as a barrier to separate yet connect spaces. Note the gentle slopes of ramps to communicate the idea of slow, successive steps.

Entry to series of ramps shaping the meeting space

Ramp leading up to Darwin space

Looking out from Darwin space, upper level
Observing the ramp walkway from the inner space to the outer space, which consist of winding pathways to allow the viewer to explore the space.

File can be downloaded here.

2-8 Recap for Submission [UT Drafts]

2007-09-09T22:11:00.000+10:00

Images of draft spaces from before.

Draft 1

Looking out from outer space. [Hawking]

Left side shows passage to outer space, right side goes up inner space. [Darwin]

File can be downloaded here.

Draft 2

Looking out through transparent wings of outer space [Darwin]

Inner space [Hawking] ground level; ramps on left, central atrium/glass void.

File can be downloaded here.

2-7 Textures

2007-09-08T10:45:00.001+10:00

36 textures = 6 different sets of 6 textures.

All textures ordered from light to dark shown in first image, followed by the different sets.

Textures used in model light, medium and dark.

2-6 Electroliquid Aggregation

2007-09-08T10:40:00.000+10:00

Charles Darwin

'As natural selection acts solely by accumulating slight, successive, favourable variations, it can produce no great or sudden modification; it can act only by very short and slow steps. Hence the canon of "Natura non facit saltum," which every fresh addition to our knowledge tends to make more strictly correct, is on this theory simply intelligible. We can plainly see why nature is prodigal in variety, though niggard in innovation. But why this should be a law of nature if each species has been independently created, no man can explain.'

Stephen Hawking

'One could say: "The boundary condition of the universe is that it has no boundary." The universe would be completely self-contained and not affected by anything outside itself. It would neither be created nor destroyed. It would just BE.'

Electroliquid Aggregation

Knowledge is gained by challenging what we know and understand. Just as one may say that the boundary condition of the universe is that it has no boundary, we may also say that our way of thinking does not either. Our minds act by taking only short and slow steps and accumulating slight, successive modifications to our ideas, which change limitlessly as we continue to explore and speculate.

2-5 Unreal [Draft 2]

2007-09-05T10:38:00.000+10:00

Chose to do combination using same spaces from Draft 1, swapped around.

Hawking:

Darwin:

Combination:

Despite seeming similar in shape, some differences between them with lighting for inner/outer spaces. Also tried to integrate concepts into them:
For Darwin: "slight, successive, slow steps"
For Hawking: Idea of boundaries, lack of boundaries?

Planning pages:

Images from Unreal Tournament

Outer Space [Darwin]

Looking out through transparent wings of space.

Lights from passageways (where ramps will be.)

Looking towards outer space.

Inner Space [Hawking]

Ground level; ramps on left, central atrium/glass void.

Looking up from ground level (ramps to be placed here?)

Top level, central atrium.

Inside atrium, looking up.

Inside atrium, looking down.

File can be downloaded here.

2-4 Axonometrics [Combinations]

2007-09-05T00:17:00.000+10:00

Chose to do a combination of 3 axonometrics from both Darwin and Hawking.
Front and back views are shown on the same page (with the exception of the first combination.)

Combination 1

Combination 2 & 3

Combination 4 & 5

Combination 6 & 7

Combination 8 & 9

2-3 Unreal [Draft 1]

2007-08-29T13:41:00.000+10:00

Chosen spaces

Hawking:

Darwin:

Images from Unreal Tournament

Outer Space [Hawking]

Looking out.

From ground level, light and shadows.

Top level, light from lower levels and exterior.

Inner Space [Darwin]

Looking down into passageway.

Left side shows passage to outer space, right side goes up to passage [1st image.]

Closer look at light from outer side from inner space.

File can be downloaded here.

2-2 18 Axonometrics

2007-08-29T13:39:00.000+10:00

First 9 are axonometrics for Darwin, following 9 (+2) are ones for Hawking.

2-1 Quotes and Clients

2007-08-21T12:27:00.000+10:00

Charles Darwin

'As natural selection acts solely by accumulating slight, successive, favourable variations, it can produce no great or sudden modification; it can act only by very short and slow steps. Hence the canon of "Natura non facit saltum," which every fresh addition to our knowledge tends to make more strictly correct, is on this theory simply intelligible. We can plainly see why nature is prodigal in variety, though niggard in innovation. But why this should be a law of nature if each species has been independently created, no man can explain.'

-Darwin, C. R., On the origin of species by means of natural selection, or the preservation of favoured races in the struggle for life, (London: John Murray, 1859), p. 471.

Florence Nightingale

'To have no food for our heads no food for our hearts, no food for our activity, is that nothing? If we have no food for the body, how do we cry out, how all the world hears of it, how all the newspapers talk of it, with a paragraph headed in great capital letters, DEATH FROM STARVATION! But suppose one were to put a paragraph in the Times, Death of Thought from Starvation, or Death of Moral Activity from Starvation, how people would stare, how they would laugh and wonder! One would think we had no heads nor hearts, by the total indifference of the public towards them. Our bodies are the only things of any consequence.'

- Nightingale N., Cassandra (written 1860), (Old Westbury, N.Y.: Feminist Press, 1979), p. 41-42.

Stephen Hawking

'One could say: "The boundary condition of the universe is that it has no boundary." The universe would be completely self-contained and not affected by anything outside itself. It would neither be created nor destroyed. It would just BE.'

- Hawking S. W., A Brief History of Time, (New York: Bantam, 1988), p. 136.

1-10 SketchUp models on 3D Warehouse

2007-08-20T01:35:00.000+10:00

Models on 3D Warehouse:

1-1 SketchUp Draft 1 (Hybrid/Animated)
1-2 SketchUp Draft 2 (Dynamic/Hybrid)
1-3 SketchUp Developed (Hybrid/Animated)

1-9 Animations, Storyboards

2007-08-20T01:27:00.001+10:00

Animations

Upper Space

Middle Space

Lower Space

Middle Space, with shadows

Was intending to include this for the animations, but for some reason the shadows made a strange flickering effect that pretty much ruined it.
(Even with the bad quality you can see it.)

Storyboards

Planning

Upper Level

Middle Level

Lower Level

1-8 Progress Work [SketchUp]

2007-08-19T12:00:00.000+10:00

Images from SketchUp
Upper Level: Hybrid
Lower Level: Animated

Section through the 3 Spaces

Looking down

Upper and Middle Spaces [Front]

Upper and Middle Spaces [Back]

Upper and Middle Spaces

Entrance to Middle Space

View of Upper Space

Upper Space [Looking out of room to stairwell]

View of Lower Space [Stairway]

Lower Space [Looking up through floor]

1-7 18 Sketch Sections

2007-08-18T23:51:00.000+10:00

Lower level based on same words, reversed.

Animated/Sentient
Animated/Hybrid

Animated/Metamorphose
Dynamic/Sentient

Dynamic/Hybrid
Dynamic/Metamorphose

Abstraction/Sentient
Abstraction/Hybrid

Abstraction/Metamorphose

1-6 Videos

2007-08-15T12:42:00.001+10:00

Theo Jansen - Kinetic Sculptures

Artist/Kinetic sculptor. Designs and makes models which move from wind.

SketchUp model

1-5 SketchUp

2007-08-14T23:33:00.000+10:00

Images from SketchUp

Upper: Hybrid (Piccinini)
Lower: Animated (Duchamp)

Upper level with textures.
Stairs revealed behind translucent walls.

Section through upper level showing stairs connecting from room to lower levels.
Artwork to be displayed on short walkway between stairs (located behind figure.)

Section through lower level with textures.
Stairs, scale and location of artwork in relation to figure shown.

Staircase Section

1-4 Textures

2007-08-14T21:36:00.000+10:00

All

Upper Level

Dry

Gaseous

Irregular

Radiant

Middle Level

Crisp

Flammable

Natural

Lower Level

Dark

Dense

Thick

1-3 SketchUp 2

2007-08-06T21:49:00.000+10:00

Section

Upper: Dynamic (Duchamp)
Lower: Hybrid (Piccinini)

Staircase Sections

Upper level

Lower level

Images from SketchUp

Section through upper level

Section through lower level

1-2 SketchUp

2007-07-29T03:09:00.000+10:00

Section

Upper: Hybrid (Piccinini)
Lower: Animated (Duchamp)

Images from SketchUp

Section through model

Side view of model with 2 levels shown

Materials: glass (panels on ground level), metal (reinforce structure above ground, visual), concrete (both levels)

1-1 Images & Words

2007-07-24T12:32:00.000+10:00

Leonardo da Vinci - Studies of embryos (1509-14)

Detail, Analytical, Documenting

Marcel Duchamp - Nude Descending a Staircase, No. 2 (1912)

Abstraction, Dynamic, Animated

Patricia Piccinini - Nest (2006)

Sentient, Hybrid, Metamorphose

Own work (2007)

Colour, Vivid, Decorated

_ARCH1102

2007-07-23T00:22:00.000+10:00

ARCH1102 Architectural Design Studio 2

_Introduction

2007-07-21T00:20:00.000+10:00

Blog made for Uni work:
2007 Session 2 - ARCH1102 Architectural Design Studio 2
2008 Session 1 - ARCH1201 Architectural Design Studio 3
2008 Session 2 - ARCH1202 Architectural Design Studio 4