Natural Fusion Master of Architecture Studio Work
Allen Chin Wei Jie
School of Built Environment University College of Technology Sarawak 2020
1
NATURAL FUSION
by ALLEN CHIN WEI JIE MAR18090004
Design Thesis Report Submitted to the School of Built Environment, University College of Technology Sarawak, in Partial Fulfilment of the Requirements for the Degree of Master of Architecture. 2020
Acknowledgement
First and foremost, I would like to thank Almighty God for giving me the strength, knowledge, ability and opportunity to undertake my design thesis. Without His blessings, this achievement would not have been possible. Special thanks to my supervisor, Assoc Prof Ar Ian Aik-Soon Ng for his guidance throughout a year. Besides, I do like to say “thank you� to my family members and friends for supporting me.
1
Table of Contents
Chapter 1 - Introduction 1.1 Introduction 1.2 Report Structure Chapter 2 – Evolving Fusion 2.1 Background Studies 2.2 Virtual Experiences 2.3 Precedent Studies Chapter 3 – Layering the Natures 3.1 3.2 3.3 3.4 3.5 3.6
Visceral Investigation Fusing the Ideas First Nature Second Nature Third Nature Fusion Exploration
Chapter - 4 Natural Fusion 4.1 Merging Natures 4.2 Final Scheme Chapter – 5 Reflections Appendix and References R References AP1 Detailings AP2 Study Models AP3 Final Model AP4 Fire Escape and Fire Fighting AP5 Building Services AP6 Gamification AP7 Virtual Reality to Reality
2
3
1
INTRODUCTION
4
1.1
INTRODUCTION This report is comprehensive trajectory of my two semester, Design Thesis One and Design Thesis Two on the investigation on the concept of merging the three Natures to answer my research question by using architecture. It covers implementation of architectural design project which is equal emphasis is given to practical aspects in research, innovation and design progress in each study, with realistic consideration as recognized by the building industry. The final result of this project is a set of graphical illustrations architectural design and design thesis report. This thesis is about the exploration of the realities of the digital world. Our world can be looked upon in through three angles which are three Natures. (First Nature - Terrestriality, Second Nature – Terrioriality, Third Nature – Cybersphere) suggested by Timothy Luke’s ontology (1999). It inspired me to see how can Luke’s “Three Natures” suggest a synthesized approach to urban building design by merging the three Natures into architecture.
5
1.2
REPORT STRUCTURE The report is organized starting with Chapter One, introduction and thesis statement allow readers to have quick understanding about the overall idea of this design thesis. Evolving Fusion, Chapter two, covers the evolution of the third Natures, and the precedents of previous projects which tried to fuse third Nature into architecture. Layering the Natures, Chapter Three, covers the explorations and findings to develop the final schemes. Natural Fusion, Chapter Four, covers the final scheme with drawings to illustrate the overall design, programs and internal spaces. Lastly, Finale, the last chapter to summarize the journey of design thesis with closing remarks.
6
2.1
THESIS STATEMENT
I reimagine our future architecture in a utopian way where the three natures known to man (Luke, 1999) are synchronized and synergized. The reality today, about 90% of Millennials are active social users spending at least three hours per day onscreen (Mohsin, 2020). With heads buried in smartphones, VR goggles, computers, and whatever other notifications being received it is small wonder that the “real world outside”—the naturally created world outscreen disconnects into subreality. Nonetheless, digitization and computerization bring with them a new connectivity, changing the way we live—our culture—redefining ‘tool’ and ‘technology’ (Bravo, 2018). We are incessantly connected--not only people to people but also people to substances. This phenomenon has formed a new relationship-pattern, creating a technology-powered heterotopia that sees a blending of times and spaces, configuring a symphonized physical-virtual realm. To synchronize this new realm into our older and more familiar realms of nature and the built world a rethink of the relationship between architecture and society is necessary (Luke, 1999). In this proposition, Luke (1999) suggests three “Natures” as the new paradigm. The “First Nature” refers to “Terrestriality” which is the original nature from the Earth, for instance, land, water, sky and biosphere surround us. “Second Nature” refers to the ‘Territoriality’, also known as artificial
7
environment consists of all the human technological artifices Vfabricated out of our cultures, histories and traditions. ‘Third Nature’ refers to the cybersphere and telesphere, which MVMVis the realm of information technology (IT), digital information and communication in the form digitized bits and codes (A. Graafland et al., 2012; Luke, 1999). It is undeniable that the future architecture will involve into this new norm in their relations to First, Second and Third Nature. Urry (2012) called this phenomenon as “collage effect” in which the “events” has become more important than the “location”, dissolving them into neutral data of locations while simultaneously digitized all forms of architectural embodiments to digital data and present it in virtual spaces (A. Graafland & Sohn, 2012). Hence, in what way a balance point can be determined to achieve mutual dialogue in between the three Natures? In consequence, the physical context of future architecture is as important as the virtual realm generated by the Third Nature. Digitization of third nature provides a new iteration beyond the First and Second nature, creating a hyperreal domain by enriches and supplements the two Natures (Luke, 1999). Thus, when comes to architecture, can the Third Nature, Cybersphere, can be more imaginative and be informed as part of the elements in architecture? I believe that, the future architecture could be evolved not only with the new form orvvmateriality, but it could be an abstract, autonomous form informed by the three Natures.
In what way can Luke’s “Three Natures” suggest a synthesized approach to urban building design?
For instances, the new norm of users’ behaviour when digitalization come across our future life, and the adaptation of technological tools to our surroundings. We must, therefore, understand the current world in which we are living is not only about the combination of biological and chemical processes, but also of the Cybersphere in non-physical realm. The vehicle for this exploration is a speculative proposal, “The Hetero-Natures” sited at a waterfront in the capital city of Sarawak in Borneo. A built setting for an initiation into the beauties of the hinterland it engages human interaction, as it allows the Third Nature to speak to its performative occupants. This proposal challenges the limitation of tourism when visitors have not the time to explore the beauty of Kuching or Borneo leisurely. Traditional human connection is based on personal human communication and interpersonal connections. But in the world of virtual reality communication happens in the interstices between the human eye and the goggles of digitized software. Recognizing that virtual reality tends to de-intensify human connections (Hicks (2016). According to Tartau (2020), digital technology is being mainly used in our daily life, in future maybe virtual reality, it lead to the isolation of people in relation to the real world. This proposal aims to tackle this negative phenomenon by omitting the goggles. Architecture becomes the replacement “tool” to bring occupants into the reality of the virtual realm.
enerally, the architectural composition was informed by the interior programs enacted by cyberspace technology, and by the surrounding context of the First and Second Natures. The proposal is like a mutated creature, hetero of three Natures. The overall design is informed by the characteristic of First Nature, fluidity, flexibility and randomness. Like a dandelion, the implementation of this idea spreads all over the proposed site. At the same time, it is given a parameter to control the spread of this randomness by responding to Second Nature. Axes are identified by the existing landmarks and nodes, thus it used as a tool to generate the openings, building circulation, entrances and dialogues between the existing contexts. The building programs in this proposal are driven by the implication of the Third Nature. The spaces for building programs can be reduced due to digitization and its design can be reformulated. The building spaces are fragmented due to the needs of different cyberspace technology for different purposes. Therefore, these strategies lead to a conviction that balancing the three Natures can suggest a spatial future that is greater than the sum of its parts. Architecture, in my thesis, can facilitate the merging of the Three Created Natures
8
9
2
EVOLVING FUSION
10
Virtual space is not a new phenomenon, nor exclusively one limited to the computer. The “Virtual space” is created by any medium capable of describing a space apart from the immediate physical surroundings. (Ettlinger, 2008) Generating virtual reality is not limited to digital technology, but it can be formed by any medium capable of describing a space apart from the physical world. The point is that what we have before digital realm is painting. It is in our imagination. We could say that our ‘creative engine’ imagination interacts with Bruegel’s painting in letting us see a tower. Once generated, we have a tower within our ‘mental space’ imagination (Ettlinger, 2008).
11
12
2.1
BACKGROUND STUDIES
13
2.1 Background Study
14
2.2
VIRTUAL EXPERIENCES Non-immersive Simulation Non-immersive simulations are the least immersive implementation of virtual reality technology. In non-immersive experience, users will not feel they are in virtual world, but they can experience the implementation of virtual technology in reality.
Semi-immersive Simulation Semi-immersive simulations provide a more immersive experience, in which the user is partly but not fully immersed in a virtual environment.Users can experience as they are in half reality and half virtual world which we also called it as Mixed reality.
15
Full-immersive Simulation Fully-immersive simulations provide the most immersive implementation of virtual reality technology. In a fully-immersive simulation, hardware such as headmounted displays and motion detecting devices are used to stimulate all of a user’s senses. Full immersion means that the sensory experience feels so real, that we forget it is a virtual-artificial environment and begin to interact with it as we would naturally in the real world.
However, the full immersive experience is only for an individual and it has very limited to do with architectonics which is the realm of the architecture. Therefore, in architectural proposition, the fullimmersive experience is fused into a function within the merging of Luke’s Natures.
16
2.3
PRECEDENT STUDIES
17
INTERACTIVE DIGITAL ART MUSEUM, Tokyo
18
Art can be liberated from the world of physical materials. To do this, light is used as the pigment. The light that serves as teamLab’s pigment for Borderless comes primarily in the form of projection. A total of 524 Epson projectors, including those held in reserve, are used across the Mori Building to bring approximately 60 works of art to life. The projectors include Epson EB-L1105U units, EB-L1505UH high brightness units, EB700U ultra-short throw units as well as a variety of different lenses.
immersed in the art itself can change how we perceive it and this is an important concept to work in digital realm.
Visitors ‘fuse’ into the digital works and become part of them as they transform according to the presence of people. This is a core concept that interactive digital art wanted to explore and play with. One of the main artworks in Interactive Digital Art Museum, Tokyo is the Waterfall which directly interacts with the people. As people walk, flowers sprout at their feet. If there are no people there are no flowers, it is just a waterfall The selection of projectors was crucial not only due to and it is just a simple depiction of this one scene. the scale of the project but also due to the critical role the technology had to perform. It is believed that classical art In order to avoid shadows, multiple projectors casting visuals ‘divides’ people. When we see the Mona Lisa, it is on a wall on the same screen, but from different angles, have been and there is bulletproof glass, barricade and guards and used. This ensures that the artwork remains visible even crowds between us and the art. We are separated many layers when the viewer might cut across the field of projection. removed from the actual artwork. In digital realm, all the art can be “touched”, interact and it will never break. Being
19
Unlike physical exhibition, visitors can move freely, build connections and relationships with others. Digital exhibition also aims to explore new relationships between humans and nature through art, allowing us to liberate art from the physical and transcend boundaries. However, there are very minimal exploration on the architectonic to contain this digital realm. Both precedent studies are designed in almost a “box� building, just to contain and shelter the digital technology and devices to perform the digital shows. Thus, it triggered me to explore this gap to suggest more posibilities to architecture when the digital realm merged into architecture. Virtual reality is by no means unreal, quite the opposite; yet its full effects are latent, that is, they are not yet fully visible or evident. The virtual reality at this point is not far removed in discourse from architecture. (Picon, 2003)
20
21
Van Gogh Immersive Exhibition, Paris
22
The characteristic of First Nature, fluidity and randomness merged onto the building design. Like a dandelion, the implementation of this idea spreads all over the site. At the same time, the element of Second Nature, the axes set a parameter to control the spread of this randomness.
23
3
LAYERING THE NATURES
24
3.1
VISCERAL INVESTIGATION
From the research, our present world had shown an increase in road by the digital technology. To this extent, 90.4% of millennial have their own digital gadgets and spent more than two hours per day on social networks It almost look as if once upon a time we were in touch with God, but now we are beginning to touch the digital world more than anything else. Human had become another creator, to create these digital technology, for instance like AI, Goggles, Virtual Reality, Quantum Supreme, 5G technology, Robotic Arm, IOT and etc to blend them into our daily life.
25
Back to the early days, we used only traditional way of communication which interpersonal connections by face to face.
However, when the cybersphere was introduced, we started to look into virtual or online communication which only happens in between the human eye and the goggles or digitized software which leads to the isolation of people in relation to the real world.
Therefore, what if architecture becomes the replacement “tool� of goggles to bring people into the reality of the virtual realm, where we can have both interpersonal and virtual connections in the real world.
26
3.2
FUSING THE IDEAS
Initial sketches to imagine the the elements of Three Natures fused together.
27
Kuching riverfront, located in Kuching, Sarawak is selected which is rich of First and Second Nature. The riverfront is embraced by many greens, cultures and building landmarks, therefore it is a perfect site to explore on this project. Sketches and explorations had been done to generate more idea and development to fuse the three Natures. Several building programs and spaces are tested, however certain ideas are filtered or combined to develop the main programs in building proposal.
28
3.3
FIRST NATURE
The site consists of iconic First Nature, Sarawak River and greens, generated activities on site. Besides, intangible First Nature, the river breeze cooling the whole riverfront, attracting more public come to the site. Furthermore, the First Nature on site also become the key elements to generate the local activities, Second Nature, such as water taxi for daily route and leisure purposes.
29
Various species of trees are identified on site, which are planted strategically to emphasize the journey along the riverfront and create sense of welcoming to the public together with existing landmark, Hornbill Fountain.
30
3.4
SECOND NATURE
31
There are three strong axes generated by existing Second Nature which are important to my design development which are New axis one, a horizontal linear axis across the site. the existing axis one, connected with Tua Pek Gong Temple and Fort Margherita and the existing axis two connected with Hilton hotel and Sarawak Dun.
32
Precious river view can be seen from site.
The panorama view to proposed site
33
Hornbill Fountain is forming a strong axis, connecting Hilton Hotel and Fort Margherita
Water taxi is still operating, transporting the local or visitors to the opposite riverbank.
People will hang out, lingering along the riverfront in the morning and in the evening.
34
3.5
THIRD NATURE
The Third Nature brings posibilities to generate our future architecture. With the advance of cybersphere, everything can be connected, allowing the digital technology interact with public, generating and feeding them the “space� and experience they are expecting for.
35
36
3.6
FUSION EXPLORATION
Exploring the structural concept to minimize the blockage of the river view, but allow the visitor able to celebrate the first Nature together with the building proposal. Exploring on the building scheme, internal spaces generated by technology of Third Nature. Study of solid and void inside the scheme. Besides, the spatial layout is informed by the the main axes. Allow the proposal responds to the existing second Nature, creating dialogues with existing landmarks and nodes.
37
Different architectural languages are tested to suggest the best approach to reflect the idea of Natural Fusion and to find a more hoslitic way to “wrap up� the entire building which contained of merging of Three Natures.
38
39
Digital Visitor Centre are proposed, it serves as a “tourism core” of Sarawak, to promote and allow visitors have a “quick preview” to explore the beauty of Sarawak by merging the Three Natures.
The overall building is like an “organic creature” informed by the fluidity of river flow in motion, the First Nature, surrounding contexts of the Second Nature and the cyberspace technology of the Third Nature.
4
NATURAL FUSION
40
4.1
MERGING NATURES
41
The idea of Bridge Structural System is applied as the site is long and sexy. Thus, minimal column can be achieved to maximize the river view yet it still able to carry building loads to the ground.
On the Lower Ground, Water taxi Platform is proposed to maintain the existing activities which is connect with ground level.
On Ground Floor, it mainly focuses on creating public realm, allowing more public and commercial activities on going.
On First Floor, it mainly focuses on promoting the beauty of Sarawak in digital realm.
The architectural composition was informed by the interior programs enacted by cyberspace technology. Besides the characteristic of First Nature, fluidity and randomness merged onto the building design, like a dandelion, spreads all over the site.
The building is porous, layer by layer, allowing river breeze penetrates through the building and able to create lantern effect to enlighten the site during night time.
The characteristic of First Nature, fluidity and randomness merged onto the building design. Like a dandelion, the implementation of this idea spreads all over the site. At the same time, the element of Second Nature,
Initially, the site is a recreation acea, this only up to maximum 30 extra horizontal car parking can be proposed along the site. To solve this, there are same alternative solutions by using multi-storey car parking from Medan Pelita and public car park behind Tua Pek Gong Temple.
which are the axes set a parameter to control the spread of this randomness. It also applied to frame the precious views and generating the openings, building circulation,entrances and dialogues between the existing buildings.
It is believed that in future, the ride-hailing system will be more advance and getting more users to use it. Thus, a waiting zone is proposed for public to wait for their grabs
42
4.2
FINAL SCHEME
43
2
Level Program Lower Ground Jetty Water Taxi Drop-off Lift Lobby
Area (m ) 500 200 100
Ground Floor Waiting Area Reception Lobby F&B Stalls Café Lift Lobby River Cruise Ticket Counter Information Counter Retail Store Media Control Room Toilet Services
250 200 100 150 100
Level First Floor
Program Digital Interactive Park Semi-Immersive Tunnel Office + Control Room Mist Hologram 360° Dome Ride Theater Seminar Room Preparation Room Storage Services
2
Area (m ) 250 160 50 350 400 200 40 25 100
30 30 120 m 120 400
Total
3940
44
LOWER GROUND FLOOR PLAN
45
46
Visitors able to feel the huge volumetric public space on the ground floor,
To experience different virtual tour, visitors can walk up to semi-immersive
celebrate with digital avatars in the air while enjoying the river view.
tunnel from reception counter and then the journey will continue follow by mist hologram and 360 dome ride theater.
47
48
GROUND FLOOR PLAN
49
v
50
VIEW FROM TUA PEK KONG TEMPLE
51
Fort Margherita is framed by the arc opening of the main entrance which informed by the existing axis one, to create better grand view and sense of welcoming to the visitors.
52
SECTION B The building has been designed to allow great freedom of movement
performances together in the void space. Outdoor hologram theatre
for visitors. Besides, void is proposed, to maximize visual accessible
is proposed, allow public to enjoy outdoor non-immersive digital
from every floor. With this, the visitors also can celebrate huge digital
shows, and also allowing them to view down to the river.
53
54
VIEW FROM LOWER GROUND 55
The building emphasizes on the distinct experiential journey
merging of Three Natures in one time starting from, the river
of riverfront, it is like walking on the Sarawak River. At the
flow, the wind breeze, river views, digital performances,
same time, the visitors able to perceive and appreciate the
organic building structures, greens and clear blue sky.
56
In 360 Dome ride theatre, 360 projection will be projected to provides full bird eye view for the visitors to have a quick preview of various Sarawak tourist spots and celebrate with other visitors. It also create opportunities for visitors to meet other strangers with common interests, so they can party up and go to the real destination together.
FIRST FLOOR PLAN
57
58
SEMI-IMMERSIVE TUNNEL
The visitors can register their area of interests at the reception lobby, so the attractors will track them and feed their desirable contents throughout the journey in this tunnel. The contents in semi-immersive tunnel are reformulated by mixed reality, thus sometime the view from outside can be augmented allows visitors to have better understanding
59
by relating on real context with extra information. Somehow all the contents generated for different visitors can be collaged, thus every time the interior of the space is dynamic and it allow more interactions among the visitors to share different information and discuss in this digital realm.
60
ROOF PLAN
61
62
MIST-HOLOGRAM
The journey continue followed by Mist hologram after Semi-Immersive Tunnel. It is a place to simulate the beauty of our Sarawak and Borneo Rainforest. Cultures and traditional costumes of different races in Sarawak will be displayed on the
63
mini stages regularly, allowing visitor to have closer look and interact with those avatars. At the same time, It also serves as a waiting area for the visitors while waiting for their 360 shows.
64
65
5
REFLECTIONS
66
67
Throughout the journey of my design thesis,
merging the new realm, Third Nature into the
I realised that it is fun and challenging by
existing First and Second Nature. By embracing
embracing this digital realm, architectonic and
possibilities to our future architecture design.
spaces can be digitalized and generate more
68
69
Architecture can facilitate the merging of the
the Third Nature “Cybersphere� and
digital
Three Created Natures. We can consider that
realm can be merged into another two existing
Natures to generate more vibrant, holistic and culturally rich spatial experiences in architecture.
70
71
72
73
APPENDIX AND REFERENCES
74
R
REFERENCES
A. Graafland, & Sohn, H. (2012). Introduction: Technology, Science and Virtuality. In: The SAGE Handbook of Architectural Theory. Ettlinger. (2008). In Search of Architecture in Virtual Space. Hicks, P. (2016). The Pros And Cons Of Using Virtual Reality In The Classroom. Retrieved from https://elearningindustry.com/pros-cons-using-virtual-reality-inthe-classroom Lemack, C. (2018). 'Ready Player One' Has an Important Message About Not Just Virtual Reality, But Reality Itself. Luke, T. W. (1999). Simulated Sovereignty, Telematic Territoriality: The Political Economy of Cyberspace. In Spaces of Culture: City, Nation, World. London: SAGE Publications Ltd. Mohsin, M. (2020). 10 Social Media Statistics You Need to Know in 2020. Retrieved from https://www.oberlo.com/blog/social-media-marketing-statistics Picon, A. (2003). Architecture and the Virtual Towards a new Materiality? Picon, A. (2019). Digital Fabrication, Between Disruption and Nostalgia. In A. S. Chandler Ahrens (Ed.), Instabilities and Potentialities. Tartau, C. (2020). Syntechnesthesia. Platform for an Augmented Performance. Retrieved from https://issuu.com/cristinatartau/docs/__syntechnesthesia._ platform_for_an_augmented_perf Urry, J. (2012). Sociology beyond societies: Mobilities for the twenty-first century: Routledge.
75
76
DRAINAGE COVER WITH PEBBLES 250MM, 300MM DEPTH DRAINAGE IRRIGATION SPRINKLER WATER PIPE CROPS
AP 1
100MM THK ROCK MULCH GROWING MEDIA RWH FILTER
APPENDIX 1 - DETAILINGS WATER PUMP
RWH WATER TANK
ALUMINIUM WINDOW FRAME 100MM X 50MM GLASS ROOF PANEL 600MM DEPTH SPACE TRUSS COMPOSITE PANEL / PERFORATED STEEL PANEL 600MM DEPTH ROOF TRUSS MOTION SENSOR
FRAMELESS GLASS PANEL DEEPFRAME AR SCREEN
DECKING 800MM STEEL TRUSS
77
1500
100 MM Ø MERO NODE 1500 C/C 50 MM Ø DIAGONAL WEB 60 MM Ø BOTTOM CHORD 10 MM Ø J BOLT 300 Ø CIRCULAR COLUMN 25 MM THK EXTERNAL PLASTER SLEEVE 60 MM Ø TOP CHORD
PIN
HOLE FOR INSERTION OF BOLT 1500
CONICAL END PIECE SPIDER HOLDER
ENLARGED SECTION B - B SC: - 1:5 B
PLAN
B'
SC: - 1:20
10 MM Ø BOLT 20 MM THK POLYCARBONATE SHEET WASHER AND NUT SPIDER HOLDER 60 MM Ø TOP CHORD 50 MM Ø DIAGONAL WEB 100 MM Ø BALL NODE
60 MM Ø HORIZONTAL CHORD HOLE FOR INSERTION OF BOLT CONICAL END SLEEVE
ELEVATION
100 MM Ø MERO NODE SC: - 1:20
HOLE FOR INSERTION OF BOLT 50 MM Ø DIAGONAL WEB 20 mm Ø THREADED HOLE
PIN
SLEEVE
1500
20 MM Ø BOLT 60 MM Ø HORIZONTAL CHORD
ENLARGED SECTION B - B'
1500 c/c 100 MM Ø MERO NODE
MERO SYSTEM SC: - 1:5
SC: - 1:5
THREADED BOLT PIN HOLE END CONE PIN
78 SLEEVE
HOLE FOR
DRAINAGE COVER WITH PEBBLES 250MM, 300MM DEPTH DRAINAGE IRRIGATION SPRINKLER WATER PIPE CROPS 100MM THK ROCK MULCH GROWING MEDIA RWH FILTER WATER PUMP RWH WATER TANK
RAINWATER HARVESTING & IRRIGATION SYSTEM ALUMINIUM WINDOW FRAME 100MM X 50MM GLASS ROOF PANEL 600MM DEPTH SPACE TRUSS COMPOSITE PANEL / PERFORATED STEEL PANEL 600MM DEPTH ROOF TRUSS MOTION SENSOR
FRAMELESS GLASS PANEL DEEPFRAME AR SCREEN
CREEPER PLANT & SOIL MEDIUM
DECKING
POST 800MM STEEL 50MM X 50MM TRUSS SAFETY RAIL 40MM X 5MM DECKING
REMOVE STAKE OR ANY TEMPORARY TRELLIS DEVICE. 75MM MULCH LAYER BACKFILL MIX WITH SPECIFIED AMENDMENTS FINISH GRADE REMOVE CONTAINER AND LOOSEN ROOTS UNDISTURBED SOIL
TOP CHORD 200MM X 50MM OUTRIGGER PLATE OUTRIGGER 50MM X 50MM BOTTOM CHORD 200MM X 50MM HORIZONTAL BRACE 50MM X 50MM SPACER
79
75MM MULCH LAYER BACKFILL MIX WITH SPECIFIED AMENDMENTS FINISH GRADE REMOVE CONTAINER AND LOOSEN ROOTS UNDISTURBED SOIL
TOP CHORD 200MM X 50MM POST 50MM X 50MM SAFETY RAIL 40MM X 5MM DECKING
OUTRIGGER PLATE OUTRIGGER 50MM X 50MM BOTTOM CHORD 200MM X 50MM HORIZONTAL BRACE 50MM X 50MM SPACER
LOWER GROUND WALKING PATH WITH METAL SIDE
80
AP 2
APPENDIX 2 - STUDY MODELS
81
Study model 1 - Connectivitiy Inspired by the believe of how Third Nature can impact to architecture, everything can be connected, including spaces. Thus, the spaces can be fragmented, but they are connected. It will form a continuous journey, allows users can experience different spaces in “one� building.
82
83
Study model 2 - Spaces, Levels, Connections Basic architecture components are added to explore the idea of the sketches physically in three dimensions. Besides, to study the solid and void to explore and design the building scheme.
84
85
Study model 3 - Structural Study Both physical model and digital model are used to discover more explorations and studies to find the ideal structural system for the building proposal. Bridge structural system is applied for the building proposal. It reduces the number of columns go into the river, able to maximize the river view and free up the internal space
86
87
Digital study model - Parametric Architecture Exploration. Parametric architecture is used to reflect the characteristic of First Nature, organic and fluidity. At the same time, the elements of Second Nature act as the “parameter� to control and limit this randomness growth of the building. The various building schemes are generated to explore the ideal way to reflect the merging of three Natures on site and responding to the site contexts.
88
AP 3
APPENDIX 3 - FINAL MODEL
89
90
AP 4
APPENDIX 4 - FIRE ESCAPE & FIRE FIGHTING
91
92
93
94
AP 5
APPENDIX 5 - BUILDING SERVICES
COLD WATER SUPPLY
95
RAINWATER HARVESTING & IRRIGATION SYSTEM
COOLING SYSTEM
ELECTRIC SUPPLY
96
AP 6
APPENDIX 6 - GAMIFICATION
Different scale of space to test according to the four orders of Gamification experience (Kerstin, 2017) Systemic Gamification ( City, Urban Context) Social Gamification (Public Space, Open Space) Transactional Gamification (Classroom, Laboratory) Playful Design (Furniture, Feature)
Gamification is an inadvertent con. It tricks people into believing that there is a simple way to imbue their things with the psychological, emotional and social power of a great game. ( Robertson, 2010)
97
Octalysis is the design framework of Core Drive which motivates us to do everything that we do in games out of games. (Yu-Kai Chou, 2003)
98
AP 7
APPENDIX 5 - VIRTUAL REALITY TO REALITY
Light can bring an emotional value to architecture and draws attention to textures, colours, and forms of a space (TCP, 2007). The light source in our reality is sunlight and it travels straight to the Earth. While light source from virtual reality is coded which able to perform in varies colours and patterns from any directions.
In reality, our communication are limited in certain mount, but in digital world, everyone is connected yet it still ensure security and privacy. The network is comprised of nodes and connections. Nodes are the objects of the network. Connections link nodes to one another are the relationships between people, their communications and the things and moments they share. The network visibly surrounds all the spaces (Brett, 2016). The connection in between platforms is not spatial, but spontaneous. It is like a mysterious gateway or teleport system is used to transport from one place to another. There is no hybrid space which is smoothening the change from one to another. There is a need for corridors, a bridging system (Yesilipek, 2018).
99
In virtual world, spaces do not have to be static. While in the physical world, all the things needs to be physically connected to the spaces (Brett, 2016). In the virtual space, the things can easily switch to the new space that was selected. The law of gravity does not exist, Users are able to experience a space like zero gravity. While by using some technology devices, users can experience fly and floating in the zero gravity world. Building can be not longer need the structures to support in the virtual world. Therefore, it creates more space and capability to design and explore in architecture.
100