36 Textures

Final Final Submission

For the Lumion:

https://www.dropbox.com/sh/u00qs888ag9ehtr/AABJp4cirec4-DKkO6VOdxNfa

For the SketchUp:

https://www.dropbox.com/sh/2pb79wx5xzt8gss/AAC2KcorZdnd46Dks_rBk5g4a

Landscape

For the Two Pictures of the Inguri Dam:

Top: http://en.wikipedia.org/wiki/Inguri_Dam#mediaviewer/File:Enguridam.jpg
Bottom: http://commons.wikimedia.org/wiki/File:Enguri_Dam_004.jpg

Moving Elements

Final Submission

Feedback

Feedback:

From Ros:

-Redo Landscape.
-Drive hard your concept (the mixture of abstract and the physical)
-Don't emphasise the wheels too much as a mechanical feature but rather (if they are to be used) adapt them into your building design.
-You don't have to texture your design. Its a brave choice but sometimes the better option.
-Stick to a more concise word limit.


From Colleagues:

-Really good, drive the large scale further to emphasise the architect's power.
-Start your textures early so they're not the last thing you do.

Draft Bridge Render

Draft Bridge Prerender

Plans And Sections

Under Construction

EXP 3: 2 Point Perspectives

(From Left To Right, Clockwise)
Leadership:
"If you do not change direction, you may end up where you are heading." Lao Tzu

The perspectives emphasise the notion of direction. It is the choice most intimate to the observer and also integral to one's leadership in conflict.
Corruption:
"Stars, hide your fires! Let not light see my black and deep desires." Shakespeare, Macbeth

Light illuminates the hollowed shell of the two crosses. The perspectives as a result reveal the journey from once side to another through the abyss internal.

Isolated:
"The completely solitary self: that's where poetry comes from, and it gets isolated by crisis, and those crises are often very intimate also." Seamus Heaney

The centre is the folly's point of isolation. Surrounded by the hollowed shell of a once formed cube, these walls (a crisis) create in intimate barrier between the observer and the external. The perspectives as a result emphasise looking through these gaps as if the observer was to be looking in or out of the piece.

Reverence:
"Above all things, reverence yourself." Pythagoras

The single cross against the many represents the importance of the architect against society. The perspectives emphasise the structures strong horizontal lines.

Demand:

"Power concedes nothing without a demand. It never did and it never will." Frederick Douglass

The perspectives consolidate the weight of one side against another; symbolic of the demand for one style of architecture over another through the epochs.

Unity
"Where there is Unity, there is always Victory." Publilius Syrus

The path of victory is like the strength of the joint uniting the two exterior crosses. As a result the perspectives rationalise this relationship and emphasise each part as integral to the process.

Mash UP

Architecture.au, Op Cit.

Perhaps architecture’s greatest accomplishment is providing the insurmountable link between the abstract genius of a designer and the physicality of reality. It is a harmony innate to the human condition where collaboration, ingenuity and their relationships come to the foreground. These notions challenge those enticed by the physical overlapping of space and hence are drawn into its investigation. These relationships are dynamic as the observer’s exploration and discourse will reveal conflicting perspectives, which like music, inspire an extension of the architect’s conventions from their appreciation in context. 

Architecture.au, Op Cit.

As a result, the architect has many responsibilities. Firstly, as a mentor to future generations it is their obligation and delight to reveal their path of success to those who follow after them. Secondly, the architect must always blend the abstract and the real to inspire an “organic link between concept and form” quintessential to the relationship between the architect and the observer. Finally, the architect must consider the constraints of design and most importantly revere the opportunity for immortality by crafting architecture that transcends into future generations to inspire their own personal renaissance. 

Landscape

Objective:

Make a valley inspired by your place of origin.

From the montage:

I wanted my environment to be unforgiving, barren and desolate to emphasise the man made bridge against the terrain. As a result, the terrain would reveal the school to be a retreat for its students symbolic to the studio as a retreat for the architect from the demands of society.

Terrain:

The Fjord

 From one end to another.

 The desolate Canyon

Changing with the Seasons

Looking Up Abandoned

EXP 3 Beginnings: One Point Perspectives

(From Left To Right, Clockwise)
Opportunity:
"Success is where Preparation and Opportunity meet." Bobby Unser

The Top down perspectives angling left or right highlight the meeting of the two axes symbolic of the quote above.

Demand:

"There is always a heavy demand for fresh mediocrity. In every Generation the least Cultivated taste has the largest appetite." Paul Gauguin

The perspectives align the weighted corner in the thirds of the image to emphasise the dichotomy between the mediocre majority and the successful minority.

Isolated:
"Too much of what is called 'education' is little more than an expensive isolation from reality" Thomas Sowel

All perspectives emphasise the large center brick wall as a dividing line.

United:
"We are only as strong as we are united, as weak as we are divided." J.K. Rowling

The perspectives consolidate the middle joint as the source of unity for the object.

Corruption:
"Power does not corrupt. Fear corrupts" John Steinback

First perspective designs done. Sideline vanishing points emphasise the hollow square akin to the hollow nature of a corrupt entity.

Prosperity:
"There is no way to prosperity, prosperity is the way." Wayne Dyer

Perspectives used to reveal the length of the single foreground path in a similar way to the directness of progress under the grounds of prosperity.

Videos and Uploads

Okay Final Stuff:

Lumion:

https://www.dropbox.com/sh/e4ds67znh61rruc/BF41AowXNg

SketchUp:

<iframe src="https://3dwarehouse.sketchup.com/embed.html?mid=u718b2687-346e-44f0-b447-3eeb0506b245&width=400&height=300&etp=im" frameborder="0" scrolling="no" marginheight="0" marginwidth="0" width="400" height="300" allowfullscreen></iframe>


Videos: These give a greater overview of the entire works. I did this with material textures instead of the drafted ones to place the model more so in reality than in design.

Gang Monument:

Goldberg Monument:

The Passage of Time:

Experiment 2 Monument

Quick Pictures of the Finished Product:

The finished combination of the monuments. The two monuments were connected using a walkway and staircase split evenly in the styles of Gang and Goldberg to emphasise the necessity for harmony in our time. These circulation details were also to provide the journey of realisation that is told in the "student experience" page.

Pictures:

The entrance is largely organic to emphasise the dichotomy between Goldberg's antiquity and Gang's Modernity. These opposing themes come to allow the structure as a whole to represent the necessity for harmony and compromise in the architectural process.

 The walkway is built to allow two people to attempt a worthwhile discussion as they move towards the Goldberg monument. They will then be able to experience the monument together and upon their return question the progression of architecture and the requirements for peace in our time.

The Goldberg monument's central fountain is to emphasise the extended metaphor of the monument in its locale. Its presence in the water represents the architect slowly being eroded by wave after wave of requests from the client.

The upper deck of the Goldberg monument is for discussion. The provision of modelling equipment, tables and amenities is to allow students to explore the two dichotomous architects and their monuments.

The departure from the site ends with a visit to the viewing podium. It is a final glimpse of what was before students return to modernity. It allows for a reflection on the necessity for peace as well as contemplation of Goldberg's plight of the architect.

36 Textures

I chose to separate the 36 tiles into six textures ranging with six different versions from light to dark. For this, I chose firstly textures that enhanced the themes of the monuments and secondly ranged these from light to dark to give them depth:

Reasons for:

Heavy:
I chose heavy to emphasise the cantilevered structure of Gang's monument. Its decoration emphasises the structural ingenuity of its design which allows a wholly impractical structure to stand.

Fibrous:
I used fibrous as a theme to truly represent the strength of a structure. The interwoven circles represent the strength that entangled fibres come to have in tension.

Sharp:
Sharp was used to emphasise the dynamic conflict between the past (Goldberg) and the present (Gang). This texture was to emphasise the dichotomy between their opposing conflicts as well as their similar quest for compromise and resolution.

Consistent:
Consistent was created to emphasise the antiquity of the Goldberg monument. The dullness of the repetition was to create a monument that appears faded in contrast to the newer organic Gang monument.

Rough

The 'Rough' texture was to emphasise the degradation of the Goldberg monument. This was to emphasise the monument's antiquity against Gang's modernity.

Complex:
Complex was to embody the plight of the architect against the client in solving the necessity for functionality and practicality in form. Its spiraled design becomes more chaotic as the architecture slowly descends into darkness.

Electroliquid Aggregation

Firstly, I wanted to run through the architectural conceptualization of my designs and the rational for their form and practicality.

Secondly, I wanted to emphasise the journey of the monument as a story that emphasises the necessity for compromise between two students. This begins with the initial Gang monument presenting opposing ideologies and allowing the students to realise the futility of conflict through the surrounding symbolism of the eroding rocks (the architect) against the waves (the requirements of the client). As a result, the students emerge with the concept that harmony defines architecture's monumentalism and its ability to transcend generations.

Resulting Electroliquid Aggregation

The resulting electro liquid aggregation is therefore:

• Good architecture transcends time not by it necessity in dealing with the client, nor from the architect's ideals and certainly not from a disciplined focus on form against practicality. Rather it is the harmony and compromise between these ideals that entices the observer. It is a reflection of the designer's ability to compromise that dances with the quintessential human desire for peace and resolution.

As a result, I wanted to separate my two monuments to emphasise the intermediary space whilst upholding both ideals of the client. 

I wanted the migrating point for discussion to be on Goldberg's monument to emphasise the exit upon the closure of discourse. This as a result will cause students to progress from Goldberg's original ideals to the more evolved ideals of Gang upon exit.

Gang's emphasis on practicality and form combining to create a dynamic living space was the main theme for her monument. As a result I wanted the curvilinear frame to create an interesting passage to the viewing podium to highlight that beauty can come from structural forms.

The Gang monument is also connected to the land. This allows the piece to become a metaphor for the connection between the land (the demands of contemporary society) in contrast to Goldberg's monument.

Goldberg's monument then comes to represent the demands of the architect's creativity and ideals in the extended metaphor. However, like all great architect's Goldberg is surrounded by the oceanic demands of the client, society, structure, and reality. As a result, the monument will slowly deteriorate under the erosion of the waves to represent the necessity for both members to come to a compromise.

Combinations

Goldberg Concept:

• Architecture ultimately suffers from the dynamic conflict between the ideals of the architect and the demands of the client. However, through compromise and resolutions a greater piece can be developed which satisfies the desire of both parties.

Gang Concept:

• The notion that form and practicality act in opposition is not only untrue but rather paradoxical. It are these two ideals, although distinctive and obtuse, that adhere together to produce a thrilling and beautiful piece.

Combinations:

The Combination of Rectilinear and Curvilinear Form

The interweaving of these two concepts created dynamic pieces that did produce a wonderful rhythm inherent in the dynamic conflict between the architect and the client as well as between form and practicality. The resulting themes were:

• Conflict inspires a transcending beauty in a piece.
• Antiquity is the ultimate obstacle that good architecture conquers. This notion is carried by the continuously evolving demands of the client requiring an impossible series of continuous alterations to a site and the role of decay in the conflict between practicality and form.
• Harmony is necessary to create enticing architecture.