T O N I A Y A U

The final Lumion model successfully bridges buildings in

the surrounding UNSW urban environment as well as adhering

to the proposed theory "The splitting and discontinuity of

opaque structures blurs the line between social and private areas.

This entices a sense of surrealism as perforated barriers begin to create labyrinthine spaces."

LINK TO ACCESS FILE:

https://www.dropbox.com/s/nw5jiqvc9uvunij/YAU_Tung_Tonia_Final%20Lumion%20Environment_Experiment%20Three%20Studio.ls7?dl=0

REAL TIME IMAGE CAPTURES OF FINAL LUMION ENVIRONMENT

Aerial view of the south facade. The moving element of Vertical Louvres can be seen. The adjustable shading accentuates the idea of blurring the lines between public and private.

Each floor extends outwards towards the posterior of the building, visually creating a 'sliced' effect. This is inspired by Gordon Matta-Clark's philosophy of discontinuity and splitting structures.

There is a striking contrast between the red and white plaster exterior. This was inspired by Oscar Niemeyer's buildings as well as retro style furniture. I think it is important for a building housing design students to have a creative and open-minded aesthetic not only to express the building's purpose but to have a psychological effect on the people it facilitates.

Glass is used at the entrance and entire front facade so that people can see and become interested in the works inside the first-floor gallery. It is also used to balance out the heavy visual opacity of the white plaster applied to the rest of the building's exterior.

The bridge from Blockhouse leads to the studios making it easy for students to get to tutorials from the main walkway. The bridges are connected to the extruded first floor which wraps around the building like a parasite.

The bridge from Squarehouse leads to the workshop and studio making it easy for students to transfer materials from workshop to workshop.

The centralised circular gallery on the ground floor allows a major work to be displayed in the middle. Other works are displayed in symmetrical concave bays. This creates a labyrinthe space that people can weave through and experience an exhibition. The moving element that can be seen here is the rotating gallery boundary that acts as a sliding door/barrier. This also connotes to the idea of discontinuity expressed in my theory. The 'labyrinth' texture is used on the boundary.

One of the three studio rooms available on the first floor. The glazing creates a serene working environment. The 'rotational' texture is used as a feature wall.

Male bathrooms on the first floor.

Computer Lab adjacent to the workshop on the first floor.

Workshop with laser cutters, disk sanders, band saws, and 3D printers.

Lecture Hall on the second floor.

Library on the third floor.

Working areas in the library.

Another 'rotational' texture is used as a feature wall in the library.

Student meeting room adjacent to the library.

Skylight on the top floor.

Academic and administrative offices and research space on the top floor.

Meeting room for staff adjacent to office spaces.

VERTICAL LOUVRES

Since the frontal facade of the building is fully glazed,

I decided to place a set of adjustable louvres near the

entrance to:

1. Block out glare from the sun entering the gallery

2. Create a perforated barrier and allow the building to either seem introverted or welcoming. This is related to my theory of blurring the lines between private and public.

ROTATING GALLERY BOUNDARY

The rotating boundary around the centralised gallery connotes to the idea of discontinuity mentioned in my theory and also the attempt of creating a 'Labyrinthe' like space within the building. The general shape of the Gallery and its boundary is inspired by the Greek Minotaur Labyrinth of Crete.