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Portfolio for Design Studio 3. -Photoshop, illustrator,indesign,Rhino.Maxwell applicatin used.
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N i c h o l a s C h e u n g
c i n e m a t h e q u e m o n o l o g u e e v e l e i g h N S W
T h e c r e a t i v e p r o c e s s t h a t c a r r i e d t h e f o l l o w i n g m o n o l o g u e d r i v e n b y t h e a n a l y s i s o f t h e s e l e c t e d f i l m s t i l l s g e n e r a t i n g a s e r i e s o f d i a g r a m s , d r a w i n g s a n d m o d e l s t o e q u a t e t o a n a r c h i t e c t u r a l i d e a .
T h i s p o r t f o l i o i s t h e t h o u g h t p r o c e s s f r o m a 1 0 s e c o n d d a n c e s e q u e n c e f r o m t h e f i l m ‘ m e t r o p o l i s ’. T h e s c e n e b r o k e d o w n i n t o 5 s t i l l i m a g e s . E a c h i m a g e a n a l y s e d s y s t e m a t i c a l l y i n s e q u e n c e w i t h o v e r l a y s a n d d i a g r a m m i n g v a r i o u s e l e m e n t s e x t r a c t e d f r o m t h e i r i n d i v i d u a l i m a g e q u a l i t i e s . I d e n t i f y i n g t h e s u b j e c t s h u m a n f o r m w i t h a s c u l p t u r a l p e r s p e c t i v e a n d c r e a t i o n o f f o r m t h r o u g h p r o f i l e s d r a w n f r o m t h e s t i l l s i n t r o d u c e d a t h r e e d i m e n s i o n a l q u a l i t y t o b e g e n e r a t e d . I t i s t h r o u g h t h e m i x o f s k e t c h i n g a n d c o m p u t e r m o d e l l i n g t h a t a l l o w e d t h i s p r o c e s s t o o c c u r.
M o v e m e n t , t i m e , c i r c u l a t i o n , w e r e e x p l o r e d t h r o u g h t h e w o r k . T h e i n i t i a l f o r m a t o f t h e d a n c i n g s e q u e n c e a l r e a d y s i g n a l l e d a d y n a m i c m e t h o d o l o g y t o t a k e p l a c e . B y t h i s I m e a n i t w a s n e v e r a s t a t i c i n v e s t i g a t e ( o n e e l e m e n t a n d m o v e o n ) . E a c h i d e a w a s l i n k e d a n d w a s a c o n t i n u a t i o n o f t h e p r e v i o u s . E a c h s t e p w a s a s s e q u e n t i a l a s a d a n c e r o u t i n e , e a c h s t e p i n f o r m e d t h e n e x t , a n d e a c h i d e a p a v e d t h e n e x t .
T h e a s s e m b l a g e w a s p i e c e d t o g e t h e r t h r o u g h a n a n t h r o p o m o r p h i c c o n t e x t w h e r e t h e s c u l p t u r e s e x t r a p o l a t e d w e r e m a n i p u l a t e d t o f o r m e x p e r i e n t i a l q u a l i t i e s t h e s p a c e m a y p e r s i s t . T h i s b e c a m e t h e f o u n d i n g i d e a t h a t p u s h e d t h e a s s e m b l a g e . T h e q u a l i t i e s o f c h a n g i n g h e i g h t s i n f l o o r s a n d t a p e r i n g w a l l s t h a t c r e a t e d n a r r o w a n d t h e n e x p a n d i n g w a l k w a y s a n d r o o m s w e r e p u l l e d a w a y f r o m s e v e r a l s c u l p t u r e s t o f o r m t h e b a s i s o f t h e g a l l e r i e s a n d a r c h i v e s . A s e e m i n g l y p e r p e t u a l m o v e m e n t o f l i n e a r y e t o s c i l l a t e d m o v e m e n t s . H o w e v e r p r i o r t o t h e m a n i p u l a t i o n i m a g e s t o s c u l p t u r e s t h e b a s e p r o f i l e s w e r e d r a w n a r o u n d t h e h u m a n b o d y. T h i s d e e p e n t h e t h o u g h t o f h a v i n g t h e l i n e a r m o v e m e n t a n d d r e w u p o n t h e m e t a p h o r o f t h e v a s c u l a r s y s t e m w h i c h d r e w b a c k u p o n t h e a n t h r o p o m o r p h i c i d e a . T h e m a i n a c c e s s f r o m W i l s o n S t a s t h e m a i n a r t e r y t r a n s p o r t i n g t h e t r a f f i c i n t o t h e c i n e m a a n d d i s p e r s i n g t h e t r a f f i c i n t o t h e n e t w o r k o f c i r c u l a t i o n p a t h s t h a t d o n o t s i t l e v e l w i t h e a c h o t h e r e a c h o f f s e t t i n g o n e a n d h a l f m e t r e s f r o m o n e a n o t h e r i n t h e a s s e m b l a g e m u c h l i k e t h e c o m p l e x i t y o f t h e v a s c u l a r s y s t e m a n d h e a r t .
I N I T I A L P A R T I M O D E L
Initial functional diagram consists of a horizontal element that sits over the top of the lower programs . This element defines the archive spaces.
This element was carried across to entire process, which pushed for the l inear formation.
I N I T I A L P A R T I M O D E L
I N I T I A L P A R T I M O D E L
I N I T I A L F U N C T I O N M O D E L
shared workshop
living space
retail
workshoparchives
video viewing cubes
library work areas
sound booth
theatrette
conservation
compactus storage
Multimedia Gallery
multimedia gallery workshopMultimedia
gallery o�ce
exhibition gallery
exhibition gallery workshop
private external space
Exhibition gallery o�ces
exhibition conserva-tion
bioboxes
sta� o�ce
cinema
candy bar
common areas
cinematheque o�ce
commerical tenancies
entrance gallery
box o�ce
public access and browsing
A 13 second dance squence, reformatted to 5 frame shots from the fi lm ‘ Metropolis’ was analysed systematically with the themes of movement, the body and time as key ideas throughout the analysis. An anthropromophic concept stemmed from the investigation process. D I A G R A M M I N G
Series One: The First Overlays.
Line 1: Referencing the human form via adding points to outline a form.Line 2: Mapping of subject to the frame (foreground vs background).Line 3: Massing the negative and positive space within the subject.Line 4: Shading the brightness and contrast of the frames.
D I A G R A M M I N G
Series Two: Overlaying Series One.
Line 1: Giving the reference points a sense of area.Line 2: Mapping in plan view the movement of Line 1 in series one.Line 3: Combining the mapping of the subject within the frame and the spaces within the subject (l ine 2 + line 3 from Series One).Line 4: Giving Three dimensionalit y to reference points in Line 1 of series one. D I A G R A M M I N G
Series Three: Mapping Movement and Reference Relationships.
Line 1: Combining overlays from series one.Line 2: Mapping the net work of the references points around a geometr y.
D I A G R A M M I N G
Series Three: Movement and Reference Relationships
Line 1: Mapping the movement the actions of the dance with the reference points in Line 1,series one through the use of positive and negative space.Line 2: Mapping the movement the actions of the dance with the reference points in Line 1, series one through the use of positive space.Line 3: Plan view of the actions of the human body. D I A G R A M M I N G
Series Three: Mapping the ‘Movement and Reference Points’ With a Spatial Relationship Intent.
Line 1: Inver ting the negative massing from series three Line 1 resulting in a series of spatial par ti diagramsLine 2: Intersection of l ine and massingLine 3: Outling the negative space with no fi l l. D I A G R A M M I N G
D I A G R A M M I N G
D I A G R A M M I N G
In order to translate the diagrams into a 3 dimensional form, I transferred the drawings into rhino and drew profiles of each diagram. By stacking them and creating a surface between them on the computer I created the an transistion between each profile.
R E L I E F M O D E L
3 D M O D E L
Deploying a contour technique to transform the digital model into a physical model gained insight into the theme of an anthropromorphic approach to the design. Manipulating human elements into the design through the form of the moving subject.
M O D E L
A B S T R A C T M O D E L
Stepping back to create a series of different sculptures around the idea of using the diagrams profile to stretch and manipulate into architectonic elements. The models resemble a sort of vein that circulates within a building.
Further abstraction of the diagrams led to the generation of the model. This progressed itself into forming the overlap of various space in the building.
Through the creation of the negative volume from the previous model various architectonic elements were drawn out through the model. It is through the construction of this model that articulated an experiential flow, that has been adapted into the movement of the building.
S P A T I A L M O D E L
S P A T I A L M O D E L
Extracting key ideas derived from previous exploration. Models demostrate idea the idea of ramp or flowing ground planes with tapering walls and maniupulating circulations.
Mapping of various movements around the site. These movements consist of motorist, pedestrian, cyclist and trains movement. M A P P I N G
M A P P I N GMapping of road access around the site .
M A P P I N GMapping of unutlised access thoroughfare for pedestrians and cyclists.
M A P P I N GMapping of local land levels.
A4 40m 200m
N
P R O P O S A L
void
Level One
Level Two
Level Three
P L A N S
B U I L D I N G O V E R V I E W
A X O N O M E T R I C
Cinema
Retail
Private Archive
Exhibition Gallery
Cinemaa1: Staff Officesa2: box office/candy bara3: Cinema1a4: Cinema 2a5: Cinema 3
Private Archiveb1: Compactus Storage b2: Conservatorb3: Workshop
Public Archiveb4: Archiveb5: Public access and browsingb6: video viewing cubiclesb7:Theatretteb8:soundboothb9: Library workareas
Exhitbition c0: Entrance Galleryc1: Exhibition Galleryc2: Exhibition Workshopc3: Exhibition conservationc4: Exhibition Offices
Multimediac5: Multimedia Galleryc6: Multimedia Workshopc7: Multimedia Offices
Artist Residenced1: Shared workshopd2: Residenced3: Private external space
Officese1: Cinematheque Officese2: Commerical Tenanciese3: Common Areas
Retailf1: Shopf2: Cafe
Offices
Artist Residence
Multimedia Gallery
Public Archive
a1
a2
a3
f1
f2
a4
a5
b1b4
b3b6
b7b8
b9
b2b5
c1
c2
c3
c4
c5
d1
e1e1
e2
e1
e1e1
e1 e1e3
e1e1
e1
e1e1
d1
d2d2
d2d2
d3
c6c7
F U N C T I O N D I A G R A M
P L A N S L E V E L 1
exhibition galleryexhibition gallery
gallery entrance
ground entrance
exhibition conservationexhibition workshopexhibition o�cescommerical o�cescommerical tenanciescommon areas
cinemas
cinema 1
cinema 2
cinema 3multimedia gallery
exhibition gallery
commerical o�ces
gallery entrace
multimedia workshopmultimedia o�ces
cinema o�ces
Candybar/ ticket o�ce
shared workshopartist residence
common areas
P L A N S L E V E L 2
archive public access
compactus storage conservator workshop
video viewingthreatrette
library work areas
P L A N S L E V E L 3
Private Archive
Cinemas
RetailOffices
Artist residence
Public Archive
Multimedia galleries
Exhibition galleries
a1
a2 a3f1f2
a4
a5
b1
b4
b3
b6b7b8b9
b2
b5
c1 c0c2c3c4
c5
e2
e1
e1e1e1e1e1e1
e3
e3
e1e1e1
e1e1
d1d2 d2 d2 c6c7
Cinemaa1: Staff Officesa2: box office/candy bara3: Cinema1a4: Cinema 2a5: Cinema 3
Private Archiveb1: Compactus Storage b2: Conservatorb3: Workshop
Public Archiveb4: Archiveb5: Public access and browsingb6: video viewing cubiclesb7:Theatretteb8:soundboothb9: Library workareas
Exhitbition c0: Entrance Galleryc1: Exhibition Galleryc2: Exhibition Workshopc3: Exhibition conservationc4: Exhibition Offices Multimediac5: Multimedia Galleryc6: Multimedia Workshopc7: Multimedia Offices
Artist Residenced1: Shared workshopd2: Residenced3: Private external space
Officese1: Cinematheque Officese2: Commerical Tenanciese3: Common Areas
Retailf1: Shopf2: Cafe
Private Archive
Cinemas
RetailOffices
Artist residence
Public Archive
Multimedia galleries
Exhibition galleries
a1
a2 a3f1f2
a4
a5
b1
b4
b3
b6b7b8b9
b2
b5
c1 c0c2c3c4
c5
e2
e1
e1e1e1e1e1e1
e3
e3
e1e1e1
e1e1
d1d2 d2 d2 c6c7
B U I L D I N G Z O N I N G
A T M O S P H E R I C S E C T I O N
A T M O S P H E R I C S E C T I O N
I N T E R I O R P E R S P E C T I V E
A T M O S P H E R I C S E C T I O N