Shaping Architecture 2017
Representation III / Brian Wilson a1686992
REPRESENTATION III
SHAPING ARCHITECTURE
Contents
Contents
01
OBSERVE & TRANSLATE
02
FORM
03
COMPLEX SPACE
04
IDEA & PROGRAM
05
MOTION
06
STRUCTURE
07
INTERFACE
08
MATERIAL
09
DOCUMENTATION
10
CONCLUSION
REPRESENTATION III
SHAPING ARCHITECTURE
Contents
Contents
01
OBSERVE & TRANSLATE
02
FORM
03
COMPLEX SPACE
04
IDEA & PROGRAM
05
MOTION
06
STRUCTURE
07
INTERFACE
08
MATERIAL
09
DOCUMENTATION
10
CONCLUSION
REPRESENTATION III
SHAPING ARCHITECTURE
“Movement served as the departure point...”
01 Observe & Translate Movement, specifically the movement of a runner, served as the departure point for creating the dynamic spatial forms of an architecture school. The ever changing movements of a runner were observed and translated into two-dimensional sketches. The aim was to capture layers of continuous motion, rather than a single frozen moment. These lines were then projected into digital modelling space, to create a complex three-dimensional object. Several iterations were made that explored different qualities and tension points. This overall process was about capturing the four dimensional movement of a runner into two-dimensional representation, and translating these into a three dimensional form that represents the runner’s spatial dynamics and qualities.
The sketches seek to capture the dynamic relationship between the runner and the ground. The ever changing motion and direction of body and limb is translated into layers of two dimensional sketches.
02 Observe & Translate
REPRESENTATION III
SHAPING ARCHITECTURE
“Movement served as the departure point...”
01 Observe & Translate Movement, specifically the movement of a runner, served as the departure point for creating the dynamic spatial forms of an architecture school. The ever changing movements of a runner were observed and translated into two-dimensional sketches. The aim was to capture layers of continuous motion, rather than a single frozen moment. These lines were then projected into digital modelling space, to create a complex three-dimensional object. Several iterations were made that explored different qualities and tension points. This overall process was about capturing the four dimensional movement of a runner into two-dimensional representation, and translating these into a three dimensional form that represents the runner’s spatial dynamics and qualities.
The sketches seek to capture the dynamic relationship between the runner and the ground. The ever changing motion and direction of body and limb is translated into layers of two dimensional sketches.
02 Observe & Translate
REPRESENTATION III
SHAPING ARCHITECTURE
2d Lines
2D lines are copied
2D lines are copied
into Rhino.
into Rhino.
Extruded Lines
Extruded Lines
Lines are extruded at
Lines are extruded at
different angles.
different angles.
Wire-cut Box
Wire-cut Box
Extrusions cut away
Extrusions cut away
from a virtual block.
from a virtual block.
Form 1
Form 2
This was the first form
The cuts are a lot
produced. The cuts
bolder, and start
are hesitant and the
to experiment with
surfaces are mainly
different angles. It is
flat. In my view this fails
starting to capture
to capture the original
some of the original
dynamic qualities of
qualities. But it feels too
motion.
complex.
04 Observe & Translate
2d Lines
REPRESENTATION III
SHAPING ARCHITECTURE
2d Lines
2D lines are copied
2D lines are copied
into Rhino.
into Rhino.
Extruded Lines
Extruded Lines
Lines are extruded at
Lines are extruded at
different angles.
different angles.
Wire-cut Box
Wire-cut Box
Extrusions cut away
Extrusions cut away
from a virtual block.
from a virtual block.
Form 1
Form 2
This was the first form
The cuts are a lot
produced. The cuts
bolder, and start
are hesitant and the
to experiment with
surfaces are mainly
different angles. It is
flat. In my view this fails
starting to capture
to capture the original
some of the original
dynamic qualities of
qualities. But it feels too
motion.
complex.
04 Observe & Translate
2d Lines
REPRESENTATION III
SHAPING ARCHITECTURE
2d Lines 2D lines are copied into Rhino.
Final Form Interesting blend of curves and straight cuts to express the fluid and jarring motion of the runner.
Extruded Lines Lines are extruded at different angles.
Wire-cut Box Extrusions cut away from a virtual block.
This is the final chosen form. It has a good level of complex curves and simplistic cuts. It is a good blend of the previous forms and captures movement well.
06 Observe & Translate
Form 3
REPRESENTATION III
SHAPING ARCHITECTURE
2d Lines 2D lines are copied into Rhino.
Final Form Interesting blend of curves and straight cuts to express the fluid and jarring motion of the runner.
Extruded Lines Lines are extruded at different angles.
Wire-cut Box Extrusions cut away from a virtual block.
This is the final chosen form. It has a good level of complex curves and simplistic cuts. It is a good blend of the previous forms and captures movement well.
06 Observe & Translate
Form 3
REPRESENTATION III
SHAPING ARCHITECTURE
The digital shape was unrolled and used as a template to create a physical model.
02 Form At this stage a physical model was constructed from white card, This process of switching between physical and digital highlighted the benefits and limits of working in each medium. Working in a physical medium magnified the true qualities and characteristics of the shape, giving a better understanding of the digital form. This physical model helped me visualise where the shape lacked in complexity. However, replicating curves and convex surfaces with accuracy was challenging. Whereas the digital model could be easily created and manipulated, but harder to visualise and understand its’ characteristics. The physical and digital models are photographed on the following pages at angles that reflect different qualities of movement and fluidity.
08 Form
REPRESENTATION III
SHAPING ARCHITECTURE
The digital shape was unrolled and used as a template to create a physical model.
02 Form At this stage a physical model was constructed from white card, This process of switching between physical and digital highlighted the benefits and limits of working in each medium. Working in a physical medium magnified the true qualities and characteristics of the shape, giving a better understanding of the digital form. This physical model helped me visualise where the shape lacked in complexity. However, replicating curves and convex surfaces with accuracy was challenging. Whereas the digital model could be easily created and manipulated, but harder to visualise and understand its’ characteristics. The physical and digital models are photographed on the following pages at angles that reflect different qualities of movement and fluidity.
08 Form
REPRESENTATION III
SHAPING ARCHITECTURE
Physical Model
Digital Model
This image accentuates the flat surfaces that are lacking in complexity.
This accentuates the juxtaposition of fluid and jarring runner.
10 Form
motion of the
REPRESENTATION III
SHAPING ARCHITECTURE
Physical Model
Digital Model
This image accentuates the flat surfaces that are lacking in complexity.
This accentuates the juxtaposition of fluid and jarring runner.
10 Form
motion of the
REPRESENTATION III
SHAPING ARCHITECTURE
Physical Model
Digital Model
This depicts the complex combination of convex and concave surfaces.
This image best represents the dynamic range between the runner and the ground.
12 Form
of movement
REPRESENTATION III
SHAPING ARCHITECTURE
Physical Model
Digital Model
This depicts the complex combination of convex and concave surfaces.
This image best represents the dynamic range between the runner and the ground.
12 Form
of movement
REPRESENTATION III
SHAPING ARCHITECTURE
The spaces in this first iteration were quite dynamic and exciting. However the design was unsuitable for floor plates due to dramatic voids that left unusable floor area.
03 Complex Space
Interior Space 1 Top : Section Iteration 1
This stage of the design process considered the internal spaces and voids of the proposed form.
Bottom : Interior
By cutting interior voids, we were to create and
Renders
imagine a series of potential spaces for human occupancy. The aim was to create exciting internal spaces, that draw connections to exterior form. The creation of these voids needed to resonate with the original concepts of fluidity and movement that shaped the exterior form. By experimenting with multiple iterations, the use of light and scale arose as two important factors in spatial composition. These were considered in selecting a final design that would amplify how that space is used as a feasible habitable area. This internal space eventually needed to accommodate an architecture school.
14 Complex Space
“Form doesn’t come from nowhere...”
REPRESENTATION III
SHAPING ARCHITECTURE
The spaces in this first iteration were quite dynamic and exciting. However the design was unsuitable for floor plates due to dramatic voids that left unusable floor area.
03 Complex Space
Interior Space 1 Top : Section Iteration 1
This stage of the design process considered the internal spaces and voids of the proposed form.
Bottom : Interior
By cutting interior voids, we were to create and
Renders
imagine a series of potential spaces for human occupancy. The aim was to create exciting internal spaces, that draw connections to exterior form. The creation of these voids needed to resonate with the original concepts of fluidity and movement that shaped the exterior form. By experimenting with multiple iterations, the use of light and scale arose as two important factors in spatial composition. These were considered in selecting a final design that would amplify how that space is used as a feasible habitable area. This internal space eventually needed to accommodate an architecture school.
14 Complex Space
“Form doesn’t come from nowhere...”
REPRESENTATION III
SHAPING ARCHITECTURE
The final iteration In this iteration
seeks to solve
there is emphasis on
the problem of
creating separate
connectivity and
“rooms” or voids. It
interesting void
is more functional
space by using
as floor plates, but
a central void
the interaction
that connects to
between
smaller spaces. This
spaces isn’t very
creates a potential
interesting.
intersecting circulation space.
Interior Space 2
Interior Space 3 Top : Section
Top : Section
Iteration 1
Iteration 1
Bottom : Interior
Bottom : Interior
Renders
Renders
There are a range
interesting moments
of intersecting
and dramatic
regions where users
filtering of light.
can interact.
16 Complex Space
There are some
REPRESENTATION III
SHAPING ARCHITECTURE
The final iteration In this iteration
seeks to solve
there is emphasis on
the problem of
creating separate
connectivity and
“rooms” or voids. It
interesting void
is more functional
space by using
as floor plates, but
a central void
the interaction
that connects to
between
smaller spaces. This
spaces isn’t very
creates a potential
interesting.
intersecting circulation space.
Interior Space 2
Interior Space 3 Top : Section
Top : Section
Iteration 1
Iteration 1
Bottom : Interior
Bottom : Interior
Renders
Renders
There are a range
interesting moments
of intersecting
and dramatic
regions where users
filtering of light.
can interact.
16 Complex Space
There are some
REPRESENTATION III
SHAPING ARCHITECTURE
04 Idea & Program The spatial forms generated to this point are to be adapted into a future school of architecture. The proposal is designed to initiate an innovative environment for teaching. A range of programs need to fit within the structure. This was explored as iterations of stacked blocks. These were then transposed onto the interior void model. This process allowed me to visualise how the different programs could interact within the form. Another key requirement was to place the structure on existing buildings on a North Terrace
Student 2000m2
site. Elements had to be removed and added to allow the model to span horizontally over the buildings. To meet these requirements of program
Staff 400m2
and situation, the form had to adapt and find a balance between function and poetry.
Shared & Other 1000m2
Volumetric Requirements 18 Idea & Program
REPRESENTATION III
SHAPING ARCHITECTURE
04 Idea & Program The spatial forms generated to this point are to be adapted into a future school of architecture. The proposal is designed to initiate an innovative environment for teaching. A range of programs need to fit within the structure. This was explored as iterations of stacked blocks. These were then transposed onto the interior void model. This process allowed me to visualise how the different programs could interact within the form. Another key requirement was to place the structure on existing buildings on a North Terrace
Student 2000m2
site. Elements had to be removed and added to allow the model to span horizontally over the buildings. To meet these requirements of program
Staff 400m2
and situation, the form had to adapt and find a balance between function and poetry.
Shared & Other 1000m2
Volumetric Requirements 18 Idea & Program
REPRESENTATION III
SHAPING ARCHITECTURE
Program 1
Program 2
There is a better
This wasn’t a good
mix of program. But
iteration. The programs
would like to see
aren’t very mixed.
more shared program
When applied to the
on the lower floors,
structure, the shared
connecting to the
areas isolated on
student and staff
the upper floors. The
areas, as well as a
structure is dominated
better mix of staff and
by student by rooms.
Massing Model
student areas.
Massing Model
Student 2000m2
Student 2000m2
Shared & Other 1000m2
Shared & Other 1000m2
Staff 400m2
Staff 400m2
20 Idea & Program
Volumetric Requirements in Structure
Volumetric Requirements in Structure
REPRESENTATION III
SHAPING ARCHITECTURE
Program 1
Program 2
There is a better
This wasn’t a good
mix of program. But
iteration. The programs
would like to see
aren’t very mixed.
more shared program
When applied to the
on the lower floors,
structure, the shared
connecting to the
areas isolated on
student and staff
the upper floors. The
areas, as well as a
structure is dominated
better mix of staff and
by student by rooms.
Massing Model
student areas.
Massing Model
Student 2000m2
Student 2000m2
Shared & Other 1000m2
Shared & Other 1000m2
Staff 400m2
Staff 400m2
20 Idea & Program
Volumetric Requirements in Structure
Volumetric Requirements in Structure
REPRESENTATION III
SHAPING ARCHITECTURE
Program 3 The final iteration seeks to solve the problem of connectivity and mixed used. A centrally located shared space, creates social interaction between users. Smaller, shared areas are intermixed through the structure as well.
Section 2
Massing Model
Student 2000m2 Shared & Other 1000m2 Staff 400m2
Section 1
22 Idea & Program
Volumetric Requirements in Structure
Plan
Scale 1:300
REPRESENTATION III
SHAPING ARCHITECTURE
Program 3 The final iteration seeks to solve the problem of connectivity and mixed used. A centrally located shared space, creates social interaction between users. Smaller, shared areas are intermixed through the structure as well.
Section 2
Massing Model
Student 2000m2 Shared & Other 1000m2 Staff 400m2
Section 1
22 Idea & Program
Volumetric Requirements in Structure
Plan
Scale 1:300
T REPRESENTATION III
SHAPING ARCHITECTURE
Section1
Section 2
The section illustrates
The Studios are
public areas close to
grouped together to
the ground, acting
promote dialogue
as connections to
interaction between
student and staff
students. The central
areas. Shared student
hub and gallery are
spaces are assigned
important spaces of
to higher floors with
possible interaction
views or large void
and informal study
spaces, such as a
space. Tutorial rooms
student bar at the top
are given good
floor. All areas have
external views to
external views of the
create a positive
city or internal views of
learning environment.
the structure.
Bar Computer Room
Meeting
Tutorial Room
Staff Office
3rd Yr Studio
Tutorial Room
Tut Room
2nd Yr Studio 1st Yr Studio
Kitchen
Computer/Kitchen/Student Room
Tutorial Tutorial
Model Making
Tutorial
Scale 1:300
Post Grad
2nd Yr Studio
Lecture
1st Yr Studio Central Hub
Gallery/ Shared Space
Section 1
3rd Yr Studio
Gallery/ Shared Space
Section 2
Scale 1:300
Food 24 Idea & Program
Central Hub
Office
T REPRESENTATION III
SHAPING ARCHITECTURE
Section1
Section 2
The section illustrates
The Studios are
public areas close to
grouped together to
the ground, acting
promote dialogue
as connections to
interaction between
student and staff
students. The central
areas. Shared student
hub and gallery are
spaces are assigned
important spaces of
to higher floors with
possible interaction
views or large void
and informal study
spaces, such as a
space. Tutorial rooms
student bar at the top
are given good
floor. All areas have
external views to
external views of the
create a positive
city or internal views of
learning environment.
the structure.
Bar Computer Room
Meeting
Tutorial Room
Staff Office
3rd Yr Studio
Tutorial Room
Tut Room
2nd Yr Studio 1st Yr Studio
Kitchen
Computer/Kitchen/Student Room
Tutorial Tutorial
Model Making
Tutorial
Scale 1:300
Post Grad
2nd Yr Studio
Lecture
1st Yr Studio Central Hub
Gallery/ Shared Space
Section 1
3rd Yr Studio
Gallery/ Shared Space
Section 2
Scale 1:300
Food 24 Idea & Program
Central Hub
Office
REPRESENTATION III
SHAPING ARCHITECTURE
Axonometric The axonometric illustrates the general structure of program through the space, and how they are connected through circulation routes.
Student Shared & Other
05 Motion
Staff
The consideration of movement is one of the most important aspects of a design. There are two aspects to circulation, the functional layout of paths based on organizational criteria, and the conception of spatial sequences for the user to experience. The passages are designed to frame different views, establishing expectations about what lies beyond. Most of the circulation routes surround a central void to create instances where the paths of students, and staff will collide, indirectly establishing communal social spaces. Certain flights of staircases intentionally bring users along longer routes to showcase pleasurable views. In this way, the circulation routes of the building contribute to the atmosphere of the place, making navigating through the building enjoyable. 26 Motion
REPRESENTATION III
SHAPING ARCHITECTURE
Axonometric The axonometric illustrates the general structure of program through the space, and how they are connected through circulation routes.
Student Shared & Other
05 Motion
Staff
The consideration of movement is one of the most important aspects of a design. There are two aspects to circulation, the functional layout of paths based on organizational criteria, and the conception of spatial sequences for the user to experience. The passages are designed to frame different views, establishing expectations about what lies beyond. Most of the circulation routes surround a central void to create instances where the paths of students, and staff will collide, indirectly establishing communal social spaces. Certain flights of staircases intentionally bring users along longer routes to showcase pleasurable views. In this way, the circulation routes of the building contribute to the atmosphere of the place, making navigating through the building enjoyable. 26 Motion
REPRESENTATION III
SHAPING ARCHITECTURE
Public vs. Private
Roof Top Bar
Level 8
Private spaces are enclosed from circulation to carry out their function such as offices.
Level 7
Meeting Room Printer
Roof Top Bar
Public spaces can remain open and overlap with circulation and other programs
Level 6
Staff Offices Meeting Room Toilets
Computer Suite Toilets
such as the hub. Private Public
Circulation
Level 5
Staff Offices Staff Meeting Room
Level 4
Toilets 3x large Tutorial 5th Year Studio
Computer Suite Toilets 2x Small Tutorial 1 x large Tutorial 3rd Year Studio 4th Year Studio Post Grad
Staff
Level 3
Storage Archive
Toilets 2 x Med Tutorial 2nd Year Studio
Level 2
Food Court Central Hub Lecture Theatre Model Making Multi-use
Computer Suite Printers Toilets Kitchen 1st yr Studio 2 x Small Tutorial 2 x Med Tutorial
Level 1
Gallery Study Space Multi-use
Shared
28 Motion
Student
REPRESENTATION III
SHAPING ARCHITECTURE
Public vs. Private
Roof Top Bar
Level 8
Private spaces are enclosed from circulation to carry out their function such as offices.
Level 7
Meeting Room Printer
Roof Top Bar
Public spaces can remain open and overlap with circulation and other programs
Level 6
Staff Offices Meeting Room Toilets
Computer Suite Toilets
such as the hub. Private Public
Circulation
Level 5
Staff Offices Staff Meeting Room
Level 4
Toilets 3x large Tutorial 5th Year Studio
Computer Suite Toilets 2x Small Tutorial 1 x large Tutorial 3rd Year Studio 4th Year Studio Post Grad
Staff
Level 3
Storage Archive
Toilets 2 x Med Tutorial 2nd Year Studio
Level 2
Food Court Central Hub Lecture Theatre Model Making Multi-use
Computer Suite Printers Toilets Kitchen 1st yr Studio 2 x Small Tutorial 2 x Med Tutorial
Level 1
Gallery Study Space Multi-use
Shared
28 Motion
Student
REPRESENTATION III
SHAPING ARCHITECTURE
Circulation
View & Access 1
A combination
Outward looking
of staircases,
staircases provide
elevators and
views of the city.
hallways connect floors around a central void space. Circulation routes aim to provide views and social interaction.
V1
30 Motion
REPRESENTATION III
SHAPING ARCHITECTURE
Circulation
View & Access 1
A combination
Outward looking
of staircases,
staircases provide
elevators and
views of the city.
hallways connect floors around a central void space. Circulation routes aim to provide views and social interaction.
V1
30 Motion
REPRESENTATION III
SHAPING ARCHITECTURE
View & Access 2
View & Access 3
Passages frame
Longer routes
views and direct the
showcase
user.
pleasurable views.
V2
V3
32 Motion
REPRESENTATION III
SHAPING ARCHITECTURE
View & Access 2
View & Access 3
Passages frame
Longer routes
views and direct the
showcase
user.
pleasurable views.
V2
V3
32 Motion
REPRESENTATION III
SHAPING ARCHITECTURE
View & Access 4
View & Access 5
Inward looking
Rooftop floors are
staircases provide
public spaces with
views of ongoing
spectacular views.
activities.
V5 V4
34 Motion
REPRESENTATION III
SHAPING ARCHITECTURE
View & Access 4
View & Access 5
Inward looking
Rooftop floors are
staircases provide
public spaces with
views of ongoing
spectacular views.
activities.
V5 V4
34 Motion
REPRESENTATION III
SHAPING ARCHITECTURE
06 Structure
After space and program we now look at questions of structure. The design work unfolds as a bartering process between conflicting interests: form, program, circulation, structure, they all ave to be constantly revisited, negotiated and adjusted. A waffle rib structure was defined for the form to create a structure of self supporting frames. The challenge was to create a structural solution that reflected the original design intentions of the space. This was about demonstrating an understanding for the problem and testing possible solutions. This required a mixture of iterations that experimented with different spacings of rib structures. The resulting structure was something that added to the design. 36
REPRESENTATION III
SHAPING ARCHITECTURE
06 Structure
After space and program we now look at questions of structure. The design work unfolds as a bartering process between conflicting interests: form, program, circulation, structure, they all ave to be constantly revisited, negotiated and adjusted. A waffle rib structure was defined for the form to create a structure of self supporting frames. The challenge was to create a structural solution that reflected the original design intentions of the space. This was about demonstrating an understanding for the problem and testing possible solutions. This required a mixture of iterations that experimented with different spacings of rib structures. The resulting structure was something that added to the design. 36
REPRESENTATION III
SHAPING ARCHITECTURE
Waffle Structure
Iteration 2
This section of the
For this form the
model was selected
spacing were too
to make a waffle
far spread apart.
structure. It best
Some elements were
represented the form
oversized and cutting
of the shape. An
through angled walls.
interesting mix curves, and sharp walls.
X axis
Section of Massing Model
Y axis
40 mm Spacings
Iteration 1
Iteration 3 The spacings for this
cluttered. The spacing
iteration were best
were too close
suited to the design.
together. It felt like a
They are close enough
very heavy structure
together to appear
that didnt match with
structural, and far
the lightnesss of the
enough apart to give
design.
it a lightness and flow that resonates with outer form
20 mm Spacings
30mm Spacings (Final)
38
This iteration was too
REPRESENTATION III
SHAPING ARCHITECTURE
Waffle Structure
Iteration 2
This section of the
For this form the
model was selected
spacing were too
to make a waffle
far spread apart.
structure. It best
Some elements were
represented the form
oversized and cutting
of the shape. An
through angled walls.
interesting mix curves, and sharp walls.
X axis
Section of Massing Model
Y axis
40 mm Spacings
Iteration 1
Iteration 3 The spacings for this
cluttered. The spacing
iteration were best
were too close
suited to the design.
together. It felt like a
They are close enough
very heavy structure
together to appear
that didnt match with
structural, and far
the lightnesss of the
enough apart to give
design.
it a lightness and flow that resonates with outer form
20 mm Spacings
30mm Spacings (Final)
38
This iteration was too
This depicts the complex combination of convex and concave surfaces.
This image best represents the potential path load of columns into te
SHAPING ARCHITECTURE
Physical Model
Physical Model
The ribbed structure has taken on a functional and aesthetic role.
A view of the general structure throighout the design.
40
ground.
REPRESENTATION III
This depicts the complex combination of convex and concave surfaces.
This image best represents the potential path load of columns into te
SHAPING ARCHITECTURE
Physical Model
Physical Model
The ribbed structure has taken on a functional and aesthetic role.
A view of the general structure throighout the design.
40
ground.
REPRESENTATION III
REPRESENTATION III
SHAPING ARCHITECTURE
The laser cut perforated skin is a representation of the structures roof/ skylight.
07 Interface One of the most important aspects in a building’s dsign is the permeability of its skin, the openings through which air and light comes in. The main consideration in designing the skin was how much light the fenestration can also give the different spaces, and also the view it provides. Smaller holes to the south and west were made to restrict bad views. Larger openings to the north and East framed view north Terrace. The mixture of small and narrow openings provided a mixture of soft and filtered light throughout the spaces. The resulting fenestration provides light in response to the needs of diffrent programs.
42 Interface
REPRESENTATION III
SHAPING ARCHITECTURE
The laser cut perforated skin is a representation of the structures roof/ skylight.
07 Interface One of the most important aspects in a building’s dsign is the permeability of its skin, the openings through which air and light comes in. The main consideration in designing the skin was how much light the fenestration can also give the different spaces, and also the view it provides. Smaller holes to the south and west were made to restrict bad views. Larger openings to the north and East framed view north Terrace. The mixture of small and narrow openings provided a mixture of soft and filtered light throughout the spaces. The resulting fenestration provides light in response to the needs of diffrent programs.
42 Interface
REPRESENTATION III
SHAPING ARCHITECTURE
Exterior Render 1 Large window openings to north frame views and provide large amounts of light
Exterior Render 2
A combination of small and large window openings either filter or light. Larger window openings match up with lecture halls and large public spaces.
44 Interface
flood the spaces with
REPRESENTATION III
SHAPING ARCHITECTURE
Exterior Render 1 Large window openings to north frame views and provide large amounts of light
Exterior Render 2
A combination of small and large window openings either filter or light. Larger window openings match up with lecture halls and large public spaces.
44 Interface
flood the spaces with
REPRESENTATION III
SHAPING ARCHITECTURE
Interior Render 1 The window openings proovide a beautiful filtered light to all the spaces.
Interior Render 2 The roof acts a skylight for the whole buildings. Providing views of the sky and 46 Interface
light for the spaces
REPRESENTATION III
SHAPING ARCHITECTURE
Interior Render 1 The window openings proovide a beautiful filtered light to all the spaces.
Interior Render 2 The roof acts a skylight for the whole buildings. Providing views of the sky and 46 Interface
light for the spaces
T REPRESENTATION III
SHAPING ARCHITECTURE
North Elevation The window openings provide an interesting aesthetic. The square shaped windows pay homage to its surrounding context, but also reinterpret the idea of windows in a new and interesting way.
48 Interface
T REPRESENTATION III
SHAPING ARCHITECTURE
North Elevation The window openings provide an interesting aesthetic. The square shaped windows pay homage to its surrounding context, but also reinterpret the idea of windows in a new and interesting way.
48 Interface
The roof of the structure as a skylight for the intire space.
REPRESENTATION III
SHAPING ARCHITECTURE
Physical Model
Physical Model
Soft filtered light can travel through the skylight.
50 Interface
The roof of the structure as a skylight for the intire space.
REPRESENTATION III
SHAPING ARCHITECTURE
Physical Model
Physical Model
Soft filtered light can travel through the skylight.
50 Interface
REPRESENTATION III
SHAPING ARCHITECTURE
08 Material
The skin of a building offers protection and shielding from the environment. A hard shell protects against physical damage, while underlying insulation works for thermal comfort. Similar to clothing the material of a building’s outer layer, as well as the “lining” of the interior, has visual and tactile qualities. Surfaces can be rough or smooth, feel warm or cold, appear artificial or natural, and thus attract or repel, all depending on the program and the users’ expectations. The materials chosen for the structure needed to match with intention of creating a light flowing structure. The Iterations experimented with a mixture of artificial and natural materials.
52 Material
REPRESENTATION III
SHAPING ARCHITECTURE
08 Material
The skin of a building offers protection and shielding from the environment. A hard shell protects against physical damage, while underlying insulation works for thermal comfort. Similar to clothing the material of a building’s outer layer, as well as the “lining” of the interior, has visual and tactile qualities. Surfaces can be rough or smooth, feel warm or cold, appear artificial or natural, and thus attract or repel, all depending on the program and the users’ expectations. The materials chosen for the structure needed to match with intention of creating a light flowing structure. The Iterations experimented with a mixture of artificial and natural materials.
52 Material
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SHAPING ARCHITECTURE
Artificial Material Exploration This iteration experimented with the use of artificial materials. The use of black titanium was chosen so that it would bkend into the night sky. The use of concrete texture was
Concrete Texture
chosen for its physical and structural characteristics. However this iteration wasnt deemed completely succesful. The materials feel too heavy and harsh. I think the design should pop
Titanium Skin
54 Material
out and blend into the night.
REPRESENTATION III
SHAPING ARCHITECTURE
Artificial Material Exploration This iteration experimented with the use of artificial materials. The use of black titanium was chosen so that it would bkend into the night sky. The use of concrete texture was
Concrete Texture
chosen for its physical and structural characteristics. However this iteration wasnt deemed completely succesful. The materials feel too heavy and harsh. I think the design should pop
Titanium Skin
54 Material
out and blend into the night.
REPRESENTATION III
SHAPING ARCHITECTURE
Natural Material Exploration
The use of natural materials was a more successful iteration The use of timber boards on the outer skin made the building stand out, but also blend into the brownish tones of
Sandstone
the surrounding context. The use of sandstone an interior materials gave the feeling of structure and solidness. These materials give a warm and welcoming tone in the sun. 56 Material
Timber Board
REPRESENTATION III
SHAPING ARCHITECTURE
Natural Material Exploration
The use of natural materials was a more successful iteration The use of timber boards on the outer skin made the building stand out, but also blend into the brownish tones of
Sandstone
the surrounding context. The use of sandstone an interior materials gave the feeling of structure and solidness. These materials give a warm and welcoming tone in the sun. 56 Material
Timber Board
REPRESENTATION III
SHAPING ARCHITECTURE
09 Documentation The process of documentatation made reinterpreted the design into a more feasable structure thatgives credibility to the project. The greatest challenge was adding a feasable grid/ column structure that did not conflict too much with the design aspirations. However I think the final structural solution was not resolved with the rest of the design. In section it reads as being very heavy and confronting. This is somethings that needs to be developed further.
58 Documentation
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09 Documentation The process of documentatation made reinterpreted the design into a more feasable structure thatgives credibility to the project. The greatest challenge was adding a feasable grid/ column structure that did not conflict too much with the design aspirations. However I think the final structural solution was not resolved with the rest of the design. In section it reads as being very heavy and confronting. This is somethings that needs to be developed further.
58 Documentation
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2nd Floor 1:200 EW Section
EW Section
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2nd Floor 1:200 EW Section
EW Section
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Ground Floor 1:200
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Ground Floor 1:200
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NS Section 1:200
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NS Section 1:200
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EW Section 1:200
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EW Section 1:200
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10 Conclusion The final design was a combination of function and idea. Movement, specifically the movement of a runner, served as the departure point for creating the dynamic spatial forms of an architecture school. The aim was to capture layers of continuous motion, rather than a single frozen moment. This overall process was about capturing the four dimensional movement of a runner into two-dimensional representation, and translating these into a three dimensional form that represents the runner’s spatial dynamics and qualities. The process of structure and documentation strayed from this idea I think and could have been better resolved. However the use of fenestration and material were done true to the design intentions. The resulting school is one that expresses light and motion. The timber boards guide the eye around curves and harsh angles of the building and design is not final, it still leaves something to the imagination, it’s development is ongoing and fluid, much like the movement of the runner.
68 Conclusion
provdide another layer of filtered light. Howver the
REPRESENTATION III
SHAPING ARCHITECTURE
10 Conclusion The final design was a combination of function and idea. Movement, specifically the movement of a runner, served as the departure point for creating the dynamic spatial forms of an architecture school. The aim was to capture layers of continuous motion, rather than a single frozen moment. This overall process was about capturing the four dimensional movement of a runner into two-dimensional representation, and translating these into a three dimensional form that represents the runner’s spatial dynamics and qualities. The process of structure and documentation strayed from this idea I think and could have been better resolved. However the use of fenestration and material were done true to the design intentions. The resulting school is one that expresses light and motion. The timber boards guide the eye around curves and harsh angles of the building and design is not final, it still leaves something to the imagination, it’s development is ongoing and fluid, much like the movement of the runner.
68 Conclusion
provdide another layer of filtered light. Howver the
REPRESENTATION III