component 1 archi

Component 1

Suban Zafar

“SIMPLICITY IS THE UlTIMATE SOPHISTICATION”

LEONARDO DA VINCCI

CONTENTS Chapters

Introduction: • • • •

Foreword Brief Design brief Specification

Introduction: • • • •

Thames Barrier Park – Patel Taylor Primary research, conceptual design Serpentine Pavilion – Frida Escobedo Porters park – unknown

Foreword

The Architectural typography is systematically interconnected to mainstream subject in addition structure grounded research.

The purpose of the this study is to understand two things : first is landscape and the other is structure, although they do not share the same types of typography in contrast. Further on in the research, I may discover a relationship between the two.

Frantically, I wish to undertake a challenge of minimalism to both theme and design. Practically I think this will have a significant impact on the brief aforementioned.

Minimalist architecture, sometimes referred to as 'minimalism' involves the use of simple design elements, without ornamentation or decoration.

Proponents of minimalism believe that condensing the content and form of a design to its bare essentials, reveals the true essence of architecture.

Modernism could be described as one of the most optimistic styles in architectural history, drawing from notions of utopia, innovation, and the imagination of how humans would live, work, and interact. As we reflected in our world of Modernism, the philosophy of Modernism still rules much of architectural discourse today, even if the world that gave rise to Modernism has changed completely.

This tool for understanding the development of 20th-century design is complete with examples of each style, showcasing the practice of Modernism that lay behind the theory.

Brief

Brief alternatively means finding a problem in the world of architecture, so I did, and discovered that Thames barrier park/or alternative park needed a bit of modernising of all types of audiences rather than the garden being a old lump sum of grass to look at.

I believe the solution to this is to enthuse this space up a little more. And to do this I will need a plan of which will help me develop my ideas further.

Design brief

The aim is to make Thames barrier / park look more aesthetically pleasing and a more of an engaging environment. To accomplish this we must understand its history of origin to understand the contemnor environment.

I also think that the space could be used better of in terms of design, again I am not criticizing Patel`s work but making design decisions for my self.

Perhaps looking for certain materials that impacted the environment is such could be another solution, because of this I will be able recognise the users of the structure and target audience.

specification

The foremost source of problem is that the area of wavy bushes could be designed in more of a place of attraction. By the end (hypothesis) I should be able to effectively design and communicate a structure which essentially will be the final product.

• • • • • • • •

Minimalist design through out.

Following the theme of nature and flow dur to its environment and anccesstorial context. Free Wi-Fi. Washroom facilities such as M&F and Disabled.

Must have a aspect of greenery and sense of outdoor.

Outdoor eating.

Furniture outside for more spaces meaning more customers.

Disabled access.

Adaptable space to cater for other evening events.

Minimalism The element in minimal art is pure in form and substance, yet complicated in its perception. The total is more significant than the pieces, and materials help to define things clearly. The context is studied, and the big sculpture clearly corresponds to the setting in which it is installed, resulting in the object's spatial extension. These unique sculptures allow the environment to be observed and seen, giving the piece of art an environmental component. Objects and perception tend to expand; an item becomes a part of the context in which it is placed, and as a result, this environment becomes a part of the work of art as well. The architectural environment becomes a component of the viewer's experience.

For good cause, the minimalist art movement began to focus on warehouses and industrial buildings. These locations not only allow these works to increase in scale, but they also speak a similar language, highlighting the process of creation and installation in an industrial atmosphere. The fact that those things are built and placed in accordance with measured blueprints brings them back into contact with architecture. Those items are therefore reflections of the space in which they exist. Art and space are strongly intertwined in minimalist art.

These areas also provide structural engineering that can sustain a large span. The room is opened up to reveal its structure, which in turn aids to reveal the art. Dia Center is a wonderful example. Dia initially sponsored a small number of creative artists such as Judd, Walter de Maria, and Flavin, who came from the early Minimalism split.

Due to collectors' and museums' financial and physical constraints, minimalist work produced a schism with established institutions. The pavilion, designed by Charles Wright, was rebuilt by Richard Gluckman, who added a "minimalist sensitivity" to light and space; this marked the beginning of Chelsea as an art district. With art that fits the scale of

Historical structure Analysing and understanding the historic environment gives us the possibility to deeply grasp the inseparable relations between form, structure, and material, which gives historic buildings a unique character and defines architectural identity.

But understanding all these underlying issues needs a critical and active engagement with the built environment. Evaluating the historic environment with an intuitive approach can feed the design process but it may also lead to the undervaluation of certain issues, which may in fact be very important in terms of cultural significance. This paper aims to develop a framework to analyse historic buildings by focusing on space more than the architectural being. Therefore, it proposes to analyse the historic environment with a continuous approach starting from urban scale to interior scale. The use of such a framework aims to structure the analysis of the historic environment with a concentric approach on human experience and it targets to feed the adaptive reuse process and related design activities.

Hortus conclusus Originally intended as enclosed hunting grounds, it has developed into smaller enclosed areas with wattle fences for cattle containment. Another direct influence is the Roman peristyle or cortile, which is inclined inward. In each instance, it took the shape of walled gardens for the enjoyment of the nobility. They'd hire someone to look after the plants or create a luxurious retreat for relaxing, dancing, and listening to music inside. Others might go for a stroll to think about their ideas. Monastic cloister gardens are the only remaining mediaeval gardens.

In secular terms the garden became a symbol of earthly love, typified by Guillaume de Llorris 13th century poem the Roman de la Rose, an allegory of man and an enclosed garden. In this walled garden, the interior represents romance, while the exterior is emblematic of everyday life, the lover endeavours to reach the rose which symbolizes his lady’s love. Relationship with the heavens is emphasized in a walled garden as it eliminates the outside world converging the garden below with the heavens above. There is a stark contrast between the containing walls and the vertical endlessness of the sky – truly a vertical landscape.

Artificial nature is the basis for the Hortus conclusus - shutting the space off from the outside world, creating an image of an inner paradise. One could begin to suggest that this archetype has been translated into present day public pocket parks in urban centres. The vest pocket park in American cities is a contained space with walls created by adjacent buildings and “protected or defended” by security guards or vendors. Paley Park in Manhattan at 53rd and Fifth Avenue is an excellent example of this. The fact that the park is “guarded” by the food service vendor is key to its success. A more private example would be the jewel box size gardens behind brownstone buildings - as an oasis, a refuge of peace and tranquillity among the chaos within the urban infrastructure.

Strictly speaking the Hortus conclusus traces its roots back to the Middle Ages, and a specifically Christian symbolism rising out of reverence for Mary – but its origins could be traced back to classical and pre-classical Europe, and even earlier to the wellspring of Persia and the paradise gardens of Mesopotamia.

This modern interpretation draws on the essence of the idea, and expresses the spiritual purpose, without being explicitly religious: “I see a great cycle and I am part of it. For a little while I am here. I did not exist before my time, and I will no longer exist after my time. But in my time I belong to the process of life on this planet; for a little while I am part of the organism of human beings , animals, and plants, that exists on this planet and that passes life on……A garden is the most intimate landscape ensemble I know of. It is close to us. In it we cultivate plants we need. A garden requires care and protection. And so we encircle it, we defend it and fend for it. We give it shelter. The garden turns into a place. ” Peter Zumthor, from his introduction for Hortus Conclusus.

From the outside the Hortus conclusus of Peter Zumthor is a stark building, an uncompromising near-black modernist structure, with no decoration – the only interruption to its mesh-textured walls the rectangular open entrances and exits.

Park Central Park Summer Pavilion Competition was open to international professional of architecture. The CPSP was envisioned as a meeting point for different cultural and leisure circuits, with the goal of using the same space for a broad range of daytime and nocturnal activities in a sustainable fashion that respects its surroundings. The idea was for it to become an obligatory stop for visitors to Central Park.

Chang Kya Lee New York based architectural professional and Dokyung Kim from University of California, Los Angeles won the second prize on this competition with a project challenges definition of linear gesture. The ‘play form’ proposes a “space of experiences” – simply pushed-down a platform connects human and nature as a ‘play form’ at the same time a simple linear gesture defines a whole proposal that shows as an object.

A gigantic Central Park is the emblematic piece of urban break space in New York City. The ‘play form’ is located between 81st and 82nd st and 6th and 7th aver The ‘play form’ is a place of great public destination; an exploration and a shelter.

The ‘play form’ is also a point and a place that meets different leisure and cultural circuits (axis). The project integrates existing communities and nature not only physical but also programmatic manner, and provides new space to rejuvenate the community and the everyday summer life of NYC neighbourhoods.

The project provides versatile summer public programs which attract visitors, blend diverse culture and neighbours. The large green open space gives New Yorkers space to interact, play, relax, and gather; It provides space for water/snow sliding, music festival, open air cinema, fashion show run way and restaurant with cafe. The play form invites people in all ages to experience different programs of curved surface. Creating a sustainable space from the simple architectural gesture is what we should pursuit, therefore, ‘play form’ that integrates human and nature with the culture programs create a great sustainable value.

Botanical Gardens Central Park Summer Pavilion Competition was open to international professional of architecture. The CPSP was envisioned as a meeting point for different cultural and leisure circuits, with the goal of using the same space for a broad range of daytime and nocturnal activities in a sustainable fashion that respects its surroundings. The idea was for it to become an obligatory stop for visitors to Central Park.

Chang Kya Lee New York based architectural professional and Dokyung Kim from University of California, Los Angeles won the second prize on this competition with a project challenges definition of linear gesture. The ‘play form’ proposes a “space of experiences” – simply pushed-down a platform connects human and nature as a ‘play form’ at the same time a simple linear gesture defines a whole proposal that shows as an object.

A gigantic Central Park is the emblematic piece of urban break space in New York City. The ‘play form’ is located between 81st and 82nd st and 6th and 7th aver The ‘play form’ is a place of great public destination; an exploration and a shelter.

The ‘play form’ is also a point and a place that meets different leisure and cultural circuits (axis). The project integrates existing communities and nature not only physical but also programmatic manner, and provides new space to rejuvenate the community and the everyday summer life of NYC neighbourhoods.

The project provides versatile summer public programs which attract visitors, blend diverse culture and neighbours. The large green open space gives New Yorkers space to interact, play, relax, and gather; It provides space for water/snow sliding, music festival, open air cinema, fashion show run way and restaurant with cafe. The play form invites people in all ages to experience different programs of curved surface. Creating a sustainable space from the simple architectural gesture is what we should pursuit, therefore, ‘play form’ that integrates human and nature with the culture programs create a great sustainable value.

Location analysis section 1 Thames barrier park

An architectural site analysis is needed to understand the environment around your building. The site analysis is quite important regarding the physical constraints of the project. It helps you draw up plans and create views of your building as if it were completed. The research helps determine the possibilities of building on a site and whether it is financially and practically viable.

Site history Thames barrier is known to be the flooding site of the history, even form the roman era, that is why know its use is to contemplate the flow of thee river Thames to prevent flooding hence why the name. It was known as thee most polluted site in London due to chemical factories I the industrial revolution. Form that point Thames barrier depicts a lot form the past that is still visible today. The Thames Barrier is the world's second largest movable flood barrier, after the Oosterscheldekering in the Netherlands. Its purpose is to prevent London from being flooded by exceptionally high tides and storm surges moving up from the sea.

Early proposals for a flood control system were stymied by the need for a large opening in the barrier to allow for vessels from London Docks to pass through. When containerization replaced older forms of shipping and a new port was opened at Tilbury, a smaller barrier became feasible with each of the four main navigation spans being the same width as the opening of Tower Bridge. The barrier was designed by Rendell, Palmer and Triton for the Greater London Council. After the 1986 abolition of the GLC it was operated successively by Thames Water Authority and then the National Rivers Authority until April 1996 when it passed to the Environment Agency.

Thames barrier park

Sun paths The sun path or orientation of the sun in Thames barrier park starts of I the east and finishes of in the west, I believe this is the reason show for the water flow of the river form time to time. The main reason to why I am studying the sun pattern, is use to the lighting of the whole day, because many visitors will be visiting form day to night, I believe that the morning should start of with the sun entering with a slight glare this will also help me position the design in a way of optimal use from the sun light. Ambient daylight is the volume of natural light that enters a building. All buildings are required to have adequate levels of daylight and this should be a priority for new developments Daylighting Calculations are used for this purpose. It is important therefore to distinguish between daylight and sunlight in new developments.

Daylight from an overcast sky is generally the same no matter how the building is orientated. Sunlight on the other hand refers to direct sunshine and is very much brighter than ambient daylight. On a cloudy or overcast day diffused daylight still shines through windows, even when sunlight is absent. Care especially needs to be taken when the development is situated to the south of existing buildings, as in the northern hemisphere, the majority of the sunlight comes from the south.

Form this sun path analysis I can conclude that the tames barrier park is the desirable location for the visitors, but the build of the park has a very mundane look with just grass bad bushes, hoverer, it is indexed designed better than any other conventional park, but nevertheless, I think that this park should have more attraction towards it like the o2 or hide park. That is why the sunlight will useful of for the users of this area, this will be the attraction site needed for that particular area.

Wind and circulation Wind characteristics change with every region and every season, according to the topography, physiology, geography etc. Every built form acts or reacts to these characteristics in its own unique fashion. The built form is the result of the plan, the façade and the openings on the façade. A sphere will react to the wind like no cube will, a cube will act in a manner a pyramid never will. Every solid mass (building) either acts as a barrier, or facilitates the air movement in the required direction as per the form. Though technology has played an important role in serving the Architects to combat these obstacles but sometimes they can be catalyst to the new built form produced.

Physical obstacles in the path of airflow create pressure differences. This causes a new airflow pattern. Air tends to flow from high pressure areas. Knowing the direction of air movement, the plan form can be determined also as to create high pressure and low pressure areas. Building openings connecting the high pressure areas to low pressure areas would cause effective natural ventilation.

The design of building plays an important role in making it wind responsive. Though the wind pressure plays on all built structures but the major impact is seen on high rise or skyscrapers and hence more emphasize is given in engineering them as per wind flow.

Due to lateral nature of wind pressure, the force of wind against tall structures can cause serious damage and some cases displace the top of buildings by considerable distance. However, with the innovations in architectural treatment, increase in strength of materials and advances in the methods of analysis, tall building structures have become more efficient and lighter and consequently more prone to deflect and even sway under wind load.

Due to lateral nature of wind pressure, the force of wind against tall structures can cause serious damage and some cases displace the top of buildings by considerable distance. However, with the innovations in architectural treatment, increase in strength of materials and advances in the methods of analysis, tall building structures have become more efficient and lighter and consequently more prone to deflect and even sway under wind load.

Materials Foundations are concrete piles Super structure is green oak, steel frames Metal, bushes, underneath Towards the main entrance lies a visitor centre, which is indeed also designed by Patel Taylor. Set with its minimal contemporise structure, the pavilion provides toilets and café with seating, this does make it a better park that most out there, however, the aim is to make it more exiting. The centre is constructed form a combination of its reinforced concrete, green oak and full height.

The glass enclosure leads out into a timber deck, that is raised just above the main park itself with elevated transition form landscape to enclosure. The green oak structure is filled by the exposed series of steel and bolt connect to create a old industrial look to the design, this is also to enhance the natural appearance of the structure itself. The plan of the pavilion made form industrial steel ad metal, considered to be the pavilion of remembrance, follows the geometry of the park overall to create a flow through out the whole complimenting the layout.

Location analysis section 2 Aldgate square

I have decided to begin with secondary research due to the knowledge I will be gaining form the research presumed. I think it would help and influence the design process of which I ill be designing.

In depth site analysis The Thames Barrier Park is a riverside park in London and stands as a vivid example of modern landscape in the UK. The park was commissioned by the London Dockland Development Corporation as being a catalyst for urban regeneration. The idea for creating a riverside park at that location dates back to 1985, but it was not implemented then because of a contamination on the site caused by factories that remained there until 1985, when the London Dockland Development Corporation purchased the site and arranged for an international design competition. The aim of the winning entry to the competition was to create a deep ‘green dock’ cutting through the 9ha set diagonally to provide a vista ending at the abandoned Millennium Mills to the North and the Thames Barrier to the South.

The design team’s idea was that earth should be shifted in order to create different levels and consequently allow for a spectacular effect, as well as act as a barricade for the park, isolating it from excessive noise produced by the Woolwich Road.

The park is strategically placed and very well connected; it connects to the Panton Dock DLR Station, there are bus routes leading directly to it and there is a free car park for visitors. There is a cafe next to the DLR Station and a visitor centre, which was designed by Patel Taylor and incorporates the white concrete used throughout the park and green oak.

What is remarkable about the 5 meter green dock which splits the park is that is has no side exits.

Therefore, once people enter, they are inclined to look North towards the Thames Barrier, the wavy hedges and the evergreen honeysuckle which covers 70 degree sloping walls, and ultimately arrive at a ramp which leads up to the viewing pavilion, which consists of 23 irregularly spaced steel columns that supper a timber room with a large circular hole. The purpose of the pavilion is to commemorate all those who tragically lost their lives during the London Blitz.

The architectural analysis of this site plan to me suggest pattern and theme of flow through a minimalistic feel, from this relevant information, I can understand the overall context of the area which will impact the final outcome. This is the initial site plan, and its main function is to create a structure that also fits in with the environment, here, which is the river as a good example, which is shown by the curvy shape of the areas it self.

The replacement new entrance to the park will align with the existing park café pavilion and will rise from street level via an improved access to meet inclusive design requirements with both a staggered ramped entrance and a more direct stepped entrance. This alignment will in the future meet at the street level with a proposed enhanced DLR station access that has been designed to incorporate dual escalators from the platforms above, thereby reconnecting the North Woolwich Road to both DLR and to the park.

Location analysis

Site analysis

In this specific analysis, I want to understand how the site operates, where is it and other factors such as pollution, population, weather and how it impacts that particular location, Aldgate is one of the most famous parts of London due to its some old and new buildings including the tower of London Gherkin with beautiful architecture. Aldgate is a place of work, tourist attractions and weddings, Many people will visit agate on a day to day basis. For my project I will design a café that fit in with its setting or however, juxtaposing the café to make it look out of context with industrialism (theme). Similarly, I think that aldgate square is the perfect location for a café. Position the café in aldgate square will make easy accesses due to many houses and buildings it will be surrounded with. The location where we will be placing the café in has two roads in front view and back view of the café. However, there is no parking space, the nearest place of parking is in 7 minutes of walk. In 1200 steps of range.

For my project this is the main focal point of where the café will be located. This is due to its being In a very infamous place due to its British history or architecture. It is also important to keep tourism form not being disturbed, because they are our clients also as well a customers.

Aldgate square • •

Overall Aldgate population is 3,361, including demographics and education. the nearest tourist regions near Aldgate are tower of London, tower bridge, national gallery, British museum, west minsters Abby and st Pauls cathedral..

• The nearest parking spaces for public is 7 minutes in 1220 yards.

• There are also two major roads in the location of where the café will be built. One is in the front of the cafe and one at it rear. This will make the cafe more visible when people will drive by.

• Promotes a large number of sound pollution due to the level of humidity. Also promotes little odder pollution and littering.

The pollution level of aldgate is to be 2 which suggests that the pollution Is low. This is because of less factories nearby and more buildings.

The red out line suggests the area of pollution within Aldgate and the area it affects. In the idle of the oval is located Aldgate square where the café could potentially be placed.

View of location

I have analysed this on Photoshop to emphasise separate sections of the locations.

View of London showing Aldgate This is the location where the café will be placed highlighted in blue.

It is also in the centre of attraction.

As shown , the blue suggest that location where the cafe could be placed keeping in mind the specifications and restrictions of user requirements.

The trees are specifically highlighted to show the nearby greenery and how it could be used to crate a café that either merges with its environment or juxtaposes with the environment.

A render map on the drawing on the plane to show it in colour. However, I have added the layers to show the earth materials that contributed to the making of the café. This will give me and understanding of how the to design the café to make it cheap and suitable for the environment.

key

View of Aldgate square

View of Aldgate

Land a earth materials / non man made

Roads that have less traffic

Natural forms such as trees, grass, parks and land.

Main roads

Small roads and streets near the site

Roads with more traffic

Outline of the site

Main site

The location is seen to be very busy at day times due to people coming to work. Also, there is one road on the front of the site, and at the back of the site as well. This also leads to the many people using the roads and see the café due to its exposure. Furthermore, I have also found out that the site has a reasonable amount of greenery and nature to reduce the sense of simplicity.

A wider view of the site expresses a change in the environment, makes me feel connected in with the surroundings. Many people will come for picnics on the oval land. This also attracts a lot ore customers to visit the café.

I have done this plan view of the site in sketch up to understand the area better and know the café will be fitting in. the space of aldgate square reduces the feel of claustrophobia by being open and wide ranged and open to give a sense of invitation to the environment. Many shapes of the site also show round features of flow and industrialism. I think that the café will mostly be juxtaposing the site to make the café stand out as a whole.

This layer of the site simplifies where the café is most likely to be placed in the marked area relating in with the restrictions. Of 15 by 7 meters.

The red area shows where the roads are and how they travel in a parallel path.

Likewise the site where the café will be built had a road going through, later was built to stop a any cars from passing and a soon made for pedestrians to easily have access the café.

the main materials used for this are concrete, metal and soil for the growth of the grass. There is school and a church next to the café meaning is a perfect place for parents and teachers. They also call the oval area the public realm.

I have used the height of a average person to get an estimate of how the site will initially look like in an estimate. I believe the main reason why the designer design this in a specific way is to communicate something different to the environment, desensitisation, this means that the audience has too much of the normal architecture but if they see something different it will be more attractive and new to see. I will be adding this style to my café which will be showing a new feel to the customers.

Secondary exploration section

I have decided to begin with secondary research due to the knowledge I will be gaining form the research presumed. I think it would help and influence the design process of which I ill be designing.

Thames barrier park Project: Location: Construction: Architect: Building type: Site area: Building area: Total floor area: Material:

Thames barrier park East London, United Kingdom 2022 Allain Provost, Patel Taylor park (Inc. memorial and café) 26,000m squared 16,000m squared 10,000m squared reinforced - concrete construction

Architect profile: Patel Taylor won an international competition to design one of London's largest new parks, in a joint effort with Allain Provost, Alain Cousseran and Arup. The Thames Barrier Park has transformed a run-down brownfield site, and is a significant factor in attracting new investment to London's Royal Docks. Every aspect of the park, from its urban form which seeks to link the park into the surrounding docklands - to the varied richness of its landscaped components and the design of its buildings, its 'fixtures and fittings' - makes a contemporary cultural statement. It creates a series of settings for surrounding new development to respond to and is a rich and inviting new public space which effectively initiates a new piece of London with its own clear identity, but which links with the river and industrial context. The high quality of the landscaping, design materials and planting contribute to this space and lead to a strong feeling of well being and pride in the local community and those who use the park.

This particular colour represents strong structure such as buildings houses and other types of accommodations. The darker the tone, the stronger and larger structure. The grey scale map is illuminating roads, streets and other open spaces such as parking lots, walk ways and train lines. This main terrain represents the busy roads and rail ways, from this study I conducted how some roads and areas should not be altered due to the volume of people at that areas. my goal is to create space which both functional and specious.

The architectural analysis of this site plan to me suggest pattern and theme of flow through a minimalistic feel, from this relevant information, I can understand the overall context of the area which will impact the final outcome. This is the initial site plan, and its main function is to create a structure that also fits in with the environment, here, which is the river as a good example, which is shown by the curvy shape of the areas it self.

Roccascalegna The fascinating landscape of Roccascalegna is beautiful yet fragile. It offers a visitor, tired from the urban life, a shelter and escape from the city’s noise. Creating a new intervention is the area an architect should be very careful considering the rich past of the place.

The Main idea of the project is a ribbon, that vines throng the landscape connecting the new and the old. The entrance to future touristic site is located on the south entrance to the Fortress, which offers an easy rich from the town of Roccascalegna. At the moment the site has no disabled access, so we propose to use a lift at the main entrance. Strait from the entrance the user will see an amazing view capturing eye.

Then proposed trails will go in two main directions - to the sky lounge, which located on the north-west of the site, and to the viewing points and observatory houses. All trails are planned along the gentle slope so that they can be maximum accessible. The materials used are wood and stone. Were it is necessary because of the slope and to save important vegetation they are build on sticks.

Entrance to the sky lounge goes through the info point and the bookshop. The building is planned along the hill with the windows facing the view to Massif of the Majella. The shape of the building allows visitor to experience moving between the rooftop and viewing points on the ground. Particular locations of each house were considered to save as much of existing vegetation as it is possible.

This also has another role - the view from the houses are maximum in this case. Observatory houses are easy to build modular construction. The are made on sticks to save the landscape and to have a maximum view on surrounding mountains and to watch stars. One of the walls is transparent to create a direct dialogue between the visitor and the environment. The glass also goes to the roof to create a night view observing stars. Yet each house is completely separate to sustain privacy. Each house has a ladder to the ground. Our design is based on the complex techniques to analyse the site and environment. Performing GIS analysis with satellite image we differentiated types of vegetation according to its density and height. This helped us to understand the best location for observatory houses and Sky Lounge. Using the elevation model of the site we also performed slope evaluation which is shown on the scheme above from red to green - from steep to low. We thought important to locate outrails on the gentle slope where this is possible to avoid construction works while building them.

Our intention was make the whole complex maximum accessible for wheelchair users, elderly people, people with buggies and cyclists. Simple shape of the house with gable roofing reminds the lineament of traditional houses in the area.

Container design In this primary research, I have particularly looked at the shipping containers due to its industrial aesthetical features. The reason to why I am looking at this is because this ties in with my pervious research which is to do with industrial aesthetics and chic of old rustic materials. In addition to this I have been able to do design concepts on how the outside layer of the shipping container should look like.

Many people tend to live in the shipping container designed homes which aesthetically look pleasing and modern, the best part of the shipping container homes is that they are mostly made form metal which is long lasting and Sustainable, likewise, they are also Corrugated to save material, this is the reason why I have designed different concepts explain different decisions I could make while in the design process of the café.

Many people tend to use shipping container as dry land storage and there is a trend in the making of houses, they are also very secure and could be insulated and also very easily portable. This research will be the starting point to my future design which I will include some of these features and elements. A much cheaper way to design a container is this way because it uses less material and effort to make. This makes the making of the café more efficient and effective to make. The corrugated way of cardboard reminded me of how a shipping container looks like to make it more in mass product.

This design of card board resembles the unique shape of how the shipping container homes are designed.

This also give me and idea to designing the café in the shipping container form which is industrial and modern.

These are the industrial beams what are still being used today from the old industrial factories and building that were designed. The designs suggest how a beam design looks like in different verity. The design are most likely going to be rustic steel, I will using an elements of this research in to my final café design. Having a closer glance at the shipping container, I discovered that the structure of the was more in a tilted rectangle rather than a simple semi circle, this gave me an idea of a honey comb structure. Honey comb structures are natural and man-made structures employed to allow the minimization of the amount of material to be used in order to decrease the weight and material cost to some extent.

L shaped design shows stability and aesthetics and also beauty. Its main function is to be lightweight and stable.

This is normal card board which as two layers for extra protection, however this is normal to have on layer as well.

This is a plan concept on how a shipping container will have a typical floor plan and how it will show as a plan.

Front elevation, gives me an understanding of shipping container designs of homes and cafes.

Application of honeycomb structures helps in avoiding the wastage of the material which leads to the reduction in weight of the component. It also helps to attain greater specific strength with minimum use of material. It helps to increase the capacity of the structure. Overall, I think this structure is very effective and efficient to use in industrial design of shipping containers. This design concepts has a much more of a wider corrugated angle to save material and also make it look good. It also has rubber for grip and safety, this make the container more stable and steady. I have designed this part of the original shipping container so I could understand how each of the shaped play a role in create the whole structure of the shipping container. This is a concept made by metal and also is sued in shipping containers, the design is one plane facing the outside with longer thinner planes for stability and the industrial look.

Conceptual design Situated on a 90-acre plot owned a Los Angeles-based film producer, the house is a reconfiguration of an earlier concept by Whitaker Studio for an office building in Germany that was never realized – a project recalled by a friend of the client’s during a recent trip to the site.

“Earlier this year my client in LA had some friends visiting and, having a little time to spare, they all went on a road trip to visit the client's plot of land in Joshua Tree,” explains studio founder James Whitaker. “Whilst there, amongst the arid landscape and jutting rocks, one of the friends said, ‘you know what would look great here?’, before opening her laptop to show everyone a picture she'd seen on the internet.

“The picture was of an office that I'd designed several years ago but had never been built. And so it came to pass that next time the client was in London he got in touch and asked to meet up.”

Blossoming from the rugged terrain of the California desert, Whitaker Studio’s Joshua Tree Residence is taking shipping container architecture to the next level. Set to begin construction in 2018, the home is laid out in a starburst of containers, each oriented to maximize views, provide abundant natural light or to create privacy dependent on their location and use.

As you can see above I have Been able to design the shipping container from sketch up has given e an in-depth understanding of the structure of how strong, durable, whether resistant and lasting of the structure it self. I also will be using this particular research to peruse a much more abstract but minimalistic approach to my design in processes of development throughout. Indeed this is a simpler design, however so, if we are to duplicate its structure we would be most likely create a new design concept form the same design, we call this replication process.

Harbin opera house Movement of flow diverted to minimalism Founded by Chinese architect Ma Yansong in 2004, the practice has become known for daring and dynamic architecture. Committed to developing futuristic, organic, and technologically advanced designs, MAD aspires to create balance between humanity, the city and the environment. Its iconic buildings challenge traditional typologies, from the Chaoyang Park Plaza and Absolute Towers to the recently completed Huangshan Mountain Village.

As one of their signature works, the Harbin Opera House was designed by MAD as the focal point of an international competition for Harbin Cultural Island. Responding to the force and spirit of the northern city’s untamed wilderness and cold climate, the building was formed to blend in with the surrounding topography. The opera house emerged as part of a larger master plan and wetland landscape along the Songhua River. The sinuous building stands as a landmark where visitors themselves are imagined as performers. The curving, elegant structure features rehearsal halls, dressing rooms, support spaces and a pair of theatres.

Diving further into the building, we’re taking a closer look at how the Harbin Opera House was made and the manufacturers that helped bring the futuristic building to life.

The purpose of this research is to understand the movement of flow and how it can help me develop[ the shape of minimalism and the aspects that help me develop to further reach in cords to Hortus conclusus. Perhaps, the main reason is to understand the inspects of garden design and how it can be added. Also, the main resewn for this is to develop a better understanding of how the structure of the octopus is used to create a structure for imagination in terms of architecture. I also believe that the metal design of the shape will help me influence the idea of minimalism and shoe the main steps towards a more simplistic but sophisticated at the same time.

Further more, I will be aiming to learn certain aspects of the design an also to influence the overall shape of my model in 3D. The use of certain expensive materials have be added to the design such as bullet proof glass to survive form harsh winds, thick Bach wood on the interior to make a sense of comforting environment.

Designed with a series of faceted glass walls and skylights, the glazing in Harbin Opera House was made

by Shenyang Yuanda with a customized system able to melt snow and direct it into integrated drains. As visitors enter the building’s main lobby, they are faced with large transparent glass walls that connect the curvilinear interior with the building’s exterior plaza and façade. Supporting the glass curtain walls is a lightweight diagrid structure that provides a framework for the complex design. A series of glass pyramids form an alternating surface that transitions between faceted and smooth detailing.

Craco

A deserted village which was destroyed by the natural disasters and the Plague. Craco is a haunted hill surviving amidst the chaos. Despite the residents abandoning the medieval town, the major part of the town still stands in the sands of time. Craco is situated on the tip of Italy where the village is set out on a 1300 foot high cliff viewing the river valley which is down.

As the temples of Angkor and the ruins of Chernobyl, ghost towns have always played a special role in the collective image. As if any person living in a place could give a unique value to it. It is something intangible but real, mysterious but perceptible. It is something that remains over time as the echoes of distant lives that turn abandoned cities into indescribably charming places. Craco is no exception.

Perched on stone pinnacles and clay ridges, Craco is the archetype of the ghost town. It is a city burned up by the sun and severe winters. It is an assemblage of houses with unsteady bricks clinging to each other.

Their arrangement is so expressive and fascinating that looks artificial. It is a sculpture of houses with torn-off roofs, interrupted vaults and ruined bell towers. It is a place that does not belong to the present. This space is trapped among the depths of the past. Here, time and abandonment made one of their most indescribable miracles. Every year, thousands of visitors from all over the world look for such miracle in pursuit of intense emotions. They undertake a journey that is not always easy. They do so by following the irresistible call of the most outstanding ghost town on the planet. Ghost Town Refuge aims to respond to such call. Ghost Town refuge is the competition launched by YAC and Craco Recherché. It invites architects to design a dispersed system of contemporary refuges among the ruins of the ancient Craco. This system will enable visitors to live a sublime experience: living among ruins and falling asleep under the uncovered vaults of a ghost town. Among steep routes and pebbly paths, in the new refuges visitors will have the opportunity to lie down under starry skies hearing the sound of the benign ghosts of Craco. When the wind blows through empty windows and torn-off roofs the spirits of the hamlet appear. They are old rusty hinges that creak and whimper at nightfall. They are the irreverent guardians of the identity of a hamlet that, despite time, does not intend to die. YAC thanks all the architects who will take part in this challenge.

The town’s setup was perfect enough to resist several plunders and drama that took place; Followed by the Black Death that arrived in the 1600s, taking out hundreds of residents to die. Yet again, Craco survived and grew big enough, getting divided into two districts by 1815.

Located on a former chicken farm in Cranbourne South, Victoria, Australia, the Brompton Pavilion is a residential display pavilion quite unlike any other with its use of beams, metal etc...

An innovative vision initiated by the residential developers Wolf Dene, the pavilion arose from close collaboration with Oculus Landscape Architects and Clear Graphic Design. Conceived as a lens to the landscape, the pavilion is proposed to activate the site and engage the local community at first glance.

It consists of an experience suite and a café. The square shaped pavilion is configured around a central grassed courtyard viewing onto a manicured axial field, and frames contrasting views to the surrounding rural fields. It has an impact of the unimaginable feature.

External grey stained timber screens redolent of the scale and colour of the neighbouring chicken sheds enclose the pavilion. Within the screen. The volumes are nested around the courtyard, with smaller courtyards inhabiting the interstitial spaces within. The porosity of the external perimeter timber skin is modulated at sections to frame views between the different landscapes arranged within and around the pavilion. The entry to the experience suite, is conceived as a tunnel of dappled and variegated light. Stained pine screen walls and ceilings provide a variegated texture and light within the space, choreographing views to the key views and various courtyards whilst also subtly different the space into different zones and levels. Constructed mainly from pine studs and plywood, on timber stump foundations, the pavilion was completed in only 4 months, at a good economy based on scale.

Designed for disassembly, it is anticipated that the pavilion will be relocated on the site in about 5 years to operate as a key component of the future community town centre, and ensuring a long term sustainable outcome. This likewise, is very help dull to replicate and transport due to a change in environment and weather conditions.

Nested within the perimeter screen are the four key volumes of the experience suite, café, toilets, and a covered outdoor seating area which are linked by a covered walkway around the central common. Smaller planted courtyards occupy the spaces between these volumes depiction of nature deep within the pavilion. Within the pavilions perimeter, the material transforms to the richer warmth of spotted gum decking, soffits and screens, shows a relationship with the more intimate points of interaction such as open rooms easy to access.

Brampton pavilion

The beautiful and prime use of red vibrant colures depict a very unique and vintage feel to the pavilion, windows on both side bring out the best of us by giving light by its 19th century mirror on the deck. Soft fabric like feel to the environment, even the chairs suggest stability and comfort. While we don’t see the full picture, we can guess the rooms would be the same according to the plan. Emphasis on the shape of the room has a great impact on the inside as well at outside, the shape and form elements of the pavilion are also brought inside to crate a comforting feel.

by research this pavilion, I will gain knowledge of how industrially elements are used to create a social place where many residents of customers to feel invited into this style of architecture.

Metal beam like structure create a very strong and maintainable, easy to work with and light weight.

Primary exploration section

“What matters to us are the emotions left after the storm. Through these emotions, I thought of a relationship, which is the interaction among things.

This relationship, organic rather than a fixed physical one, contains an immaterial energy: the relation between roads and trees, people and forests, art and nature. space is a relationship itself. So, the scenes in space are connected and become a long journey.”

Lamborghini Visionary, cutting-edge, pure: these are the values that currently characterize Automobile Lamborghini S.p.A. (“Automobile Lamborghini”). Since 1963 this company does not create cars but four-wheeled dreams, design and engineering masterpieces that reached every continent and became legendary in the world because of their visionary and pioneering features. An international legend with an Italian heart. A legend that, starting from 2018, will be enriched by a further exciting chapter. Made in Italy and known as the “Uris” project, the third model of the House of the Bull will soon be leading the market as the new Made in Italy luxury icon: a super sport car among the SUVs. In order to celebrate this event, along with a new enlargement of its base, Automobili Lamborghini intends to innovate the places of the legend inviting all the designers to imagine two monumental landmarks at the entrance of its historic plants. This is the challenge of Lamborghini Road Monument, the competition of Automobili Lamborghini to build two architectonic landmarks aimed at marking the entrances of Santagati Bolognese and its plant. Two landmarks to celebrate the legend and sculpt in matter the history of speed, power and innovation.

Aimed at creating an internationally known intervention, Lamborghini Road Monument will soon mark contemporary architecture significantly. Moreover, it will give the opportunity to value the talent of the designers working for the House of the Bull, which is one of the most prestigious and renowned brands in the world.

In this development of the concept I have been able to undertake one aspect of the side skirts of the car and redesigned certain aspects to create a structure, I have been able to design a concept which will be located in a park environment meaning it will have to fit in well with the nature and all of its surroundings, I think that the area where the pavilion will be designed in will have an impact on the users and that why I have taken feedback of local users of Thames barrier park, it’s the potential users who live near the area.

Sketch up From dong the sketch up I have been able to design the concept through sufficient development. I can also understand how this will help me in the final design due to the grass and other aspects of underage I could indeed add to this. Due to open space on the roof of this particular pavilion could have a seating observatory area a as well as a social space.

As you can see in the picture above, there ate lines representing many shapes within the shape of the Lamborghini itself, I have used the abstract shapes and lines of the car and emphasised them with 180’ degrees' white lines which are faintly visible, this helps me understand how each complex lines which is interconnecting with each other have been simplified into a structure, form this I can know use my imagination to design many other concepts form the car.

Sketch up structures architectural elements into two groups as basic elements of architecture and modifying elements of architecture. While basic elements are mostly involved with physical properties of architectural space, modifying elements include light, colour, temperature, sound, smell, texture etc. which define spatial atmosphere. Clark and Pause [4] develop a more systematic framework, which include structure, geometry, massing, circulation, light, organization and spatial order and they try to understand the architectural quality in leading historic and contemporary buildings. In his book “Drawn to Design” Jenkins.

Develops a method, which proposes to analyse buildings in 5 basic steps including plan, section, facade, detail and context. His main intention is to explore the need to examine a building, space or designed object as an experience. He discusses that drawing and sketching is a way of digesting the environment in order to come away with a more indepth understanding of how the environment might have been formed, what it contributes or does not contribute and what lessons might be embedded in it.

Unlike the casual glance or photograph, even the fastest, literal drawing is an inherently careful and active engagement. This paper aims to develop a framework for analysing existing buildings in order to determine the most compatible purpose and way of using it. So the priority of the method is to understand the architectural and spatial potentials embedded within the building and its components.

Adaptive re-use does not always concern the building as a whole.

Develops a method, which proposes to analyse buildings in 5 basic steps including plan, section, facade, detail and context. His main intention is to explore the need to examine a building, space or designed object as an experience. He discusses that drawing and sketching is a way of digesting the environment in order to come away with a more in-depth understanding of how the environment might have been formed, what it contributes or does not contribute and what lessons might be embedded in it.

Unlike the casual glance or photograph, even the fastest, literal drawing is an inherently careful and active engagement. This paper aims to develop a framework for analysing existing buildings in order to determine the most compatible purpose and way of using it. So the priority of the method is to understand the architectural and spatial potentials embedded within the building and its components. Adaptive re-use does not always concern the building as a whole.

structures architectural elements into two groups as basic elements of architecture and modifying elements of architecture.

While basic elements are mostly involved with physical properties of architectural space, modifying elements include light, colour, temperature, sound, smell, texture etc. which define spatial atmosphere. Clark and Pause [4] develop a more systematic framework, which include structure, geometry, massing, circulation, light, organization and spatial order and they try to understand the architectural quality in leading historic and contemporary buildings. In his book “Drawn to Design” Jenkins.

Design idea 1 Of model shown in the picture, constructing simple shape and also the sophisticated design to create a design idea.

What can go inside the structure.

Creating a model of the design which will initially become a design idea.

Hand the hand, also known as “Hath” in the ancient language of Latin. Containing five fingers with one significantly longer the other and the other significantly shorter the rest. This inspires me to study the structure of the hand and how it can potentially be used a as a form of architecture, this is why I have been able to simplify this hand into simple shapes and discombobulate them due to understand the various patterns that are created. Form this aim also able to connect what the client as of they are human and also have limbs. This is particularly because the hand can be transformed into many other parts because it is also a limb with hinges and ball and socket joints. Form this I can also design a form that not only is a structure but can also be moved into another shape, I think that this would be a design that could fit perfectly within certain parks and areas.

This line swerving through the drawings, are to emphasise the flow of the drawings in there steps to how they are developed in to the structure in the opposite way. I think that the further development of this design will create a more abstract structure, this will also contrast what I have to say.

As you can see in the development above, I have been able to start form the simplest shape and develop further into a hand form using circles and squares, this allows me to understand how the shape a come to can help me reach a further stage of development.

Sketch up

Development Visionary, cutting-edge, pure: these are the values that currently characterize Automobili Lamborghini S.p.A. (“Automobili Lamborghini”).

Since 1963 this company does not create cars but four-wheeled dreams, design and engineering masterpieces that reached every continent and became legendary in the world because of their visionary and pioneering features. An international legend with an Italian heart. A legend that, starting from 2018, will be enriched by a further exciting chapter.

Made in Italy and known as the “Urus” project, the third model of the House of the Bull will soon be leading the market as the new Made in Italy luxury icon: a super sport car among the SUVs. In order to celebrate this event, along with a new enlargement of its base, Automobili Lamborghini intends to innovate the places of the legend inviting all the designers to imagine two monumental landmarks at the entrance of its historic plants.

How to reflect the character and the values of one of the most renowned and valued brand of the international scenario in an architectonic installation?

How to architecturally interpret the DNA of one of the most representative brands of the automotive history? This is the challenge of Lamborghini Road Monument, the competition of Automobili Lamborghini to build two architectonic landmarks aimed at marking the entrances of Santagati Bolognese and its plant. Two landmarks to celebrate the legend and sculpt in matter the history of speed, power and innovation.

Aimed at creating an internationally known intervention, Lamborghini Road Monument will soon mark contemporary architecture significantly.

Moreover, it will give the opportunity to value the talent of the designers working for the House of the Bull, which is one of the most prestigious.

Design idea 2 Of model shown in the picture, constructing simple shape and also the sophisticated design to create a design idea.

What can go inside the structure.

Creating a model of the design which will initially become a design idea.

Foot The foot design, rather simple but complex at the same time, the architectural structure have taken form this is the foot itself, the complex angles I have simplified into simple shapes again to create a structure, this method has helped me develop my own design form a foot.

The foot design s also a café structure which imamates the Thames barrier park theme of having a café with pavilion. Form this I have also been able to understand that the action of the foot is a ball and socket joint meaning the angle of movement is 360 degrees. This can also determine the rotation of the sun, as the sun moves form sunrise to sunset the structure will also move I the angle of the sun to always create a stunning view.

“The purpose of the project was to propose the primitive shape of the house: open towards the landscape and concealed in the background. So, inspired by the shape of the tree, the cabin is supported by a structure that, lifting it from the ground, allows to integrate it and conceal it in the foliage of the tree.

Another purpose was to operate in a non-invasive way to the existing's of the castle and at the same time, we wanted to make it available to the customers of the hotel and visitors.

Especially, for this reason, it is expected an additional access through a ramp (provided with a panoramic view) which, ideally, recalls the design of the castle, and a pavement that makes the visit more comfortable beside a panoramic overhanging view.”

Sketch up design

As the structural analysts reconstructed the scenario, using both direct examination of rubble and structural steel, computer modelling, and simulation scenarios, the perimeter tubes of the World Trade Towers were able to withstand the initial impacts of the aircrafts, shifting loads from severed or damaged columns to those left standing.

The extraordinary speed of the fire's spread generated very high heat, causing weakening, softening, twisting, and buckling of structural steel. The Towers' most vulnerable points were deemed by the analysts to be the angle clips connecting the floor joists between the core structure and the columns on the perimeter walls. As the joists fell away on the most seriously burned floors, the outer box columns began to bow outward. The outward bowing caused the affected floors to collapse and fall downward; it also caused the floors above them to implode downward, setting in motion a domino effect that caused the Towers to collapse vertically within approximately 10 seconds, hitting the ground at a velocity of about 200 kilometres (124.27 miles) per hour.

masonry, the art and craft of building and fabricating in stone, clay, brick, or concrete block. Construction of poured concrete, reinforced or unreinforced, is often also considered masonry. The art of masonry originated when early man sought to supplement his valuable but rare natural caves with artificial caves made from piles of stone. Circular stone huts, partially dug into the ground, dating from prehistoric times have been found in the Aran Islands, Ireland.

By the 4th millennium BCE, Egypt had developed an elaborate stonemasonry technique, culminating in the most extravagant of all ancient structures, the pyramids.

The choice of masonry materials has always been influenced by the prevailing geological formations and conditions in a given area. Egyptian temples, for example, were constructed of limestone, sandstone, alabaster, granite, basalt, and porphyry quarried from the hills along the Nile River. Another ancient centre of civilization, the area of western Asia between the Tigris and Euphrates, lacked stone outcroppings but was rich in clay deposits. As a result, the masonry structures of the Assyrian and Persian empires were constructed of sun-dried bricks faced with kiln-burned, sometimes glazed, units.

Trivial scale model Model making in architecture is as an integral as sketches when creating a project, and the type of models made vary depending on the stage of the design process.

Conceptual model making often accompanies the initial sketches and creative brainstorming in the beginning stages of the project.

TheSmall main purpose a render is toa help viewers visualize what the final result of the model, of created form deficit of layers form cardboard, project will look and like. dark Whether for presentation or construction purposes, architects greybeard greyit is card. need to translate their visions in a way that helps people who were not involved in the ideation process understand the space and the experiences that come with it.

However, not all architects have the proper skills or the time to create such hyperrealistic environments, but with the exceptional quality of visuals being produced nowadays and the rising demand, it has become somewhat mandatory for every project to be presented as a realistic 3D render. So if you are one of those architects who don't have the skills nor time, here are ways you can present your project as an immersive visual experience that translates its identity without resorting to 3D software.

Archicad design idea 3 This design, which I have created form sketch up to Archicad is one of the design developments above, the understanding of space and from of this structure I have been able to consider many entourage factors of the design. Form this I can also determine the scale of the design on how big or small the design should be, the structure also follows the theme of minimalism and Hortus conclusus as well as having an underground area as well.

This makes the design a perfect fit for a park landscape due to its shape and weather durability. I have also designed a water pool which only reflects sunlight in to the structure where the

A core is a little more than two, three or four bearing walls placed perpendicular to each other in order to create a closed geometry. Tubes, round or square, can resist torsional loading and are very stiff. A core can be added to the typically parallel alignment of the bearing walls in order to create a lateral load resistance in a direction perpendicular to the bearing walls, to prevent the parallel walls from collapsing. The core is often placed in a central location. This is for the convenience of building services and for increased structural integrity.

Sustainable features include buffer spaces between the external environment and air conditioned spaces, such as a car park deck above and to the southern side of the mall, which will have the effect of reducing air temperature and reducing conductive solar gain.

Waves Like society, architecture and design also develop and do not stand still. The theory and history of architecture, as well as design, develop accordingly. Like society, architecture and design goes through three waves of its development, the so-called architecture and design development periods. All the changes that took place in society irreversibly brought changes in industry, which in turn changed the architectural appearance of enterprises and aesthetic views on the subject-spatial environment. Each period has its own prerequisites for its occurrence and development. These periods have its own name: pre-industrial, industrial, and post-industrial. The borders of these stages are conditional, and this can be explained by the fact that the prerequisites of any period were born before its beginning, and the subsequent stages still had the features of the previous one.

In recent years, architecture and design have become an integral part of human activity. They are, among others, one of the most actively developing areas of human activity. Despite its relatively short path of historical development, architecture and design shows us an example of quite rapid development.

Architecture, as well as design, like human activity and historical progress, are not linear, the society development dynamics flows through certain time intervals, like the ocean waves, and the same way design has a wave development dynamics. Wave motion views are not single. There are a lot of views on wave development. American financier Ralph Nelson Elliott 1 has works on this subject. His monograph is called The Wave Principle. The American journalist Charles Dow is the author of the Dow Theory, and in 1913 the Dutch economist Jacob van, developed the undulating evolutionary development theory. Also, the work on this topic was carried out by our compatriot Nikolai Kondratiev.

However, we will consider the wave motion proposed

by Alvin Toffler. According to the American philosopher, sociologist and futurist, one of the authors post-industrial society theory, Alvin Toffler, society is in constant development dynamics. He believes that this development occurs according to certain time periods.

Development As modern organic design evolved from Frank Lloyd Wright, its definition broadened. It was not just about achieving harmony between people and nature, but also incorporating natural forms and materials into design.

“It often imitates naturally occurring structures such as: cellular, netted, skeletal or crystalline. It leaves behind classical heavy weight-bearing structures and adopts constructions that seem to be more elastic and free.

Recurrent methods include flowing lines and soft shapes, asymmetrical construction, plastic volumes and dynamic forms. “(1). This aesthetic was quickly noticed and began to attract attention. Since humans regard nature as beautiful, we tend to think the same of forms and materials that imitate nature.

Finnish designer and Architect, was also applying organic design aesthetic to his work in the 1930’s and 1940’s. His process considered the structural qualities of his material choices(6).

Instead of working against his materials, he used them to their advantage. Alva's work is what I believe today’s organic design draws a lot of inspiration from.

Here I have indeed drawn the many possible ways a wave could form and drew them to gain a better understanding of waves and their behaviour.

Here I have created this specific model antically to fit the nature and the design aspect of the wave form in the research recently conducted, I also have developed the design in which the model is reflecting. Also to gain a better understanding of the theme of minimalism and how it can be incorporated in the theme of organic design.

Sketch up Design ” His work was just the beginning of what organic design could become. Although he may not have used smooth curves and organic forms, he saw the potential in bringing nature into his work. The beauty of organic design is that it is not limited by its medium. This aesthetic can be applied to architecture, furniture design, product design, typography and art.

Organic design is cantered around using nature as your biggest inspiration. It has been around since humans first began making tools, as early humans were working with the forms that nature provided them. Organic design saw a resurgence in the 1930’s. He wanted his work to “create harmony between people and nature and regarded architecture as a means of achieving a perfect balance between the man made and natural worlds.

Vertebrae Anthropology and architecture have been cohesively understood and interpreted by people. The next step would be noting how these fields of study can benefit from each other. The basic understanding of crossovers portrays the symmetricity between anthropology and architecture.

Anthropology is a vast field of study that has implications in several domains other than architecture, and thus, it benefits the field of architecture for more than vice-versa.

The one simple reason for this difference is that architecture will be rendered meaningless if it doesn’t involve the study of humans. This has been elaborately stressed upon by several designers and architects ranging from Leonardo da Vinci, through Vitruvian Man, to Le Corbusier, through the Modular.

A man was, is, and will always be the basic unit of designing spaces. This is the reason why anthropometry is the first subject taught in architectural schools – to emphasize the importance of always designing spaces concerning human proportions.

The design in this twisted form shows how the stricture od the spinal cord can be used as the concept of twisted form of architecture . I also think that this design should e developed further and also have a context t its development through the process of wavy architecture.

Conceptual design Looking at the shape and design of the structure created from the iterative process, which is most likely be ore related to the twisted torso design but more abstract.

I have indeed also added the poles to indicate the stability points of the design to make it functional and aesthetic. Depending on the shape and size of the product I am also able to investigate further in detail for th iterative process of the design structure. More on to this aim also able to conduct the size and shape to show the designs significance.

Form the trial and error process which has enabled me develop this design further in detail.

In recent years, architecture and design have become an integral part of human activity. They are, among others, one of the most actively developing areas of human activity. Despite its relatively short path of historical development, architecture and design shows us an example of quite rapid development. Architecture, as well as design, like human activity and historical progress, are not linear, the society development dynamics flows through certain time intervals, like the ocean waves, and the same way design has a wave development dynamics. Wave motion views are not single.

There are a lot of views on wave development.

American financier Ralph Nelson Elliott 1 has works on this subject. His monograph is called The Wave Principle. The American journalist Charles Dow is the author of the Dow Theory, and in 1913 the Dutch economist Jacob van, developed the undulating evolutionary development theory. Also, the work on this topic was carried out by our compatriot Nikolai Kondratiev. However, we will consider the wave motion proposed by Alvin Toffler. According to the American philosopher, sociologist and futurist, one of the authors post-industrial society theory, Alvin Toffler, society is in constant development dynamics. He believes that this development occurs according to certain time periods.

Sketch up

Archicad American financier Ralph Nelson Elliott 1 has works on this subject. His monograph is called The Wave Principle. The American journalist Charles Dow is the author of the Dow Theory, and in 1913 the Dutch economist Jacob van, developed the undulating evolutionary development theory.

Also, the work on this topic was carried out by our compatriot Nikolai Kondratiev. However, we will consider the wave motion proposed by Alvin Toffler. According to the American philosopher, sociologist and futurist, one of the authors post-industrial society theory, Alvin Toffler, society is in constant development dynamics. He believes that this development occurs according to certain time periods.

Natural forms The structures in nature are great lessons for human study. Having been in development for several billion years, only the most successful structural forms have survived.

The resourcefulness of material use, the underlying structural systems and the profound capacity to respond to a variety of climatic and environmental forces make natural form tremendous exemplars to human architectures. The wholeness of natural form indicates that the form and forces are always in some sense of equilibrium. In most of natural forms, the quality of equilibrium may be difficult to recognize. However, seashells are one of the natural forms whose functions are simple enough to be approximated by a simple mathematical relationship. The focus of this study was to understand the seashell form as applicable to human architectures. Digital methods are the language to analyse, create, and simulate seashell forms, as well as, suggest a variety of possible architectural forms.

exploration Many centuries ago, Plato believed that all of reality could be traced back to two kinds of triangles, those found in the regular solids that symbolised the four fundamental elements. He didn’t justify this, but he had to have been conditioned by the strong presence of geometry in natural objects. Much later, Kepler was fascinated by snow crystals and beehives.

In more recent times science has explained the presence of constant angles in crystal structures through molecular chemistry, while regular organic forms are linked to the biological necessity cells, tissues and the growth of living organisms.

Naturalists have explained that the Fibonacci series and the Golden Number effectively exist in plant and animal forms, because the mean ratio (Golden Section) satisfies the principle exigencies of growth, which is that of maintaining the same form and therefore the same harmonic equilibrium (as in the gnomon), important because a change in this equilibrium would require a search for a new vital equilibrium

D’Arcy Thompson11 explained that the main problem of natural phenomena is always linked to efficiency and the search for the minimum output of energy. He explains and illustrates the problems of minimal surfaces and saturation of space with geometric models that are resolved by means of the most elementary regular solids.

Just as similar forms, from the smallest to the very largest, appear in the architecture of nature, in a way that recalls fractals, self-similar elements of different scales characterise creations of human design, and regular geometries give evidence of an equilibrium between the static symmetry of closed forms and the dynamic movement in relation to asymmetric forces that belong to growth and life.

In-depth analysis Abstracting Nature The abstracting process combines three major components that influence the final result of an architectural form. These components are the seashell geometry properties, seashell structural properties and architectural properties.

As shown in, is the shape of the aperture or the shape of shell section, is the distance from the coiling axis to the Center of the shell section, is the section radius, and is the vertical distance between sections. To understand the mathematical relationship of these four parameters, illustrates the measuring concept of one coiling shell of the gastropods class and illustrates its digital geometry reconstruction.

Each seashell can be reconstructed in a digital form with variations of the mathematical relationships among the four parameters. The result of a specific mathematical combination reflects the shell form for a specific seashell specie. In this study, the concept of creating architectural form originating from seashell geometry can be accomplished by applying these parameters to an architectural form interpretive exploring process.

Using mathematics as a tool of investigation in both the natural and architectural forms gives us an advantage of exploring multiple forms easily and allows us to implement new parameters into the mathematical framework. Architecture, which exists in a dramatically different environment from the seashell, has other parameters to be integrated during the architectural design process concerning its form. These parameters are designed to accommodate the practical requirements of architectural forms.

Seashell Geometry Properties There are four known parameters in the study of seashell geometry; path, section, growth and vertical displacement.

Each parameter is represented by a specific mathematical curve in which it can be replaced with series of different mathematical curves to develop an architectural form. In the seashell form these mathematical curves are limited to those that appeared in the actual geometry of shell such as logarithmic spiral, circle and ellipse. In the architectural form the limitations are less, however, only mathematically defined curves are chosen in this investigation according to the fact that seashell form always exhibits a curvature. For a clearer understanding in replacing seashell parameters with other mathematical functions, the mathematical curves are divided in to two simple groups based on their mathematical properties; closed curves and open curves. Figure 3 illustrates the sample of closed and open curves and diagram indicates the use of each group.

Seashell Structural Properties The actual shell geometry responses to any load outside by redirecting forces within a very thin section of shell structure along its natural multiple curvatures. Finally those forces are transferred to the supported area such as ground, rock or sand depending upon how the seashell positions itself in the environment. By acknowledging this structural phenomenon and understanding its weakness against tension forces, the compressive shell form suggests the possible structure of the architectural form beyond the existing forms of man-made shell structure. Its structural properties applied to architectural interpretations are included the shape of section, the overlapping section, and the support condition.

Architectural Properties In architecture, there are some basic design criteria that architects and engineers have to take into consideration when developing building forms. In this investigation those criteria are treated as architectural parameters. These parameters emerge from architectural design principles that make architectural forms inhabitable. Without a specific requirement of an actual site and functions, the architectural parameters for this study can be set as ground condition, orientation, human scale and enclosure. As architectural forms are developed the interpretation of these three major components yield the of architectural form that contains the qualities of the seashell.

The architectural form generating concept adopts the four parameters from the seashell geometry and implements additional conditions based on architectural and structural properties into one mathematical framework. This mathematical framework then generates the result of the architectural form. Illustrates the diagram of related parameters in various combinations that enable architectural form to be generated.

Architectural Applications The result of forms developed by this process can be applied for specific architectural functions.

Figures 5 exhibit the idea of how these forms can be used as architectural applications. Each form displays a virtual quality of architecture and is ready to be developed further to a real architecture with proper material and structural system selection.

idea

This research concluded that the value of the study of nature is not only for its power of inspiration and influence, but also for its abstract geometric properties. If the abstract properties can be described by the mathematical relationship, they can then be developed into a built form. The translation of abstracted nature in conjunction in concrete mathematical terms and by applying prerequisite architectural considerations is the fundamental concept of this form development.

The value of this research is the process of developing mathematically definable models into an architectural form. The process is flexible enough to be adjusted to a variety of parameters according to the specific requirements of each architectural project. The results are a family of architectural forms based on one simple mathematical comprehensive relationship.

Model making section additional

I have decided to begin with secondary research due to the knowledge I will be gaining form the research presumed. I think it would help and influence the design process of which I ill be designing.

Prototypical exploration Our process starts with an in-depth analysis phase, where we work with you to understand the many layers and interwoven relationships occurring within your project. This goes far beyond the more typical quantitative or technical approach that most firms use – here we seek to understand the often-complex processes that occur within your organization or lifestyle. We then document our analysis through a series of detailed diagrams that focus on the performative aspects of your project – these are the activities, relationships and movements that occur on a day to day basis. By understanding these activities and relationship as a series of dynamic processes, these performative diagrams visually illustrate the flows and organizational structures that are needed within your project – once these are clearly defined, we design your building or environment around them.

These diagrams essentially become a customized roadmap that will guide us through the design process where we can integrate the ideas they contain into everything from the overall concept to the smallest details.

By constantly referring to your performative diagram during the design process, we’re able to ensure the physical designs we develop maintain the flows, elements, and relational structures uncovered during the analysis, regardless of a project’s, size, budget or style. This is especially important because the building process is complex, fast paced and often creates conflicting requirements between codes, construction methodologies and spatial needs.

We design working simultaneously in the computer using state-of-the art BIM software and old-fashioned hand sketching. Working both in 2D and 3D we constantly refer back to the diagrams, seeking to bring a responsive and integrated project to life as we develop our architectural designs and documents.

This method frees us from conventional, “formal” approaches during the design, construction, and value-engineering phases, and helps us create a final building or environment that is truly unique while still being responsive to our client’s needs. We’re able to think outside the box and see the flows and relationships that might not be apparent in more conventional design processes – an approach that often takes us to new and unexpected design solutions. Our final designs reflect and respond to the unique aspects of each client, becoming extraordinary and distinctive buildings and spaces as the

Structural analysis Our process starts with an in-depth analysis phase, where we work with you to understand the many layers and interwoven relationships occurring within your project.

This goes far beyond the more typical quantitative or technical approach that most firms use – here we seek to understand the often-complex processes that occur within your organization or lifestyle. We then document our analysis through a series of detailed diagrams that focus on the performative aspects of your project – these are the activities, relationships and movements that occur on a day to day basis. By understanding these activities and relationship as a series of dynamic processes, these performative diagrams visually illustrate the flows and organizational structures that are needed within your project – once these are clearly defined, we design your building or environment around them. These diagrams essentially become a customized roadmap that will guide us through the design process where we can integrate the ideas they contain into everything from the overall concept to the smallest details.

As you can see I have been able to understand the structural analysis to various other aspects of construction to create a design, this will indeed be used as the entry or walkway.

By constantly referring to your performative diagram during the design process, we’re able to ensure the physical designs we develop maintain the flows, elements, and relational structures uncovered during the analysis, regardless of a project’s, size, budget or style. This is especially important because the building process is complex, fast paced and often creates conflicting requirements between codes, construction methodologies and spatial needs.

We design working simultaneously in the computer using state-of-the art BIM software and old-fashioned hand sketching. Working both in 2D and 3D we constantly refer back to the diagrams, seeking to bring a responsive and integrated project to life as we develop our architectural designs and documents.

This method frees us from conventional, “formal” approaches during the design, construction, and valueengineering phases, and helps us create a final building or environment that is truly unique while still being responsive to our client’s needs. We’re able to think outside the box and see the flows and relationships that might not be apparent in more conventional design processes – an approach that often takes us to new and unexpected design solutions. Our final designs reflect and respond to the unique aspects of each client, becoming extraordinary and distinctive buildings and spaces as the

prototypical exploration This aluminium screw is made from aluminium and 4 meters long due its main reason for holding the café in the middle. This also makes the model more table as a shape and makes it strong as a structure.

Round industrial pipes that crate a modern rustic feel to the environment, this make the model sand out more that it actually does look once it fit in the environment. I have done this model in white board which make the model stand out on the black paper underneath. The users and guest will most likely enjoy this organic and industrial sense to aldgate square.

In this development I have looked at how I could add the main section of the café which is the serving table, a insulated place for customers to sit inside if the weather outside is cold, by adding windows and slide able automatic doors to give the customers a relaxing feel to the environment there are in. I have also made an outside space and a space for outside events. There is also space for people to sit on top of the café this increase the number of customers visiting the café for picnics and a place to relax.

This is one developed idea of the model which I have done on sketch up, I have followed the specifications of this model due it varieties of shapes and form it can be manipulated in. the interior is inviting and gives a open space to the window as you enter. This make a very fine-looking feel to the café. This also effects my mood to being pleased and in a way connect to the environment,

In this development, I have developed the floor plan of the model as seen and decided to design it in way the customers do not have a restricted view of the outside. I have also left gaps in the metal rods for glass to fit in so there can be as much light coming inside as possible. In the morning there will be sunrise in the outside spaces of the model and sunset will impact the inside. I will also be developing this model more due to its flexibility I how it can be shaped into anything. By far this model is very effective and industrial in an aesthetical way

Rock Inside the two largest rocks are private resting rooms, and the shapes have combined the function of fixed seating at the bottom. The scattered seating's spread freely throughout the spaces between the mountain rocks. The plan gives the whole space a sense of fluidity and openness, providing guests with a constantly changing spatial experience while walking. The stone shapes were created by GRC pouring: the natural texture of concrete has revealed the coarse and heavy texture of the rocks while forming a strong visual contrast with the lightness and transparency of the surrounding ultra-clear glass in order to emphasize a sense of the power of the form. The frameless full-height glass curtain walls introduce plenty of sunlight into the indoor space, and the dynamic play of light and shadows changes over time, providing guests a feeling of resting in nature.

Clay, as a natural material, provides us with a more intuitive understanding and grasp of the form and aesthetics of the space. Subsequently, the scale of the model continued to be enlarged during constant adjustments until the 1:1 clay sculpture model was finalized. The entire production process relied on neither the help of computer 3D modelling nor construction documents. Instead, it was all done by the hands of the designers and the contractor. Then after the turnover formwork and GRC module pouring process, the finished and individual modules were transported to the site for assembly. Finally, the architecture was successfully completed.

Park exploration Site design

“What matters to us are the emotions left after the storm. Through these emotions, we thought of a relationship, which is the interaction among things.

This relationship, organic rather than a fixed physical one, contains an immaterial energy: the relation between roads and trees, people and forests, art and nature. For us, space is a relationship itself. So, the scenes in space are connected and become a long journey.”

In depth site analysis

The architectural analysis of this site plan to me suggest pattern and theme of flow through a minimalistic feel, from this relevant information, I can understand the overall context of the area which will impact the final outcome. This is the initial site plan, and its main function is to create a structure that also fits in with the environment, here, which is the river as a good example, which is shown by the curvy shape of the areas it self.

The Thames Barrier Park is a riverside park in London and stands as a vivid example of modern landscape in the UK. The park was commissioned by the London Dockland Development Corporation as being a catalyst for urban regeneration. The idea for creating a riverside park at that location dates back to 1985, but it was not implemented then because of a contamination on the site caused by factories that remained there until 1985, when the London Dockland Development Corporation purchased the site and arranged for an international design competition. The aim of the winning entry to the competition was to create a deep ‘green dock’ cutting through the 9ha set diagonally to provide a vista ending at the abandoned Millennium Mills to the North and the Thames Barrier to the South.

The design team’s idea was that earth should be shifted in order to create different levels and consequently allow for a spectacular effect, as well as act as a barricade for the park, isolating it from excessive noise produced by the Woolwich Road.

The park is strategically placed and very well connected; it connects to the Panton Dock DLR Station, there are bus routes leading directly to it and there is a free car park for visitors. There is a cafe next to the DLR Station and a visitor centre, which was designed by Patel Taylor and incorporates the white concrete used throughout the park and green oak.

What is remarkable about the 5 meter green dock which splits the park is that is has no side exits. Therefore, once people enter, they are inclined to look North towards the Thames Barrier, the wavy hedges and the evergreen honeysuckle which covers 70 degree sloping walls, and ultimately arrive at a ramp which leads up to the viewing pavilion, which consists of 23 irregularly spaced steel columns that supper a timber room with a large circular hole.

The purpose of the pavilion is to commemorate all those who tragically lost their lives during the London Blitz.

Model research We needed something tall enough so that you could look past the highway; the idea is that you could see the spire from places around the city,” Adel Vaughn said. “We also put trees around the perimeter of the park to help soften the sound from the highway. When you’re in an urban park, though, those city noises tend to be comforting because they strengthen the sense of place.” Vaughn and Patterson’s design also called for renovation of surrounding buildings and proposed a new trolley stop to improve access.

The winning project marked the first time that Vaughn and Patterson collaborated on a design, and both students emphasized that it was good preparation for their third-year studio, which emphasizes group design work. “We thought of it as a school project, a good opportunity for professional development,” Patterson said. “Winning the award came as a really good surprise!”

While there are no immediate plans to build a monument, Bob Callan's noted that the State Highway Department plans to expand I-30 through the city centre and city leaders are excited about the ideas presented in the competition. n their comments, the competition jury praised the spire for providing “a stunning and modern counterpoint to the State Capitol on the Capitol Avenue axis. … If built as designed, it will be iconic in the best sense of the word.” The jury also praised the concept of using the silver ribbon as a wayfinding device to connect downtown landmarks.

Vaughn and Patterson originally tackled the design as a supplemental honours project in a second-year studio led by Judy Britten, associate professor of landscape architecture.

Work began with a trip to Little Rock, where they documented the considerable challenges and opportunities presented by the competition site, which anchors the eastern end of Capitol Avenue.

“It’s a rundown, abandoned area, with decaying building stock from the ’50s and ’60s – not very inviting,” Mary Nell Patterson said. “Then you go two blocks over and there’s Heifer International and the Clinton Library, beautiful places where people want to be.” Nearby Interstate 30 also contributes a healthy dose of vehicular noise.

Perhaps using the main aspect of clay to undergo the design and learn how to form a minimalistic design for its suitable and structured to grounded research

Use of tracing paper which allowed me investigate the developmental process of the area/ site. I would also like to explore more on the organic form this design has I could perhaps interestingly shift it towards a more simplistic approach.

To also reflect on the materials and its natural area for best material analysis to reach the structure that should be best fit for its environment.

Making this model in real life. Using the Thames barrier park bush lane, replacing it with this model to show the change and problem solved.

How all of the aspects will be incorporated in the design.

Of the Thames barrier park.

This will also be the place where I will e putting the café and the drive through.

Then I can also experiment with different model onto to see the scale and size of the overall model ratio proportions.

Use of tracing paper which allowed me investigate the developmental process of the area/ site. I would also like to explore more on the organic form this design has I could perhaps interestingly shift it towards a more simplistic approach.

To also reflect on the materials and its natural area for best material analysis to reach the structure that should be best fit for its environment.

Laser cut the design shown in the picture and then layered to make the land more triennial and aesthetically pleasing,

Sense Thames barrier park has only one line ravine like structure going through the whole of the landscape of the park, I will be going to detail to accounts for its value for being a more prominent tourist attraction. I will also be looking into detail and the main site will most likely be 3d printed for counteragent and main aspects of the design will be in specific distinguishing materials to the rest of the model.

Model In this sophisticatedly simple model connotes the power of minimalism through the layers of mdf contrasting the bushes. Simply cut to the size of the ridges of the model which make the model ore aesthetically pleasing than ever. Perhaps it is the use of only three materials that create simplicity to the over all appearance of the model. This helped me understand how large scale structure can be constructed as a model and how a small trivial scale structure could be used to create a model through its language of material rather than digital.

Our process starts with an in-depth analysis phase, where we work with you to understand the many layers and interwoven relationships occurring within your project. This goes far beyond the more typical quantitative or technical approach that most firms use – here we seek to understand the oftencomplex processes that occur within your organization or lifestyle. We then document our analysis through a series of detailed diagrams that focus on the performative aspects of your project – these are the activities, relationships and movements that occur on a day to day basis. By understanding these activities and relationship as a series of dynamic processes, these performative diagrams visually illustrate the flows and organizational structures that are needed within your project – once these are clearly defined, we design your building or environment around them. These diagrams essentially become a customized roadmap that will guide us through the design process where we can integrate the ideas they contain into everything from the overall concept to the smallest details.

Our process starts with an in-depth analysis phase, where we work with you to understand the many layers and interwoven relationships occurring within your project. This goes far beyond the more typical quantitative or technical approach that most firms use – here we seek to understand the oftencomplex processes that occur within your organization or lifestyle. We then document our analysis through a series of detailed diagrams that focus on the performative aspects of your project – these are the activities, relationships and movements that occur on a day to day basis. By understanding these activities and relationship as a series of dynamic processes, these performative diagrams visually illustrate the flows and organizational structures that are needed within your project – once these are clearly defined, we design your building or environment around them. These diagrams essentially become a customized roadmap that will guide us through the design process where we can integrate the ideas they contain into everything from the overall concept to the smallest details.

revit

thin 3 minimisers' mdf for the layers of the model to create the base structure of the model. The mdf will be cut by laser cutter,

Use of polypropalyne and the use of thin sheets of plastic to create a glass effect.

I would also like to develop this model further for more detail and accuracy for standard environment.

Maximum use of three materials that make the model look aesthetically pleasing.