A2 FINAL SUBMISSION

DRAFT MODELS

below are two draft models, from previous weeks of work in lead up to the final model. These models were explored, evaluated and resigned to produce a design that bets conveyed the selected concepts

MARKERS

From left to right:
Absence of form
Repetition
The Grid
Connection
Completion

PHYSICAL OBJECT

The physical object which I created was a modfied rectangual prisim. I though this was suiting, in regars to Eisenman's experimentation with traditional form by breaking the simple form apart and reinventing the peice as a whole.  each sie was unique and displayed the marker in an innovative way which was relevant to the notion it was conveyeing.

Absence of form: sliding door to reveal marker, can easily be hidden from view
The Grid: a missing grid piece must be placed to complete the marker
Repetition: an extended sliding pannel from the box to mirror the animation's construction of growth
Connection: the marker has been cut in half, needing to join together both pieces to complete the marker
Comlpeted final: simple reveal on a fave of the model

 

BUILD AR Below shows the video screen capture of my physical model and build AR scene in use. There is one screen capture for each marker.

 

RENDERS

INTERACTIVE POSTERSThe interactive poster incudes three renders, the Build Ar screen capture, five screen shots, text and th piece name.

 

 

3DS MAX

http://www.mediafire.com/?3zs8fvkt8uwzsxu,vj174lg733j71gc,n3j7wbr0w5331ww,ac2168095mqxmf0,d6sg5kj99jqdnua
 

WEEK 4 A2: Storyboard, markers, BuildAR test

ASSIGNMENT TWO

THE CONCEPTS

In relation to assignment one, four layer/concepts were derrived from the existing model. I chose to deconstruct my model into key themaic concepts, of which were:

The absence of form
The presence of the grid
Connection
Variation




THE PHYSICAL MODEL

I have decided to create a modified rectangualr prism as my physical model to display my markers. This model will contain a series of altered elements, revealing each marker in a manner appropriate to the concept being conveyed. Below is a sketch of the key ideas.

STORYBOARDS

MARKERS



Absence of form

The grid



Repetition & varyation

Progression



Connection (piece 1)

Connection (piece 2)

BUILD AR IMPORT SCREENSHOTS

BUILD AR VIDEO



PROBLEMS

Many of the problems I encountered related to the actual set up of the programs, such as the exporter not appearing in 3ds max. After thes issues were overcome, I simply exported my model from 3ds max as an .osg file and dropped it into Build AR to be recognized my by marker. I had minor issues with scaling and positioning the model in BuildAR, but after some slight tweaking, I adjusted my model to how I wanted. Now I have to work on animating my models to import into BuildAR.



MODEL DEVELOPMENT

After recieving feedback upon my concept model, I decided to place a stronger emphasis upon the absence of form by reducing the amount of which is subtracted from the model. This ensures a clear notion of absence is conveyed, whilst strengthening the piece in terms of unity. Furthermore, the suggestion of reducing the amount of varyation was taken into consideration, hence a unform terracing application to the varried, scaled pieces. The grid concept is applied by a light overlay upon the pieces to draw connection to all the individual elements. Here are some images of my altered form

Top view- less absence

uniform terracing in repeated, scaled pieces

retention of organic, connecting shape

texture application



WEEK THREE A1:submission- The Paradox

INTRODUCTION: PETER EISENMAN, THE CITY OF CULTURE

Peter Eisenman’s ‘City of Culture’ is a monumental piece of architecture, exploring the relationship between the building and the landscape. The design incorporates various techniques to achieve the increased awareness of the existing environment. Eisenman employs his trademark technique of the overlayed grid to segment the piece, in a manner that reflects the inconsistencies of the land. The absence of form within the building leaves us wanting to connect the piece, unifying the architecture’s independent elements. This connection is further explored through the recurring organic forms , all of which are slightly dissimilar, but have a unified effect as a whole.

Eisenman’s clever use of mixed media and representational techniques derives an intentional piece of architecture which is welded into the landscape. Through a strategic amalgamation 3D cardboard models, computer drawings distorted scans and overlaid grid elements; Eisenman presents a unique ‘folded map’ design, which is both responsive to the site, and true to the architect’s design perspectives. Furthermore, the deliberate consideration of texture and materiality from local areas (such as the slate panelling, red dirt, and rooftop vegetation) in which a familiar, organic feel is conveyed. It is largely due to the effective and innovative modes of representation, in which the architecture becomes a landform in itself.

Textural references
All sources accessed 23^rd July 2012

“Espagne: Eisenman Architects”
Architecture d’aujourd’hui, 2001 Sept-Oct, n.336, p44-48
720.5/27

“Eisenman Architects: City of Culture Galicia [Spain]”
Architectural Record, 2003 Jan, v.92, n.1, p.70-73
Online access

“Landform future”
Architectural Record,2005,v 193, no.10, p.94
Online access

“The Galicia City of Culture, Santiago de Compostela, Spain."
Domus, 200, no. 824, p. 9-15
747.05/2

"Peter Eisenman: City of Culture of Galicia, Santiago de Compostela, Spain 1999-."
A & U: Architecture & Urbanism, 2006,no.9, p.80-89
Online access

 "Santiago's second shrine: the first phase of Peter Eisenman's ambitious Galician City of Culture is nearing completion."
Architectural Review,2006 ,v.219, no. 1309,p.28
Online access

"The 'illusion of plans': Eisenman's landmark vision is a conjuring trick."
Architectural Review,2010, 228, no. 1364,p.32-34
Online access

COLLECTION

Image references All sources accessed 21^rd July 2012
1.“The Galicia City of Culture, Santiago de Compostela, Spain."Domus, 200, no. 824, p. 11 (journal)
2."Code X", Peter Eisenman, 2005, p 17 (book)
3. Searched "City of Culture" Link (internet)

Image references All sources accessed 21^rd July 2012

1. Searched "House X drawings" Link (internet)
2. Searched "House X representation" Link (internet)
3. “Espagne: Eisenman Architects”,Architecture d’aujourd’hui, 2001 Sept-Oct, n.336, p44 (journal)
4. "House X" Peter Eisenman, 1982, p 64 (book)

PAPER MODELS

My first model was based upon Eisenman’s monolithic project with is still in completion- Spain’s City of Culture. The prominent concept derived from this piece of architecture is the notion of connection with the land and existing environment. These ideas are echoed through several architectural journals as referenced within the collection. The paper model was created with a single piece of paper, employing cutting and folding techniques to achieve an organic shape which resembles the malleable form of the structure. I found that this model experimented with the constraints of paper, challenging me to think outside of the norm to achieve an original form.

The second paper model I constructed was based off Eisenman’s representations of his project House X. The axonometric is a deliberate choice by the architect, emphasising the experimentation with traditional form, such as the cube. Within these drawings, Eisenman focuses on the deconstruction with the utilisation of a grid (a trend evident through most of his work). Furthermore, the concept of several elements working together to form one unified piece is weaved through the building.

MY MODEL: THE PARADOX

The Paradox is a piece which uncovers the concepts of ‘The Grid’ and ‘Connection’. The notion of the grid is explored through the absence of form which paradoxically  creates unity. The concept of connection is revealed through an ironic repetition of identically varied elements. The piece as a whole uncovers theories of Peter Eisenman’s architecture.

Renders

This render exhibits the model from the top view, emphasising the presence of the grid form to create an absence within the piece.

 This render displays the model from an orthographic perspective, simultaneously revealing the varied elements working on cohesion throughout the piece, and the independent components created through the grid

This render is taken from a side view to reveal the organic form and interconnectedness of the work. It reveals the repeated elements, and how the slight alteration to each produces a unified piece.

COMPOSITIONS

3DS MAX MODEL

Below is the link to my 3DS Max model, plagiarism declaration form, compositions in PDF format and three renders

http://www.mediafire.com/?esnszgs9c67an6v

WEEK TWO A1: development

CONCEPTS

After today’s studio class, I revisited the fundamental concepts of my design. Through this evaluation, I decided to create a new model in 3ds max which better revealed the ideas. By highlighting points of convergence within Eisenman’s work, I arrived at two main concepts.

THE GRID : absence and unity

The recurring concept of a superimposed grid enables the manipulation of form. The gird serves as a function to demonstrate the absence of form. The voids created through this absence paradoxically bring unity to the piece. Eisenman utilises this nothing through many of his works, particularly evident within his City of Culture, and the House projects. I plan to incorporate the notion of an overlayed grid within my model.

CONNECTION: repetition and variation

A relationship is built through the implementation of repletion and variation. Through Eisenman’s work, there is a consistency which unites the piece, whether it be form, recurring elements etc. The unity of independent elements occurs through this recurrence- however with slight differences in each repetition. This concept is evident through Eisenman’s House projects, wherein the multitude of cubes are all somewhat varied to reveal cohesion. I intend to implement this notion of connection through repetition and variation within my model.

NEW MODEL

I combined the concepts of ‘the grid’ and ‘connection’ to formulate the design of my new model. I decided to choose an organic shape for my model as a whole, to reflect Eisenman’s fixation with connection to the environment and natural land. This resulted in an extruded freeform shape. Then, to integrate the notion of a grid, I superimposed a grid form, and subtracted it from the existing model to create an absence of form. Through the voids created, there is a unity of the piece, as the viewer is subtly revealed to the presence of the grid form. I utilised the concept of repetition and variation to create a connection amongst the piece by a repetition of stacked/ subtracted  scaled elements. This was done by either continually stacking scaled copied of the individual piece, or continually subtracting it. All of the independent elements are somewhat varied, but cohesively unite to create a unified piece. I applied modifiers such as twist to create an interesting and organic form to the model.