EXP3| F I N A L

 CAFETERIA (within connection to roundhouse)

 CONNECTION TO ROUNDHOUSE

this part of the bridge is an extension to the roundhouse and provides students a space where students can grab a meal and socialize with friends.

 COMPUTER ROOM

located on the top level, a computer room is essential for students to hone their digital skills, especially in this digital age.

 GALLERY SPACE

An intimate gallery space located on the bottom level so students can exhibit work to the public.  

 BRIDGE

this transparent structure connects the Tyree building to the square house. looking back at the article mashup,
"multi-functional bridges incorporate various functions in multi-levelled structures that also work as a physical and cultural bridge"

the reason behind connecting the Tyree building is to promote the integration of the culture of the Tyree building, with the Built Environment Faculty. this bridge is a multi-function space which can be used for small gatherings and for studio space. lights on the floor are used to replace walls to organize the space. this technique is used to promote collaboration between students by avoiding the separation walls create. also the lack of walls also prevents the obstruction of light from the sun which ties in with one of themes within the article mashup.

 NIGHT TIME BRIDGE

 BRIDGE FROM THE OUTSIDE

ABOVE THE SQUAREHOUSE.

an extension to the squarehouse, provides space for a workshop and digital fabrication labs. 

 MOVING ELEMENT

This moving element is used to provide shade within the bridge when need, gives control to the shadows cast by the bridge.

TO NIDA

this bridge provides access to UNSW without having to cross the street. the moving elements expands the bridge depending on how many people are crossing it.

The lumion environment can be accessed below: 

online backup

EXP3| D R A F T & T E X T U R E S

EXP3| IN CLASS PINUPS

210515

280515

 040615

EXP3| M O V I N G

EXP3| S K E T C H E S

 I-eye-level, flat, leveled, wide surface, sense of stability

II-above, lengthy, distant, long arm reaching out defeats the distance between me and center, connection. 

III-eye-level, short arms make it appear closer, intimate, less displaced

IV- eye-level, ornament and function coming together

V-eye-level, looks thin, two dimensional

VI-

EXP3| A R T I C L E M A S H U P

Ornament and function go together. There is no structure in nature that can be classified as pure ornament without function. In traditional architecture, which was more tied to nature, such a separation never existed.

It is only in 20th-century architectural discourse that people began to think of ornament as separate from function

“Of all things that are man-made, bridges are, with dams, the most “structural,” single-minded, and imposing. As connectors at a breaking point, they have a heroic force that is aided by a challenging structuralism

Any influence the object or place has on the user is part of its function. But any ornament will certainly also impact the user, so the actual experience cannot separate any particular aspect as pure function

multi-functional bridges incorporate various functions in multi-levelled structures that also work as a physical and cultural bridge.

Soleri submitted proposal, “Cosmic Potentials,” to Massachusetts Institute of Technology in 1950, incorporating alternative energy sources, such as, solar, wind, tide and hydraulic, into the design for human habitats.

In this picture of how successful objects and places are built by paying attention to systemic coherence, ornament and function are inseparable. It doesn’t make any sense to talk about one and not the other — just as in natural forms. Therefore, we need to learn how to design things that have the quality of life, that possess wholeness. And in doing so, function and ornament develop together, without our having to pay any particular attention to either category separately.

daylight is not just poetic—it’s also practical. Most spaces have lighting requirements tied to the functions we perform in them. Is there enough light in my classroom for reading and writing? Is there enough light in my office to work—but not so much that my computer screen is washed out? And how much of these lighting requirements can be met through daylighting alone?

Until recently, renderings were the architect’s primary tool for understanding daylight in their designs—renderings, and a healthy dose of intuition. But a new generation of daylighting analysis tools, which is emerging alongside a new generation of daylighting metrics, are enabling architects to look at daylight in new ways—with important implications for design.

New benefits of daylight are constantly being uncovered: daylight improves learning in school, improves recovery rates in hospitals, improves productivity in workplaces, and improves psychological wellbeing nearly everywhere. And there are energy benefits as well: when daylight can replace electric lighting, we can save the energy consumed by the electric lights; but we also eliminate the heat emitted by those lights and therefore reduce the need for cooling. It’s not enough for daylight to be poetic—it also needs to work. And this is where daylight analysis comes in.

Nikos Salingaros. "Unified Architectural Theory, Chapter 12" 16 May 2015. ArchDaily. Accessed 19 May 2015. <http://www.archdaily.com/?p=632062>BURGUNDY

Lopez, Oscar. "Paolo Soleri’s Bridge Design Collection: Connecting Metaphor" 11 Sep 2011. ArchDaily. Accessed 20 May 2015. <http://www.archdaily.com/?p=163889> BLUE

Carl S. Sterner. "Taking Daylight to the Next Level: How Daylighting Analysis is Changing Design" 14 May 2015. ArchDaily. Accessed 19 May 2015. <http://www.archdaily.com/?p=631256>ORANGE

E X P 2 | F I N A L S U B M I S S I O N |

Digital File Upload

the link provided is a download link that contains the rhino/grasshopper files and the lumion files for the marker:

file storage

36

concept

the textures used in the marker:

 this texture was inspired by Delaunay triangulation. when i applied it to my marker, i realised that it could instead be the 3D structure of the base of the marker. 

These two textures were created from a triangular grid pattern that was darkened by thickening the lines. by just changing the thickness of the lines, the textures goes from a light, net-like feel to a more solid, heavier looking texture. the heavier texture is applied onto the tall supporting structure to give a sense of safety and solid support that member of the structure provides. the lighter texture is applied onto the overhanging member to create an image of it being lightweight, almost floating. 

I M A G E   C A P T U R E S

view from a car passing by

view from the road passing over the M7

closer photo of the base. 

the base of the marker can be used to house a sports equipment store to make it convenient for the athletes to access supplies.

high angle view highlighting the shadow casted onto the motorway

night time view of the marker