Combination of Two Axonometrics

Combination of Two Axonometrics

This is a combination of two axonometrics, one of which was transformed into a curvilinear shape using the SketchUp Artisan subdivide+smooth tool. One imported into the UNSW Lumion landscape, a wood texture was added. I also added various grasses on top of some of the block structures to see if they could perhaps function as small rooftop garden beds. Once again, people were added to give an idea of the scale of the model.

As for my 'Electroliquid Aggregation' (band name idea?) sentence, I decided to combine 'marriage of form and function', from client Jorn Utzon and 'A mechanism for gathering and community'. And what I came out with was...

'A mechanism for marrying community, form and function.'

Curvilinear shape in this screenshot was developed from the axonometric in the last blog post. I prefer this more organic shape for my tram stop, as it would be more comfortable and appears to be more natural.

The plants work really well on top of the block structures, I will look into developing them as a part of my final design.

The 'tunnel' that was created in one of the block structures could serve as a good way of changing an individual's perspective as they step onto the tram stop. They would be transported into a different space, rather than just stepping up onto a platform. It could also serve to frame another architecture or sculpture for those already standing on the tram stop.

Axonometrics From Week 2

Axonometric Created in SketchUp, Imported into Lumion

Axonometric Created in SketchUp, Imported into Lumion

This is result of my Week 1 work. The concept behind this particular axonometric was 'marriage of form and function', taken from client Jorn Utzon. The SketchUp model was imported into a model of UNSW so I can begin to get an idea of how my final work will sit in its immediate context. 

People were added to give an idea of scale for the model.

I love the form of this axonometric, especially when the end-goal of this experiment is to create a tram stop. The bar that spans the length of the entire axonometric could serve as a seat (as demonstrated by the man sitting down) and the two projections out of the top would provide good shelter to patrons of the tram stop.

Axonometric in Sketchup (Not Finished)

Axonometric in Sketchup (Not Finished)

Sketchup axonometric developed from week 6's sketches. Hasn't been put into Lumion as of yet, that will be done after week 7 tutorial in the Built Environment labs. Lumion tutorial has been watched. 

Fits in with the concept of marriage between form and function. If these shapes were to form a tram stop the horizontal bar could be sat on. If the the horizontal projection on top of the central block were to point the other way, most of the 'seat' would be covered. 

The projections could also feature green spaces. 

I'd like to explore the concept of the tram stop being a mechanism for gathering community. What features can I add to bring people together? The concept of the development of personal connection with the architecture would be a good one to look at too.

12 Axonometric Sketches

12 Axonometric Sketches

Twelve axonometric sketches completed in week 6 tutorial in preparation for experiment two. 

The bottom left axonometric, though simple, is my best 'grid free' one as far as drawing on a 45 degree angle goes. Practicing with the grid on the right helped me to get a feel for what the axonometric angles should look like.

The axonometric on the left I created with the concept of 'marriage of form and function' in mind - especially in relation to the tram stop.

Jorn Utzon and Richard Leplastrier - Research

Jorn Utzon and Richard Leplastrier

Jorn Utzon

Designed the Sydney Opera House (finished by Peter Hall), Bagsværd Church, Kuwait National Assem. Building
Model of the Sydney Opera House as Utzon envisioned it had perfect accoustics and 'space for all disciplines'
Felt he couldn't return to Sydney, so he moved to Majorca in Spain because he believed it was similar to Sydney
Prototyping, testing and perfecting
"I wanted to get it right," recalls Utzon. "This was a job that was very important to me. In principle it was very simple. I wanted something that looked like it would grow, as Australia was growing."

"It was just like sculpture. I worked like a sculptor; I tried to shape the things and I made many models."

"It came from model work, more than paper work. You couldn't have this on paper because it would not be alive."

~Jorn Utzon

"With Kronborg in mind I was convinced that a new building in such a position as to be seen from all sides, had to be a large sculptural building."

~Jorn Utzon

"On top of this plateau the audience should meet the performers. In this way, the appreciation of the man-made performance landscape would be very strong. The audience and the performance itself, all taking place on top of the plateau, should be covered with a “light” sculptural roof, emphasising the heavy mass of the plateau below."

~Jorn utzon

A change in perspective for the individual and how they experience the space.

Additive architecture: Architecture should never really be finished, it should have the potential to be added onto and to grow. Adding to history. 

Organic architecture: Doesn't focus on the shapes of nature but rather the systems behind the creation of those shapes

http://www.environment.gov.au/system/files/pages/59ca36d1-4581-4d7d-83d7-04b124d801b1/files/soh-utzondesignprinciples.pdf

http://www.smh.com.au/good-weekend/gw-classics/utzon-breaks-his-silence-20140904-10c93e.html

http://www.news.com.au/world/sydney-opera-house-architect-jorn-utzons-blacklisting-by-denmark-to-be-erased/story-fndir2ev-1226790738836

Richard Leplastrier

Wood Gallery, Watsons' Bay House, Palm Garden House, Cloud Bay Retreat, Public Ablutions, Lovett Bay all look very oriental

Leplastrier was an ardent sailor and many of his buildings reflect the curvature and vessel-like nature of the hull of a ship. 

Worked for Jorn Utzon (who also loved to utilise sweeping lines hint hint) from 1964-1966 and worked in Kyoto for 18 months studying traditional Japanese architecture with Tomoya Masuda and Kenzo Tange in Tokyo, which could explain the oriental influence in his buildings. 

Personal connection with the inhabitants of the structure. Respect and reverence for nature (he insisted on site studies for his buildings, his buildings have been described by Peter Stutchbury as being a 'garment that sits in the landscape" and as having "concern with personal place and respect for the land". 

Influenced by the indigenous Australians' concept of leaving the land as you found it. 

Apparently many of his spaces are quite circular or enclosing because they are suppose to act as places for gathering. 

Many of his plans are simple, featuring few rooms and strong connections between them. Palm Garden House only has two rooms with long galley in between (reflecting traditional Japanese architecture), Lovett Bay only has one room, Cloudy Bay house only has three rooms that look into a central courtyard (which reflects ancient greek architecture), all of which allude to a simple way of living. Lots of architectural precedent for much of his architecture. 

His sensitivity to issues of culture and place and his accumulated wisdom in the design and making of architecture

The concept of threshold is important to Leplastrier's architecture. The threshold is blurred and subjective, undefined.

http://www.ozetecture.org/2012/richard-leplastrier/

http://www.ozetecture.org/2012/cloudy-bay-retreat/#!prettyPhoto[slides]/3/

Givenchy X Cafe Paci - Final Submission

Givenchy X Cafe Paci 
Final Submission

Developed with the word 'floaty' and 'billowing' in mind, the spaces reflect objects being suspended by visually strong supports. Curved lines were used to accentuate the feeling of fluidity in the spaces, whilst strong, straight lines were used to represent support for the aspects of the building that appear to float or rest. 

//Three Project Images//

James Wright-Givenchy-Cafe Paci

//18 Sketch Sections//

Completed using a 0.5 pen in week one

//36 Custom Textures//

Sedimentary-Porous-Fiberous: Used in final model

//Stair Sketches//

Completed Week 3

//Draft Stair Model and Draft Above Space Model//

Stair was used in the top component in the staircase that goes from above to in between in final model

//Draft Model//

Most of which was scrapped before final model

//Final Model Images//

5 images, 2 sections

//Final Model Animations//

Enjoy.

Givenchy X Cafe Paci Animations

Givenchy X Cafe Paci Animations

Givenchy X Cafe Paci Final Model

Givenchy X Cafe Paci Final Model

Seven images of the above, below and in between spaces I created for my Design Studio 1 project.

The Entrance into the space

Rear axonometric of the space

Rear of the space

Rear perspective of the space

Rear of the space

Section of space with Exterior Glass Netting

Section without exterior glass netting

Givenchy X Cafe Paci Model, as of Week 4 Tutorial

Givenchy X Cafe Paci Model, as of Week 4 Tutorial

These images show my Givenchy X Cafe Paci Sketchup model, as of the end of our week 4 tutorial. The feedback I received was that it was too 'safe', appeared to be a shape that had been extruded and did not depict the concept of abstract space enough. 

The glass 'wave' roof reaches from the above space all the way down to the below ground space and will cut through part of the terrain to allow natural light into the below ground space. The 'above' space, which was going to serves as Givenchy's atelier and Cafe Paci's offices, will be redeveloped to become a more interesting and abstract space.

This free standing space on the lower level will remain a part of the space I have created, it ties in with the idea of being 'floaty', which was the word selected to inspire this space. This is where I intend to put Cafe Paci's workshop space.

Around the outside of the model I'm thinking of creating a netting that will enclose the space but still tie in with the word 'billowing' which was chosen to inspire the above space.

Givenchy X CafePaci

Givenchy X Cafe Paci Showroom Space, Workshop and Design Studio

This image depicts the ground floor, first floor and second floor mezzanine, as well as part of the basement and glass roof. In the left had corner of the first floor is a concept for how Givenchy would display their bags, shoes and accessories; a stack of pedestals and planes that project outward from the left corner. The small white cube that can be seen on top of the highest pedestal is an example of the scale of one of Givenchy's bags.

From this perspective the glass roof can be seen in its entirety, as can the ground floor, first floor and second floor mezzanine. The basement space can be seen better too, there is a glass butterfly roof above it with a walkway that passes through it.

I am yet to construct the two staircases for this building. Additionally, a door to the outdoors from the basement level is yet to be created, as well as Cafe Paci's kitchen/dining space and Givenchy's atelier. 

Glass Staircase - A Video on What This Element Will Be Like

Glass Staircase - A Video on What This Element Will Be Like



'Floating Glass Stairs' by drglass1 on YouTube.

This video depicts a similar stair to the one I have created to go into my Sketchup model. Mine will have glass treads as this one does, but rather than being supported by a metal frame, mine will be suspended from the floor above by steel cables. 

I chose this video because being able to see the perspectives of both the person walking on the stairs, as well as the one of the person observing the stairs, is helpful in understanding what my staircase design will look and feel like once completed.