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Student: Nicolas Ariel Gold Instructor: Dr. Arch. Eran Neuman
my concept 2
Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Student:Dr. Nicolas ArielNeuman Gold
Instructor: Dr. Arch. Eran Lavie Neuman Assistent: Arch. Tamir
T
oday, with the advent of digital media technologies and the ability to conceptualize, express and produce complex forms using digital
means, the question of the status of the architectural form is once again under consideration. Indeed, the computer "liberated" architecture from the tyranny of the right angle, and enabled the design and production of non standard buildings, based on irregular geometry. Yet the questions concerning the method of form expression in contemporary architecture, and its meaning, remain very much open. PERFORMALISM | FORM AND PERFORMANCE IN DIGITAL ARCHITECTURE YASHA J. GROBMAN AND ERAN NEUMAN
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Instructor: Arch. Eran Student:Dr. Nicolas ArielNeuman Gold
Instructor: Dr. Arch. Eran Lavie Neuman Assistent: Arch. Tamir
What motivates the architectural design process
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Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Student:Dr. Nicolas ArielNeuman Gold
Instructor: Dr. Arch. Eran Lavie Neuman Assistent: Arch. Tamir
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Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Student:Dr. Nicolas ArielNeuman Gold
Instructor: Dr. Arch. Eran Lavie Neuman Assistent: Arch. Tamir
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Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Student:Dr. Nicolas ArielNeuman Gold
Instructor: Dr. Arch. Eran Lavie Neuman Assistent: Arch. Tamir
What the building shapes obtained from that
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Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Student:Dr. Nicolas ArielNeuman Gold
Instructor: Dr. Arch. Eran Lavie Neuman Assistent: Arch. Tamir
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Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Student:Dr. Nicolas ArielNeuman Gold
Instructor: Dr. Arch. Eran Lavie Neuman Assistent: Arch. Tamir
F
orm follows function is a principle associated with modern architecture and industrial design in the 20th century. The principle
is that the shape of a building or object should be primarily based upon its intended function or purpose.
form follows function formalism F ormalism is the concept that a works artistic value is entirely
determined by its forms - the way it is made, its purely visual
aspects and its medium. Formalism emphasizes compositional
elements such as color, line, shape and texture rather than realism, context and content.
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Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Student:Dr. Nicolas ArielNeuman Gold
Instructor: Dr. Arch. Eran Lavie Neuman Assistent: Arch. Tamir
"הודות למחשבים העבודה שלנו יכולה להיות הרבה יותר מורכבת ולשלב התייחסות משמעותית יותר לסביבה ,בדיוק כמו שמפרש של ספינה יודע להגיב לרוח בצורה מיטבית .אדריכלים צריכים להשתחרר מהמחשבה על קופסאות ולהתחיל לחשוב בצורות גמישות יותר" "אני מסכים שהמסע ל'מושלמות' הוא רצון של הרבה אנשים אבל מבחינתי יותר מעניין לחשוב על האינדיבידואליות ועל השוני .אני לא אוהב ליצור דברים מושלמים אלא דברים שיש להם אופי" GREG LYNN FORM |Greg Lynn
Instructor: Arch. Eran Student:Dr. Nicolas ArielNeuman Gold
Instructor: Dr. Arch. Eran Lavie Neuman Assistent: Arch. Tamir
Nicolas Gold ORGAN | EASIER
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Mass/Form is an element of art. Is a three-dimensional geometrical figure. Mass means the whole of a piece's visible elements and the way those elements are united Space refers to distances or areas around, between or within components of a piece. Space can be positive or negative, open or closed, shallow or deep and two-dimensional or three-dimensional The shape of an object located in some space is a geometrical description of the part of that space occupied by the object, as determined by its external boundary
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Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Student:Dr. Nicolas ArielNeuman Gold
Instructor: Dr. Arch. Eran Lavie Neuman Assistent: Arch. Tamir
Forms/mass and its opposite, space, constitute primary elements in architecture. The reciprocal relationship is essential, given the intention of architecture to provide internal sheltered space for human occupation
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Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Student:Dr. Nicolas ArielNeuman Gold
Instructor: Dr. Arch. Eran Lavie Neuman Assistent: Arch. Tamir
Both form and space are given the shape and scale in the design process.
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Instructor: Arch. Eran Student:Dr. Nicolas ArielNeuman Gold
Instructor: Dr. Arch. Eran Lavie Neuman Assistent: Arch. Tamir
The placement of a building form in relation to its immediate site and neighboring building is another crucial aspect of this form/space relationship. Just as internal space is created by voids in buildings form, exterior space can be defined or poorly defined by the building form as well
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Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Student:Dr. Nicolas ArielNeuman Gold
Instructor: Dr. Arch. Eran Lavie Neuman Assistent: Arch. Tamir
Mass/Form is an element of art. Is a three-dimensional geometrical figure. Mass means the whole of a piece's visible elements and the way those elements are united Space refers to distances or areas around, between or within components of a piece. Space can be positive or negative, open or closed, shallow or deep and two-dimensional or three-dimensional The shape of an object located in some space is a geometrical description of the part of that space occupied by the object, as determined by its external boundary Something less solid, more aerial than building materail, some air. An open space or a break in continuity; a gap. A feeling or state of emptiness, loneliness, or loss.
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Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Student:Dr. Nicolas ArielNeuman Gold
Instructor: Dr. Arch. Eran Lavie Neuman Assistent: Arch. Tamir
W
hen two fields have a common border, and one is seen as figure and the other as ground, the immediate perceptual experience
is characterized by a shaping effect which emerges from the common border of the fields and wich operates only on one field or operates morE strongly on one than on the other... Whe do not percive everything as either mass or void. Markedly convex forms give an impression of mass while concave ones lead to an impression of space EXPERIECING ARCHITECTURE |STEEN EILER RASMUSSEN 1964
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Instructor: Arch. Eran Student:Dr. Nicolas ArielNeuman Gold
Instructor: Dr. Arch. Eran Lavie Neuman Assistent: Arch. Tamir
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1
2
1+2
convex surface give an impression of mass
concave surface lead to an impression of space
Saddle surface
Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Student:Dr. Nicolas ArielNeuman Gold
Instructor: Dr. Arch. Eran Lavie Neuman Assistent: Arch. Tamir
1+2 Saddle surface MASS + SPACE/VOID
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Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Student:Dr. Nicolas ArielNeuman Gold
Instructor: Dr. Arch. Eran Lavie Neuman Assistent: Arch. Tamir
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1
2
curves
lines
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Instructor: Arch. Eran Student:Dr. Nicolas ArielNeuman Gold
Instructor: Dr. Arch. Eran Lavie Neuman Assistent: Arch. Tamir
curves research 20
Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Student:Dr. Nicolas ArielNeuman Gold
Instructor: Dr. Arch. Eran Lavie Neuman Assistent: Arch. Tamir
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Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Student:Dr. Nicolas ArielNeuman Gold
Instructor: Dr. Arch. Eran Lavie Neuman Assistent: Arch. Tamir
thinking freeform 22
Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Student:Dr. Nicolas ArielNeuman Gold
Instructor: Dr. Arch. Eran Lavie Neuman Assistent: Arch. Tamir
I just interested in natural growth patterns, and the beatiful forms that only nature really creates. The unbridied way that nature grows things so you're not restricted by form at all.
Nature show how you make one holistic form, and then you break up what you need. Its organic and its essential. Ellasticity fluidity of the form. What nature does is it drills holes in things. It liberates forms. it take away anything extraneus. All these natural forces take away what they dont need and they deliver maximum beauty.
Organic design contributes immensely to our sence of being, our sence of relationships with tings.
organic designs | TED CONFERENCE Ross Lovegrove Ross Lovegrove Cranbook 2 Arts Pavillion
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Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Student:Dr. Nicolas ArielNeuman Gold
Instructor: Dr. Arch. Eran Lavie Neuman Assistent: Arch. Tamir
What the origin of the forms that we design?
What kind of forms could we design if we wouldn't work with references? If we had no bias, if we had no perceptions? If we could free ourselves from our experience? From our education? What would these unseen forms look like? Would they surprise us? Would they intrigue us? If so, then how can we go about creating someting that is truly new?
I propose to look to nature: The greatest architect of forms. Not copy nature, not mimic biology. We can abstract nature's processes and create something really new.
unimaginable forms | TED CONFERENCE Michael Hansmeyer Dillenburger & Hansmeyer Mesh Grammars: Studies for a Dome
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Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Student:Dr. Nicolas ArielNeuman Gold
Instructor: Dr. Arch. Eran Lavie Neuman Assistent: Arch. Tamir
She characterises her architecture as expressing a sense of motion. It is concerned with composing intersecting paths, routes and volumes in forms that are dynamic rather than static; like a controlled explosion.
She attributes her inspiration to landscape, topography, sedimentology and geological patterns. She combines her early experiences and inspiration from nature and fuses them with technology to create avant-garde architecture.
About Abu Dhabi Performing Arts Centre: “a sculptural form that emerges from a linear intersection of pedestrian paths within the cultural district, gradually developing into a growing organism that sprouts a network of successive branches�.
ZAHA HADID Zaha Hadid Galaxy Soho
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Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Student:Dr. Nicolas ArielNeuman Gold
Instructor: Dr. Arch. Eran Lavie Neuman Assistent: Arch. Tamir
Typically you build a building and you attach things with screws and nails and bolts, and, really we're the last industry that attaches things mechanically like that ... everything is now about layering and glueing rather than mechanically attaching
Folding in Architecture was more or less my observation that architecture was becoming something defined by surfaces, not grids – a shift in the discipline from thinking of space in terms of coordinates, to space in terms of surfaces
I’ve always loved these strange geometries: complex curvilinear shapes, meshed gears, and engines, rendering their plans and sections. Curves are basically just more advanced than straight lines. I was always interested in the next level of difficulty, so I’ve always gravitated towards curved forms.
GREG LYNN Greg Lynn Embryonic Houses
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Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Student:Dr. Nicolas ArielNeuman Gold
Instructor: Dr. Arch. Eran Lavie Neuman Assistent: Arch. Tamir
D
igital Techniques enable architects to respond to new and emerging cultural contexts, and to devise methods of thinking
and making that respond to our digital milieu. These techniques are formational not formal. They bring toghether innovations from multimple disciplines to generate catalytic formations capable of affecting and
responding dynamically to users and enviroments. By incorporing feedback at every stage in the design process, architects can create works that fulfill architecture's potential to be a catalyst for cultural change. CATALYTIC FORMATIOIN |ARCHITECTURE AND DIGITAL DESIGN ALI RAHIM
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Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Student:Dr. Nicolas ArielNeuman Gold
Instructor: Dr. Arch. Eran Lavie Neuman Assistent: Arch. Tamir
from: CATALYTIC FORMATIONS ARCHITECTURE AND DIGITAL DESIGN | ALI RAHIM
cataLytic formations
D
ynamic
works
architecture.
of
Feedback
loop between technologies, techniques,
architecture,
users, context and culture.
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feedback
digital techniques
innovation
affectinG AND EFFECTS
H
D
I
A
ow
do
generate
architects feedback?
This is where recent digital
igital Technologies allows architects
to
develop
new techniques, giving rise
nnovation
is
not
merely
change but change that
susstains
lasting
cultural
rchitecutre must contain affect - the capacity
to both to affect and be
technologies can play an
to
important
Architects
architecture with significant
that
can develop techniques to
cultural effects. Technological
or
be
information and influence
create more dynamic forms
developments
to
innovative, achitects and his
between a formation and its
of architecture.
produce ARCHITECTURE forms
works must become more
users and environment.
that generate feedback from
responsive to their users
their users.
and environments.
role.
innovative
works
allows
Nicolas Gold ORGAN | EASIER
us
of
effects.
Is
a
people
development find
meaningful.
useful To
Instructor: Arch. Eran Student:Dr. Nicolas ArielNeuman Gold
Instructor: Dr. Arch. Eran Lavie Neuman Assistent: Arch. Tamir
affected. a
two
Affects way
suggest
transfer
of
from: CATALYTIC FORMATIONS ARCHITECTURE AND DIGITAL DESIGN | ALI RAHIM
er c
on te x
T
t
h ec
y log no
technical useful with in a s the e k wid ma
Technology is the application of a purely technical or scientific advance to a cultural context
TECHNICAL
feedback loop
Techniques are the specific means by which architects can harness and direct the powerful potential of new technologies toward the
depends on its ability to produce in users new patterns of behavior and levels of performance
New tec inv h e n n t o ion of logie o s r ig req in a uir l te e ch
Techniques
The effectiveness of a technology
es e th iqu n
TECHNOLOGY
shaping of architectural design
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Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Student:Dr. Nicolas ArielNeuman Gold
Instructor: Dr. Arch. Eran Lavie Neuman Assistent: Arch. Tamir
The initial aim was to create a single piece of furniture that could support a wide range of uses in different contexts
Relationships between surface and body positions. We found that body positions allow for a range of occupations, for example: sitting, leaning and laying = reading, eating, working, lounging or sleeping. Relationships between activities, surfaces, forms and context. These connections are complex: individuals chose how to interact with each surface
Our intention was to catalyze these possiblities by creating an object that afford maximum number of potential uses in the widest range of contexts
FURNITURE SERIES CONTEMPORARY ARCHITECTURE PRACTICE Furniture Series / Contemporary Architecture Practice
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Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Student:Dr. Nicolas ArielNeuman Gold
Instructor: Dr. Arch. Eran Lavie Neuman Assistent: Arch. Tamir
After the chaise is actualized in metric space, the precise affordances activated depend on the user and context. An adult may sit or lounge on the formation, while a child may only be able to lean against it. Placed in the context of a library, the chaise may be used for sitting and reading, If sited nex to a swimming pool, users may lie on it to sunbathe or lean agains it to converse with friends. Its potentials are activated through use and invention
Surface that generate undetermined affects between architecture, its users and contexts.
FURNITURE SERIES CONTEMPORARY ARCHITECTURE PRACTICE Furniture Series / Contemporary Architecture Practice
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Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Student:Dr. Nicolas ArielNeuman Gold
Instructor: Dr. Arch. Eran Lavie Neuman Assistent: Arch. Tamir
digital techniques cataLytic formations arch.
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Technological developments allows us to produce dynamic Architecture forms
The Dynamic Forms are activated through interactions with their users and context
feedback
They are activated through interactions with their users and contexts - and generate feedback loop
Nicolas Gold ORGAN | EASIER
user
Instructor: Arch. Eran Student:Dr. Nicolas ArielNeuman Gold
Instructor: Dr. Arch. Eran Lavie Neuman Assistent: Arch. Tamir
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PERFORMER
MODULOR
FORMAL MOVEMETS
FUNCTIONALISM MOVEMETS
Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Student:Dr. Nicolas ArielNeuman Gold
Instructor: Dr. Arch. Eran Lavie Neuman Assistent: Arch. Tamir
synchronized forms 33
Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Neuman Student:Dr.Nicolas Ariel Gold
Instructor: Dr. Arch. Arch.Tamir EranLavie Neuman Assistent:
Lost in Motion Ben Shirinian
Combining live action with subtle visual effects, Lost in Motion captures the precision and technique of the dance to beautiful effect, exposing the strength and athleticism behind it.
▪ ▪ ▪ Lost in Motion shows the movements of a lone male figure (dancer and choreographer Guillaume
Côté)
in
an
empty
space.
It
represents the dancer’s thoughts just before a performance.
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Instructor: Arch. Eran Neuman Student:Dr.Nicolas Ariel Gold
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Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Neuman Student:Dr.Nicolas Ariel Gold
Instructor: Dr. Arch. Arch.Tamir EranLavie Neuman Assistent:
start point
1
2
3
4
I created one picture using all the frames that I took from the video. Every frame convert to a layer, so I can see all his movement in one shot
Mapping of the continuous movements of the body performer using points
I choose a starting point to connect one continuous curve that links the points according to their proximity
Reduce the number of points that form the curve in order to obtain a more continuous curve with less breaks
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Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Neuman Student:Dr.Nicolas Ariel Gold
Instructor: Dr. Arch. Arch.Tamir EranLavie Neuman Assistent:
ce su rfa ru le d
5
6
7
On the curve I created a surface built from a straight line passing through the curve
I rebuilt the surface, that need to be faithful to the original one, but with the minimum number of curves
I connected the surface into a continuous one. Then I checked the direction of each region and started to inflate it
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Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Neuman Student:Dr.Nicolas Ariel Gold
Instructor: Dr. Arch. Arch.Tamir EranLavie Neuman Assistent:
8
9
10
11
From here I began to develop aesthetic values that helped ​​ me to get one holistic form, with a low amount of twists and breaks and one continuous skin
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Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Neuman Student:Dr.Nicolas Ariel Gold
Instructor: Dr. Arch. Arch.Tamir EranLavie Neuman Assistent:
1
2
3
4
5
6
Motion Picture Reference
Point Cloud from Movements
One Continuos Curves
Curve Rebuild
Ruled Surface
Surface Rebuild
7
8
9
10
11
12
Surface Deformation
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Final Form
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Instructor: Arch. Eran Neuman Student:Dr.Nicolas Ariel Gold
Instructor: Dr. Arch. Arch.Tamir EranLavie Neuman Assistent:
A
A
A
B
B
C
C B
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Nicolas Gold ORGAN | EASIER
C
Instructor: Arch. Eran Neuman Student:Dr.Nicolas Ariel Gold
Instructor: Dr. Arch. Arch.Tamir EranLavie Neuman Assistent:
PLANS ANALYSIS There are two separated areas by one continuous envelope
c B A A
B
C
B
SECTION ANALYSIS The Section shows not closed
A
C
spaces with openings in opposite directions
en
se
op
clo
CIRCULATION
B
A
D
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se clo
be connected
op
circulation, with the potential to
en
Both parts have their own
LOWER LEVEL
UPPER LEVEL
Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Neuman Student:Dr.Nicolas Ariel Gold
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C
D
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Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Neuman Student:Dr.Nicolas Ariel Gold
Instructor: Dr. Arch. Arch.Tamir EranLavie Neuman Assistent:
1
2
3
4
5
6
Motion Picture Reference
Point Cloud from Movements
Main Curves
Curves Join
Ruled Surface
Surface Rebuild
7
8
9
10
11
12
Surface Deformation
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Final Form
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Instructor: Arch. Eran Neuman Student:Dr.Nicolas Ariel Gold
Instructor: Dr. Arch. Arch.Tamir EranLavie Neuman Assistent:
A
A
A
B
B
C
C
B
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Nicolas Gold ORGAN | EASIER
C
Instructor: Arch. Eran Neuman Student:Dr.Nicolas Ariel Gold
Instructor: Dr. Arch. Arch.Tamir EranLavie Neuman Assistent:
PLANS ANALYSIS Two separated areas by one continuous envelope
c B A
B
B
C
C
A
SECTION ANALYSIS Not closed sections with
A
C
openings in different directions
A
B
B
A
CIRCULATION One twist continuos circultaion that pass over the two areas
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Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Neuman Student:Dr.Nicolas Ariel Gold
Instructor: Dr. Arch. Arch.Tamir EranLavie Neuman Assistent:
C
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Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Neuman Student:Dr.Nicolas Ariel Gold
Instructor: Dr. Arch. Arch.Tamir EranLavie Neuman Assistent:
1
2
3
4
5
6
Motion Picture Reference
Point Cloud from Movements
Main Curves
Curves Join
Ruled Surface
Surface Rebuild
7
8
9
10
11
12
Surface Deformation
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Final Form
Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Neuman Student:Dr.Nicolas Ariel Gold
Instructor: Dr. Arch. Arch.Tamir EranLavie Neuman Assistent:
A
A
A
B
B
C
C
B
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Nicolas Gold ORGAN | EASIER
C
Instructor: Arch. Eran Neuman Student:Dr.Nicolas Ariel Gold
Instructor: Dr. Arch. Arch.Tamir EranLavie Neuman Assistent:
PLANS ANALYSIS The lower parts are contiguous spaces, and as one rises in receive two areas separated
c B A A
B
C
B
SECTION ANALYSIS The Section of the form always
A
C
brings open spaces with different direction
A
B
D
CIRCULATION The circulation is continuous and endless. It can be expressed using a Mobius surface
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Nicolas Gold ORGAN | EASIER
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Instructor: Dr. Arch. Arch.Tamir EranLavie Neuman Assistent:
C
D
1
2
3
4
5
6
Motion Picture Reference
Point Cloud from Movements
Main Curves
Curves Join
Ruled Surface
Surface Rebuild
7
8
9
10
11
12
Surface Deformation
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Final Form
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Instructor: Arch. Eran Neuman Student:Dr.Nicolas Ariel Gold
Instructor: Dr. Arch. Arch.Tamir EranLavie Neuman Assistent:
A
A
A
B
B
C
C
C
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Nicolas Gold ORGAN | EASIER
B
Instructor: Arch. Eran Neuman Student:Dr.Nicolas Ariel Gold
Instructor: Dr. Arch. Arch.Tamir EranLavie Neuman Assistent:
PLANS ANALYSIS
c
Each area is different from the
B
the complexity of the form
A B
A B
C
C
the other, and thus underlines
SECTION ANALYSIS The section shows us 3 very different areas in shape, spaces
A
A
and openings C
B
A
B
CIRCULATION The circulation is endless, and divides the shape into 3 regions that meet in a common area
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Nicolas Gold ORGAN | EASIER
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C
FORMAL language 1
2
3
TECHNIQUE DEVELOPMENT
AESTHETIC DEVELOPMENT
PROGRAM DEVELOPMENT
Dynamic Technique to develop system logics that derive amounts of change, accumulations and densities of formations
Develope my own aesthetic sesibility to transfer the emphasis of the design to the affects that it produce
The project will be develop simultaneaously with the development of the technique and the aesthetic
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Nicolas Gold ORGAN | EASIER
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s
y
F
O
nc
si n g l e
65
R
M
s
y
nc
DOUBL
F
O
R
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M
nc
LE TROI PR M y
s
F
Instructor: Arch. Eran Neuman Student:Dr.Nicolas Ariel Gold
Instructor: Dr. Arch. Arch.Tamir EranLavie Neuman Assistent:
Mass/Form is an element of art. Is a three-dimensional geometrical figure. Mass means the whole of a piece's visible elements and the way those elements are united Space refers to distances or areas around, between or within components of a piece. Space can be positive or negative, open or closed, shallow or deep and two-dimensional or three-dimensional The shape of an object located in some space is a geometrical description of the part of that space occupied by the object, as determined by its external boundary Something less solid, more aerial than building materail, some air. An open space or a break in continuity; a gap. A feeling or state of emptiness, loneliness, or loss.
66
Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Neuman Student:Dr.Nicolas Ariel Gold
Instructor: Dr. Arch. Arch.Tamir EranLavie Neuman Assistent:
Forms/mass and its opposite, space, constitute primary elements in architecture. The reciprocal relationship is essential, given the intention of architecture to provide internal sheltered space for human occupation
PROPORTIONS
67
Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Neuman Student:Dr.Nicolas Ariel Gold
Instructor: Dr. Arch. Arch.Tamir EranLavie Neuman Assistent:
5
6
4
3 1
1
2
2
3
SINGLEFORM1
4
Uniform Offset - 0.5
5
SINGLEFORM1 -0.5
5
6
4
3 1
1
SINGLEFORM1
68
2
2
3
4
Uneven Offset
Nicolas Gold ORGAN | EASIER
5
SINGLEFORM1 A
Instructor: Arch. Eran Neuman Student:Dr.Nicolas Ariel Gold
Instructor: Dr. Arch. Arch.Tamir EranLavie Neuman Assistent:
1
+ 0.4 + 0.4 + 0.4 + 0.4
▪ shortest Curve: 8.2
- 0.1 - 0.1 - 0.1 - 0.1
▪ shortest Curve: 11.2
cm cm
▪ longest Curve: 15
▪ Occupied Space: 26
cm 2
▪ Occupied Space: 37
▪ Envelope Area: 60.4
cm
▪ Envelope Area: 75.6
1 2 3 4 5 6
UNEVEN
- 0.1
▪ longest Curve: 12.4
2
S I NG L E F O R M 1 A - 0.3 - 0.2 - 0.2 + 0.2 + 0.2
▪ Occupied Space: 37.1 ▪ Envelope Area: 78.9
cm
2
cm 2
S I NG L E F O R M 1 D 1 2 3 4 5 6
+ 0.4 - 1.1 - 0.3 - 0.4 - 0.9
▪ shortest Curve: 8.4
cm
▪ longest Curve: 19.9
cm
▪ Occupied Space: 50.8 ▪ Envelope Area: 98.5
cm 2
cm 2
▪ Envelope Area: 91.8
cm 2
- 0.7 - 1.0
cm
cm 2
S I NG L E F O R M 1 E - 1.0 - 0.4 - 1.0 - 0.4 - 2.0
▪ shortest Curve: 7.5
cm
- 0.2 + 0.2 + 0.2 cm
5.9
cm
▪ Envelope Area: 98.9
cm
2
cm 2
cm
S I NG L E F O R M 1 F + 0.1 - 0.3 - 0.2 - 0.2 + 0.2
▪ Smallest Curve: 10.67 cm
+ 0.2
▪ shortest Curve: 10.6
cm
cm
▪ longest Curve: 17.3
▪ Occupied Space: 67
cm 2
▪ Occupied Space: 47.2
cm2
M
- 0.3
▪ longest Curve: 23.6 ▪ Envelope Area: 132.8
R
- 0.2
▪ Occupied Space: 54.9
1 2 3 4 5 6
+ 0.5
O
+ 0.1
▪ longest Curve: 19 2
F
single
S I NG L E F O R M 1 C
▪ shortest Curve: 10.6
cm cm
▪ Occupied Space: 51.4
1 2 3 4 5 6
+ 0.2
cm
- 0.5
nc
cm
cm 2
- 0.5
y
- 0.6
▪ Occupied Space: 50
2
s
- 0.6
cm 2
1 2 3 4 5 6
▪ Envelope Area: 92.4
- 0.6
cm
- 0.5
▪ longest Curve: 17.4
cm
- 0.6 - 0.6
▪ longest Curve: 17.8
- 0.3
▪ shortest Curve: 12.4
cm
▪ longest Curve: 15.6
- 0.6
▪ shortest Curve: 14.3
cm
cm
S I NG L E F O R M 1 B 1 2 3 4 5 6
+ 0.1
▪ shortest Curve: 10
69
1 2 3 4 5 6
- 0.1
cm
+ 0.4
6
1 2 3 4 5 6
+ 0.4
S I NG L E F O R M 1 - 0 . 6
cm
UNIFORM
1 2 3 4 5 6
S I NG L E F O R M 1 - 0 . 1
3.2
S I NG L E F O R M 1 + 0 . 4
▪ Envelope Area: 88
Nicolas Gold ORGAN | EASIER
cm
cm 2
cm2
▪ Biggest Curve: 14.54 cm
5 4
6
▪ Occupied Space: 35.4 cm 2 ▪ Envelope Area: 71.15 cm 2
Instructor: Arch. Eran Neuman Student:Dr.Nicolas Ariel Gold
Instructor: Dr. Arch. Arch.Tamir EranLavie Neuman Assistent:
3 1
2
1 s
y
nc
F
O
R
single M
t r e e family
S I NG L E F O R M 1 + 0 . 6
S I NG L E F O R M 1 + 0 . 2
S I NG L E F O R M 1 - 0 . 1
S I NG L E F O R M 1 - 0 . 6
S I NG L E F O R M 1 - 1 . 0
S I NG L E F O R M 1 - 1 . 9
S I NG L E F O R M 1 A
S I NG L E F O R M 1 B
S I NG L E F O R M 1 C
S I NG L E F O R M 1 D
S I NG L E F O R M 1 E
S I NG L E F O R M 1 F
S I NG L E F O R M 1 G
S I NG L E F O R M 1 H
S I NG L E F O R M 1 I
S I NG L E F O R M 1 J
S I NG L E F O R M 1 K
S I NG L E F O R M 1 L
S I NG L E F O R M 1 L L
S I NG L E F O R M 1 M
S I NG L E F O R M 1 N
S I NG L E F O R M 1 Ă‘
S I NG L E F O R M 1 O
S I NG L E F O R M 1 P
S I NG L E F O R M 1 Q
S I NG L E F O R M 1 R
S I NG L E F O R M 1 S
S I NG L E F O R M 1 T
S I NG L E F O R M 1 U
S I NG L E F O R M 1 V
S I NG L E F O R M 1 W
S I NG L E F O R M 1 X
S I NG L E F O R M 1 Y
S I NG L E F O R M 1 Z
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Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Neuman Student:Dr.Nicolas Ariel Gold
Instructor: Dr. Arch. Arch.Tamir EranLavie Neuman Assistent:
+ 0.4 + 0.4 + 0.4
▪ shortest Curve: 9.2
- 0.4 - 0.4
▪ shortest Curve: 17.6
cm
▪ longest Curve: 45.4
cm
▪ Occupied Space: 28.8
cm2
▪ Occupied Space: 45.6
cm2
▪ Occupied Space: 80.9
cm2
▪ Envelope Area: 73.2
cm
▪ Envelope Area: 98.3
cm
▪ Envelope Area: 144.7
cm2
1 2 3 4 5 6
+ 0.3 + 0.3 + 0.4 - 0.2 + 0.5 + 0.2
▪ shortest Curve: 16.4 ▪ longest Curve: 33
▪ Envelope Area: 115
cm
2
DOB L E F O R M 1 D - 0.9 + 0.2 - 2.0 + 0.6 + 0.1 cm cm
▪ Occupied Space: 47.5 ▪ Envelope Area: 180
+ 0.6 + 0.5
▪ Occupied Space: 53.4
cm
cm 2
DOB L E F O R M 1 E
cm2
cm 2
- 0.7 - 0.7 - 0.7 - 0.7 + 0.7
▪ shortest Curve: 11.6 ▪ longest Curve: 24.5
cm cm
▪ Occupied Space: 35.3 ▪ Envelope Area: 78.7
cm2
cm2
- 0.3 - 1.2 - 0.3 + 0.3 cm
▪ Envelope Area: 97.8
4.9
cm
▪ Occupied Space: 37.5
cm
2
cm 2
cm
DOB L E F O R M 1 F 1 2 3 4 5 6
+ 0.7
M
+ 0.5
▪ longest Curve: 25.6 2
R
+ 0.0
▪ shortest Curve: 12.9
cm cm
▪ Envelope Area: 186.3
1 2 3 4 5 6
+ 0.5
▪ longest Curve: 34.5
- 0.8
▪ longest Curve: 34.5
cm 2
▪ shortest Curve: 10.3
+ 0.8
O
DOB L E F O R M 1 C 1 2 3 4 5 6
+1.0 - 0.6
▪ shortest Curve: 12.7
cm
cm
▪ Occupied Space: 45.2
1 2 3 4 5 6
DOB L E F O R M 1 B
F
DOB L E
cm
cm
2
nc
- 1.5
▪ longest Curve: 32.6
2
y
- 1.5
▪ shortest Curve: 31
cm
s
- 1.5
cm
1 2 3 4 5 6
UNEVEN
- 0.4
- 1.5 - 1.5
▪ longest Curve: 24.5
DOB L E F O R M 1 A
71
- 0.4 - 0.4
- 1.5
cm
+ 0.4 + 0.4
1 2 3 4 5 6
- 0.4
6.8
1 2 3 4 5 6
+ 0.4
1
S I NG L E F O R M 1 - 1 . 5
cm
UNIFORM
1 2 3 4 5 6
S I NG L E F O R M 1 - 0 . 4
5.2
DOB L E F O R M 1 + 0 . 4
+ 0.2 - 0.2 + 0.4 - 1.6 - 0.7
▪ Smallest Curve: 12.9 cm
+ 0.6
▪ shortest Curve: 12.6 ▪ longest Curve: 28.7
cm cm
▪ Occupied Space: 44.5
cm2
▪ Envelope Area: 113.8
cm 2
Nicolas Gold ORGAN | EASIER
▪ Biggest Curve: 28.1 cm ▪ Occupied Space: 36.2 cm 2 ▪ Envelope Area: 87.6 cm 2
Instructor: Arch. Eran Neuman Student:Dr.Nicolas Ariel Gold
Instructor: Dr. Arch. Arch.Tamir EranLavie Neuman Assistent:
2
1
3 5 4
6
1
s
y
nc
F
O
R
DOuBLE M
t r e e family
DOB L E F O R M 1 + 0 . 6
DOB L E F O R M 1 + 0 . 4
DOB L E F O R M 1 - 0 . 1
DOB L E F O R M 1 - 0 . 4
DOB L E F O R M 1 - 1 . 0
DOB L E F O R M 1 - 1 . 5
DOB L E F O R M 1 A
DOB L E F O R M 1 B
DOB L E F O R M 1 C
DOB L E F O R M 1 D
DOB L E F O R M 1 E
DOB L E F O R M 1 F
DOB L E F O R M 1 G
DOB L E F O R M 1 H
DOB L E F O R M 1 I
DOB L E F O R M 1 J
DOB L E F O R M 1 K
DOB L E F O R M 1 L
DOB L E F O R M 1 L L
DOB L E F O R M 1 M
DOB L E F O R M 1 N
DOB L E F O R M 1 Ñ
DOB L E F O R M 1 O
DOB L E F O R M 1 P
DOB L E F O R M 1 Q
DOB L E F O R M 1 R
DOB L E F O R M 1 S
DOB L E F O R M 1 T
DOB L E F O R M 1 U
DOB L E F O R M 1 V
DOB L E F O R M 1 W
DOB L E F O R M 1 X
DOB L E F O R M 1 Y
DOB L E F O R M 1 Z
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Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Neuman Student:Dr.Nicolas Ariel Gold
Instructor: Dr. Arch. Arch.Tamir EranLavie Neuman Assistent:
Both
form
and
space are given the shape and scale in the design process.
SCALE + MATERIAL
73
Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Neuman Student:Dr.Nicolas Ariel Gold
Instructor: Dr. Arch. Arch.Tamir EranLavie Neuman Assistent:
2S
s
y
nc
S I NG L
F
74
O
R
E
M
1K s
y
nc
S I NG L E F
O
Nicolas Gold ORGAN | EASIER
R
M
s
y
1n
dou nc F O ble R M
Instructor: Arch. Eran Neuman Student:Dr.Nicolas Ariel Gold
Instructor: Dr. Arch. Arch.Tamir EranLavie Neuman Assistent:
12
1
o
scale
JEWELRY 11
12
1
2
10
CM
3
4
5
6
9
9
11
0
8
7
10
11
12
8
10 7
8
9
10
13
14
7
9 6
11
12
15
16
17
6
8
5
13
14
15
18
19
5
7
4
16
17
20
21
22
4
6
3
18
19
20
23
24
21
22
23
25
26
24
25
26
75
3
5
2
27
2
4
1
28
29
1
3
CM
2
0
1
Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Neuman Student:Dr.Nicolas Ariel Gold
Instructor: Dr. Arch. Arch.Tamir EranLavie Neuman Assistent:
27
28
29
J
O
E
W
76
R
E
L
M
R
Y
1
MATERIAL DEVELOPE
F
PARAMETRIC DESIGN
S I NG L E
NEW CLOSED SURFACE
nc
EXTRACT ISOCURVES
y
OFFSET SURFACE
s
SYNC SINGLE FORM 2S
2S
1
2
3
4
5
6
Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Neuman Student:Dr.Nicolas Ariel Gold
Instructor: Dr. Arch. Arch.Tamir EranLavie Neuman Assistent:
J
O
E
W
77
R
E
L
M
R
Y
1
MATERIAL DEVELOPE
F
PARAMETRIC DESIGN
S I NG L E
NEW CLOSED SURFACE
nc
EXTRACT ISOCURVES
y
OFFSET SURFACE
s
SYNC SINGLE FORM 1K
1K
1
2
3
4
5
6
Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Neuman Student:Dr.Nicolas Ariel Gold
Instructor: Dr. Arch. Arch.Tamir EranLavie Neuman Assistent:
J
O
E
W
78
R
E
L
M
R
Y
1
MATERIAL DEVELOPE
F
PARAMETRIC DESIGN
S I NG L E
NEW CLOSED SURFACE
nc
EXTRACT ISOCURVES
y
OFFSET SURFACE
s
SYNC SINGLE FORM 2N
1N
1
2
3
4
5
6
Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Neuman Student:Dr.Nicolas Ariel Gold
Instructor: Dr. Arch. Arch.Tamir EranLavie Neuman Assistent:
1n
DOUB L E
JEWE L RY 1
79
1K
S I NG L E
S I NG L E
JEWE L RY 1
JEWE L RY 1
Nicolas Gold ORGAN | EASIER
2S
Instructor: Arch. Eran Neuman Student:Dr.Nicolas Ariel Gold
Instructor: Dr. Arch. Arch.Tamir EranLavie Neuman Assistent:
J
O
E
W
80
R
E
L
M
R
Y
2
SECOND PIPE RING
F
FIRST PIPE RING
S I NG L E
ONE LOSE SURFACE
nc
EXTRACT ISOCURVES
y
PARAMETRIC DESIGN
s
SYNC SINGLE FORM 2S
2S
1
2
3
4
5
6
Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Neuman Student:Dr.Nicolas Ariel Gold
Instructor: Dr. Arch. Arch.Tamir EranLavie Neuman Assistent:
J
O
E
W
81
R
E
L
M
R
Y
2
SECOND PIPE RING
F
FIRST PIPE RING
S I NG L E
ONE LOSE SURFACE
nc
EXTRACT ISOCURVES
y
PARAMETRIC DESIGN
s
SYNC SINGLE FORM 2S
1K
1
2
3
4
5
6
Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Neuman Student:Dr.Nicolas Ariel Gold
Instructor: Dr. Arch. Arch.Tamir EranLavie Neuman Assistent:
J
O
E
W
82
R
E
L
M
R
Y
2
SECOND PIPE RING
F
FIRST PIPE RING
DOUB L E
ONE LOSE SURFACE
nc
EXTRACT ISOCURVES
y
PARAMETRIC DESIGN
s
SYNC SINGLE FORM 2S
1n
1
2
3
4
5
6
Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Neuman Student:Dr.Nicolas Ariel Gold
Instructor: Dr. Arch. Arch.Tamir EranLavie Neuman Assistent:
1n
DOUB L E
JEWE L RY 2
83
1K
S I NG L E
S I NG L E
JEWE L RY 2
JEWE L RY 2
Nicolas Gold ORGAN | EASIER
2S
Instructor: Arch. Eran Neuman Student:Dr.Nicolas Ariel Gold
Instructor: Dr. Arch. Arch.Tamir EranLavie Neuman Assistent:
2s
si n g l e
JEWE L RY 2
84
Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Neuman Student:Dr.Nicolas Ariel Gold
Instructor: Dr. Arch. Arch.Tamir EranLavie Neuman Assistent:
1K
S I NG L E JEWE L RY 2
85
Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Neuman Student:Dr.Nicolas Ariel Gold
Instructor: Dr. Arch. Arch.Tamir EranLavie Neuman Assistent:
1n
DOUBLE JEWE L RY 2
86
Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Neuman Student:Dr.Nicolas Ariel Gold
Instructor: Dr. Arch. Arch.Tamir EranLavie Neuman Assistent:
2 11 4 6
7
7 9 8
9
9
10
10 11
12
12 7 13
14
14
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15 16
17
17 5 18
19
19
20
20
4
18
21
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22 23
23
3
21 24
24
25
25
2
12 4
5
16 3
6
13 6
7
11 2
8
8 8
9
6
Instructor: Arch. Eran Neuman Student:Dr.Nicolas Ariel Gold
26
27
27 28
28
1
26
Instructor: Dr. Arch. Arch.Tamir EranLavie Neuman Assistent: 1
5
5
ORGAN | EASIER
10
3
4 10
3
Nicolas Gold
12
1
11
CM
2
87
0
1
FURNITURE
CM
scale
0
2
o
2S s
y
nc
F
O
R
S I NG L E M
furniture 1
1
SYNC SINGLE FORM 2S
2
OFFSET SURFACE
3
NEW CLOSED SURFACE
4
CONTOUR ON X AXIS
5
CONTOUR ON Y AXIS
6
WOOD TIMBER
7
COVE SURFACE
8
SINGLE 2S FURNITURE 1
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Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Neuman Student:Dr.Nicolas Ariel Gold
Instructor: Dr. Arch. Arch.Tamir EranLavie Neuman Assistent:
89
Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Neuman Student:Dr.Nicolas Ariel Gold
Instructor: Dr. Arch. Arch.Tamir EranLavie Neuman Assistent:
1K s
y
nc
F
O
R
S I NG L E M
furniture 1
1
SYNC SINGLE FORM 1K
2
OFFSET SURFACE
3
NEW CLOSED SURFACE
4
CONTOUR ON X AXIS
5
CONTOUR ON Y AXIS
6
WOOD TIMBER
7
COVE SURFACE
8
SINGLE 1K FURNITURE 1
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Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Neuman Student:Dr.Nicolas Ariel Gold
Instructor: Dr. Arch. Arch.Tamir EranLavie Neuman Assistent:
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Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Neuman Student:Dr.Nicolas Ariel Gold
Instructor: Dr. Arch. Arch.Tamir EranLavie Neuman Assistent:
1N s
y
nc
F
O
R
DOUB L E M
furniture 1
1
SYNC DOUBLE FORM 1N
2
OFFSET SURFACE
3
NEW CLOSED SURFACE
4
CONTOUR ON X AXIS
5
CONTOUR ON Y AXIS
6
WOOD TIMBER
7
COVE SURFACE
8
DOUBLE 1N FURNITURE 1
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Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Neuman Student:Dr.Nicolas Ariel Gold
Instructor: Dr. Arch. Arch.Tamir EranLavie Neuman Assistent:
93
Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Neuman Student:Dr.Nicolas Ariel Gold
Instructor: Dr. Arch. Arch.Tamir EranLavie Neuman Assistent:
2S
DOUB L E FURN I TURE 1
94
1N
S I NG L E
S I NG L E
FURN I TURE 1
FURN I TURE 1
Nicolas Gold ORGAN | EASIER
1K
Instructor: Arch. Eran Neuman Student:Dr.Nicolas Ariel Gold
Instructor: Dr. Arch. Arch.Tamir EranLavie Neuman Assistent:
12 11 10
11
12
12 7
7
11
13
14
14
15
15
6
13
16
17
17 5
5
16
18
19
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20
20
4
18
21
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22 23
23
3
21
24
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2
24 26
26
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27 28
28
0
30
30
INCH
29
29 INCH
10
10
8
9
9
1
12 11 10 9
9
8
8 8
7
7 6
6
6 0
5
5
4
4
4 3
3
3
Pavilion 2
2 2
1
1 1
CM
CM
scale 0
0
95
3
o
Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Neuman Student:Dr.Nicolas Ariel Gold
Instructor: Dr. Arch. Arch.Tamir EranLavie Neuman Assistent:
Pavilion In architecture a pavilion has two primary meanings. It can refer to a free-standing structure sited a short distance from a main residence, whose architecture makes it an object of pleasure. Large or small, there is usually a connection with relaxation and pleasure in its intended use. A pavilion built to take advantage of a view is referred to as a gazebo.
96
Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Neuman Student:Dr.Nicolas Ariel Gold
Instructor: Dr. Arch. Arch.Tamir EranLavie Neuman Assistent:
Placement
97
Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Neuman Student:Dr.Nicolas Ariel Gold
Instructor: Dr. Arch. Arch.Tamir EranLavie Neuman Assistent:
which adds value to the form, gives it a certain functionality and makes it possible to identify the formal language anywhere around the city
98
Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Neuman Student:Dr.Nicolas Ariel Gold
Instructor: Dr. Arch. Arch.Tamir EranLavie Neuman Assistent:
99
Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Neuman Student:Dr.Nicolas Ariel Gold
Instructor: Dr. Arch. Arch.Tamir EranLavie Neuman Assistent:
100
Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Neuman Student:Dr.Nicolas Ariel Gold
Instructor: Dr. Arch. Arch.Tamir EranLavie Neuman Assistent:
פתאום יודעים התל אביבים שהם מדברים פרוזה :למבנה המוזר על הגג קוראים ,כמתברר ,פרגולה; זו יכולה הייתה לסמל את חילופי האור והצל של הדיאלקטיקה הסוציאליסטית, אלמלא הסתיר אותה איזה דוד-שמש פלבאי .וגם אם הדיירים אינם יכולים לממש במכירה פומבית את יצירת המופת עם הבוידעם ,או ליהנות משמץ מרחב ונוחות -לפחות הם אמורים להתנחם בידיעה שלמרפסת המטבח המתפוררת יש אילן יוחסין ארכיטקטוני המגיע עד ולטר גרופיוס. – דורון רוזנבלום ,סדק-סדק תרדוף (הנאו-ריאליזם של הבאוהאוס בתל אביב) ,מוסף הארץ1994 ,
רעיון של לה קורבוזיה שזכה לביטוי בולט באדריכלות הבינלאומית בארץ היה הגג השטוח ,שהיה אמור לשמש לצרכים חברתיים .בתל אביב הרעיון הזה היה יותר סמלי מאשר שימושי ,ולמרות בנייתם של גגונים או פרגולות על הגגות כמעט שלא נעשה שימוש אמיתי במשטחי הגגות. הגגות השטוחים ,שעל פי חזונם האידילי של אדריכלי התקופה נועדו לשמש כמפלטי פנאי ומרגוע ,נותרו לעתים קרובות מוזנחים וללא שימוש ,ומתקני ההצללה "החדשניים" לזמנם שנבנו עליהם נהרסו או שימשו כחדרי כביסה ,או כמסתור לדודי-השמש.
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UnitĂŠ d'Habitation / Le Corbusier
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T
he Phrygian cap is a soft conical cap with the top pulled forward, associated in antiquity with the inhabitants of Phrygia, a region of central Anatolia. In the western provinces of the Roman Empire it came to signify freedom and the pursuit of liberty, perhaps through a confusion with the pileus, the felt cap of manumitted (emancipated) slaves of ancient Rome. Accordingly, the Phrygian cap is sometimes called a liberty cap; in artistic representations it signifies freedom and the pursuit of liberty.
Phrygian
cap
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Liberty leading the people / Eugene Delacroix
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locationdevelopment pavilion
phrygiancap
tlv'sflatroofs
a pavilion ca be free-standing structure, whose architecture makes it an object of pleasure. A connection with relaxation and pleasure in its intended use. A pavilion can be built to take advantage of a view.
The Phrygian cap is associated to the signify of freedom and the pursuit of liberty. The Phrygian cap is sometimes called a liberty cap; in artistic representations it signifies freedom and the pursuit of liberty.
According to the idyllic vision of the original architects, the Flat roofs were designed to serve as a refuge of Leisure and relaxation, but often they became neglected and unused.
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CAP A CITY: the project goal is to create a new Iconic formal language which take advantage of the potential that exists in the roofs of Tel Aviv and restore the city's "fifth facad"e to its original purpose: a refuge for leisure and Relax
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Ha ya rko
Jaboti
nzky
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irol
Ibn Gv
Arlo
zoro
v
goff
Dizen Be
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Be da
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Weitzm
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David Hamelch
Frishman
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Ha ya rko
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Ibn Gv
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Be
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Ben Gurion 74
Ben Gurion 88
David Hamelch 5
Ibn Gvirol
Malchei Israel
David Hamelch
Frishman
Lachish 1
Ibn Gvirol 58
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Roof Area: 217 m2 Roof Status: Free Roof Accebility: Lock Levels: 4 Hight: ~14 m Entrance: Close Access: Stairs David Hamelch 5
Lachish 1 Roof Area: 308 m Roof Status: Free Roof Accebility: Open Levels: 5 Hight: ~17.5 m Entrance: Lock Access: Elevator 2
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Ibn Gvirol
Malchei Israel
Frishman
David Hamelch
Roof Area: 267 m2 Roof Status: Free Roof Accebility: Lock Levels: 5 Hight: ~17.5 m Entrance: Open Access: Elevator Ibn Gvirol 58
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R O O F T O P U S E S The function can derived from some ideology, the relationship with the building or a desire to create a new open space
The function can derived from the desire of the client commissioning
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I
nterestingly enough, the majority of the communal aspects do not occur within the building; rather they are placed on the roof. The roof becomes a garden terrace that has a running track, a club, a kindergarten, a gym, and a shallow pool. Beside the roof, there are shops, medical facilities, and even a small hotel distributed throughout the interior of the building. The Unite d’ Habitation is essentially a “city within a city” that is spatially, as well as, functionally optimized for the residents.
unite d'habitaion Le Corbusier marseilles, france
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T
he building is crowned by a roof located above the attic where Gaudí stood staircase exits, chimneys and cooling towers, which for his original shapes and innovative design create a real garden with outdoor sculptures. The terrace is composed of several sections of different volumes and levels, whose gaps are connected by small sets of stairs, and create a space of singular originality. On the roof there are a total of 30 chimneys two ventilation towers and 6 exits staircase, designed with different stylistic solutions. The exits across a split cylindrical bodies that host spiral staircases
casa milà antonio gaudí barcelona, spain
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פתאום יודעים התל אביבים שהם מדברים פרוזה :למבנה המוזר על הגג קוראים ,כמתברר ,פרגולה; זו יכולה הייתה לסמל את חילופי האור והצל של הדיאלקטיקה הסוציאליסטית, אלמלא הסתיר אותה איזה דוד-שמש פלבאי .וגם אם הדיירים אינם יכולים לממש במכירה פומבית את יצירת המופת עם הבוידעם ,או ליהנות משמץ מרחב ונוחות -לפחות הם אמורים להתנחם בידיעה שלמרפסת המטבח המתפוררת יש אילן יוחסין ארכיטקטוני המגיע עד ולטר גרופיוס. – דורון רוזנבלום ,סדק-סדק תרדוף (הנאו-ריאליזם של הבאוהאוס בתל אביב) ,מוסף הארץ1994 ,
רעיון של לה קורבוזיה שזכה לביטוי בולט באדריכלות הבינלאומית בארץ היה הגג השטוח ,שהיה אמור לשמש
לצרכים
חברתיים .בתל אביב הרעיון הזה היה יותר
סמלי מאשר שימושי ,ולמרות בנייתם של גגונים או פרגולות על הגגות כמעט שלא נעשה שימוש אמיתי במשטחי הגגות. הגגות השטוחים ,שעל פי חזונם האידילי של אדריכלי התקופה נועדו לשמש כמפלטי פנאי ומרגוע ,נותרו לעתים קרובות מוזנחים וללא שימוש ,ומתקני ההצללה "החדשניים" לזמנם שנבנו עליהם נהרסו או שימשו כחדרי כביסה ,או כמסתור לדודי-השמש.
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R O O F T O P U S E S The function can derived from some ideology, the relationship with the building or a desire to create a new open space
The function can derived from the desire of the client commissioning
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a ne
wu rba ni
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e sp
's roofs create
y
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formal lenguage
pavillioNS urban net
ey are at th age h t t gu fac l lan he orma t f es rc new o f in the ith
common fuction
Function that can be part of a network on one hand, and on the other can express individuality
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the formal language and their special location makes them to be identified as a network
k or w ion et at c
We created a new formal language which has a presence urban
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publicspace
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network
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UrbannecessITy
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Hub Culture is an invitation-led social network service that operates the global digital currency Ven (used by the members to buy, share, and trade knowledge, goods, and services. It is the first virtual currency to be used in the financial markets). Hub Culture is the first to merge online and physical world environments. In 2008, Hub Culture began rolling out Pavilions: member based workspaces in key cities that offer concierge and consulting services, meeting space, on an internet enabled technology platform. Hub Culture Pavilions, both temporary and permanent, have appeared in principal cityes like: CancĂşn, Copenhagen, Ibiza, London, Los Angeles, New York City, Miami and Rio de Janeiro
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FUSING THE PHYSICAL AND VIRTUAL WORKSPACE Hub Culture Pavilions enable new work models and space innovation in urban centers. This location caters specifically to the urban worker, and makes them readily accessible to foot traffic. A secondary benefit to HCP is the renewal of a city center. The members pays a monthly fee to join the global virtual and physical network. Pavilions offer a convergence of physical and virtual collaboration, social engagement and work. This new approach blends the advantages of remote and office work, as well as expands the connections among workers to a much personalized, and relevant, setting. Inside, the user has the option to work individually, in groups or socialize.
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programdevelopment publicspace hubpavilion
network hubculture
urbannecessary sharedoffice
new work models and space innovation
An invitation-led social network service.
in urban centers. accessible to foot traffic.
Hub Culture is the first to merge online and
They offer a convergence of physical and
physical world environments.
For small businesses and business start-ups that want to exhibit a level of professionalism operating at premium locations in a city to interface with their customers, suppliers, and other external parties. Virtual office space offers shared services and space to virtual business users.
virtual collaboration, social and work. This new approach blends the advantages of remote and office work, as well as expands the connections among workers.
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CAPACITY is an urban network of pavilions which offers a share workspace that stimulates professional interaction. The network bring an alternative for freelancers and students who are looking for a getaway that give them not only a work space, but also enrich their social and professional connections, and opens a variety of possibilities to realize their CAPACITY as future professionals.
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ההאב הוא חלל עבודה משותף ,ליזמים ועצמאיים ופרילנסרים הממוקם בלופט מרהיב ּ על גג במרכז תל אביב (ליד צומת מעריב) .משרד מיידי ,הכולל אינטרנט ,מדפסת, פקס ,מטבחון ,חדר ישיבות ,מרפסת וגג לפגישות או למנוחה .מעבר למקום עבודה, ההאב הוא קהילה עבור אלה המעוניינים ליזום ,לשפר וליצור עולם טוב יותר מבחינה ּ חברתית ,סביבתית וטכנולוגית .הוא מציע סביבת עבודה ייחודית ,המעודדת הפרייה ההאב והקהילה. ּ הדדית ושיתופי פעולה ולמידה ,דרך היכרות ,שיתוף ותמיכה מחברי הזדמנות למפגש עם עצמאיים ויזמים מתחומים שונים ,לשיתופי פעולה ,להתייעצויות, ולקבלת רעיונות חדשים.
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Arlozorov 13
Dizengoff 208
Ben Gurion 1
Dizengoff 171 Ben Gurion 22
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workspaces
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1|3
SYNCDOUBLE1N 1/3 on top
PERSPECTIVE VIEW
facade view
rooftop view
PERSPECTIVE VIEW
facade view
rooftop view
PERSPECTIVE VIEW
facade view
rooftop view
1 5 m eters
20 m e t e r s
2|3
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PERSPECTIVE VIEW
facade view
rooftop view
PERSPECTIVE VIEW
facade view
rooftop view
PERSPECTIVE VIEW
facade view
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SYNCDOUBLE1N 1/3 on top
PERSPECTIVE VIEW
facade view
rooftop view
PERSPECTIVE VIEW
facade view
rooftop view
PERSPECTIVE VIEW
facade view
rooftop view
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2|3
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100%
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Shila
Ivn Gvirol
King David 5 Rabin Square King David Blv
.
King David Blv.
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SYNCDOUBLE1N 2|3
2/3 on top
PERSPECTIVE VIEW
KINGDAVIDblvr.5
23 m
Roof Area: 253 m2 Status: Free Accebility: Lock Levels: 4 Hight: ~14 m Entrance: Open Access: Stairs
11 m
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Shape Space Space
Shape
Shape
Shape
Scheme no 1
Scheme no 5
Space
original Shape
original Shape
Space
Scheme no 8
Shape Space
Scheme no 7
Space Space
Space
Scheme no 3 original Shape
Space
Space original Shape original Shape
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original Shape
Space Space
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SYNCSINGLE1K
INFLATE FORM
INFLATE FORM
SYNCSINGLE1K INFLATED
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BEVEL EDGE
articulated form
1 SINGLE1K INFLATED
2 BEVEL EDGES FOR MORE DETAILS
3 EXTRACT V CURVES
4 LOFT INTO A NEW Smooth FORM
5 REBUILD FOR DETAILS
6 REFIT THE FORM
7 DETAILED EDGES
8 REBUILD U-V EDGES NUMBERS
9 EXTRACT V CURVES
10 LOFT INTO A FINAL FORM
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LEFT-SIDEview
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BACKview
D. HAMELECH 5 | left facade
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back facade
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â–ş david hamelech 5 | structure design
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â–ş ibn gvirol 58 | pavilion - rooftop Connection
Apartments with double spaces
Current status
residents public space
1
2
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ibn gvirol 58
addition of two new floors
1S pavilion
Roof ramp
Current stairs
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circulation system
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ibn gvirol 58 | left facade
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Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Neuman Student:Dr.Nicolas Ariel Gold
Instructor: Dr. Arch. Arch.Tamir EranLavie Neuman Assistent:
â–ş lachish 1 | interior design - plan & 3d scheme
upper envelope
upper workspace area
lower workspace area
lower ENVELOPE individual workspace
151
Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Neuman Student:Dr.Nicolas Ariel Gold
Instructor: Dr. Arch. Arch.Tamir EranLavie Neuman Assistent:
group workspace
1 m'
F
152
lachish 1 | front facade
lachish 1 | right facade
Nicolas Gold ORGAN | EASIER
lachish 1 | back facade
Instructor: Arch. Eran Neuman Student:Dr.Nicolas Ariel Gold
Instructor: Dr. Arch. Arch.Tamir EranLavie Neuman Assistent:
lachish 1 | left facade
153
Nicolas Gold ORGAN | EASIER
Instructor: Arch. Eran Neuman Student:Dr.Nicolas Ariel Gold
Instructor: Dr. Arch. Arch.Tamir EranLavie Neuman Assistent:
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Student: Nicolas Ariel Gold Instructor: Dr. Arch. Eran Neuman