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<title>BDES1020 (Architecture Studio 102) - 2010</title>
<link>https://hdl.handle.net/2123/6650</link>
<description/>
<pubDate>Sun, 07 Jun 2026 10:42:37 GMT</pubDate>
<dc:date>2026-06-07T10:42:37Z</dc:date>
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<title>BDES1020 Continuous City Tu Zhuyun</title>
<link>https://hdl.handle.net/2123/7188</link>
<description>BDES1020 Continuous City Tu Zhuyun
Zhuyun, Tu
The ‘GREEN’ Fitness Centre is located near the Place of Vendome. The concept of the building advocates a healthy and active lifestyle. By using the roof with some holes, beautiful sunlight will go through. It’s the wonderful place to enjoy both physical training and comfortable sunshine at the same time. The random arrangement of boxes hanging on the wall represents the mellow characteristic of yoga and dance while strong steel columns stand for the power of  gym practise.Above the ‘healthy’ green roof, the huge glass covers gap between two buildings so that it will reflects the green colour to pedestrians like a mirror. Everyone can appreciate the modern design of the fitness centre in this busy area. In this fitness centre, you will receive more than you wish.
</description>
<pubDate>Mon, 14 Feb 2011 00:00:00 GMT</pubDate>
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<dc:date>2011-02-14T00:00:00Z</dc:date>
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<item>
<title>BDES1020 &lt;Eugene, Sherwood&gt;</title>
<link>https://hdl.handle.net/2123/7182</link>
<description>BDES1020 &lt;Eugene, Sherwood&gt;
Sherwood, Eugene
Women's Hospital, Isfahan. This project is for the creation of a specialist hospital for women , who need care and attention during the perinatal period, the twentieth week of gestation to the twenty-eighth day of newborn life. The hospital will be set up with 15 intensive care units in single bed private  wards, and 3 wards containing 5 beds. Each floor will host a garden and meditation area where mothers or expectant mothers can find piece and relaxation, away from tense surrounds, or play host to family members who are in attendance. The hospital is centrally located behind the north west side of Imam Square, not far from the new transport hub proposal to the north east of Imam Square. Access to the hospital can be gained from 3  different directions, north, east and west. The main entry to the hospital is via the north west corner. The design of the hospital was inspired by the pattern found on tiles that clad the Jameh Mosque which contain Kufic script, the oldest calligraphic Arabic script and it was in this script that the first copies of the Qur'an were written.  Further more, the design has also tried to incorporate the warmth and feel of the honeycomb pattern, as a metaphor, for the community of workers in attendance to the life giving queen bee.
</description>
<pubDate>Mon, 14 Feb 2011 00:00:00 GMT</pubDate>
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<dc:date>2011-02-14T00:00:00Z</dc:date>
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<title>BDES1020 Continuous City Robert Martin</title>
<link>https://hdl.handle.net/2123/7186</link>
<description>BDES1020 Continuous City Robert Martin
Martin, Robert
Rem Koolhaas once described New York as a culture of congestion. The epitomy of the modern city, New York encapsulates the fundamental ideals of the 20th century. However, research has brought to light the fact that the current model of living is environmentally unsustainable.  	In a move towards a greener city, the New York City Council is investing heavily into the improvement of existing road infrastructure by building separate buffered cycle-lanes. Unfortunately, studies have shown that the primary reason commuters choose not to cycle to work is the lack of secure, off-street bike parking.  	I propose to build a dedicated bike parking tower, equipped with all the facilities a cycling commuter requires for safety, comfort and convenience. The tower, situated on the main highway running through the city, would act as a hub for commuters as they travel from surrounding localities into the metropolitan area.
</description>
<pubDate>Mon, 14 Feb 2011 00:00:00 GMT</pubDate>
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<dc:date>2011-02-14T00:00:00Z</dc:date>
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<item>
<title>BDES1020 &lt;Dewi, Putri&gt;</title>
<link>https://hdl.handle.net/2123/7184</link>
<description>BDES1020 &lt;Dewi, Putri&gt;
Putri, Dewi
This residential house is a modern house based on the features of traditional houses in Iran where courtyard is the main feature of the house. An enclosed courtyard where family will gather is a usual characteristics in Iranian family. In this particular design, two houses of different generation family is connected through a courtyard. The spaces within the house is divided clearly yet connected at the same time.  This design incorporates a process of transformation, moving from basic single cube to a more complex one. The transformation involves connection and separation of the different spaces contained in the house. This design has shown how the different spaces intersect and overlap with each other yet it still has its own separate language. The outer look of the house suggesting the division of the spaces and at the same time showing the dynamic form of the house.
</description>
<pubDate>Mon, 14 Feb 2011 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/7184</guid>
<dc:date>2011-02-14T00:00:00Z</dc:date>
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<item>
<title>BDES1020 Continuos City</title>
<link>https://hdl.handle.net/2123/7192</link>
<description>BDES1020 Continuos City
Chen, Joanna (Yu An)
The New York urbanism museum is located at the corner between 50th street and Rockefeller plaza, and it is to sit on the site of “Anthropologie (a recently developed modern high-end women department store)”. New York withholds several famous landmarks including Rockefeller Centre, GE building, Statue Of Liberty, Empire State Building, Twin Tower...etc. For being one of the most prestigious city in the world, its historical significance should be celebrated as well as its future development, therefore I decided to design an urbanism museum and place it in the middle of one of the most high densely populated block in New York, so the wider the population can get the chance to know their city. Urbanism museum is designed to showcase the past, presence and the future. The theme of the exterior design is “grid“ to reflect the modern New York City, as the buildings in the city vary in heights instead of its appearance, and the strict ruled pattern of the streets. Most importantly, this is designed as a sustainable architecture, in which it uses recyclable built materials, renewable energy and recycle rainwater system, aiming to raise awareness regarding to environmental issues in the wide public.
</description>
<pubDate>Mon, 14 Feb 2011 00:00:00 GMT</pubDate>
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<dc:date>2011-02-14T00:00:00Z</dc:date>
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<item>
<title>BDES1020 David, Pierotti</title>
<link>https://hdl.handle.net/2123/7193</link>
<description>BDES1020 David, Pierotti
Pierotti, David
</description>
<pubDate>Mon, 14 Feb 2011 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/7193</guid>
<dc:date>2011-02-14T00:00:00Z</dc:date>
</item>
<item>
<title>BDES1020 Continuous City</title>
<link>https://hdl.handle.net/2123/7181</link>
<description>BDES1020 Continuous City
O Brien, Jim
corner site is created through  the merging of a city grid plan with a traditional city form  facilitation of the new streets/lanes results in the removal of the existing facades/buildings on the site  demolition exposes gable walls of existing neighbouring buildings   proposed building retains gable walls ‘as-revealed’ incorporating them into fabric of new building   new facades reinterpret traditional rigor of rectangular internal views from upper floor parisian facades  both in dimension and orientation
</description>
<pubDate>Mon, 14 Feb 2011 00:00:00 GMT</pubDate>
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<dc:date>2011-02-14T00:00:00Z</dc:date>
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<item>
<title>BDES1020 &lt;Michaela, Upton&gt;</title>
<link>https://hdl.handle.net/2123/7179</link>
<description>BDES1020 &lt;Michaela, Upton&gt;
Upton, Michaela
</description>
<pubDate>Mon, 14 Feb 2011 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/7179</guid>
<dc:date>2011-02-14T00:00:00Z</dc:date>
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<title>BDES1020  Continuous City &lt;Suk Min Yoon&gt;</title>
<link>https://hdl.handle.net/2123/7189</link>
<description>BDES1020  Continuous City &lt;Suk Min Yoon&gt;
Yoon, Suk Min
</description>
<pubDate>Mon, 14 Feb 2011 00:00:00 GMT</pubDate>
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<dc:date>2011-02-14T00:00:00Z</dc:date>
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<item>
<title>BDES 1020 Continuous City &lt;Pawat Assavapayukul&gt;</title>
<link>https://hdl.handle.net/2123/7180</link>
<description>BDES 1020 Continuous City &lt;Pawat Assavapayukul&gt;
Assavapayukul, Pawat
About the project  I choose a police station as my program for this project because of the area of place Vendome. The area has a lot of 5 stars hotels and shops that come to my attention that they might need some sort of a security or protection. I like the idea of challenging of the police’s image of the public. Most of police stations have strong and rigid feeling and form. So I would like to challenge that idea. At the first stage of the design I wanted to design a curvy shape structure that sits behind the existing structure. Where it can be seen by the public that the building its self is harmony to the rest of the city. Along the process I was both curious and temped to review the whole structure to the public and wonder what kind of respond I would get from doing that, not until the final presentation that I finally decided to not using the existing structure and review my complex structure to the public, the function its self I believe that works as a police station but did not have any strong point or selling point to the project which is what I regret the most about my project I spend a lot of time figuring out the structure without realizing the important of the “inside”but I think that is what I leaned this semester that the inside is as much important as the outside。
</description>
<pubDate>Mon, 14 Feb 2011 00:00:00 GMT</pubDate>
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<dc:date>2011-02-14T00:00:00Z</dc:date>
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<item>
<title>BDES1020 &lt;Sunly, Heng&gt;</title>
<link>https://hdl.handle.net/2123/7190</link>
<description>BDES1020 &lt;Sunly, Heng&gt;
Heng, Sunly
Jerusalem is a holy city known for its strong religious background, it is a city that has been in many long religious battles in history. Most of those battles were between the Jewish, Christian and Islamic people, at times they occurred amongst two different religions and at other times the battles were between all religions at the same time. Each religious group would attempt to claim their part of the city. Today Jerusalem is made up of many divided areas which is home to each of the different religious communities. Many of these areas have access restrictions imposed on the locals and outsiders, mainly other religious communities.  I wanted to create a vision to introduce affordable and sustainable living options to the people of Jerusalem, through the introduction of a building that promotes the creation of new living, new lifestyles, new communities and new friendships which leads to a harmonic and peaceful Jerusalem.  As a result I chose the Local Apartment program. I wanted to bring people together in Jerusalem, to create peace between people of all different religious backgrounds and to break the barriers of traditional behaviours and beliefs, where as a result of friendships networks will form and enable people to have access to other restricted community sites and food and healthcare availability, therefore people will have an opportunity to have better lifestyles.  My Vision:  •	To provide for &amp; to bring together multicultural families in Jerusalem by providing modern, sustainable and affordable living,  •	To create opportunities for new living, new lifestyles, new experiences, new communities and new friendships for the people of Jerusalem, and  •	To accommodate people of all religious backgrounds and beliefs to encourage the freedom of religion and to bring people together regardless of their backgrounds and religious beliefs.
</description>
<pubDate>Mon, 14 Feb 2011 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/7190</guid>
<dc:date>2011-02-14T00:00:00Z</dc:date>
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<title>BDES1020 &lt;Steve D'Souza&gt;</title>
<link>https://hdl.handle.net/2123/7185</link>
<description>BDES1020 &lt;Steve D'Souza&gt;
D'Souza, Steve
</description>
<pubDate>Mon, 14 Feb 2011 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/7185</guid>
<dc:date>2011-02-14T00:00:00Z</dc:date>
</item>
<item>
<title>BDES1020 Continuous City &lt;Yumeng,Zheng&gt;</title>
<link>https://hdl.handle.net/2123/7191</link>
<description>BDES1020 Continuous City &lt;Yumeng,Zheng&gt;
ZHENG, YUMENG
Asakusa is a relatively traditional part of Tokyo, which includes the most popular tourism attractions-Asakusa Temple, and Kaminarimon.  Tourists pouring into Tokyo are not only curious about the Japanese old face, but also looking forward to ‘lose’ themselves in the modern Japanese fashion wonderland. This was the initial reason for choosing a shopping village as the program for this proposed project. My site L16 is located on the same spot of Asakusa Station, which is regarded as the heart core of the Asakusa district seen through both commercial and social lens.  Thus, an incredibly large number of people are believed to move through this area. It offers me a great opportunity to incorporate with the infrastructure of the public transportation system. Public transportation in Asakusa, consisting mainly of trains and subways, serves as intricate but efficient lifelines for the city of Tokyo. To be attached to the Asakusa station, my shopping village is to direct  a considerable stream of people into the shops, which is favourable.  Driven by an underlying idea, which is that urban buildings are often shapers of the space. The building shapes can be secondary to the shape of public space, which can be read from this parti diagram. I’m trying to depict a strong-minded circulation, which shapes the figures of the floor plan configuration of this ideal shopping village, by implicating its experiential and aesthetic sensibility. Beyond a place for purchase, shopping is a site for social exchange, diversion, and entertainment. In this proposed project, I’m trying to convey an idea that shopping malls start to replace the parks and squares that were traditionally the home of free speech, as a result of high-pace Tokyo lifestyle. To this extend, it seems that not only tourists, but also the Tokyo citizens need a place to roam, to sit down, and to talk, whilst shopping. That’s why varied levels of rooftop gardens and a cafe are positioned in this street corner shopping village without creating any enclosure or boundaries. An incredible array of diversity, complicity, and flexibility in the structure and behaviour becomes apparent when one experiences the shopping village in a user-friendly way. Fluidity and flexibility, connectivity and continuity are crucial in this ecological web of shopping. So the proposed shopping village project is comprised of an assemblage of differently shaped individual brand pavilions distant to one another, forming inter-relative public spaces within this site as well as specifying its circulatory veins. These separated pavilions are not restricted by pathways in between them, but connected by undulations of a continuous circulation, which rises and falls to accommodate the shops area and roof top gardens, while allowing shoppers to cross this internal landscape.  This approach largely satisfies the aim of creating a sense of fullness and experiential richness, which explains the name of this shopping village: VISIONARY HILLS. The structure of these assemblage pavilions is simply constructed by a family of different thickness pillars support the floors formed by concrete in reality, which enables these shops stay in a same constructive style. By understanding the Manifestations of the Japanese Aesthetic, which is that Simplification leading to richness. I’m using a symbolic Japanese material: Timber strips in every individual pavilion’s cladding, which has shown a variation of density and length to speak a language of Japanese simplified fashion. Other materials are there to indicate the specific branded style, while not disturbing the sense of a whole. It is precisely because the whole is present in the details that the details are able to keep their distance from one another and harmonize in the form of an aggregate consisting of details alone. These approaches of structure and cladding are tightly engaged with the connectivity and continuity of a shopping environment, which might provide the shoppers with a sense Japanese Style in a coherent visual language. At the same time the existence of those traditional Japanese elements addressed the shopping village into the urban context of Asakusa, other than being isolated as an individual piece of artificial landscape.
</description>
<pubDate>Mon, 14 Feb 2011 00:00:00 GMT</pubDate>
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<dc:date>2011-02-14T00:00:00Z</dc:date>
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<title>BDES1020 Continuous City &lt;Paros, Huckstepp&gt;</title>
<link>https://hdl.handle.net/2123/7183</link>
<description>BDES1020 Continuous City &lt;Paros, Huckstepp&gt;
Huckstepp, Paros
New York is home to fashion, music, film, art, business… and thousands of homeless people. The proposed design aims to physically get these people “off the streets”. The building clings to the Radio City Music Hall. Below, a new street space has been carved into the block. It has been filled with a new kitchen, clothing depot, and multi-purpose levels to provide space to the public. It will become an area to share, develop, and grow with those less fortunate.  The shelter itself consists of individual bedroom pods and a bathroom on each floor. These pods designed to provide a private space for an individual. By providing each room with a louver system that allows the occupants to control their level of privacy and views.
</description>
<pubDate>Mon, 14 Feb 2011 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/7183</guid>
<dc:date>2011-02-14T00:00:00Z</dc:date>
</item>
<item>
<title>BDES1020 Continuous City &lt;Koon Kau Ho&gt;</title>
<link>https://hdl.handle.net/2123/7187</link>
<description>BDES1020 Continuous City &lt;Koon Kau Ho&gt;
Ho, Koon Kau
The building is a cultural library. It is a library which contains books that related to the culture of Amsterdam. Amsterdam Cultural Library will be a landmark in this city because it is a modern building which will have a big contrast with the surrounding old style buildings. The shape of the building comes with an idea that some books being pulled out from a bookshelf. These pulled out spaces are supposed to be some reading areas for the people to read after they grab a book or magazine or something from central area of the library. Moreover, they can have computer access in some areas of the building. About the cladding of the building, the materials that I use for cladding are mainly glasses with some translucent plastic and some metal strips. The reason that I choose glass is because Amsterdam is a kind of “open in mind” city. It seems there is nothing to hide from peoples’ eyes. But, indeed, when you get to know more about Amsterdam. There is something people want to cover up. Something they don’t want you to know at all. That’s why I choose translucent material in some area of the cladding. You can see a bit what is going on in the library but not 100%. The reason I choose metal strips is because these strips represent four different aspects of Amsterdam. They are in four different colors- red, purple, yellow and green. Red represents violence in Amsterdam. Purple represents water in Amsterdam. Yellow represents aesthetics side of Amsterdam. Green represents the vegetation in Amsterdam.  In a sense, the metal strips are pretty chaotic in terms of position, but they are all pointing at same direction. It is just kind of like Amsterdam, you can see chaos of the Amsterdam but that chaos is in orders.
</description>
<pubDate>Mon, 14 Feb 2011 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/7187</guid>
<dc:date>2011-02-14T00:00:00Z</dc:date>
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<item>
<title>BDES1020 &lt;nina tory-henderson&gt;</title>
<link>https://hdl.handle.net/2123/7177</link>
<description>BDES1020 &lt;nina tory-henderson&gt;
Tory-Henderson, Nina
</description>
<pubDate>Fri, 11 Feb 2011 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/7177</guid>
<dc:date>2011-02-11T00:00:00Z</dc:date>
</item>
<item>
<title>BDES1020 'Continuous City' &lt;Christine Looyschelder&gt;</title>
<link>https://hdl.handle.net/2123/7174</link>
<description>BDES1020 'Continuous City' &lt;Christine Looyschelder&gt;
Looyschelder, Christine
Retreating from the city center one stumbles across this modest community library which houses not only a great selection of books appropriate for the local people, but also a separate series of private study rooms as well as an adjoining bookstore. Made for the people, it provides gathering spaces, learning areas and a large computer facility.  There is a requirement to produce a calm space within the library walls, which has been closely considered in the organization of small spaces. With two exterior skins on the private study tower and the adjoining bookstore, these places remain isolated from the surrounding passers-by, allowing the interior space to exist in peace, vital for efficient study and the security required for store purposes. The confining nature of the external circulation throughout the streets which encase these buildings is reversed for the main library, through which the circulation intrudes following the central axes. In this fashion it becomes the entry to the building, undulating up to the farthest heights of the building. This focus on upwards motion calls upon those entering to explore this space rather than remaining on the compressed ground floor. By drawing the public up to the higher floors they too feel removed from the presence of public congestion out on the streets.  As the design of the building concentrates on the removal of circulation elements from the interior space, this needed to continue in the structural composition and cladding materials. The walls that link directly to wall faces are deemed supporting walls whilst the floors virtually cantilever off this base, with minimal additional supports to maintain a secure structure. In doing this the structure enclosing the circulation passages remains in wireframe, continuing the notion of a progression into the privacy of the interior. This is particularly clear in the two smaller buildings in which the circulation wraps around two faces causing the structure to remain separate from the main construction of the building. The design of the structure remains prominent as the glass cladding sits within the matrix of the supports rather than simply overlaid. There is an additional layer of material that works in two forms; a wall texture and a cladding in its own right. The textural pattern connects the circulation paths throughout the series of buildings in an abstract way via the use of material. The void in the main building is a dramatic statement lined with a red shading material, which then diverges off between the two adjoining buildings and continues along the exterior facing walls making prominent the staircases that run within these areas. Through a series of construction choices this design allows the public to escape to this relaxed environment whilst also providing a necessary function.
</description>
<pubDate>Fri, 11 Feb 2011 00:00:00 GMT</pubDate>
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<dc:date>2011-02-11T00:00:00Z</dc:date>
</item>
<item>
<title>BDES1020 Continuous City &lt;Savini,Abeysinghe&gt;</title>
<link>https://hdl.handle.net/2123/7172</link>
<description>BDES1020 Continuous City &lt;Savini,Abeysinghe&gt;
Abeysinghe, Savini
KOSHIKAKERU Sushi Bar and Restaurant   Koshikakeru, is a Sushi bar and restaurant which sits on the waters of the Asakusa canal in Tokyo, Japan. The structure incorporates aspects from the traditional Japanese culture such as the stilts on which it rests on, which originated from the early Shinto Shrine styles- namely the Taisha Zukuri. The basic form and exterior style incorporates aspects from the earliest form of Japanese paper art- Origami.   The black and white exterior combined with the glass sliding panels that surround the building,  is strongly influenced by Zen Architecture which combines traditional Japanese architecture, Zen Buddhism and contemporary life. The black and white symbolizes the ‘balance’ or the  ‘balance of opposites’. In this case it represents the relationship or the balance between water and land. Its black and white exterior makes it an iconic figure on the canal visible to both Tokyo’s city slickers and countless tourists. The restaurant, accessible by both land and water, provides guests with a new and refreshing experience.  The underlying vision for this project was to not only give guests an experience of one of the best cuisines in the world, but to also let them experience the city itself. The glass exterior achieves this by creating a space that stretches far beyond the buildings ‘four walls’ and therefore blurs the line between the exterior and the interior, where it then achieves Zen’s ultimate goal where one’s self and surroundings merge together as one.
</description>
<pubDate>Fri, 11 Feb 2011 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/7172</guid>
<dc:date>2011-02-11T00:00:00Z</dc:date>
</item>
<item>
<title>BDES1020 &lt;William, Marshall&gt;</title>
<link>https://hdl.handle.net/2123/7175</link>
<description>BDES1020 &lt;William, Marshall&gt;
MARSHALL, WILLIAM
'Wahat El Salam/Neve Shalom is Arabic and Hebrew for Oasis of Peace.'It is an organisation jointly established by Jewish and Palestinian citizens of Israel, that is engaged in educational work for peace, equality and understanding between the two peoples. My design for a school for this organisation attempts to aid this process by creating an environment where students from both groups feel safe, comfortable and are encouraged to meet and make contact with each other in attempt to break down these barriers. As a result my design focuses on a central courtyard where most of the circulation takes place providing an open atmosphere, and allowing light into the school whilst also forcing contact to be made in the hope that stereotypes held by each group can be diminished. A secure feeling is created by a copper cladding that acts as an armor to the troubles of the outside world.
</description>
<pubDate>Fri, 11 Feb 2011 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/7175</guid>
<dc:date>2011-02-11T00:00:00Z</dc:date>
</item>
<item>
<title>BDES1020 Continuous City &lt;Geoff, Parcasio&gt;</title>
<link>https://hdl.handle.net/2123/7178</link>
<description>BDES1020 Continuous City &lt;Geoff, Parcasio&gt;
Parcasio, Geoff Mark
The proposed development for this site in Isfahan is an underground metro station. It is intended to extend the current railway project undergoing in this city, allowing more accessible locations for travellers. The design is also appropriate due to closest current railway in Iran is several kilometres away from this city, as well the city having high tourism activities. With high levels of residential areas located within, the metro station will strongly provide a more efficient and economical method of travelling people to locations around the city. The building further increases its efficiency in moving people to the underground platform, from the lifts and escalators located right at the entrance of the station. The ground has adequate open space for the public and station guards’ office to be on patrol, making it a welcoming experience and enabling a flow of movement for huge crowds upon arriving and departing from the station. The building will provide an upper plaza on the first floor that is catered for the public, a large space providing in particular for people to socialise or for other recreational and refreshment use. The view of the exterior of the building on either side is in the shape of a signpost, which although makes people on the street reflect on the idea of a traveller’s guide, but becomes an effective symbolism for the station, enabling people on the street to notice it easier and even use it a guide to help their way around the city.
</description>
<pubDate>Fri, 11 Feb 2011 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/7178</guid>
<dc:date>2011-02-11T00:00:00Z</dc:date>
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<item>
<title>BDES1020 CONTINUOUS CITY&lt;RUI TAO ZHU&gt;</title>
<link>https://hdl.handle.net/2123/7173</link>
<description>BDES1020 CONTINUOUS CITY&lt;RUI TAO ZHU&gt;
ZHU, RUI TAO
My site, the northern end of the Great Square of Isfahan, marks the start of a network of bazaars which acts as a very central part of the city. Thus it came logically to develop a modern or contemporary bazaar that is to be integrated into the market areas rather than an isolated building that would hugely disengage with the context.  The existing bazaars appear as a rather rigid and enclosed complex where each one of them functions independently to another. Traditional bazaars are arranged in a rectangular format, of repeated units/stores centring a courtyard and divided by a central axis that connects the two main portals. The configuration promotes circular movements within itself however constrains its possibilities to communicate with the surrounding areas in a larger context. In my proposed Contemporary Bazaar, the skeleton of traditional bazaars is extracted and physically bended to reconstruct an active organism that stimulates a more dynamic and intimate trading atmosphere. The construction system-a combination of rectangle and triangle and arch/curve coincides with the existing bazaar construction and even the historical one of poles and tents. Therefore it is fair to say that the new bazaar is not something completely modern and inappropriately strange and disassociating but rather it echoes with the existing bazaars on both its functional and aesthetic level. The new market lanes open up to the streets and the adjacent bazaars as well as the Square to attract visitors from all directions. Instead of acting as an enclosed individual entity with definite boundaries, it connects and interacts with the surrounding market areas to together invigorate the free and fluid essence of a marketplace, as shown by the circulation axonometric diagram. The structure of the Bazaar also suggests an area where private and public spaces are loosely defined. The space of the building is not physically bound to limit its accessibility to the public. It doesn’t aim to filter or exclude any class of people thus it serves no purpose of forging a social disintegration of the locally grounded forms on togetherness and shared communal living. The trading stands are in fact mobile and can be packed away in occasions when it would become a spacious pavilion and turn into a pedestrian zone. The civic precinct it creates would comfortably accommodate larger flows of visitors/pedestrians and public and passive cultural and social activities hence benefit social interactions. The undulating roof floating above the structure, visually it realises the vibrant flow of the bazaar. It reinforces the absence of definite structural boundaries which frees any seemingly restricted movements and the porosity of its skin encourages the building to breathe with an inviting gesture.  Finally, I believe the proposed Contemporary Bazaar would tightly associate and integrate into the existing network of bazaars and as a result advocate and revitalise the bazaar culture.
</description>
<pubDate>Fri, 11 Feb 2011 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/7173</guid>
<dc:date>2011-02-11T00:00:00Z</dc:date>
</item>
<item>
<title>BDES1020 'Continuous City' &lt;Katherine Williams&gt;</title>
<link>https://hdl.handle.net/2123/6704</link>
<description>BDES1020 'Continuous City' &lt;Katherine Williams&gt;
Williams, Katherine
Dubrovnik’s prosperity has always been based upon maritime trade, and was established as one of the major ports of trade in the Adriatic Sea. In the Middle Ages as the Republic of Ragusa, it became the only eastern-Adriatic city-state to rival Venice, thus earning its nickname, “The Pearl of the Adriatic”. The existing Maritime Museum in Dubrovnik is currently in a run-down state, and has little space available for exhibition. The idea of this project was to re-create the museum on a site closer to the docks, where Dubrovnik’s history is most centred, as well as a place that both locals and visitors can visit and co-exist with different purposes. The building has 6 separate levels, each of which will incorporate displays which are sunken into the thick walls and in bays and hanging pieces which span the area across the ceiling.  As a very historical-focused function, it was important to keep the construction materials within the traditions of the city. The walls are made of stone quarried from the local area, and terracotta tiles which blend with the traditional style of the city. Oddly-shaped stone bricks create a “wavy effect” on the exterior, which mirrors the waves of the sea just across the docks. The tower of arches on the corner is the most central piece of the design, giving the area a definite foothold and allowing for a partly-shaded courtyard in which people can either pass through or remain.  Additionally, because the museum will be on a central street of Dubrovnik, a small restaurant which serves the local Mediterranean food and wine will be included, with areas for seating also available. At night, the bottom level can be opened out and converted into more area for more seating.
</description>
<pubDate>Mon, 01 Nov 2010 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/6704</guid>
<dc:date>2010-11-01T00:00:00Z</dc:date>
</item>
<item>
<title>BDES1020 Continuous City &lt;Irene, Irene&gt;</title>
<link>https://hdl.handle.net/2123/6838</link>
<description>BDES1020 Continuous City &lt;Irene, Irene&gt;
The reason why swimming pool is chosen as the function of the building is due to the climatic condition in Madrid, where it is extremely hot during the summer. By having a public swimming pool, it allows visitors to drop by for refreshment or to relieve themselves from the heat. The name of the building, "Piscina de Madrid" simply means the swimming pool of Madrid, thus everyone in that city, regardless of their race, is very welcomed to visit and experience a very different atmosphere of a swimming pool. The primary concept of the building, which is based on the exterior, is to contrast the past and the modern, as the whole functional building is not entirely new. In order to show a contemporary baroque style, existing building are preserved, concentrating mainly on the interior. The part of the building that is redesigned is the modern cube in between those existing building. The pattern on the cube itself mainly based on the traditional pattern of Madrid which then transformed into a contemporary pattern. The secondary concept is the anti-gravity, which fairly based on the interior of the building. Most of the functional buildings are not flat on the ground, instead they are located in various sizes of floating cubes that are supported by light structure. This concept is inspired by the fact that when people swim, their feet does not touch the ground, hence the anti-gravity concept is created.
</description>
<pubDate>Wed, 10 Nov 2010 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/6838</guid>
<dc:date>2010-11-10T00:00:00Z</dc:date>
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<item>
<title>BDES1020  - Continuous City &lt;Penny, Nailau&gt;</title>
<link>https://hdl.handle.net/2123/6832</link>
<description>BDES1020  - Continuous City &lt;Penny, Nailau&gt;
Architecture Studio 102	BDES 1020 Penny Nailau 	310158842 Design Rationale   The meticulous process of fashion design begins with initial sketching ideas which are then transformed into reality through the precise and painstaking efforts of a pattern maker. The finished garment would then have to be fitted on a model and revised accordingly. By understanding the layers of input involved in creating a final piece of clothing, I aim to construct Superstudio as a building which reflects on the fashion design process whole catering to a space which allows maximum flexibility as well as comfort for the young and upcoming designers of Madrid. A key aspect in response to this observation was to construct large studio spaces in which designers were able to work freely and creatively. The concept of layers is evident in the form, structure and cladding of the building further emphasising the various steps that a designer would have to undergo in his or her design process. Superstudio is made up of two separate buildings; the preparation site is situated on the right hand side while the showcase area is located on the left. As such this symbolises the two parties involved immediately in the creative process – the fashion designers and the clients. They have differing expectations towards the design layout but needs to establish a connection with each other in order to work towards a common objective. The connecting bridge which is used as the main runway essentially represents this as these two elements can no longer stand separately but rather has to work hand in hand. In such a manner, both the designers and clients are connected intimately through the design process, thus allowing mutual understanding to be formed between the two parties.
</description>
<pubDate>Mon, 08 Nov 2010 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/6832</guid>
<dc:date>2010-11-08T00:00:00Z</dc:date>
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<item>
<title>BDES1020 'Continuous City' - &lt;Patrick Ormsby&gt;</title>
<link>https://hdl.handle.net/2123/6719</link>
<description>BDES1020 'Continuous City' - &lt;Patrick Ormsby&gt;
Ormsby, Patrick
My design for an art gallery containing local Venetian artworks embraces an exciting geometric form to entice tourists to visit.   The large bulky cylinders contrast with the twisted vernacular gallery hallways both functionally and aesthetically: concrete versus terracotta &amp; white stone; enclosed space versus light &amp; open; clear &amp; understandable spaces versus non-linear, lattice-based circulation; permanence versus temporariness.  Additionally, the assortment of rooms within the art gallery, including the atrium spaces located inside the cylinders, each showcase different ways of appreciating the artworks within by modulating the sensory qualities.  The meandering-style pathways (as opposed to the standard linear circulation style) that visitors embark upon within this gallery enhance their experience by providing them with choice of direction.  The model was constructed to contrast the two types of spaces within.  The cylinders were constructed using planar surfaces [Concrete] and the gallery space in-between was constructed using light framework &amp; load-bearing walls, allowing greater exposure to the outside world.  The cladding featured juxtaposing material palettes: the cylinders were encased in a glossy grey sheet to represent concrete, and the gallery in-between was given a facade that alternated [not randomly] between large glass walls &amp; white-painted stone as a twisted imitation of the surrounding vernacular environment.
</description>
<pubDate>Mon, 01 Nov 2010 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/6719</guid>
<dc:date>2010-11-01T00:00:00Z</dc:date>
</item>
<item>
<title>BDES1020 'Continuous City' &lt;Sebastian Tiong&gt;</title>
<link>https://hdl.handle.net/2123/6760</link>
<description>BDES1020 'Continuous City' &lt;Sebastian Tiong&gt;
Tiong, Sebastian
Situated on the Mediterranean Sea, Tunis is a city with a long and rich history dating back 2000 years. The urban fabric in the medina, the historic centre, is unique in its architecture and irregular grid system.  In the modern era however the social fabric of the medina has deteriorated in part due to urbanisation. The historic quarter faces acute housing shortages with residents living in substandard conditions.   The brief responds to the social challenges confronting the medina. The Tunis social housing and government service centre project  is a modern development consisting of a government shopfront and  30 living units accommodating 60 rural immigrants.   The design aims to be  low cost, functional and sustainable. While contemporary  the complex is sensitive to the historic urban fabric with local architecture features incorporated into the design.
</description>
<pubDate>Wed, 03 Nov 2010 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/6760</guid>
<dc:date>2010-11-03T00:00:00Z</dc:date>
</item>
<item>
<title>BDES1020 'Continuous City' &lt;Richa Sud&gt;</title>
<link>https://hdl.handle.net/2123/6757</link>
<description>BDES1020 'Continuous City' &lt;Richa Sud&gt;
Sud, Richa
Amsterdam is famous for its Red Light District. The legalisation of prostitution has raised the issues of safety and discretion. Thus the architecture of this region reflects an exquisite consideration towards both these concerns.  In light of this I have chosen to design a brothel in which I have contrived to use these two aspects as pivotal to my design.
</description>
<pubDate>Wed, 03 Nov 2010 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/6757</guid>
<dc:date>2010-11-03T00:00:00Z</dc:date>
</item>
<item>
<title>BDES1020 'Continuous City' &lt;Georgina Dew&gt;</title>
<link>https://hdl.handle.net/2123/6758</link>
<description>BDES1020 'Continuous City' &lt;Georgina Dew&gt;
Dew, Georgina
My building is a play school, aimed at ages between one and five. The fundamental principle of my design was to encapsulate both the traditional architecture of Isfahan yet also a modern and ‘playful’ building for children to feel excited and joyful whilst in the building. My building is based on basic geometry, such as squares and rectangles, put together in differing ways to create excitement and intrigue. The reason for the demand for an early childhood centre in the area is twofold. Firstly this liberates women to enter the workforce. Women in Isfahan are highly educated, yet are often unable to attain jobs due to family responsibilities and cultural attitudes. Secondly, evidence suggests that children who attend preschool are better adjusted when they begin school. Thus, it is beneficial for children going to preschool for their personal development.  My concept of having a playful building, whilst keeping with the current architecture drove the ideas of my design. The pods which extend over the street give the idea of ‘cubby houses’ inside the building. However in maintaining continuity with the surrounding architecture, I incorporated inspiration from the bright colours and geometrical shapes, seen in the roofs in the mosque’s and the designs of the textiles in the area. This is illustrated on the exterior frame of the building, with the triangle pattern reflecting similar geometric patterns in traditional architecture.  The colours are also similar to the ones utilised in the mosques.  This concept also guided the way in which my floor plan was developed. I desired for the majority of the circulation to be focused around the courtyard, to bring in light and to focus on the garden. Furthermore, I used a large ramp, near the entrance in the building for easy access between levels.  Thus my building is a combination of practicality and aesthetics, which combine together to create and exciting experience for all visitors.
</description>
<pubDate>Wed, 03 Nov 2010 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/6758</guid>
<dc:date>2010-11-03T00:00:00Z</dc:date>
</item>
<item>
<title>BDES1020 CONTINUOUS CITY &lt;Athira, Azmi&gt;</title>
<link>https://hdl.handle.net/2123/6756</link>
<description>BDES1020 CONTINUOUS CITY &lt;Athira, Azmi&gt;
AZMI, ATHIRA
The site I got is J13, located in Asakusa, Tokyo Japan. As the site is located at the waterside, I've decided to take advantage of it by designing a building that utilises both water and land. This theatre was inspired by Tadao Ando's ' theatre on the water' concept design in Hokkaido, Japan. I chose to design in an organic shape to create a new dimension to the city which is obviously too geometric and condensed. Besides, the curved and rounded corners express continuity of surface, compactness of volume and softness of forms. This theatre comprises of a main building and, an exterior auditorium and stage which is located on the water. In the main building, there is a restaurant on the ground floor, while on the first floor, there is an interior auditorium, conference &amp; meeting rooms. There is also basement, which will be the primary space for actors and crews. The lobby on the ground floor is designed so that visitors entering the building can see directly through to the other side of the building towards the waterside where the stage and seats are located. This will give them a sense of direction that will directs them to those main areas. The exterior auditorium (which is on the water) comprises of 3 levels of seatings and a walkway with glass walls. On the other hand, the stage, is accessible only by performers and crews through the basement via stairs and the movable stage segment. The Balsa-wood structure model I built is cladded with only two materials; wire mesh and tracing paper. This expresses the simplicity of the design, and highlight the forms of the building. Besides, the cladding also creates an interesting lighting effects at nights. Thus, the building is named 'Daiki' which means to shine like bright lights in Japanese.
</description>
<pubDate>Wed, 03 Nov 2010 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/6756</guid>
<dc:date>2010-11-03T00:00:00Z</dc:date>
</item>
<item>
<title>BDES1020 &lt;Kingsley, May&gt;</title>
<link>https://hdl.handle.net/2123/6741</link>
<description>BDES1020 &lt;Kingsley, May&gt;
May, Kingsley
A plaza sits near the centre of Paris, perfect in its symmetry, defined by its history, shaped by tradition and sustained by its cultural foundations. Yet in its perfect elegance the need for an artistic stage and screen arose which was to be fulfilled through architectural expansion. The desire for subtlety evoked a requirement for boldness as the original subterranean proposal gave way to the upward expansion of program. Though the original aspiration was still to be met as one attempted to make a building visible but not seen. The fragmentation of movement created by the most simplistic of architectural forms saw the means which gave life to a tangible space, one that would float in a symmetrical, traditional, historical sphere.   Le Cinema Flottant, the floating cinema. It is an organic tumbling construction that evolved from the attempt to create a building that is invisible yet is still successfully apparent.  Shaped by the desire to blend a solid mass into the atmosphere of the almost perfectly symmetrical Place Vendome. The building itself can be interpreted in 3 separate entities that merge to create one experience; the canopy, the theatre, and the Entrance gallery. Entering the building via a stair case one is lead into the sub terrain space that sits bellow the tiled surface of the plaza, then guided through a Romanesque forest of columns  you are then trusted into an anti-gravity like space of the theatre/cinema, the primary program of Le Cinema Flottant. Here one sits in an intimate yet ultimately open space where the viewing experience is not restricted to the private users but is extended to the public in the plaza, who can observe the mechanics of the show as actors escalate the exterior/interior staircase. Concurrently Le Cinema Flottant stands as an icon which involves the public with the plaza, portraying a new and exciting side whilst respecting and framing the historical significance of its surroundings. The structure of the glass cube which surrounds the theatre will rely on a glass fin system, modelled off the Apple Store in Manhattan. This involves a series of glass fins which are attached via two arm fin spider joints to 3000x2000mm glass panelling. These glass fins are then reinforced by steel support beams. This is system is particularly effective as it did not detract from the overall visual impact of the glass cube, whilst allowing sufficient structural support thus making the form conceivable.
</description>
<pubDate>Tue, 02 Nov 2010 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/6741</guid>
<dc:date>2010-11-02T00:00:00Z</dc:date>
</item>
<item>
<title>BDES1020 Continuous City &lt;Ah Ra Lee&gt;</title>
<link>https://hdl.handle.net/2123/6718</link>
<description>BDES1020 Continuous City &lt;Ah Ra Lee&gt;
Lee, Ah Ra
The function of the building is a contemporary art gallery. It holds exhibitions of a wide range of artist as well as temporary exhibitions.  I have chosen the programme of the building as a contemporary art gallery because famous world-wide as one of Italy’s most beautiful art cities, Venice’s image is strongly bound up with the treasures of antique art. But in recent years the city has seen the arrival of numerous new exhibition spaces for contemporary art: museums, art galleries, temporary exhibitions and private collections.  My idea was to have large glass facade for public spaces facing canal taking advantage of the views and natural lightings. Therefore it is spacious, open and inviting and enables easy access to the gallery. It also enhances the visual connections between the canal and the gallery’s interior, thus optimising the relationship between the building and cultural part of Venice.  Other than the glass facade, other sides of the building are enclosed for not letting natural lights coming in to the gallery spaces. The ground floor contains a lobby, cafe, shop and upper floors are all gallery spaces. There are two entries on the north side and the east side. The circulation is simple through the stairs and around the void. The gallery spaces are kept neutral to allow flexible exhibitions to be mounted. The galleries themselves are quiet, contemplative spaces with poured concrete floors. The exterior is covered in a simple stainless-steel panel. I made dynamic sculptural shape of the exterior of the building because the building is a contemporary art gallery, modern and I wanted to make it stands out from the context of the area rather than having vernacular design. The pattern in the glass facade was intended to keep the form of the skin of the building and the reflection on the canal.
</description>
<pubDate>Mon, 01 Nov 2010 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/6718</guid>
<dc:date>2010-11-01T00:00:00Z</dc:date>
</item>
<item>
<title>BDES1020 &lt;Angela Wang&gt;</title>
<link>https://hdl.handle.net/2123/6696</link>
<description>BDES1020 &lt;Angela Wang&gt;
Wang, Angela
My project was aimed to bring some more colour into Amsterdam and at the same time create a space where children would enjoy staying at during the day where the building itself would captivate he children’s imagination. One of the key things I wanted to do was to replicate the idea of a kaleidoscope and integrate it into the building through the use of colours and shapes. I also wanted to maintain the essence of traditional Dutch architecture, which was achieved through a flat façade and numerous long narrow windows. This was done so that the initial design in Dutch architecture would be maintained throughout the years even when everything begins to change. I also wanted to give back to the environment, which was achieved by having a garden within the children, which would reduce the carbon footprint of the building. By placing a slide beside the main staircase I was able to convert the building into a sort of playground, which would make the children more comfortable to, spent the day there and also have something to do.
</description>
<pubDate>Mon, 01 Nov 2010 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/6696</guid>
<dc:date>2010-11-01T00:00:00Z</dc:date>
</item>
<item>
<title>BDES1020 "Continuous City &lt;Mitchell Page&gt;</title>
<link>https://hdl.handle.net/2123/6678</link>
<description>BDES1020 "Continuous City &lt;Mitchell Page&gt;
Page, Mitchell
Venice; a city made rich by its history of commerce, leasing out of its immense naval power and  strategic positioning. Not simply financially wealthy, but also a thriving cultural hub where many of the worlds then most noted scholars and artisans studied, wrote of, and lived including Shakespeare, Pythagoras, Giovanni and Gabrieli.   Using Venice’s rich and illustrious past of artistic progression and proliferation as my  conceptual base, my classically orientated music auditorium, ‘collosale’, has been designed as a tribute to the Venetians once world-leading practice of musical composition and performance; a center for which such a brilliant musical history may be celebrated through concert. Known once as the ‘Republic of Music’, composers such as Andrea Giovanni and Gabrieli were the chief influencers in the creation of the cities signature sound, best described as  ‘superposable, immense and collosal’.  This information was used as a basis for the specific acoustical characteristics appropriate for the building. I then meshed such acoustical necessities with my ideal architectural form  (which was initially designed without regard for acoustical practicalities and only influenced by what I considered my secondary conceptual design basis; water). By combining necessary  design features with my inspired aesthetics, my structure grew into a considered blend of  function and form.
</description>
<pubDate>Mon, 01 Nov 2010 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/6678</guid>
<dc:date>2010-11-01T00:00:00Z</dc:date>
</item>
<item>
<title>BDES1020 &lt;Robert Steer&gt;</title>
<link>https://hdl.handle.net/2123/6676</link>
<description>BDES1020 &lt;Robert Steer&gt;
Steer, Robert
“confusion is a high state of consciousness” Aaron Lynch ‘Sukai’ meaning sky and ‘Sato’ meaning village. The ‘Sukai Sato’ views the world in a different perspective. This building is to be on the brink of eternity. It advances through the premise of functionality and design of a ‘genetic city’. The ‘Sukai Sato’ achieves success through contemporary outlook on the city of Tokyo. The futuristic approach reinforces the Japanese way of life, through highly dense living areas placed amongst the sky. Technology being one of the contributing factors to Japans accomplishment, the ‘Sukai Sato’ building creates the illusion of _floating on the counter balanced structure. It is further emphasised this from extruding Perspex tubes that light the whole structure adequately. The ‘Sukai Sato’ is purposely woven into Tokyo’s city skyline to focus attention to infinity - the edge of the world
</description>
<pubDate>Mon, 01 Nov 2010 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/6676</guid>
<dc:date>2010-11-01T00:00:00Z</dc:date>
</item>
<item>
<title>BDES1020 &lt;Sarah Creedy&gt;</title>
<link>https://hdl.handle.net/2123/6688</link>
<description>BDES1020 &lt;Sarah Creedy&gt;
Creedy, Sarah
Venice is a city renowned for its creative culture. The narrow, unpredictable streets and alleyways of the city create a sense of adventure and imagination. These qualities and characteristics have been drawn upon and act as the criteria for the design of a primary school that seeks to bring about a space in which children can explore, imagine and create.  The lower external facades of the school sit nicely within the context of the surrounding buildings, while the interior is a dynamic space of various shapes and colours, which can be glimpsed through the windows of the school. The shapes of the rooms are dictated by their function. Rooms that require calm and focus (such as the library) are circular in shape, while classrooms for children to interact and be energetic take on random angular forms. The roof of the school acts as the mergence between internal and external, as the external part of the building carries forward the theme of the interior, riddled with colours and abstract shapes. The process of designing the school was one which developed and evolved over the weeks, and was guided by key principles. These key principles included: that the interior spaces which were to be utilized by the children had to be conducive to imagination and creativity; and that the external façade was to maintain the integrity of its Venetian context, while still communicating the concept of imagination, creativity and enjoyment which defined the interior space. Through much consultation and experimentation, the final results of the project successfully satisfies the criteria which was set forth at the beginning of the semester to design an educational environment conducive to creativity, imagination and exploration within children.
</description>
<pubDate>Mon, 01 Nov 2010 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/6688</guid>
<dc:date>2010-11-01T00:00:00Z</dc:date>
</item>
<item>
<title>BDES1020 CONTINUOUS CITY - &lt;Chuan Fu&gt;</title>
<link>https://hdl.handle.net/2123/6709</link>
<description>BDES1020 CONTINUOUS CITY - &lt;Chuan Fu&gt;
FU, CHUANQIANG
The Arcade de la Medina sits in the centre  of world heritage site, Medina, Tunis.  Three famous tourist attractions: The  Zaytouna Mosque,Zaouïa Sidi Ben Arous and  Mausoleum Hammouda Pacha lined up alone  the axis of the arcade, and to its left  and right are the other 2 mosques and the  Tower of President, all of these above  make this arcade an extremely important  linkage that connect the attraction sites  together and also lead the tourists toward  both directions. The arcade preserves the  typology and format of the traditional  souk but built in contemporary material  and forms. It consists a tourist informa-  tion centre, cafe, merchandise shops, an  exhibition area, an open market space and  a roof top tea garden where the tourist  are able to lookout into the city.    The wave-shape glass roof matches the vast  Mediterranean Sea, which locates on the  eastside of the city, creates a strong  contrast against the traditional sand-  stone buildings.
</description>
<pubDate>Mon, 01 Nov 2010 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/6709</guid>
<dc:date>2010-11-01T00:00:00Z</dc:date>
</item>
<item>
<title>BDES1020 &lt;Yi Ho&gt;</title>
<link>https://hdl.handle.net/2123/6713</link>
<description>BDES1020 &lt;Yi Ho&gt;
Ho, Yi
The building is located in Paris, France in the lucrative and upscale, 1st Arrondissiment. Due to the sites proximity to restaurants, 5 star hotels, etc, it was decided that the the design would be a Culinary School specialising in Fine Cuisine. The design follows the general lines and principals of the Haussmann facade but instead unses modern day materials which offers an interesting accent to the edge of the Place Vendome.
</description>
<pubDate>Mon, 01 Nov 2010 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/6713</guid>
<dc:date>2010-11-01T00:00:00Z</dc:date>
</item>
<item>
<title>BDES1020 Continuous City &lt;Ian, Arenas&gt;</title>
<link>https://hdl.handle.net/2123/6666</link>
<description>BDES1020 Continuous City &lt;Ian, Arenas&gt;
Arenas, Ian
Sentual: Sento + Ritual  Traditional baths were once a pleasure for many as a centre of community, an act of interaction, and an oasis away from the urban sprawl of Tokyo. Of recent times, and with the nature of a progressive society, the Japanese have long forgotten the ritual to bathe publicly. As such there is an unfortunately decline of Sento baths, closing at an alarming rate annual.   “Sentual” is a proposal to engage with the community, to inform and convey the importance of tradition, and to enrich lives with a long-forgotten ritual.   The premise of the Sentual proposal is one of dualism and interwoven connectivity between public and private spaces. The whimsical play with gender sensitivities is apparent, as gender specific baths are separated, though linked with a public milk bar, a traditional past time for many after a refreshing bath. Naturally to convey a strong sense of Japanese culture, ritual plays an important role in the program, not only as a symbolic gesture, but as a carefully crafted experience. The female baths play on the notion of the Japanese tea ceremony, with a slow circular motion, whilst the male baths toy on the idea of the art of origami, with enclosed spaces enveloping on one another.
</description>
<pubDate>Mon, 01 Nov 2010 00:00:00 GMT</pubDate>
<guid isPermaLink="false">https://hdl.handle.net/2123/6666</guid>
<dc:date>2010-11-01T00:00:00Z</dc:date>
</item>
<item>
<title>BDES1020 'Continuous City' &lt;Ryan Whitehead&gt;</title>
<link>https://hdl.handle.net/2123/6711</link>
<description>BDES1020 'Continuous City' &lt;Ryan Whitehead&gt;
Whitehead, Ryan
For the Venice program the key focus for my design strategy was to gracefully incorporate a built program that was not only individualistic and original but also sympathetic to the surrounding architecture. This idea of ‘sympathetic infill’ was considered deeply throughout the design process helping me to prune my growing library of materials as well as their function. Following these ideas I started to research the existence of ancient Roman baths that were immensely popular to the Venetians for both their ritual and social reason. In contrast, the more modern and contemporary spa designs provided me with a deeper insight into other architectural approaches which I found could be incorporated in my design. The first step in the formulation of my program was to choose a part of my overall block to host a building that could not only serve as a public or tourist attraction but also a building that could be privately experienced from both the inside and out. A thermal baths would fit this concept perfectly for a number of reasons. It would highlight the ancient customs of ritual bathing which was an immensely popular activity during Roman times. The idea of cleansing and invigoration would appeal to the human senses in addition to the overall essence of my program i.e. emphasise on the light, circulation or texture within the space. Intended for the public, three floors of public bathing with the main entrance via the Piazza San Marco elegantly fold into a well circulated and luminous space. The Ground floor accommodates the essentials of the baths including male and female change rooms and a reception area. A winding staircase take you up the the 1st floor with a heatd pool, carbonic acid bath, sauna, mud bath and a spa. The third ascends you higher to a public indoor pool area with outdoor terrace . The second program at the back has an outdoor pool area and terrace with access via a curved stair.     The finished program was successful and in the end a gracious building incorporating the ritual and social aspects of ancient roman and modern day bathing with a strong reference to material  production and texurality.
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<pubDate>Mon, 01 Nov 2010 00:00:00 GMT</pubDate>
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<dc:date>2010-11-01T00:00:00Z</dc:date>
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<title>BDES1020 Continuous City &lt;Li-Chi, Pan&gt;</title>
<link>https://hdl.handle.net/2123/6727</link>
<description>BDES1020 Continuous City &lt;Li-Chi, Pan&gt;
Pan, Li-Chi
REFLECTIVE SUMMARY  After a relatively ‘long’ Winter break I made my way to my first class of Studio102. It was the beginning of a new semester. I wasn’t sure whether to feel nervous or excited. After an exhausting first semester I knew that what awaited me this summer would be even more challenging. I had mentally prepared myself and knew that a series of long endless nights and coffee’s were going to be needed.  I realised that creating a building whether it be a restaurant, music centre, hotel or residential area takes a lot of hard work. A lot of contextual research needs to take place and it does not matter whether or not you like the building. You have to look at the respective needs for the building and design accordingly.  I am quite happy this year is over. I cannot believe how quickly first year Architecture has gone by. When I look at my Architectural skills from first year I can’t help but chuckle. My model building skills have improved drastically. I work neatly and efficiently with my time.  This semester I have gained a lot of insight in t he formulation of a program for my building.   I am really excited for next year. I am keen to see more improvement and progress in my studio work.
</description>
<pubDate>Mon, 01 Nov 2010 00:00:00 GMT</pubDate>
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<dc:date>2010-11-01T00:00:00Z</dc:date>
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<title>BDES1020 Continuous City &lt;Thomas Gait-Smith&gt;</title>
<link>https://hdl.handle.net/2123/6680</link>
<description>BDES1020 Continuous City &lt;Thomas Gait-Smith&gt;
Gait-Smith, Thomas
A temporary and mobile installation for the annual Israel Spring Arts Festival held in May and June located in Jerusalem’s Old City. The installation provides shade and seating during the day and at night transforms into a source of illumination and public bar, hosting a variety of cultural and social events for the festival.
</description>
<pubDate>Mon, 01 Nov 2010 00:00:00 GMT</pubDate>
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<dc:date>2010-11-01T00:00:00Z</dc:date>
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<title>BDES1020 &lt;Suzanna Lin&gt;</title>
<link>https://hdl.handle.net/2123/6714</link>
<description>BDES1020 &lt;Suzanna Lin&gt;
Lin, Suzanna
The unit of study, BDES1020 Architecture Studio 102, aims to engage students to design and produce a single building in a complex international urban context, as to emphasize practical experimentation at a range of scales and in a range of media, such as digitals, drawings, sketches and painting. The course commences at an urban scale, in which a ‘generic city’ of geometry has been fused with 10 renowned cities: Dubrovnik, Madrid, Isfahan, Tunis, Tokyo, Amsterdam, Venice, Jerusalem, Paris and New York. This distinction ‘quarters’ is stabilized by two major diagonal axes (land and water) with a harbor crossing each another. Every studio group is allocated to work on one particular ‘quarter’ of the city, comprising 16 adjacent blocks. Students choose one block with its figure ground plan (built form represented as black, and open space as white), to serve as a basis to initiate exercises. Students are required to elaborate the basic plan, and to generate a range of possible buildings which suits the city needs, then decide a specific program for the allocated city block, in order to develop a concrete architectural proposal for one building on the block. Weekly exercises are a series of related exercises with an emphasis on practical experimentation. The final work is drawn together into a final presentation, comprising a finely crafted model and an A1 size panel of drawings in an exhibition standard. At the end of the semester, a summary document of all works conducted throughout the semester will be a piece of design work students create and produce in its own right.  Our group is assigned to the city of “Dubrovnik”, and I have chosen to work on the D2 figure ground plan. My building is a Garden Library, it provides a public space to local Croatian citizens and tourists, as offering a place embedded with programs of  Café,Book reading, Children Playground,Tourist information centre, Croatian Mixed-Media exhibition, and Gardens. Outdoor reading in the gardens is proposed in this project, to evoke a contradiction of ordinary indoor reading and innovative approach of outdoor reading. This concept is especially enhanced in the historical city of Dubrovnik, Croatia. This piece of building has incorporated the traditional Croatian rooftops and white brickwork with a new aspect of wood crafting on the side walls, to produce a traditional and modern mix of building.
</description>
<pubDate>Mon, 01 Nov 2010 00:00:00 GMT</pubDate>
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<dc:date>2010-11-01T00:00:00Z</dc:date>
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<title>BDES1020 Continuous City &lt;Kaila D'agostino&gt;</title>
<link>https://hdl.handle.net/2123/6675</link>
<description>BDES1020 Continuous City &lt;Kaila D'agostino&gt;
D'agostino, Kaila
Located in a Commercial area of Amsterdam, ONE Nightclub was spurred by the contrast between openness and tradition in Amsterdam. Playing on this theme, I came up with the idea to create a club with 2 skins, like the  layers of the city itself. Through creating a transparent building, engulfed in a solid skin, I used this inspiration to create a nightclub which will be hidden yet exposed, much like the nightlife and values of the city. I also used a  contrast in materials, metal and glass, to enforce this idea and create a juxtaposition in my building. Through working with the floor plans I have also used many voids in the building, intended to create a feeling of vulnerability and through creating a glass roof have attempted to create a space, which is  Interesting, fun and exciting to be in.  From looking at my reference images for inspiration, I decided I wanted to keep a simple shape and use colour, lines, simple shapes and illumination to create an interesting space. By creating two skins on a simple plan this is achieved and through the use of glass and a reflective roof, the building will illuminate itself from within the skin at night.  I believe my building fits into the city, which is known for its youthful population and nightlife. Within my direct context, the building sits I an exposed position, making it a feature of the area, which is otherwise dominated by some residential housing, and commercial areas.  Structurally my building uses a combination of inner load bearing walls and a truss system to support its self as well as a metal framework for the glass façade and roof. I have also combined aesthetics with function through using many columns both outside and inside the building to support the roofs of the building.
</description>
<pubDate>Mon, 01 Nov 2010 00:00:00 GMT</pubDate>
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<dc:date>2010-11-01T00:00:00Z</dc:date>
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<title>BDES1020 &lt;Lea Fernandez&gt;</title>
<link>https://hdl.handle.net/2123/6669</link>
<description>BDES1020 &lt;Lea Fernandez&gt;
Lea, Fernandez
When I think about Jerusalem, I think of the war and the tension that they must feel everyday. I realised that because of the constant fear and angst instilled in the people of Jerusalem, they lived and partied everyday as if it was the last one. I thought it was such a powerful and admirable statement on life. It is with this thought in mind that I designed a club that would lead them on a journey to escape the reality of their day to day lives. I got inspired by movies like Alice in Wonderland, Harry Potter or games like tetris. Although my main focus was to create an amusing space I still wanted the building to fit with the surroundings and only amuse the eyes once inside. This is the reason why the outside is inspired by a simple design and the limestones of Jerusalem while keeping the feature of cubes. Indeed, the club “cocoon” was designed with two main features, cubes going up and down and water. The cubes represent a constant change of landscape while the transparency of the cubes with the water running underneath introduces a peaceful atmosphere. I also got inspired by the “rabbit hole” of Alice in Wonderland. You access the inside of the club by going up to the highest level then you can circulate by going to the lowest level and slowly get into the most intense part of the club. Indeed, there are degrees of intensity in atmosphere throughout the club. The highest level is a chilling area, the first level is a concert area and the ground floor ( bottom of the “rabbit hole”) is the dance floor. You can witness that change of atmosphere by looking at the model, the cubes get smaller as you go down.
</description>
<pubDate>Mon, 01 Nov 2010 00:00:00 GMT</pubDate>
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<dc:date>2010-11-01T00:00:00Z</dc:date>
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<title>BDES1020 &lt;Tiffany Liew&gt;</title>
<link>https://hdl.handle.net/2123/6683</link>
<description>BDES1020 &lt;Tiffany Liew&gt;
Liew, Tiffany
As a broadcasting corporation’s headquarters, the office building explores issues of interference, filtering and transparency in New York’s transmission of media.  With a friction between the wish to appear objective in its delivery of information and the subjective nature of representation, communication becomes central to its program.  Towards the more public parts of the building legibility comes across in the form of a clearly-directed central circulation based on a core and an unusually open ground floor, but this clear movement is compromised by the direction that the building enforces to its occupants.  Through its structure’s shifting geometry, notions of manipulation and ideas of ‘treated information’ arise, just as the building’s program changes from a more public domain to a secluded private space in the sky.  The building’s multiple skins express how through selection of information, the media both exposes and conceals.  Through drawing the juxtaposition between transparencies and materiality, the skins cover up parts of the building which house the private offices that form its central nervous system – a place where unfiltered and primary sources of information are conceived for processing and projection to the public.  Symbolically the folds of the outer skin reinforce this idea of manipulation through hiding what’s underneath as well as projecting itself into the public area, where it breaks up sound and sight to filter what can be seen and heard inside.  All-in-all, the building’s domineering presence questions the extent to which New York epitomises the liberty found in the city’s democratic structure, emphasising the need for a free public voice.
</description>
<pubDate>Mon, 01 Nov 2010 00:00:00 GMT</pubDate>
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<dc:date>2010-11-01T00:00:00Z</dc:date>
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<title>BDES1020 Continuous City &lt;Sastra, Widjaja&gt;</title>
<link>https://hdl.handle.net/2123/6668</link>
<description>BDES1020 Continuous City &lt;Sastra, Widjaja&gt;
Widjaja, Sastra
The city of New York seemed at first to be a great context in which to build. However, due to its historical nature it was very difficult to justify demolishing an existing building and starting anew. As opposed to a city such as Isfahan, where it is sometimes challenging to even research what type of building occupied the site, hence where the approach is to research Isfahan in general and learn about their culture. What’s left, therefore, is to build upon or within the existing buildings. And this was indeed very difficult programmatically as well as structurally since one has to consider the purpose of the building, its structure and its facade to maintain consistency.  In a way, this approach frees the students from the somewhat mechanical formulation of such ideas and instead provides opportunity to develop other ideas more deeply. Perhaps the proposed building need not be an extension of the existing one; however, it was both fun and rewarding to think of another program that would be closely related or even completely opposing that of the existing one, provided adequate justification of course. New York City allows one to be a little bit less traditional and push the boundaries of architecture a little bit more. My design proposal of a music school was a natural extension to the existing building, i.e. Radio City Music Hall. The location of the new building was planned to be on the top of Radio City Music Hall. Building on top of an existing building was the simplest way to design, since it required few consideration of the existing structure. However the location of the new building is consistent New York City vertical tendencies, what with so many skyscrapers.  The overall idea in the design was to metaphorically connect the way the music is created in an instrument, in my case a wind instrument, with the development of musicians. The shape of the design along with the existing building resembles that of a wind instrument, where air enters from the top to be transformed into music at the bottom. In a similar way, students of music start from the top to advance down to finally performing in the Radio City Music Hall.
</description>
<pubDate>Mon, 01 Nov 2010 00:00:00 GMT</pubDate>
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<dc:date>2010-11-01T00:00:00Z</dc:date>
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<title>BDES1020 'Continuous City' - &lt;Leong Xin Yong&gt;</title>
<link>https://hdl.handle.net/2123/6724</link>
<description>BDES1020 'Continuous City' - &lt;Leong Xin Yong&gt;
Yong, Leong Xin
The emergence of Siestaurant in Madrid is a product of collective consciousness - As crucial are delicacies to satisfy Spaniards’ palates as is siesta to pacify their strained physicals, the building is contextual to accommodating quintessential Spanish lifestyles and providing a comfort zone in the midst of urban restlessness. The very organic form of the building is derived from its wing-shaped floor plans, which are intended to separate the restaurant from the siesta centre. The in-between area serves as a primary circulation, connecting the public to private area. Translucency is central to the design of the cladding and structuring alike. The rationale is to preserve the surrounding context (historical heritage) on the site, both externally and internally. It is also consistent with the secondary nature of the building, which is humble in term of its function and size. The employment of blue polycarbonate tubes in sleeping capsules is justified by their excellent abilities in regulating internal temperature and filtering UV lights, while to some extent allowing the penetration of external lights. The walls of the restaurant and foyer are translucent concretes, which serve to exude the translucency and neutrality of the building.  Throughout the semester I was encouraged to explore the themes of transformations and appropriations inherent in architectural designs; one such instance was the studies of precedent buildings. In the process, the essence and uniqueness of the precedent buildings were extracted and incorporated into my design brief. The precedents which I chose include Capsule hotel in Tokyo and Soumaya Art Museum in Mexico. The intriguing feature of the former is the use of small fibreglass pods to provide places for resting, while the latter is justified by the use of translucent materials which exudes the intended transparency and organic form. Through the precedent studies I attempted to explore how materials and forms are manipulated in designing processes.
</description>
<pubDate>Mon, 01 Nov 2010 00:00:00 GMT</pubDate>
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<dc:date>2010-11-01T00:00:00Z</dc:date>
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<title>BDES1020 &lt;Kay Xiuyi Soon&gt;</title>
<link>https://hdl.handle.net/2123/6728</link>
<description>BDES1020 &lt;Kay Xiuyi Soon&gt;
Soon, Kay Xiuyi
The chashitsu (japanese tea house) refers to a structure designed for holding tea ceremonies. This architectural space was created for aesthetic fulfilment and is a place of momentary serenity from the hectic pace of tokyo life. It is surrounded by a roji (courtyard garden) that prepares the guests for the ceremony and gives the teahosue a certain degree of privacy. Doors and windows are traditional shoji, made out of delicate strips of balsa and translucent paper which allows light to pass into the room, illuminating and visually expanding the spaces. In accordance with ancient japanese architecture, tearooms are generally small and covered in tatami mats with standard dimensions. The nature concept for the windows and steel faceted roof design stems from the intricate pattern of tealeaf veins sprinkled with crystal water droplets that sparkle under sunlight. Each side of the building reveals a different facade to a viewer.
</description>
<pubDate>Mon, 01 Nov 2010 00:00:00 GMT</pubDate>
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<dc:date>2010-11-01T00:00:00Z</dc:date>
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<title>BDES1020 &lt;Adrian Zonaga&gt;</title>
<link>https://hdl.handle.net/2123/6673</link>
<description>BDES1020 &lt;Adrian Zonaga&gt;
Zonaga, Adrian
Kyuusei is Japanís response to the one of the most unique threats to the Japanese way of life, Godzilla. Commissioned by the Japanese Government, Kyuusei is to be the first of many Godzilla Emergency Response Facilities to be manned twenty four hours a day, indefinitely by a private paramilitary organisation and is to be built in the Asakusa area of Tokyo.  The building is designed to rapidly deploy armed soldiers in light vehicles, tanks and a handful of apache helicopters with the intent of not defeating, but distracting or redirecting Godzilla or other Godzilla-like monsters in order to minimise damage to the city of Tokyo. The careful control and redirection of Godzilla could significantly reduce the economic impact of a Godzilla attack.  The building itself is to be constructed from cheap materials, as previous encounters have shown that Godzilla is intelligent enough to attack and destroy military structures that it identifies as a threat. The buildingís design is a response to this and the building can be cheaply and rapidly reconstructed and repaired if damaged. The use of advertising billboards and panels will help to fund the project and conceal the facility among the other buildings in the Asakusa area.  Kyuusei may also have access to experimental technology such as a large radial force-field to protect itself and nearby buildings as well as a prototype battle robot housed beneath the bridge adjacent the facility but the Japanese Government is yet to agree to the use of these technologies.
</description>
<pubDate>Mon, 01 Nov 2010 00:00:00 GMT</pubDate>
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<dc:date>2010-11-01T00:00:00Z</dc:date>
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<title>BDES1020 &lt;Alexander Yuen&gt;</title>
<link>https://hdl.handle.net/2123/6672</link>
<description>BDES1020 &lt;Alexander Yuen&gt;
Yuen, Alexander
Tunis, the capital of Tunisia is a primary port for trade and tourism. Its economy is widely based on markets and trade. The reason that I chose to design a fish shop stemmed primarily from its location at the water side as well as the suitability of pet fish in Tunis. the residents of Tunis live in very confined and cramped conditions which disable the ability of most people to own domestic pets such as dogs and cats which not only take a lot of effort to maintain but also take space. Therefore, it seems ideal for residents to own pet fish, with small maintenance cost and use of space.  	Additionally, the large 5 story fish tank which runs through the centre of the building provides a tourist attraction to the city. The tank, which spans approximately 8 metres in diameter, contains a large number of fish with different light sensitivities ñ the higher areas of the fish tank get more sunlight due to increasing amount of windows on upper levels. The entrance curves inwards, allowing people to become attracted into the shop through glimpsing the large fish tank.The  blue cladding  symbolises the waves as well as complements the surrounding buildings.
</description>
<pubDate>Mon, 01 Nov 2010 00:00:00 GMT</pubDate>
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<dc:date>2010-11-01T00:00:00Z</dc:date>
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