A series of manipulation from derìve leading through section into floor plan for ARCHDRC202 (Architectural Media.)
Axonometrics for ARCHDRC202 (Architectural Media.)
Sections for ARCHDRC202 (Architectural Media.)
Physical and digital model manipulations for ARCHDRC202 (Architectural Media.)
Plans for ARCHDRC202 (Architectural Media.)
We now know that 24 hours without sleep, or a week of sleeping four or five hours a night induces an impairment equivalent to a blood alcohol level of .1 percent. We would never say, ‘This person is a great worker! He’s drunk all the time!’ yet we continue to celebrate people who sacrifice sleep for work.
Insights from the doctor who coaches athletes on sleep. Pair with the science of what actually happens while you sleep and how it affects your every waking hour.
Installing Kerkythea on Mac
Some followers are having trouble getting Kerkythea to run on their Macs. Here is a tutorial I made to hopefully help you all:
Kerkythea is an X11-based application, which means that it is necessary to have a file named X11 installed on your Macintosh in order to run Kerkythea. X11 is installed by default on Mac OS X 10.5 (Leopard), but you will need to install it yourself if are running on Mac OS X 10.4 (Tiger).
Download Kerkythea and the SketchUp Plugin HERE.
After downloading the installer for Kerkythea2008.dmg, you’ll run Kerkythea2008.pkg (which is the actual installer) and after the installation there will be a Kerkythea folder in your applications folder.
Downloading the SketchUp Plugin will give you a folder called su2kt3_05, inside this folder is a file names su2kt.rb and a folder named su2kt. You’re going to place these two items in your sketchup plugins folder: Macintosh HD/library/application support/VERSION OF SKETCHUP YOU HAVE/SketchUp/plugins
(note: the ‘VERSION OF SKETCHUP YOU HAVE’ is a place holder for which ever version is currently installed on your mac)
There is also a folder called KT lights, you’re going to place that in the SketchUp components folder: Macintosh HD/library/application support/VERSION OF SKETCHUP YOU HAVE/SketchUp/components
Launch SketchUp and review that the Kerekythea Plugin installed correctly!
Again, X11 should launch automatically when you export from SketchUp while opening Kerkythea. If you’re still having trouble it probably has something to do with X11. Make sure this is either already on your Mac or properly installed.
For those that use it :) It’s how I do all of my renderings and stuff.
We’ve been given some readings by the awful Vidler on the theme of the uncanny and domesticity. We have to produce two images based on what we’ve read.
The first comes from two places: the first a discussion of the home as a human body and how it reflects one, and how it creates discomfort or a new body as it changes from its traditional structure. Also it discusses the façade as the “face” of the building - the part which communicates the body’s soul to the observer. I used SketchUp for the base model, Illustrator for linework, and Photoshop for colouring.
The second is just trying to recreate the feeling of the uncanny, or the unheimlich (that prickly feeling of something just being a bit off) visually. SketchUp model rendered in Kerkythea with Photoshop post-processing.
Design 3 has commenced!
I got my first choice, Home-Making. The theme for Design 3 is domestic, and this one focuses on materials and atmosphere. Ultimately, I will design three houses: one brick, one concrete, one timber; for a bush site, an urban site, and a waterside site. One of the designs will be developed into my final presentation at the end of the semester.
Final renderings. Done with Kerkythea and Photoshop.
Final pinup, digital version. Click here for large version.
Description (the text in the top right):
This project began with a derìve along Karangahape Road. In it, what drew my attention was the ‘hidden’ spaces behind the main façade of the city - breaks in the smoothness of the shops and fake granite pavements. The spaces behind the buildings seem hidden, but are in fact not. They are perfectly accessible, and everybody knows they are there. We just have no reason to go there. There are no shops, no seats, nowhere to get a cup of coffee; and we’re taught it’s not safe. So through lack of use the spaces become hidden and a secret, and the act of venturing into them is a journey for the brave.
I want to break this. I created a ‘hidden’ space that rewarded people for exploring it. I wanted a space that would fit the definition of the undesirable places behind the buildings. It had to be heavy, grungy concrete; the wood had to be faded and cracked and dirty; it had to be dank and unkempt and underground. Yet it also had to be bright and smooth; and funnel people into its depths; and reward them for their journey; and give them a reason to stay.
As such, I’ve created an underground café, comprised of heavy concrete blocks, shafts and stripes of light, and floating, luminescent fabric. The fabric begins on the top of the extractor fan column, which is outside of the main building on the street, and sweeps into the space. Another piece sweeps downwards, into the ‘hidden’ area. The rest is placed to create partial barriers around the space, and to catch the light from either the daylighting shafts or the glowing sections of wall. The access routes and circulation spaces are sunken down half a metre - enough to funnel people through, but not enough to prevent them leaving on their own journey if they want to. Their sides are plated in chrome, to reflect and funnel the light through the space. It also gives a certain ‘colour-coding’ to the circulation space, inspired by Foster’s Pompidou Centre. The three service areas - the staircase, the café service area, and the kitchen’s extractor fan - are colour coded by daylighting shafts. Another precedent was Kahn’s Salk Institute. Its heavy concrete seems to hang around the user, whilst the warm lighting and timber infiltrate and soften the space.
The chairs and tables of the café are simply wood-topped concrete blocks. The idea of the blocks comes from when I was experimenting with occupying others’ space, toying with the idea of simply extruding sections of concrete based on where cracks naturally lay in the space once I found it. This, however, was not practical, and thus evolved into semi-irregular blocks of differing size and height. To add purpose to different areas of the space, the blocks have cuts in them with storage space. The storage space contains either books, cushions or boxes, for study areas, lounging areas and eating areas, respectively.