text: Sydney eScholarship Collection: http://hdl.handle.net/2123/6650 2018-05-27T23:20:56Z BDES1020 David, Pierotti http://hdl.handle.net/2123/7193 Title: BDES1020 David, Pierotti Authors: Pierotti, David 2011-02-14T00:00:00Z BDES1020 Continuos City http://hdl.handle.net/2123/7192 Title: BDES1020 Continuos City Authors: Chen, Joanna (Yu An) Abstract: 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. 2011-02-14T00:00:00Z BDES1020 Continuous City <Yumeng,Zheng> http://hdl.handle.net/2123/7191 Title: BDES1020 Continuous City <Yumeng,Zheng> Authors: ZHENG, YUMENG Abstract: 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. 2011-02-14T00:00:00Z BDES1020 <Sunly, Heng> http://hdl.handle.net/2123/7190 Title: BDES1020 <Sunly, Heng> Authors: Heng, Sunly Abstract: 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 & 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. 2011-02-14T00:00:00Z BDES1020 Continuous City <Suk Min Yoon> http://hdl.handle.net/2123/7189 Title: BDES1020 Continuous City <Suk Min Yoon> Authors: Yoon, Suk Min 2011-02-14T00:00:00Z BDES1020 Continuous City Tu Zhuyun http://hdl.handle.net/2123/7188 Title: BDES1020 Continuous City Tu Zhuyun Authors: Zhuyun, Tu Abstract: 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. 2011-02-14T00:00:00Z BDES1020 Continuous City <Koon Kau Ho> http://hdl.handle.net/2123/7187 Title: BDES1020 Continuous City <Koon Kau Ho> Authors: Ho, Koon Kau Abstract: 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. 2011-02-14T00:00:00Z BDES1020 Continuous City Robert Martin http://hdl.handle.net/2123/7186 Title: BDES1020 Continuous City Robert Martin Authors: Martin, Robert Abstract: 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. 2011-02-14T00:00:00Z BDES1020 <Steve D'Souza> http://hdl.handle.net/2123/7185 Title: BDES1020 <Steve D'Souza> Authors: D'Souza, Steve 2011-02-14T00:00:00Z BDES1020 <Dewi, Putri> http://hdl.handle.net/2123/7184 Title: BDES1020 <Dewi, Putri> Authors: Putri, Dewi Abstract: 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. 2011-02-14T00:00:00Z BDES1020 Continuous City <Paros, Huckstepp> http://hdl.handle.net/2123/7183 Title: BDES1020 Continuous City <Paros, Huckstepp> Authors: Huckstepp, Paros Abstract: 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. 2011-02-14T00:00:00Z BDES1020 <Eugene, Sherwood> http://hdl.handle.net/2123/7182 Title: BDES1020 <Eugene, Sherwood> Authors: Sherwood, Eugene Abstract: 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. 2011-02-14T00:00:00Z BDES1020 Continuous City http://hdl.handle.net/2123/7181 Title: BDES1020 Continuous City Authors: O Brien, Jim Abstract: 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 2011-02-14T00:00:00Z BDES 1020 Continuous City <Pawat Assavapayukul> http://hdl.handle.net/2123/7180 Title: BDES 1020 Continuous City <Pawat Assavapayukul> Authors: Assavapayukul, Pawat Abstract: 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。 2011-02-14T00:00:00Z BDES1020 <Michaela, Upton> http://hdl.handle.net/2123/7179 Title: BDES1020 <Michaela, Upton> Authors: Upton, Michaela 2011-02-14T00:00:00Z BDES1020 Continuous City <Geoff, Parcasio> http://hdl.handle.net/2123/7178 Title: BDES1020 Continuous City <Geoff, Parcasio> Authors: Parcasio, Geoff Mark Abstract: 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. 2011-02-11T00:00:00Z BDES1020 <nina tory-henderson> http://hdl.handle.net/2123/7177 Title: BDES1020 <nina tory-henderson> Authors: Tory-Henderson, Nina 2011-02-11T00:00:00Z BDES1020 Continuous City http://hdl.handle.net/2123/7176 Title: BDES1020 Continuous City Authors: Hamersley, Doug 2011-02-11T00:00:00Z BDES1020 <William, Marshall> http://hdl.handle.net/2123/7175 Title: BDES1020 <William, Marshall> Authors: MARSHALL, WILLIAM Abstract: '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. 2011-02-11T00:00:00Z BDES1020 'Continuous City' <Christine Looyschelder> http://hdl.handle.net/2123/7174 Title: BDES1020 'Continuous City' <Christine Looyschelder> Authors: Looyschelder, Christine Abstract: 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. 2011-02-11T00:00:00Z BDES1020 CONTINUOUS CITY<RUI TAO ZHU> http://hdl.handle.net/2123/7173 Title: BDES1020 CONTINUOUS CITY<RUI TAO ZHU> Authors: ZHU, RUI TAO Abstract: 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. 2011-02-11T00:00:00Z BDES1020 Continuous City <Savini,Abeysinghe> http://hdl.handle.net/2123/7172 Title: BDES1020 Continuous City <Savini,Abeysinghe> Authors: Abeysinghe, Savini Abstract: 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. 2011-02-11T00:00:00Z BDES1020 Continuous City <Irene, Irene> http://hdl.handle.net/2123/6838 Title: BDES1020 Continuous City <Irene, Irene> Abstract: 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. 2010-11-10T00:00:00Z BDES1020 - Continuous City <Penny, Nailau> http://hdl.handle.net/2123/6832 Title: BDES1020 - Continuous City <Penny, Nailau> Abstract: 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. 2010-11-08T00:00:00Z BDES1020 'Continuous City' <Sebastian Tiong> http://hdl.handle.net/2123/6760 Title: BDES1020 'Continuous City' <Sebastian Tiong> Authors: Tiong, Sebastian Abstract: 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. 2010-11-03T00:00:00Z BDES1020 'Continuous City' <Alice Coleman> http://hdl.handle.net/2123/6759 Title: BDES1020 'Continuous City' <Alice Coleman> Authors: Coleman, Alice Abstract: Traditional Tunisian theatre peaked in popularity in the 1900's, really coming into it's own during the 1970's as new ideas were formed and new directions were taken. This fresh approach was something that didn't progress into the next century, and theatre is now something the Tunis culture is lacking. The 'New Age' Theatre aims to bring what was once a thriving form of entertainment in Tunis into the 21st Century through the use of architecture and design. The exterior form of the building is shaped by the dynamic uses of the theatre itself as well as some of the shapes seen in traditional Tunisian archtecture. Combining this with the use of modern and unusual (in Tunis) materials helps set the 'New Age' Theatre apart, whilst still keeping it linked to its geometric surroundings. The result is a dramatic building, perfect for bringing Theatre to the forefront of Tunis culture once again. 2010-11-03T00:00:00Z BDES1020 'Continuous City' <Georgina Dew> http://hdl.handle.net/2123/6758 Title: BDES1020 'Continuous City' <Georgina Dew> Authors: Dew, Georgina Abstract: 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. 2010-11-03T00:00:00Z BDES1020 'Continuous City' <Richa Sud> http://hdl.handle.net/2123/6757 Title: BDES1020 'Continuous City' <Richa Sud> Authors: Sud, Richa Abstract: 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. 2010-11-03T00:00:00Z BDES1020 CONTINUOUS CITY <Athira, Azmi> http://hdl.handle.net/2123/6756 Title: BDES1020 CONTINUOUS CITY <Athira, Azmi> Authors: AZMI, ATHIRA Abstract: 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 & 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. 2010-11-03T00:00:00Z BDES1020 <Kingsley, May> http://hdl.handle.net/2123/6741 Title: BDES1020 <Kingsley, May> Authors: May, Kingsley Abstract: 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. 2010-11-02T00:00:00Z BDES1020 'continuous city' <Benjamin Shand> http://hdl.handle.net/2123/6729 Title: BDES1020 'continuous city' <Benjamin Shand> Authors: Shand, Benjamin Jay Abstract: Think Tokyo – a city that nears so close to its Hollywood depiction it's almost unnerving. Where the days are long, the work ethic strong and the skyline is overly riddled with narrow, mundane concrete structures often plagued with that awful blue-glass that was preferable some decades ago. Enter Opacity – a six-storey all-encompassing serviced apartment building with fifty-five spacious units working within the geometry of the 635m2 obscured quadrilateral piece of land. These apartments average at large 45m2 each, with the smaller studio-style units more suitable for single person use and the larger units more couple-orientated – equipped with premium kitchen spaces, dining rooms, work spaces and entertainment systems. It's ethereal copper, timber and glass materiality purposefully offers limited parallels with Tokyo's existing skyline, but instead chooses to favour and reminisce upon a more traditional Japanese aesthetic that prevails during the day but is intensified at night. Opacity offers more than a mere living space aiming to place a roof upon one's head – it offers a much needed serene experience that is triggered by the sight of its exterior and emphasised through the journey through it's internal space. With high ceilings and external circulation elements, Opacity offers 360-degree views of downtown Tokyo, with a vantage point trumped by few. Amenities are abundant and all-appealing – with the ground level encompassing a spacious lobby and lounge area, a sashimi bar, a café, gym facilities and a unique angled thorough way with adjacent market stalls permitting entry from the centre of the building outwards to either of the facing lift shafts. This permits visitor use as well as sheer convenience for residents who lack the time or desire to venture elsewhere to obtain groceries or other goods. The building offers endless potential to those who desire a retreat from their ordinary Tokyo lifestyle, providing a haven from which one can start and end an arduous day with warmth and style. Be the first to secure the Opacity experience – purchase your apartment today. 2010-11-01T00:00:00Z BDES1020 <Kay Xiuyi Soon> http://hdl.handle.net/2123/6728 Title: BDES1020 <Kay Xiuyi Soon> Authors: Soon, Kay Xiuyi Abstract: 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. 2010-11-01T00:00:00Z BDES1020 Continuous City <Li-Chi, Pan> http://hdl.handle.net/2123/6727 Title: BDES1020 Continuous City <Li-Chi, Pan> Authors: Pan, Li-Chi Abstract: 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. 2010-11-01T00:00:00Z BDES1020 'Continuous City' - <Leong Xin Yong> http://hdl.handle.net/2123/6724 Title: BDES1020 'Continuous City' - <Leong Xin Yong> Authors: Yong, Leong Xin Abstract: 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. 2010-11-01T00:00:00Z BDES1020 <Katherine Joan Bylett> http://hdl.handle.net/2123/6723 Title: BDES1020 <Katherine Joan Bylett> Authors: Bylett, Katherine 2010-11-01T00:00:00Z BDES1020 'continuous city' <Poseidon Jiayue Zhao> http://hdl.handle.net/2123/6722 Title: BDES1020 'continuous city' <Poseidon Jiayue Zhao> Authors: ZHAO, Poseidon Jiayue Abstract: The Holiest and one of the oldest cities on earth – Jerusalem Inspiration and Concept: Ancient Books, Water and Rough Linen Aim: Watering books by reading them Being watered by reading them Design Identity : Very Thick walls -- We Cant see it, but we can feel it -- Peter Zumthor Water fit into the wall -- Use as Façade as well as controlling temperature. Water wall at inside of the wall -- Sense of Moving yet quietly. Check Shape Façade -- Simple yet elegant. Very High Ceiling -- We need Space to THINK. of Smooth Glass and Rough walls -- Contradiction get people THINK 2010-11-01T00:00:00Z BDES1020 'continuous city' <Sarah Lawlor> http://hdl.handle.net/2123/6721 Title: BDES1020 'continuous city' <Sarah Lawlor> Authors: Lawlor, Sarah Abstract: Throughout this semester I have worked towards designing a building situated within the laden physical and cultural context of Isfahan, Iran. The final design envelops the program of a theological library, chosen due to the site's location next to a theological school and in close proximity to Imam Square. The building has thus been intended to facilitate and attract usage by two main groups: students and tourists. The design of this library was initially driven by three main factors: physical site constraints and cultural sensitivity; two possible usage patterns by the two focus groups, and an underlying theme of knowledge, and how knowledge is gained. Accompanying these objectives was a desire to create fluid spaces, and an ubiquitous concept of 'folding': this 'fold' encompassed the use of materials, division of spaces, as well becoming a tool to interweave the theme of knowledge with the physical building. The shape of the building evolved from an intersection and interweaving of two paths directed by the usage by the two target groups, which formed a continuous and linear form around an underlying and repeated circular shape representing continuity, learning and knowledge. Importantly, a cut was introduced into the design to disjoin these paths, and recreate two separate paths, which created interesting and unexpected places, including a connection to the theological school, providing greater accessibility for neighbouring students. This displacement directed the focus of this design to the combination and juxtaposition of binary and opposing elements such as an exploration of metal materiality which is used in this design both as a solid and transparent material by a drilled pattern that introduces light through the roof, as well as being used as a soft material through weaving techniques. A space formed by two intersecting circles which was a courtyard prior to the displacement, became the core of the project as a large void through the library, which came to represent a certain emptiness or hollowness that could perhaps be filled by knowledge. Gordon Matta Clarke describes the void as a critique of the two spaces that it is created by, but in this design I think the void acts as a critique on the entire encompassing program that it is encased within. 2010-11-01T00:00:00Z BDES1020 <Anqi Huang> http://hdl.handle.net/2123/6720 Title: BDES1020 <Anqi Huang> Authors: Huang, Anqi Abstract: As the high density of Manhattan stimulates the pressing tempo, especially in the area around Rockefeller Centre, there would be convenient with a place for a short break and relax. Since the situation is dealing on the Fifth Avenue in New York, a gallery of young fashion designer would set a suitable place for visiting and coffee. As the competitive of Now York fashion limits the stage for latest designer in fashion, and the appreciation of modern and creation in New York, I was thinking bring all these elements together remarks the function and culture. My design of the building inspired by the CCTV building in China, the crossing structural texture lifts the social level and achieves the controlling of the light as a gallery. Since the art's best condition provides by natural light, however during over direct sunlight would damage its quality. So the concentration of the building lies on the exterior and interior lights, and it relates all sorts of design such as function, circulation and spaces. 2010-11-01T00:00:00Z BDES1020 'Continuous City' - <Patrick Ormsby> http://hdl.handle.net/2123/6719 Title: BDES1020 'Continuous City' - <Patrick Ormsby> Authors: Ormsby, Patrick Abstract: 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 & white stone; enclosed space versus light & open; clear & 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 & 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 & white-painted stone as a twisted imitation of the surrounding vernacular environment. 2010-11-01T00:00:00Z BDES1020 Continuous City <Ah Ra Lee> http://hdl.handle.net/2123/6718 Title: BDES1020 Continuous City <Ah Ra Lee> Authors: Lee, Ah Ra Abstract: 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. 2010-11-01T00:00:00Z BDES1020 - Continuous City <Jonathan Irawan> http://hdl.handle.net/2123/6717 Title: BDES1020 - Continuous City <Jonathan Irawan> Authors: Irawan, Jonathan Abstract: This projects examines society's perception of the definition of any health institution. Health institutions today are designed to focus on the concept of sickness rather healing. Due to society's gradual assimilation of this idea, we are forced to label or even base all designs of health institutions in order to have the idea embedded within people's minds. There is a specific atmosphere that is common between different health institutions which defines its function/brief/program. I wanted to explore the other side of this idea and focus on healing rather than sickness. In order to do this, I wanted spaces within the building to have maximum exposure to the sun. All the design decisions were based on this concept, whether it be orientation of room or the form of the entire building. Although I have altered the "box" like form of the health institutions, I still maintained uniformity and simplicity through the carving of patient rooms in each level for practical purposes. This also reinforces my aim to obtain maximum exposure to the sun. Patients should be encouraged to wander around these spaces and the implemented roof garden spaces. Combined with the contextual influences of Jerusalem, the proposed design should challenge society's current perception of the definition of a health institution and encourage them to explore possibilities through the birth of this project. 2010-11-01T00:00:00Z BDES1020 <Yashan Chen> http://hdl.handle.net/2123/6715 Title: BDES1020 <Yashan Chen> Authors: Chen, Yashan Abstract: My building is an orphanage designed for kids aged from 0-6 years old. At this stage, the kids explore the world by feeling it. So my main concept is to let the interior of the orphanage flow to the nature and design the building as a piece of toy itself. I achieve the main concept in 3 major ways.Firstly, I introduced a roof garden. Then convex and concave walls were introduced to maximize the interest of walking through the corridor.Lastly, different small scale spaces were designed to provide the kids sense of control and privacy. As project developed, the playroom was devided into active area and quiet area. The difference in height, texture and opening help establish each zones identity. 2010-11-01T00:00:00Z BDES1020 <Suzanna Lin> http://hdl.handle.net/2123/6714 Title: BDES1020 <Suzanna Lin> Authors: Lin, Suzanna Abstract: 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. 2010-11-01T00:00:00Z BDES1020 <Yi Ho> http://hdl.handle.net/2123/6713 Title: BDES1020 <Yi Ho> Authors: Ho, Yi Abstract: 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. 2010-11-01T00:00:00Z BDES1020 Continuous city <Jae Yeon Kim> http://hdl.handle.net/2123/6712 Title: BDES1020 Continuous city <Jae Yeon Kim> Authors: Kim, Jae Yeon Abstract: This is a Contemporary Art Gallery in Dam Square which is in Amsterdam. Dam square is a transportation hub for the city as well as an important tourist zone. So I thought it would be appropriate to have a public building where most people can enjoy. This building is consist of two wings of exhibition block and one central block. There is a main street laying on northwest corner of the gallery so I put the entrance at the corner not on the front façade. On the ground floor I put all the secondary spaces at the back so it does not block the access to the exhibition room. Most of the ground floor is a big open void. It will be used as an indoor market which sells young designer's works. Sometimes it will be used as a space for a huge scaled art works to be sitted. On the upper level there are two exhibition rooms and a café near the front façade. From the café people can have a view of Amsterdam so they can feel that they are actually in Amsterdam. In my original design, there were no slope at the roof and all the roofs had the same heights, but I accented the heights of the exhibition blocks so the function can be emphasized. At first, I had no windows in the exhibition rooms to preserve the art works. But I thought some art exhibition may need natural light so for one of the exhibition rooms I made a slope upward to south and small slab around it so let a small amount of sun light flow in. I regarded interacting with the outside on the street as a important factor. That's why I used glass as a material. Transparent wall eliminates the barriers between the outside and inside to let the building communicate with the street. For the both side of the wings I have decided to clad them with wood. One reason that I used wood is as buildings around Dam square are all traditional brick building so there is no modern architecture. So I thought wood will be best blended into the surrounding harmoniously rather than steel or metallic construction. Also, I wanted people to feel comfortable when they look at the gallery. In that point, wood would be the most sympathetic of all building materials as it is a natural material as well as it has been used for architecture for a long time. 2010-11-01T00:00:00Z BDES1020 'Continuous City' <Ryan Whitehead> http://hdl.handle.net/2123/6711 Title: BDES1020 'Continuous City' <Ryan Whitehead> Authors: Whitehead, Ryan Abstract: 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. 2010-11-01T00:00:00Z BDES 1020 'continuous city' <Juan Yuan> http://hdl.handle.net/2123/6710 Title: BDES 1020 'continuous city' <Juan Yuan> Authors: YUAN, JUAN 2010-11-01T00:00:00Z BDES1020 CONTINUOUS CITY - <Chuan Fu> http://hdl.handle.net/2123/6709 Title: BDES1020 CONTINUOUS CITY - <Chuan Fu> Authors: FU, CHUANQIANG Abstract: 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. 2010-11-01T00:00:00Z BDES1020 <Rexx Brown> http://hdl.handle.net/2123/6707 Title: BDES1020 <Rexx Brown> Authors: Brown, Rexx Abstract: Located on Rue Volney, Paris, the bibliothèque de la musique forms an intimate and integral cultural hub. It is a building that encapsulates all aspects of music production and is largely dedicated to providing a space where the listening of music can exist as a collective experience. 2010-11-01T00:00:00Z DESA1020 'Continuous City' <Marguerite Farmakis> http://hdl.handle.net/2123/6706 Title: DESA1020 'Continuous City' <Marguerite Farmakis> Authors: Farmakis, Marguerite Abstract: Located within the cultural centre of the city, alongside the grand Plaza Mayor, the Casa de la Panadería, the City Hall complex is one of the capital's most symbolically important new projects. It expresses the transparency of the democratic process and demonstrates the potential for a sustainable democratic forum; with a commitment to public accessibility; a sensitivity to history; and a rigorous environmental agenda. Emphasising values of clarity and precision, the glazed structure is a new landmark for Madrid, and a symbol of the vigour of the Spanish democracy. A simple palette of materials and straightforward detailing reinforce the direct character of the architecture. Structure played a major role in creating an efficient and integrated network of systems encouraging multiple public entries. A diagrid construction supports the west facing façade, and the skin is composed of banded, triple-glazed triangular panels, with fritting and solar blinds. Heritage buildings on adjacent streets envelop the building and tie the site to the city grid and Madrid's history. The spaces in-between the three primary drums, are open and a part of the urban streetscape adjoining the building. The series of elliptical ring overpasses linking the elevated levels, unifies the space. At the top floor, there are balconies terraces overlooking the city, which can be used for public exhibitions and events. The cafeteria in the atrium is also open to the public and the assembly chamber on the second level, is surrounded by a tiered public gallery. The distorted concavity of the glass sheet cladding over the chamber, opens the building to the canal, and at night, lights reflect off the water creating rippled undulating patterns across the building's façade. Light, gridded glass and coiled aluminium work together dynamically to create a structure that, although unfamiliar and daring, invites exploration and enables social interaction. 2010-11-01T00:00:00Z


text: Hello, Dear LiteSpeeders I think its about time we got down to some serious public testing with this new varnish plugin by Unixy and not an apples to oranges comparison which is slowly getting around the forum's Whiles you sort between you all who will do what, I will hunt down a decent provider who will lay on a good dedicated box for this test for acouple of day's, Hopefully we,ll beable to test other configurations against litespeed. Whos going to do the configurations of the software for testing? Whats the best configuration for testing? Thanks,

subset: commoncrawl


text:
|2011-05-22, 06:42
|Link #1001
Senior Member
Join Date: May 2011
But what can he try, the enemy is a sniper, the dogs are most likely wearing armor, Reki is losing strenght and vitality, because of a wond that he has no idea how was she even injured, because the enemy should have lost his ability to retaliate, his Histerya Mode under the influence of Reki is weak and it doesnt last, and he cannot kill a single Dog.
There are more factors but the worst is the fact that the enemy is a Sniper with the talent and ability of Reki, who in the moment he is atacked has no idea who is it, so he has no idea if she wants to kill him or make him surrender. The only one who can fight there is Reki and she is injured. I mean one must know when to retreat.
What Im most interested is that it seems that Kinji has a training for citys, and not in forests or the likes.
|2011-05-22, 06:53
|Link #1002
Join Date: Jun 2006
Location: Auckland, NZ
I'm sure that his impulses wouldn't extend to trying to make babies with her while under fire. In which case he'd at least be marginally useful in the situation rather than a dead weight. He outright said himself that the only thing his standard high-school self is good for is running. From a master sniper. I can't even count how many facepalms I planted deep inside while reading.
|2011-05-22, 07:03
|Link #1003
Join Date: Nov 2009
Location: Armacham Replica Training center
a wicked thought that must be purged....
also, a sniper situated in a vantage point or overlook leaves you NOWHERE to hide, but that no work if your target is INSIDE and he stays clear of open windows...
inb4 said sniper uses AP bullets that penetrates wall.
|2011-05-22, 08:38
|Link #1005
Join Date: Jan 2009
Ok although I won't be around on weekdays
|2011-05-22, 08:43
|Link #1006
Join Date: Jan 2009
Best to do now is try to run. Staying put isn't much better. Attack is not feasible at best, suicide at worst.
|2011-05-22, 09:29
|Link #1009
Senior Member
Join Date: Feb 2011
Location: Gensokio
Age: 30
|2011-05-22, 11:54
|Link #1011
GT-R Fanatic
Join Date: Jun 2007
Location: Toronto, Canada
Age: 28
The R does not stand for rimfire.
7.62x54mmR (used as a long rifle round and a medium machine gun round by the Russians) is a rimmed centerfire cartridge
7.62x51mm NATO (used by the M60 and various NATO battle rifles and medium machine guns) is a rimless centerfire cartridge
|2011-05-22, 12:32
|Link #1014
Senior Member
Join Date: Feb 2011
Location: Gensokio
Age: 30
question whit a quote from vol6 ch4 kinji said
Reki, you cannot die.
I have finally reached this point, I have finally understood you.
Just the slightest bit...I can understand you.
So--there is still something that I need to tell you.
Something I haven't told you yet.
So, you cannot die.
You cannot die, Reki!
what is this "something" he need to tell her? (yes i'm asking for spoiler^^)
|2011-05-22, 13:22
|Link #1016
Okuyasu the Bird
Join Date: Sep 2009
Location: Alberta, Canada
Age: 26
I figured the attacker was Cao Cao. Wonder what her motives are?
And Reki's the descendant of Yoshitsune and Genghis Khan? Did the bloodlines marry into each other at some point?
Or perhaps she was artificially created with the blood of these two people? I wouldn't be surprised considering her personality.
|2011-05-22, 17:50
|Link #1017
Senior Member
Join Date: Jan 2011
Location: United States
So what's up with the trivial talk about references and such on Baka-Tsuki regarding HnA? Seems rather pointless to discuss...
Btw Cosmic Eagle are those spacings in volume 7 intentional or not? They do seem a bit excessive, but....its fine I guess. Just take your time translating, its not a problem.
@Seitsuki Your judging Kinji a bit too critically there. Even if Kinji did allow himself to go into HSS, it would very weak and wouldn't last long. Would Kinji be able to get aroused successfully in front of a dying Reki? I would think not. The situation was clearly out of Kinji hands because he is an amateur when dealing with Snipers as indicated during his fight with Reki. Furthermore, Reki's survival takes priority over defeating the unseen enemy.
P.S. Keep the references about guns and ammunition. A substantial number of readers are clueless about guns and etc.. without the references.
|2011-05-22, 19:32
|Link #1019
The Power of One
Join Date: Dec 2010
Location: Earth
|2011-05-22, 20:04
|Link #1020
Senior Member
Join Date: May 2007
riko was right,playing reki route is hard,but worthile-i'm really weak to that kind of chara,since rei from eva to nagato,tabitha etc...
a shame that anoying tsundere loli-louise,taiga and so on-lookalike will again put the other awesome (shirayuki,riko ,jeanne and of course reki) to the sideline...
i'm wonder why coco-another twintail loli(bishoujo)doesn't qualifie to join his harem,tough-she's still better than that hypocrite who dare condemn reki while she has already her own fiancée(of course she herself stole kinji to shirayuki to begin with)?
i hope we'll see them again in vol.10(they are after his gene,after all).
|action, detectives, guns, harem, lolis, mf bunko j, romance, shounen
|Thread Tools


text:
The old adage "loaded for bear" is fitting for a new full-service branding agency that's emerged on the Memphis advertising landscape.
Loaded For Bear staff includes Julian Timberlake, from left, Brent Booth, Taylor Lackie, Michael Carpenter and Joel Halpern. The firm has been in its 2259 Young Ave. office since December.
(Photo: Lance Murphey)
"We came up with Loaded for Bear after stepping back and looking at the Memphis creative landscape and what our goals were, which are to prove that great creative can happen in a 'creative wilderness' such as Memphis, but also to help our clients be prepared for anything," said managing director Joel Halpern. "That is where the term came from, an old hiker's saying that means going off in the prepared for the worst case scenario, or a bear."
Founded in August and working out of its 2259 Young Ave. office since December, Loaded For Bear is comprised of Halpern, co-creative directors Michael Carpenter and Julian Timberlake, and senior art director Taylor Lackie. The advertising, design, online, social media and PR firm recently added Brent Booth as interactive director to solidify their capabilities.
"Our whole mantra is, 'building brands, blowing minds,'" Halpern said. "We like to work with clients at a full-service nature, helping them in a 360-degree approach where the advertising connects to the brand message, which connects to the brand look and feel. All of those pieces working together to create a real cohesive package."
Loaded for Bear is some 10 years in the making. Halpern, Timberlake and Lackie's friendship stems from their White Station High School days. And a few years ago, Halpern hired Carpenter of Switch Creative to create ABC 24's brand and stayed in touch.
"He did such an awesome job. … When Julian and I started tossing around the idea in April of last year of doing this, he was our number one choice," Halpern said.
Halpern moved back to Memphis from New York in 2009 and noticed a gap in the creative scene in Memphis. He said the now-called Loaded for Bear started out of an apartment while Timberlake was living in Germany during his stint as senior copywriter for Scholz & Friends.
"He was telecommuting from Germany in off hours and we were all working out of living rooms and dens at nighttime," Halpern said. "It took some time to really develop our story."
Combining Halpern's production and marketing talent with Timberlake's copywriting experience, as well as Lackie's time with agencies like BBDO Atlanta and Cramer-Krasselt in Chicago, Halpern said the group had an opportunity to start "a national agency operating out of Memphis."
Loaded for Bear brings together their respective know-how on accounts such as Porsche, Coca-Cola, Corona beer, AirTran Airways, Hyatt Hotels, Samsung, Seattle's Best Coffee and Georgia Lottery.
"Our belief is we don't necessarily consider ourselves one of the Memphis agencies," Halpern said. "The standards in which we hold ourselves to are on a national and international level and some of the great stuff that's happening really all over."
Loaded for Bear has already accomplished work like the MEMFIX Crosstown campaign for the Mayor's Innovation Delivery Team. Similar to "A New Face for an Old Broad" organized on Broad Avenue in 2010, MEMFIX: Cleveland Street in November featured temporary street improvements like bike lanes and crosswalks, pop-up retail and food trucks, live music, a movie screening, art installations and tours of the Sears Crosstown building.
Only being an agency for a few months, Loaded for Bear was encouraged by Advertising Federation Memphis to enter its MEMFIX work for interactive campaign at the recent American ADDY Awards ceremony. The agency took home both a People's Choice Award and a silver ADDY.
"We weren't even planning on entering anything and we got a call from the AdFed president and decided to go for it," Halpern said. "It was an amazing project to be a part of."
Loaded for Bear has plans to help with MEMFIX initiatives in Soulsville and Binghampton. Additionally, the branding firm is currently in the development phase of an interactive website for the MEXFIX, MEMSHOP and MEMMOBILE initiatives.
Other clients of Loaded for Bear include Hollywood Feed Pet Stores, American Queen Steamboat Co. and Optimus Parts. Halpern said the firm is currently talking with five to seven other potential entities to add to its roster.
"Our plans are big," Halpern said. "We are sort of unapologetically confident in our abilities. We feel that Memphis is primed for really great work."


text:
MrCrowley wrote:Erich Hartmann died on my 2nd birthday, just thought I would mention that
Are you suggested the world lost the greatest ace of all time, but gained another?
(said in a "are you suggesting coconuts migrate?!" tone )
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Are you suggested the world lost the greatest ace of all time, but gained another?
(said in a "are you suggesting coconuts migrate?!" tone )
I recently filmed some high-speed footage at 1000fps of my burst disk hybrid. It came out quite nicely so I might film some more when I get time.
You can see it near the end of this video:
I love the way that even so many shots on you're still terrified of it
Any movement in the chrony from the blast is definitely interfering with results, you have to put it behind something a lot more solid if you want reliable readings.
Also, the copper barrel... bloody hell!
I'll admit I almost crapped myself when the barrel blew, but you can't see that on video!
The golf ball barrel is still a little terrifying, considering how little surface area is epoxied to the brass fitting.
And yeah, I need a better tripod for the chrony. The first time it fell over I thought it was because I put some tape over the guide rods as a sun shield and the muzzle blast was catching that but on the following shot with the tape removed It still fell over. There's also another shot where the chrony is on a reasonable angle on a saw horse; increasing the distance the projectile has to travel. I still have much to learn in chronographing I guess.
I don't know why you continued using a dented barrel, major mistake.
Copper pipes are so thin and soft it doesn't take much to deform and tear it.
I'll spend a while making sure a length is defect/dent/curve free before buying it, then it'll get cut to size, polished inside and out.
If a plastic full bore slug being blown through it with lung power sticks at any point I'll make a new barrel.
Really unkeen on having barrel issues you might say. Having one launch from the cannon does that to you.
Is that possible to buy a decent high speed camera with less than 200 euro? I don´t need HD, but good enough to see a bb in day light.
Well you'll be looking at a camera similar to what me and JSR got (Casio Exilim FC100), not sure if that's the quality you had in mind. I bought mine for less than 200 euro on eBay, a refurbished model shipping from somewhere in South East Asia.
You should be able to see a BB in daylight in some instances.
Let's say the BB is travelling at 500 fps.
If you're filming at 1000 frames per second, between each frame the BB travels 6 inches, filming from the side you're not really going to see anything.
The above is a 12 gram capsule fired probably at around 200-300 fps, you can just see it but then again it's a much larger projectile.
To really see it in flight you would have to film down the barrel over significant range.
I am thinking about Casio Exilim FC100 and Casio Exilim FH100...
But right now on ebay they all are almost 400 dollars
Are there any other ones besides Casio?
In terms of performance and price I think the Casio is the only one you should be looking at. I bought mine new from Japan and it was 300 dollars posted.
Nikon does have a few but that's all I know about them, I imagine they're more than 200 euro.
You should be able to get one on eBay for the right price sooner or later, just be patient
You guys are crazy! I got my FS10 for 100 USD/75 euro!!
OG Anti-Hybrid
One man's trash is a true Spudder's treasure!
Golf Ball Cannon "Superna" ■ M16 BBMG ■ Pengun ■ Hammer Valve Airsoft Sniper ■ High Pressure .22 Coax
Holy Shat!
will in that for a supersonic bb these camera won't catch a thing
There are some videos about AEGs on YouTube in pretty good quality in slow motion, but filmed almost parallel to the barrel.
Well my dad likes good cameras, I will see if I can convince him to buy one of these big Nikons, for the price they should be able to film in high speed.
I don't believe Nikon has hopped on the high speed bandwagon yet...
OG Anti-Hybrid
One man's trash is a true Spudder's treasure!
Golf Ball Cannon "Superna" ■ M16 BBMG ■ Pengun ■ Hammer Valve Airsoft Sniper ■ High Pressure .22 Coax
Holy Shat!
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text:
Gruden is extremely overrated. Does he even have any recruiting experience? I was thinking he has always been an NFL guy.
Can't win with 'em
Can't win without 'em
Out of curiosity, why exactly was he forced to resign at Tennessee? I'm guessing he was the scapegoat because the expectations for Casey Clausen and Erik Ainge were borderline insane.
College coaches shouldn't even bother signing contracts. They are turning into mercenaries.
Somewhere, Al Davis is doing his "I Told You So" Dance.
Erik Ainge is a great example. Glad you brought him up. After showing promise as a freshman he digressed seriously under Randy Sanders in his soph year. Not good.
Then UT brought back David Cutcliffe and Ainge leads the team to a 7-1 record before getting hurt. The Vols lose the next two while he's out. After he returns the Vols win their next two, including your Wildcats.
In his senior year he completes over 62% of his passes, throws for 3500+ yards and has a TD/INT ratio of 31/10.
See a difference?
What do you mean about insane expectations for Erik Ainge? Nobody I know of expected better numbers out of Erik Ainge. I feel Cutcliffe got a lot out of him; much more than Randy Sanders did or could have...
Those are numbers UT fans expect. UK fans can only dream of a QB putting up numbers like that.
Really, I don't care about UT and hate UK but I find your comments laughable. UT is irrelevant in football and has been for some time.
Jr year=65% of his passes. 3,515 yards, 31 TD/7 INT
Sr year=63%, 3,709 yards, 40 TD/11 INT
While we are at it=
Tim Couch
So year= 66.4% 3,884 yards, 37 TD, 19 INT
Jr year= 71.5% 4,611 yards, 38 TD, 17 INT
Oh, and Woodson does hold the record of 325 completions without an interception. Yet we can only dream of having a QB like Erik Ainge.
When I said insane expectations I was referring to those heaped on Ainge, Clausen, and even Jon Crompton expecting them to follow the legacy of Heath Shuler, Peyton Manning, and to a lesser extent, Tee Martin.
Tell us how you really feel, Gene.
Kiffin cares only about himself
By Gene Wojciechowski
If there were a stock car race between all the frauds, egomaniacs and two-faced weasels I've ever covered, Lane Kiffin would have the pole position all to himself.
Kiffin is a spin doctor without a medical degree. He thinks truth comes in different shades of gray. He demands loyalty, but gives none himself.
Kiffin is a used car salesman with a whistle. Wait, that's not fair to used car salesmen. He ditched Tennessee for USC after just 13 games. The remaining five years on his contract, the players he left behind, the nine high school recruits who planned to enroll early, they all meant nothing to Kiffin.
According to someone who was in the room, the Tuesday night farewell meeting between Kiffin and the Tennessee players was "very, very, very hostile." Kiffin told them that coaches come and go, that USC was his dream job. The players, orphaned after less than 14 months, responded angrily.
If not for interim coach Kippy Brown, who calmed the players down after Kiffin's appearance, the tension and anger could have redlined. Put it this way: Kiffin is lucky no one took a swing at him. That was the level of betrayal felt by the players in that meeting room.
Kiffin doesn't care. That's because Kiffin is about Kiffin. He sold Fords on Monday, Chevys on Tuesday. Just change the business card and the mailing address. His scorched-earth coaching policy isn't concerned with collateral damage.
All that bluster about beating Florida, and singing "Rocky Top" all night long? Nothing more than a Hefty bag full of Kiffin verbal garbage. All those recruiting pitches he made? Empty promises. (By the way, full disclosure: I'm a Tennessee grad.)
Heads should roll, beginning with the one belonging to Tennessee athletic director Mike Hamilton. Hamilton is the guy who hired Mr. One-and-Done. He's the guy who made like a Kevlar vest and protected Kiffin when the coach falsely accused Florida's Urban Meyer of cheating, or kept committing secondary rules violations, attracting NCAA inquires, or got fined by the SEC for popping off.
Oh, I'm sorry, Kiffin said it was all part of a calculated scheme to keep Tennessee in the news. First of all, Kiffin isn't that smart. Second, it wasn't true. Kiffin wanted everyone to believe it was part of a master plan, but he knows better.
Hamilton paid Kiffin and his staff eye-popping money to come to Knoxville. A lot of good it did. Kiffin is taking his old man and defensive coordinator, Monte Kiffin, as well as recruiting coordinator Ed Orgeron and several other assistants with him to USC.
It has been a gruesome past 12 months at Tennessee. Firings. Guns. Robberies. Drugs. Player arrests in football and basketball. Player suspensions and dismissals. NCAA rules violations. And now Kiffin ditches the place.
All of this happened on Hamilton's watch. Why anyone would trust him to run an athletic program and make the next football coaching hire is beyond comprehension. He made a panic hire with Kiffin and got exactly what he deserved.
Any chance UT women's basketball coach Pat Summitt would like to become the school's athletic director? Her B.S. detector would have sounded the alarm on Kiffin's nonsense during the first interview.
And if not Summitt, how about hiring someone else who actually cares about Tennessee -- someone who played there, coached there and won a national championship there? I'm talking about Phillip Fulmer, who was forced out by Hamilton and disgruntled heavy-hitter boosters to make room for Kiffin.
According to a source with direct knowledge of the situation, several members of the UT Board of Trustees have contacted Fulmer about the possibility of returning to Tennessee as its athletic director or even as its football coach (but not both positions). Those same sources say Fulmer was receptive to those inquiries, though ESPN.com's Chris Low reports that Texas defensive coordinator Will Muschamp is Tennessee's first choice to succeed Kiffin.
Given the circumstances, the AD job would make the most sense for Fulmer and Tennessee. He would provide instant stability and credibility. But adding to the intrigue and confusion is this: The school is without a permanent president, which means it might take a power play from trustees to force a change.
Whatever happens, it will take years for Kiffin to patch and caulk the gaping holes in his credibility. If you were a recruit, why would you believe a word he said?
On the December 2008 day he was introduced as Tennessee's head coach, Kiffin told reporters: "I want the Tennessee family to know this: This is what I'm going to give you. I'm rolling my sleeves up and going to work. I'm not promising you how many wins, how many championships. I can't do that ... but I can tell you this right now: No one is going to outwork us. No one is going to outwork me as a head coach and no one is going to outwork our staff that we put together. That's the promise I'm giving you, the wins will come after that."
All seven of them.
Some promise, eh?
I don't see Muschamp going to UT. He's already the coach in waiting at Texas, and Mack Brown ain't going to be around much longer. Texas is in a much better position to succeed than Tennessee right now. Plus, Will is still close with Nick Saban, I'm not sure how he'd feel about playing against his mentor frequently.
On the December 2008 day he was introduced as Tennessee's head coach, Kiffin told reporters: "I want the Tennessee family to know this: This is what I'm going to give you. I'm rolling my sleeves up and going to work. I'm not promising you how many wins, how many championships. I can't do that ... but I can tell you this right now: No one is going to outwork us. No one is going to outwork me as a head coach and no one is going to outwork our staff that we put together. That's the promise I'm giving you, the wins will come after that
All indications are this is correct. He worked his tail off for UT for the one year. It's not like he took a giant signing bonus and then the next day said "well my work is done. I think I'll go play some golf."
How long should a coach stay at a university to prove himself loyal.
Something I was just thinking about.
I've heard a proposal mentioned that if a coach leaves a school, the players at that school can transfer without sitting out the one year. This seems to me to be a double whammy for the school. First you lose your coach, second you lose any prospects.
What I'd like to see is, if a school hires a coach under contract, all players at the hiring school can transfer without penalty. This may make the hiring school think twice about hiring someone who is currently under contract as it could delay the rebuilding process if half the players leave.
I think signing day should be moved back as well, and there should be an NCAA rule that coaches cannot interview for other positions until their current teams season is complete, regular season + bowl game. If you violate the rule, the coach is suspended for 1 year, and the program that interviews them loses schollys. Coaches campainging for new jobs during the regular season needs to stop.
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text:
The move marked the latest inroad by the two-week-old French mission to oust radical Islamists from the northern half of Mali, which they seized more than nine months ago.
Col. Thierry Burkhard said Monday that the town's airport was taken without firing a shot.
"There was an operation on Timbuktu last night that allowed us to control access to the town," he said Monday. "It's up to Malian forces to retake the town."
The Timbuktu operation comes a day after the French announced they had seized the airport and a key bridge in a city east of Timbuktu, Gao, one of the other northern provincial capitals that had been under the grip of radical Islamists.
The French and Malian forces so far have met little resistance from the Islamists, who seized northern Mali in the wake of a military coup in the distant capital of Bamako, in southern Mali.
Timbuktu, which has entranced travellers for centuries with its inaccessible mystique, is some 1,000 kilometres (620 miles) northeast of Bamako. During their rule, the militants have systematically destroyed UNESCO World Heritage sites in the ancient town.
A spokesman for the al-Qaida-linked militants has said that the ancient tombs of Sufi saints were destroyed because they contravened Islam, encouraging Muslims to venerate saints instead of God.
Among the tombs they destroyed is that of Sidi Mahmoudou, a saint who died in 955, according to the UNESCO website.
Timbuktu, long a hub of Islamic learning, is also home to some 20,000 manuscripts, some dating back as far as the 12th century. Owners have succeeded in taking some of the manuscripts outside of Timbuktu, while others have been carefully hidden away from the Islamists.
Hinnant reported from Paris.
Also on HuffPost


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