EXP 3: Week 2 (Draft 1)

Moving Elements Experimentation:
This basic sketch-up model of one of my perspectives was put into Lumion, allowing me to experiment with creating moving elements in my design. This model could be the basis of my folly where the moving elements have specific functions. The lower moving element creates a platform that moves between the valley floor and the folly, allowing the user to interact with the architecture. The upper moving element is placed to block any view of the joining valley, when observed from the folly. This moves to create different views and highlight aspects of the valley (and later the bridge) to inspire thought of both architecture and engineering principles and facilitate discussion during the monthly 'Deans Lunch'.

EXP 3: Week 1

Mashup:

Engineering can be seen as delivering knowledge by a direct route, however architecture has a special role in representing relationships of space and time. Engineers must to strive to do new original and creative work and not be content with the rote and unimaginative work which, while necessary, should be done as efficiently and effectively as possible. The considerations that inform an engineers mind are experience, the use of design standards as a way of passing on knowledge and know-how. This kind of know-how represents knowledge relating to some of the most fundamental features of nature. An engineer through their own experience, or by reading about the experiences of others, develop an intuitive insight and feel for a problem and the way solutions can be developed. The physical products of engineering can help us to access knowledge about the world, whereby contemplating space with the whole body and all senses, not just with the eyes and intellect, allows more awareness of conflicts. Engineering knowledge is genuinely cumulative, improved all the time by building on, and not re-writing, what went before. In this sense engineers starts to deal with the metaphysical (beyond the known), particularly once the human subject and its body have been introduced, we see immediately that this is at once a physical and conceptual entity, being and becoming, acting and thinking.

http://www.ingenia.org.uk/ingenia/issues/issue26/mccarthy.pdf (RED)

http://theoriesaboutengineering.org/howard_rase.html (BLUE)

http://books.google.com.au/books?hl=en&lr=&id=RAIEiMDLZAYC&oi=fnd&pg=PA3&dq=architecture+and+social+inquiry&ots=7iK8vGuApK&sig=7Fxw1fm5dMuJc0W8JtTJoIMWgmE&redir_esc=y#v=onepage&q&f=false (GREEN)

Initial Lumion Valley:

My Lumion valley was inspired by the Wombeyan Caves and surrounding mountains in regional NSW. This landscape is characterised by a forested highlands with limestone caves and deep rock valleys hidden within. 

Deep rock valley with river below 

View of surrounding highlands region

Rock formations in the area

Resulting Lumion Valley:

Deep Rocky Valley in  Lumion

Thin rock channel with river below

EXP 2: Final Lumion Concept

Lebbeus Woods Concept - Disregard for Ground Plane: The disregard for the ground plane and defiance of gravity are architectural concepts prevalent within much of Wood's work. By interrupting or completely eliminating the ground plane his work questions the static and stable nature of architecture. The interaction of his designs and the ground create new spaces and impact the way people interact with his landscape and architecture.

SANAA Concept - Weightlessness: SANAA is known for their clean, pure geometric forms and the apparent weightlessness of their buildings is an architectural concept that stems from this. Through the arrangement of simplistic geometric shapes they create balanced and harmonious structures that appear weightless.

Finalized Electroliquid Aggregation: The interaction of weightless forms upon an undefined ground plane encourages physical exploration of both structures and landscape, generating thought and discussion between the students of architecture.

Images of Final Lumion Concept:

Image 1: Overview of both monuments and the meeting place between them

Image 2: Upstairs level of the SANAA monument
The darkened underside of the overhanging elements contrasts the weightless concept of the structures. The fall of dark shadow on the ground plane create somewhat private spaces for students to work alone and develop their individual thought.

Image 3: View of the Wood's monument from one of the smaller meeting platforms
The unusual ground plane of the raised river bed becomes the meeting place for architecture students, where this abstract setting encourages physical exploration of the three platforms. The physicality of bringing students together on the platforms facilitates discussion and inspires thought. 

Image 4: View of the Wood's monument, with the medium texture highlighting the floating element

Image 5: SANAA monument with darkened faces to emphasise shadow
Each monument interacts with multiple ground planes, prompting individuals to explore the relationship between each structure and its surrounding landscape. The use of the monument is unrestricted, allowing each user to interact with the structures in a unique way.

Link to Lumion Models in Dropbox: https://www.dropbox.com/sh/7r7z0qc44yi7bpo/gk510KVYx2

Link to Model in 3D Warehouse: https://3dwarehouse.sketchup.com/model.html?id=uff02b4f2-9e3d-4034-b94f-4450bb98eede

EXP 2: 36 Custom Textures

The following custom textures represent the progression of shadow from light to dark. From these textures one light, medium and dark texture were chosen and incorporated into my monument to highlight certain aspects of my electroliquid aggregation.

Light Texture:

The light texture has been used on the stairs and floor of the SANAA monument to highlight the circulation path to the users. It encourages the use and exploration of the monument. 






Medium Texture:

The medium texture has been used on the floating element of the Wood's monument as the curve of the lines highlight the objects curvilinear shape and placement. The darker shade contrasts with the weightlessness of the object to emphasise the disregard for the ground plane.







Dark Texture:



The dark texture is incorporated on the underside surfaces of the SANAA monument to contrast the weightlessness of the structure. It accentuates the shadow of the overhanging elements, contributing to the play of light on the monument by creating 'open rooms' for the students to explore and use.