Mashup
18 Perspectives
36 Textures
Planning
Moving Elements
Draft Models
Lumion Images
Interior Spaces and Applied Textures
Peer Review
Sketchup Model and Lumion Folder
Monday, 29 June 2015
EXP 3 Submission- Sketchup Model and Lumion Files
Sketchup Model:
https://3dwarehouse.sketchup.com/model.html?id=u271f57c1-228e-4c6b-9f4b-5dd640869823
Lumion Folder:
https://www.dropbox.com/sh/e93j5qswmjh1714/AACJ4XyuzsyoQz7Q7zoClft-a?dl=0
EXP 3 Submission- Interior Spaces and Applied Textures
This 'gradual' texture was applied to most the exterior and can be seen as a skin bringing 'dynamism to static structure, imbuing it with a sense of time.'
This 'rotational' texture was applied to the rotating bridge connecting the school to the Roundhouse. The shape of the bridge matches the roundness of the Roundhouse and exists as a smoother transition between the two buildings.
This 'gradual' texture was applied to the third floor and the bridge connecting the school to the Squarehouse. In comparison to the Roundhouse bridge, this bridge is more rectangular in shape and thus the texture is more linear. A mixture of both linear and curvy elements creates the same balance seen in the chosen plan of Zaha Hadid's Riverside Museum.
'Sporadic' textures represent ground floor movement.
'Graceful' texture represents second floor movement.
EXP 3 Submission- Lumion Images
View of school from across the street. The 'skin' of the building creates a constant movement in this dormant structure and the bridges and assortment of windows give an idea of the several different elevations of movement through the building.
Daylight plays a major role in accentuating this buildings relationship with its surroundings. Throughout the day the sun casts unique shadows onto the road, main walkway, Roundhouse and Squarehouse.
The area between the main walkway and the Roundhouse and Squarehouse now becomes imbued with a lively atmosphere. The statement "Most spaces have lighting requirements tied to the functions we perform in them", holds true as throughout the building there are spaces such as the library, studio rooms, computer labs where lighting is a must, whereas the space underneath the building provides a shelter from the sun serving as a place to relax.
On the third floor, the library becomes a sort of acropolis. Due to it being the highest space in the building, sunlight pours in from the windows providing a generous amount of lighting. Also, it is given a sense of time seen above where the shadows create different patterns depending on where the sun is.
The gallery on the third floor is open to everyone and allows visitors to circulate through the building rather than entering a single room and leaving after one view.
EXP 3 Submission- Draft Models
The proportions in the model above were all wrong which made the interior difficult to shape. That was why I decided to start a fresh model with the new layout of plans.
This model was made from the new plan layout and bridges the Squarehouse and the Roundhouse.
EXP 3 Submission- Moving Elements
First Moving Element: Windows
The windows can "open" and "close" so that light can either enter or not disturb the inside of the building. When open, the windows welcome natural light to illuminate the interior as well as creating unique effects of shadows throughout the rooms. Also, from afar the building appears to "blink" in the open to closed to open transition.
Second Moving Element: Bridge
EXP 3 Submission- Planning
I decided to use the plan of Zaha Hadid's Riverside Museum because it contains a balance between complex curves and simple linear edges and seemed like a interesting and spacious enough plan to form a school with.
Using this as a plan, I divided the plan into two sections and worked with the shape of:
I positioned this shape in different layouts in order to create the several levels which the building would eventually consist of:
Ground Floor
Second Floor
Third Floor
Top View of Building
EXP 3 Submission- Mashup
Architecture is about constructing–putting the arcane of shapes together and providing some kind of order. This order has spatial consequences and the ability to shape daylight, to interrogate it objectively is what we can call architecture as “the art of building”. Innovation is the basis of architecture. It becomes possible to shape a building according to complex geometries and curves and folds. “Brick – by and large – isn't a structural substance any more, it's a skin. But it's what the skin looks like that counts.”
Materiality is as much a celebration of regionality as bringing dynamism to static structure, imbuing buildings with a sense of time. Daylighting lends itself to inventiveness and is a magic ingredient in architecture. Most spaces have lighting requirements tied to the functions we perform in them. The architects need to serve the public, the communal needs and some desires of the people.
Sources:
Tuesday, 19 May 2015
EXP 3- Draft Mashup
Architecture is about constructing–putting the
arcane of shapes together and providing some kind of order. This
order has spatial consequences and the ability to shape
daylight, to interrogate it objectively is what we can call
architecture as “the art of building”. Innovation is the basis of architecture.
It becomes possible to shape a building according to complex geometries and curves
and folds. “Brick – by and large – isn't a structural substance any more, it's
a skin. But it's what the skin looks like that counts.”
Materiality is as much a celebration of regionality as bringing
dynamism to static structure, imbuing buildings with a sense of time.
Daylighting lends itself to inventiveness and is a magic ingredient in architecture.
Most spaces have lighting requirements tied to the functions we perform in them. The
architects need to serve the public, the communal needs and some desires of the
people.
Renderings are a powerful way to capture and communicate these
ideas—a necessary complement to the hard line plans and sections that comprise
much of the architect’s lexicon. This enables architects to work on the science
that is beyond architecture and also the poetry that is part of architecture simultaneously:
to understand with equal ease the aesthetic and pragmatic implications of
design decisions.
Sunday, 10 May 2015
EXP 2 Submission- Lumion Screenshots
New Concept: "The use of logical shape in both formal and informal ways, such that the combination consists of illogical and blurred spaces."
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| From afar, the marker triggers curiosity through the combination of formality and informality in its shapes and overall structure. |
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| The marker offers unique views of the illogical spaces from different points of views, enhancing its visual presence and thus the sports centre's as well. The spire in the marker ascends above everything else and can be seen in parallel with the telegraph pole. |
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| On closer inspection of the marker, it is an assortment of smaller elements creating blurred spaces, whilst being dominated by the larger visual components. |
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The spire is a core element of the marker and is covered with the DARK texture as it stands out among the smaller elements with lighter textures.
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| A MEDIUM texture was applied to the immediate component seen above because throughout the day, it achieves a healthy balance between light and shadow whereas the other two are either covered with shadow or lit up by natural light. The rectangular prism wall with the LIGHT texture contrasts with the illogical shapes that stand next to it and often receives the most light. |
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| Viewpoint from the marker overlooking the sports centre. |
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| From the back and side, visitors may ascend onto the marker as it also serves as a place to relax and admire the surroundings. |
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| At night, the spire is immersed in darkness as if being given a period of rest. The rectangular platform becomes the central focus at night. |
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| Connecting the marker to the sports centre are smaller solar-powered spires which light up at night. This grants safe access to the marker at night and also promotes sustainability and technology, both important aspects of the sports centre and the marker. |
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| Overall view of the site and the marker. |
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