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  • 4c

    Leah Edwards | Architecture Portfolio The University of Melbourne

    Architecture Major

    Bachelor of Environments

  • Directory A) Design i. Project 1: Studio Fire A........................... 5

    ii. Project 1: Studio Fire B.. 12

    iii. Project 3: Studio Air 17

    B) Construction

    i. Project 2: Construction Design.. 25

    ii. Project 4: Environmental Building Systems.... 33

  • Design Studio Fire | A | B

  • Inspired by the 1899 Sherlock Holmes Play this particular design revolves around a series of transitional spaces. Much like a play there is a process of transitions where the set and atmo-sphere change. Furthermore a transition from entry to intermission to exit. The theatre there-fore revolves around this journey defined by a main horizontal split.

    This centre plane in abstract terms represents the division between real and surreal, here a connection to the Sherlock Holmes inspiration is made as it is much like his internal conflict be-tween reality and his abnormalities. This is por-trayed by a change from simple to complex/ir-regular shapes, from top to bottom building form. Sherlock Holmes 1899 features 5 transi-tions between sets, therefore with the horizon-tal transition in place there are furthermore 4 sub-transitions within the theatre space.

    Transitions from public to private views via glass elevators, dark to light, external to internal and a variation of narrow to wide and high to low spaces. Theatres are placed on the highest floor adding to the split of surreal and real - where the surreal comes alive.

    Site Analysis

    Four Sub-Transitions

    Transitional Split

    Guide:

    1. Foyer 2. Box Office 3. WC 4. Courtyard 5. Restaurant 6. Visitor Office 6. Visitor Office 7. Director Office 8. Kitchen 9. Workshop 10. Loading Bay 11. Tech Office 12. Rehearsal 13. Dressing rooms 13. Dressing rooms 14. Bar 15. W.D Theatre 16. H.P Cinema 17. C.H Studio 18. Private WC

    Bourke Street

    Spencer Street

    Site Boundary

  • Floor Plans

  • Sections

  • The Cuyler Hastings Studio | Theatre Set

    InIn order to continue on from my curtain design I wanted to try and connect all 3 theatres. I felt as if my curtain was represen-tative of Sherlock Holmes mind and his subconcious in a way. I wanted to therefore have my theatre set represent his physi-cal state/ being as I have the oppurtunity to produce a physical model. For this I chose the scene of Sherlock Holmes apart-ment room. The rst reason for this being that it is the scene where my quote for the curtain came from and secondly it is capable of producing a glimse into his life and comfort zone. I started by looking at previous models of Serlock Holmes room and a real life photo from his house.

    Common feautres included a re place, bookshelves, window, table and a general clutter of books and mess. Next I thought about what a stage should do for the audience. It needs to have good angles, portray the scene, atmosphere and com-municate the ideas of the scene. I chose a W shaped design for the set as it allows for maximum views for the audience. From my interpretations the scene represented alot about Sherlock HolmesHolmes character, It shows how attentive and analytical he really is and how he notices all details of past present and future. It also shows his complete lack of self preservation as he abuses the drugs lyring around his room. From this I decid-ed to split my stage into 3 parts. The rst contains the entrance and bay window - an almost public area. The second is the center of his home where Ive put the table while the last area can be described as his private space, here are the book cases, iconic replace, table of drugs, clutter and entrance to his bed-room. The rst space is the highest and the room is seen as a series of levels.

    I put the public space as the highest with a series of scattered stairs to portray the detachment be-tween an individual and Sherlock Holmes per-sonal space, furthermore his detachment from re-ality as he is hidden away in the furthest room.

    The stairs are messy, uneven and dicult as is the path to getting closer to Sherlock Holmes. Only certain people in the play cross all 3 rooms which depects their relationship. The scene begins with Sherlock Holmes and Billy talking, Sherlock Holmes stays within his space for the majority of the scene. Watson enters later and progesses easilyeasily between all 3 spaces throughout. It is a very informative scene, alot of talking takes place around the replace and table area as Sherlock Holmes takes his drugs and informs Watson of Moriarty. There is some panic around the bay window and then the last scene involves Moriaty bursting into the room and him and Sherlock HolmesHolmes are centered around the table. Here the 2 stages of left and right move down so as the center stage is emphasied. This stage is kept low so the audience can see and feel the drama up close. When the scene ends all 3 platfroms come to the same level. Lighting is focuded only on rooms with people in them and the rest are in the dark, being lit up as people walk through.dark, being lit up as people walk through.

    In relation to the platforms they are ad-justable and also able to rotate. This is useful for angles such as the last scene with Moriarty. The audiences on left and right dont get the best views, the plat-form could therefore rotate very slowly as they speak, showing all angles and adding to the suspence of the scene. The walls are also adjustable panels for the rest of the scenes.

  • Design Studio Air | Tessellation

  • 32

    Matrix 1.0

    1

    2

    3

    4

    5

    40 41

    1.2 Case Study One

    A project which explored design tech-niques through computational and para-metric modelling explorations. We were required to produce a sculptural form re-volving around the theme of tessellation to be designed within space/ air, not spe-cifically to context and location. Present-ed in a journal layout, programs such as Grasshopper and Rhino were of main use as well as experimentation into 3D print-ing and creative modelling techniques.

    Matrix 2.0

    44

    1.Grid size: The hexagonal grid size was altered in order to increase and decrease the amount of hexagons/ ex-posure along the surface with 1 being the maximum and the default. Grid size one was chosen as none of the alterations were accepted due to the smaller the number the less holes appearing and a higher amount of punctures was more aesthetically pleasing. This

    was the chosen outcome.

    2. Number of hexagons: The amount of hexagonal grids here was increased or decreased across the x and y direction. A warping effect can be seen to take effect on the smaller hexagons while the larger ones add diversity and more appeal. 17 x 17 holes were chosen to be used as

    it would allow more room for changes.

    Case Study 1.0

    The next phase in our design process was to gain an understanding of the geometric possibili-

    ties created through rhino and grasshopper from the definition VoltaDom by Skylar Tibbits. This

    particular installation was for MITs 150th Anniversary Celebration & Fast Arts Festival, it popu-

    lates a corridor space spanning builds 56 & 66 on MITs campus. This example of 3D tessellation

    closely relates to our research through its use of cones which are an interesting form due to their

    curvature and consistency. Here reverse engineering was used to explore alterations in parame-

    ters and gain an understanding of tessellation through computational and parametric software.

    The following variations were made to the matrix on the next pages:

    1.

    Changing basic parameters: In this first process we altered sliders on grasshopper in order to ma-

    nipulate the cones radius, height and pattern. Progressing from basic spread out the cones come

    closer with an increase in points and then merge together creating the tessellating effect. Point

    direction and height were then increased and decreased again but lastly with the tips extracted

    and centre exposed.

    2.

    Attractor points: The second matrix utilises attractor points In order to shrink and expand cones

    from a particular point. Spacing of cones are therefore shifted as a gradual decrease in cone size

    from one point to another is created. A centre point shift expresses the morphing reaction more

    clearly, the subtraction of the tip demonstrates this furthermore in the last 2 as hole sizes or po-

    tential sunlight paths shrink, though disconnect the tessellation.

    3.

    Curving motion: The use of a curving spiral layout expresses possibilities in tessellation pattern-

    ing as the rotation or expansion of cones creates an interesting effect on shadowing along the

    surface. An increase of cone points in one area reflects the tessellation in a curious way as the

    overall form can be seen to twist, rotate or remain motionless. Depending on cone size/ heights

    the form can furthermore be seen as bulging and warping within its space.

    4.

    Scale/size: For this fourth sequence a flat surface was used in conjunction with an image sampler

    in order to change the scale and sizing of cones to spheres. Cones were able to be puffed up cre-

    ating a surface or deflated to a finer plane.

    5.

    Lofted surface: Lastly we explored the use of a curved lofted surface in conjunction with an im-

    age sampler in order to adjust size, scale, height and spacing of cones. The positioning of cones

    on a different plane demonstrate