FINAL ASSIGNMENT2

The link show a PDF which consist:

-Project model
-Plans
-Sections
-Elevations
-SOEE
-Site Analysis
-Shadow Diagrams
-Photomontage
-Schedule of Finishes
-Landscape Plan
-Snip images from model

https://www.dropbox.com/s/byebquy1i07ynkt/Assignment2.pdf

MODEL PROGRESS

ROOM  LIST: 

Living room + Dining + Kitchen = 67m2

Study room: 15m2

Workshop: 26m2

Laundry: 6m2

Master Bedroom: 42m2

Children's room: 23m2

Guest room: 20m2

Guest toilet: 4m2

Hallway: 53.5m2

TOTAL:256.5m2

WEEK TEN--BRIEF OF THE DESIGN

Ben Van Berke and  Caroline Bos which is his wife are originator founder of the UN STUDIO, the projects they finished was like kind of large scale and ambitious. 

Ben Van Berke and his wife Caroline Bos have a daughter, so for the house I designed is for a three people family as well.

Room List: 

--Kitchen:
             -double wall over
             -two bowl sink
             -island benchtop with free standing range hood
             -walk in pantry if possible

--Living area: 
              -formal living area
              -the place where can meeting the guest and relax

--Dining room

--Informal family area

--Workshop:
                -for drawing the arts, to design the projects etc.

--Study room:
                -a place to reading the book and collect the book

--Master bedroom:
                -with one balcony
                -with a bathroom

--Bedroom 1:
                -the bedroom for their daughter

--Guest bedroom
               
--Laundry

--Car garage:
                -for two cars parking

ASSIGNMENT TWO DA

THE SITE ENVIRONMENT ANALYSIS:

A: SITE ANALYSIS

1. BASIC INFORMATION:
site address: 5 Wyargine Street Mosman
land area: 713 square meters (49m length, 15.5m wide)
max floor space: 355.2m square
maximum height of the building: 8.5m (in the R2 medium density housing it is currently situated in)
max floor space ratio: 0.5 : 1
max wall height: 7.2m
max storey: two
landscaping percentage: 42.4%
site area: 747.9 square meter

2.This site is located on 5 Wyargine Street Mosman, NSW 2088 which is in a low density residential zone R2, near a public recreation zone RE1. There are all general residential houses around this site.

3. on this site there are two existing storey brick rendered houses are on either side of the house and a garage ar street level, a shared stone wall footpath in front of the house.

4. The site is about 80 meters from the Balmoral beach coastline, and about the public transport, there are have a bus stop service about 50 meters from the beach, also the bus route is to the CBD of Sydney.

5. There are another beach called Edwards beach, Hunter's Bay is to the east of the site, only a few km to walk.

B: Planning Controls

WEEK EIGHT-- RESEARCH

This week we are ask to do the research work about the proposed site 5 Wyargine street Balmoral which is located within 60 meters of the coastline and low density residential area.

WEEK SEVEN---BRIEF

Architect: UN Studio

Originator founder: Ben van Berkel                              
                               Caroline Bos

Basic Information: UN Studio formerly called Van Berkel en Bos Architectenbureau. It is a Dutch  architectural practice specializing in architecture, urban development and "infrastructural" project. The practice was founded in 1988, based in Amesterdan and Shanghai. 

The initials "UN" stand for United Network, a reference to the collaborative nature of the practice comprising individuals from various countries with backgrounds and technical training in numerous fields.


Reference:http://en.wikipedia.org/wiki/UNStudio

Project World Wide: Throughout more than 20 years of international project experience, UNStudio has continually expanded its capabilities through prolonged collaboration with an extended network of international consultants, partners, and advisors across the globe. This network, combined with our centrally located offices in Amsterdam and Shanghai, enables us to work efficiently anywhere in the world. With already over seventy projects in Asia, Europe, and North America, the studio continues to expand its global presence with recent commissions in among others China, South-Korea, Taiwan, Italy, Germany and the USA.

Knowledge sharing in knowledge platforms: Since the founding of the practice, UNStudio has been developing design knowledge as a result of combining the designing and building of projects with an active participation in architectural theory.


Reference: http://www.unstudio.com/




This is a interview of t-machine presented a discussion with Ben VanBerkel that took place on March 3rd, 2006, during his visit in the School of Architecture at WashingtonUniversity in St. Louis where he was lecturing. DG: I have a set of questions about diagrams and diagramming. You are using diagrams in many of your projects. Even if we say that the diagram is an old concept, today in architecture it takes a new meaning. Would you like to explain how you use the diagram and why do you think that is important?


BVB: Like you say, it’s not a very new concept. Diagrams have been used a lot in architecture, like the diagrams Gropius was talking about at the Harvard school, but they were more related to the modernist principle of reductiveness: you make a diagram and then you can reduce your thinking through the principle of the diagram. But the idea behind the way that we use the diagram is a little bit taken from the thinking around someone like Deleuze or Foucault that talk or write about the diagram. What we discovered by using a found diagram, or let’s say maybe even producing your own diagrams, is that it often allows you to take a certain distance towards the way that you sketch. Because if you sketch, then you have already a preconceived idea of the image of an architecture. But the diagram gives you a possible instrument for unexpected insights. That is the most interesting about the diagram for us. You have to distinguish how other architects are using the diagram because I am not the only one, Peter Eisenman is talking about the diagram, Greg Lynn also, you see it in the work of the other Dutch groups, like MVRDV and OMA. The difference is that they use the diagram often as an informational guideline, but we use the diagram as a map. So it gives a particular direction towards infrastructure, organizational possibilities of the organization of a project.DG: You write somewhere in your site that the diagram liberates architecture from language, interpretation and signification. Its sounds good, but is it possible to imagine architecture detached from language?

BVB: No, no, architecture needs language, I am not saying that we can do it without language; otherwise we will not be able to build even. But what I am saying is that there is a whole history towards the way of how the notion of the concept or a theory has been used as a mask in order to suggest that through this theory or through this notion of the concept we can start to camouflage a way that architecture might go to. So what the diagram is doing is that it prolongs any form of linguistic interpretation before it becomes an organization. It prolongs any form of… de-signifiers. And often architects start already with a de-signifier, the symbol or the brand or the camouflage of a concept. That is the danger of conceptual architecture, or let’s say, highly academic, theoretical architecture. The way of how we use, or try to use, the diagram is as an instrument for thinking, so language is there, but through an interactive formal devise; it is interactive.

DG: And finally how do you move again from the diagram back to the building, the building you design?

BVB: Well, the most important is that the diagram is not… actually we don’t talk today anymore about diagrams… By repeating certain types of diagrams, like the moebius or the trifold, we discovered that they turn into a kind of design model, so it becomes a kind of a tool for selecting techniques and a tool for how you guide the design, so it becomes a kind of a prototypical system for designing. It’s very interesting. That is why we don’t do any projects with students; we first teach them how to develop their own design models, which are coming out of diagrams. This is a very critical question. What do you think about it? What do you think is wrong with the way certain architects used the diagram related to ideas of text or the linguistics of the diagram.

DG: Well, my understanding of the diagram is also deriving through my readings of Deleuze and Foucault, so that is the idea of the diagram that I try to apply. I think that the main problem appears when you have the diagram, and you try to go ‘back’ in order to create again something spatial. I have the feeling that you loose so many things that you have in the diagrammatic state when you try to make it into a building. In a way you are going to the place you begun from.

BVB: Like what, with the sketch you mean?

DG: Yes…

BVB: You don't have to do that. You have to make sure that the diagram… I mean you don’t have to build the diagram.

DG: Yes, for sure, but…

BVB: That's the first thing, that's tough, but at the same time you don't have to loose the diagram. That's why I talk about instumentalization of the diagram; it needs to be cleverly transformed. Going back to Deleuze…what do you think? Because in my opinion is far more interesting to read Deleuze on Foucault.

DG: Yes, I also thing that the book on Foucault is one of his most interesting…

BVB: When he writes about the cartographies and the story of the diagram…

DG: He also writes about the fold in that book, while most architects tend to reference only the book on Leibniz in relation to the fold…

BVB: Yes. But the fold is also another problem…

DG: It has many formal or visual connotations. So folding is becoming from a complex concept into an actual folding of a surface.

BVB: Yes. Of course I’ve been heavily experimenting with the fold too, but I was always interested in the idea that the fold, the notion of the fold or the collapse of a time moment is integral, so it is also constructive. You see a lot of architects playing with the fold as a pure formal device, but what I find interesting is that it is generating a particular kind of a specific, constructive, spatial, differential effect, if you can talk about an architectural effect.

DG: Yes, so you don’t represent the notion of the fold by creating a folded surface…

BVB: Exactly. But you use it more as an instrument. Actually in the Mercedes Benz museum we use it almost invisibly. You can not see it, but it is there, in the section. But the section is actually combined; even there you can not see it clearly. That's what I mean when I say that it is very important to think more about the notion of the surface as something articulated; or how you treat the surface horizontally or diagonally, how it can slowly turn into a wall or a volume; or how a line can be turned into a surface or a volume. But all that comes from the thinking of the diagram where you start to reformulate what a wall is. You start to rethink of the ingredients or the architectural principles and how you can reshuffle them. In that sense the diagram is… I mean, everybody is saying “oh diagram architects”… but it’s more about generating a form of thinking, that's maybe what’s more important: that it generates a form of thinking. But like I said, it’s more ideogrammatic, like the Chinese language, where the form is already in the language.

DG: And I suppose, like Foucault says, it is detached from the field that it codifies. I mean if we say that the diagram in the beginning is codifying (or de-codifying) something, finally it becomes something else, independent, that has a value of its own.

BVB: Yes, it plays a game between three different worlds. Because today you could say that the limits of architecture have been so much proved of all these possibilities like, you know, you can go to the most minimalist kind of strategy where you get the biggest pieces of material in one room and that is then generating a highly reductive approach, or what you can now do with the computer that is the most unlimited possibility of what you can generate in architectural form and space today. And that is where our critique is when it comes down to working with the diagram, and most specifically the design moment: that you need to guide this process, either be minimal or maximal or computational effects that you are after, it needs structure; in thinking.


You know, Foucault speaks very nicely about the panopticon, and of course that is today the most cliché architectural prototype. But it is actually true, that sometimes you need to come up with a cliché in order to illustrate what you mean. But in the panopticon what is hidden in potential, that it’s very beautiful, is that he says that the panopticon is the most interesting organization expressing an environmental condition of its time through political and social relationships. And that is actually what we, architects, are a little bit ignoring today.

DG: It is like a diagram of the society that it belongs to, but at the same time it can be detached from that society.

BVB: Yes, it is the principle in the way of how we distribute ourselves towards the idea of… or better, it is the organizational principle, the distribution principle, towards the idea of form and architect, well, not form, sorry, towards the idea of how we generate through that [form] a specific contemporary spatial experience and a concept of control, like in the panopticon, and then out of that an other kind of understanding of form. So, in that order we need to rethink the use of architectural principles: from geometry to organization and construction. But the nice thing, again about the design model and the diagram, is that if you think it through its external forces, political, social etc, and its internal regulations then you have a tool. And I think that tools and techniques are not commonly discussed in architecture today, I mean not enough in my opinion.

DG: You are also dealing with this idea of the outside and the inside and blurring the limits between those two, and you try in many of your projects to do that. You can say that it is something like one of the principles of your work. Why do you think that this relation is so important?

BVB: Between the outside and the inside?

DG: Yes, I mean you can say in general that architecture is trying to eliminate this binary oppositions, but why for example not solid and void, or up and down and it is inside and outside that you are interested in?

BVB: Well, you know there is always a physical boundary when you are making architecture and I like to think that this is not so important. Although, if you take what Peter Sloterdijk is talking about, he talks about spheres, that we all live in a particular sphere. I like this interpretation, maybe inside is this space that we are now and maybe outside is two meters further, so we have a kind of sphere, we have a kind of social interaction. I am thinking often a lot about what is inside and what is outside. What is inside perception and what is outside recognition, even when I am always outside maybe, because in a way you are always outside.

DG: And in a way is again the idea of the fold that comes into play…

BVB: Yes. Because the fold is giving a little bit of a more open concept. Like in Poincarés’ theory.

DG: What do you think is the role of theory in the discourse about architecture today? You can say in a way that theory is moving in the background of architecture. On the other hand you have philosophical concepts like the fold, the diagram etc. coming into the architectural discourse. Do you think that we don’t need theory anymore, or is it that the designer is becoming a theorist for himself?

BVB: We need theory. But we don’t need to be so complicated about theory. I mean often you have the theorists on one hand and the practicing architects on the other. But I do believe that this is a little bit nonsense. You know I even believe a lot in after theory. I don’t think that is so important to argue about when theory is important, if it is ‘before theory’, or speculative theory, or after theory. But it is necessary. Actually it's a kind of technique. Theory is a technique for just testing if you formulate your ideas well. If you don’t know how to formulate it I think that is often a bad idea. So it's a very simple, brutal answer maybe. I could make the answer more complicated but then I will go more into the history of architecture and the scientific aspect of the practice. Because on one hand we are scientists but on the other I still believe in the Vitruvian combination, of the scientist being a philosopher as well.

You could be negative about a notion of an after theory. Because you know, you do something and then you build more theory around it. But you just have to make sure that you are using that theory very strongly again in your next project (laughs).


Reference:http://the-t-machine.blogspot.com.au/2008/05/by-dimitris-gourdoukis-unstudio-has.html

The main project of UN Studio:

                                                                 Merceds-Benz Museum,Stuttgart, Germany

                                                     




                                                                                            Erasmus Bridge

                                                                                                                                       Moebius Home in the Gooi area

                                                         







Refenrence:Merceds-Benz: http://en.wikipedia.org/wiki/File:Mercedes-UNStudio-01.jpg

Erasmus Bridge:http://en.wikipedia.org/wiki/File:Erasmus_UNStudio.jpg

Moebius House:http://en.wikipedia.org/wiki/File:Moebius_UNStudio.jpg

FINAL ASSIGNMENT

                                                     MY ASSIGNMENT ONE PDF(click)

                                                       

                                                       MY SKETCHUP MODEL FILE(click)

VIDEO POST ON YOUTUBE(click)

Although there is a video on the PDF,  I also post the video on the youtube and I post a link on the blog as well.

MODEL PROGRESS 3

These three pictures show the final model I have made with the full furniture and texture as well.

MODEL PROGRESS2

 

I have finished almost my model exterior and interior . There three bedrooms, one guest toilet,one kitchen, one living room and one dining room,also the children's room and children's bathroom.

MODEL PROGRESS

In the model progress, I use the box. wedge and the pyramid as well. There are four levels of my house and one open air carpark under the pyramid geometric. 
Each level have one big window which is located on the top of each surface cause I am consider about the two factors, one is the daylighting and the other one is the private. Because the upper level will be use as the private area. 
And the other thing I wanna explain to now is the second level, I have an entrance to the outside that I will be defined as the balcony. Also there will have the railing.
More update continuing....... 

WEEK FOUR--STUDIO TASK AND RESEARCH EXERCISE

In today's task we are required to do some representation by chosen the building. 
I have chose the Run Run Shaw creative media center which is located in Hong Kong.

private space
public place
semi-private space
meeting place

I have search about three presentation template as my presentation board example. 

 This presentation board template is more graphic, used the duplicate the different layers together into one picture. 

These three template are my favourite three, and the last one is the most interest one I want to doing like this as well. Because the last one have a really logical presentation,it shows the every steps from the beginning to the end. It shows the work clearly as well.

WEEK THREE--PROCESS OF ASSIGNMENT ONE

In this week processing, the first step I was trying to figure out is the combination of each different primitive geometric. 

I used box, pyramid and wedges.  The second picture is the progress when I thought the combination of them. 

UPDATE CONTINUING

WEEK TWO-SKETCHUP GEOMETRIC PLAYING

This week first task is use the boxes to make separate room and do some different combination of them.

For this task I have used eleven 700 *700 box , one 1200*1200 box and 970*1200 box as well, they are all 300 height, the unit I use is cm and the scale of the units is 1:100. And at the beginning is difficult. First problem is what kind of shape I will design. When I figure out the idea I should combination them as a correct size and they can support each other. I have tried several times to make my favourite shape.

                                                            Dimension of the square.

                                                                   First combination

                                                                  Second combination
For the first one there are different room in different levels and have different uses. Also the first id a little hard to connect it well.

For these two sketch models, the second one I was thinking the eleven same size boxes are different room, there can have different plan and interior design in it and and two big boxes are the connection space.



The second task is the primitives. And I have did several 3 primitives and the two below is my favourite two.

BOX  +  CYLINDER  +  SPHERE

The sphere is used to relax and sleep and the box is common area like living and dining, and the for cylinder I have scale it in order to support the box and sphere also can be the hallway or the way to the other area.

PYRAMIND  +  BOX  +  CYLINDER

The idea is use different shape to support the middle area which made by box, and the middle are is uses to connect other two area and can be the living room and dining. The other two can be the relaxing area and the sleeping area.

WEEK TWO - PAPER FOLDING

For this week task, we did paper folding based on the what the architecture we choose and the project from the architecture. 

The first project I choose is Brussels Airport, and it providing a highly efficient, flexible infrastructural element that connects to and negotiates the existing airport architecture. So from my thought I decided to cut the paper by lines and twist it as well. The pictures below showed my first model.

The second model I based on the idea which is moubius brand and make my own model which is a model with 3 circle. Although they are seperate form, they are compactness well.

The third one I use about 2 papers and eight 8*8cm squares to make the model. I cut them and when ever corner stick there also several holes. And the third one ,  I choose  Mercedes Benz Museum as the insipiration and base.

When I do the third task, I found by using multiple paper to do the model can be more detailing. And compared the model which only use one paper, the multiple paper doing better and you can try many different ways to figure out what you want to present.




Refrence：

1.https://www.google.com.au/search?q=un+studio+airport&source=lnms&tbm=isch&sa=X&ei=kbMFUpyaIYenkQWH24GACA&ved=0CAcQ_AUoAQ&biw=1920&bih=895#facrc=_&imgrc=1Z9KBgxyxJdWfM%3A%3B1O4WfJxwiMvXKM%3Bhttp%253A%252F%252Flolkout.org%252Fwp-content%252Fuploads%252F2011%252F11%252Flolkout-111114-Brussel-Airport.jpg%3Bhttp%253A%252F%252Flolkout.org%252F%253Fp%253D11202%3B600%3B358

2.https://www.google.com.au/search?biw=1920&bih=947&tbm=isch&sa=1&q=UN+STUDIO&oq=UN+STUDIO&gs_l=img.3..0i10j0i24l8.3226.7181.0.7383.9.9.0.0.0.0.238.1194.2j4j2.8.0....0...1c.1.24.img..3.6.791.IHbOqdbnmpo#facrc=_&imgdii=_&imgrc=VXvOx8zIFJFC5M%3A%3B3zLDLe0-AbfxlM%3Bhttp%253A%252F%252Fstatic.dezeen.com%252Fuploads%252F2009%252F06%252Funinstallation8.jpg%3Bhttp%253A%252F%252Fwww.dezeen.com%252F2009%252F06%252F26%252Freflections-by-un-studio-at-retreat%252F%3B450%3B490

3.https://www.google.com.au/search?biw=1920&bih=947&tbm=isch&sa=1&q=UN+STUDIO&oq=UN+STUDIO&gs_l=img.3..0i10j0i24l8.3226.7181.0.7383.9.9.0.0.0.0.238.1194.2j4j2.8.0....0...1c.1.24.img..3.6.791.IHbOqdbnmpo#facrc=_&imgdii=_&imgrc=jvR8btzGpQaKWM%3A%3BuJNXky0Ntad2qM%3Bhttp%253A%252F%252Fwww.thingsmagazine.net%252Fblogimages%252Fsweeney.jpg%3Bhttp%253A%252F%252Fwww.thingsmagazine.net%252F2007%252F10%252Floom-studios-12-blocks-is-brave-attempt.htm%3B540%3B245