A2: Interactive PDF Screenshots

Part One

Part Two

Part Three

A2: Final A1 Print Version Posters

- Collaboration -

- Download Link for A1 Posters - Print Version -

http://www.filefront.com/17472045/z3333170_Benjamin_Knowles_Print_Version.zip

The image below presents the final collaboration of my A1 print version posters, with the individual posters following afterwards.

- Poster One – Conceptual -

- Poster Two - Structural -


- Poster Three - Spatial Dynamic -

A2: Final Layer - QR Codes

- Tiny Url -

http://tinyurl.com/24ouohw

QR Code One

QR Code Two

A2: Layar Development Testing

The collection of images below presents the development of the testing I carried out in generating my model within Layar.

Final Version One - Layar One

Final Version One - Layar Two

Final Version One - Converter One

Final Version One - Converter Two

Final Version One - Converter Three

Draft Version One - Layar One

Draft Version One - Converter One

Draft Version One - Converter Two

A2: Final Poster Text

Conceptual:

The intention regarding the transformation of Frank Gehry’s Design Museum involved the manipulation of particular architectural elements upon the building to re -rom a dynamically unique motor yacht. Through forms portraying notions of fluidity within a spatial dynamic, has one been able to create juxtaposition between the structural elements and the organic forms to alter the individual’s initial interpretation of the building. Such a notion extends to the interior design of the yacht; as such unique architectural elements are interconnected in a manner to enhance the interior spatial dimension creating a similar sense of fluidity upon various levels, similar to the Vitra Design Museum. The overall design attempts to encompass a sense structure while remaining to do so through the interplay of curvature elements. The notion of transforming such a building into a super motor yacht was decided upon due to the manner in which, they portray a sense of military design which I believed could be re-interpreted through the unique architectural elements upon the Vitra Museum. The title of the yacht ‘Maniere’ originates from the sense of form in terms of distinguishable features within singularity chosen due to the manner in which the term Vitra originates within French language, thus one decided to interrelate the title of the yacht to the main architectural conceptual notions behind the design. Through such a seamless interconnection of junctions between the curvature elements and ¬square profiles does such a design portray the notion of interplay between the hidden structural and organic form, thus enhance the overall design intention of Gehry. Thus in concluding it is through the individual’s perception and expression which determines whether the design of such a yacht accurately portrays the key architectural principles behind such an architectural master piece through their own enhanced depth of knowledge.

Structural:

The overall structural nature of the Maniere Yacht is one of quite complexity due to the curved and unique form of the main body in relation to the advanced composite hull. The design has ensured that the overall complex form remains symmetrical to reduce the required engineering in regards to such areas as displacement and buoyancy. Outlined below are the main conceptual structural details, including selective elevations.
Yacht Title: ‘Manière’
Flag: France, Paris
Port: Yacht Club de France
Overall Length: 82.29m (270’)
Waterline Length: 67.36m (221’)
Beam: 16.45m (54’)
Draught: 6.09m (20’)
Price: Approx $50,000,000 USD
Charter: Approx $700,000 per week.
Speed: 20-30 knots. ¬
Propulsion: 3 Diesel Caterpillar 3516 DITA SCAC,
Output: 3 / 2717hp, 8,151hp Total
Stabilizers: 4 x Quantum Zero Speed.
Capacity: 12 Guests, 10 Crew

Conceptual Interrelation: Spatial Dynamic:

With regards to the transformation portrayed here upon Frank Gehry’s ‘Vitra Design Museum’ ones intention was to perform a re-design which maintained to restore the original architectural principles perceived by Gehry. Through a developed understanding have I been able to identify the architectural elements and the related conceptual intentions to utilise their interior and exterior forms to present, through a unique interplay of forms a yacht. Such an intention exists very clearly through Paul Heyer’s statement:

“The building is a continuous changing swirl of white forms on the exterior, each seemingly without apparent relationship to the other, with its interiors a dynamically powerful interplay, inturn directly expressive of the exterior convolutions.”(1)

As one identifies the manner in which the interior is simply an expression of the exterior figure portrayed through the interrelation of forms, one further identifies the manner in which Gehry considered light distribution, volume interpretation and the relationship of spaces within the overall composition to enhance this notion of an interplay between forms. Such develops ones personal perception of the design as it becomes clear that Gehry held the intent of generating a spatially unique and dynamic space of particular fluidity and dimension.

Thus through the design of the yacht portrayed here is one able to identify the manner in which a particular sense of dynamic and spatial fluidity has been considered through the symmetrical re-interplay of form. Furthermore one identifies the manner in which such an interiors spatial dimension is considered through the lack of exterior windows, allowing for a seamless surface to ensure continuous and hence fluid transition of the interior and exterior forms and spaces, apparent within the centre of the main body as the exterior curves meet at the slimiest possible angular junction. Enhanced through the particular incorporation of sky lights with reference to light distribution as light is able enter from above reflecting and refracting upon the surfaces interrelation as evident within the cross component as such penetrates the main body, allowing for light to disperse as though through an optical fibre through the body. Overall the yachts design operates as a conceptual re-interpretation of Frank Gehry’s architectural principles regarding fundamental space and form analysis.
(1) Paul Heyer. American Architecture: Ideas and Ideologies in the Late Twentieth Century. p233-234.

A2: Final Model Renders

The collection of images below presents the final renders of my design regarding the transformation of the Vitra Design Museum. The final high resolution model was generated in Google Sketch Up, using the V-Ray Renderer.

Exterior - Front One

Exterior - Rear One


Exterior - Top One

Exterior - Rear Two

Exterior - Front Two

Exterior - Rear Three

Exterior - Front Three

Elevation - Top

Elevation - Side

Elevation - Rear

Elevation - Front

Interior One - Sitting Room

Interior Two - State Room

A2: Draft Poster

Page One

Page Two

Page Three

Conceptual:

The intention regarding the transformation of Frank Gehry’s Design Museum involved the manipulation of particular architectural elements upon the building to re from a dynamically unique motor yacht. Through forms portraying notions of fluidity within a spatial dynamic, has one been able to create a juxtaposition between the structural elements and the organic forms to alter the individual’s initial interpretation of the building. Such a notion extends to the interior design of the yacht; as such unique architectural elements will be interconnected in a manner to enhance the interior spatial dimension creating a similar sense of fluidity upon various levels, similar the Vitra Design Museum. The overall design will attempt to encompass a sense structure while remaining to do so through the curvature elements. The notion of transforming such a building into a super motor yacht was decided upon due to the manner in which, they portray a sense of military design which I believed could be re-interpreted through the unique architectural elements upon the Vitra Museum.

Structural:

The structural design of the Vitra Yacht portrays a structural and yet fluid sense of design enhanced through the juxtaposition between the main body and the hull. The overall construction exists as an advanced composite. The yacht will be conceptually powered by 4 MTU 16v 4000M93L motors with a total output of 7,294 hp, with a fuel capacity of 10,000 US Gallons. The overall length, beam and draught as well as the displacement is yet to be determined.

Dynamic:

Upon beginning such an architectural transformation regarding the Vitra Design Museum, I decided to identify the key architectural principles and concepts behind the Frank Gehry’s design to ensure my interpretation remained to portray the fundamentals of the unique architectural elements and forms. Such can identified within the following statement by Paul Heyer:

“The building is a continuous changing swirl of white forms on the exterior, each seemingly without apparent relationship to the other, with its interiors a dynamically powerful interplay, in turn directly expressive of the exterior convolutions.”

Through such a statement one identifies the manner in which the exterior form and interior spatial dimension remain separate in sense while yet presenting an overall expressive piece of design. Furthermore one identifies the manner in which Frank Gehry has began to consider light distribution, volume interpretation and the general relationship of spaces within the overall composition.

With reference to my own interpretation, one identifies the manner in which my design remains to present a sense structure while alluding to the notion of fluidity, enhanced through the juxtaposition of design between the body and the hull. While the interior remains to express a unique sense of fluidity within a spatial dimension, but rather in a manner which encompasses the individual forms, to consider the manner in which each volume interrelates with each other.

A2: Frank Gehry Design Presentation Methods

The design presentation piece above regarding Frank Gehry is one of key significance for me as it is the conceptual inspiration for my poster series design. Through the bold use of black and white, an evocative piece is presented with a particular sense of complexity. Yet it is the manner in which the complexity alludes to the viewer to look deeper, to identify what each little seemingly insignificant piece portrays that interests me from a design presentation aspect. By creating such an initially bold image, the viewers attention is immediately captured allowing for one to explore and discover the depth of information behind the project or design. From my perspective this approach is perfect for this task, as this notion will be enhanced through the interactive PDF functions, while also working very effectively as a print version.

Image Source: http://thekdu.net/edgartista/category/Design/

The presentation piece above works very simplistically to present the general purpose or persona of a structure, in this case the Vitra Design Museum, alluding to the social fluidity and dynamic of the building. However although this presentation approach was considered, I realised that it may limit myself to the amount of information which I would be able to portray in terms of relevant detail. Although perhaps this would have been possibly achieved within the interactive version, this would not have been so with regards to the print versions. I determined that this approach is more a general concept presentation example rather than a final implementation presentation style.

Image Source: http://www.washspindry.com/Gehry_Cross_Check

A2: Transformation Development Draft

In terms of the overall design of the yacht, I have decided to make it symmetrical in order to follow through with the basic principles of yacht design, to create something light, beautiful and elegant. To ensure the general ratio of design elements were correct; I sectioned the Vitra Design Museum in the individual significant elements of form, and scaled and over laid them with elevations of various super yachts designs. Such has allowed for me to identify how each of these elements will interact with each other in terms of the various individual unique shapes.

The image above presents a collection of images of my developing transformation model regarding the Vitra Museum. The process of design has been quite involved proving to be much more difficult the originally expected due to the manner in which it needs to originate from the Vitra Museum. However this has resulted in the creation of a unique yacht design, with strong links towards the original buildings structure in terms of form.

The collection of images above presents my preliminary yacht design in a different manner through elevations. Such Identifies the various aspects of the Vitra Design Museum which I have attempted to include with the design from, the curved roofing elements to the curved stairs and large cross skylight penetrating through the body of the yacht.

A2: Yacht Development Sketches

The sketch below presents the final sketch concept of my yacht design, portraying the general hull design and Vitra components outlay. One identifies the manner in which this final sketch is done so over another image with the opacity turned down. This is to ensure the general scale and ratio to weight is correct of the design to ensure it is plausible.


The image below presents the first developed conceptual sketch which was eventually dismissed due to the hull shape; however it remained to dramatically influence and define the final version. This sketch proved to be a break through as it was the first one to completely stretch out the components, resulting in the design breakthrough of the project.


The collection of images below presents the conceptual sketches produced regarding the Vitra re-design project. They portray the initial concepts and idea’s regarding hull shape and the general layout of the key architectural components.

A2: Draft Poster Layout

The final presentation poster series of this project will focus upon three main elements which will be evenly spread across the three poster panels. They will work progressively to portray the concept basis of the project, the final re-interpretation and the design linkage and influence to the Vitra Design Museum. The first poster hence will focus upon the conceptual notion, presenting the transformation concept through text and accompanying sketches and images. The second poster will present the final design, focusing on detail such as sections and layouts. While the third poster will present the final design with renders while conveying an interconnection to the Vitra Design Museums architectural principles within my own transformation.

Poster 1

Poster 2

Poster 3

A2: Poster Grid Concept

Poster 1
Poster 2

Poster 3

My intention in terms of poster design is to use a blurred background image, and an in focus foreground image to create a sense of depth within my poster series. Whether the foreground image is different between each poster remains undecided, however the information will be presented upon the foreground images to juxtapose the blurred background, hence enhancing the depth of the presentation.

A2: Developed Understanding of the Vitra Design Museum

Upon attempting to perform a design transformation on Frank Gehry’s Design Museum, I decided to develop my understanding of the architectural concepts and principles behind the design to in turn influence my re-interpretation. Paul Heyer indentifies such concepts quite clearly in his statement:

“The building is a continuous changing swirl of white forms on the exterior, each seemingly without apparent relationship to the other, with its interiors a dynamically powerful interplay, in turn directly expressive of the exterior convolutions.”(1)

Such identifies the manner in which the exterior is rather ‘contrived’ however although remaining in a sense separate from the interior as it overall works as an expressive piece of architecture (2). Furthermore one is able to identify the manner in which Frank Gehry has considered notions of light distribution, volume interpretation of the relationship of spaces within the overall composition, to inturn create a publicly accessible building (3).

Through a personally developed understanding of the architectural concepts my own perception is altered. Achieved through the modelling of the structure I identify that Frank Gehry held the intent of creating a unique spatial dimension within the buildings composition. Such became clear when considering Paul Heyer’s statement in terms of “its interior is a dynamically powerful interplay” as one further identifies a sense of fluidity within the structure, as the responder is able to continual move throughout the building through spiral stairs and ramps, while a particular spatial dimension exists between the interconnection of layers, enhanced through the inclusion of skylights and an atrium.

Sources:

(1) Paul Heyer. American Architecture: Ideas and Ideologies in the Late Twentieth Century. p233-234.
(2) Vitra Design Museum, Weil-am-Rhein, Germany. http://www.galinsky.com/buildings/vitradesign/index.htm.
(3) Vitra Design Museum. http://www.design-museum.de/design/workshops/gehry/index.php.

A2: Potential Poster Colour Schemes

Source: www.colourlovers.com/

The collection above presents potential colour schemes to use within the final poster series design. As identified previously, I intend to use a grey scale as the base which I will high lighten through a bolder colour. I have chosen mainly blue tone pallets to interconnect with the notion of a yacht and its connection to the water. However I am also potentially leaning towards a black and white poster, with links to rendered images and animations which enlarge to be in colour.

A2: Poster Design Research

- Unique and Interesting Poster Designs -

The collection of poster designs above present presentations which upon a conceptual base interests me in the representation of my own design. They present there concepts in a rather simplistic manner through interesting and evocative colour combinations. Poster 5 particularly appeals to me as the can centres the attention, alluding to the important information surrounding it, enhanced through the contrast of the bold rust and light grey. I considered through poster 9 incorporating a black boarder with a similar elevation of my yachts design along the bottom of my poster series as a way of interconnecting each of them. While finally poster 4 presents an interesting notion of freezing time, upon where each of the boxes falling could work as links to animations and further information.

Image Sources:

1. http://illustration-design.blogspot.com/2008_07_01_archive.html
2. http://www.tutoriallounge.com/2010/03/35-excellent-poster-design-tutorials-with-typography-art/
3. http://www.judyhan.com/otherwise/?p=1629http://www.ttthings.com/portfolio/comments/what_is_graphic_design_poster_competition/
5. http://www.stiels.com/index.php?/advertising/object-of-desire/
6. http://www.toddroeth.com/class/grph_210/
7. http://www.estetica-design-forum.com/graphic-design-web-design-critique/25838-interesting-poster.html
8. http://leashsstuff.blogspot.com/2009/12/retro-facebook-poster.html
9. http://himitcho.com/2008/11/islander-yacht-club-launch-party/
10. http://www.apartmenttherapy.com/ny/at-email/phillip-williams-posters-postermuseumcom-080210

- Inspirational Poster Series -

The collection of poster series above is particularly inspiring towards my own representation due to the manner in which they portray a singular notion while remaining unique on an individual level. Whether this may be achieved through the use of a uniform layout (posters 2 and 6) or through the use of a uniform colour scheme (poster 5) they convey a singular notion on various levels. Although each individual poster within the series may seem significantly different, it is through a uniform style that they remain interconnected, as evident within posters 1, 3 and 4.

Image Sources:

1. http://weburbanist.com/2010/03/27/modern-poster-design-with-a-vintage-twist-by-tom-whalen/
2. http://www.pitkinthomas.com/files/Posters.html
3. http://ministryoftype.co.uk/words/category/C16/P90/
4. http://www.boredomisyourfault.com/blog/2007/06/
5. http://www.vvork.com/?m=200612&paged=3
6. http://villing.com/work/award-winners/095/

A2: Detailed Transformation Concept Research

Through the development of my overall concept regarding the transformation of Frank Gehry’s Design Museum into a yacht, I discovered that the famous yacht manufacturer, “Wally” produces design which alludes to the particular design notions I am attempting to achieve through my design and re-interpretation.

Wally: 125 Power

Image Sources: http://www.wally.com/

I found this particular design of the ‘Wally 125’ interesting from a design perspective due to the manner in which it portrays a rather ‘structural’ hull design within a modern and contemporary manner. Such alludes to a design influence within my own yachts design as such a feature may allow for one to convey a modern structural sense through the hulls design component, while alluding to a sense of fluidity with the remainder of the yachts design. Such further allows for one to focus upon the composition of a unique spatial dimension directly connected to the elements and forms from the Vitra Design Museum.

Wally: 80 Sail

Image Sources: http://www.wally.com/

In terms of the overall yacht design, this particular Wally yacht design presented the notion of rather than designing a motor yacht, produce rather a sailing yacht. However through the study of such designs as the Wally 80, it became clear that although such lends itself to the notion of contemporary fluidity, such wouldn’t allow for me to successfully incorporate the design elements from the Vitra Design Museum due to lack of space.

Wally: 73 Power

Image Sources: http://www.wally.com/

Although the design of this Wally Yacht may be similar to the Wally 125 it remains slightly different as it conveys a more fluid sense in terms of the slightly curvilinear nature of the hull design. However such only exists in the hull design as the cabin remains rather structurally linear. The hulls design is rather interesting though as it may be a useful influence in my own design to allow a smooth transition between a rather organic cabin design and a rather structural hull design.

Wally: 26 Wallyace

Images Sources: http://www.wally.com/

The design of this Wally yacht is rather unique and hence interesting in my developed concepts research as it presents a rather fluid hull design and more structurally linear cabin design. Such alters my previous pattern of thought which alluded to using the design of the hull to present the sense of structural detail, as now I may be able to include the curvilinear nature of the Vitra Museum into the actual design of the hull, leaving the more linear elements to form the cabin.