DIGITAL DESIGN PORTFOLIO S E M E S T E R 1 | 2018
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Charensia Pricilla Rompis [ 860209 ] Daniel Parker + Studio 06
PROFILE
C DIAGRAMMING DESIGN PRECEDENT BAD HAIR PAVILION
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Charensia Pricilla Rompis - 860209
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GENERATING DESIGN THROUGH DIGITAL PROCESS
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TIME OF USE
LAYER FOUR
TYPE OF USE
LAYER THREE
CIRCULATION PATHS
LAYER TWO
COMMON USE
LAYER ONE
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SURFACE AND WAFFLE & SOLID AND VOID
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Circulation - 1:200
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AA SCHOOL OF ARCHITECTURE - BAD HAIR 2007
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QUEEN VICTORIA GARDEN THEORY OF LIGHT PAVILION
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Thresholds - 1:200
REFLECTION
P R O F
EDUCATION
2015 - 2016 Trinity College Foundation Studies 2017 - PRESENT University of Melbourne Architecture and Landscape Architecture
I L
SKILLS
One thing that still amaze me is how time flies and how I ended up here, writing this reflection bit for my architecture subject. And now, I realised that I no longer draw, but, I design, and there is a huge difference in it. In Module 01, I learned how to interpret a 3D model from basic information. Also, I get to understand how diagram helps conveying ideas and concepts. In Module 02, I get the chance to explore parametric design through Grasshopper in Rhinoceros. In Module 03, I was able to combine all the skills that I have learnt throughout the module, and develop it further with rendering skills in Unreal Engine.
AWARDS / EXHIBITION
2016 Allison Wehrman Award 2017 ALKF Exhibition 2018 MSDx
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Design has become a part of me and it has been the biggest influence in my life. I started drawing since very young and I still remember drawing a rectangular house with triangular shaped roof. Well, I guess everyone went through that stage, don’t you?
CHARENSIA PRICILLA ROMPIS
Rhinoceros Grasshopper Unreal Engine Adobe Photoshop Adobe Illustrator Adobe InDesign Model Making
As a designer, I feel that the program/function is more important than the design itself. Designing is important, but, creating something aesthetic and functional is something that I have always wanted to achieve. From my design throughout the subject, it is clear that I never aim to design something complex, because I wanted to appreciate simplicity that creates aesthetic value. In this subject, I have been using the concept of light to achieve my goal.
CONTACT
e-mail rompisc@student.unimelb.edu.au 3
In the future, I want to further develop my designing and rendering skills to create a design that is simple, yet, functional.
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DIAGRAMMING DESIGN PRECEDENT BAD HAIR PAVILION 4
PRECEDENT
STUDY
Image 1.1. Perspective View of Layer One and Layer Two.
Image 1.4. Bad Hair Pavilion - AA School of Architecture source: “Folding Architecture: AA Summer Pavilions - Bad Hair,� Project4rosemaryweebly, accessed March 2, 2018, https://project4rosemary.weebly.com/uploads/4/3/1/2/43121189/7835785.jpg. Image 1.2. Plan View of Layer Three aboveLayer Two and Layer One - not to scale
Image 1.3. Elevation View of the Bad Hair - not to scale
The precedent study of my project was taken from the Bad Hair Pavilion by AA School of Architecture in UK. The design of the pavilion looks complex, however, by analysing it thoroughly, it can be seen that the pavilion consists of four layers. Each layer consists of two sets of perpendicular beams that are joined together forming four curved beams. When all layers are put together, each layer sits right above the previous layers. The design allows interaction between people and the pavilion which can be seen from the image that some people are occupying the edge of the beam. 5
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ISOMETRIC DRAWING
ENTRA
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Image 1.5. Isometric View - scale 1:!00
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ANALYSIS DIAGRAM LAYER 04 TIME OF USE
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LAYER 03 TYPE OF USE
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LAYER 02 CIRCULATION PATHS
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LAYER 01 COMMON USE
Image 1.7. Thresholds - 1:300
Image 1.6.Circulation - 1:300
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02
GENERATING DESIGN THROUGH DIGITAL PROCESS SURFACE AND WAFFLE & SOLID AND VOID 8
T A S K 01 SURFACE AND WAFFLE
T A S K 02 SOLID AND VOID
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TASK 01 | MATRIX
Lofts
1.1
1.2
1.3
Key
1.4
{-130, 44, 150}
{0,0,0}
{-92, -68, 150} {-150, 94, 120}
{-140, -87, 150}
Attractor / Control Points (X,Y,Z) Attractor / Control Curves
{-141, -76, 150}
Grid Points
{-130 ,-56, 150} {-106, -30, 150} {-130, -74, 0}
{-140, -36, 80}
{-147, -83, 0}
{-91, -38, 0} {-140, -36, 0}
{-132, -84, 0}
{-128, -87, 0}
{-147, -36, 0}
{-106, -39, 0}
Paneling Grid & Attractor Point
{Index Selection}
{Index Selection}
{Index Selection}
2.1
2.2
2.3
{Index Selection}
2.4 {-92,- 31, 150}
{-92,-31,150}
{-105,-32,150} {-95, -33, 164} {93, -32, 61}
{-106, -33, 0}
{106,-33,0}
Paneling
{Attractor Point Location}
{Attractor Point Location}
{Attractor Curve Location}
{Attractor Curve Location}
3.1
3.2
3.3
3.4
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Image 2.1. Task 01 Matrix - Not to Scale.
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Design Matrix 1:5 Design Matrix 1:5
Solid shape to create a strong ary between the exterior and
EXPLODED AXONOMETRIC
boundinterior.
The shape is created for the purpose of design, shadow effect, and lighting.
The panel is tilted and angled for flexibility purposes in different projects.
The exploded axonometric shows the combination of both surfaces and waffle structure that act as a support. The surfaces are combined from one solid 3 dimensional patternation, while the other contains a small perforation. The view of the axonometric drawing was chosen to show the perforation that allows lighting penetration from the inside of the prototype to the outside. The solid patternation was designed to create a strong boundary between the inside and the outside. Furthermore, in order to follow the nature of the curve in the waffle structure, the patternations were designed with attractor curves, allowing variation in terms of size.
Small opening where the interior lighting can be exposed to the exterior.
Small opening at this corner and increase in size towards the other axis to create variations.
Small opening at this corner and increase in size towards the other axis to create variations.
Waffle structure as a support sy tem for two panels. on both side
Waffle structure as a support system for two panels. on both sides.
Exploded Scale Bar Axonometric 1:1 Exploded Axonometric 1:1 0
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Small opening at this corner and increase in size towards the other axis to create variations.
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60mm
Both panels are designed with a theme of triangles within a square.
Image 2.2. Exploded Axonometric.
60mm
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COMPUTATIONAL WORKFLOW
1.3
Key
1.4
{0,0,0}
{-92, -68, 150} {-150, 94, 120}
Attractor / Control Curves
}
0}
Attractor / Control Points (X,Y,Z) Grid Points
The surfaces were generated by controlling the pa{-140, -36, 80} -36, 0} rameter on the script. {-147, Both of the surfaces show a nat{-140, -36, 0} ural flow from its curves. {Index Selection}
{-106, -30, 150}
{-91, -38, 0}
{-106, -39, 0} {Index Selection}
Image 2.3. Grasshopper Script for Surface Development.
2.3
2.4 {-92,- 31, 150}
{-92,-31,150}
{-105,-32,150}
3, 164}
The patternations were developed from a single geometry, one is solid, and one with small perforations {-106, -33, 0} to allow light penetrations. {Attractor Curve Location}
{106,-33,0} {Attractor Curve Location}
Image 2.4. Grasshopper Script for Surface Patternation.
3.3
3.4
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The waffle structure was created following the shape of both surfaces and designed as a support system. Image 2.5. Grasshopper Script for Waffle Structure.
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3D MODEL
Image 2.6. Panelled Surfaces with Small Perforations.
Image 2.7. Solid Panelled Surfaces.
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Image 2.8. Light Penetrations from the Openings.
Image 2.9. Shadows created from Solid Panel.
Image 2.11. View from the Open Panel.
Image 2.12. Shadows created from Open Panel.
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Image 2.10. View from the Solid Panel.
Image 2.13. Waffle Structure.
FABRICATION PROCESS 7 7
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860209 Charensia R
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Laser cutting requires a lot of attention, especially for the panelling as it usually leaves burnt marks. Therefore, I decided to have the panels hand-cut.
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860209 Charensia R
Sheet 01 of 01
Image 2.14. Laser Cut File for Panelled Surfaces and Waffle Structure - Not to Scale.
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MODEL MAKING
Image 2.15. Open Panel - Process.
Image 2.16. Open Panel - Process.
Image 2.17. Open Panel - Process.
Image 2.18. Open Panel -- Process.
Combining The paper panelling after hand-cutting
Clean View from the back of the panelling paper
Wire is being used to uphold the panels.
Final look.
the template.
after all panels are attached.
Image 2.19. Solid Panel - Process.
Image 2.20. Solid Panel - Process.
Image 2.21. Solid Panel - Process.
Image 2.22. Solid Panel - Model.
Process of cutting the panel and joining it together.
View from behind.
Joined panels with bulldog clip.
Final look.
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T A S K 01 SURFACE AND WAFFLE
T A S K 02 SOLID AND VOID
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TASK 02 | MATRIX
Grid Manipulation
1.1
1.2
1.3
Key
1.4
{0,0,0}
{-58, 150, 150}
Attractor / Control Points (X,Y,Z) Attractor / Control Curves
{--20, 150,150}
{-72, -23, 0}
Grid Points
{-35, 0, 0}
{-43, 150, 0}
{-35, 181, 0}
{-60, -61, 0}
{-81, 28, 0}
Geometric Exploration Dipyramid Scale Exploration
{Curve Attractor}
{Curve Attractor}
{Curve Attractor}
{Curve Attractor}
2.1
2.2
2.3
2.4
{Truncated Pyramid}
{DiTruncated Pyramid}
3.1
3.2
3.3
3.4
{Scale NU; 0.98, 1.22, 0.94}
{Scale NU; 1.37, 0.99, 09.94}
{Scale NU; 0.79, 0.86, 1.05}
{Scale NU; 1.05, 0.98, 2.4}
{Dipyramid}
{Pyramid}
Design Matrix 1:5
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Image 2.23. Task 02 Matrix - Not to Scale.
{Scale NU; 0.98, 1.22, 0.94}
{Scale NU; 1.37, 0.99, 09.94}
{Scale NU; 1.05, 0.98, 2.4}
{Scale NU; 0.79, 0.86, 1.05}
Design Matrix 1:5
A higher density of hatches as the cut form gets deeper from the other.
AXONOMETRIC DRAWING
A small penetration
opening that allows light to the outer spaces.
A small void space created from boolean that forms a shape from original geometry.
Lighting access from ing above creating a
A higher density of hatches as the cut form gets deeper from the other.
the opendiffused light.
A lower density of cut form becomes
A small void space created from boolean that forms a shape from original geometry.
hatches as the more apparent.
A small cantilever area that creates a heavy feeling towards the overall form.
A lower density of cut form becomes
hatches as the more apparent.
Flat surface shape from
to enable a the boolean
clear-cut process.
Void space created from boolean that results in a form of its original shape.
Scale Bar Axonometric 1:1 Solid boolean using 3.4 morph itt 0
The axonometric drawing shows the best angle of the boolean where the cut outs still form a shape of dipyramid.
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60mm
Image 2.24. Exploded Axonometric.
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1.1
1.2
1.3
Key
1.4
{0,0,0}
{-58, 150, 150}
{--20, 150,150}
{-72, -23, 0}
COMPUTATIONAL WORKFLOW {-35, 0, 0}
{-43, 150, 0}
{-35, 181, 0}
{-60, -61, 0}
{-81, 28, 0}
{Curve Attractor}
{Curve Attractor}
{Curve Attractor}
{Curve Attractor}
2.1
2.2
2.3
2.4
{Truncated Pyramid}
{DiTruncated Pyramid}
3.1
3.2
3.3
{Scale NU; 0.98, 1.22, 0.94}
{Scale NU; 1.37, 0.99, 09.94}
{Scale NU; 0.79, 0.86, 1.05}
{Dipyramid}
{Pyramid}
3.4
Boolean process from multiple dypiramids that create overlapping inside the cube.
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{Scale NU; 1.05, 0.98, 2.4}
Image 2.25. Grasshopper Script for Boolean.
3D PRINT MODEL
Image 2.26. Front View of the Model.
Image 2.27. Upper View of the Model.
Image 2.28. Model When Lit.
the height of the final model was reduced to meet the requirement of 3D printing, in which it does not really affect the overall shape. Image 2.29 shows that the model is flipped vertically for easier and faster printing as it does not require much support compared to the original model. The model creates a strong boundary between the inside and the outside through the rectangular cube. On the other side, Image 2.28 shows a feature where light can be transferred through the openings, creating a diffused light. The rectangular shaped opening above was meant to connect both sides of the solid structure, enhancing the idea of inside vs outside. Image 2.29. Makerbot File.
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QUEEN VICTORIA GARDENS THEORY OF LIGHT PAVILION 23
T H E O R Y O F
Theory of Light Pavilion explores the concept of lighting throughout the interior and exterior. The goal was achiever through the use of stainned glasses, and pervorations on the seating areas inside. The materiality allows light penetrations of different colours and shadowing ion the interior seating space. The pavilion was designed in a solid rectangular shape to allow maximum efficiency. The interior was formed by splitting a rectangular base with curves. Moreover, the height of different blocks vary to provide seating areas for both the lunchtime seminar and an evening quartet performance. On the outside of the pavilion, there is a rised path acting as a circulation path, in which it connects the pavilion to the three cylindrical seating areas outside. 24
L I G H T
M3 - Theory of Light
Key: x
M3 - Theory of Light
EXPLODED AXONOMETRIC
Threshold
Primary Circulation
The ceiling is formed from the division of multiple curves within a rectangular base. The form is a reflection from the interior space.
Circulation Paths
Charensia Pricilla Rompis - 860209
Stainned glass allowing light penetration to the interior at day and exposing light to the exterior at night.
x
Extruded geometry that a as a support to the ceiling
Charensia Pricilla Rompis - 860209
Raised geometry providin a comfortable seating are
x
Extruded geometry that act as a support to the ceiling.
Opening that is created from a trimmed structure.
Raised geometry providing a comfortable seating area.
x
Boundary that creates a threshold dividing the pavilion and the landscape.
Raised geometry acting as a stage for performance.
Boundary that creates a threshold dividing the pavilion and the landscape.
Patterned perforation resulting in reflective shadows at the seating area.
x
Opening that is created from a trimmed structure.
Raised level to highlight the entrance into the pavilion.
x x
Raised geometry acting as a stage for performance.
AC
SS
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AC
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Scale Bar
Exploded Isometric 1:35
x
Raised pathway into the pavilion.
0
500
1500mm
Image 3.1. Exploded Axonometric.
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The step creates a seating space.
EP
N
EP
SP
W
EP
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SITE ANALYSIS S
Sun Path D
N
EP
EP
W
Legend:
S
EP
Site Area Winter Summer
SP
Start Point
EP
End Point
Legend: Site Area
Sun Path Diagram Sun Path Diagram
Wind Path Diagram
EP EP
N
EP EP
W
E
W W
Legend: SP Winter Summer EP S
SP SP
N N E E
Wind Path Diagram
W S
SP SP
Wind Path
N
S S
S
W
Legend: Legend:
Winter Winter Summer Summer
Wind Rose during 9 am (Annual Average)
Wind Path Diagram Wind Path Diagram
Wind Rose during 3 pm (Annual Average)
Site: Queen Victoria Gardens - not to scale.
SP SP EP EP
ex
ating Area
St. Kilda Road
get
Site Analysis and Diagram Site Analysis and Diagram
an
dr
a
Legend: Site Area
Wind Ros Legend: during 9 am (Annua S Wind Ros during 3 pm (Annua du
N N E E
W W Al
Start Point Start Point End Point End Point
S S
Av
e
Theory of Light Pavilion Key:
Legend: Legend: Site Area Site Area Wind Rose Wind Rose Average) during 9 am (Annual during 9 am (Annual Average) Wind Rose Wind Rose Average) during 3 pm (Annual during 3 pm (Annual Average)
scale 1:100 @A3 scale 1:100 @A3
N N
Site: Queen Victoria Gardens Site: Victoria Gardens - notQueen to scale. - not to scale.
Site Analysis and Diagram
Theory ofSite Light Pavilion Boundary Key:
Main Circulation Path Access/ Threshold
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N
Low Density of People scale 1:100 @A3 Site Analysis and Diagram
Access/ Threshold Site Boundary
Circulation
scale 1:100 @A3
Site: Queen Victoria Ga - not to scale. du
Main Circulation Path Circulation
Crowd Target
N
Site: Quee - not to sc Al
ex
Low Density of People
Possible Seating Area Crowd Target
Image 3.2. Site Analysis - not to scale.
Possible Seating Area
St. Kilda Road
Site Area
N
S
Site Area Site Area
Legend:
y of People
on n
Sun Path Diagram
SP
St. Kilda Road
A3
Sun Path Diagram
an
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Program happening inside the Pavilion. Section.
PROGRAM
Program hap Section.
Day time during lunch time seminar
Day time du
Program happening inside the Pavilion.
Night time during quartet’s performance.
Section.
Night time du
m and Activity
scale 1:100 @A3
N Theory of Light Pavilion
Panorama View Inside the Pavilion. Day time during lunch time seminar
Panorama View Outside the Pavilion.
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Program and Activity
scale 1:100 @A3
N
Image 3.3.Inside Program to scale. Panorama View the- not Pavilion.
DESIGN ITERATIONS
Image 3.4. Trunk.
Trunk was developed from the idea of nature, in which it was designed with a rough facade and beams surrounding it. This iteration was a failure due to the problem with meshing. This iteration was done from Heteroptera and Cocoon.
Image 3.5. Cubicle.
Image 3.6. Ring.
Cubicle was inspired from Sou Fujimoto’s work and Conway’s Game of Life. The cubicle was a success iteration, however, it could not achieve the concept of light that I have been exploring throughout this semester.
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Ring was developed from the idea of solid and void, where it has a solid surface that receive the light penetration from the rounded pattern that has small perforations. The problem with this iteration is on the mesh, which is hard to control.
DESIGN MATRIX
1.1
1.2
2.1
2.2
1.3
2.3
1.4
2.4
Image 3.7. Design Matrix.
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COMPUTATIONAL WORKFLOW Mesh variation from Mesh+. Image 3.8. Grasshopper Script using Mesh+.
Interior space generated from a rectangular base with different kind of splitting curves. Also, randomizer is used to create different iterations. Heteroptera is used as a plug-in. Image 3.9. Grasshopper Script Using Heteroptera.
Mesh fixing and reduction to generate a better mesh o u t c o m e from Mesh+. Image 3.10. Grasshopper Script Using Mesh Edit.
Skin generation from Voronoi. Image 3.11. Grasshopper Script using Voronoi.
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FABRICATION PROCESS
tri mid
m nt
ou ar
bo
tri low
d
mid mid
atas mid
Image 3.12. Laser Cut Template.
The fabrication process were done in three ways, 3D printing, Laser Cutting, and Hand cutting and modelling. For the 3D print, I decided to print a column, that act as a support for the cantilevered ceiling. Moreover, for the terrain and the facade skin, I decided to have it done by ;laser cut for a clean cut and finishes. For the interior, I could do it from laser cut, however, I decided to hand cut it as it contains complex geometries. The hardest part was the interior, in which I need to make sure all the parts can be connected together forming a smooth triangle form.
back
kiri atas
Image 3.13. Template for Hand-Cut.
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3D MODEL
Image 3.14. Model when lit from the Inside, casting shadows to the outside.
Image 3.15. Model when lit from the Inside, casting shadows to the outside.
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Image 3.16. Model when lit from the Inside, casting shadows to the outside.
Image 3.17. Model from Elevation View.
Image 3.18. Model from above, showing the interior formation.
Image 3.19. Model from Front Entrance.
Image 3.20. Model from Side View.
Image 3.21. View of the Interior.
Image 3.22. Side View.
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360 IMAGES
Image 3.23. 360 Panorama View from the Entrance towards the city.
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Image 3.24. 360 Panorama Image of the interior at night.
Image 3.25. 360 Panorama View from the Entrance with the circulation path.
Image 3.26. 360 Panorama View from the Entrance with the circulation path.
Image 3.27. 360 Panorama View from the Bqck Side.
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Charensia Pricilla Rompis - 860209
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AA SCHOOL OF ARCHITECTURE - BAD HAIR 2007
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LAYER FOUR
TIME OF USE
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TYPE OF USE
LAYER THREE
CIRCULATION PATHS
LAYER TWO
COMMON USE
LAYER ONE
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Thresholds - 1:200
Circulation - 1:200
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SEMESTER 1 2018
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