designing environments envs10004 portfolio

Download Designing Environments ENVS10004 Portfolio

Post on 01-Aug-2016

224 views

Category:

Documents

5 download

Embed Size (px)

DESCRIPTION

 

TRANSCRIPT

  • DESIGNING ENVIRONMENTSPORTFOLIO

    ROMANA RADUNKOVICID: 758087

    SEM 1 2016ENVS10004

  • SITE

    ANAL

    YSIS

    Fig. 1: Action analysis Fig. 2: Action analysis

    Fig. 3: Climate analysis

    WEEKS 1-4The SITE chosen is the Concrete Lawn at the Parkville Campus, the University of Melbourne. A range of analytical techniques are used to ex-amine a number of aspects of the SITE and determine what it is used for . The first step of the design pro-cess was to analyse the SITE in de-tail and gather useful information.

  • SITE

    ANAL

    YSIS

    Fig. 4: History analysis Fig. 5: History analysis

    Fig. 6: Movement analysis Fig. 7: Movement analysis

  • SPATIAL COMPOSITION

    Fig. 8: Plan drawing of model

    Fig. 9: Section drawing of model

    WEEK 4-5The model explores spa-tial composition in terms of using the frame and grid technique. Horizon-tal, vertical and diagonal members are incorporat-ed to make a single frame; defined as a structure able to support itself and other elements around it. The repetition of this sin-gle frame element cre-ates a compound frame and, ultimately, a grid, defined as the repetition of an element. The frame is repeated at various sizes and orientations resulting in a complex and delicate structure which is not limited to its current size but can in-crease in volume or size.

    SPATIAL COMPOSITION

  • wSPATIAL COMPOSITION

    Fig. 10: Model in perspective view Fig. 11: Model in top/plan view

    Fig. 12: Model in front elevation view Fig. 13: Model in perspective view

  • LAND

    FORM

    ING

    WEEK 5-6The model demonstrates the landforming tech-niques of subtraction and extrusion and depicts the manipulation of the ground surface. The pri-mary techniques used for forming the landscape are stepping and carving. There are also elements of sloping in the design. The objective of the piece was to make something unlikely and unique using big and bold statements. This has been achieved through the creation of large step-like concave elements rising out of the flat ground. The concept can be imagined to con-tinue and become ever-lasting at a grand scale.

    Fig. 14: Section drawing of model

    Fig. 15: Plan drawing of model

  • LAND

    FORM

    ING

    Fig. 16: Model in perspective view Fig. 17: Model in side elevation

    Fig. 18: Model in plan/top view Fig. 19: Model in front elevation view

  • ASSEMBLAGE

    WEEK 6-7The compositional strat-egy of smoothing has been utlizied to create an assemblage of the spatial composition and landscape concepts. The fundamental logic behind both pieces was used to create a model which seamlessly blended into one, yet still incorporated and easily demonstrat-ed the elements taken from above pieces. The concave, stepping ideas have been extracted out of the landforming piece as well as the repetition of a frame element from the spatial composition piece, to create the no-tion of something being pulled from the ground with its string-like mem-branes connecting the surface to the ground.

    Fig. 20: Plan drawing of model

    Fig. 21: Section drawing of model

  • ASSEMBLAGE

    Fig. 22: Model in elevation view Fig. 23: Model in perspective view

    Fig. 24: Model in plan/top view Fig. 25: Model in perspective view

  • NARR

    ATIV

    E

    SPAT

    IO-T

    EMPO

    RAL N

    ARAT

    IVE

    Big. Bold. Intricate. Complex. Yet, simple. Delicate. My mind is overtaken. Filled up. Mesmerised. Captivated. It is busy. It is occupied by all that is around me. Yet, the curves, the straight lines, sharp edges, high rises, low valleys, hollow caves, are consumed by shapes, statements, others like me. All that is around me; absorbs me; lures me in as I am immersed into it. There is hustle and bustle. There is slow motion. There is stillness. Emptiness. Time moves at a variable pace. My existence is permanent at pres-ent, but my presence is fleeting. The time does not move unless I am there to turn the hand. The puzzle of space waits for me the missing piece so that it is complete. As my body occupies time and space, time and space occupy my mind. I become one with all that is around me.

  • SPAT

    IO-T

    EMPO

    RAL N

    ARAT

    IVE

    Fig. 26: Spatio-temporal narrative

  • SUPERIMPOSITION

    Fig. 27: Superimpostion collage Fig. 28: Superimposition plan

    WEEKS 7-10A narrative/story was created, as well as a visual representation/spatio-temporal narra-tive, using the program 'occupy'. The assemblage plan drawing and SITE movement map were superimposed onto the spatio-temporal collage and from this a plan was created.

  • FINAL PROJECT

    Fig. 29: Final project plan

  • FINA

    L PRO

    JECT

    Fig. 30: Final project section

  • FINA

    L PRO

    JECT

    Fig. 31: Final project plan on SITE

    Fig. 32: Final project section on SITE

    WEEKS 10-12The narrative is used as a design brief for the final project. The core idea of this was that as you occupy a space, the space occupies your mind. A reflective surface is used to mirror the complex geometries of the centre of the model so that the occupier always sees something new depending on the angle they are looking from. The metal ma-terial surprises one at first glance as it not normally expected that an entire space would be formed out of this material. Rusting metal has been incorporated as it ages slowly over time, giving an ever-changing feel to the area and changing the environnment around those who occupy the space. This is an im-portant factor in reflecting the core ideas of the design brief as there always has to be something new, changed, different, or unexpected, otherwise one will get accustomed to the scenery and their mind will not register their envrionment as is the intention in the design brief, thus the objective of occupation will not be achieved. With constant change, one will stop and occupy the area as what is around them keeps their mind busy through ob-serving, analysing and admiring.

  • FINAL PROJECT

    Fig. 33: Final project detailed section

  • FINAL PROJECT

    Fig. 34: Final project conceptual model in front elevation Fig. 35: Final project coneptual model in detail

    Fig. 36: Final project coneptual model in top view Fig. 37: Final project coneptual model in front elevation

  • *ALL PHOTOGRAPHS TAKEN BY AUTHOR

    RADUNKOVIC_ROMANA_758087_DESIGNING-ENVIRONMENTS_ENVS10004