EXP 3: Section

House at Bordeaux, Rem Koolhas
Source: Architectuul

Freehand Redrawn Floorplan

Freehand Redrawn interpretation of the Section. Section cut indicated in floorplan 

Analysis of the building and word: Transform for reimagining of Plan.

First Attempt

After consideration, I drew a new plan as my first attempt would not have been suited to form a new elevation after flipping the plan. I have decided to use the plan redrawn above.

EXP 3: Moving Element

SHARIFI-HA HOUSE, TEHRAN, IRAN

A 4 storey apartment complex in Tehran with rooms that have the ability to move around.

Source: Dezeen

Source: Dezeen

Moving Element Ideas:

EXP 3: 2 Point Perspective

EXP 3: 1 Point Perspectives

Top Level: Modernism is a rational program
Eye Level: Science and technology
Below Level: Mainstream digital fabrication

Top Level: Economy of means
Eye Level: Reducing costs and maximising profits
Below Level: Mass customisation as a physical reality

Top Level:
Eye Level:
Below Level:

Top Level: A building is something to own
Eye Level: Unique elements in design
Below Level: Part of the economic exchange cycle

Top Level: Creation of complex forms
Eye Level: Automation distances us from our work
Below Level: Conceived for the lowest possible cost

Top Level: Benefitting from artistry
Eye Level: A building is something to own
Below Level: Reducing tolerance required in construction

EXP 3: Site UNSW Squarehouse

The site in focus for experiment 3 is the area around the Squarehouse. 

The area, outlined in red is in the northwestern corner of UNSW. It is bounded by Anzac Parade to the west, High Street to the North and the main university mall to the South.

Google Maps overview of UNSW

The Squarehouse is indicated by the red square.

The immediate surrounding buildings include the Blockhouse, Roundhouse, International College, university gym and COFA.

Site overview closeup

Site overview looking East.

Chosen area: building to extend from the Squarehouse southwards joining the Blockhouse. 

Chosen area highlighted in blue.

Running parallel to Anzac Parade and locating the building right at Anzac parade opens up the site and building to the public as Anzac Parade is a very busy main street connecting the city to the Eastern Suburbs. The structure should follow the form of wrapping around the walkway separating the site from the Roundhouse. The site from Anzac Parade and the side of the Roundhouse should have a smooth transition, allowing generous public space between the building linking the public to the university.

It should align to the South elevation of the Squarehouse.  This is to preserve the continuity of the buildings framing the main university mall. The mall is not obstructed and should not be intruded upon by any structure.

General area and perimeter of structure framing the Roundhouse and following the South face of the Blockhouse.

Benefits of chosen location:

Close proximity to Squarehouse, Roundhouse and Blockhouse

Beside Anzac Parade

Beside the main entrance to the university mall

university mall is the main exit and entry for the university, majority of all students will pass through area during the day.

Points to consider:

General area of site

Heights of surrounding buildings

Presence of blockages (fences, trees, etc.)

EXP 3: Article

Design is a crucial activity that can’t be reduced to an algorithm, It’s too important a task to leave to the machines. Modernism had a rational program: to share the blessings of science and technology, universally.

Recent decades, however, have shown that Modern architecture can just as easily be deployed to work against its original ideology. The idea of tolerance in architecture has become a popular point of discussion due to the recent mainstreaming of digital fabrication. No longer is the "economy of means" a way to provide buildings efficiently for the largest number of people, but rather a way to reduce cost and maximise profits.

The improvements in digital fabrication methods are allowing for two major advancements: firstly, the idea of reducing the tolerance required in construction to a minimum (and ultimately zero) and secondly, mass customisation as a physical reality.

A building is no longer something to use, but to own – with the hope of increased asset-value, rather than use-value, over time.

Digital fabrication has made the broad-brushstroke approach to fabrication tolerance obsolete and now allows for unique elements and tolerance specific to each element. The accuracy that digital fabrication affords the designer, allows for the creation of more complex forms with greater ease and control. So far, this has had great and far reaching implications for design.

Buildings become part of an economic exchange cycle: conceived for the lowest possible cost, traded for the highest possible sum.

As Carr states in The Glass Cage, “When automation distances us from our work, when it gets between us and the world, it erases the artistry from our lives”. I think we could all benefit from a little more artistry.

Michael Kilkelly. "Are Computers Bad for Architecture?" 13 Apr 2015. ArchDaily. Accessed 13 May 2015. <http://www.archdaily.com/?p=618422>

Reineir de Graaf. "The same architecture that once embodied social mobility now helps to prevent it" 7 May 2015. dezeen Magazine. Accessed 13 May 2015. <http://www.dezeen.com/2015/05/07/reinier-de-graaf-opinion-ideals-modernism-architecture-social-mobility-capital-property-market-trellick-tower-park-hill/>

Stott, Rory. "The Depreciating Value of Form in the Age of Digital Fabrication" 13 Apr 2014. ArchDaily. Accessed 13 May 2015. <http://www.archdaily.com/?p=495089>

EXP 2: Final Submission (5 Images)

Description:

My model combines 2 axonometric forms, one of which is smoothed.
Taking elements from Utzon's past works, I created these forms in relation to his design principles.
The marker at its highest is 23.1m and 29.4m long. I wanted to create a marker that had an impressive scale. This is to ensure it can be viewed unobstructed from the surrounding roads and from various vantage points from the sports park.
There is a base of 25x29m. The base includes long striding steps surrounded by water. The marker sits just off the base but  cantilevers extending into a 'V' shape surrounding the steps give the user the feeling of a grand entrance walking up towards it (image 4).

Both forms of the model have bold cantilevers extending from the core of the structure. They create a sense of effortless floating.
The two forms do not touch. The biggest arm of my smooth form delicately intersects with the main structure and the angle that it sits imitates the cantilevers of the first form (image 3).
Furthermore, when viewed from the walkup to the marker, the cantilevers extending towards the user creates a strong poetic line connecting beautifully with the sky pointing arm of my smoothed form (image 4).

The angled nature of the marker gives it a very thin, simple and elegant feel so as to avoid a 'bulky concrete' and cold exterior.
The shadows and how the light interacts with the marker creates a depth to the model and when modelled on lumion has a great warmth during the sunset and sunrise hours (images 2,4,5).
Despite the two forms being independent, great consideration was taken into the fluent transition of the marker. The arms and cantilevers of both forms interact as one structure forming strong parallel lines.

Relating to my precedence study of sustainability, I propose the marker to be constructed out of recycled concrete. The wooden slats that serve as the balustrades of the stairs are made of bamboo, a highly sustainable material. The base of the marker can be poured in-situ however the marker itself can be made of precast concrete using aggregate that has been recycled. Furthermore the water feature by the stairs can be supplied by collected rainwater.
Proposals to the site includes flattening the terrain and removing any non-essential objects blocking the view of the marker from Eastern Rd. and the M7. These includes trees and fences as well as the telephone tower.

EXP 2: Sketchup Animation

EXP 2: Lumion Screenshots (additional images)