ABPL20047 SITE TECTONICS: ASSIGNMENT 3.0

ASSIGNMENT 3.0 ABPL20047 SITE TECTONICS SEMESTER 2, 2017 JESSLYN HUMARDANI (765837) SHARLEEN WONORAHARDJO (784100)

TA B L E O F C O N T E N T S 05

1 OVERVIEW RENDERS

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2 PERSPECTIVE RENDERING

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JOURNEY

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EYE-HEIGHT RENDERS

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3 SOLAR SHADOW STUDY

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PHYSICAL MODEL VS DIGITAL MODEL

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4 VOLUME CALCULATION

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5 CONTOUR DRAWING

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MANUAL GRADING PLAN

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CAD GRADING PLAN

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3DS MAX CONTOUR PLANV

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6 TOPOGRAPHIC MANIPULATION EXPLORATION

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7 EXPLORATION APPLICATION

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1

OVERVIEW RENDERING

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As seen from the render, the building is designed to be cut into the land. The ramps, on the other hand, although some are cut into the land, are mostly designed to be filled under it. By sinking the building into the ground, it allows a closer interaction and relationship between the visitors inside the Barcelona Pavilion, with the river. The rigidity of the building, with the calmness of the river and natural surrounding creates a dynamic harmony that makes the journey more interesting for the visitors.

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2

PERSPECTIVE RENDERING JOURNEY

EYE-HEIGHT

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JO U RN EY

The design of the ramps, is based on the idea of “Journey”. The journey can be started from the lower or upper existing pathways, depending on where the visitors enter.

If the visitors were to enter through the lower pathway, they will start with the “Concrete Journey”, whereas if they start from the upper pathway, they are embarking on a journey that begins with “Nature”. The following eye-height renders pictures the journey starting from the lower pathway.

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This would be the view that the visitors would see when walking through the ramps close to the building. The materials are made of those that would be seen in modern era of architecture, which is when the Barcelona Pavilion is made. The visitor is surrounded with concrete pathway and metal handrails. The landings in this pathway is designed so that they can experience this journey while viewing the building. Compared to other parts, areas near this pathway has much less trees. This is to enhance the idea of “concrete” and “modernity”.

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As they take further steps, they will be directed to the entrance of the Barcelona Pavilion. The material of the ramp blends in beautifully with that of the building’s concrete slab. There are trees placed in the North side of the Barcelona Pavilion. This is to block winter winds that are harsh and cold.

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The bridge acts as a “transition� for the journey. The materials are still the same as the previous ramps, but the views are focused towards the natural environment on the other side. The wall on one side of the bridge has a slit that allows visitors to focus their views on the still water. Any direction they go, their view will be directed to the still waters. This acts as a calming transitional period.

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After walking through the bridge, the visitors will continue their journey in a much more “natural” scenario. The steep ramps and topography. This “natural journey” is enhanced by the materiality used on the ramps; timber planks, the trees surrounding the path and the steep topography.

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This is the final view the visitors would be directed. Grass plains and the sky filling the view. Ending the whole journey. If the viewers were to enter from the upper pathway, they would firstly see this view, and then descend down the ramps and ends their journey surrounded by concrete.

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EY E- H EIGH T

The following renders shows the eye-height relationship from certain locations to the Barcelona Pavilion.

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This is the view from the pool inside the Barcelona Pavilion. Visitors will be directed to the view towards the river, trees and ramps made of timber planks. The pool was placed on the west side of the building so that when summer sun blows over the pool, it would create a cooler atmosphere. This whole render shows the juxtaposition between “modernity” and “nature”. Showing how the hard and modern material relates with the surrounding nature.

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This is a view from when someone is standing on the grass fields behind the Barcelona Pavilion.

Visitors exploring the area around the building. The roof stands out, even if the building is hidden.

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This is a view of the building from a higher level. This is when the visitor is standing on the landing near the upper pathway. As seen from this render, even if the Barcelona Pavilion is surrounded by grass fields, it still feels like it belongs to the area and is not out of place , due to the surrounding ramps/pathways made of concrete and metal.

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This render shows how visitors starts their journey from the “Nature� side. Although they are surrounded by trees and timber ramps, the journey directs them to view the rigidity of Barcelona Pavilion.

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This render shows the view from the ramps at a higher level, looking down at the Barcelona Pavilion.

Showing the relationship from the ramps further from the building with the building itself.

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3

SOLAR SHADOW STUDY PHYSICAL MODEL VS DIGITAL MODEL

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9A M 36

12P M 37

3P M

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5P M 39

P H YS IC AL M OD E L

NORTH ELEVATION

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9AM

12PM

5PM

D IG ITA L M O DE L

9AM 12PM

3PM 5PM 41

9AM DIFFERENCES: Direction sunlight and shadow differs due to accuracy of 3ds max

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12P

DIFFERENCES: Human error in positioning c to a physic

PM

can cause inaccuracy when doing solar study cal model

5PM DIFFERENCES: The condition during 5PM between the two solar study is similar, although some accuracy errors are still visible.

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THE PHYSICAL MODEL of the site has benefits in focusing more towards the building itself. Where the details of how the building stands are more visible. By having a physical model, the shadow paths are more evident as there are no other objects in the area that disrupts the shadow of the building itself.

However, using the physical model to analyze the shadow is not an accurate method. We are unable to find the true North Point. Using the physical model also is more likely to increase the possibility of human error when positioning. This is proven in the difference in shadow direction compared to the 3DsMax model.

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Using the 3DS MAX tool for solar analysis has some extreme benefits. It is much more accurate in positioning than the physical model, as the location can be chosen. In addition, the distance between the sun and the landform would be more accurate than the analysis done on the physical model.

Users are also able to put in other objects more efficiently and adding texture, creating more similar environment to the actual location. Topography can also be made smoother and life-like using 3DsMax, thus creating a more accurate depiction of light and shadow effects in the area. 3DsMax also has different options of lighting, and using the sun lighting, it helps create a more natural ambience of natural lighting. This can be seen in the 6PM solar study. 3DsMAX can give an accurate depiction of evening and night time rather than the physical model sun analysis. We are able to understand the solar study in the site as a whole much better.

However, putting textures and other objects on the site can be a disadvantage when doing the solar study in 3DsMAX. Shadow becomes less focused and visible to the user after render. This can be solved by zooming in to the building for solar study.

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4

VOLUME CALCULATION

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BE F O RE 48

VOLUME: 925,794,12

The result of the volume calculation has shown that there is an increase in land in the amount of 4340 m3. However, the process was not purely fill. There was cut in the landform. Both the cut and fill process is to attempt grading the landform to allow for a balanced and equal access - avoiding ramps or pathways to be too steep. Earth material from the excavation will be compacted and be used for the fill material.

AFTER

VOLUME: 930,134,18

However, due to the steep topography, some areas need to be graded so that the ramps can be constructed on even land. Thus, there is need to fill the landform under the ramps. This causes the increase in the total volume of land before and after the cut and fill process. This volume displacement means there is an imbalance.

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BEF O RE 50

A F T ER

This volume calculation tool becomes a very important tool for the process of cut and fill, which becomes an advantage of using 3DsMAX. By knowing these numbers, we can use it to make revisions on the cut and fill along with our ramp design. We can revise the design using the freeform tools, soft selection, push and pull/paint deformation, and etc. If there is an increase in the volume after cut and fill, then users can use the aforementioned tools to push down the landform, thus balancing the volume, and vice versa.

It is important to balance the cut and fill on site, the total change in volume should not differ too much. If excavation is done too much, excess material will need to be transported to another place. And if the site needs so much more material, transportation of materials/soil into the site will be inefficient.

Overall, it is more efficient if the volume before and after is similar. The materials used for cut can be used for fill.

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CONTOUR DRAWING

CAD CONTOUR PLAN

3DS MAX CONTOUR PLAN

MANUAL GRADING PLAN

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MAN UA L GR A DI N G PL AN

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RAMP GRADIENTS: A-B

CAD GR A DI NG P L A N

G= 0

I-J

G= 1:14

B-C G= 1:20

J-K

G= 1:14

C-D G= 0

K-L

G= 1:14

D-E

G= 1:14

L-M G= 1:14

E-F

G= 1:14

M-N G= 1:14

F-G

G= 1:14

N-O G= 1:14

G-H G= 0

O-P G= 1:14

H-I

P-Q G= 0

G= 1:14

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The contour plan on the left is generated out of 3DS Max software. Since the digital model had been placed on the exact right place where it should be, the contour that was

3DS MA X CONTO U R P L A N

generated was also accurate to where the landform were cut and fill.

The issue of generating contour lines directly from the digital model, there were a lot of intersecting and duplicated lines, where at first it made the contours to be confusing. Thus, it always needed another marking up in autocad to make it neater and accurate.

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6 TOPOGRAPHIC MANIPULATION EXPLORATIONS WAVE/RIPPLE CONFORM

SOFT SELECT DISPLACEMENT SPLINE

TECHNIQUE INTEGRATIONS

DISPLACEMENT+SOFT SELECTION DISPLACEMENT+WAVE/RIPPLE

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#1

WAVE/RIPPLE

PLANE

PLANE

MODIFIER LIST

MODIFIER LIST

EDIT MESH/POLY

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EDIT MESH/POLY

RESULT

APPLY NUMBER TO PARAMETERS - amplitude 1 - amplitude 2 - wave length - phase - decay

RESULT

RIPPLE

APPLY NUMBER TO PARAMETERS - amplitude 1 - amplitude 2 - wave length - phase - decay

This exploration method has a function of creating a planar form into a plane that has an undulating surface, which can seem like a water. Its function can be used to create natural water element in a landform, as well as creating tectonics such as hills and gullies.

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AMPLITUDE 1: AMPLITUDE 2: WAVE LENGTH:

RIPPLE

WAVE

WAV E

WORKFLOW

AMPLITUDE 1: AMPLITUDE 2: WAVE LENGTH:

26.

5.8

.1 8

AMPLITUDE 1: AMPLITUDE 2: WAVE LENGTH: DECAY:

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AMPLITUDE 1: AMPLITUDE 2: WAVE LENGTH: DECAY:

-57.4 35 35 0.028

92.8 20.9 -13.4 0.004

AMPLITUDE 1: 18.1 AMPLITUDE 2: 17.4 WAVE LENGTH: -16.2 DECAY: 0.028

+ NOISE X: 183 Y: 50 Z: 8

AMPLITUDE 1: 38 AMPLITUDE 2: 42 WAVE LENGTH: 29

+ NOISE X: 150 Y:140 Z: 72

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#2

CONFORM: WRAPPING AND BRUSH

W O R KPLANE FLOW WRAPPING

BRUSH

PLANE

MODIFIER LIST MODIFIER LIST TOP VIEWPORT WRAPPING

EDIT MESH/POLY EDIT MESH/POLY CREATE MENU FREE FORM PROPERTIES COMPOUND OBJECTS

RESULT

RESULT

CONFORM BRUSH

CONFORM

Conform properties can be done through two ways, first is by using the compound properties and the other is by the brush. This method is good to be used to imitate an existing surface to a landform, such as adding an existing mountain to a flat green plains.

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BRUSH CONFORM: DRAW ON FACE

N SUR-

WRAPPING TOWARDS WRAPPER CENTRE

BRUSH CONFORM + OFFSET

BRUSH CONFORM + OFFSET + NOISE

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#3

CLOTH, SOFT SELECTION, PAINT DEFORMATION & EDIT POLY

WORKFLOW

ADDING

ï¼£LOTH

This is a very interesting method and would fit very well to any condition. It is a method that can help edit accurately. Being able to pick the vertex is a very strong benefit. After other modifiers and explorations, using soft select to edit is a very good option.

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TURBO SMOOTH + EDIT MESH: SO SELECTION FALL OFF: 15m

TURBO SMOOTH + EDIT POLY SELECTION FALL OFF: 20M

OFT

Y: SOFT

CLOTH (ACCORDING TO THE TILE ON THE LEFT)

TURBO SMOOTH + EDIT POLY: PAINT DEOFRMATION + MIRROR

TURBO SMOOTH + EDIT POLY: PAINT DEFORMATION PUSH/PULL ON THE CENTER & RELAX ON THE EDGES

PLANE: REDUCE NUMBER OF VERTEX EDIT POLY: SOFT SELECTION

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#4

DISPLACEMENT: BITMAP AND MAP

WORKFLOW

DISPLACEMENT: US MAP IMA U TILE: 0 V TILE: 0 STRENGTH

Using this exploration, we aim to achieve mountainous and natural visuals. Using the images retrieved online and maps from 3dsmax, we are able to achieve natural and diverse forms.

It is a simple process that allows us to achieve various forms that can help us for the topographic manipulation. It was interesting to combine two different maps in one panel.

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DISPLACEMENT: U TILE: 6 V TILE: 3 STRENGTH

SING NORWAY AGE 0.3 0.6 H: 40

NOISE MAP 6.5 3.5 H: 50

DISPLACEMENT: USING HEIGHT MAP U TILE: 1 V TILE: 1 STRENGTH: 30

DISPLACEMENT: PERLIN MARBLE MAP U TILE: 1 V TILE: 0.6 STRENGTH: 50

DISPLACEMENT: USING MOUNTAIN IMAGE + NOISE MAP U TILE: 1 V TILE: 1 STRENGTH: 12

DISPLACEMENT: PERLIN MARBLE MAP + NORWAY MAP IMAGE U TILE: 1 V TILE: 0.6 STRENGTH: 24

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#5

SPLINE AND TERRAIN

WORKFLOW

NORMAL SPLINE + TERRAIN

SIMPLIFICATION: VER OF LINES DR

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RTICAL (USE 1/4 RAWN)

NORMAL SPLINE + TERRAIN

SIMPLIFICATION: VERTICAL (USE 1/2 OF LINES DRAWN)

FORM: LAYERED

FORM: SOLID + SIMPLIFICATION: VERTICAL (USE ALL OF LINES DRAWN)

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#5

SPLINE AND TERRAIN

WORKFLOW

FORM: SOLID + SIMPLIFICATION HORIZONTAL (USE ALL LINES DRAWN)

General contours of the oject

Contours when numbers of lines used are simplified

This is a very good way of creating landform when you already have the contour. It can be an accurate way to create a landform. However, this can be an inefficient way to edit a landform or to create a dynamic landform. This is because it can be a quite tedious method if the user have to draw many lines. It was an interesting exploration as there are many edits that can be done using the “terrain” tool. We can even apply color to the landform based on its height.

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COLOURS SET BY DEFAULT

FORM: SOLID + SIMPLIFICATION HORIZONTAL (USE 1/2 LINES DRAWN)

COLOURS SET

BY DEFAULT, BUT ZONES OF HEIGHT WERE CHANGED

FORM: SOLID + SIMPLIFICATION HORIZONTAL (USE 1/4 LINES DRAWN)

COLOURS SET BY USER

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T EC H N IQ U E IN T EGRAT IO N S

From the explorations above, a few techniques were able to be combined and the techniques compliments each other in editing landforms

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#1

DISPLACEMENT AND SOFT-SELECT

S O FT- S ELE CT

D I S P LA C EME NT

Soft selection and paint deformation is a flexible tool that can be used in any scenario. Using soft selection can be used to edit any mistakes, in order for us to be able to fit our alterations to the existing site.

Displacement is an interesting and natural landform and soft selection is an important tool. Thus, by combining these two we will be able to see how these two important tools can help us create an interesting method.

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#2

DISPLACEMENT AND WATER/RIPPLE

WATER / R I PPL E

D I S P LA C EME NT

The conjunction of wave/ripple with displacement could create an organic landform which includes a topography of mountain, as well as the presence of water features. The topography is a result from the use of displacement, whereas the water are created out of the wave/ripple.

These two methods could be the first methods that should be considered when making a site with context, which needed to be made from scratch.

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EXPLORATION APPLICATION

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R E S E R V O I R S : P L A N E + W AT E R M AT E R I A L

DISPLACEMENT + CONFORM + SOFT SELECTION

EXISTING SITE

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The original site was a plain grass field. For the contour manipulation, we designed a site that is still realistic to the site.

Something that does not seem out of place, yet still making the site more dynamic. Visitors are aimed to feel the atmosphere of “untouched nature”. The rocky hills surrounds the area. In between the hills are some reservoirs that people can enjoy and interact with.

The process of creating these new landform design was using displacement, soft selection and conform. Using displacement allows for realistic mountainous forms. And if the users are not satisfied, they can use soft selection to edit the form. Lastly, as form made using displacement was much deeper than needed, we used conform to make it shallower to fit the existing site’s solid mesh.

Seeing on the render on the left, areas near the upper pathway and the more “natural” ramps, landforms were more mountainous. It is to emphasize more the idea of “nature” in the area.

While areas near the building, landforms tend to be flatter and plain.

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Water reservoirs are placed on the sides of the existing pathways. As visitors walk through the

Families can come to the area and interact with

pathways they are surrounded by these rocks and shallow water bodies. Journey becomes more

visitors and their family can play around the wat

interesting.

area are more shallow.

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the surrounding nature. As the river is very deep,

ter bodies near the rocky areas, as water in these

This is a view of the rocky mountains from inside the building. It creates a more dynamic view and interesting view.

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THANK

YOU

JES S LY N H UM A RDA N I SH A RL E E N WON ORA H A RDJ O

(765837) (784100)