Tuesday 28 June 2016
FINAL IMAGES AND 3D WAREHOUSE/LUMION LINK
FINAL IMAGES
The new school's architecture consists of a number of rectilinear blocks extruding out of the ground and forming large interior spaces. The blocks are defined by a large concrete scaffold-like structure which allows for completely open interiors. On the sides, large trusses are added to allow the blocks to lift off the ground and give lightness to the strong forms and glazing allows the public a complete view into the school.
The western blocks' angling allows a monumental stair to be integrated into the roof form and lead the UNSW public to be lead up onto the roof garden. The entrance for the students of the school follows the blocks forms and closes into the space as opposed to the public entrance which opens up into the garden space. The school bridges the public into architecture and to interact with the students.
The lecture hall is placed on the basement level and follows the same circular form as the spiral stair. Amphitheatre seating is a more casual way of conducting the lecture but it is pushed down with working areas into the basement, creating a dichotomy between the upstairs with strong public interaction and the inter-faculty social interaction downstairs.
The upstairs garden roof allows the architecture school to strongly engage with the public by creating a dynamic greenspace into the UNSW environment as well as allowing a place of quiet contemplation, elevated far above Anzac Parade for the architecture students to relax and distance themselves from the stresses of their course.
The entire ground floor is dedicated to the architecture school's library. Public engagement and knowledge of architecture is poor and the library acts as a conduit for the public to begin learning the importance of architecture. Large sitting stairs sit on the bottom of the large blocks and are spaces for architects and the public to sit with each other and promote interaction.
ADDITIONAL IMAGES
Entrance and stepped seating within the first floor library. The monumental stairs create an undulating, distinctive wooden roof for the entrance from the main UNSW walkway.
The balcony of Squarehouse connects directly to the green public roof of the new school. This shares this new relaxation space with the students of Squarehouse which will allow the two faculties to engage indirectly as well as through general interdisciplinary classes which are programmed for the new faculty.
The architecture trusses create allow the architecture to rise high above the ground and create distinctive forms on the outside of the blocks. The building invites the inquisitiveness of the public by allowing a direct line of site through into the building and its activities.
DIAGRAM
STUDENT CIRCULATION
3D WAREHOUSE
LUMION LINK
https://drive.google.com/open?id=0BxVatByOs2YKYzRVdmhjX2Nvd1k
The new school's architecture consists of a number of rectilinear blocks extruding out of the ground and forming large interior spaces. The blocks are defined by a large concrete scaffold-like structure which allows for completely open interiors. On the sides, large trusses are added to allow the blocks to lift off the ground and give lightness to the strong forms and glazing allows the public a complete view into the school.
The western blocks' angling allows a monumental stair to be integrated into the roof form and lead the UNSW public to be lead up onto the roof garden. The entrance for the students of the school follows the blocks forms and closes into the space as opposed to the public entrance which opens up into the garden space. The school bridges the public into architecture and to interact with the students.
The lecture hall is placed on the basement level and follows the same circular form as the spiral stair. Amphitheatre seating is a more casual way of conducting the lecture but it is pushed down with working areas into the basement, creating a dichotomy between the upstairs with strong public interaction and the inter-faculty social interaction downstairs.
The upstairs garden roof allows the architecture school to strongly engage with the public by creating a dynamic greenspace into the UNSW environment as well as allowing a place of quiet contemplation, elevated far above Anzac Parade for the architecture students to relax and distance themselves from the stresses of their course.
The entire ground floor is dedicated to the architecture school's library. Public engagement and knowledge of architecture is poor and the library acts as a conduit for the public to begin learning the importance of architecture. Large sitting stairs sit on the bottom of the large blocks and are spaces for architects and the public to sit with each other and promote interaction.
ADDITIONAL IMAGES
Entrance and stepped seating within the first floor library. The monumental stairs create an undulating, distinctive wooden roof for the entrance from the main UNSW walkway.
The balcony of Squarehouse connects directly to the green public roof of the new school. This shares this new relaxation space with the students of Squarehouse which will allow the two faculties to engage indirectly as well as through general interdisciplinary classes which are programmed for the new faculty.
The architecture trusses create allow the architecture to rise high above the ground and create distinctive forms on the outside of the blocks. The building invites the inquisitiveness of the public by allowing a direct line of site through into the building and its activities.
FINAL PLANS
ROOF
BASEMENT
ANIMATIONS
PUBLIC CIRCULATION
STUDENT CIRCULATION
3D WAREHOUSE
LUMION LINK
https://drive.google.com/open?id=0BxVatByOs2YKYzRVdmhjX2Nvd1k
MOVING ELEMENTS
The lifting room is a room that takes 5 full 24 hour cycles in order to move from the underground space to the first and ground floors. This room is risen only during exhibitions and during this time the eastern entrance is inaccessible. The slow rise of the room allows public engagement with the piece of work and creates anticipation for the exhibition. The room's door is unable to be accessed from the basement, instead it is only available to be used during exhibition times from the eastern entrance. This room is a completely blank canvas and the public is tasked to graffiti all of the interior walls of the room. At the end of the exhibition the room is sunk once again and the graffiti is preserved and photographed before being graffiti'd over when the room rises next.
This area of the first floor is an ampitheatre style seating arrangement used for informal student meetings. This meeting room is placed in the centre of the gallery space and can be sunk into the ground in order to create additional space for the gallery in case of exhibition.
Saturday 18 June 2016
Wednesday 18 May 2016
3 ARTICLE MASHUP
The attempt to make architecture and the arts inherently separate
is one of Architecture’s most misguided prescribed prescriptions. Architecture, even at
its most aestheticized, is not hermetically sealed off from the outside world
and needs to evolve to reflect design’s enhanced role as a catalyst for
innovation and creativity. Programmed space is pushed to cross-disciplinary
routes, placing significant emphasis on integrating studio learning with the arts, the built
environment, and the interface between them. The cross-disciplinary routes dissolution dissolve into learning
spaces that is are collaborative and soft(ly) provide students
that allow them to veer off traditional pathways of learning and will not learn
about design in isolation. These “collaborative core(s)” have access to nature, including
green urban spaces where students design and innovation innovate in public, building interconnections
between design and (university) society.
Tuesday 3 May 2016
FINAL SUBMISSION AND IMAGES
FINAL SUBMISSION
FINAL IMAGES
This image highlights the use of tensile structures in the columns. A glassy, translucent covering over the top of the columns simultaneously removes the need for complicated louvres but still allows the structural network to cast interweaving shadows over commuters which will shift throughout the day.
The tram stop is placed at the direct end of the UNSW walkway and acts as a natural continuation of the commuters movement. The columns sit on a UNSW student's horizon, acting as a natural vector for movement. The architecture therefore prioritises the pedestrians by creating a direct promenade to the station.
The length of the new trams (75 metres) necessitates a large station, To minimise the imposition of the stop, I brought the columns low to the ground and created large areas of green space which are extended down the length of Anzac Parade. This softens the impact of a large urban project and in fact extends the public green space in Kensington.
SIX AXONOMETRICS + CONCEPTS
ELECTROLIQUID AGGREGATION
36 LIGHT TO DARK TEXTURES AND APPLICATIONS
FINAL CONCEPT AND THEME
3D WAREHOUSE AND LUMION
ELECTROLIQUID AGGREGATION
36 LIGHT TO DARK TEXTURES AND APPLICATIONS
FINAL CONCEPT AND THEME
3D WAREHOUSE AND LUMION
FINAL IMAGES
This image highlights the use of tensile structures in the columns. A glassy, translucent covering over the top of the columns simultaneously removes the need for complicated louvres but still allows the structural network to cast interweaving shadows over commuters which will shift throughout the day.
The tram stop is placed at the direct end of the UNSW walkway and acts as a natural continuation of the commuters movement. The columns sit on a UNSW student's horizon, acting as a natural vector for movement. The architecture therefore prioritises the pedestrians by creating a direct promenade to the station.
The length of the new trams (75 metres) necessitates a large station, To minimise the imposition of the stop, I brought the columns low to the ground and created large areas of green space which are extended down the length of Anzac Parade. This softens the impact of a large urban project and in fact extends the public green space in Kensington.
FINAL CONCEPT AND THEME
Niemeyer focuses heavily on the promenade through many of his works . Niemeyer controls the experience of entering his spaces very significantly, often diverting visitors through a less efficient path to entry in order to achieve specific spacial sensations on entry, often emerging from below in order to increase the sense of scale in his works
Fornes uses his parametric structures to create patterns which are then distorted and cast onto visitors, Fornes work is often placed outside, which then allows the patterns to continue to change through the day as the sun shifts. This outdoor placement means that Fornes often cannot control the promenade and instead he allows entrance from multiple facets.
Through my work I aim to explore using both of these main ideas and create a work with a controlled promenade whilst still embracing the beauty that is created through the shifts of light and shadow.
I aim to embrace technology through a complex visible structural system. This system will allow me to control both the promenade by way of using it as a vector of movement as well as casting beautiful shadows through the day.
Tuesday 26 April 2016
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Tuesday 19 April 2016
SIX AXONOMETRICS + CONCEPTS
Niemeyer
- Volumetric addition and subtraction as a formal strategy
- Purity of the whole without recognisable parts.
- The promenade towards/throughout the architecture as a human experience of space.
Fornes
- Porosity of surface/ space.
- Play of light and shadow to create ever-changing ephemeral space.
- Material junction as structural strategy.
Lumion
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