- WEEK 07 -

01

B R I D G E  P R E C E D E N T S

PRECEDENT NO. 1

Pedestrian Bridge 

(Student Visualisation by Mohamed Elbangy)

Location: Zamalek and Mohandeseen Districts, Cairo, Egypt

Student: Mohamed Elbangy

University: British University in Egypt – Cairo

Year: 2015

Features: 

• Multi-levelled - one for cyclists and another for pedestrians; both levels are connected by a theatre area
• Curves and fluid lines - imply movement in the architectural space that mimics the movement of water below the bridge
• Dynamic - moveable shading system for theatre
• Activities - design allows for public performances on theatre zone, and a small restaurant with views of the Nile
• Interactive - responsive kinetic shell has interactive lighting system based on pedestrian motion

PRECEDENT NO. 2

 Rehabilitation San Berillo Master Plan 

(Renders by Cristian Chierici)

Location: San Berillo in Catania, Sicilly

Architect: Mario Cucinella Architects

Year: Proposed in 2012

Features/Notes: 

• Rehabilitation project 
• Multiple uses
• Main functions include residential spaces and shopping - takes on a bridge-like form, with a long multi-levelled pedestrian strip that spans across San Berillo
• Focuses on sustainability - integrates trees and greenery within the structure's interior space by creating circular voids    
• Form appears fluid - its shape is primarily composed of curved, flowing lines and shapes 

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02

M A S S  E L E M E N T S

BELOW: Screenshots of initial circulation cross model from SketchUp with added mass elements

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03

L U M I O N  R E N D E R 

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04

 P E R S P E C T I V E  D R A W I N G S

Circulation Cross Model

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05

T H E O R Y

  

It is through flexible and fluid movement integrated in architectural spaces that allows interconnected relationships to form between art, culture and the built environment.

A R T I C L E

Baldwin, Eric. "Terra Australis: Australia's New Cultural Projects Down Under". ArchDaily, 2020. https://www.archdaily.com/934654/terra-australis-australias-new-cultural-projects-down-under/ .

K E Y  W O R D S

flexible

fluid

interconnected

relationships

art

- WEEK 05 -

01 
 C I R C U L A T I O N  C R O S S

BELOW: Screenshots from SketchUp cross model indicating pedestrian movements from central Squarehouse building. (Sketch Styles applied to model)

Perspective: West View

Perspective: North-west View

Perspective: North-east View

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0 2
L U M I O N  R E N D E R

The 'arms' of the cross connect the the prospecting building from the central point in the Squarehouse to the NIDA, Roundhouse, Blockhouse and the Science and Engineering Building.

BELOW: Lumion renders of circulation cross.

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BELOW: Top views from SketchUp depicting circulation cross model with urban context (UNSW Lower Campus). 

- WEEK 04 -

VIEW MODEL HERE: 
https://app.sketchup.com/viewer/3dw?WarehouseModelId=719ad58d-3162-44e5-9750-eeaf16cdab71

             P E R S P E C T I V E   I M A G E S

TOP: derivative

BOTTOM: entrap

          S E C T I O N A L   P E R S P E C T I V E S

               I N S P I R E D   S E C T I O N

section no. 9 - derivative / scale

(adapted later to form the final scheme, keeping the derivative-inspired circular form from section drawing 9 and combining it with the word 'entrap' for the bottom level, which was incorporated in part 1 of Experiment 1 (rib-cage staircase).

                 P R E C E D E N T   S T U D Y

My final scheme was highly inspired by both the simple crescent shape and the generous scenic views offered by the Crescent House.

Above: Crescent House

https://www.makearchitects.com/projects/crescent-house/

Lina Bo Bardi's Casa de Vidro (glass house) also inspired the concept of connecting the natural exterior landscape to the interior of the building, which like the Crescent House, was achieved by the excessive use of large glass panes. Casa de Vidro also inspired the use of a void within the structure to allow the appearance of a tree growing 'through' the building to further illustrate this balance between the natural outdoors and the urban interior. 

                                                          Above: Casa de Vidro by Lina Bo Bardi

I was also inspired by the clients Mountain and Moon (top level) and Trent Jansen Studio (bottom level). The words 'derivative' and 'entrap' especially governed the way in which each space is designed above, below and on the datum. 
The entire floor plan is composed of three main sections (categorised by each level) which are each 'derived' from the same crescent shape that resonates Mountain and Moon's branding image. The second stair design connecting the ground level to the first level into Mountain and Moon's studio is also derived from the same crescent shape, which appears to float around the curved inner surface of the ground level. Its lightness and delicateness (conveyed by my textures 'aerosol' and 'fluids') intends to create an ethereal experience that mimics the works of the client, Mountain and Moon, as they walk to their studio.
The crescent on the bottom floor is partially submerged into the terrain, which furthers the notion of entrapment first raised by the ribcage stair design. 
For all three spaces above, below and along the datum, large glass walls were incorporated generously in connecting the built environment with the land upon which it is situated on. For Trent Jansen Studio, such a design choice physically places the client close to his conceptual artmaking, which is based on the deep connection with the Australian land and heritage. For Mountain and Moon, a local Western Australian business, this also allows the client to appreciate and embrace their local and sustainable efforts.

- WEEK 03 -

                    3 6   T E X T U R E S

                  

                   C L I E N T S   W O R K

 Above: Mountain and Moon - Jewellery

 Above: Trent Jansen Studio - Furniture

           M O D E L   W I T H   T E X T U R E S

Chosen textures:

S H O R T   V I D E O

- WEEK 02 -

  C O N C E P T   S T A I R   M O D E L

C O N T E X T

Client: TRENT JANSEN STUDIO

Location: Underground Studio to Ground Level

Reference Section Sketch (Scheme 1)

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S T A I R   S E C T I O N   S K E T C H E S

I N I T I A L   I D E A S  /  P L A N N I N G

F I N A L   D E S I G N

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S K E T C H U P   M O D E L   I M A G E S

The user’s experience is inspired by the word ‘entrap’. Curved wooden frames attached to each tread acts structurally as a contemporary balustrade, and conceptually as forming the ‘ribcage’ of Australia’s delicate Indigenous identity. The stairs carry the user eerily through the ‘ribcage’ and into the heart of the client's physical workspace, which materially echoes an intimate love for Australia’s heritage. 

South Elevation

The irregular 'rib cage' utilises space to fulfill two functions: The smaller, caged staircase on the left is designed for individual user access between the two floors, while the one on the right is intended for >2 people to transport the client's furniture pieces.

South Elevation (Close-up Perspective)

Each tread alternates from natural timber to glass flooring panels, which creates the illusion of 'gaps'. This highlights contemporary Australia's state of ambivalence towards indigenous Australian culture. Glass panels also acts as a form of sky light that filters through light from the above level.

East Elevation

Steel support frames underneath treads allows room for storage space of Trent Jansen's finished furniture pieces and/or raw materials.

Two Point Perspective

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