Textures

Here are the 36 textures. The three words that relate to movement are gradual, sharp and rapid. 

The textures chosen are shown below. 

Linear

Rotational

Sharp

These have been implemented on the moving elements which move in that manner. 

The exterior building supports rotate about the buildings, and the exterior plates move linearly on the pathways connecting the buildings to each other as well as to the campus itself.  

The sharpness that is applied on the glass facades of the buildings demonstrate how fragile the human persona is and how we must support each other through the interconnectedness of the community as to uplift our spirits and minds.

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Peer Reviews:

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Design Theory

The article that I read to develop my design theory was A.N. Furnam's The Freedom of Aesthetics (2018). 

Through this article, Furman speaks about how a growing stylistic consensus in architecture restricts the full expression of human complexities, and he encourages architects in the modern age to overcome this social restriction and strive for greater artistic freedom. 

Furman, Adam Nathaniel. "The Freedom of Aesthetics." Architectural Design, 88 (April 2018): 68-75. https://doi.org/10.1002/ad.2303. 

The keywords I have chosen from this article are: 

freedom

human complexities

raw

I also gained interest in tectonic architecture, which is the art of construction in relation to both the use and artistic design. Features include the design of non-monolithic structures and the incorporation of different materials and techniques. 

From this, I have developed the following design theory which relates to movement:

"Tectonic architecture is a freedom of raw brilliance as it allows for the embrace of disorderly complexities pertaining to the human experience and expresses this in strengthened material support."

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GIFs

To portray my design, I have made GIFs, one showing the opposite point of view of the other.

Axonometric View Diagram

Two Point Perspective Drawing

The three buildings are represented as three positive blocks, two of which are hollowed out by negative rectangular prisms and connected by another positive one.

Axonometric View GIF

Two Point Perspective GIF

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Plan to Section

The plan that I have chosen to adapt is Jeremy Bentham's Panopticon.

So, I have developed my design so that it'd consist of three buildings. 

The main building would have connections to the smaller buildings and to surroundings structures on the lower campus. 

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Perspective Sketches and Massing

Here are the one-point perspective drawings of the circulation cross. 

The data that I previously calculated for the size of the spaces has been revised in mind of the meeting from last week. The corrections are the downsizing of the lecture theatre, the studios/tutorial rooms, workshops, research spaces, and offices.

I have decided that I shall design for the Faculty of Built Environment, so the spaces in mind would be suited for design and architecture students. 

The types of students would span across different years - from undergraduate to postgraduate and research students, as outlined in the dataset below.

Moreover, I have drafted up two further versions for the bubble diagrams. Version 1 retains a rectilinear form while Version 2 holds more of a curvilinear form. These have been drawn to help me figure out which direction my design is heading towards in the future.  

Third Level

Second Level

First Level

As I am still at the stage of developing the massing of the circulation cross, I am yet to choose which of the two versions I will further as a design. I instead have enforced the splitting of the spaces into three levels of the cross in developing my circulation cross design. 

 The first level is in yellow, the second level is in orange, and the third level is in red. 

Here is the image that was rendered on Lumion. 

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Circulation Cross

The circulation cross that I have developed is shown solely in the two photos below, modelled on Sketchup software. It is composed of curved and flat surfaces to represent a sort of smooth transition into connecting elements. 

Here are two photos of my circulation cross that has been integrated on the lower side of the UNSW campus. It has been placed in the space between the Squarehouse, the Roundhouse, the gym and acquatic centre and the student accommodation building nearby.   

South-West View

The circulation cross is planned to connect to the Squarehouse to the Roundhouse as to establish a core relationship between study and leisure. It further connects students to the accommodation building. Moreover, there is a segment of the cross that hangs over this large space as to allow for a great view.

South-East View

Here are the spreadsheets about the peoples and spaces in my theoretical building that considers the size and proportion. 

End. 

Experiment 1 - Studios

The following are images of the studios that I have designed for the_kyza and Mountain & Moon.


So, the key words which lay the foundation for the studios and showroom are 'flowing' for the above studio for Mountain & Moon and 'defy' for the below studio for the_kyza. 


The above ground studio stemmed from a figure 8 section, and adapted this shape as the theme of the studio, whereby most of the geometry of this studio holds this peculiar 'flowing' shape.

The main colour scheme is white, light blue and wooden brown; it was chosen for it held a feeling of cleanliness and purity, which in turn accentuates this great feeling of time as the beginning of all. Moreover, the overwhelming amount of glass material utilised in this studio encapsulates the fragility of time as a precious yet intangible asset that humanity must always be aware of as to 'make the most of it'.

On the left and right facades of the studio are pastel, cool coloured windows shaped to the figure 8 theme. They are positioned in a curved line as to uphold the imagery of them 'flowing to the bottom.' These facades are also made out of light blue glass as to allow accommodate natural lighting.

The studio holds two levels inside for the designers to work at both the upper and lower floors. These levels are not closed and therefore allow for the great circulation of air and inspiration for the jewellery designers. 

On both levels are storage shelves which suit the curvature of the studio itself. Above is fluorescent lighting as figure 8 shapes, suspended from the ceiling. The entrance is highly peculiar, for it holds duplicates of the figure 8 shape yet holds assymetry to the eye - a clear distinction from the highly symmetrical studio. 



Making a transition to the underground, the below ground studio is composed of spiky shapes which are extruded out onto the surface of the ground showroom. As it is for a car designer, the rustic harshness of the studio is accentuated by the stiff texture applied to the walls as well as glass materials of the colour set {red, white, grey, silver, brown, black}.

The ground and ceiling are made of metallic silver material as to emphasise the sharpness of the designs borne in the studio as well as the futuristic visions the car designers of the_kyza studio strive to achieve. 

The outline of the plan is made of an assortment of rectilinear shapes contrary to the triangular spikes of which the walls are made. Extending this shape imagery is the ramp, surrounded by the partly transparent walls which reveal the interior of the underground design lair.

The stairs which lead to from the undergound to the surface have been transformed into the current colour scheme from the past version shown in this blog - this design choice made to sharpen the aesthetics of the below ground studio. The additional change of the overhanging triangles as the wall decoration was made as to enhance the roughness of the disciplines involved in car design.


At the datum is the ground level meeting of these two studios - the common showroom, where the curved meets the jaggedly sharp. As to better assimilate these juxtaposing shapes, adaptations of rectangular forms have been concreted into the ground. 

On one side are the aforementioned rectangular forms which have cars situated on them, triangular crystals growing from them as to reinforce the 'defiance' of expectations; on the other are concreted figure 8 forms onto the ground, softening the harshness of defiance with the flexibility of thought and creativity. In extension, the pastel soft colours of the above studio meet the vibrantly harsh colours of the below and form an unlikely harmonisation of thoughts and creations. 

Around these forms are podiums which hold jewellery boxes of the Mountain & Moon studio and cars designed in the_kyza studio, spread about the ground within the boundaries formed with the jagged wall extensions of the underground studio.