https://hdl.handle.net/2123/5465 Sun, 07 Jun 2026 22:30:41 GMT 2026-06-07T22:30:41Z https://hdl.handle.net/2123/5627 DESA1002 'Continuous City' Courtney Owen Owen, Courtney Elise DESIGN PRACTICE 1B SUMMARY COURTNEY OWEN SID: 307157830 LA SCATOLA DI VETRO MURANO AND ITALIAN GLASS EXHIBITION CENTRE Venice ... arguably one of the world’s most renowned tourist hubs; or as some have come to believe, a soon-to-be theme park for the rich, who will simply jet in for a day or two and then leave. But what is it about Venice that keeps the masses coming back? The romance of the city at night; the serenity derived from the lack of motored transport; the winding maze of canals, not to mention streets; the large, open piazzas; the historic architecture; the rich culture. Whether it is one of these reasons or another, we can be sure that one quality prevails above all else: the innate sense of mystery that is bred into Venice. And La Scatola di Vetro doesn’t fail to live up to this expectation. Picture this: Imagine sitting in San Marco Piazza; sipping on a perfectly brewed Italian coffee whilst watching the pigeons pass by. One takes flight, and you follow it with your gaze, when all of a sudden, a glimpse of something exciting and magnificent appears, hovering above the roofline of the Procuratie Nuove. You are intrigued. You wish to discover what mysteries this floating glass box has to offer. You see people moving up glass elevator shafts in order to enter the building, but from where you are sitting, the entry is not clear. You quickly finish the rest of your coffee; throw down a handful of the complimentary peanuts; pay the bill, leave a tip; and off you head, looking for the entry. This action in itself becomes the first little mystery wanting to unfold! You enter the Procuratie Nuove, when all of a sudden ... you are confronted with the lifts – the circulation up to this undiscovered world. The ride up is eventful – the layers of this historic building begin to unfold – when suddenly, you break through the roof and are now passing through the sky. The city of Venice begins to be revealed – a perspective of it you haven’t seen before. From here, the city looks very consistent, but it is beautiful in every sense. After ascending some twenty-odd-meters, and upon entry to the building, you are greeted by some marvellous works of art – the most exquisite Italian and Murano glass exhibits to be exact. Though, taking the time to admire these works of art has not kicked in yet – you are still mesmerised by the view that can be seen out of the full curtain wall glass facade. It opens up a whole new perspective of Venice you never previously conceived possible – one that looks over the whole city, coming to expose: San Marco Basilica and the Piazza to the north-east; Santa Maria della Salute to the south-west; and suburban Venice to the north-west; with all of these marvels gradually becoming apparent as you circulate your way around the 67 meter long building. When you settle down and take the time to admire the glass exhibits, you come to realise they are exquisite; they are strong but fragile; and they have a unique, yet simplistic form - all qualities of the building in which they are housed. Whilst the structure of La Scatola di Vetro¬ may appear to be a rectilinear element of prosaic simplicity, core pods (used to define areas of distinct activity), give the structure a form that is memorable and functional. A form that is divided over two levels and leaves the exterior floor space open for circulation and uninterrupted views of Venice. You can visit one of the three distinct exhibition spaces; see how it is all made in the glass blowers workshop – or if you are game – have a go at creating your own little souvenir as a take-home memory of today’s adventure. But if, after all that, you wish to put your feet up; take a seat in the cafe on the upper mezzanine level and begin to take in the city of Venice from a light, airy, uncluttered, aerial perspective. You will be overwhelmed by a sense of content; so it is only fitting that you exit via the second set of lift cores which present themselves in the Giardini Landscaped Reserve – and while you are there, why not take a stroll in the park, or lie on the grass and admire the qualities in your hand-made souvenir. Not to mention admiring the way in which the building is held up by a scattered array of slender concrete columns which slide seamlessly with the trunks of the trees in the reserv¬¬e. So with a brief tour of La Scatola di Vetro put forth, – it’s now time to discover for yourself The Fragile Mystery. Enjoy Courtney Owen Wed, 04 Nov 2009 00:00:00 GMT https://hdl.handle.net/2123/5627 2009-11-04T00:00:00Z https://hdl.handle.net/2123/6250 DESA1002 'Continuous City' <Sonny Oh> Oh, Sonny People of many religious groups believe Jerusalem to be the chosen city of the god they worship. They are forced to live in this chaotic environment that is in constant clash between beliefs. This idea has been explored in the design of a new museum located at the east of Jerusalem. The proposed design is situated within close proximities to the adjacent buildings; there is a long, narrow walkway leading to the museum which allows visitors to experience the anticipated journey towards the building. The exhibition spaces within the building is essentially divided into four groups of the main religious groups, with their own archive / library spaces allocated. The visitors will experience these spaces by entering through strictly allocated entrances to each exhibition space and will be welcomed by a reception and transluscent secutity gates. The visitiors will have the option to choose to travel via ramps / bridges that connect the spaces throughout the levels (roof garden provided with no boundaries to be used as a gathering place for all;contrast to the overall setout of the builing). The chaotic circulation through the building shapes the inner (courtyard) walls of the building whilst in contrast the outer walls are more geometric to exhibit the artifacts. The artifacts that will be on display in this museum will be act as the face of each religion, allowing visitors to experience its origin and its identity. The chaotic nature of the building reflects the city of Jerusalem constantly struggling to make sense of the unification of the different religious groups. Fri, 18 Jun 2010 00:00:00 GMT https://hdl.handle.net/2123/6250 2010-06-18T00:00:00Z https://hdl.handle.net/2123/6251 DESA1002 'Continuous City' <Madeleine Bird> Bird, Madeleine Young Writer’s Pavilion is a self publishing house located in the Vendome Square Paris it will provide the creative minds of Paris a space of inspiration where they can share ideas and concepts with other emerging writers. Artists will be able launch and sell their works. The design will incorporate a public space at ground level that will involve the audience and encourage them to enter the pavilion below. The Young Writers Pavilion was inspired by this concept of a wave and its different stages of form. The career of a young aspiring artist can be likened to this, a writer’s thought process travels through periods of calm, periods of frustration, periods of intensity and periods of action. The roof and stair structure I have designed is intended to involve the audience in the building, it is representative of a physical wave metaphor. In this roof design the wave is active involving both the audience and the writer just as a good piece of literature should. The building consists of three sections; Two underground levels and a ground level which acts as a public space, the first underground level is a function area, which can be used for book launches. It is a particularly interesting space as it has the translucent wave roof structure dipping into it letting in light and rain water which falls through to the level below. The second underground level is a thinking/meeting space for writers where they can share their ideas. Within this space there is a cafe, which has its walls lined with books. The roof structure passes right through into this level, and there are pools located in the cafe that act as impluviums catching the rain water. It is possible that the water that enters the rain water pools could be used for service water. Another feature the the building could utilise it its roof space, maybe the wave structure could include solar panels that could power the building. A place where thoughts, concepts and ideas can be shared in an interesting environment seems to fit in with with the idea of the Paris exhibition. Writers and their audiences will be able to come to the square to meet in the public roof space and discuss what they have experienced and what they have learnt. Fri, 18 Jun 2010 00:00:00 GMT https://hdl.handle.net/2123/6251 2010-06-18T00:00:00Z https://hdl.handle.net/2123/6252 DESA1002 'Continuous City' <Yeunjin Jeong> Jeong, Yeunjin This is the design of an office building for the headquarters of a steel industry company; one of Swedens largest industries. It was designed to express the essence of the company by acting as a showcase for steel with large spans and roof structure. Conferences, meetings and discussions with clients will be the priority of this building, therefore, there are different areas for them; from the casual lounge to the more private conference rooms. In addition to these spaces, there is a cafe on the ground floor that is accessible to the public and also conventional workstations on upper floors. Fri, 18 Jun 2010 00:00:00 GMT https://hdl.handle.net/2123/6252 2010-06-18T00:00:00Z https://hdl.handle.net/2123/5704 DESA1002 'Continuous City' <Jason Hotten> Hotten, Jason Health and fitness is so important in today’s times especially for our youth. In this exclusive part of Paris, Place Vendome, the culture is rich in fashion and modelling. These people want to look good and want to be seen. Also with health becoming a rising issue in today’s society, I have decided to create a Fitness Centre. This centre will have all of the facilities to accommodate the health and exercise needs of this exclusive area. Ground Floor: - Entrance - Reception - Health Food Bar - Sitting Areas First Floor: - Nutritionist - Physiotherapy - Personal Training Consultant - Male/Female Toilets and Change Rooms - Male/Female Saunas Second Floor: - Free Weights - Machines - Bicycles - Treadmills - Rowing Machines - Stretching Mats Third Floor: - Treadmills - Bicycles - Rowing Machines - Stretching Mats - Bicycle Room - Boxing/Fitness Class Room¬ There is only one main structural element of this building which is the central column. It is a steel trussed column with triangular truss beams stemming out towards the corner of each floor. Between these triangular truss beams are cross beams to hold the floors up. Located in this central column is also the elevator and stairs, so the main circulation element is also the main structural element. For the materials I have chosen a glass façade accommodated with louvres to allow the building to breathe. It is glass to maximise the views of the beautiful gardens surrounding the building. Also, people in Paris want to be seen and they can show off to the outside while they are exercising. I chose a translucent material overlayed with a metal mesh for the central column so as occupants walk up the stairs they can see silhouettes of other patrons exercising which sets the scene for their training. Thu, 12 Nov 2009 00:00:00 GMT https://hdl.handle.net/2123/5704 2009-11-12T00:00:00Z https://hdl.handle.net/2123/5662 DESA1002 'Continuous City' <Amy Tahere> Tahere, Amy ‘The curve’ is a space designed for relaxation, leisure, social gatherings, recreation and reconnection. It consists of a series of curved pathways, water gardens, a café, restaurant, bar, exhibition studio, a quiet hub, a gym and a heated pool. I have given my design the title ‘The curve’ not only for the visual form we can see, but also to represent my design intention. A ‘curve’ is defined as a line that deviates from straightness in a smooth, continuous fashion. It is part of a circle… Just as the term is described, my design is a space for people to deviate from routine life and confinement, and venture into a space where they feel comfortable and content; doing things they want to do. ‘The Curve’ provides a space where the citizens of Stockholm can find a healthy balance between work, family, friends and even reconnection with themselves. It helps complete the circle. ‘The Curve’ comes in contact with the main land in four places, leaving the existing building untouched. The curvaceous structure is influenced by the organic nature of Stockholm, a city that is renowned for its clean water and being one of the most green cities in Europe. ‘The curves’ varying heights reflect the topography of Stockholm’s Architecture, however on my site it contrasts with the parliament house which is very bold and solid. This is to represent the more relaxed and informal setting of the space. In Stockholm, for parts of the year they have less daylight, and to make my project appropriate for this, all areas are provided with solar lighting. Solar energy is stored from the summer months and is used over winter. Circulation paths will be highly illuminated. The main materials used are, double glazed glass cladding, galvanised steel and very fine grain timber piles for in the water, timber decking and grass cover. Where the paths connect with the main land there is a graduation of cobble stone which then transforms into a panel pathway that has round/ stone shaped illuminators beneath it. This pathways links Gamla Stan (The old City-Cobble stones) with the new (technology and illuminated panels).The choice of glass is to take full advantage of the water front location, the galvanised steel is for strength, long span and to be able to create the desired shape. Timber sliding panels have been implemented for the occupants to shade/shield certain areas to suit there needs. ‘The Curve’ has been an exciting and challenging project to focus on a single architectural built form within the restraints and opportunities of a complex urban setting. Mon, 09 Nov 2009 00:00:00 GMT https://hdl.handle.net/2123/5662 2009-11-09T00:00:00Z https://hdl.handle.net/2123/5667 DESA1002 'Continuous City' <Vincent Chung> Chung, Vincent My design project is situated on block K6 in the city of Venice and I have chosen a location right above a canal to design a waterfront Bar/Nightclub. The Masque, Bar in Venice is aimed at the backpacker and younger Venetian locals. It is decorated in an almost retro/art deco style. The main facade of the building features the simplified shape of the Carnivale mask; which plays a large cultural role in Venetian theatre and entertainment. The abstract mask on the façade has eyes, a mouth and on top of the face; is a tall structure which represents the pluming feathers on the traditional mask. The building design is composed of two major structural components. First is the main building, a cube like structure constructed of rigidly braced steel frames. These frames support both concrete and timber flooring. The exterior is clad with thin marble to allow the penetration of light into the building. Copper is used to clad selected parts of the exterior to highlight and outline the features on the façade. The main building contains two levels, the ground level and the first level. The second structural component is a lightweight steel frame structure supported from the canal bed, using a steel compressive tube. The lateral forces are balanced using truss bracing, supported from the main building. This lightweight structure houses the VIP section, which contains two levels. Overall, the building contains four levels; two for general public access and two for VIP exclusives. The ground level contains a jetty/wharf where patrons access the building via marine transport. Marine transportation is the preferred method of travel. It also contains a considerable amount of dance floor space and bar space and amenities block. The second level is comprised of bar space and a concert stage. The third and fourth VIP levels have all the basic bar/nightclub functional areas as well as a more grandeur area. Mon, 09 Nov 2009 00:00:00 GMT https://hdl.handle.net/2123/5667 2009-11-09T00:00:00Z https://hdl.handle.net/2123/5665 DESA1002 'Continuous City' <Richard Verzi> Verzi, Richard Nicholas My project was to design a ferry terminal to provide a transportation link between Tunis and surrounding cities, the terminal however facilitates much more than a convenient platform for transit. But rather the building aims to combine and complement the somewhat conflicting activities of leisure and transit under the one roof. Many facilities are provided for in this building and coupled with its breathtaking views of the sea as well as internal views of the equally tantalising sculptural roof assembly, There is a restaurant located on the water front capitalize on the water view and sea breezes and upstairs a shopping mall can be accessed via elegant spiraling stairs or state glass lifts placed on the external faces of the building for ocean views. Linked to the stowing zones and dining lounge this floor symbiotically links together Transit and non transit operations. The ferry terminal in its design, structure and facilities will attract visitors and evoke a sense of pride in the local residents of this beautiful place on earth. Mon, 09 Nov 2009 00:00:00 GMT https://hdl.handle.net/2123/5665 2009-11-09T00:00:00Z https://hdl.handle.net/2123/5666 DESA1002 'Continuous City' <Sarif Ridoy> Ridoy, Sarif H Tunis is the densely agglomerated and cultural capital of Tunisia. Situated on a large mediterrainian gulf, in the heart of the city lies the medina which contains many historical and monumental mosques. These mosques are the buildings which bring together the locals in a daily ritual of prayer. My proposal is thus a simple stone mosque in a residential sector of Tunis. The mosque provides a spiritual haven for Tunisians and visitors alike. It is versatile, ensuring people of all ages and cultures a chance to witness the sermons of islam. Minarets on the side of the mosque evoke a sense of symmetry, vital to islamic architecture, and function as storage facilities. These towers are risen above the surrounding buildings to give a sense of power and spirituality. Mon, 09 Nov 2009 00:00:00 GMT https://hdl.handle.net/2123/5666 2009-11-09T00:00:00Z https://hdl.handle.net/2123/5670 DESA1002 'Continuous City' <Amanda Mei Ting Chan> Chan, Amanda Mei Ting The Tokyo International Aquarium, located in the urban districts of Tokyo, functions as a marine observatoriam, marine research lab and a public learning centre. The building is an integration of Earth's paradoxes; the unpredictable nature of the river and the controlled construction of a building. The building has an underlying theme which emphasises on movement through the exterior and interior space. It primarily promotes the diversity of sealife throughout the world. Through circulating around a large, central tank, spiralling ramps takes visitors on a journey to the world of underwater creatures. From level to level, visitors are able to experience the large array of different sea animals amongst the six continents, separated into six smaller tanks. The architecture of the Tokyo internal Aquarium focuses on the connection and integration of the exterior of the building to its interior. From the beginning of the journey into the building, visitors must travel along a glass tunnel tracing the exterior walls. The entrance path leads visitors out over the river before taking them into the aquarium. Moving through the building, visitors can have a scuba diving experience, underwater viewing through periscopes in the basement level, as well as view the aquarium's museum. The Tokyo International Aquarium allows visitors to experience a deep, underwater connection. It raises their awareness of the diversity of aquatic life and the importance of their role on Earth. Mon, 09 Nov 2009 00:00:00 GMT https://hdl.handle.net/2123/5670 2009-11-09T00:00:00Z https://hdl.handle.net/2123/5664 DESA1002 'Continuous City' <James Free> Free, James A building designed for Stockholm to celebrate the richness of artistic culture present within the city and the region. 'Observera' is the location of Stockholm's premier exhbition space. Mon, 09 Nov 2009 00:00:00 GMT https://hdl.handle.net/2123/5664 2009-11-09T00:00:00Z https://hdl.handle.net/2123/5663 DESA1002 'Continuous City' <Janine Manzana> Manzana, Janine an iconic broadcasting sub-station for Sweden's national broadcasting network. Located in the heart of Stockholm's Gamla Stan region - between the Royal Palace and House of Parliment - its main feature is a large retractable screen from which important broadcasts are projected for the city. Mon, 09 Nov 2009 00:00:00 GMT https://hdl.handle.net/2123/5663 2009-11-09T00:00:00Z https://hdl.handle.net/2123/5668 DESA1002 'Continuous City' <Hannah Humphrey> Humphrey, Hannah The concept of my building is to offer a retreat from the bustle of the market and every day life. The restaurant is set in the busiest corner of the city, and so the single entrance serves to provide a clear distinction between in and out, between life and escape. The balconies and dining areas overlook the market below and the wall of Isfahan Square, whilst not actually being a part of them, reinforcing the sense of luxury and retreat. The design aims to bring the traditions of Iranian architecture and a modern understanding of materials and technology. The building will be made primarily of stone, with glass and ply accents. The glazing is set back from the facade, so as not to interrupt the rhythm of the arches. Overriding every decision was the aim to marry traditional culture with the modern lifestyle. Mon, 09 Nov 2009 00:00:00 GMT https://hdl.handle.net/2123/5668 2009-11-09T00:00:00Z https://hdl.handle.net/2123/5661 DESA1002 'Continuous City' <Rohan Bodman> Bodman, Rohan New York needs another concert venue. One that opens onto the water. One that’s cosy in winter and breezy and cool in summer. One with lots of flexible bar and restaurant space. That’s the Music Box. In winter it’s an introspective New Yorker, rugged up against the weather. In summer it strips off and stretches out to welcome the sun, the stars and the breeze off the lake. The Music Box is always ready for a good time. It works hard so New Yorkers can play harder. Fri, 06 Nov 2009 00:00:00 GMT https://hdl.handle.net/2123/5661 2009-11-06T00:00:00Z https://hdl.handle.net/2123/5647 DESA1002 'Continuous City' <Hope Dryden> Dryden, Hope My concept for this semester was a museum in Isfahan. Through researching the city I found that the vernacular is lacking in contemporary architecture, with the predominate features being stunning intricate mosques to simple housing. Taking this into the context of my design I decided to link the old and the new, providing a place of transition for the city’s residents and visitors while bring together western and eastern cultures. I have chosen the location on my site due to its proximity to the main road, which leads to the tourist attraction of the gardens. The program of a museum was originally chosen due to the context of the site being mostly residential. Initially the museum was going to be traditional, showing the crafts of the Isfahan culture, but through doing the exercises I found that my design was becoming more and more contemporary, meaning that the outside did not reflect the inside. Therefore I decided to split the program into a traditional side and a contemporary which link via a bridge. This link of the traditional and contemporary is accentuated not only by the museums exhibits, but the very structure of the buildings themselves. The structure of the buildings shows this by the traditional being a load bearing structure while the contemporary is a framing system. The materials were chosen to suite each area. The base is of a neutral material while the traditional side is made of stone, the contemporary side being copper. This material was chosen as it wouldn’t be typically used in Isfahan and even though it’s contemporary now it won’t be forever; therefore the copper will age and blend into its surroundings. The external is reflected internally with the contemporary having wide open spaces juxtaposed against the alley way like hallways in the traditional. Thu, 05 Nov 2009 00:00:00 GMT https://hdl.handle.net/2123/5647 2009-11-05T00:00:00Z https://hdl.handle.net/2123/5640 DESA1002 'Continuous City' <Nina McDonald> McDonald, Nina Sîan This project comprises an affordable-housing intiative in the heart of Amsterdam. Containing 13 small residential apartments, the development aims to increase housing affordability within the city without compromising architectural integrity or quality of life for residents. Situated between two extant buildings, The Amsterdam affordable housing project has created new spaces within the city, that benefit not only the residents of the AHP, but also the public. The commercial space situated on the ground level aims to encourage street life and pedestrian activity in a street that has, in the past, been characterised by heavy vehicular traffic. The 'parasitic' apartments which have bled over the adjacent alley way and over the rooftops of neighbouring buildings have created new spaces from the enclosure of the alleyway as well as a shared, open courtyard and garden which sprawls across the roof of the new building. The modular apartments have been oriented to give the rooftop maximum sun exposure. Thu, 05 Nov 2009 00:00:00 GMT https://hdl.handle.net/2123/5640 2009-11-05T00:00:00Z https://hdl.handle.net/2123/5644 DESA1002 'Continuous City' <Holly Lim> Lim, Holly Upon the Eastern shores of the worn sandstone city of Dubrovnik lies a salt-encrusted gem, nestled safe in seclusion within the crumbling city walls, worthy of ancient festivities. Inspired by the annual Dubrovnik Carnival, the Amphitheatre of Dubrovnik marks itself as a Theatre of Escape, reflecting the playful atmosphere that only a Masquerade may bring: men and women and children alike prowling the old city streets, swathed in heavy fabrics, dripping in summer warmth, singing and dancing and laughing in merriment; traditions of a time when everything is allowed – when people may shroud themselves in mystery, and grandeur – where known identities are forgotten, and true selves brought forth. Where people become who they want to be. Music, theatre and dance have always been a defining characteristic of Dubrovnik. The Amphitheatre serves as an ambiguous space of life – the stage a nurturer of action and romance, of comedy and tragedy, of turbulent waves of thought and emotion – with the primary aim of captivating audiences in the fantasies of playwrights passed. Its charming dockside setting allows gusts of fresh salty air from the Adriatic to settle over the Theatre’s whitewashed sandstone steps, warm and heavy, awaiting yet another performance where people live and forget, and get lost in a world of imagination. Thu, 05 Nov 2009 00:00:00 GMT https://hdl.handle.net/2123/5644 2009-11-05T00:00:00Z https://hdl.handle.net/2123/5660 DESA1002 'Continuous City' <Kate Cecil> Cecil, Kate This semester I have designed the Tokyo Tourist Towers. This has allowed me to be creative in a way I thought never possible. With my site being located in the centre of a major and highly populated city, I decided to design a building that serves as a tourist attraction. My design provides the tourists with the experience of the Japanese culture in a contemporary setting, with a range of activities from calligraphy to tea ceremonies, lounge to restaurant and even a separate hotel to stay in while enjoying a getaway. Being two towers, each building has a unique appearance. With the river canal as a focal point of my design, I have orientated my building towards it (South facing), with all other sides being plain in appearance. The West tower, being a hotel, is vertical and symmetrical with a “man made” appearance. On the other hand, the East Tower, being full of a range of Japanese activities, is juxtaposed. With a leaning tower and some sloping floors and ceilings this tower is given the appearance of “machine made”. This is shown through the materials being glass and steel structure. Each space designed also has a unique appearance and feel. It still fascinates me how different spaces can be both distinct as well as unique from one to another. It is not until the space is created in 3D that you realise how the size, whether it is the floor area or the ceiling height, can really change the feeling of the space dramatically. An example of this is how a leaning wall can really affect the space and the way it is designed. The Tokyo Tourist Towers is linked by a central lift shaft, which not only provides a stable structure but also a connection point that links the two contrasting buildings together. My design then becomes not just two separate building towers but one building in a whole. Thu, 05 Nov 2009 00:00:00 GMT https://hdl.handle.net/2123/5660 2009-11-05T00:00:00Z https://hdl.handle.net/2123/5658 DESA1002 'Continuous City' <Ruben Rodrigues> Rodrigues, Ruben Dubrovnik City is a Croatian city located on the Adriatic Sea. Its characteristics range from great historic buildings to various cultural foods and annual events. One of the main characteristics that I found interesting was the costal sea fronts that surround most of the city. Therefore I decided to implement this main aspect into my design. I found that if I could relate the site with the surrounding ocean it would not only identify this new space but it would not differentiate much more to the other beautiful local buildings. I incorporated the ocean by having a pool facility that provided both relaxation and comfort. Thu, 05 Nov 2009 00:00:00 GMT https://hdl.handle.net/2123/5658 2009-11-05T00:00:00Z https://hdl.handle.net/2123/5651 DESA1002 'Continuous City' <Sean Haigh> Haigh, Sean This semester my design is of a Library in Amsterdam, located opposite the Niewe Kirk or new church, I chose to make the building a contemporary design rather than attempting to mimic the historical buildings surrounding it. I used the materials of the building, predominantly brick, to tie it to its context rather than form. The street facing facades are concaved in order to draw passers by into the building, and individualise the library from the traditional row housing. The upper level is trussed to give the library a modern look while providing clear views to the Niewe Kirk and Magna Plaza. It incudes large amounts of glazing, which is frosted in key areas to provide some privacy while maximising the interior lighting in the dull Dutch climate. The triangular atrium carries down through all the levels to the lobby and parallels the overall shape of the building. The form of the library is strongly based on the theories and works of Louis Khan, one of my favourite architects, and a person who I had chosen to study during the mid year break. I purposely went about putting Khans philosophy into practice, but now realise that this may have been a mistake so early on in my studies. I became too fixated on his ideas, and the resulting concept designs were in many ways too derivative of Khans work. Therefore I spent much of the semester trying to create an individual identity for my building rather than progressing in the outlined stages. Although I was pleased with the final design of the library, I think there are still many issues that need to be resolved. I also think that, like many of my tutorial group, the building relates well to its context, however this could be at the expense of being too conservative. Thu, 05 Nov 2009 00:00:00 GMT https://hdl.handle.net/2123/5651 2009-11-05T00:00:00Z https://hdl.handle.net/2123/5657 DESA1002 'Continuous City' <Minh Nhat Ngo> NGO, Minh Nhat This building was designed for Tunis, the capital city of Tunisia. It is a 5 storey Hotel located on the main street facing the waterfront with multiple functions including a restaurant/bar on ground floor, a thermal bath and massage area on first floor and an outdoor pool on the third floor. The first floor (4.8 x 4.8m) has smaller rooms with 4 bedrooms. The second floor (4.8 x 5.6m) and third floor has 4 larger rooms (4.8 x 6m. The top floor has 2 presidential suites (8.4 x 8m) consisting a separate bedroom, a lounge room and a mini-bar. The design concept of this building is to design a hotel that has multiple functions with comfortable spaces and views of the waterfront. The buildings construction uses concrete, tinted glass for windows with reinforced concrete structures. The structure consists of circular columns on slabs with loadbearing walls on the northern side for the stairs and lifts. Large columns are used for all levels under the pool area. The whole front façade of the building is covered with tinted glass with the mirrored side on the exterior so guests can have their privacy in their rooms as well as having the full view of the water. The south façade has no windows except for the restaurant area on ground level and at the ends of the corridors on other levels. The back façade has coloured circular glazed openings that repeatedly run along the walls horizontally which creates a colourful effect on the internal walls and has the opposite effect on the outside during the night. Thu, 05 Nov 2009 00:00:00 GMT https://hdl.handle.net/2123/5657 2009-11-05T00:00:00Z https://hdl.handle.net/2123/5646 DESA1002 'Continuous City' <Melinda Lam> Lam, Melinda This project emerged from an awareness of a need in Paris for architecture that caters for children of the community, rather than for tourism needs. The program seeks to create a safe and fun environment for these children to interact and engage with each other as they discover, create or play, forming important social skills at a young age. Simultaneously, it is a place where parents can gather on a regular basis and take part in their children’s learning. The site I was allocated allowed me immense freedom in the arrangement of my buildings and in building my concept. Having been given a site with an open courtyard, I chose to take advantage of this as an outdoor playground space. A separate building for services (reception and food court) and activities and play (craft areas, mini-sports) placed opposite each other allowed me to claim this area. In order to retain the connection to nature, my design features extensive use of glass, allowing observers to look on from inside out, outside in. The beehive structure that encloses my two buildings features an arrangement of transparent, semi-transparent and opaque material that casts a patterned shadow corresponding to the functions of the spaces below. Resting spaces are sheltered; play spaces are well lit. The design also features various interactive spaces – pods, hives and other areas – that children will enjoy. The intriguing structure of this design subverts the uniformity of the context in which it has been placed, and makes a statement about its function. The symbol of the beehive conveys the social interaction and team work involved in creating it, and this is an important part in the development of a child’s maturity. Thu, 05 Nov 2009 00:00:00 GMT https://hdl.handle.net/2123/5646 2009-11-05T00:00:00Z https://hdl.handle.net/2123/5650 DESA1002 'Continuous City' <Jelena Cupac> Cupac, Jelena Venice is a place where the ground, the sky and the water are unified in almost a magical way. Venice is a city in which the imagination may be let loose. The fusion of the historical sites and cultural elements inspires one's mind to reveal itself through pen paper. Since Venice is free the chaos and disturbance that modern transport brings, it allows one to contemplate the world in a peaceful manner. I have embraced this notion through the Writers' Resort. It consists of open spaces for discussions and pods that allow a more private exploration of one's ideas. Thu, 05 Nov 2009 00:00:00 GMT https://hdl.handle.net/2123/5650 2009-11-05T00:00:00Z https://hdl.handle.net/2123/5642 DESA1002 'Continuous City' <Casthuri Kamalaraj> Kamalaraj, Casthuri The city of Amsterdam is a densely packed area, using every space possible to boast its unique architectural identity. In my project, I have explored these core foundations in Amsterdam architecture, whilst tying it together with the function of my building. My design for an International Boarding School in Amsterdam is an exclusive school, offering both accommodation and education. I delved into the mindset of an international student, attempting to fit in whilst also maintaining pride in their own background. This concept of simultaneous conformity and individuality was the primary inspiration behind my design process this semester. The original block plan provided was from an area of Amsterdam which was primarily housing based. Due to the insertion of Ross Boulevard, I consequently chose a triangular form at the end of one blackened area on the site plan. This however, forced the issue of what limited space we had to work with in terms of building size. Here arose the newer concept of cantilevering over the pedestrian accessway, a form not often seen in the streets of Amsterdam. This created an almost “demented” shape of a triangle, with an additional right angled triangle attached for the upper floors, as a means of maximising what little space I had to begin with. From this point, the building took momentum, creating specific functions for each level, moving from a more public open area on the ground floor, to education on the first, and accommodation on the second to assure privacy. The building remained in the traditional cladding of brick, however windows were enlarged to not only allow more light to enter the building in Amsterdam’s dimly lit skies, but also to escape the image of an institution. Thus, being positioned tightly within a busy Amsterdam block, my project fits into its surroundings, whilst remaining true to its own individuality. Thu, 05 Nov 2009 00:00:00 GMT https://hdl.handle.net/2123/5642 2009-11-05T00:00:00Z https://hdl.handle.net/2123/5648 DESA1002 'Continuous City' <Tim Quirk> Quirk, Tim The Musical Cube is located in the city of Paris, France. The site is the Place Vendome, an area rich with culture, art and theatre. It is a very exclusive part of Paris, consisting of The Ritz Carlton Hotel and several expensive fashion and jewelery stores. The cube is located on the north/west corner of the Place Vendome along the main road axis that cuts through the square. The entry to the muscial cube is clearly idenified by the roof that overhangs out into the square. There is a strong visual connection with views from the studio rooms and larger practice rooms into the Place Vendome. Part of the design brief that was developed at the start of the semester was to design a place that would bring youth into the Place Vendome. The Musical Cube is a school that achieves just that. It is a place where students are encouraged to learn there craft, at an affordable price, in a space that meets the particular needs of musicians. The spaces within the cube consist of several studio rooms, 2 larger practice rooms and a theatre. These 3 key spaces encourage students to concieve, develop and perform their work. Thu, 05 Nov 2009 00:00:00 GMT https://hdl.handle.net/2123/5648 2009-11-05T00:00:00Z https://hdl.handle.net/2123/5643 DESA1002 'Continuous City' <Pamela Maldonado> Maldonado, Pamela Samurai Sword- Culture Centre Thu, 05 Nov 2009 00:00:00 GMT https://hdl.handle.net/2123/5643 2009-11-05T00:00:00Z https://hdl.handle.net/2123/5655 DESA1002 'Continuous City' <Sarah Yates> Yates, Sarah This lakeside site offered the opportunity to create a place to escape from the hectic city. Floating ‘bubbles’ give New Yorkers spaces to read a book, meditate, or simply relax for a while on the lake. The building houses a public newspaper-reading room on the lowest floor, with rooms for group classes such as meditation or yoga secluded on the top floor. Lifting the building off the ground gives space for a public marketplace populated by light, mobile stalls beneath, while an administration centre and staff area are housed in the centre floors of the building. Reading bays in the Newspaper Room protrude out through the I-beams holding the cantilevered structure to create the ‘bubbles’ in the facade. These forms then create more social bays in the staff area, a meeting space in the office, and the roof lights exclude distracting views of the city in the ‘escape spaces’, directing gazes to the sky instead. The translucency and subtle pattern of the bubble forms draws your attention to shadow patterns and light, helping you to slow down for a while and be calmed and refreshed. Thu, 05 Nov 2009 00:00:00 GMT https://hdl.handle.net/2123/5655 2009-11-05T00:00:00Z https://hdl.handle.net/2123/5641 DESA1002 'Continuous City' <Danielle Gardner> Gardner, Danielle My familiarity of the design process has been extended and I have found this semester to be a rewarding and worthwhile experience where I have been challenged and have begun to have a clearer understanding of the different approaches and techniques used in design and architecture. The exercises have been valuable with ongoing weekly research benefiting us with our independence in following up queries on our own and improving our critical thinking. The experience of presenting in front of a group of people in the design classes is an area that I needed to improve on and something that I have appreciated. At times I have found myself to be nervous and uncomfortable about having to express my opinions although doing this repetitively has enhanced my capabilities and given me confidence. I have enjoyed the experience of seeing a project through from the beginning, starting with the selection of an appropriate site and balancing up the options of orientation, site size, accessibility in order to come to an appropriate resolution. As I have progressed through I have changed my design in accordance with feedback and formed new ideas and concepts that eventuated through this design process. Thu, 05 Nov 2009 00:00:00 GMT https://hdl.handle.net/2123/5641 2009-11-05T00:00:00Z https://hdl.handle.net/2123/5645 DESA1002 'Continuous City' <Alex Moore> Moore, Alexandra I designed a Creativity Hub - a combination of gallery, library and discussion space designed to stimulate a flow of ideas. The facade is designed to be a more organic and modern re-interpretation of the traditional Amsterdam facade, appropriating the idea of the Amsterdam windows. I picked up on this idea because windows are such an important part of Amsterdam architecture, because of the often cloudy or rainy weather, getting light into a building is very important. I felt that questioning the use and form of a window was something that needed to be done to make sure the building reflected its modern use. The function I believe suits Amsterdam well, as community indoor spaces are important because of the climate. Additionally the city needs to support creative sources to ensure Amsterdam continues to be the funky place it is today. Thu, 05 Nov 2009 00:00:00 GMT https://hdl.handle.net/2123/5645 2009-11-05T00:00:00Z https://hdl.handle.net/2123/5659 DESA1002 'Continuous City' <Vincent Che Cheng Chow> Chow, Vincent Che Cheng Located in Madrid, my building plays on the idea public and private. The main function of the building is to provide a quiet, inconspicuous place to stay for the rich. There is also a very exclusive bar with very grand steps which are the main attraction of the bar area. Guests will can sit, socialise and drink while looking at the the under and above sea level of the canal. There is also a restaurant that is aimed for the public. This restaurant contributes to the revenue made by the building. The facade is of stone on the street facing side and of glass on the canal facing side. Thu, 05 Nov 2009 00:00:00 GMT https://hdl.handle.net/2123/5659 2009-11-05T00:00:00Z https://hdl.handle.net/2123/5656 DESA1002 'Continuous City' <Mark Vukovich> Vukovich, Mark Market/Night Time Entertainment The purpose of my building is to provide a meeting place and social hang out in Jerusalem for the locals. This will hopefully provide a peaceful way for the many cultures to meet and mingle with each other with out violence. I chose to design my building to be a market during the day and provide a place for night time entertainment. In both these places people can easily meet each other and are forced to mingle with each other. For the deign of my building I wanted it to fit in with the existing architecture and surrounding buildings as much as possible, while not to be boring or one dimensional. For this reason my building will be built of Jerusalem stone with the feature walls around the entry being the only exception being in a rust coloured stone. Red feature walls are being used to modernise the building and to break up the monotone colour of the Jerusalem stone. From the start of my design the feature walls and open entry have been a integral part of my design. Thu, 05 Nov 2009 00:00:00 GMT https://hdl.handle.net/2123/5656 2009-11-05T00:00:00Z https://hdl.handle.net/2123/5653 DESA1002 'Continuous City' <Joshua Ho> Ho, Joshua Stockholm’s Unheard of is a live music venue that provides leisure. It also invites and promotes artists from all over the world, even the unheard-of. Apart from the aural entertainment, the venue also supply food and drinks at its bar and cafe, and not to mention its great view of the canal. The venue itself is elevated above ground level so that the promenade underneath functions without being significantly interfered by the structure. As one enters the building by the stairs there are louvers above keeping a level of natural light giving the subject a sense of transition from the outside into the building. Moveable fins are around the main hall on the first level to generate ventilation and natural lighting. There on the second floor is a cozy jazz bar with the enhancement of natural spotlights created by light wells. The roof plates which the light wells are assembled on can also move to change the direction of the spotlights. The building’s exterior cladding and structure are of bricks whereas the inside is clad in timber for better aural experience. The sequence in moving between levels are kept interesting for the occupants by having the façade glazed for viewing of the canal. Thu, 05 Nov 2009 00:00:00 GMT https://hdl.handle.net/2123/5653 2009-11-05T00:00:00Z https://hdl.handle.net/2123/5654 DESA1002 'Continuous City' <Daniel Attard> Attard, Daniel By analysing Amsterdam’s social context, I have come to understand the “tight nit” atmosphere which brings them together. I am fond of keeping traditional aspects of their society the way it is, so the building i have chosen is multipurpose stalls. These stalls can sell fresh food, veggies down stairs. I have placed the primary sections close to the water to allow a customer interaction with the sites. The secondary space is on the alleyway side. This is designed to look traditional Amsterdam. It will create an ease of access for fresh produce. In the plan drawing, I have made the walls on the building which I designed, a dark black fill, to clearly outline its shape. I have kept the surrounding building walls an empty fill. The interior walls have a thinner wall that the outside, because in this situation these walls will not be structural. The dashed lines are to show the bridge structure underneath the building. In the following renders, i wanted to archive the most realistic images as possible, in this stage of my design. i have used common construction textures such as brick and tiles. i have set the bump mapping to a responsible level, to archive greater realism. to create a glass effect, i made the window plane transparent, which also has a level of mirror effect and the glass has a wavy effect to make it look even more real. Thu, 05 Nov 2009 00:00:00 GMT https://hdl.handle.net/2123/5654 2009-11-05T00:00:00Z https://hdl.handle.net/2123/5613 DESA1002 'Continuous City' Stephanie Brancatisano Brancatisano, Stephanie “Mega cities are characterized by global connectedness and local disconnectedness.” The E8 Residential Tower is a step towards combating this sense of isolation that can manifest in mega cities such as New York. The tower spirals upwards out of the ground aspiring to expose the value in living within a community. Dedicated public community spaces are distributed throughout the tower, with the intention of providing different facilities that families, professionals and retirees enjoy socialising within. There are three distinct ‘blocks’ in the tower, each with eight levels of unique residential apartments and the very open public space above. Hence this contemporary dichotomy of feeling isolated in a large city that has been evolved through globalisation is addressed in the creation of this tower. Wed, 04 Nov 2009 00:00:00 GMT https://hdl.handle.net/2123/5613 2009-11-04T00:00:00Z https://hdl.handle.net/2123/5607 DESA1002 'Continuous City' Niki Gango Gango, Niki The Continuous City has been the underlying theme throughout the semester and as such requires a little attention when interpreting the conglomeration of projects that encompass not only Tunis but the wider context. Cities such as Dubrovnik, Madrid, Isfahan, Tokyo, Amsterdam, Venice, Paris, Stockholm, New York and Jerusalem all formed part of the Continuous City and each student was given a section of their respective city that would ultimately become the basis of their work throughout the semester. The objective of this project was to realize a design concept based on the site F13 in Tunis. The approach undertaken towards this project was to delve into the local traditional housing of Tunis. Ultimately this would lead to the discovery of the quintessential Tunisian courtyard that played a significant role throughout the design process. When designing for an urban dwelling such as a set of three apartments as was proposed throughout my project the consideration of the courtyard: internal, external, shared or otherwise would became an integral facet to the development of the site. Further investigation into Tunisian housing culture also resulted in the understanding that there exists a strong push in Tunis back towards traditional housing methods. Some of the features that persist in such methods include the limited palette of exterior openings, with the incorporation of mainly interior openings that surround the typical Tunisian courtyard space. Furthermore, access to living areas, bedrooms and kitchen areas designed around such a centralised courtyard in order to facilitate local living traditions became of significance. As well as the adoption of thick exterior walls to ward off the harsh African sun. Thus my approach was to design with Tunisian living in mind. In particular special consideration was given to the appropriation of room sizes very early on in the design process. This became the basis for the apartments in addition to the tweaking of the apartment layout and functionality prior to the later adoption of a shaded public space that would sit below the apartments. Wed, 04 Nov 2009 00:00:00 GMT https://hdl.handle.net/2123/5607 2009-11-04T00:00:00Z https://hdl.handle.net/2123/5602 DESA1002 'Continuous City' Tiffany Choi Tiffany, Choi My building is situated by the canal in Madrid. Madrid is one of the most busiest and popular city to visit in Europe. The city located on the river Manzanares and in the centre of Spain, which makes Madrid the capital city. It is well known with their exciting nightlife with many hidden bars and club in the city. Therefore, I have decided to have mixed activities in my building. In the morning, this building is simply a port you can drop by looking over the canal while having your delicious lunch or high tea. At night it transforms into an exotic combination of night clubs and a world famous restaurant. The restaurant located the very top followed by the Gentlemen’s club, the Lady’s club and the explicit S&M club right at the basement if you want something you haven’t experienced before. There’s also a bridge that goes across the canal providing general access to the public. Wed, 04 Nov 2009 00:00:00 GMT https://hdl.handle.net/2123/5602 2009-11-04T00:00:00Z https://hdl.handle.net/2123/5631 DESA1002 'Continuous City' Daria Guseva Guseva, Daria Dubrovnik was founded in the first half of the 7th century by a group of refugees from Epidaurum (today's Cavtat). They established their settlement at the island and named it Laus. Opposite of that location, at the foot of Srđ Mountain, Slavs developed their own settlement under the name of Dubrovnik (named by "Dub" - type of wood). It is one of the most prominent tourist destinations on the Adriatic, a seaport and the centre of Dubrovnik-Neretva County. It was decided to assemble the Observatory in Dubrovnik due to advantageous location of the entire Site. It is positioned right at the edge of the old city of Dubrovnik and has beautiful views to the ocean. Another important fact that was discovered saying that only in the area of Croatia people can observe gamma-ray bursts which among the most energy-intensive events in the world of stars, leading to the emission of record amounts of high-energy particles. The actual Observatory building has 2 levels. As it is shown on the plans of the structure on the ground floor there are entrances to main Observatory domes (north and south) and Planetarium. There is also a café/restaurant 150m2(which has it’s own entrance) and can hold different events and functions. On the second level there are exhibitions and offices. There is also an opportunity to go up the roof and observe the sky and magnificent Dubrovnik’s views. Wed, 04 Nov 2009 00:00:00 GMT https://hdl.handle.net/2123/5631 2009-11-04T00:00:00Z https://hdl.handle.net/2123/5603 DESA1002 'Continuous City' Katharine Fife Fife, Katharine Tunis is a haven of rich and vibrant culture, acting as a meeting place between Arabia and Europe. The ancient city is as rich in history as it is in culture, being a place of significance to the Roman, European, and Arabic civilizations. In this rich and colourful place a purpose built museum to house and protect such treasures of history seemed ideal. The design itself focuses on the importance of circulation within and throughout the museum, featuring double intertwining ramps wrapping themselves around the buildings exterior. Each ramp is covered by light awning structure, protecting people from the harsh and constant sun, whilst archways still frame the spectacular views of the city. The stained glass dome atop of the building fills the book shop with vibrance and colour. Wed, 04 Nov 2009 00:00:00 GMT https://hdl.handle.net/2123/5603 2009-11-04T00:00:00Z https://hdl.handle.net/2123/5598 DESA1002 'Continuous City' Tuyen Ngoc Thi Nguyen Nguyen, Tuyen Ngoc Thi My idea about designing a night club comes from the context of Paris: the site context, the historical context and cultural context. First, I want to create something special for the area near the main square, which is the centre of entertainment and culture at Paris. Secondly, I want to create a dynamic, young, exciting and night life building which opposite which historical, old and classic buildings at Paris. From the reason, I finally chose to design night club with can combine all of my ideas above. To design this building, I chose an egg shape building. There are two reasons why I chose this shape, first my inspiration comes from one of building deigned my Zaha Hadid, the Centre of Performing Art, Dubai, secondly eggs present for the start of new thing, new beginning, which go really well with the youth theme of my building and my group. People can enter to this club either from Place Vendome Square or street nearby. My building has one floor under ground and two floors above the ground. There will be car park and storage, kitchen, laundry and staff rooms in the underground level; welcome hall , main dance floor, bar and drinking area in the ground level and another bar and seating area are the main program in the level 1. To create the modern looking for this building, I use steel frame as the main structure to support the whole building and glass sheets and steel sheets s the material to cladding the façade. Wed, 04 Nov 2009 00:00:00 GMT https://hdl.handle.net/2123/5598 2009-11-04T00:00:00Z https://hdl.handle.net/2123/5620 DESA1002 'Continuous City' Nicholas Lay Lay, Nicholas Kuo The city of Paris is deeply rooted in culture, from its fine cuisine to fashion shows. One such culture is French Film, and to cater to this, I have designed a French Film Library. This French Film Library aims to provide a connection between the public and the culture of French Film. The building is structured such that the higher you go, the more interested you must be in French Film. There are four levels, “Introductory” “Learning” “Knowledge” and “Discussion”, corresponding to the ground, first, second and third levels. Circulation is a major part of the building, encompassing the outer edges of the interior space. This allows the occupants to experience the views that are provided by the glass facade. They are also able to turn their attention inwards to the media panels lining the walls, which display trailers and other film related videos. As they follow the circulation paths, they trace out the path taken by old film reels being played. Like undeveloped film, the Library is vastly different before light is provided and after. During the daytime, the building is seen as a whole, no spaces highlighted or differentiated. At night, the building transforms, with artificial lighting spilling out of the open middle level, marking it as the most important. The seperate triangular section also metamorphosises, with light beaming out of only the transparent glass, the translucent sections providing ambient light. Wed, 04 Nov 2009 00:00:00 GMT https://hdl.handle.net/2123/5620 2009-11-04T00:00:00Z https://hdl.handle.net/2123/5599 DESA1002 'Continuous City' Jacinta Klein Klein, Jacinta This project is located in the heart of Madrid, near the Plaza Mayor and Calle Mayor. This building is centrally located in the city, but has the luxury of fronting onto a pedestrian walkway rather than a busy road. The program for this building is a lower price range hotel mainly catering for younger travellers. The concept of this building is to create an evolving community within a transient group of people. The main way this is done is by emphasising the public areas within the building. The focus on the Architecture and the public spaces created encourages and fosters interaction between the hotel guests. This concept is also supported by bunk rooms. There is one floor which is devoted to double rooms, this floor is a more serene and quiet level envisaged for couples stay in. This building has a simple footprint; in contrast the plans are more dynamic. The ground floor contains a few shops that would be useful for the guests staying in the hotel. There is also a cafe which would be for both for the guests and public visitors. The foyer and reception as well as loading space are located on the ground floor. The first floor contains the double rooms previously mentioned. The second, third and fourth floors house the bunk rooms which have approximately six people per room. On these floors there is a large public area which contains cooking facilities, dinning, and a lounge and TV room. On the fifth floor there is a roof top pool. This whole level is devoted as a public area and is a place where all hotel guests are given a chance to interact. This level also has cooking and dining facilities. Wed, 04 Nov 2009 00:00:00 GMT https://hdl.handle.net/2123/5599 2009-11-04T00:00:00Z https://hdl.handle.net/2123/5626 DESA1002 'Continuous City' Jane Armstrong Armstrong, Jane Dubrovnik College of Fine Arts and Languages Inspired by the famous Croatian poet, Ivan Gundulica, whose statue stands in Gundulic Square, the public area located in front of my building site, the Dubrovnik College of Fine Arts and Languages was developed. This public square comes alive during the day as a food market. Based on the initial motif that art and language will never be fully defined, this learning space is manipulative according to the purpose of the students. Therefore studios with moveable and sliding walls are located on the second and third floor, flowing from a central core holding the materials. There are also more defined rooms for dedicated learning. The community resources, such as the library and the display area, are situated on the bottom floor. All these spaces are developed from a central circulation area on each floor at the front of the building, allowing prospect over the public square. The facade embraces the public space, especially with a public alleyway running through the ground floor and following the lane through the 2 buildings behind it. The masonry structure involves a combination of brick and stone in acceptance of the context of old Dubrovnik City, with the structure dictating the method in which light flows into the interior. Wed, 04 Nov 2009 00:00:00 GMT https://hdl.handle.net/2123/5626 2009-11-04T00:00:00Z https://hdl.handle.net/2123/5618 DESA1002 'Continuous City' Sophie Canaris Canaris, Sophie Ester THE DUBROVNIK PHILOSOPHICAL SOCIETY REPRESENTS A CENTRE OF CULTURE AND A PLACE OF MEETING WHICH ALLOWS PEOPLE AND IDEAS TO ENGAGE. THE SPATIAL ARRANGEMENT REFLECTS THIS INTENT, THE COURTYARD CREATES A CENTRAL ENTRANCE TO THE BUILDING WHICH PAVES THE WAY FOR ACCIDENTAL ENCOUNTERS BETWEEN LEARNED INDIVIDUALS, PROMOTING PHILOSOPHICAL DISCOURSE. THE STRUCTURE REFLECTS THE CULTURAL AFFLUENCE OF DUBROVNIK AS IT EXPRESSES A CERTAIN ELEGANCE IN A TRADITIONAL STYLE. THE SOLIDITY OF THE BUILDING IS CONTRASTED BY THE CHARACTERISTICALLY LIGHT COURTYARD.THUS THE BUILDING AIMS NOT TO CONSTRAIN THE THOUGHTS OF THOSE WITHIN BUT RATHER OPEN THEIR MINDS TO A UNIVERSE OF POSSIBILITIES. Wed, 04 Nov 2009 00:00:00 GMT https://hdl.handle.net/2123/5618 2009-11-04T00:00:00Z https://hdl.handle.net/2123/5629 DESA1002 'Continuous City' Peng Zhou Zhou, Peng Isfahan is located on the north-south and east-west routes crossing Iran, and was once one of the largest cities in the world. It is also one of the most beautiful and most visited cities in Iran. Isfahan is also known as Half of the World and is considered the Florence of Middle East. My block reference is A11. As Isfahan is an ancient city, I decided to design a national museum in which there are old manuscripts, old costumes people wore in the past and prehistoric artifacts of Isfahan. The museum looks a bit contemporary which gives a sense of contrast to the old city. The museum is situated in a very condensed area. It has three levels: Ground floor: There is the entrance. There is a small restaurant on the left-hand side. The rest of the space is for exhibition. There are also some statues for people to see near the entrance. First floor: There is an indoor café for people to take a rest. The space in the centre is for exhibition. There are also 2 opening balconies for people to take a view of the outer sight and to relax. Third floor: a small library with books and videos which are related to the things that are shown in the previous 2 floors. People can take some books, sit down and read them or they can go to the video room to watch some documentaries about Isfahan. When they get bored or tired, they can go to either one of the three opening balconies; they can then grab a drink from the café and sit down, enjoy the view and just relax. There is double translucent glazing system on the main block of the museum so that the light is neither too bright nor too dim. Therefore the light can be controlled during the day. The materials used for this museum are mainly glass, steel and concrete. Finally, the museum is a good place for people to visit and relax in such an old city. Wed, 04 Nov 2009 00:00:00 GMT https://hdl.handle.net/2123/5629 2009-11-04T00:00:00Z https://hdl.handle.net/2123/5608 DESA1002 'Continuous City' Rocco Repice Repice, Rocco Klub zrak (air nightclub) is a large open spaced summer night club with no roof. a 1st floor mezzanine provides a view of the magnificent Dubrovnik night sky. with large stone walls and concrete structures, this raw material building emits the feeling traditional style architecture combined with the modern nightlife of Dubrovnik. The southern facade is constructed using a full height glazing system, to allow the passing night goers a peek inside klub zrak.The construction of this nightclub was slightly controversial, due to there being no roof. Arguments such as no weather protection and sound issues were raised. These issues have been addressed by using marine equipment and the former night club operating during the day now. The walls have been created using precast concrete and decorated with a interchangeable print. The architect wanting to create a real material look, but creating it from a fake material. This representing the nightclub style of things made to show off not for function. The concrete slabs allow the building to withstand the seasons and also works well during the day with some events having water fun involved. Concrete is used throughout the whole building, even for the seating bays and tables. Cushions will help to accommodate the partiers when having a rest. The owners of this nightclub asked that the architects build a new and exciting club like no other but to keep it a summer based night club. The architects believe they have achieved the clients wish whilst still main ting a connection with the Dubrovnik architecture. klub zrak will bring a new meaning to clubbing. No more sleepless nights and cold evenings. Summer days are the new clubbing periods, soak in the sun and party the day away, all in time to rest up for another day of klub zrak. Rocco Repice. Wed, 04 Nov 2009 00:00:00 GMT https://hdl.handle.net/2123/5608 2009-11-04T00:00:00Z https://hdl.handle.net/2123/5622 DESA1002 'Continuous City' Gillian Bennett Bennett, Gillian My design incorporates a combination of traditional Venetian style architecture (arched windows/entrances and use of stone) with more modern day forms and structures. Located in the heart of Venice, this Market Place and adjoining Restaurant offers public access from both the land and water via an open plan ground floor, taking advantage of water as the major form of transportation in Venice. The first and second floors consist of a restaurant and associated restaurant facilities and the third floor is a private bar and entertainment area. The large wooden cubes protruding from the original structure have been inspired by Robert Simeoni’s Seaford Lifesaving Club, comprised of horizontal wooden louvres that act as a sun control mechanism whilst simultaneously allowing people to look out across the city. I have decided to keep the exterior of the old building to create connections with both Venice and traditional architecture, visualised through the grey box-board exterior. Varnished wood was my chosen material as it works well in conjunction with the stone masonry and strong regular forms of the cubes, an important feature as it does not make the building stand out to much in the city and contributes to a higher chance of public acceptance and appreciation of it. Indeed, the exterior of the building makes a subtle connection with both the past and present. The major form of circulation is the wooden staircase that runs along the exterior facade, stopping at each level, offering an interesting comparison to traditional forms of travel within and throughout a building. Wed, 04 Nov 2009 00:00:00 GMT https://hdl.handle.net/2123/5622 2009-11-04T00:00:00Z https://hdl.handle.net/2123/5635 DESA1002 'Continuous City' Mimi Hayton Hayton, Mimi L Tunis is a multi-layered entity: history, culture and religion have all met here and left there indelible mark on the desert. The ancient heart of the city - the Medina - is a puzzle-like sprawl of labyrinthine alleyways and crooked dwellings - a fitting reflection of the city's past and present. My design is a response to this urban context in literal and figurative terms, and i believe a school is an appropriate institution for a city entrenched in history in the 21st century, to approach a modern future whilst learning from the past. I have taken the form of my building directly from the cities puzzle-grid and extruded it; the connecting circulation bridges layered between each building represent the same aspect of the city; the courtyards - a traditional and typically private element - become spaces open to the public and the facade is treated with a combination of mosaic-style light-diffusing materials and solid masonry in the Tunisian style on walls most exposed to the sun. Children can access the rooftop for play and the boarding house serves those from rural Tunisia for whom schooling after age eleven might otherwise be difficult or non-existent. The vertical diamond spires that extend up above the rooftop serve as a beacon to those around - education is the way forward for Tunis, a city shining like a jeweled mosaic between the desert and the sea. Wed, 04 Nov 2009 00:00:00 GMT https://hdl.handle.net/2123/5635 2009-11-04T00:00:00Z https://hdl.handle.net/2123/5610 DESA1002 'Continuous City' Yu Huang Huang, Yu I have experienced interesting but hard study in design studio module this semester. I have tried my best to show my idea and creativity on my project. According to observing, learning, exploring, I developed the skills and knowledge gained to achieve my objectives of study. My design in a complex international urban context, Tokyo, is advanced through a series of iterations with an emphasis on practical experimentation at a range of scales and in a range of media. My design is designed on the concept of amalgamation of nature and human being. The design of the zoo is modern and different with the traditional zoo. The function is not only for people’s relaxation but also for the protection of the nature. People can relax in the garden and release the stress from the daily life, at the same time, the zoo enable people thinking coexist of human and nature. The project is satisfied because it can combine with the Tokyo urban context and present my idea and creativity. My work is drawn together into a final presentation comprising a crafted model and panels of drawings. However, I slacked off and did not achieve a satisfied result sometimes. There are many shortages on my work. And as a international student, there are still some difficulties during the study. I have tried my best to work at final presentation and portfolio to repair and achieve a better representation. Wed, 04 Nov 2009 00:00:00 GMT https://hdl.handle.net/2123/5610 2009-11-04T00:00:00Z https://hdl.handle.net/2123/5632 DESA1002 'Continuous City' Marc Chan Chan, Marc THE SAN MARCO THEATER ATTEMPTS TO BRIDGE THE SOCIETAL GAP BETWEEN WHAT WAS AND WHAT WILL BECOME OF VENICE. THE PROJECT TURNS ITS HEAD TO BLEAK OUTLOOK OF SOME AND LOOKS TO THE POSITIVE THROUGH THE INJECTION OF CULTURE AND URBAN RENEWAL. IT QUELLS BOTH PARTIES BY OFFERING A MEANS OF FUN AND ENTERTAINMENT ON ONE SIDE BUT ALSO A SENSE OF IDENTITY AND PATRIOTISM IN THE OTHER. IT IS A MEANS OF INTEGRATION, EMBODIED IN A BUILDING SO NO PRETENSIONS IS OFFERED AND ONLY A SEAMLESS CONNECTION BETWEEN ITS URBAN FABRIC - TO WHAT IS AND WHAT WILL BE VENICE... Wed, 04 Nov 2009 00:00:00 GMT https://hdl.handle.net/2123/5632 2009-11-04T00:00:00Z https://hdl.handle.net/2123/5600 DESA1002 'Continuous City' Jonathan Kim Kim, Jonathan LOCATION: TUNIS BLOCK REFERENCE: F14 DESIGNED BUILDING: APARTMENT CONCEPT - To give the people a suitable, residential living space in response to the congestion and density in between the buildings of Tunis. DESIGN IDEAS - To separate the space between the residents of the building and the public by passers, I have elevated my apartment floor levels. - In regards to giving more living space, I have extruded the external walls of my building without expanding the perimeter of the ground floor plan. WINDOWS - The windows consist of both circular and rectangular shapes. Much of their size and location have been decided upon the way the sun enters the building. Hence the lower level windows are a lot larger than the ones above as they are not as exposed to direct sunlight. - In reference to my digital design, there are dome like covers, overhanging the circular windows so as to prevent sunlight from entering the upper half of the building to ensure a cooler interior space. APARTMENT FEATURES - Courtyard Through the study of Tunisian living spaces, the central courtyard is recognised as characteristic of the residential building. This open space allows for ventilation and light to enter the interior space of the apartment. - Two entrances are placed on both sides of the building. - These entrances lead to stairs, while at ground level they open up to the courtyard. STRUCTURE AND MATERIAL - My building is of column and slab construction with white concrete as the main material. FLOOR PLAN - Each level consists of four units. Each of these units feature: A porch which faces the courtyard, three bedrooms and a kitchen which surround this porch, and a lounge room with two toilets all placed along the exterior sides of the building. Wed, 04 Nov 2009 00:00:00 GMT https://hdl.handle.net/2123/5600 2009-11-04T00:00:00Z