year 1 sem 1 architectural portfolio

PORTFOLIO ANDY LEUNG

1ST SEMESTER OF 2016 PART-TIME ARCHITECTURAL DESIGN 1

STUDENT NUMBER:10563302

I SKETCHES

II

CUBISM

III MOTION

IV

EXTRUSION

V

THEME

VI

RESEARCH

VII

STORIES

INFERNO A CONDITION SUGGESTIVE OF FIERY HEAT, DESTRUCTION AND HUMAN SUFFERING. THE ARCHITECTURE IS BUILT UPON TWO THEMES: HORROR, TORTURE RESPECTIVELY. AND THROUGH AN INFINITE LOOP AND THE METICULOUS USE OF SPACE AND FORM, AN UNIMAGINABLE AMOUNT OF AGONY WILL BE FALLEN UPON EACH AND EVERY SINGLE SOULS ARRIVING THIS PLACE.

PHASE I - SKETCHES APPLY VARIOUS TECHIQUES TO SKETCH IN WAYS TO FEEL THE ESSENECE OF ABSTRACT AND SPACE

GIVEN TWO MINUTE, WE WERE ASKED TO DRAW OUR LECTURER.

LIKE THE PREVIOUS ONE, WE WERE GIVEN TWO MINUTES TO DRAW OUR LECTURER, BUT ONLY THIS TIME WE WERE ONLY ALLOWED TO NOT LOOK AT OUR SKETCHBOOK WHILE DRAWING.

THIS TIME EVEN HARDER. NOT ONLY THAT WE WERE NOT ALLOW TO LOOK AT OUR SKETCHBOOK, WE ONLY HAD THIRTY SECONDS THIS TIME TO SKETCH.

LIKE THE PREVIOUS, WE WERE ASKED TO SKETCH OUR LECTURER WITHIN THIRTY SECONDS, BUT THIS TIME ONLY WITH ONE STROKE.

ON TOP OF THE PREVIOUS, THIS TIME WE WERE ASKED TO DRAW WITH BLINDFOLD.

LIKE THE PREVIOUS, NOW WE WERE ASKED TO SKETCH OUR CLASSMATES WITHIN A MINUTE WITH ONE STROKE.

WITH ONE STROKE AND WITHIN A MINUTE, THIS IS A SKETCH OUR MY CLASSMATE,’S SHOES HAVING NOT LOOKED AT MY SKETCHBOOK WHILE DOING IT.

THIS IS A SKETCH OF MY CLASSMATE HANDS, AND DONE IT WITHOUT LOOKING AT MY OWN SKETCHBOOK.

THIS EXCERISE ENABLES US TO EXPERIENCE WHAT IT IS LIKE TO EXPLORE AND USE SPACE. WE WERE ASKED TO DRAW A LINE ON A PIECE OF PAPER,BUT WE HAVE TO MANAGE TO CREATE SOME NEGATIVE AND POSTIVE SPACE BY DRAWING SOMEWHERE DENSER WHILE OTHER LIGHTER.

THIS IS MY SECOND ATTEMPT OF CREATING MANAGING SPACES. THIS TIME I TRIED TO EMPLOY SOME LIGHTER LINES TO EMPHAIZE THE DEPTH OF THE SPACES. THE CENTER PART

PHASE II - CUBISM CREATE A 150MM X 150MM CUBE THAT IS COMPLEX BUT NOT COMPLICATED AND A BASE THAT SHARE THE SAME LANGUAGE.

I CREATED THE CUBE AND THE BASE AND SET READY FOR PHTOTOGRAPHY. SETUP AT THE BLACK CLOTH, ONE IS HANG UNDER A TABLE IN ORDER TO CREATE A FLOATING FEEL, AND THE OTHER JUST PLACED ON THE BLACK CLOTH.

THIS TIME, I TRIALED SOME LIGHTING EFFECT FOR BOTH CUBE AND THE BASE. AFTER SEVERAL TRIALS, LIGHTING FROM THE REAR IS THE MOST EFFECTIVE WAY TO MAKE IT SPECIAL.

FROM THIS ANGLE, THE LIGHT IS COMING FROM THE LEFT HAND SIDE AND IT GETS DARKER TOWARDS THE RIGHT. THE EDGE AT THE MIDDLE DRAWS A CUTTING LINE FOR THE LIGHT. AND THUS CREATED A CONTRAST, AS THE LEFT-HAND SIDE FACADE IS DARK WHILE THE INTERIOR IS BRIGHT.

POROUS AND GEOMETRIC AS IT LOOKS, THE CUBISM PROJECT FURTHER ENABLED US TO VIEW SPACE DIFFERENTLY. THROUGH THE USE OF SPOT LIGHT, WE WERE ABLE TO EXPERIENCE THE SPACIAL QUALITY OF THE CUBE BY ILLUMINATING AT THE CUBE FROM CERTAIN ANGLE. TRIALS AFTER TRIALS, I FOUND OUT THAT THE BEST QUALITY IS LIGHT ILLUMINATING FROM THE BACK SIDE. THIS WAY WE CAN FOCUS ON THE INTRICATE PART OF THE INTERIOR WITH THE FRONT FACE DARK AND BLACK, WHILE IT IS STILL LIGHT ENOUGH TO MAINTAIN THE OUTLINE OF THE CUBE. OVERALL, IT PROVIDES A DARKER AND COMPLEX FEELING TO THE VIEWERS.

THE RIGHT SIDE IS THE OVERLOOK PLAN OF THE BASE. WITH THE LIGHT COMING FROM UNDERNEATH, IT SETS OUT A RATHER MYSTERIOUS TONE TO THE WHOLE PICTURE. THE VERY BOTTOM PART IS THE BRIGHTEST WHERE THE WHITE COLOR IS THE STRONGEST THERE. AND AS YOU DRAW CLOSE TO THE FRONT, COLOR BECOMES DIMMER AND DIMMER. SUCH WAY CREATED A SENSE OF DEPTH.

THE ABOVE PICTURE SHOWS WHAT IT IS LIKE TO BE VIEWING FROM THE VERY TOP OF THE BASE TOWARDS THE ENTIRE SITE. WITH THE LIGHT COMING FROM ABOVE, I WAS ABLE TO CREATE A SENSE OF SPACE WHERE THE ROOF AND THE FACADE IS DEFINED, SO THAT PEOPLE WOULD HAVE AN SPACIAL IDEA OF THIS THING.

IN CREATING THE CUBISM, WE WERE ABLE TO FEEL THE SPACE AND FORM AND CONCEIVE IT AS AN ARCHITECTURE. IT PROVIDES US INSIGHTS ABOUT WHAT KIND OF SPACE YOU WERE LOOKING FOR AND THAT SORT OF IDEA FOUNDED THE FOUNDATION OF THE INFERNO.

PHASE III - MOTION FIND A RELATIONSHIP WITH THE SPACE AND TIME BY TAKING A PHOTO OF A MOTION AND SELECT THE OVERLAPPING MOMENT.

THIS IS A SERIAL OF PHOTOS OF ME DOING A FLIP ON A PLANE FLOOR. TAKEN BY IPHONE, I TOOK 12 PHOTOS AS A RESULT AND LATER WILL USE PHOTOSHOP TO COMINE THEM ALL IN ONE PHOTO.

THIS IS AFTER PHOTOSHOP, THE EFFECT OF FADING OFF HAS BEEN APPLIED HERE FROM RIGHT TO LEFT.

FIRST STEP: A CHRONOPHOTOGRAPHY OF THE MOTION. THE REQUIREMENT IS TO MAKE AN INTERESTING MOTION THAT IS REALLY INTRIGUING ENOUGH TO CREATE A CHRONOPHOTOGRAPHY OF IT. THE BEST PART FOR THIS PARTICULAR PHOTO.

SECOND STEP: SELECTING THE OVERLAPPING AREAS. FOR THE SELECTED PART, THERE IS NO LIMITATION OR RULES. HOWEVER, IT WOULD BE MORE INTERESTING TO SELECT SOMEWHERE SPECIAL, LIKE THE PART HERE WHERE THE OVERLAPPING ARMS BUTTESSING THE FLOOR.

THIRD STEP: EXTRUDE THE MOTION THROUGH SPACE, WE ARE ABLE TO TRAVEL FROM ONE LOCATION TO ANOTHER. AS FOR TIME, IT DEFINES THE VERY MOTION THAT WE ARE DOING AT THE VERY MOMENT. THE RELATIONSHIP BETWEEN THE TWO CAN ENABLE US TO FURTHER EXPLORE DIFFERENT DIMENIONAL SPACES.

PHASE IV - EXTRUSION EXTRUDE THE SELECTED AREA INTO A 3D MODEL AND FURTHER EXTRUDE FROM EVERY DIRECTION. THEN FIND AN INTERESTING SECTION TO BISECT AND USE IT AS THE SECTION OF THE INFERNO.

THIS IS MY FIRST ATTEMPT OF EXTRUSION. I SIMPLY USED SKETCHUP TO EXTRUDE UPWARD. HOWEVER, THE EFFECT WAS TOO PLAIN AND BORING. THUS, THE WORK WAS ABANDONED.

THIS IS A MORE INTERESTING INTRUSION THAT THAT PREVIOUS ONE. THIS IS ALSO DONE BY SKETCHUP. HOWEVER, THE PROBLEM WITH THIS ONE IS THAT IT IS TOO COMPLICATED, RATHER THAN COPLEX. BUT THE SHADOW QUALITY OF IT I INTENDED TO KEEP IT FOR MY NEXT ONE.

EXTRUDE THE SELECTED AREAS FROM PREVIOUS TO A THREE-DIMENIONAL OBJECT. THEN BISECT THE OBJECT TO EXPOSE THE SIBOUETTE OF THE ARCHITECTURE. THIS PARTICULAR IMAGE ENLARGE THE BOTTOM PART OF THE OBJECT.

THIS PARTICULAR BLOW-UP SHOWS OFF A RATHER COMPLEX FACE OF THE OBJECT WHERE ELONGATED GEOMETRIES ARE INTERLOCKING WITH ONE ANOTHER.

THIS AERIAL VIEW DELIVERS A GREAT SENSE OF COMPLEXITY. THIS IS THE RESULT OF MUTIPLE DUPLICATIONS OF THE ELONGATED OBJECTS. THE SECTION OF THE INTERFNO WAS MADE BY BISECTING THIS OBJECT FROM TOP TO BOTTOM.

PHASE V - THEME ESTABLISH A BACKGROUND STORY THAT HAS SOME ELEMENTS OF HELL.

THE UNDERGROUND ARCHITECTURE IS RESEMBLING TO A MEAT FACTORY, LIFELESS AND BRUTAL. ALL THE ANIMALS ARE BEING HANG UPSIDE-DOWN WAITING TO BE SLAUGHTERED. THIS PROCESS IS NOW, HOWEVER, TARGETING AT US WHEN WE ENTER HELL, A SARCASM FOR HUMAN. THE WHOLE ARCHITECTURE CIRCULATES THE IDEA OF ENDLESS LOOP, THE IDEA OF WHICH IS REFERENCED BUDDISM WHERE ADVOCATE THE IDEA THAT ALL LIVING BEINGS ARE REINCARNATING INDEFINITELY UNTIL THEY HAVE REDEEMED ALL THEIR SIN AND BECOME BUDDHA THEMSELVE.

AS FOR HORROR, I HAVE ADOPTED SOME ELEMENTS FROM ONE OF THE MOST TERRIFYING EVENTS IN HUMAN HISTORY WHICH IS THE HOLOCAUST IN WORLD WAR II. TO TORTURE, THERE ARE BOTH PHYSCIAL AND PYSCHOLOGICAL INGREDIENTS IN THE PLACES. MOREOVER, THERE ARE A LOT OF TORTURES EVEN TAKE ADVANTAGE OF THE GEMOTRICAL SHAPE OF THE ARCHITECTURE TO INFILL EVEN MORE AGONY. THE FOLLOWING PAGES WILL ELABORATE ON THE IDEA OF INFINITE LOOP, AND THE SORT OF HORROR AND TORTURE YOU ARE EXPECTED IN THIS PLACE.

PHASE VI - RESEARCH RESEARCH VARIOUS MATERIALS FOR THE OVERALL TONE AND MOOD, AS WELL AS THE CONTENT THAT WILL BE IN THE INFERNO.

RESEARCHING FOR THE TONE, I FOUND THIS TWO IMAGES ARE THE ONES THAT MOST APPEAL TO ME AS THE MOST ARTISTIC AND MOODY FEEL FOR THE INFERNO. WITH A APPROPREIATE AMOUNT OF MONO-TONE, AND THE EFFECT OF SHADOW USE, IT DELIVERS A MYSERIOUS AND YET INTERESTING MOODING.

THERE ARE GREAT AMOUNTS OF REFERENCE MATERIALS FROM THE HOLOCAUST EVENT. THE BODY PILES PERHAPS IS ONE OF THE MOST OBVIOUS AND SIGNATURE, WHICH I FOUND IS THE MOST DISTURBING AND HORRIFYING. IN TERMS OF ARCHITECTURE, MOST OF THE ROOM LAYOUT ARE SIMULATING THE ACTUAL GAS CHAMBER, WITH BRICKS AND PIPES INTEGRATED IN THE SPACE. THIS IMAGE SHOWS THE VICTIMS AND HOW THEY WERE DISPOSED AND EVAPORATED. BACK IN THE TIME, THERE WERE CREMATORIES ALL OVER IN GERMANY AND FRENCH TO DEAL WITH THE INCREASING NEED FOR DISPOSING THE DEAD JEWS. IN MY OPINION, WHAT WERE HAPPENING INSIDE THESE CREMATORIES WERE SOMETHING I CONSIDER HELL.

THE PHOTOGRAPH ABOVE IS A RELEF MODEL INIMTATING WHAT WAS HAPPENING INSIDE A GAS CHAMBER. I FOUND THIS IMAGE POWERFUL, CONSIDERING THE HIGH DENSITY OF PEOPLE AND THEY WERE ALL STRUGGLING AND HORIFFYING. I HAVE ADOPTED SOME OF THE ELEMENTS FROM THIS IMAGE FOR MY STORY: THE STRUGGLING CROWDS AND THE UNBEARABLE DENSITY OF PEOPLE.

AS YOU MAY SPOT, THERE ARE A LOT OF OCCASIONS IN THE HELL WHERE THIS HAND OF STRUGGLING IS APPEARRED IN THE SCENES. I FOUND THIS ESPECIALLY INTERESTING AND DELIVERED A STRONG MESSAGE OF SEEKING HELP WITH THE GESTURE OF HAND STRETCHING OUT. IT JUST FITS INTO MY THEME OF DESPERATE AND AGONY.

THIS IS A TYPICAL SKELETON WHICH I CONSIDER A SIGNATURE OF DEATH. AS DEATH IS THE WHAT CONSITITUDE HELL AND WHAT TRIGGERS IT. THEREFORE, IT IS ESSENTIAL TO INCLUDE THIS KIND OF ELEMENT INTO THE WORK OF ARCHITECTURE AS A DECORATIVE PURPOSE.

THIS IS AN ARTWORK DEPICTING A MEDIEVAL EXCUATION OF A CRIMINAL WHERE IT IS EXTREMELY CRUAL AND INHUMAN, ESPECIALLY WITH THE LOOK OF THE EXCUTORS. I FOUND THIS IMAGE ESPECIALLY STRONGE AND APPEALING TO ME. THEREFORE, I INTENDED TO INCLUDE IT INTO PART OF MY HELL.

PHASE VII - STORIES CREATE STORIES FOR THE HELL THAT ARE INTERESTING AND DETAIL ENOUGH TO REPLICATE.

INFINITE LOOP - THE HELL REALMS OF REBIRTH OF THE HELL REALMS, THE WORST IS “ENDLESS SUFFERING.” BUDDHISM TEACHES TO ESCAPE THE ENDLESS MIGRATION OF REBIRTHS THROUGH THE ATTAINMENT OF NIRVANA.

Through grinding and mangling, all the bodies are dismembered by the giant cutting gear wheels and fallen onto a mountain of bodies.

All the bodies from the mountain will eventually be dropped into this meat grinder where it will crush everything goes in and turn them into liquid form, so that it is easier to feed the hungry beast underneath.

All the excrement from the beast will be fallen into a filter where it will turn them into a line, just like turning flour into noodle. Then, it will touch the giant wheel which leads to another wheel at the upper level.

all the souls that are being tortured in the rooms will eventually end up being delivered by the giant wheel gears.

Eventually, all the excrement will arrive at a sewing machine where they will be sewed and stitched back into a human form.

Finally, all the sewed ones will be hanged in a room desperately, waiting for the nightmare to start over.

TORTURE - A COMMON PRACTICE IN INFERNO. THE MAJORITY OF PUNISHMENTS INCLUDE MENTALLY AND PHYSCIAL TORTURE, SUCH AS FIRE BURNING, ROASTING, ENDLESS STROLL, COFFIN-SIZE CONFINEMENT.

In psychological torture, it would be a nightmare to strand a person in a room that is only high enough for kneeing, as well as a road that you have to walk but you can not see the end. it would be the same to strand a person into a coffin size space or to put you in a room where there is nothing at all.

In physcial torture, individual will be sawed in half, hang upside-down for roasting, gluing flesh to burning columns. All the souls will be undergone a great deal of pain and, the worst of all, the suffer will last forever.

END