Public real

 I like the idea of a solid walk thru space such as in the sweaterlodge pavillion with a central open space in the centre. The idea that the public could walk through the space and have acess to a range of KITS while not having to penetrate the actual building. the space could function as a museum / research/gathering space on a very casual level - the functions would be supported through technology therefore the space would be shaped by its users and act as  aflexible space.

THE ROOFLESS GARDEN: THE CANOPY

THE ROOFLESS GARDEN: THE CANOPY

The canopy as an architectural element is the structure that covers the archaeological site. However, more than a roof it becomes a structure that gives the means to the user to engage with the process of familiarizing with the historical site and inhabiting it. The site becomes a ‘garden’ of pleasures: the pleasure of investigating history and its manifestations.

This idea represents the idea i wish to emulate ... the idea of the canopy acting as more than a canopy but also allowing people to engage with the site and inhabiting it. To be able to engage with the canopy, in thaqt the canopy facilitates the KITS.

Australian identity ...revisited

I am struggling to bring Australian identity into the design so i have revisited Australian icons and iconic ideas  for some inspiration.


WHY DO AUSTRALIANS HOLD such disparate things so dear? Fly spray...Vegemite...A hat made from rabbits? A backyard washing line that does double duty as a frame for kids' cubbyhouses, or a vagabond who carries his bed on his back? An annual race of thoroughbred horses? Of course, we love the country's awe-inspiring beauty but we also have a sneaking regard for her terror - the "wilful, lavish land" of the poet Dorothea Mackellar, who reminds us that "for flood and fire and famine, she pays us back threefold".

Of course, we've had to work for it - whether shearer or drover - and even lay our lives down for a nation so blessed it could almost take freedom for granted. The digger and his wife, kids and mates is the icon celebrated on our most sacred day, Anzac Day. Our icons are as true blue and fair dinkum as Australia itself.


The windmill

Australian bark tree

Wattle

Aboriginal art

I like above abstract pattern it also reminds me of the square model i made earlier and the idea of connection


This pattern also reminded me of nurons- an aboriginal abstraction of distribution

Expanding & contracting tessellation - canopy model

This model attempted to address the idea of tessellation and the ability of expansion and contraction. I would like to push the idea of the intergration of technology within it a bit more and aslo the idea of an iconic identity.

Origami Lungc ----- Canopy movement

Image 3 (The Emperor’s Origami Lungs): The Emperor’s lungs come alive through differing gestures and surface transformations based on geometrical tessellations adopted from origami crease patterns. The lungs imitate the motion of breathing through expansion and contraction creating a bellowing volume that allows the Emperor to project his emotions both visually and audibly. They rise and fall, creating a bobbing motion, which produces a rippling affect onto the surrounding skin. The severity of these ripples will depend on the anger of the Emperor, and can cause the newly knitted areas of skin to become loose and break, stopping the Princess from ever reaching the cow herder.


I came across this post and it really resonated the idea i had in my mind of the idea that the canopy could expand and contract as required by users ... how i may accomplish this still needs further investigation.

Archetectural Tessellation Models

With some help from a friend who is rather tallented at oregami we mocked up some playful ideas of tessellation and oregami to get some ideas for the form of the canopy.

At this stage i need to link the form more to the principals of KITS and how it will be distributed and aslo consider how the form could represent australia in terms of national identity.

Architectural Tessellation

Below is a post of some research to further the ideas of connection - in the form of tessellation  - more specifically architectural tessellation. The idea as a connopy ...with the possibility of mophing movement that adapts to the spaces required and also provides connection to facilitate the information hyway.

This morning we found, through a tweet from our friend @digitag the work of Ron Resch, a visionary mathematician and designer who was one of first to explore the architectural potential of 3D tessellated structures in the 1960’s and 70’s. His work around paper tessellation is amazing and we can find his influence in the current works of Chris Bosse, FOA and many other architects that design with digital tools and parametric architectural forms.

Resch writes about his own “training”: “I went to the University of Iowa, Iowa City on a scholarship for my sculpture. I did 4 years undergraduate and 4 years graduate work in the Art Department; graduating with a MFA in art and design in 1966. “The Ron Resch Paper and Stick Film” is my thesis submission. Along the way I have done a number of art shows, and museum exhibitions, and intend to do some more. — I think this qualifies me as “trained in art”.


In 1970, Resch produced a computer animated film of a flight through a proposed architectural structure of my design. The design was an example of his geometric development of “the Space Curve as a Folded Edge”. The method of making the animated film turned out to be of historic importance.
20 years after the production of this animation he was call as an expert witness in “Ampex v. Abekas” –(a patent infringement case between ADO Ampex the plaintiff and Abekas as defendant). The defense legal research team of Hopkins and Carley determined that he was the first person ever to demonstrate computer assisted “key frame animation” [a drawing that defines the starting and ending points of any smooth transition.] with the “Betweening” being done by cubic spline interpolation.


His credits include patents for “self-supporting structural units” using tessellation techniques, as well as “geometric designs” (structures for spaceships) for Star Trek: The Motion Picture (1979).
The best way to describe it and to finish this post is a quote taken from Generator.X: “Buckminster Fuller’s geodesic domes are probably better known, but Resch’s ideas of folding structures open the door for more geometric wonders.“