This document provides requirements and guidance for an architecture project to be completed using Maya 3D modeling software. Students must submit a proposal, progress reports, and final documentation including a 3D digital model with textures, merged into a Photoshop file. The design must consider elements of unity, scale, proportion, and balance. Examples of different approaches to these principles are presented, including grid, pattern, color, minimal; human, intimate, and monumental scale; static and dynamic balance; and symmetry vs. asymmetry. Site analysis, inspiration, and rough and precise design drawings are required elements of the proposal.

1. Unity/Materiality/Scale
Architecture Project
Maya
Sculpture Course
Manami Ishimura

2. Requirements
• Submit Assignments:
1. Proposal
2. Progress Reports
3. Finalized Project Documentation
• Create an architecture form using Maya software
• Attach textures on the digital 3D form
• Merge the digital 3D form and 2D image using Photoshop
• The design and concept must be considered the elements and
principles of design (especially Unity / Scale / Proportion / Balance)

3. Unity
• Unity is achieved when the whole is more important than the parts.
More often, unity consists of many forms or objects brought together
to construct a coherent whole.

4. Variety of Unity
• Grid
• Pattern
• Color
• Minimal

5. Grid
Ludwig Mies van der Rohe with Philip Johnson, Seagram Building. New York. 1956-1958
3-dimensional grid is a unifying force.
For example, the Seagram Building’s structure is a 3D
matrix, it is a monolith.

6. Pattern
The formal gardens of
Versailles consist of many
elements; tree, bushes, paths,
and grass, and all in unique
shapes. The symmetrical
unifying pattern keeps the
elements as a whole.
Gardens at the Chateau de Versailles in France

7. Color
Chefchaouen, Morocco
Variety of colors on the blue wall
serves as an antidote to a unity
of the solid blue wall

8. Minimal
Ryoanji, a Japanese Zen
rock garden is unified by
its rectangular framing
format, monochrome
pallet, and by its
consistent elements (all
natural rocks).
Rock garden, Ryoanji temple, Kyoto Japan. 15c

9. Scale
• The actual or relative dimensions of an object, or parts of an object in
relation to one another
• In the vocabulary of sculpture (or 3D art), scale and size are not
synonymous. Size is normally thought of in terms of large and small -
the relative dimensions of a thing. Size can be measured in units, but
scale is more ambiguous.

10. Variety of Scale
• Human Scale
• Intimate Scale
• Monumental Scale

11. Human Scale
• The human scale is what we are used to. Our houses are typically built to
this natural scale. We should feel comfortable walking through our
doorways. The ceiling neither bumps our heads, nor is lost in the
shadows.

12. Monumental Scale
• Monumental scale is impressive. Our public buildings are
monumental. This is a statement of hierarchy, highlighting their
importance in our society. Those institutions represented by those
buildings are bigger than us.

13. Intimate Scale
• Intimate sizes are smaller than what is normal. These don’t shock you,
but they are smaller than what we expect, being cocoon like.

14. Texture
• Texture of a building is often the first opportunity for an architect to
leave an impression. This skin encloses and shelters the interior
spaces and is one of the key components that determines a building's
personality.
• A good texture in archtecture involves using exterior wall materials
and designs that are climate-appropriate, structurally
sound and aesthetically pleasing.

15. Variety of Texture
Frank Gehry (1997) Guggenheim Museum, Bilbao

16. Faulders Studio (2007) Airspace Tokyo

17. Tomás Amat (2010) La Cigarra Café Entry Pavilion

18. • (771) Great Mosque of Isfahan

19. Balance
• Dynamic vs Static
• Symmetry vs Asymmetry

20. Dynamic vs Static
• Architects can never forget that structures exist for human use, and
they thus have to build with human perceptions in mind. As people
see a structure, they think of it as either static or dynamic.
• There is a place for both static and dynamic structures because of
their effect on a viewer emotions. Static spaces are calming and
dynamic spaces are exciting. Designers must consider the reaction
they want to evoke with their structures.

21. Static
• Static structures appear still
and solid. For example,
rectangular skyscrapers are
static structures.

22. Dynamic
• Dynamic structures draw the eye in
movement to various parts of the
composition; the whole cannot be
taken in at a glance. Buildings that have
curved or diagonal lines appear
dynamic.

23. Symmetry vs Asymmetry
• Architecture, as any compositional art, makes extensive use
of symmetry. Across all cultures and in all time periods, architectural
compositions are symmetrically arranged.
• Asymmetry is the absence of symmetry of any kind. We can exploit
asymmetry, using it to draw attention to areas in the design or to
convey dynamism or movement.
Asymmetry as the organising factor in Architecture is most commonly
seen in modern architecture.

24. Symmetry
• Architecture, as any compositional art, makes extensive use
of symmetry. Across all cultures and in all time periods, architectural
compositions are symmetrically arranged.

25. Symmetry
• Symmetry is
something that
Islamic
mosques,
The facade of Sheikh Lotfollah Mosque, a masterpiece of the Iranian architecture, built between 1602 – 1619

26. • Shito Shrines,
Byodoin temple in Kyoto, Japan

27. • Hindu temples,
Sri Ranganathaswamy in Srirangam

28. • Gothic cathedrals.
Beauvais Cathedral in Beauvais, France

29. Asymmetry
• Asymmetrical designs are rhythmic and radiate a sense of activeness. When
a designer or an Architect is making an asymmetrical design, they should
take care that balance and harmony of the structure is maintained. This
would help prevent visual chaos; which is very important if an Architect
wants people to feel pleasant and react positively when they look at his
designed structures.
Frank Gehry (2003) Walt Disney Concert Hall

30. Jørn Utzon (1973) Syndey Opera House

31. Norman Foster (2002) City Hall

32. Rem Koolhaas (2004) Seattle Central Library

33. Santiago Calatrava (2005) Palau de les Arts

34. Proportion
• Your response to architecture depends heavily on the impression and
the experience you have when walking into and around a space. An
important thing to remember when creating such effects
is proportion.

35. • The impression created by a narrow hallway is different from the
impression of a cube-shaped room.

36. • Similarly, a space that is vast, but with low headspace, gives an
entirely different impression from a space that, though small, has a
high ceiling.

37. Sou Fujimoto (2010) House of Na

38. Le Corbusier (1952) Unité d'habitation

39. Historic Architectures
The Great Mosque of Djenne. *Mud Architecture of Mali

40. Imhotep (237 BC) Temple of Edfu

41. • Yurt

42. Colosseum in Rome, Italy

43. Kiyomizu temple in Kyoto, Japan

44. Modern Architectures
Odunpazari Modern Art Museum by Kengo Kuma

45. Museum of Modern Art in Astana, Kazakhstan

46. Zaha Hadid's Heydar Aliyev Museum in Baku

47. Futuristic Architectures
Walk the Roof of an Underground Rail Station – China

48. Enjoy Concerts and an Artificial Beach on a Pier – Florida

49. Sleep in an Underwater Hotel – Dubai

50. Escape to the City in the Sky

51. Proposal - Requirements
• Site Analysis
• Site Image
• Design Brainstorming
• Inspiration
• Design Drawing Images (rough and precise)

52. Site Analysis
Use Google Map and look for a specific site where you like to design an
architecture and Describe the location following the list below
• Site Location Detail: What address?
• Vegetation: Any landscaping, greenery, shrubs, and open space?
• Building Context: what style, period, state of repair are the surrounding
buildings?
• Views: where are the best views to and from the site. Which is the most
likely feature aspect?
• Noise and pollution: Is the site in a particularly noisy area? Or near
industrial buildings that produce leves of pollution?
• Weather: how does the weather affect the site? For example, Is it well
shaded, exposed?
• History of the site: list anything you can use to inform your design if the site
sits in a conservation area or close to listed buildings you may need to go
into more detail regarding cultural significance, historic significance

53. Site image
• Attach the image of the site (*if it is possible, attach both images of
the street view and overview) using Google Map
• Ex.

54. Design Brainstorming
• Building Context: what style, period, state of repair are the surrounding
buildings?
• Texture: what are surfaces and materials around the site? Considering the
environment, how will the texture of the surface of your architecture unify the
location?
• Scale: Considering the location, what scale would be the appropriate for your
concept? And why?
• Balance: Is your architecture dynamic or static? Symmetry or Asymmetry? And
why?
• Proportion: how does the proportion of your architecture generate your
originality or aesthetics? Imagine how visitors feel when they walk into your
architecture.
• Function: what is the function of the building?

55. Inspiration
Inspiration: What architecture does influence your design? Quote one
of architectures from the Introduction PowerPoint or one of well-
known architetures with its image and describe the reason.

56. Design Drawing - rough
• How is the shape from the front and
side? Attach the image of your
sketches.
Ex.

57. Design Drawing
• In Maya, you need PRECISE sketches from front, side, and top views.
Use grid paper and concrete the proportion of the architecture design
Attach images
Ex.

58. Start using Maya!
• Please see the instructions for Maya

59. Reference
• https://trinitys1design.weebly.com/