<?xml version="1.0" encoding="UTF-8"?>
<rss xmlns:dc="http://purl.org/dc/elements/1.1/" version="2.0">
<channel>
<title>DESA1002 – 2008</title>
<link>https://hdl.handle.net/2123/3633</link>
<description/>
<pubDate>Sun, 07 Jun 2026 22:30:47 GMT</pubDate>
<dc:date>2026-06-07T22:30:47Z</dc:date>
<item>
<title>DESA1002 'Nine Quarter City' - &lt;Hee Jung Yoon&gt;</title>
<link>https://hdl.handle.net/2123/3806</link>
<description>DESA1002 'Nine Quarter City' - &lt;Hee Jung Yoon&gt;
YOON, HEE JUNG
This commercial and residential building is placed along the Nakamise Street, Asakusa, Tokyo, Japan. One of this building's specialised functions is that each level has roof top garden in order to provide a hint of nature and a place for rest in the middle of the busy city. Also, providing light effect and open space between each level is to attract people from any direction. besides, spectacular view can be enjoyed at any level due to the height of the building.
</description>
<pubDate>Wed, 12 Nov 2008 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/3806</guid>
<dc:date>2008-11-12T00:00:00Z</dc:date>
</item>
<item>
<title>DESA1002 'Nine Quarter City' - &lt;Yu Long Li&gt;</title>
<link>https://hdl.handle.net/2123/3886</link>
<description>DESA1002 'Nine Quarter City' - &lt;Yu Long Li&gt;
Li, Yu Long
Entertainment center, a project for the children to play at Madrid, in the Spain. This building has four floors, which include the half floor on the ground floor. The first three floors are play space for children; on the top floor, it is rest room/ waiting room for parents who are take their children come to this place. The shape of this building is regular rectangle, which chooses from my original site plan; two sides are facing to street, others are next to the other buildings. So I decide use all glass windows to decorate my building, it will bring the good light to inside of space. There are ramps connected each floor in the building, which is beside window glass, also there is lift near the entrance.  The concept of Entertainment center is give children new inspiration when children were play; this is like we take outside playground into the inside of building, also standing in the modern city. The important thing is make children enjoy this space, and never fell boring. This building is more empty than others, because I want to give children more space they can play. Each floor have their own function, like ground floor has a half separate floor, which is hang up by second floor; second floor has different small space cut by walls, make likes room, but not. The combination of lights and voids are major thing in this project; sunlight come to building are dramatically effect. Also the circulation connected each floor is another important part. In this Entertainment center, the parents could also have a good time in there, the big glass view and nice coffee will let people have wonderful time. On the top floor, there is coffee bar in there, parents can seat next to the big glass window to wait their children, or just have a rest.
</description>
<pubDate>Tue, 18 Nov 2008 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/3886</guid>
<dc:date>2008-11-18T00:00:00Z</dc:date>
</item>
<item>
<title>DESA1002 'Nine Quarter City' - &lt;Andrew Whiteman&gt;</title>
<link>https://hdl.handle.net/2123/5468</link>
<description>DESA1002 'Nine Quarter City' - &lt;Andrew Whiteman&gt;
Whiteman, Andrew
Youth Center for Venice
</description>
<pubDate>Mon, 26 Oct 2009 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/5468</guid>
<dc:date>2009-10-26T00:00:00Z</dc:date>
</item>
<item>
<title>DESA1002 'Nine Quarter City' - &lt;Elina Brunning&gt;</title>
<link>https://hdl.handle.net/2123/5469</link>
<description>DESA1002 'Nine Quarter City' - &lt;Elina Brunning&gt;
Brunning, Elina
Business.Culture.Technology.People.History.These underlying concepts intricately form a pattern which distinguishes Tokyo, making it unlike any other city in the world. It is these concepts which sustain Tokyo and give it its collision of traditional and modern ideas which continually impact design and the architecture of this cosmopolitan city. Architects and designers must take these ideas into consideration; Tadao Ando and Kengo Kuma are two examples of architects who have brought to the fore through their designs a feeling of space in a world which has forgotten landscape. My design emanated from these influences and thus I came to the conclusion of a theatre, because it encapsulates tradition whilst being versatile in the way it is designed. This versatility enabled me to make my building a public theatre which focuses on the journey through my space as it be. This compilation of my work is based on the devlopment of the design of my theatre in my block L11 in Asakusa Tokyo.Over the last semester my design has been changed and transformed into a final entity.Each week exercises produced a new individual work but not only that it completed one piece of the puzzle,making the concepts and ideas weave their way into the design with reason.My Theatre which is based upon the ancient art of Noh, a type of performance commonly performed on a cyprus stage with a backdrop and all actors being male and upon stage at all times.These themes are the underlying features of my design and are the key pieces which bring it together.  The materials and construction were cohesive with my context of japan. A folded plate and the sense of a transparent screen which creates silhouettes as actors perform added to the sense of layering and journeying to find that ‘space.’
</description>
<pubDate>Mon, 26 Oct 2009 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/5469</guid>
<dc:date>2009-10-26T00:00:00Z</dc:date>
</item>
<item>
<title>DESA1002 'Nine Quarter City' - &lt;Ross Anderson&gt; - Unit Coordinator</title>
<link>https://hdl.handle.net/2123/4070</link>
<description>DESA1002 'Nine Quarter City' - &lt;Ross Anderson&gt; - Unit Coordinator
Anderson, Ross
Nine Quarter City  The project for second semester advances the themes of assemblage and transformation from first semester, but with greater emphasis on the generation of a single architectural proposal in a complex urban context. It commences at an urban scale. A ‘generic city’ of strict geometry has been fused with 9 actual cities (Dubrovnik, Madrid, Isfahan, Tunis, Tokyo, Bern, Venice, Jerusalem and New York) to create 9 distinct ‘quarters’ which are nevertheless woven into an overall urban order that is stabilized by two major diagonal axes, one water and one land.   Each studio group is allocated a different ‘quarter’ of the city comprising 16 adjacent blocks. A figure-ground plan (built form represented as black, and open space as white) has been created and serves as the basis for the initial tasks that will be undertaken as a ‘conversation’ with the other members of your group. You are charged with elaborating on the basic plan, deciding on a range of buildings that your quarter of the city needs, then deciding on a specific program for your allocated city block and developing a concrete architectural proposal for one building on your block.   The work should be seen as a series of transformations based on an understanding that all architecture (including one’s own) is constituted by other architecture, which one appropriates, reconfigures, transforms, and makes one’s own.  Once again the projected will be conducted as a series of related exercises with an emphasis on practical experimentation. The work will be drawn together into a final presentation, comprising a well-crafted model and one A1 sheet of drawings of an exhibition standard.
</description>
<pubDate>Wed, 25 Feb 2009 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/4070</guid>
<dc:date>2009-02-25T00:00:00Z</dc:date>
</item>
<item>
<title>DESA1002 'Nine Quarter City' - &lt;Felicity Cain&gt;</title>
<link>https://hdl.handle.net/2123/4069</link>
<description>DESA1002 'Nine Quarter City' - &lt;Felicity Cain&gt;
Cain, Felicity
Jerusalem is an ancient cradle of human culture and one of the most important loci of three world religions. But as long as it has existed, it has been the cause and breeding ground of conflicts, as well as the target and site of dispute and war. The Jerusalem Botanical Centre is a public area that remembers this history while being a space that allows separation from external differences. The eastern tower contains a greenhouse and the western split level tower contains areas for horticulture history, plant cultivation and research. Together these towers flank a courtyard with simple reflective stream of water as the central focal point.
</description>
<pubDate>Wed, 25 Feb 2009 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/4069</guid>
<dc:date>2009-02-25T00:00:00Z</dc:date>
</item>
<item>
<title>DESA1002 'Nine Quarter City' - &lt;Michelle Rohan&gt;</title>
<link>https://hdl.handle.net/2123/3935</link>
<description>DESA1002 'Nine Quarter City' - &lt;Michelle Rohan&gt;
Rohan, Michelle
Located throughout the historical Medina of the city of Tunis, the souks (Arabic for market) are an intricate maze that reflect the deep-rooted traditions and culture that truly make Tunis a unique place. After centuries the souks remain a part of everyday Tunisian life, yet are an attraction to many. After researching the souks, the decision was made to adopt the conventional programme of souks and housing. The enclosed souk would remain on ground level with apartments on the upper level.  The chosen site is advantageous to a marketplace as it is adjacent to a large public square and alongside a street and laneway. This allows easy access from each public space. Precedent studies, particularly of the modern Beirut souks, indicated that large public spaces and markets were an important relationship to have in such a programme.  The souk remains tight and mazelike and offers stalls as well as shop-like stalls. In the heart of the building is a circular public space that allows access to the apartments and is visible throughout the ground level. The circle is an important form in the Islamic world, and is thus a fitting ‘vehicle’ to the home, which is also important.  While the traditional programme of souk and apartments was adopted, the building’s façade was reinterpreted in a more modern fashion.  The main facades are constructed with angled columns and covered with glass. When approached from a certain angle the design provides a screen. This reflects a culture that embraces the belief of privacy and veiling. The façade along the laneways remain traditionally skinned to blend with preceding building types. Hence, the façade of the building reveals the infusion of the old and the new in Tunis.
</description>
<pubDate>Tue, 25 Nov 2008 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/3935</guid>
<dc:date>2008-11-25T00:00:00Z</dc:date>
</item>
<item>
<title>DESA1002 'Nine Quarter City' - &lt;Alicia Vickers&gt;</title>
<link>https://hdl.handle.net/2123/3936</link>
<description>DESA1002 'Nine Quarter City' - &lt;Alicia Vickers&gt;
Vickers, Alicia Ciara
Over the course of the semester I developed my original idea of a school or cafe/ restaurant in New York City to that of a church and surrounding public place. My initial idea for creating this public space and church was inspired by my research of New York, having never been there I had to look at images i.e. from Google earth and read about the city. I imagined it to be extremely dense, with buildings packed close together and very overwhelming. With this comes anonymity and congestion, It was my aim through my project to create a quiet and peaceful corner of the city by the lake where local office workers could congregate to help reduce the anonymity on the streets of New York. By creating a spacious and relaxing corner of the city it would be seen as luxurious in the city of New York.   I also focused my design on the idea of scale - I did not want to create an immense church so I developed my idea of a church with a central element of my design, a tower which would be in scale with the rest of New York. As a public tower, people would visit and mount the tower and be able to view the city form all different angles with a glass bottomed floor. This would be an escape from the city, whilst taking in its breathtaking views. My church design is definitely a modern interpretation of a Catholic Church by placing the church tower in front of the church; it still remains connected to the main church through the two entrances which are opposite each other.   My design also explores organic shapes by using half domes and a curved wall around the ambulatory to contrast from the sharp, angular shapes of the surrounding skyscrapers. Organic shapes are more soothing for the eye, as well as this by using curves it creates more space and light within the building itself which can be interpreted from my design.  Overall, this summary identifies the key ideas I developed throughout the semester and I feel I explored them convincingly through my model and presentation.
</description>
<pubDate>Tue, 25 Nov 2008 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/3936</guid>
<dc:date>2008-11-25T00:00:00Z</dc:date>
</item>
<item>
<title>DESA1002 'Nine Quarter City' - &lt;Da Rong Chen&gt;</title>
<link>https://hdl.handle.net/2123/3826</link>
<description>DESA1002 'Nine Quarter City' - &lt;Da Rong Chen&gt;
Chen, Da Rong
There was a day, I printed out something about Dubrovnik from our Conon 3 printer. A girl was standing there and waiting for her stuff to print. When my stuff came out, she was surprised. She told me, she was born there, but when she came to Australia, she had never gone back. She said to me: “you don’t know how beautiful the city is if you didn’t be there.” I can still remember how joyful her face expression looks like. At the time, I decided to design something which can gave this city some fresh air.   During the time in the second semester, I designed a theatre in Dubrovnik call Friday theatre. Friday is normally the last working day of the week. They can come to enjoy a fantastic show in a theatre after working for a whole week. On the other hand, Dubrovnik is a famous for its long history, fantastic culture and heritage. People from other country like to be there and enjoy the historical atmosphere. Therefore, Dubrovnik is calling for a theatre which can present the treasure of the city to the visitors.   The theatre is not only presenting the building itself but also presenting the city. The theatre is at the edge of the city, but it is also the entry of the big city. Stairs around the building are guiding people to go up. When people went up and up, they got to see the whole city step by step. And if they went up to the top theatre, they can see even further. The top theatre is facing west. When there is a show on, the whole city will become its background. And the sunset will be the most beautiful and realistic context they never had for a symphony.
</description>
<pubDate>Thu, 13 Nov 2008 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/3826</guid>
<dc:date>2008-11-13T00:00:00Z</dc:date>
</item>
<item>
<title>DESA1002 'Nine Quarter City' - &lt;Adeline Wang&gt;</title>
<link>https://hdl.handle.net/2123/3893</link>
<description>DESA1002 'Nine Quarter City' - &lt;Adeline Wang&gt;
Wang, Adeline
The building I’ve designed is a luxury apartment complex, aimed at blending in with Bern’s medieval architecture, and offering the most comfortable and lavish of apartment living.  This building site overlooks some of Bern’s major entertainment centres – a theatre, and is adjacent to the city’s capital library.  So, being in the heart of Bern’s rich cultural atmosphere, housing which may be considered slightly more opulent than required, seems appropriate.  The building itself consists of four levels – ground floor shops and cafes, two levels of apartments, with the 2nd level apartments consisting of two storeys.  The decision to make the ground floor a commercial space is due to the building’s close proximity to other public areas e.g. theatre and library.  Also, based on the assumption that the residents will be more on the well-off side considering the building’s location, cafes and restaurants could be a convenient feature.    There are twelve apartments in total, each are quite large in area, raging between 80 to over 100m2.  The smaller apartments compensate for their lack of area in having more access to natural light, while all apartments have 3m high ceilings with floor-to-ceiling windows.  The front façade, which orientated to the south, is mainly glass, which also maximises sunlight in winter and minimises in summer.  Being in Europe where sunlight is important, each apartment also has its own balcony, with most having additional courtyard areas.  These courtyards are situated so that the building’s design looks like it’s a series of graduate d levels.  This then also means that privacy becomes a bit of an issue, which is where screens and garden elements come in.    Privacy was also important in considering the residents’ access into the apartments.  There are three entrances to the apartments, with two apartments sharing the same lift and stairwell.  This makes sure there’s a sense of privacy for the residents and also gets rids of a need for a central access corridor for all apartments, which then uses up valuable area.  The entrances are also positioned so that residents can access apartments from all sides of the building.
</description>
<pubDate>Wed, 19 Nov 2008 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/3893</guid>
<dc:date>2008-11-19T00:00:00Z</dc:date>
</item>
<item>
<title>DESA1002 'Nine Quarter City' - &lt;Hylas Choct&gt;</title>
<link>https://hdl.handle.net/2123/3837</link>
<description>DESA1002 'Nine Quarter City' - &lt;Hylas Choct&gt;
Choct, Hylas
This project is an elementary school situated in the district of Asakusa, Tokyo. This building concentrates on creating the feeling of open space and reflecting Japanese architecture, both traditional and contemporary. The impression of having more space is achieved by having a central atrium that is overlooked by glass corridors and transparent walls. This is wrapped by a punctured steel facade which resembles the Japanese art of Origami through its folds and paper-like thinness.
</description>
<pubDate>Wed, 19 Nov 2008 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/3837</guid>
<dc:date>2008-11-19T00:00:00Z</dc:date>
</item>
<item>
<title>DESA1002 'Nine Quarter City' - &lt;Catherine Turnbull&gt;</title>
<link>https://hdl.handle.net/2123/3898</link>
<description>DESA1002 'Nine Quarter City' - &lt;Catherine Turnbull&gt;
Turnbull, Catherine
This semester’s design project to create a building given a site and city to work within was an exciting and challenging prospect. Our city of Isfahan, a city dominated by traditional Islamic architecture paved the way for a modern interpretation of an ancient city. Our challenge was to take some of the traditions of this city and transform them into modern, functional buildings that honour the city as well as bringing it into the 21st century. I decided on the program of a train station after my travels to Europe over the holidays where I spent much time in places of transit. The vast and varied architecture of Europe inspired me in many ways along with the research on Isfahan and its landscape. To me train stations are busy and exciting places full of movement and people. They are inhabited day and night and are often the first building a person will see as they enter a new city so their design and practicality are extremely important. I decided to create underground platforms which interact with the above ground cafes and shops. This was done by creating voids in the ground over the trains and bridges which allowed people to dine and circulate and interact with the movement below. It was very important to have lots of light and air flow on the platforms as underground spaces can often be very cramped and claustrophobic. Also circulation was another important factor as many people will be moving through the space at one time and the transition between ground and platform must be swift and smooth. The two rows of cafes and shops open onto a square which is a feature of many main stations around the world. This public space welcomes people to the station and makes the building part of instead of separate to the rest of the site. I felt it vital to take a piece of Islamic architecture and interpret it for my building. I chose the arch and reinterpreted it by varying height and shape and also I varied the wall height to create large triangular rooves. Overall I believe I have created a functional and interesting space which pays homage to traditional Isfahan whilst giving it a modern twist.
</description>
<pubDate>Wed, 19 Nov 2008 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/3898</guid>
<dc:date>2008-11-19T00:00:00Z</dc:date>
</item>
<item>
<title>DESA1002 'Nine Quarter City' - &lt;Felicity King&gt;</title>
<link>https://hdl.handle.net/2123/3894</link>
<description>DESA1002 'Nine Quarter City' - &lt;Felicity King&gt;
King, Felicity
After extensive research and experimentation, I arrived at my final proposal for my semester two design project; residential units in the Medina. My development is pragmatic as it accommodates a need for housing in Tunis while being appropriate to its site and context.  The aesthetic and design of these units reflects the context which is essentially a dynamic juxtaposition of traditional Muslim culture and architecture and the evident expansion of a more modern westernised city. Thus my project fuses the old and new forms in a single project in order to maintain a sense of connection to the sites culture and history, while accepting inevitable change.  “The aim of this work is to achieve a consistent urban fabric, relevant to the needs of current society but respecting the past.” Tonin Zulaikha Geer Architects
</description>
<pubDate>Wed, 19 Nov 2008 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/3894</guid>
<dc:date>2008-11-19T00:00:00Z</dc:date>
</item>
<item>
<title>DESA1002 'Nine Quarter City' - &lt;Jia Ying PENG&gt;</title>
<link>https://hdl.handle.net/2123/3897</link>
<description>DESA1002 'Nine Quarter City' - &lt;Jia Ying PENG&gt;
Peng, Jia Ying
This project for the second semester is a greater emphasis on the architectural urban context compare to the first semester. A “generic city” of strict geometry has been fused with 9 actual cities. This project here is related to the Asakusa district in Tokyo, Japan, which is a place combined with both traditional Japanese culture and Modern Japanese culture. The building I designed for this project is called “Fashion Community, Asakusa”. The main function of the building is a department store, which is a fashion symbol of Tokyo in Asakusa. Compare to the traditional Japanese architecture surrounded it, this Fashion Community attracts people to come and enjoy a different public space in such a busy district, Asakusa, Tokyo, Japan.  At first, I wanted to produce a Japanese Fans’ shaped building according to the Japanese culture, but after the process, I changed my design to a Fashion Community. Because in this area, my building is not located at the main Nakamise Dori, which means I need to design something to attract people to come in. Therefore, compare to the traditional Japanese cultures, I produced the Fashion style building. Additionally, behind the building, there is a traditional Japanese Garden. It is basically a Bamboo garden, but it can be changed by matching the fashion show stages.  I kept developing the design by adding a huge screen on the heavy wall next to the garden; in this case, people can sit in the Japanese garden or from the streets to watch the fashion exhibition of a live fashion show.   I changed the design and improved the drawings and models of this project, in order to produce a better combination of traditional Japanese garden and fashion boutiques. The fashion boutiques around the building, therefore, are the main parts of the building. In terms to the materials, glass and steels would be used to build it.
</description>
<pubDate>Wed, 19 Nov 2008 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/3897</guid>
<dc:date>2008-11-19T00:00:00Z</dc:date>
</item>
<item>
<title>DESA1002 'Nine Quarter City' - &lt;Anna Wu&gt;</title>
<link>https://hdl.handle.net/2123/3896</link>
<description>DESA1002 'Nine Quarter City' - &lt;Anna Wu&gt;
Wu, Anna
My building is an aquarium cafe in Madrid.
</description>
<pubDate>Wed, 19 Nov 2008 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/3896</guid>
<dc:date>2008-11-19T00:00:00Z</dc:date>
</item>
<item>
<title>DESA1002 'Nine Quarter City' - &lt;Phoebe Chapman&gt;</title>
<link>https://hdl.handle.net/2123/3891</link>
<description>DESA1002 'Nine Quarter City' - &lt;Phoebe Chapman&gt;
Chapman, Phoebe
My project has always been to design an information centre for the city of Bern, the capital of Switzerland, although the design has adapted and been modified throughout the semester to accommodate the function with more finesse. I took inspiration from the pitched peaks of the mountain which are appropriately mimicked in the traditional architecture of the medieval city. I mused over the idea of a folding map with concertinas physically representing this idea somehow on the design. From this idea, I contemplated removing the physicality of the idea, and devised something a little more metaphoric. The result was to form a building that appeared to have been folded out of the ground on which it sat.  I achieved this by slanting some of the walls outwards, giving the building a slightly perched, crystalline shape, emphasising the irregularity of the design. I further highlighted the folding building concept by creating a site for the model to inhabit. I used textured paper with a silvery-grey finish and formed a geometric tunnel which served as a path towards the main entrance of my building, and also appeared to have been folded out of the ground.  Internally, I required open spaces with high ceilings as I felt a majestic and spacious ambiance was appropriate for a service centre for people visiting the capital of Switzerland. I emphasised circulation in the building, suggesting the notion of travelling as a major aspect of the function of the Bern Information Centre. This was accomplished by cladding the external elevator and stairs in the same textured material I used to form the site. This also created uniformity and enhanced the design aesthetically.   This semester has seen much development and progression in drafting, model making, personal evaluation and critique. Students have conceptualised design ideas and physically formed them, as new angles were attempted and new aspects of design were explored.
</description>
<pubDate>Wed, 19 Nov 2008 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/3891</guid>
<dc:date>2008-11-19T00:00:00Z</dc:date>
</item>
<item>
<title>DESA1002 'Nine Quarter City' - &lt;Ben Selke&gt;</title>
<link>https://hdl.handle.net/2123/3889</link>
<description>DESA1002 'Nine Quarter City' - &lt;Ben Selke&gt;
Selke, Ben
</description>
<pubDate>Wed, 19 Nov 2008 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/3889</guid>
<dc:date>2008-11-19T00:00:00Z</dc:date>
</item>
<item>
<title>DESA1002 'Nine Quarter City' - &lt;Maxim Hutton&gt;</title>
<link>https://hdl.handle.net/2123/3895</link>
<description>DESA1002 'Nine Quarter City' - &lt;Maxim Hutton&gt;
Hutton, Maxim
For this semester’s design project, our group was allocated Bern, the Swiss capital. This became the starting point from which I derived the program of my site. I researched iconic products and symbols from Switzerland in order to create a unique, yet wholly Swiss building, settling upon Swatch and Toblerone as my symbols. As the main shop of Swatch and Toblerone, the building would be a tourist attraction and would have to be an exciting place, an event, to make visiting this building worthwhile. Upon looking at precedent Swatch watch shops, it was apparent that the interior design is always very bright and plastic. Swatch is quite a playful brand and it revolutionised the wristwatch as an accessory. Toblerone, and the Swiss mountains, is instantly recognisable by its triangular form. These factors trigged the notion of primary geometric shapes and colours to create bright, playful building, using the form of the triangular prism for Toblerone, and the circle, extrapolated into a cylinder, as a Swatch watch shop and clock tower – a contemporary take on the famous clocktower of Bern. The notion of primary shapes and colours was upheld for all aspects of the building, including the structure, which in the Toblerone used a triangular truss system, and in the cube used a post and beam construction.  As a result, the Swatch watch shop and Toblerone café is an instantly recognisable icon within Bern, and it would be an exciting experience to move through the intriguing and complex internal spaces created by the intersection of simple volumes.
</description>
<pubDate>Wed, 19 Nov 2008 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/3895</guid>
<dc:date>2008-11-19T00:00:00Z</dc:date>
</item>
<item>
<title>DESA1002 'Nine Quarter City' - &lt;Ying Wang&gt;</title>
<link>https://hdl.handle.net/2123/3892</link>
<description>DESA1002 'Nine Quarter City' - &lt;Ying Wang&gt;
Wang, Ying
As the Jerusalem often suffers from terrorist attacks and violent conflicts, a medical centre really acts an important role in Jerusalem’s society. The medical center is consists of two parts of building block, a courtyard build-in and a sky bridge is build to connect two parts both visually and functionally. The northern part of the building with the main glass door entry is mainly functioned as reception hall and the other part is a building block which collects all the consultation rooms. The sky bridge connects and integrates the two building parts. It is not only looks like a U shape turned up side down and locks the two blocks, but also connects them functionally as most of the circulation are all concentrate in this rectangular shape in plan. Also it becomes the key feature of the whole building, and makes the space much more interesting. The building is simple that it has flat and extended roof overhangs which bring the feeling of peace and stable. Two contrast textured materials cladding on the walls are arranged organically that the contrast between dark and light, smooth and rough gives very stable and balanced sense and unifies the building as a whole.
</description>
<pubDate>Wed, 19 Nov 2008 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/3892</guid>
<dc:date>2008-11-19T00:00:00Z</dc:date>
</item>
<item>
<title>DESA1002 'Nine Quarter City' - &lt;Deny Majikina&gt;</title>
<link>https://hdl.handle.net/2123/3888</link>
<description>DESA1002 'Nine Quarter City' - &lt;Deny Majikina&gt;
Majikina, Deny
A city with that moves towards the future with a lot of history and issues it needs to work on, but still, it shows a lot of hope and it’s reflected in its culture and its people.  Our project was one of those dream projects, to imagine you can grab a big piece of land and gather as many architects, one trying to work on a specific area, to create a place with personality. It’s something that will certainly happen in the future as many new cities are already being developed.  My building was a bit of a struggle as I was finding something that could show my personal style and also show a bit of tradition in it. Working on the structure was hard but interesting, the metal structure was my favourite moment of the whole process. I decided to work on something simple as the building itself didn’t have much space to breath.  The topic of the building was related to the project in a way. The mixture of cultures, the belonging to everything and nothing. Being willing to be open and enjoy what’s there. As people travel and cultures start blending, we will be able to experience the world in one second, in one place.
</description>
<pubDate>Tue, 18 Nov 2008 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/3888</guid>
<dc:date>2008-11-18T00:00:00Z</dc:date>
</item>
<item>
<title>DESA1002 'Nine Quarter City' - &lt;Anna Prowse&gt;</title>
<link>https://hdl.handle.net/2123/3881</link>
<description>DESA1002 'Nine Quarter City' - &lt;Anna Prowse&gt;
Prowse, Anna
‘Half the World – Isfahan was given this name for its beautiful Islamic architecture. Mosques, palaces and gardens are the main sites of the Iranian city. The city is based around the square - Naqshe- e Jahan – which is also the basis of my site. My structure is a unique location, alongside the river and Garden Square. The building acts a ferry terminal and also a restaurant. The ground level operates as a public thoroughfare for tourists and residents to enter the garden from the river and the rest off the city. The terminal is a main spot of transport for the city. Although upstairs is a restaurant with views overlooking the garden and up the river. The building is influenced by David Chipperfield’s America’s Cup building is Valencia. The structure moulds into the site, involved with the surrounding environment – columns in the water allowing ferries to engage with the terminal. The design allows trees to almost be apart of the building – rising beneath the roof, alongside the ramp where customers arrive. The ferry heavily overhangs on the water becoming prominent image up the river - ideal for a ferry stop. The long horizontal feel to the building is due to the seemingly heavy slabs, although structurally are light. This allows for thin lightweight columns to run through the levels. The ramp continues the thick flow of the building rolling up the side of the building – providing easy access at night and out of travel times. The ramp then flows down into the public garden path into the famous square. As a visitor to the park the structure is a very horizontal, expansive structure seen on the side of the park. The structure utilises the site – the expansive deck giving extraordinary views down the river and across the park.
</description>
<pubDate>Tue, 18 Nov 2008 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/3881</guid>
<dc:date>2008-11-18T00:00:00Z</dc:date>
</item>
<item>
<title>DESA1002 'Nine Quarter City' - &lt;Daniel Quach&gt;</title>
<link>https://hdl.handle.net/2123/3882</link>
<description>DESA1002 'Nine Quarter City' - &lt;Daniel Quach&gt;
Quach, Daniel
My Design project is a music store/performance area. I chose this because Madrid is a very culturally diverse city and so I wanted to express some of this in the form of music. By having a music store as well as performance areas, not only is the art of music encouraged, but sharing the creations of music is also promoted. The cladding of the building is made of bronze and has a very curvy look. This is to not only imitate the shape of a musical instrument but also represents the flow and waves of music. The shape also provides for a balcony for the 1st and 2nd floor of the music store. The building is made up two areas, the store and the performance areas. The store component has three levels which are accessed through a stairwell. Similarly there are three performance areas.  The first performance space is on the ground floor and is accessible from the entrance without entering the store itself. This is because this performance area is more geared towards formal musical performances and so any night time performances have easy access On the first floor up and past the store area, there is a courtyard. This is the second performance space which allows for people to try out instruments (from the store racks) and perhaps share the music with any other musicians.  The third performance space is a rooftop stage. This is also on the first floor and the stage itself overlooks the storefront. This space is designed to be the most expressive out of the three as performers would not only share music for those seated on that floor, but also anyone who passes by on street level. The stage can also be seen from balconies from the 2nd floor.
</description>
<pubDate>Tue, 18 Nov 2008 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/3882</guid>
<dc:date>2008-11-18T00:00:00Z</dc:date>
</item>
<item>
<title>DESA1002 'Nine Quarter City' - &lt;Yilun Zhang&gt;</title>
<link>https://hdl.handle.net/2123/3887</link>
<description>DESA1002 'Nine Quarter City' - &lt;Yilun Zhang&gt;
Zhang, Yilun
Throughout this semester we were doing a comprehensive project based on a real city, and I was gratitude for being in the Madrid group. Doing a large project especially for a real place which has its own features and culture sounds like impossible for a year 1 green-hand. Thanks to the arrangement of small tasks every week we could finally come to the resolution step by step.   Basically I was satisfied with my production, and moreover what I was most happy about was that I began to understand how an idea eventually became reality and was able to solve the problems with the help of the tutor. Tom was really an experienced tutor and he was really patient. The advices he gave in the tutorials by all means prompted my project to a higher standard, pragmatically, little by little, and eventually when I reviewed what I had been doing through this exhausting but meaningful period of time, I was astonished by the progress I had made. What impressed me the most in the communication with Tom was once he told us a unique architecture should have several ‘landmarks’ besides normal functional area, and another time he said “‘interesting’ can be risky (or dangerous).” indicating that creativity should be based on a convincing rational solution. I also appreciated Hamish’s advice which allowed me to understand my project with a totally different angle when he was our guest tutor in preliminary presentation  Tienda de la moda, which means fashion shop in Spanish, was not merely a design practice project for me. As I said in the final presentation that fashion is a way of life, and when the term is bound to over, I realized that design is truly a way of our life. We are gradually developing our lives as designers, we are thinking more like designers, we look more like designers and we will become professional designers anyway. It must be painful to achieve this, while I will enjoy every moment of the painful progress. Fashion shop in Madrid, I love it.
</description>
<pubDate>Tue, 18 Nov 2008 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/3887</guid>
<dc:date>2008-11-18T00:00:00Z</dc:date>
</item>
<item>
<title>DESA1002 'Nine Quarter City' - &lt;Dong Hee Kim&gt;</title>
<link>https://hdl.handle.net/2123/3883</link>
<description>DESA1002 'Nine Quarter City' - &lt;Dong Hee Kim&gt;
Dong Hee, Kim
My project “Mosaic Museum of Tunis” began from the very first research on the country, Tunisia. During the research, I have found out that Tunisia is particularly proud to claim one of the world’s richest collections of ancient mosaics. I found this very interesting and I decided to work on building a contemporary mosaic museum. The “Mosaic Museum of Tunis” is located in the centre of my site which represents the urban area of Tunis. My site is divided into a two large areas by the main road which cuts through the center of the site. My site plan is originally based on some of the pictures of Tunis that I have found during the research. Working on my programme was one of the most difficult parts. Since circulation plays a very important role in museum, connecting four separate cubical buildings was the most challenging part of my project. This difficulty could be overcome during my precedent studies. The Abteiberg museum in Germany provided me an interesting idea of connecting the separated cubical building, and as a result, I could join my separated buildings without using bridges. Studying Bardo Museum in Tunisia was also very helpful in designing my programme. The Bardo museum was separated in different sections to present mosaic in different time period of Tunisian history. I thought this was quite a good idea so I have designed my building in a way that each separate part of the buildings presenting different mosaics, representing the different time period of Tunisian history. Also the Canadian National Museum suggested me an idea of having a view down to the first floor from the second floor. This lead me not to divide the first and second level by floor so that the tourists can look down from the upper floor to visualize the difference in mosaics created in different time period.  Also it is important to note that there is a clear connection between the building itself and what is inside the building. The overall shape of the building represents the mosaic and its dynamic characteristic. The building is orientated in a way that there is no difficulty in sunlight reaching into the building. The third level is supposed to get the maximum spotted sunlight with a sloped concrete mosaic roof highlighting the purpose and intention of the building.
</description>
<pubDate>Tue, 18 Nov 2008 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/3883</guid>
<dc:date>2008-11-18T00:00:00Z</dc:date>
</item>
<item>
<title>DESA1002 'Nine Quarter City' - &lt;Yvonne Cai&gt;</title>
<link>https://hdl.handle.net/2123/3879</link>
<description>DESA1002 'Nine Quarter City' - &lt;Yvonne Cai&gt;
Cai, Yvonne
Semester 2 entitled “NINE QUARTER CITY” gave us the opportunity to design an architectural proposal based in an urban context. Venice was the basis of inspiration. Having allocated a city, this gave me the chance to work closely with a solid conceptual approach and to synthesise strategies throughout my design.  Simple Venetian concepts that intrigued me through my design process was the Venetian culture; the chilled lifestyle and constant celebrating of events and festivities and the sharp geometry which dictated the movement through a single Venetian streetway especially, implying a sense of mystery. Having discovered a real limitation in terms of natural landscaping in Venice i also intended to breakdown the sense of intensity the city exhibited and claim a fresh and inviting setting and atmosphere.  All of which i was eager to explore and address through my project. I achieved this through circulation &amp; materiality especially.   The project Venetian Gardens is my representation of a modernised waterfront design, emphasising the idea of spatial experience. The project features a Pavilion Entrance, leading through a Maze Garden and finally the Marina Complex. It is all about movement and circulation, whether it be meandering through the Maze or gathering at the courtyard terraces within the Marina Complex. The journey continues if one is keen to continue and explore the experience via the beautiful canal...
</description>
<pubDate>Mon, 17 Nov 2008 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/3879</guid>
<dc:date>2008-11-17T00:00:00Z</dc:date>
</item>
<item>
<title>DESA1002 'Nine Quarter City' - James Culkin</title>
<link>https://hdl.handle.net/2123/3877</link>
<description>DESA1002 'Nine Quarter City' - James Culkin
Culkin, James
My project is an art gallery, located in Venice. The front of my site adjoins one of the major canals running through the nine cities as well as being surrounded by smaller canals, for which Venice is famous.  I wanted to incorporate the canal and so situated the entry to the gallery for the public at this point. The canal flows in to the front foyer via a cutting in the embankment and allows the public to boat right up the front step. This large entry/foyer space has a light structure and contrasts strongly to the enclosed space of the gallery.  Circulation from the foyer to the gallery spaces is vis the lifts and ramps.  The rear of the building, although similar in appearance to the front foyer, is for the staff and logistics of the gallery. Freight is able to be delivered and unloaded to storage without disrupting or interfering with the viewing public.  The public and served areas are kept separate from the private and servant areas.  A large function room is located on the top of the building which seeks to utilise the views up and down the main canal.
</description>
<pubDate>Sun, 16 Nov 2008 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/3877</guid>
<dc:date>2008-11-16T00:00:00Z</dc:date>
</item>
<item>
<title>DESA1002 'Nine Quarter City' - Nicole Larkin</title>
<link>https://hdl.handle.net/2123/3876</link>
<description>DESA1002 'Nine Quarter City' - Nicole Larkin
Larkin, Nicole
The aim for this site was to create a Religious Quarter around a Church to cater for the concentration of Roman Catholics in Dubrovnik. The main function of a Roman Catholic Church is to allow the congregation to interact with services visually and physically (through participation). The site is connected to 3 main pedestrian routes through the block &amp; is adjacent to an orphanage. It could be seen as a high traffic area where the existing Church limited entry/exit access points as a result of its traditional form. Therefore the concept arose to draw people physically into the church from all points &amp; gravitate them towards the altar.  This manifested in a circulation program which focused on channeling people into the Church &amp; directly to the altar. From this a roof concept was created to steer people visually toward the altar &amp; encourage them to focus on the service. Slithers of natural light directly above the aisles &amp; altar guide sightlines from the exterior to the interior. The natural lighting is reminiscent of stain glassed windows used traditionally to channel light into Churches. To mirror this, there is a contrast between monolithic and void spaces which is created by the tiered seating &amp; aisles. The roof is like that of a lecture theatre (angled downward) to further focus sightlines onto the altar. The Church connects to its surroundings with a series of stairways and stepped seating areas. The 3 major pedestrian routes leading to the Church are met with these sweeping steps leading up to entry points. The stairs leading into the Church are concave while the stepped seating leading out of the Church is convex. The concept of this is to channel, embrace &amp; circulate people towards the space as if with outstretched arms. The stepped seating acts as a secondary space where members of the public can gather. It also accommodates for congestion which can occur after services where large volumes of people exit the Church while socialising with each other.
</description>
<pubDate>Sun, 16 Nov 2008 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/3876</guid>
<dc:date>2008-11-16T00:00:00Z</dc:date>
</item>
<item>
<title>DESA1002 'Nine Quarter City' - &lt;Wan Nurul Sabihah W Husain&gt;</title>
<link>https://hdl.handle.net/2123/3872</link>
<description>DESA1002 'Nine Quarter City' - &lt;Wan Nurul Sabihah W Husain&gt;
W Husain, Wan Nurul Sabihah
BOARDING HOUSE IN MADRID The rational of making a boarding house in Madrid is to provide a comfortable place for the tourist to stay. The location of the house is close to the must-visit Plaza Mayor. The main idea that I would like to show in my design is creating a building which brings sense of belonging to the area. Initially, the building was made in different shape, which was more similar to other buildings in this site. They are block buildings. However, it was pretty hard to avoid difficult spaces when the building occupies much spaces on the ground floor. This is because I couldn’t provide windows for the building as there are too many people on the street that are able to see what’s inside the building. In that case, I changed the shape in a way that it only takes a little space on the ground floor which is for the entrance. I also designed the windows for the ground floor to be a bit higher than usual.However, what happened next was that my building was lacking the connection between the levels. Therefore, I sheared the second floor to create  1.5m gap so that you can see what’s happening on the lower floor. One of the walls on the top floor had also been removed and replaced by a hand rail so that you can see most of the spaces in the building.The whole building structure is mainly load bearing walls and slabs. However the ground floor is made of the combination of both load bearing walls and post and beam structure. Due to the large span created by the space before the entrance, huge columns were made so that they are able to support the slab on top of them.  The building is made of concrete. The external surfaces of the building have red bricks cladding. Also, some parts of them are covered with climbing plants. The roof is made of glass with steel frame. I’m using steel because it is suitable for long spans. It is also the best choice when tensile strength is required, in this case due to the glass roof which is heavy.This is how the spatial relationship works. Before you enter the building, you are welcomed by the collonaded space. Once you’re inside the building, you will have to register at the counter provided and then you can go upstairs. While you are walking on the staircase, you are able to view the plaza which is famous for its collonaded walkway. The scenery that you’re viewing is similar to what you have just experienced before you came into the building. This shows you how the building itself is connected to the surrounding area. As you go upstairs, you’ll find yourself being blocked by a wall and the only thing that is obvious is the staircase. Therefore, of course you are going to use the staircase and go upstairs. This is the space where the kitchen and the dining area is located. The shape of the space is long. So you’ll feel like you have to explore until the end of this space, where another staircase is waiting for you. When you go to the upper floor, the same case reoccured where you’re blocked by walls which lead you to a spiral staircase. And now you have reached the top floor which allow you to view the Plaza Mayor through large windows provided. This is a space where the living room is situated. As a whole, the spatial sequences in the building is actually a journey to the top floor. What special about this floor is that it ressembles the main idea of creating a building that belongs to the area. See, when you stand by the window, you’ll feel like you’re standing inside the plaza due to the shape of the building which is a little extended into the plaza. Plus, it is a four storey house which is higher than the average height of the neighbouring buildings. Therefore, you are able to see what’s happening inside the plaza.
</description>
<pubDate>Fri, 14 Nov 2008 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/3872</guid>
<dc:date>2008-11-14T00:00:00Z</dc:date>
</item>
<item>
<title>DESA1002 'Nine Quarter City' - &lt;Ying Suet Shiu&gt;</title>
<link>https://hdl.handle.net/2123/3874</link>
<description>DESA1002 'Nine Quarter City' - &lt;Ying Suet Shiu&gt;
Shiu, Ying Suet
Buildings dancing hand in hands is the best description for my design. The bended buildings make the whole area more distinctive and unique.
</description>
<pubDate>Fri, 14 Nov 2008 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/3874</guid>
<dc:date>2008-11-14T00:00:00Z</dc:date>
</item>
<item>
<title>DESA1002 'Nine Quarter City' - &lt;Antonios Sarkis&gt;</title>
<link>https://hdl.handle.net/2123/3871</link>
<description>DESA1002 'Nine Quarter City' - &lt;Antonios Sarkis&gt;
Sarkis, Antonios
DESA 1002  Summary of Project  This project design is a proposed community Centre and a residential Building.  The building site is located at the North eastern corner of the allocated city (TOKYO) with a total footprint area of 490 meters square; it is the last building on the road axis. It consists of a community hall and public hot baths, including external public areas on the first floor, and a high tower dedicated for use by the public to enjoy the surrounding views. The second and third floors are dedicated for residential use, with outdoor public and private spaces provided underneath the first floor and on the roof area of the second level. The different forms of construction proposed for this building are, aluminum Alloy Steel frame construction with Glass and light Masonry cladding, for the floor levels of the community centre and the residential levels however the tower consists of Steel Post and beam construction with few reinforced Concrete slabs, Anchored in a solid reinforced concrete footings. The proposed cladding materials for this building are Glass, Light masonry, and Aluminum alloy cladding sheets. The tower dominating and visible, this was intended to prevent the building from disappearing into the distance from the end of the road it is located on. The Public and Private spaces are separated and elevated from the ground level using the tower as a main support and held by Steel cables.
</description>
<pubDate>Fri, 14 Nov 2008 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/3871</guid>
<dc:date>2008-11-14T00:00:00Z</dc:date>
</item>
<item>
<title>DESA1002 'Nine Quarter City' - &lt;Nik Zulhazmi Bin Nik Fuaad&gt;</title>
<link>https://hdl.handle.net/2123/3873</link>
<description>DESA1002 'Nine Quarter City' - &lt;Nik Zulhazmi Bin Nik Fuaad&gt;
Nik Fuaad, Nik Zulhazmi
My individual block is located in Jerusalem. At the beginning of the semester I decided to design a motorcycle workshop which would provide necessary services to nearby Jerusalem people. It is also essential as motorcycle is one of the main transportation in Jerusalem. My design in the first place consists of several boxes which were dull and uninteresting. My tutor however advised me to ‘think outside the box’ and try to loosen up and play around with the design. Well, thanks to her, my mind has now opened to a whole lot of new ideas. From there I begin to work continuously with that design and developed several functions for the building.  Apart from the motorcycle workshop, there is also a café, a place to dine in which is located on the ground floor adjacent to the workshop but separated by a courtyard. On the second floor there is a multi-purpose hall which is owned by the public and can be used for different kinds of functions and programs. There are also several apartment houses on the 2nd floor as well as on the whole 3rd floor which offer permanent and temporary accommodations. The building uses white limestone as a cladding materials and there’s an extensive usage of glasses which allows inhabitants on the outside to recognize the different functions of the building. However, the usage is minimal on the apartment houses in order to protect the privacy of the occupants.  In addititon, there are also public toilets located on the 2nd floor and verandah for the apartment residents located on the 2nd and 3rd floor. The 3rd floor verandah provides large open space which can be used as a place for private parties, playground or a scenic place to hang out and enjoy the picturesque panorama of Jerusalem.  Nevertheless in the end the design kind of failed in terms of bringing forward the main function which is the motorcycle workshop and emerged more as a multi-functional edifice. I realized that I should have developed the motorcycle workshop more and present a more vibrant motorcycle workshop which is what it had been in the first place.
</description>
<pubDate>Fri, 14 Nov 2008 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/3873</guid>
<dc:date>2008-11-14T00:00:00Z</dc:date>
</item>
<item>
<title>DESA1002 'Nine Quarter City' - &lt;Lauren Chua&gt;</title>
<link>https://hdl.handle.net/2123/3847</link>
<description>DESA1002 'Nine Quarter City' - &lt;Lauren Chua&gt;
Chua, Lauren
The park in Tunis which I designed this semester was directly inspired by the beautiful doors of Tunisia. I was particularly intrigued by the history behind the doors and the reasons for their blue colouring; to keep bugs away, to give the illusion of a longer day and to keep evil spirits out. These doors contrast wonderfully with the plain white walls and simplistic architecture of Tunis.  The driving concept for my design was the desire to create a space where all types of people would be able to meet and interact, hence my decision to design a public space such as a park. Tunis is a compacted and relatively dense area with low building height, which then led to my decision to select a site with a small area and build a park with two storeys for space efficiency.  One of the main intentions for this park was for it to appeal to many different types of people in Tunis, which linked back to my interest in Tunisian doors. I created five different “types of people” which would visit the park; children, parents, maintenance, residents and couples and designed a virtual “path” by imagining the types of things these people would do when in the public space. These paths were represented by five different entry points into the park; each characterised with a traditional Tunisian door designed specifically for this type of person.  When mapping these paths out onto a sketch, it was interesting to see how two types of very different people utilised a common space. I thought it was a nice idea how two groups of people who wouldn’t necessarily interact in life outside the park, were able to experience something together in my space.
</description>
<pubDate>Thu, 13 Nov 2008 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/3847</guid>
<dc:date>2008-11-13T00:00:00Z</dc:date>
</item>
<item>
<title>DESA1002 'Nine Quarter City' - &lt;KanRu Jr Yang&gt;</title>
<link>https://hdl.handle.net/2123/3857</link>
<description>DESA1002 'Nine Quarter City' - &lt;KanRu Jr Yang&gt;
Yang, Kanru Jr
Summary-DESA 1002-Design studio2008  As the programme is sort of continuing the way of last semester, all those tasks and requirements became much clearer to me. The concept of ‘nine cities’ is quite interesting which gives us a cultural and  environmental background which make the design process more logical and practical.  This design including the so called “Artists’ House”, the Arts Exhibition Centre and a foot bridge which links these two relevant buildings. The idea of the Artists’ house came from the form of Bag packers Hotel, but instead of just accommodations for travellers, the Artists’ House provides an enjoyable space for those artists or arts lovers who want to work and live in Jerusalem for a period of time. The footbridge links the Artists’ House with the Arts Exhibition Centre where could hold arts exhibitions, shows and provides a space for communications. The main concept of this design is to create an opening, friendly space for artists, designers and those people who love arts and Jerusalem to enjoy and work with the incredible arts and cultures of Jerusalem.  Though I was still doing a lot of work with models and drawings as last semester, I start to think more about some realistic architectural elements or problems that are supposed to happen in my design such as the climate, the local materials and so on. Thus, I found that there are a lot of things should be counted into a design project rather than just focus on the model and try to make it looks ‘cool’. For the design process, I start to use several of ways to get inspirations such as painting and getting relevant information from different Medias.  It’s unbelievable that I nearly finish my first year in architecture! It’s a quite exciting, busy and enjoyable year in the university  KANRU  YANG
</description>
<pubDate>Thu, 13 Nov 2008 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/3857</guid>
<dc:date>2008-11-13T00:00:00Z</dc:date>
</item>
<item>
<title>DESA1002 'Nine Quarter City' - Kyle Wolsky</title>
<link>https://hdl.handle.net/2123/3840</link>
<description>DESA1002 'Nine Quarter City' - Kyle Wolsky
Wolsky, Kyle
The building is located in the heart of Asakusa, along the Nakamise Dori, a popular shopping stretch. The Nakamise Dori has a rich history where it has found itself being destroyed and re-built several times due to political changes, earthquakes and fires of WWII. This building offers large spaces where the public can journey through the past of Asakusa, each floor offering several forms of information on the different era’s of the Nakamise Dori. Finally you reach the roof of the building where large views of the present day shopping stretch can be absorbed and appreciated. The structural feature which climbs up the walls of the staircase and folds back down into the building echoes the fragmented nature of Tokyo and its cyclic history. It also provides a striking feature for which the building can be remembered for and also acts as a notable meeting place for shoppers. The bottom floor of the building offers large open spaces where people can continue shopping, essentially drawing people off the street into the building. Structurally my building is very simple with thick concrete walls turning its back on the buildings behind it and a light weight steel framed structure opening up to the streets of Asakusa inviting people inside.My building is clad in very translucent materials due to the very rich night life of the Asakusa region. The nature of this translucent glass allows the building to be lit up at night and the triangular structure will be emphasized by its glow.  Essentially I want my building to become a part of the Asakusa experience and become a destination which all tourists have to visit on their journey to the Nakamise Dori.
</description>
<pubDate>Thu, 13 Nov 2008 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/3840</guid>
<dc:date>2008-11-13T00:00:00Z</dc:date>
</item>
<item>
<title>DESA1002 'Nine Quarter City' - &lt;Steven Song&gt;</title>
<link>https://hdl.handle.net/2123/3839</link>
<description>DESA1002 'Nine Quarter City' - &lt;Steven Song&gt;
Song, Steven
Venice is a city of culture, a city of knowledge and my project is centred on the idea of laying tribute to these ideals upon which the city is founded. I created the plans for a library on the edge of the grand Piazza San Marcos as a means of furthering these notions in this city of great tradition.
</description>
<pubDate>Thu, 13 Nov 2008 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/3839</guid>
<dc:date>2008-11-13T00:00:00Z</dc:date>
</item>
<item>
<title>DESA1002 'Nine Quarter City' - &lt;Mercie Ding&gt;</title>
<link>https://hdl.handle.net/2123/3843</link>
<description>DESA1002 'Nine Quarter City' - &lt;Mercie Ding&gt;
DING, Mercie
When we think of an orphanage, the image of the stereotypical, 19th century institution run by local parishes comes to mind.  Images of iron clad fences, strict matrons and characters: Oliver Twist and Jane Eyre.  The church took charge of these 'hopeless' and 'obstinate, wilful' orphans who were often little cared for, seen to have little contribution to society and a burden to the financial and human resources of the church.  The orphanage was a place for children who had lost many things in their short lives.    As a launching point, I began researching the background of Dubrovnik where the Roman Catholic Church is a strongly influential institution, embedding traditional values within the social, religious and economic fabric of the city.  I felt it important to uphold tradition within my building whilst creating a space for children to develop and discover.  It is necessary to incorporate existing ideas within my building without the compromise of Dubrovnik falling into a stagnant or regressing city.  Whilst maintaining the central ideas of the faith, this orphanage also presents itself as a world of pure imagination, similiar to Xanadu, described in Coleridge's Kubla Khan, where children are encouraged to interact with their environment.  It is a center for discovery, a sensory playground that retains the traditional beliefs of Catholicism.    The incorporation of the environment into the building, the changing light values and the careful manipulation of the program allows for the building to be purely derived for children.  Light is used to heighten the idea of salvation, reminding children of their loving Father in Heaven.  Where there is a change from dark to light, the journey through life as one coming out of darkness (sin) into light (salvation) is emphasized further.  The plan form emulates the shape of a hand which wraps around the building, cocoon-like; it is a nurturing safe haven for children to grow.
</description>
<pubDate>Thu, 13 Nov 2008 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/3843</guid>
<dc:date>2008-11-13T00:00:00Z</dc:date>
</item>
<item>
<title>DESA1002 'Nine Quarter City' - &lt;Aysha Abu-sharifa&gt;</title>
<link>https://hdl.handle.net/2123/3862</link>
<description>DESA1002 'Nine Quarter City' - &lt;Aysha Abu-sharifa&gt;
Abu-sharifa, Aysha
The New York Supernova is an interactive museum space that allows for the general public to learn more about the history, science, technology and current findings of the matter that exists in outer space as well as human space endeavors. It is a public space that aims to reach all members of the public from young children to working professional to grandparents – there is something for everyone. The contents of the museum not only offers a chance to escape the daily grind of New York City, but also reminds visitors of how small a human life is in comparison to the ever expanding universe. The aim of this reminder is to instill some perspective and humbleness within the sleepless city.  The multi-storey complex is based upon a triangular shape, manipulated to create a star-like structure which is echoed in the function of the building. The gradually ramped flooring (similar to the Guggenheim) has been designed to guide visitors effortlessly and logically through the information, leading visitors closer to the final attraction, the observational dome area containing four telescopes and multiple viewfinders. The roof top level acts as a waiting/queuing area with attractions such as trampolining, laser light shows, lecture and film theatres as well as eating areas.  	 The star themed structure is again echoed in the facade through the use of three different types of glass of differing opacities within the steel paneling system. This gives the visitors a feeling of timelessness and strengthens the space-like atmosphere as natural and artificial light reflects and refracts off these surfaces. The basement levels house a split level restaurant area which gains its unusual lighting from the building’s reflective façade whilst maintaining a ‘hideaway cave’ like ambience, heightening the overall dining experience.
</description>
<pubDate>Thu, 13 Nov 2008 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/3862</guid>
<dc:date>2008-11-13T00:00:00Z</dc:date>
</item>
<item>
<title>DESA1002 'Nine Quarter City' - &lt;Shaoze Yin&gt;</title>
<link>https://hdl.handle.net/2123/3852</link>
<description>DESA1002 'Nine Quarter City' - &lt;Shaoze Yin&gt;
Yin, Shaoze
This semester I learned really a lot of things, the project of 9quarter city really bond the group together; it is just like a pre-exercise of the designing in functions of a building as well as having a good communication and presentation with the clients in the future. This semester, I think I have made progress in understanding of construction material, method, details to be concerned, and in communication, I have learned and can certainly use some of the computer software to draw and construct model building, 2D and 3D drawings, which I think it is a fatal skill that will play an important role in all my studies and also, future career.   Also, I found great interesting in the history of architectural development happened in mainly Europe. Be seeing different styles of buildings did help me in the development of inspiration when I took my trail in the design of the museum. Also, environment studies is another key that link the relative areas in architectural studies, all the natural issues is like fresh air to me that knocks my head and takes me to a different level when I consider things.  I realized it is not easy to study architecture, there are too many things to take into consideration, it is not like kindergarten stuff, it is a deal with real things, certain circumstance, decent people and specific time period. Little tricks and stupid imagination can not lead me to decent work, it need time and patience, hard work and research. But, the more difficult the target is, the more interesting it will be. People say, a genius is made of 99% hard work and 1% intelligence, but I think, he also need passion and curiosity, I am sure I do have the latter ones, and I will do my best in the next semester.
</description>
<pubDate>Thu, 13 Nov 2008 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/3852</guid>
<dc:date>2008-11-13T00:00:00Z</dc:date>
</item>
<item>
<title>DESA1002 'Nine Quarter City' - Nicole Taylor</title>
<link>https://hdl.handle.net/2123/3841</link>
<description>DESA1002 'Nine Quarter City' - Nicole Taylor
Taylor, Nicole
My design aims to capture and recreate an innovative dining experience that reflects Venice’s passion for food.  I wanted to create something that made an impact on the public that was aesthetically interesting as well as functional. It had to leave space for the public esplanade along the canal, but had to take advantage of the views, the canal and the central location.  The design has a relatively small footprint in comparison to the size of the building. This caters for the dynamic flow and activity of people along the canal. The ground floor consists of the fresh food market, with multiple entrances and exits, garbage disposal, storage areas, staff toilets and stairs and elevators to the upper levels. The 1st level is the restaurant and bar. This area has an extended indoor dining and lounge space which cantilevers out over the canal. Outside, the projected terrace encompasses an outdoor dining area, as well as a beer garden which looks out over the main plaza.  The indoor bar wraps around the centralised kitchen space, and there are stairs leading from the canal-side esplanade up to the restaurant. This allows people to move in and out of the restaurant without having to pass through the food market.  The 2nd level is the multi-purpose function room, created as a means to provide the Venice with a fantastically located space for private functions. The large indoor space contains a kitchen and bathrooms and the large outdoor terrace looks out over the canal and the city. I have used a column and slab construction, with some internal load-bearing walls. This allows for large spans of uninterrupted glass cladding which is important for the design of the building. The building’s roof, which slopes down towards the canal is galvanized metal. This material is also used irregularly throughout the building’s opaque facades.
</description>
<pubDate>Thu, 13 Nov 2008 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/3841</guid>
<dc:date>2008-11-13T00:00:00Z</dc:date>
</item>
<item>
<title>DESA1002 'Nine Quarter City' - &lt;Anuradha Seneviratne&gt;</title>
<link>https://hdl.handle.net/2123/3844</link>
<description>DESA1002 'Nine Quarter City' - &lt;Anuradha Seneviratne&gt;
Seneviratne, Lokugam Hewa Anuradha
This semester my project was a student housing project. I chose this project to follow with because I have some knowledge in the area as well as it suited my location. The overall theme for Venice was to create new and interesting places for the youth to hang out.   Keeping this in my mind, during the weekly exercises I consciously tried to drive my project in a modern, youthful direction. I also consciously wanted the project to look different to the function. These two key points made my vague vision to reality.  The building structure was to look like an image of an exploding object while the cladding reflects the modern era (the 21st century). The faces of the building facing to the sky were clad with photovol glass, which absorbs the heat of the sunlight but allows the daylight to pass through. This heat is transferred into electricity for the building. The faces facing away from the sky were clad with reflective glass. This allows spaces, which are enclosed seemed more closed, and spaces, which are open, more open. This play on the psychology suited the position of the building; also the appreciation of the courtyard.   The interior also took an interesting turn; rather than having rows of rooms, I decided to create small apartments for students. Four students will share a kitchen and a bathroom. This was effective because it strengthens bonds between students and thus strengthening the community feeling which was the key to this project. The connecting bridges also help to strengthen this feeling.
</description>
<pubDate>Thu, 13 Nov 2008 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/3844</guid>
<dc:date>2008-11-13T00:00:00Z</dc:date>
</item>
<item>
<title>DESA1002 'Nine Quarter City' - &lt;Haren Dias&gt;</title>
<link>https://hdl.handle.net/2123/3832</link>
<description>DESA1002 'Nine Quarter City' - &lt;Haren Dias&gt;
Dias, Haren
Retail and Cultural Hub Dubrovnik, Croatia  Idea. The idea for the building arose from site that I choose, the fact that the site was situated in between two main road networks that ran through the city was influential when it came down to choosing a building type that would suit my sector of the 9 quarter city. My site was the perfect location for an intersecting pathway or a system of pathways that would link up these two main roads.  Design. I wanted to create something Dubrovnik-like, something that the local people would readily accept but at the same time unique. What I came up with was to keep the original buildings as they stood and create this road network through and around it. By doing so I could keep the same essence and character that makes Dubrovnik so magical. What resulted was that I raised the ground level to the second floor introduced steps that allowed pedestrians direct entrance to the first floor.   Typically pedestrians travelling through would start their journey by climbing up the stairs and into a series of paths and networks that emulate the same experience to that of being on the stradas themselves. Along the way, pedestrians would be guided by a glass-cladded aluminium frame work that so intricately stiches these paths, floors and whole buildings together. The glass ‘canopy’ allows natural elements to penetrate the building further adding to touch and feel of the original strada.  On the first floor, the pathways wind in, out and within the building connecting what was four separate free-standing buildings together. Within there are shops, restaurants, cafés and other retail outlets that open haphazardly onto the pathways bringing the same essence and structure of the old stradas to the building. Below this the ground floor hosts a service level that will serve the retail level above.  On the floors above, I introduced an exhibition space/arts gallery space that offers spectacular views of the level below, to go along with this; I created a workshops and studios, these act as the cultural elements of the building.
</description>
<pubDate>Thu, 13 Nov 2008 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/3832</guid>
<dc:date>2008-11-13T00:00:00Z</dc:date>
</item>
<item>
<title>DESA1002 'Nine Quarter City' - &lt;Yuying Liu&gt;</title>
<link>https://hdl.handle.net/2123/3858</link>
<description>DESA1002 'Nine Quarter City' - &lt;Yuying Liu&gt;
Liu, YuYing
My model is a theatre in Isfahan.It is a local theatre which can contain 300 hundred people.One side of the theatre is facing the street the other side is facing the sea. The side facing the street is the main load bearing wall. The matrial is mass stone. The thick stone can keep the building inside cool as Isfahan is quite a hot city. The stone is painted colourful outside.The other side of the theatre is glass covered as it is facing the sea, people inside can see the waterview from the window.I located a cafe inside along this side, peolpe can walk out to the the yard at the same time.         Then come into my building, I leave a long continous space in the middle, people can directly get into the auditorium without misleading.I leave all the severed rooms on the left side nd sevant rooms on the right side. There are two entrances of the auditorium, one is at the back one is in the front. Considered about the function of the auditorium, I leave two AV rooms at the back of the auditorium and a light control room at the back of the stage. And there is a dressing room for actors at the back of the stage. In order to keep the pravite, I leave a stair for the stuff and actors specially.    Then come to the roof. I leave 3 highlights in order to let some light come into the building from the top. As the stage need to be higher for actors to rise up, I leave a stage tower which is higher than the average height of the roof. In order to corresspond to this stage tower, I make these three highlights with special shapes and higher like the stage tower. That's all my building- a theatre.
</description>
<pubDate>Thu, 13 Nov 2008 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/3858</guid>
<dc:date>2008-11-13T00:00:00Z</dc:date>
</item>
<item>
<title>DESA1002 'Nine Quarter City' - Adam Linton</title>
<link>https://hdl.handle.net/2123/3849</link>
<description>DESA1002 'Nine Quarter City' - Adam Linton
Linton, Adam
A better balanced urban environment: Dubrovnik is a historic world renowned city, designed and built in an age free of motor cars. Originally designed with an emphasis on compact living, it was left bereft of open spaces and crisscrossed with narrow pedestrian lanes. Although not seen as necessary in the 1300’s, today's sedentary lifestyle leaves the people of Dubrovnik in need of somewhere for a “time out experience.” For example:  A moment to pause and smell the roses and orchids growing in the conservatory as part of the public domain. To sit and relax in the shade of a tree while the children play close by in the public park. The residents of the building may choose to enjoy a rooftop barbeque with a few friends on a summer evening. To this end I chose to incorporate these features into my new building. As a group our task was to identify a range of building types that our quarter of the city needed. I was allocated a block on the south-western corner of the city that appeared to be in need of some additional residential housing and some open space landscaping. My aim was to blend the design of a new apartment building into the existing city, ensuring its overall form and shape is similar to the surrounding buildings, whilst utilising the most modern of design features internally. Achieving such a design on the allocated footprint wasn’t easy but with the help of a massing model I identified three possibilities: 1. My first configuration is that of a single main tower of apartments that has a small footprint whilst providing sufficient building floor space and a large open garden. 2. The second configuration was one which would provide maximum floor space. However, in doing so, it would almost completely negate the possibility of any open space, conflicting with the original design concept. 3. The third configuration was an attempt to spread out the footprint, in order to gain the same amount of floor space as the first configuration, without having it loom over the surrounding buildings. This configuration was eventually used in my actual design; however it was rotated 180° thereby walling in the vacant space to create a more private courtyard. In conclusion I think the people of Dubrovnik would welcome a building such as mine into their urban environment. I feel certain they would derive great pleasure from the public courtyard, play area and rooftop conservatory.
</description>
<pubDate>Thu, 13 Nov 2008 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/3849</guid>
<dc:date>2008-11-13T00:00:00Z</dc:date>
</item>
<item>
<title>DESA1002 'Nine Quarter City' - &lt;Alice Middleton&gt;</title>
<link>https://hdl.handle.net/2123/3861</link>
<description>DESA1002 'Nine Quarter City' - &lt;Alice Middleton&gt;
Middleton, Alice
This semester in Design 1B our project outline required us to develop a single architectural design in a complex urban context. We underwent a series of conceptual exercises, which required us to transform and assemble our thoughts and design ideas. From these weekly exercises our architectural proposal developed into a refined, detailed single building, which was placed in its given context. Each tutorial group was allocated one major city, out of nine, to base their architectural structures in. My tutorial group had the eighth quarter, which was home to Bern, the capital city of Switzerland. In order to commence the design process, we required background information on the context of Bern and the architectural traits of the city. From the visual information collated, we could then proceed in developing our architectural ideas for building designs. This semester saw us carrying our similar exercises to semester one, however they were more specific in the design requirements and a greater degree of skill and development, for each individual exercise, was essential.  My single design proposal explored the function of a Swiss Post Office. Before sketching ideas for my design, I researched information on the services within a post office and I looked at pre-existing Post offices. From this research I was aiming to gather design ideas and I was also influenced by the site I had chosen from my allocated site plan. Once establishing the design shape, my design stemmed from there. Weekly input and feedback from both my tutor and fellow peers enabled my proposal to become refined to the point of design completion. My Post Office reflects the traditional architectural features of buildings in Bern, with the colonnades, however it is also quite modern and contemporary is design style. I have created a design which has a juxtaposition of shapes, using my original quadrilateral site as well as a semi-circular theme. I found this semester to be highly beneficial in extending my skills in model making, and draftsmanship as well as broadening my thoughts and ideas for designing architecturally.
</description>
<pubDate>Thu, 13 Nov 2008 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/3861</guid>
<dc:date>2008-11-13T00:00:00Z</dc:date>
</item>
<item>
<title>DESA1002 'Nine Quarter City' - &lt;Yi Fan Zhang&gt;</title>
<link>https://hdl.handle.net/2123/3867</link>
<description>DESA1002 'Nine Quarter City' - &lt;Yi Fan Zhang&gt;
Zhang, Yi Fan
Throughout this semester I have worked on a multi-complex building which main purpose was to cater to the cultural arts and culinary needs of Venice, whilst also utilise the space available to its full potential, since my site is indeed the south-west corner of the famed Piazza San Marco.  For the design, I have decided not to deviate too much from the surrounding architecture, taking the site into consideration, so for the look I eventually went with was more of a ‘modern take on a classical building’.   The multi-stories restaurant, cafe, and performance arts centre, which I chose to work on proved quite challenging to design, as like many people, I took the original plan quite literally, and it inturn proved quite geometrically restricting. Finding enough space in the beginning, particularly for the performance studios proved to be quite difficult, if not a bit desperate. However, when the decision to extending the entire northern facade forward into a columnade was made, the problem of space was solved, and further design options emerged, like the joining of circulation, public, and private spaces with communal balconies overlooking the Piazza, giving visitors a wonderful viewing platform even if they’re not there to use the facilities.   Week after week, I’ve had the opportunity to improve the program and the design my building, whilst I do believe I succeeded in planning out a functional building program and circulation system, I do however regret in not taking more risks with the overall design of the building, which in my opinion is a bit too conservative. Perhaps a more daring design would’ve given the building a more unique look, as well as the potential for a very interesting program. But overall I am pretty satisfied with the end product, considering the amount of time we were give.
</description>
<pubDate>Thu, 13 Nov 2008 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/3867</guid>
<dc:date>2008-11-13T00:00:00Z</dc:date>
</item>
<item>
<title>DESA1002 'Nine Quarter City' - &lt;Michelle Foo&gt;</title>
<link>https://hdl.handle.net/2123/3828</link>
<description>DESA1002 'Nine Quarter City' - &lt;Michelle Foo&gt;
Foo, Michelle
This second semester our project was to transform a ‘generic city’ into its urban context among 15 other blocks.  My Group is responsible for the city, Dubrovnik, Croatia.  My block among the quarter city is number A2.  We were to research and understand the Dubrovnik culture, lifestyle, and architecture styles and were to transform one part of our individual site into a functional building, co-existing with the rest of the site. Within my site I have transformed one building into a homey local hotel, which the entire group has agreed upon.  This hotel comprises of residential suites, with a whole set, kitchen, living room, dining room, bedroom and a bathroom.  Among all that, double bedrooms, single bedrooms, we also have several facilities such as; pool, café, restaurant, gym, and a sauna.  Due to the compact rows of buildings, next to one another, privacy is the primary issue of the hotel.  This hotel is designed in way to ensure the privacy of the customers is executed.  The building is covered in a one-way reflective glass, allowing only the customers to view outside and there are only reflective views of the neighbouring buildings when viewed from outside.  Due to the reflective glass it allows the hotel building to fuse with its surrounding buildings, and receive its total mirrored reflection blending the rows of buildings together.  In addition, the hotel includes a courtyard.  It merges the building to the outside environment as one. The courtyard is located in the middle of the hotel building; it separates the public and levels of private spaces within the hotel and provides an obvious circulation path.  Furthermore, it eliminates the sense of compression within the hotel.  The hotel has also incorporated the Dubrovnik lifestyle and culture, by situating the pool on the roof of the hotel.  This also provides open space environment and allows maximum sun exposure.
</description>
<pubDate>Thu, 13 Nov 2008 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/3828</guid>
<dc:date>2008-11-13T00:00:00Z</dc:date>
</item>
<item>
<title>DESA1002 'Nine Quarter City' - &lt;Marzuki Mohammad&gt;</title>
<link>https://hdl.handle.net/2123/3838</link>
<description>DESA1002 'Nine Quarter City' - &lt;Marzuki Mohammad&gt;
Mohammad, Marzuki
Basically, my design functions as a Tunisian Restaurant. It will be located at the most east side of the Tunis and is going to give the new experience of dining at ‘the end of the world’. This restaurant is going to be a collection of market tables and stations, where customers can choose their preferred ingredients and ask the chefs to cook them, according to the customers’ preference as well. Other than that, customers are able to discuss with the experienced chefs about the cookery and also buy the raw ingredients if they wanted to.             Concept of my building is ‘Beyond’ which represents the variability of my building’s program and functions. ‘Beyond dining’, people not going to come here to eat, but it is about an exploration of Tunisian food. The inspiration of my design is a spaceship, which symbolically, it will bring the customers to another world – this represents the new way of dining. Basic cube shapes has been used to synchronize the common shape of the Tunisian existed buildings. The structure which locates the dining and food stations is going to be a steel framed structure, clad by see-through glasses. This would allow natural light to enter the building and reduces the amount of energy used to provide light for the building. A transparent cladding would also allow the customer to see the view of Tunis outside as well as manipulate the space inside (looks more spacious by doing this). People outside the building could also see inside the building (which soon would attract them to experience what inside it) and at night, this building is going to be shine and this would create a new view of a night in Tunis as the existed buildings mostly are opaqued structures.             Most part of the building is going to be about 5 metre above the ground, which will create a public space under it. This area could be used to organize any exhibitions, campaigns, or even a place for people of Tunis to meet and hang out. Area like this would definitely foster the community spirit. Moreover, this building would also adapt the usage of renewable energy which wind turbines will be applied at the top of the pinnacles and solar panel that facing south will be applied at the top of the roof. Hopefully, this building could be an example of the sustainable building that can be followed by other constructions/buildings in Tunis.             The idea of this market style restaurant on the whole came from the various types of ingredients that could be used in Tunisian dishes. Most Tunisian dishes allow you to choose the ingredients for toppings and fillings (e.g. meat, fish, or vegetables). Thus, this concept would also give the opportunity to the customers to try different combination of ingredients, each time they go there. As it is a tradition for the Tunisian people to sometimes have a grand meal with their family, friends, or relatives, this restaurant definitely is going to be a best place for this, as it will satisfy the taste of different people, probably at the maximum level. This restaurant would also be a suitable place for the tourist to dine, as usually tourists are really interested to try new and different cuisines, but yet still fulfil their preference. Thus, tourist can enjoy the Tunisian food with their own taste type (e.g. the amount of hot peppers can be decided to delicate their palate). This restaurant would also introduce the Tunisian cuisine to the tourist as they will explore them from the ingredients, the way of cooking, and until the cuisine get served. Subsequently, this restaurant is able to become the main attraction in Tunis, promote a new tourism, or even it could potentially become one of the best restaurants in the world!
</description>
<pubDate>Thu, 13 Nov 2008 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/3838</guid>
<dc:date>2008-11-13T00:00:00Z</dc:date>
</item>
<item>
<title>DESA1002 'Nine Quarter City' - &lt;Phillip Ji&gt;</title>
<link>https://hdl.handle.net/2123/3854</link>
<description>DESA1002 'Nine Quarter City' - &lt;Phillip Ji&gt;
Ji, Phillip
My project is based on a residential building for which I°Øm designing in the city of Dubrovnik, Croatia. The city is known as a popular tourist destination, and commonly described as the °∞pearl°± of the Adriatic. Within the defensive walls, buildings of the city closely stand next to each other and leave out very limited public spaces and narrow streets in most parts of Dubrovnik.     The concept of my design is heavily focused on the importance of space. Certain features such as the °∞leaning°± posture was used for my building, to symbolise the °Æsearch for space°Ø and °Æescaping the ordinary°Ø, etc. Furthermore - I wanted the outcome to be a building to not only challenge the Dubrovnik lifestyle and building style, but also add a new sense of community to its residents. At the same time I was looking for something that would stand out, not as an alien, but as a building that belongs to Dubrovnik.      The building (of my design) itself consists of four floors of residential split into two individual units per level. Inside each unit, the setups of rooms are all similar to attract people alike. Other than the residential floors there is also a ground floor which accommodates a lobby and community room which act as a buffer zone for the transition from fully public areas into the residential. A roof garden is situated at the top of the building. Together with the ground level landscaping, the greeneries relate and reflect upon the nature of Dubrovnik°Øs city planning and tradition.
</description>
<pubDate>Thu, 13 Nov 2008 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/3854</guid>
<dc:date>2008-11-13T00:00:00Z</dc:date>
</item>
<item>
<title>DESA1002 'Nine Quarter City' - &lt;Xing Gao&gt;</title>
<link>https://hdl.handle.net/2123/3831</link>
<description>DESA1002 'Nine Quarter City' - &lt;Xing Gao&gt;
Xing, Gao
I worked on a boutique street in the city of Bern, capital of Switzerland. The street locates near the main road and that provides sufficient people flow. Street presents shoes, clothes, jewelry shops, florist and cafe normal types of stores. The drinks retail is the interesting part in the design. It leads to a hidden courtyard and operates as a bar at night as an attraction. Researched on similar project of Herzog &amp; de Meuron’s Five Courts, I was inspired by the unique windows and openings designs then I started to focus on the environment contrasts. Materials in used are mainly bricks which respond to the top buildings but painted in bright colors to make highly contrast with the surrounding traditional architecture overlook. Variations in stores levels are the visual interests and change the uniform look of traditional street appearance. An open staircase at the corner to the street provides a good connection of the building and street. One of the edges of the street is in curve while it has a sharp end at the opposite side. That is designed for catching the pedestrian’s attention to the street and walks beside the curve and finally attracted to explorer the boutique. There is also consideration about stores locations. Café is located to the quite street for a better environment and the Jewelry shop is placed just to the main road. In the model presentations, there are different colors ceilings and also small symbols on the interior walls. They both to quickly understand the functions of different stores i.e. foot prints for shoe shops, flower bunch for florist. Basic concept of the design is to create a different style with the ancient city. The street cooperates with the medieval atmosphere also presents the energetic aspect in modern time.
</description>
<pubDate>Thu, 13 Nov 2008 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/3831</guid>
<dc:date>2008-11-13T00:00:00Z</dc:date>
</item>
<item>
<title>DESA1002 'Nine Quarter City' - &lt;Jae-Yun Heo&gt;</title>
<link>https://hdl.handle.net/2123/3869</link>
<description>DESA1002 'Nine Quarter City' - &lt;Jae-Yun Heo&gt;
Heo, Jaeyun
In the second semester of Design Studio, there were a lot of interesting and helpful exercises for each week. Especially, it was good to have real site for my project and I’m pleased that I successfully finished whole exercises eventually including two presentations. Because of the language barrier, it was difficult for me to understand what I needed to do and express what I’ve done so far in English. I did ask Penny about them and she clearly explained to me every time. However, the two presentations were completely different. I needed to think about what I’m going to say about my project in front of my group and also I got to speak English fluently. I presented my work with explaining why I made this model, what’s in the model, why I chose this material for façade, what the function of this model is and etc. Unfortunately, I was shaking when I present them. I’m trying not to shy when I present in front of people, but it is still hard for me. I should overcome it for next year, but I think I’m getting better little by little. But other than that, everything was fine. I made massing models with grey cardboard and my model with balsa and enveloped them with different materials. Unfortunately, sometimes I hurt my self when I cut cardboards or balsa and get annoyed with them. However, I like making models even if it usually takes a long time to finish. Because when I saw my finished model and took photos of them, I could feel great achievement and forget that I was tired. I drew many drawings such as plan, section, elevation and axonometric as well. This semester, I started to draw plans using Auto CAD. Additionally, now I’m able to use Photoshop with complete control. They certainly helped me a lot when I was making presentation sheet clearly. Even if I was not good at presentation, it was good opportunity to listen other student’s presentation as well.  Throughout the second semester of design studio, I learned a lot and realised what I need to develop for next year. Therefore, I will be working on studying how to present well and definitely English as well, so that I can say everything I want to explain and describe in English.
</description>
<pubDate>Thu, 13 Nov 2008 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/3869</guid>
<dc:date>2008-11-13T00:00:00Z</dc:date>
</item>
</channel>
</rss>
