Experiment 3: SketchUp Model

The initial research and comparison after analyzing Mies van der Rohe's work of the brick house inspired me to use the space to create the architecture required for this experiment.

This then led to various drawings and a few deliberations shown below to achieve the final plan of the school.

The different rooms required that make up the school are shown in the following images.

Image 1: Outside (from left to right) of gallery and studios (2nd level), student meeting room and offices (end level), staff meeting room (2nd level) and lecture theatre.

 Image 2: Gallery with stairs leading to studio rooms

 Image 3: Student meeting room

 Image 4: Lecture theatre (with a view)

 Image 5: Staff meeting room

 Image 6: Cabin lift to library and bridge leading to folly

The final model of the school is detailed below with all labels shown.

Experiment 3: Draft and developed Lumion environment

The land I have chosen was initially the sea caves from Cyprus, where my inheritance comes from, also using photos that I have taken myself, shown below:

 Photo

DRAFT: Lumion environment 1

This land served as a draft before choosing other sea caves/tunnels that are located in New Zealand:

PHOTO

DRAFT: Lumion environment 2

Below are screenshots of the developed Lumion environment including the moving objects, the sketchup model and the folly.

DEVELOPED: Lumion Environment

DEVELOPED: Lumion environment - Library, research space and bridge to folly

 

 DEVELOPED: Lumion environment - Moving elements, workshop and computer lab

DEVELOPED: Lumion environment - Gallery, studios, meeting spaces and lecture theatre

DEVELOPED: Lumion environment - Gallery

FLY AROUND:

Experiment 3: Moving Elements

The 2 moving elements relate to the main architectural form of the school in keeping within the confinement of the land. These 2 elements include an elevator to link the Workshop and Computer labs while the cabin lift links the main building with the library and Research Space for Academic staff.

It was set out this way as the primary objective of the library is to be separated from the main building as it limits the amount of unnecessary visitors.

The bridge then links the secondary building to the folly which is placed on the tunnel beach for students to relax and enjoy the view.

Moving Element 1: The Elevator

Moving Element 2: The Cabin Lift

Experiment 3: 36 Custom Textures

Movement can be understood as linear, rotational and scalar translation. Other adjectives underlying an understanding of movement include fluid, repetitive and angular.

The textures used consist of a balance between dark and light colours. This aids in the creativity and experimentation of a building once the textures are applied. In this case, the lighter colours were used for the outside of the building to coincide with the heavy sunlight already beaming onto the school. The dark colours were used for detailing the internal walls as well as the roof. The textures used are:

Experiment 3: 18 Sketch Perspectives

 The idea of using 3 cross shapes and combining them to create a folly emphasizes the need to use the space as architecture. The following 6 cross shaped combinations results in expressing the use of this space as architecture.

Folly 1: A tall tower placed on the outside of the centre object
with a space created on the other side distinguishes the space
required for the folly to have a purpose.

Folly 2: Cross shaped holes cut out of other cross shapes
doesn't necessarily show any practical use, hence its purpose
of serving as a folly. The prisms express a desire to expand and
reach out to something.

Folly 3: Upside down to a standard structurally stable building,
however, as a folly serves its purposes in connecting the prisms
in a way that expresses the different types of cross shapes
that can be used to create something of that nature.

Folly 4: 2 cross shaped prisms utilized in a way so that it creates
a space that can be used for architecture. A corridor also created
through another cross shaped prism to link the 2 spaces created
by the 2 prisms.

Folly 5: Tilted and slanted prisms utilized to create a sheltered
space. The relationship between the prisms creates a folly that
expresses a sense of grasp and extension.

Folly 6: Deformed and extended prisms are used to create a
space that is sheltered and produces a folly that has more
uses than simply being a folly.

Experiment 3: The Mash Up

The objective was to rethink urban public space. It is not occupied entirely by architecture; people of adjacent urban communities have been progressively rejuvenated in recent years.  The team designed a number of significant former industrial redevelopment sites but at this moment it has difficulty to realise that potential. People of all ages struggle with this paradox leading the initial master planning and whole-of-government approval process.

You get a sense of the condition of this country that is located in a complex, unexpected, almost improbable universe of urban, industrial, agricultural and natural landscape. Producing a prototype of our current condition has proven to be a sustainable and efficient surveillance strategy for future uses and extends the length of knowledge of the economic landscape as much as its built environment. A key catalyst for redevelopment of the adjacent sites is to take an advantage of the views towards the ecosystems nearby. The concept behind stories of the landscape generating a spatial pattern is to dedicate a simple visual elegance that takes advantage of the connection to its tropical landscape setting.

Article 1:

http://www.archdaily.com/515442/tagus-linear-park-topiaris-landscape-architecture/

Article 2:

http://architectureau.com/articles/cairns-foreshore-development/#img=5

Article 3:

http://www.dezeen.com/2014/06/13/rem-koolhaas-venice-architecture-biennale-2014-arsenale-tour-movie/?utm_medium=email&utm_campaign=Dezeen%20Mail%20207&utm_content=Dezeen%20Mail%20207+CID_dc365790c022eba8d1aaf13826a4ab79&utm_source=Dezeen%20Mail&utm_term=Rem%20is%20a%20self-proclaimed%20king%20of%20architecture

Studio: Experiment 2

Studio: Experiment 2

Final Submission of images

This image of the model emphasizes the importance of connecting the landscape with the model. It takes Gaudi's style "Imagination confined within the rules" and combines it with Co-op Himmelb(l)au's style "Architecture in clouds" to add a sense of serenity to the overlooking structure.

This angle directly portrays the purpose of the structure as an ending to a hiking journey. Evident are the 5 textures used on the building itself as well as people walking to indicate the size of the structure. Again, stressing the importance of the original landscape connecting with the building.

This landscape shot portrays the monument along with its surrounding land form. The importance of electroliquid aggregation is evident through this connection in keeping within Gaudi's style and fusing it with Co-op Himmelb(l)au's style.

The hiking path is shown through this path along with the view in the background and the destination (building structure) within reach.

The different textures are portrayed and shown how they combine to add Gaudi's and Co-op Himmelb(l)au's style to the building.

Other images

Draft Images of model

Although more than 10 components (5 from each shape) are acceptable, the challenge in creating something valuable and functional with no more than 10 components is represented in the draft images above.

Axonometric Drawings

Antoni Gaudi

1. Imagination confined within the rules.
2. Regular shapes projected in an irregular way.
3. An artist must obey creation. Reconcile architecture and nature. Write a story about the land.
4. A transcendental form which arouses faith, belief and hope.
5. Gaudi's emotional treatment of material and structure give expression to natural forms in architecture.
6. Spatial uncertainty, concept of structures with limitless space; its feeling of sequence, fragmented with holes and partitions, which create a divide without disrupting the feeling of open space by enclosing it with barriers.

Coop Himmelb(l)au


1. Surreal curvature of construction exceeding the boundaries of expectation.
2. Basic shapes tilted and slanted within the landscape so that it appears to defy the laws of physics.
3. Embrace of imbalance, distortion, fragmentation and chaos.
4. Structures are not fixed realities but shells for intervention.
5. Extolled the virtues of an architecture: "that bleeds, exhaust that turns of even breaks."
6. "Plenum (a space completely filled with matter). Places of Power."
7. "Reflects and give mirror image of variety and vivaeilty, tension and complexity of our cities."
8. "Architecture in clouds."