Wednesday, 20 June 2012

EXP 3 - Final Submission - Links

Crysis Environment:  http://www.gamefront.com/files/21872292/ARCH1101_Attley01.zip

SketchUp Model: http://sketchup.google.com/3dwarehouse/details?mid=dbfdd5dd50d608f5b0dd2c9b7de2a185&prevstart=0
(including two elevators and dining table)



*** Please note that you may have to click 'Older Posts' at the bottom of the blog page to see all relevant posts for the final submission ***

EXP 3 - Final Crysis Environment

Dawn

Day time
Afternoon

Dusk
Night

EXP 3 - Draft Crysis Environment + Elevators

Basic textures of the environment
Google SketchUp model positioned in the environment
Experimenting with vegetation and importing the Google SketchUp model
Experimenting with a river/marsh system


Elevators






A quick video of riding the Coca Cola elevator
View from the top of the Coca Cola elevator

View from the valley floor in the Facebook elevator
View from the ascending Coca Cola elevator


Tuesday, 19 June 2012

EXP 3 - SketchUp Models

Coca Cola and Facebook
The Nature of Power


Concept

"Let not thy will roar, when thy power can but whisper"
- Dr. Thomas Fuller


The two companies, Coca Cola and Facebook, rely on the more subtle "whisper" of power through influence, such as from their advertisement and media presence. Whether it is the well-established image of Coca Cola or the prominent social platform of Facebook, the power does not originate from a "roar" of aggressive power, but rather through captivating society with more than a product. For example, Coca Cola represents an attitude or feeling, using age-specific advertising and advertising platforms to communicate to its particular audience. Facebook's increasing popularity in itself is a passive power play, as peer pressure within groups of society generates interest and more new users.

Representation of Power 

Facebook Headquarters: Most notably, the headquarters are small in size to the neighbouring Coca Cola headquarters. This conveys the unstable and unestablished dominance of Facebook over the well-established power of Coca Cola. The interior is mostly open plan, allowing for the collaborative business communication that operates in the constant development of the company. As represented by the large Facebook logo, a GreenPix Media Facade, as design by Simone Giostra & Partners, emphasises the virtual and advertisement based influence of the company. Made from an integrated system of laminated glazing, photovoltaic cells and low-resolution LED lighting, the GreenPix Media Facade provides sun shading and generates renewable energy through the solar cells. 
Similarly, the elevator is understated, relying on its thick construction to communicate a sense of permanence and presence. 

Example: existing Facebook Headquarters
             
                  Google SketchUp model showing the bridge and headquarters
Elevator for the Facebook Headquarters



Coca Cola Headquarters:  As mentioned, these headquarters are elevate above the bridge and Facebook Headquarters, suggesting superiority and seniority. To enter the headquarters, you have ascend upwards from the bridge, alluding to the traditional architectural feature of elevating important buildings on a platform or series of stairs.  The strong and grand in scale architecture of the headquarters reflects the stability of Coca Cola's unquestionable power. Similarly, the billboard-like positioning of the splatter Coca Cola logo reflects the company's advertising roots, allowing the viewer to instantly recognise its image, a simple "whisper" of its power. 
This image focus is also reflected in the elevator for the headquarters. The large glass cube ascends and descends allowing the passenger to enjoy the beauty of the surrounding valley while also encouraging a surrounding viewer to look in. 
Example: existing Coca Cola Headquarters
   
Context and entrance of the Coca Cola Headquarters

Coca Cola Elevator

Dining Table: As a space separate to the business sphere of the above headquarters, the dining table and casual meeting place for workers encourages a balance of power and an egalitarian opportunity for all to enjoy the peace of the surrounding valley. The square table arrangement encourages people to share the space and avoids a 'head of the table'. Conversations can be shared across and around the dining table. Ample table space means that eating and informal work can occur simultaneously. 


Tuesday, 29 May 2012

EXP 3 - Valley

Valley of Lairig Gartain, in Glencoe, Scotland
Experimenting to translate this valley into CryEngine

EXP 3 - Article MashUp


In a world shaped by globalisation, it is the successful companies that now have power in an increasing number of aspects in our lives. This sense of power restricts individual choice, abuses the power of social connection, and proves to thrive in spite of a bleak employment outlook and a downward trend in household income. For example, Coca-Cola Company, even has political influence due to it’s economic power. When the Grand Canyon National Park made moves to ban plastic bottles, after meeting with the Coca-Cola Company, which has donated more than $13 million to the National Park Foundation (NPF), the plan has now suddenly and mysteriously been scrapped. This level of power raises ethical issues surrounding the idea of being influenced unduly by business. Even in the virtual world of the Internet, the power of companies determine what sites are worth a visit. According to analysis firm Compete, Facebook is now the top source of traffic to entertainment and news portals, besting even the ubiquitous Google. Facebook is growing (currently it claims 400 million active members), as is its influence on Web traffic patterns. Similarly, our choices of entertainment are influenced by a companies power. Take Two Interactive is still growing, even under the burden of an unstable economy. It’s net revenue for 2011 was $1.14 billion, up 49% from the previous year. With this in mind, it enters 2012 in a position of power. With these companies demonstrating the contemporary conception of power, one may question the limits of power and what that power holds over the global population. 
“Coca-Cola influences Grand Canyon officials to scrap plastic bottle ban”, Natural News, accessed May 13th 2012, http://www.naturalnews.com/034124_plastic_bottles_Grand_Canyon.html
“Facebook Tops Google in Directing Web Traffic”, Inc., accessed May 13th 2012, http://www.inc.com/news/articles/2010/02/facebook-tops-in-directing-web-traffic.html
“Take Two Interactive has a Sweet Quarter”, Technorati, accessed May 13th 2012, http://technorati.com/entertainment/gaming/article/take-two-interactive-has-a-sweet/ 

Sunday, 6 May 2012

Crysis Environment Link

Link:

http://www.gamefront.com/files/21661887/Levels+%282%29.zip

Final Crysis Environment

Location: Protected by moutainous geography, the monument stands in meadow, accessible by three streams, representing the three types of occupants (architecture, engineering and architectural computing students).




The two concepts of 'platform' and 'YES is more' become an electroliquid agglomeration within the monument. The landscape, acting as an Utzon-esque platform and homage to BIG Architects pavilion, continues the seamless integration between the two differing concepts.




Meeting Space: Capturing the coastal views, the meeting space is open, following a loose fit design principle. In this way, the three fields of students can utilise the area as necessary. Like the Sydney Opera House, the platform has a secondary function of acting as broad, casual seating.


Differing Times of the Day:

 

 



Saturday, 5 May 2012

Final Google SketchUp Model and Link

Link: 
http://sketchup.google.com/3dwarehouse/detailsmid=20873ae23f7495fa52d6f83f4f3cf025&result=4





 

Revised SketchUp Model


Central Meeting Space - Much like Utzon's Sydney Opera House platform, the central meeting space relies on the secondary function of the platform to form a place to sit and a open central forum for the engineers, architects and architectural computing groups to utilise. 







Materials 
1. Dark Texture: To emphasise the 'YES is more' nature of this electroliquid aggregation of concepts, the darker texture has been applied to the strong vertical structural elements of the monument.
2. Medium Texture: As a homage to Utzon's patterned tiles on the sails of the Sydney Opera House, this pattern has been used on the roof and interior ceiling.

3. Light Texture: To subtly highlight the foundational nature of the platform, this simple and light texture has been applied to the exposed surface of the largest platform.