SITE TECTONICS
8 3 3 8 6 8
ASSESSMENT 3
7 8 8 7 7 7
SAMANTHA CHONG & DANYELLE BAILEY 2017 / SEMESTER 2 / ABPL20047
CONTENTS 3.1 3.2 3.3 3.4
Eye Height Perspectives Sun Shadow Study Volume Calculation Contour Drawings
...pg 4-7 ...pg 8-11 ...pg 12-15 ...pg 16-19
3.5
Topographic Exploaration Manipulations
3.5.1 3.5.2 3.5.3 3.5.4 3.5.5
Ripple Exporation Displacement Exploration Flex Exploration Noise Exploration Edit Poly Exploration
...pg 22-23 ...pg 24-25 ...pg 26-29 ...pg 30-31 ...pg 32-33
3.5.6 Material Exploration 3.6.1 Artificial Light Study 3.6.2 Natural Light Study
...pg 36-37 ...pg 38-39
3.7
...pg 40-41
Application to Site Design
EYE HEIGHT PERSPECTIVE #1 The concept for this design amalgamates the landscape, built form and human expreience. Ludwig Mies van der Rohe's intent to create an interactive and inhabitable sculpture was not only respected but elevated. The landform of the site has been manipulated to represent a staging ground which introduces the Barcelona Pavilion as an art piece. An aritificial landform is built over the river as a podium for the building and is situated within the lowest point of the site, painting a picture of reverence.
EYE HEIGHT PERSPECTIVE #2 The ramp design encourages engagement with the existing site landscape on the human scale. The curvilinear and intentionally convoluted path is experiential in form as there is a constant feedback of sensory stimuli. This is experienced on the ground plane as visitors look up at the series of glass panels which wrap rhythimically around the steep landform. Visitors positioned on the elevated observation deck are presented with a perspective where the landform is the canvas, the Barcelona Pavilion is the focal point and clusters of human experience complete the composition.
SUN SHADOW STUDY
9AM
The 9am model study was successful as it demonstrates accurately the long dark shadows that fall in a south-west direction. Upon reflection, more consideration should have been given to the orientation of the Barcelona Pavilion in order to utilise the morning sun.
1PM
The 1pm physical sun study has proven to be very accurate in comparison to the computer generated renders. This has proven to be a useful study as it was taken into consideration when deciding where to position trees to provide shade for people when using the ramp during mid-day.
4PM
This comparison is the first of our series to demonstrate a discrepency between the physical sun study model and the computer generated render. The physical model lacks the shading created by the river banks.
VOLUME CALCULATION ORIGINAL SITE TERRAIN VOLUME: 925,794.12
(1) REMOVE DEPRESSED BASE 1.2 1.1
Select EDIT POLY modifier Remove existing base of model using VERTICES function under SELECTION panel
Volume calculation for the manipulated terrain has proven to be inaccurate for comparison with volume of existing terrain. Despite the addition of a landform and minimal terrain 'cuts' to the new site design, the Z-Plane was unable to be extruded to the same scale. Therefore, the calculation has a total that is less than the existing site.
(2) CAP LANDFORM USING EDIT POLY 2.1 2.2
Select BORDER function Select CAP function under EDIT BORDERS panel
MANIPULATED SITE TERRAIN VOLUME: 66,153.50
22.5
+
20.5
+
+
23.5
+
25
20
+
22
25.5
+
19.5
+ 19
+ 18.5
+
17
+
16.5
+
17.5
+
+
FFL 13.5
+
+
14.5
+
16
18
15
+ +
+
+
15.5
13.5
+
13
14
+
+
11.5
+
+
12
12
+
12.5
+
13
13.5
+ 12.5 13.5
13.5
+
+
CONTOUR
14
+ 14.2
+
14.5
DRAWINGS
+
+
21
22.5
23.5
+
+
24
21.5
+
+
+
+
22
25.5
+
+
18.5 19.5 0
+
+
0
25
20
22
25.5
19.5
22.5
23.5
+
.50
.50
+
+
21
20
20.5 25
24.5
23
+
+
22.5
23.5 20
25
+
+
+
21
+
+
24.5
23
24
+
+
25
23
+
+
21
20.5
+
24
+
+
23
22
+
+
+
21.5
+
+
22
22
+
+
+
24
21.5
23.5
24.5
+
+
24.5
+
22
21.5
+
+
22.5
21
+
19.5
+
19
17.
19
+
50
+
+
+
15.5
+
13.5
+
+
12
+
+
12
12.5
+
+
+ 12.5
14
11.5
+
+
+
13
13.5
13
13.5
+
13.5
+
+
+
13 12.5
+
15.5
+
+
12
18
15
+
+
+
+ 12
+
FFL 13.5
+
+
14.5
13.5
11.5
17.5
16
15
14
+
+
18
+
+
13
+
+
14.5
+
+
12. 50 11. 50
FFL 13.5
16
18.5
17
+
.50
16.5
17.5
+
.50
14 50
+
+
15 13.
18.5
17
+
.5016.5
16
13.5
+
+
12.5
11
13.5
.5
0
13.5
+
+
12
.5
14
0
+ 14 13.
+
50
14.2 14.5
+
+
14
14.2
+
14.50
+
14.5
+
14
+
15.50
DRAFT GRADING PLAN
SCALE 1:500 @ A3 DATE: 12.09.2017
BRIMBANK PARK
12.09.2017
11.03.2017
PLAN VIEW
DRAFT GRADING PLAN SCALE/ 1:500
N
DRAFT GRADING PLAN
SCALE 1:500 @ A3
BRIMBANK PARK FINAL GRADING PLAN PLAN VIEW DATE: 12.09.2017 N SCALE/ 1:500
TOPOGRAPHIC MANIPULATIONS
CREATE (5) 200 x 200 planes
Iteration #1
Iteration #2
Iteration #3
Iteration #4
Iteration #5
RIPPLE
E X P L O R A T I O N #1
select RIPPLE modifier & adjust PARAMETERS
AMPLITUDE 2: manipulates ripples across the Y-Plane
AMPLITUDE 1: manipulates ripples across the X-Plane
AMPLITUDE 1 + 2: Makes the ripples circular
WAVE LENGTH: Increases density of the ripples and how frequently they occur.
DECAY: Increasing density will smooth the ripples starting from the outside moving towards the epicentre.
CREATE (5) 200 x 200 planes
Iteration #1
DISPLACEMENT
E X P L O R A T I O N #2
select DISPLACE modifier & add a BITMAP Use STRENGTH parameter to adjust the intensity of displacement - how tall the landforms are.
BITMAPS used for modifier
Image of terrain used to simulate mountainous landforms
Image ofgrass and soil used as an experiment for an alternative way to create grass terrain
DEM image used to simulate a rocky landforms
Iteration #2
Iteration #3
Iteration #4
Iteration #5
(1) CREATE a drop object
(2)ANIMATE the scene
1
Iteration #1
Iteration #2
Iteration #3
2.2 move object to location after the drop
5.1 set PARAMETERS 2.3 move slider to 20 frames
(3)set up UDEFLECTOR 3.1 select UDeflector function
(because it can take on the shape of any object)
2.1 select Auto Key function
(4) FIX tangent so object speeds up during drop 3.2 draw onto plane 4.2 change out tangent
3.4 select PICK
OBJECT and select the drop object
3.3 set bounce to 0.00 (because it only needs
to react to something passing through surface)
4.1 right-click on slid-
tangent
er and select Z Position
(6) BAKE animation to run smoothly
5.1 select weights &
6.1
select POINT CACHE modifier
springs layer
FLEX
E X P L O R A T I O N #3
(5) apply FLEX modifier and set PARAMETERS
4.3 change in
5.3 check ABSOLUTE WEIGHT
5.2 select all vertices
6.2
create NEW .xml file
6.3 6.4
5.4 add
DEFLECTOR
select RECORD
select DISABLE modifiers
Flex modifier is good for secondary animation/motion as it adds bounce and flexibility to a plane and is used to make objects sway or bend.
FLEX parameter: The higher it is set, the higher the reaction or movement of the plane.
STRENGTH parameter: Affects how the flexibility of the surface reaction.
Iteration #4
SWAY parameter: The lower it is set, the more liquid looking the surface reaction is.
Iteration #5
STIFFNESS parameter: When lowered, object edge falls out of the WORLD as there is no bounding object.
FINAL FLEX ANIMATION RENDER
Noise
Phase
1 Create PLANE
Seed
Strength
Scale
2 apply NOISE modifier
3 apply TURBOS-
4 experient with PERAMETERS
NOISE
E X P L O R A T I O N #4
MOOTH modifier
A noise modifier is applied to a plane to modulate the verticies along the z axis.
The shape of the plane is changed when phase of the animation changes. This feature doesnt modify the existing noise algorithm but changes the 'starting point' of an animation. Think of it as moving starting point on a circle.
The noise modifier relies on an algorithm to configure verticies. The seed value genrates the 'starting point' of this configurartion, therefore by changing the seed value a different sillhouette is created.
As a reult of doubling the strength of the noise modifier the planes curvaturues become more exaggerated.
By lowering the scale a tighter configuration of the noise effect is created. Alternatively, if we were to increase the scale a more smooth configuration would be created.
Single Paint
Multiple Paints
Vertice & Z Axis
Melt
Melt & Vertice
1 Create PLANE
2 select VERTICE
3 select SOFT
A large paintbrush can be used to create one unified push and pull point. As demonstrated above, this pull is more intense at the center of the paint spot.
EDIT POLY
E X P L O R A T I O N #5
SELECTION
4 use PAINT feature to manipulate plane
Using the paint tool multiple vertexes are able to be selected, pulled or pushed, and then selected again to create a variation of heights.
Vertexes are also able to be manipulated on the X and Y plane. These vertextes have been selected singly and manupulated on the X plane to create more surfave variation.
This melt manipulation demonstrates how further modifiers can be applied to the plane after using edit poly.
As the edit poly (vertices) manipulates the surface shape of the plane the two modifiers can continue to be altered sequentially until the desired effet is achieved.
MATERIAL EXPLORATION
No Effects 1 select shape
2 open MATERIAL
MATERIAL: ARTIFICIAL LIGHT
E X P L O R A T I O N #1
EDITOR
3 experiment with PARAMETERS
4 create TARGET LIGHT
Roughness
Reflexivity
Gloss
Transparency
No Effects 1 select shape
2 open MATERIAL EDITOR
MATERIAL: DAY LIGHT
E X P L O R A T I O N #2
3 experiment with PARAMETERS
4 create DAY LIGHT SYSTEM
5 change PERAMETERS
Roughness
Reflexivity
Gloss
Transparency
APPLICATION TOPPOGRAPHIC EXPLORATION TO SITE DESIGN Two topographic explorations were applied to the final site design. The 'Edit Poly' modifier was used to manipulate the terrain to create a landform over the river where the building is situated. The second modifier, 'Flex', was used to animate the scene and simulate the materiality of the site by causing a ripple in the river when a man jumps into it. This is effective for simulating human interaction with the landscape on site.