Architectural Thoughts

2012-01-10T20:37:00.000-08:00

From a different perspctive

At the beginning of the course, all of the students had a partner or mate to cling onto and talk. The interactions with other students were quite minimal and very polite. However as the course concluded, people started to share ideas and experiences. This is a photo take after i notice a new friends had sat down by a low rockery for a long time. She invited me over and together she shared this view talking about garden themes that we had to learn on the trip. It was relaxing experience and one of the few times i actually spared a moment to enjoy an aspect of the garden instead of rushing around taking as many shots as possible.

KFC and Bikes
KFC stores, KFC franchises, KFC buses are abundant in China, an sign that globalization has hit this country. However as like with many KFC signals everywhere, I also noticed these green bikes for hire on various location around the city. When discussing about this with the Tonji University students, i am told that these bikes are actually provided by the government and are rented for free for the local people. Unfortunately for us, we didn't have any valid ID cards to take the bikes for a spin.

The Land Gate and the Water Gate
On one of the tours we went up high to be on top of the intersection between where the Water Gate and Land Gate meets. Centuries ago, these places would have been heavily guarded for protection against revolutionists and in times of war. however now, much of the mechanical elements have been locked so the gates remain open for public viewing.

Interactions on the Garden
Gardens are interesting when we have a better understand of texts and then experiencing it on site. Our Banker was kind enough to share some of his insights with me on this garden. It was really interesting, passing through the spaces and only absorbing a fraction of the intended design. With the Banker next to me, he placed me in a very precise location where i was able to simultaneously enjoy 5 completely different views by looking straight ahead, slightly left, slightly right and to my left and right.

Taxi leaders whom caught us by surprise.
These two girls were my taxi leader who taught me a lot about the life in China. Our first interations occured on the gardens, but really took off afterwards. We took a walk away from our hotel that night and tried local dishes such as glutenous balls in black sesame soup, glutenous balls cooked in rice wine, marinated white chicken feet and more types of dumplings.

They also took us about their work experiences in China. One of them actually was a volunteer worker, helping to restore parts of China which has now become heritage listed after her tutor won a campaign against tearing down old parts of town. It shocks me that there is quite a lot of flexibility in China. In Australia, there are so much paperwork and obtaining licensing and permission to doing anything takes a lot of time. Yet in China, determination and the right connections is sufficient.

Preparing For Festival in Public
These are salted ducks which were hanging in the streets. They are being prepared for an upcoming festival, perhaps chinese new year.

2012-01-10T20:19:00.000-08:00

This is a Pagoda located in Suzhou.
When we entered, we payed little attention to the surrounding context as this building was so dominating. However after you reach the 3rd level (highest allowed) through the steep spiral stairs and emerge through the windows, we gain a greater understanding of the site. Right below us, the gardens are well designed. From different orientations, the plants are arrange to show a different image in plan, such as a dragon or phoneix.

Group Interactions
This shot was taken inside a hotel which has a modern interpretation of classical Chinese gardens. Some elements are still present, porous walls, the central body of water and a landscaped element. However, the harmonious transition seems to be lacking.

Learning from Dr Gu
I fist noticed bats as a decroative motif on the roof a garden . At the time i had presumed it was a modern gesture. However when exploring the Retired Fisherman's Garden with the Dr Gu he gave a very poetic explanation for the use of bats. In Chinese the characters which makes up the name for bats mean good luck. The use of 5 bats, intensifies this luck. Furthermore the symbol which the bat surrounds together signifies the wishing of eternal luck wealth and fortune.

Better explained by Alfred Koehn as follows:

The Bat is called pien-fu WV; fu ITofl, written in another way, means Good Fortune. Repetition indicates intensification. Two Bats are bringers of Great Luck. Five Bats, their spreading wings encircling the wel-l- known character fu IlM, Good Luck, symbolize the Five Great Blessings mentioned in the Book of History, Shu Ching STE, which are Long Life, Wealth, Health and Peace, Love of Virtue, and a Death free from Violence. This way of expressing good wishes is in very common use, since the Chinese language has only words of one syllable, no articles, no endings, and no gender

Underground Water that was once very clean and sweet
Throughout Suzhou, i notice these ground wells that the local use. Its simple a hole in the ground which connects to an underground tunnel of water. The local students told me that these waters were once upon a time very clean and crisp, used as drinking water. It was ever preferred over mineral water because it carried a sweet taste. However due to contamination and pollution, these water are now only used for washing clothes or general purposes. It demonstrates the importance of the water-networks which exists in China.

Silk industry and tourism

Tradition and Modernity in India and China

2011-08-30T01:59:00.000-07:00

Discuss the relationship between tradition and modernity in India and China has unfolded over the past century, and how these developments in these two countries resonate with each other?

Over the last century, the development of Chinese and Indian architecture was heavily influenced by both local and national government policies as well as international influences particularly from Europe. This has brought about a conflict between transnational values and local cultures in the process of globalization (modernization).[1] Such paradox has also resulted in architects from both countries searching for a national identity for their countries to answer the question; how to deal with the relationship between tradition and modernity.

Initially, China’s modernization was limited partially due to government policies which favour the balance of preservation of agricultural production over urbanisation. Hence, against the Standard Western Model of urbanisation - as seen in India where “it has progressively destroyed the integrity of both the urban fabric and natural systems”[2] - China demonstrated a trend where geographically, there was greater assimilation of areas of with agricultural and no-agricultural activities and hence less urban architecture[3]. In saying, China’s modernization was still inevitably subjected to considerable international forces. This includes equipping China with new modern technology resulting in new aesthetics in architecture.[4] This newness – the technology and construction techniques- was initially received with mixed reactions, varying from “immediate acceptance followed by layering on of Chinese characteristics”[5] to “resisted newness …choosing instead to pursue a more indigenous, often traditional course”[6].

However what is common amongst some practicing architects is that “from an internal perspective, encounters with newness have not lead to the jettisoning of tradition and past practices[7]”. Instead, the various traditions of using motifs with modern construction; or modern materials juxtaposed against tradition styles - were considered in order to establish a national identity. [8]

The trend of continuing traditions to establish a national identity through continuing practices of the past is resonated in India through the idea of critical regionalism. After Independence in India, the idea of critical regionalism was developed to resisting international influences by advocating for “architecture of a region and the indigenous knowledge systems and practice which produce it”[9]. This idea was an artistic expression to ensure a “unified and homogenous ‘nation’ became an ineluctable reality”[10]. Therefore Indian architects were seeking for an Indian identity, an Indianness that was continuous with its idealized past and the result was buildings were based on form-making and place-making.[11] In critiquing the Vistara, a catalogue for the Festival of India for an international audience and hence with an orientalist bias, we can further examine this “blind embrace of modernism”[12] and hence how a superficial form-making architectural practice in India developed.

In this discussion, we can question the creditability of the Vistra as a “spiritual interpretation of Indian architecture as a series of epiphanies”[13] categorized under distinct periods of myths which stylistically were “matched to underlying formal ideograms which purportedly reflected the “deep structure” of the society of the time”[14]. It presented buildings such as Chisholm’s Senate House in Baroda; or Rashtrapati Bhauan in New Delhi, where he intentionally borrowed traditional Indian architectural characteristics to produce an “Indian style”[15]. Likewise, the Vistra suggested that Charles Correa’s embodiment of the nine-square plan of vastu-purusha-mandala in his plans for the Jawahar Kala Kendra is “not mere transfers of imagery, but transformations of a deep order…meant to impart “Indianness” to the design”[16]. However, these modernist architects have mis-interpreted the spatial understanding of their precedents or understanding of the myths. Therefore, some postmodernist architects in India were obliviously decontextualizing the stereotypical Indian elements making them unique from their origins and then transferring these images onto their buildings. [17]

This transferring of stereotypical elements resonates with the phenomenon of the Chinese ‘Big Roof’. In both India and China, we can imply that this literal transfer embodied an underlying ambition to express a visual connection that links the contemporary building to the past. Also once again, the emphasis is more considerate of the physical form or “formal figural aspects of the building”[18] and less on abstractly reinterpretation of the spatial arrangements.[19] The latter was a difficult concept for architects practicing both in India and China to grasp because neither countries had a strong foundation on architectural theory;[20] and for India, an absence of architectural writings by Indian authors as well[21].

During the modern era in China, the working a cultural leitmotif into the architecture is regarded as authentic when it is also honest to the modern era, and as Thrilling’s idea of not just simply borrowing the traditional form literally but rather the leitmotif should be “further refined or merely implied”[22]. Taking the Chinese Big Roof Phenomenon as an example, this 1950s tradition architectural detail can be said to be more authentic if it is made out of contemporary concrete using modern technology rather than being presented as a timber structure.[23] An example of this would be Qi Kang’s Memorial Museum or Paul Andrew’s National Grand Theatre in Beijing.[24]

In India, the use of the Vistra to legitimise architectural history and has result in stereotyping images so that now images such as the “Jawahar Kala Kendra, are no longer simplications that make the narrative more contextual for the West; rather, they are evidence of appropriation of history to “create a tradition”[25], the “invented postmodern tradition”[26].

In 1990s, China’s revivalist architecture is a further development of the Big Roof phenomenon, so that through modernization, architects were not just concerned with the physical form, but also the importance of the spatial arrangements in a contemporary context. [27] For example, Zhang Jiinqui ‘s Shaanxi Museum of History had a traditional style gateway; courtyard and gallery relationship that is reminiscent of the local Tang dynasty; and encapsulated characteristics that were modern in abstraction by having a structure showing the transition between the traditional double gable roof with concrete columns.[28] All these strategies lead “the design of the project walked a fine line between unabashed revivalism and a sense of contemporaneity”.[29]

[1] A.G. Krishna Menon, “Interrogating Modern Indian Architecture,” Architecture + Design 17, no.6 (Nov.-Dec. 2000): 24.

[2] K.T. Ravindran, “Contemporary Architecture: An Uncomfortable Glance at the Mirror,” Architecture +Design 14, no. 1 (Jan.-Feb. 1997): 27.

[3] Peter G. Rowe, “Modernization in China,” AV Monographs, nos. 9-12 (September-December 2004): 9-11.

[4] Ibid., 10.

[5] Ibid., 11.

[6] Ibid., 13.

[7] Ibid., 11.

[8] Ibid., 13-17.

[9] Menon, “Interrogating Modern Indian Architecture,” 24.

[10] Ibid.

[11] Ibid., 25.

[12] Ritu Bhatt, “Indianizing Indian Architecture: A Postmodern Tradition,” Traditional Dwellings and Settlements Review 13, no.1 (Fall 2001): 44.

[13] Ibid.

[14] Ibid.

[15] Ibid., 47.

[16] Ibid., 48. Bhatt quoted from Charles Correa, “The Public, the Private, and the Sacred,” Architecture + Design 8, no. 5 (Sep.-Oct. 1991): 92.

[17] Ibid., 49.

[18] Rowe, “Modernization in China,” 15.

[19] Ibid.

[20] Ibid.

[21] Menon, “Interrogating Modern Indian Architecture,” 25.

[22] Rowe, “Modernization in China,” 13.

[23] Ibid.

[24] Ibid., 13-15.

[25] Bhatt “Indianizing Indian Architecture,” 49. In the Afterword Bhatt quote from Eric Hobsbawm in his discussion “The Invention of Tradition.”

[26] Ibid.

[27] Peter G. Rowe and Seng Kuan, Architectural Encounters with Essence and Form in Modern China (Cambridge, MA; London, England: The MIT Press, 2002), 179.

[28] Ibid.

[29] Ibid.

Millowner Building in Ahmadabad

2011-08-30T01:29:00.000-07:00

Millowner Building in Ahmadabad by LE CORBUSIER

2011-08-30T00:42:00.001-07:00

To understand the Millowners Building at Ahmadabad, we must briefly take a step back into Le Corbusier’s mind and architectural devices which he developed since the 1920s.[1] Kenneth Frampton, a Brittish architect, believed that the primary motivation behind the Millowners Association building and other Indian works of the time begins with the Villa Baizeau projected for Carthage. Through an analysis of the Carthage, we unravel the architectural device of the parasol. The parasol theme was first touched on through literature in Le Corbusier’s Precisions of 1929, but realised in Carthage. The parasol with its flat slab top was conceived to manage cross-ventilation and sun control. Hence in Ahmadabad, where the weather consists of harsh summers and torrential monsoons, the parasol allows for both shade and shelter in an alfresco environment.[2]

Another source of antecedent Le Corbusier displayed was a Neo-Palladian principle which was initially brought forth in his self-published book on the subject of Une Maison - Un Palais - in 1927. This book explicitly displays Le Corbusier’s architectural thinking in regards to the relationship of Villa-laboratory investigations and large-scale problems.[3] Generally, “this principle argued that by virtue of honorific treatment a house may become a palace and conversely, that a palace may be graced with all the convenient informality of a house”[4]. The honorific qualities which is evident in the Millowner Association building is the “deportment and frontality of a palace”[5] such as it’s institutional presence about a double-story breeze hall entry; long access ramp; and the positioning of the clerical staff and restaurant on ground floor to establish a ‘palatial’ hierarchy[6]. Before moving on, it should be noted that the honorific ramp deserves a closer reading.

The device of the ramp is similar to that of Villa Garches of 1927 and Villa Savoye 1929.[7] The ramp for Millowner Association has been detailed so it becomes almost like an ornament. The length of the ramp allows visitors to ascend a story high arrive at the entry hall and evokes a grand approach and a start to the architectural promenade. To the left of the ramp, is a low concrete wall with a sloping top profile. This shape both permits for protection against falling off the ramp, water run off, makes a good butt-lock rest and also provides a sense of openness. On the right are massive handrails supported by thin rods seeming like elements which grow out of the concrete ramp. Together, they speak as a set of devices portraying heavy and light and of new modern materials.[8] In addition to that, like Villa Savoye where the ramp takes the voyager through a journey to the roof top terrace, this ramp deployed for the Millowner Association building also proceeds on and up to the roof-garden where there is the promised unobstructed views.

In addition to the Villa Savoye, the Millowner Association building takes on various concept which were investigated in the Maison Cook. This includes:

● the elevated piano noble on the second floor, for more private functions

● the partly open ground floor for service and circulation

● double floor height third and forth floors for public functions[9]

Dialectical oppositions was another concept constantly at play for the entire composition of Le Corbusier’s work in Ahmadabad. Twentieth century architects were obsessed with the opposites. For Le Corbusier, opposites were juxtaposed as a means of attaining a resolution of opposites to successfully preserve the identity of the building and it’s constituent parts. These opposites at times may be contradictory elements to manifest a kind of synthesis that brought together diverse cultures, historical context, environments, social-political issues and psychological forces in a manner which still enables theses factors to hold their individual identity.[10] Le Corbusier’s take on opposites includes: an elliptical meeting hall which evokes activeness set within a more passive orthogonal basic cube.[11] Furthermore, the elliptical nature of the meeting hall in plan further conflicts with its inverted parabolic parasol form in section.[12] Another area of conflict is the closed elliptical forms of the bar and cloak-room against the open sculptural form[13] of the dog-leg staircase.[14]

The sunbreakers also communicate a dialectical opposition. The vertical but diagonally slanted in-situ concrete brise-soleil on the western façade opposes with it horizontal appliquè sun screening (a form derived from the Curruchet House in 1949) on the Eastern façade.[15] Furthermore, these open facades contrasts against the north and south enclosing brick walls.[16] Similarly, the exterior shell of a concrete material, also juxtaposes against the stone-faced interior.[17]

The brises soleils once again appears as a major compositional element, and they seem to be badly oriented. Those on the north west side are angled to in a way where the sun will penetrate into the plan. However from analysing Le Corbusier’s initial drawings, it suggests that he had mistaken the sun-path diagram, hence made a fundamental error in the design of the Millowner Building, allowing for such unwanted sun penetration.[18] In saying this, there have been debates by some architectural critiques the angle direction of the brise soleils for the purpose of optimum wind flow. However these critques have only proposed this as a possibility as there have not been any drawings to support such claims. [19]

[1]GA page 2

[2]Kenneth Frampton. Le Corbusier. (London: Thames & Hudson, 2001), 194-195.

[3]Alexander Tzonis. Le Corbusier: The Poetics of Machine and Metaphor. (London: Thames & Hudson, 2001), 85.

[4]GA page 3

[5]Frampton, Le Corbusier,195

[6]Ibid.

[7]GA

[8]prasad page 302

[9]Ahmadabad sketches pg ...

[10] Reference required

[11]Frampton, Le Corbusier,197-198.

[12]GA 4

[13] Frampton, Le Corbusier, 198.

[14]GA5

[15]GA 5

[16] Need reference page 20 of scans

[17]GA 5

[18] Christopher Mackenzie, “Le Corbusier in the sun,” Architectural Review 104 (1993): 74.

[19] Ibid.

1;20 sections

2009-11-09T20:08:00.000-08:00

Berridale Artist in Residency Complex Models

2009-11-09T20:03:00.001-08:00

Berridale Artist in Residence Complex

2009-11-08T04:46:00.000-08:00

Charcoal drawn drape

2009-08-23T22:43:00.001-07:00

Charcoal drawing

2009-05-25T04:02:00.000-07:00

Watercolour works

2009-05-25T03:57:00.001-07:00

Final submission

2008-11-09T05:19:00.000-08:00

Exercise 3-update on the model

2008-10-17T08:53:00.000-07:00

The roof is now included, showing the outdoor space from the cafe, as well as skylights for the small and large gym hall

New entry point leading into the court yard adjacent to the reception/manager's office/staff room

Exercise 3 Model in Progress

2008-10-16T07:37:00.001-07:00

Upper level including the cafe space which also acts as a bridge between the Grandstand and the main Community Center

The Lower level, revealing the bathrooms and rub down room under the grandstand. On this level of the Community Center, there is the private space (staff room, office and manager's area) and public space (small and large gym hall). To the right, the box is also the area which is for the community kitchen and AV and service areas.

View from street scape. The middle section is elevation and supported by piers so that there is more open circulation and wider acess point to invite the residents into the area.

View from Coogee Oval.

The Grand stand, with the small multi purpose rooms above the sitting area and back open up to allow natural light to reach the spectators. Attached to the grandstand is the 'Floating Cafe'

Upon entering the building, we pass the administration area and onto the lobby area.

The lobby is connected to the small gym hall. Leading from the small gym hall to the large gym hall is a ceiling to floor high window to allow for natural light to diffuse through. Furthermore, there are steps for convenient circulation, not needing to always take the ramp.

Randwick logo is used as a window opening. Therefore from street level the people immediately recognizes the building as being part of COOGEE.

There are large curtain walls located on the facade of the large gym hall. On each glass wall (3) the glass is frosted with an image being a cricketer, footballer or of a community gathering. These images resemble the definition of Coogee and the purpose and history behind the establishment of Coogee oval.

Exercise 3- Plans Sections and Elevations

2008-10-16T05:33:00.000-07:00

Exercise two: An Edge Scale 1:20

2008-09-18T07:29:00.000-07:00

Exercice Two: SECTIONS & SECTIONAL PERSPECTIVES Scale1: 200

2008-09-16T22:05:00.001-07:00

Conceptual Model

2008-08-27T01:54:00.000-07:00

My idea is to have a new community center which would facilitate the interaction of the club members themselves as well as their interaction with the building. Each person is represented by a thread, and the threads intersecting represents the bonds, the interaction, the games and the challenges. A mixture of all theses by the people is what forms a community center. A building with no members is simply a purposeless building

MAPPING

2008-08-27T01:20:00.000-07:00

Insertion. the Coogee oval is a zone with many activities and hobby centres. The Proposed building should be a Community center which communicates and invites the members of theses existing clubs/areas as well as stand out as being an imortant building of its own right.

Materiality. The density of Vegetation as well as the type of vegetation is an important consideration. Coogee being a flooding zone and being close to the beach, therefore trees play an important role in managing the water. Trees can also affect people. They may block certain areas off and making it very private, or they may be spaced out well to provide adequate shade for bypassers to stop and watch a football game.

Reciprocity. The landscape of the proposed site is very sloped and in some respect, relatively steep. To manage this, the artificial landscape is composed of ramps, and steps. The infrastructures inserted into this landscape is done through padding, simply digging and inserting buildings into the ground or having a gradual increase in levels (such as grandstand).

Threshold. The water flows around the site is generally directed towards the oval. However it also follows the ramps and concrete islands on the ground.
Community. The Randwick Council slogan is 'A sense of community'. The most important aspect about Coogee is that there is a strong community culture which exists. The new proposed community center is suppose to ehance this atmosphere.

TRACING

2008-08-27T00:58:00.000-07:00

The contours of Cogee Bay area as well as the cross section of the landscape across coogee
Evidently, the site of the oval is like a basin.

Site plan of Coogee. The Red areas indicate the areas of hospitality and retail

The dots on this site plan indicates the existing vegetation. Evidently it is clustered towards the beach end of the oval. In saying this, there are some vegetation on the other end of the oval.

Project Three- Gallery Shop/ House Drawings

2008-06-15T21:20:00.001-07:00

Site Plan: 294 King Street, Newtown Sydney (Back street is Wilson Street)

Horizontal Section and Ground Floor Plan (Scale 1:100)

Vertical Sections and Second Level Floor Plan (Scale 1: 100)

Plan and Section of the sculpture room at a scale of 1: 50

Vignettes: From outside, walking in to see photographs, walking upstairs, walking upstairs towards sculpture gallery, walking other side of sculpture gallery, walking into the courtyard

Final Model

2008-06-15T21:17:00.003-07:00

There is a glass room at the back for viewing monumental sculptures that are two levels high. This room may be viewed from various angles and height to enrich the visitor's appreciation and experience of the sculpture. They may view it from below, from the balcony or enter the glass room and come right up close to the sculpture.

The courtyard is the open area above the sculpture room as well as the undercover room we come to when we go up the stairs and leave the sculpture room.

Sectional Model

As the visitors enter the room, they have already been directed to view the pictures. These pictures are mounted on white walls with the middle section removed. Hence they are left like floating in the air (in reality they are supported by clear rods which extends from the walls)

The glass front facade faces the northern light.

Project Three Design Experiment

2008-06-15T21:17:00.001-07:00

PICKING A SITE

Interesting aspects about this site:
The curved facade of neighbor
The contrast in height and surface material of neighbours
The existing building was a focal point because of it's height and because connects two different buildings together.

note:
The back street is a busy street, no an alley way
All windows are caged along the back. Therefore it may be wise to not have windows at all at the back facade.
The Post office does not extend all the way to the length of chosen building.
All the buildings have an awning

GENERATING A DESIGN

Design Phase: Sketchup was used to experiment with the circulation of rooms and designing the general shape and size of the rooms

The final model was intended to blend in with its surroundings. Therefore the front facade is simple and used general shapes. The height of the different levels was derived from the height of neighboring buildings.

The entrance: From the left, we can see that the wall is set in at an angle. This directs the visitors right into the shop. From the right, there is a glass facade revealing a sculpture on display. This was intended to inform visitors about what the owner sells, that is sculptures and photographs.

The front facade is mainly glass. This is because I wanted the building to be a sculpture itself. Using glass allows the building to become alive as we can then see people withing interact with the building within.

Project Three- Artists and Inspirations

2008-06-15T21:16:00.000-07:00

Sculptor 1: Clive Barker
These are relatively small sculptures made from chrome.

sculptor 2: Joself Havel
Havel creates monumental drapes which emphasis on motion.

Documentary Photographs: Robert Leon
The collection used for the Gallery is of La Ruta Maya. The vivid photographs dipict culture, lifestyle, religion and housing.

Other ideas:
The material of the building is made from concrete pannels. The reason for this selection is because it's lack of vividity allows for the texture, colour and shape of the art pieces to be emphasised.

Project Two Drawings

2008-06-15T21:13:00.001-07:00

Site Plan

This site of the buildings is on a slope with some vegetation and is about 5 minute from the nearby town.

Section

From the section we can examine the underground passage. The Puppeteer needs to descend down to this dark gloomy dungeon where there walls are essentially the earth. There is no light permitted so he would need to struggle. However as he approaches to the other end, the experience changes to one which is more delightful. There is a staircase to assist him ascend into the happy zone. Furthermore, the daylight shining into the happy area reaches right into the exit of the tunnel.

Elevation

Axonometric

Project Two Final Model

2008-06-15T21:07:00.002-07:00

Finalising Ideas

2008-06-15T21:07:00.001-07:00

The Music Lesson: Initially it appears to be a happy, love-filling and harmonious scene. However after closer examination, it appear as if the two lovers in the pictures are very stages, restricted and solemn.

The space which i have attempted to capture would have two rooms. The first is the solemn and sad space. Here a puppeteer (always putting on the 'act') is sad, and the room is very enclosing. He has windows, yet daylight is constantly blocked off and restricting his access to light. The only way to escape this place is via an underground tunnel.

The underground tunnel is the passage to enlightenment.

The tunnel then leads to a bubbly place. This area is where the puppeteer works and shares his wonderful creations with children who are always wait eagerly for his shows.

Project two- Room and Narrative

2008-06-15T21:04:00.000-07:00

The picture used to generate the design ideas and the narrative. It is called 'The Music Lesson' by Vermeer.

The narrative: The sorrowful puppeteer who only finds happiness when he is performing for his spectators.

Final Model Pictures Villa Savoye

2008-04-10T05:04:00.001-07:00

Final Parti and Poche diagrams

2008-04-10T05:03:00.001-07:00

PARTI

Structure: The main support for this house is the use of columns. However there are also some Structural walls on the second level.

Geometry: Platonic shapes was used to generate the general form of the building.

Program

Circulation: There are various paths to get around the Villa Savoye. However emphasis is placed on the ramp, which is placed exactly along the centre of the building and continues all the way to the top level.

POCHES
Poche 1

Poche 2

Model In Progress

2008-04-10T05:02:00.001-07:00

Tutorial 1

2008-03-12T05:48:00.000-07:00

Examples of Parti and Poche sketches

Exp3 Frap Images

2007-10-23T23:46:00.001-07:00

The meeting space brings togother two strong figures who strive for success. Hence the large area with no hidden rooms represents globalisation. The lift coming from above and leading into an outdoor area also emphasises on the idea of being in control and the top candidate.

This space is designed for Ratan. Both the space and texture work to create a sense of agressiveness and vengence, which is a reflection of the superior performance of his company.

This is Carlos Slim's office. It attempts to portray an area with continuous and sequential growth. It reflects on Slim's business approach of infusing money to make more money as well as purchasing various franchises (also dipicted by the use of repeating elements).

Exp3 filefront

2007-10-23T23:05:00.004-07:00

elevator animation

2007-10-23T23:05:00.003-07:00

draft model v2

2007-10-23T23:05:00.001-07:00

dining table animation

2007-10-23T23:03:00.000-07:00

Elevator on unreal

2007-10-02T18:56:00.000-07:00

Custom Textures

2007-10-02T18:43:00.000-07:00

scalar rotational

velocity bulge

diverge linear

2 point perspective

2007-10-02T18:42:00.002-07:00

one point perspective

2007-10-02T18:42:00.001-07:00

Momentous Influencial

Leader Dominating Foremost

Particular Coordinate Precise

Acquiring Authority Longevity

Major Prominent prerogative

Clients and related articles

2007-09-11T17:39:00.000-07:00

Ratan Tata

http://www.rediff.com/money/2005/jul/26tata.htm

{AN EXTRACT}

Two months ago, Ratan Naval Tata, 67, non-executive chairman of the Rs 79,000 crore (Rs 790 billion) Tata group was presiding over the annual group management meeting for 200 of his senior managers, including Tata Sons' directors.

This year's theme was the global story. And the punch line? Be bold; think big; lead, never follow.

With seven business sectors and an official list of 91 operating companies (a group insider put the total at 300), Tata still employs around 220,000 people. "We have too many companies and focus is necessary," says a senior Tata manager.

But what Tata has already done is hauled his heavy engineering-to-services conglomerate into newer businesses (telecom, passenger cars, retail, biotech); turned around and restructured flagships (Tata Steel, Tata Motors) that once operated in protected regimes; and shed some businesses that no longer fit into the corporate vision or failed to yield requisite results (Merind, Goodlass Nerolac, ACC, Lakm , Tomco).

The Tata group is going global with a vengeance and acquiring businesses as if there's no tomorrow -- half its 14 acquisitions were in the past year.

"The group is more aggressive today than it was a decade ago," says a merchant banker. Adds Ishaat Hussain, finance director, TSL, "There is a certain electricity in the group."

In fact, to hedge the cyclical nature of some of his flagships, and with growing competition in the domestic market, most of the Tata companies are going global. Apart from bagging orders from overseas, they are acquiring foreign companies.

"Globalisation is the way to go for us," Tata said recently. "A global footprint is very important for the group to remain competitive," adds J J Irani, the erstwhile managing director of Tata Steel.

So where does the group go from here? "We have a solid middle class that gives us longevity and staying power. Everybody is being challenged. We want to be a truly international company," says a Tata Sons director.

Zhang Yin

http://www.radio86.co.uk/explore-learn/business-china/2509/zhang-yin-building-a-business-empire-out-of-scrap

{AN EXTRACT}

She couldn't help but grab headlines, though, when in 2006, Huron Report named her China's richest person. With a fortune estimated at 27 billion yuan (2.6 billion euros), Zhang was the first woman to top the list.

She said the lack of material things taught her to appreciate the value of possessions, and adds that her parents had always encouraged their children to face life head-on and solve their problems independently.

Those wise words might have something to do with Zhang now being the world's richest self-made woman, richer than either American talk show host Oprah Winfrey or British author J.K. Rowling, who shot to fame with her Harry Potter series.

n 1990, Zhang and her husband Lai Ming-chung, a Taiwanese doctor who was raised in Brazil, moved to Pomona, California where they started a paper collection company out of their apartment. They would buy waste paper from garbage dumps, and send it back to China to be made into packaging for China's growing consumer-goods market. The company, American Chung Nam, Inc. (ACN), is now the biggest exporter of waste paper in the United States.

“How could a person become rich by recycling waste paper?”
- Zhang

In 1996, Zhang went back to the Pearl River Delta to set up Nine Dragons Paper. Two years later, she expanded her business into the production of cardboard, to satisfy the growing demand for packaging. Today, Nine Dragons is China's biggest manufacturer of cardboard with a clientele that includes multinational giants Sony, Nike and Coca-Cola.

The next step was opening the family business, Zhang, her husband and her brother Zhang Chingfei own 72 percent of the company, to an IPO (initial public offering). The stocks were offered on the Hong Kong market in 2006, and share prices rose by 40 percent on its first day of trading.

The company is planning to invest 593 million euros to double its capacity in 2009. The company is set to build a 2 billion yuan (193 million euros) plant in order to increase capacity to 800,000 tons of paper products annually, bringing the company closer to its goal of becoming the world's number one producer of packaging paper products.

Zhang also emphasizes, however, that she didn't make her fortune out of recycling paper. In an interview with her published by Women of China, she said, "How could a person become rich by recycling waste paper? In fact, what I have done in recent years is to translate recycling paper into paper manufacturing."

CARLOS SLIM

http://www.azcentral.com/arizonarepublic/news/articles/0530carlosslim0530.html

{AN EXTRACT}

MEXICO CITY - Carlos Slim Helú's business career began on the playground, trading baseball cards.

He would buy the adhesive-backed paper cards at a candy stand in downtown Mexico City, then make a meticulous record of each trade in a ledger notebook, carefully evaluating whether he had come out on top in deals with his peers.

By age 12, he had moved on to trading stocks and bonds. Before turning 30, he owned a soft-drink company and a stock brokerage. Now, at 67, Slim is the world's second-richest man and is closing quickly on Bill Gates, according to Forbes magazine's most recent rankings. Slim's business empire stretches from Mexico to the United States - it includes major stakes in companies such as CompUSA and Saks Fifth Avenue - yet most Americans have never heard of him.
advertisement

Slim accumulated his $53.1 billion fortune by collecting companies in much the same way he did baseball cards. He searches for businesses that are undervalued, infuses them with cash and uses the size of his holdings to overwhelm the competition. He now owns stakes in more than 220 businesses but says he has never forgotten the lessons of his youth.

From the minute many Mexicans are born - perhaps in one of Slim's Star Médica Hospitals - they begin putting money in his pocket.

"It's hard to live a day without buying one of his products," Sandra Morales, 31, said as she ate lunch in the Plaza Insurgentes shopping center - a property owned by Slim - in Mexico City. "He's so rich and powerful and in a country where there are so many poor."

A widower, Slim spends most of his time in a relatively modest, second-story office above a branch of his Inbursa Bank

Slim also adopted his father's penchant for profiting during crisis. During the 1980s, when Mexico's economy buckled under a debt crisis and other businessmen scrambled to get their money out of the country, Slim snapped up stock at fire-sale prices. He bought controlling stakes in the Sanborn's chain of restaurants and department stores, a tire company, hotels, paper mills and more.

Soon after, in 1990, Slim made one of his most controversial purchases.

The Mexican government was auctioning off several state-owned enterprises, including Teléfonos de México, the state-run telephone company, also known as Telmex. Slim and his partners, France Telecom and Southwestern Bell, beat two other groups of bidders. The consortium paid $1.76 billion for a 20 percent controlling stake.

Since then, the market value of Telmex stock has rocketed from $7.39 billion to $41.2 billion. The company owns about 90 percent of Mexico's phone lines.

In March, Slim pledged to inject $6 billion into his three charitable foundations - the Carso Foundation, the Telmex Foundation and the Condumex Foundation for History Studies - over the next four years, for a total endowment of $10 billion. He also plans a new building for his Soumaya Art Museum, named after his late wife, that is aimed at exposing disadvantaged Mexicans to European art.

But he says his most important pursuit is a new, for-profit venture called the Latin American Development and Employment Generator, or IDEAL for its acronym in Spanish. The company will build infrastructure projects - dams, hospitals, universities and toll roads - and, in many cases, operate them at a profit. Slim says such projects would create more jobs than charity projects undertaken by Gates and Buffett.

Final Model FileFront

2007-09-09T20:12:00.000-07:00

DM-Arch1102_Jenny_Tran

Final Model Images

2007-09-09T19:51:00.000-07:00

The meeting area here is abstract and relatively small compared to the space in the wall. Hence it leads the player to feel detached and have missed opportunities and as a consequence of this attitude, it lead to nowhere,

This monumental space highlights the idea that as individual we are weak and are often confronted by challenges. However this passage proceeds to a new area of vast openness

The repetition of the texture and space shape reinforces the idea that at times we can travel from beginning to the end, but not necessarily grow from our experiences.

36 Custom Textures

2007-09-09T07:11:00.001-07:00

Electroliquid Aggregation

2007-09-09T06:59:00.000-07:00

Charles Darwin
An American monkey, after getting drunk on brandy, would never touch it again, and thus is much wiser than most men.

Florence Nightingale
I never lose an opportunity of urging a practical beginning, however small, for it is wonderful how often the mustard-seed germinates and roots itself

My Quote
A drunk American urging his wise monkey to drink brandy loses his opportunity to see the mustard seed root itself.

9 axonometrics

2007-09-09T06:37:00.001-07:00

Rectangular Prisms and Clients

2007-09-09T06:21:00.000-07:00

Draft Model File Front Link

2007-09-09T06:20:00.000-07:00

http://files.filefront.com/Draft_model.ut2/;8518257;/fileinfo.html" title="Draft_model.ut2">Draft_model.ut2

Draft Model Picture

2007-09-09T06:19:00.000-07:00

Practice Unreal modeling spaces

2007-08-28T18:41:00.000-07:00

Unreal model 1

Unreal Model 2

Week5 - Quotes

2007-08-21T18:35:00.000-07:00

Stephen Hawking
We are just an advanced breed of monkeys on a minor planet of a very average star. But we can understand the Universe. That makes us something very special.

Charles Darwin
An American monkey, after getting drunk on brandy, would never touch it again, and thus is much wiser than most men.

Florence Nightingale
I never lose an opportunity of urging a practical beginning, however small, for it is wonderful how often the mustard-seed germinates and roots itself

http://www.famous-quotes-and-quotations.com/florence_nightingale.html
http://www.quotationspage.com/quotes/Stephen_Hawking/
http://www.brainyquote.com/quotes/quotes/c/charlesdar390121.html

Final Model

2007-08-19T13:44:00.000-07:00

EXP 1 DATUM: Google 3D warehouse

2007-08-19T13:41:00.000-07:00

http://sketchup.google.com/3dwarehouse/details?mid=f9c48ac46e7205d33e027c0a065124c1

Animations EXP1

2007-08-19T13:38:00.000-07:00

18 Sketch Sections

2007-08-19T12:45:00.001-07:00

Model Two (Draft two) with texture

2007-08-14T19:06:00.002-07:00

36 Custom Textures

2007-08-14T08:02:00.001-07:00

Draft Model and Planning process

2007-08-07T18:10:00.000-07:00

Model One on Sketch Up [ unscrupulous / feminine ]

2007-07-31T06:05:00.000-07:00

2007-07-24T04:38:00.000-07:00

Patricia Piccinini

UNSCRUPULOUS YODA-LIKE SLUMP

Leonard Da Vinci
CONVEYANCE PNEUMATIC GLISSADE

Marcel Duchamp

MOCK FEMININE DYNAMICS

Picture of Interior

FUNCTIONALISM NATURAL CHANGING