Isabella Chow
2019
0.0 Helicone >> work from Digital Design and Fabrication
Digital Design and Fabrication
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Studio Fire
DIGITAL DESIGN AND FABRICATION Exhibited at MSDx Semester One 2017 Group work with Victoria Davidson and Triton Lay
A Kinetic Second Skin: Helicone
1 Hall, Edward T. ‘The hidden dimension : man’s use of space in public and private.’ (London : Bodley Head, 1969).
Tasked with creating a ‘second skin’ using a section and profile typology we early on discovered the typology generally lent itself to more static results. So the challenge became to create a kinetic skin which expressed an expansion of the user’s ‘intimate space’ [detailed in Hall’s Theory of Personal Space]1. This was achieved through a ‘helicone mechanism’ where aggressively spiked components rotated around a hollow spine resulting in two phases: Closed (approachable - intimate space contracted) and Open (threatened - intimate space expanded).
1.0 Test model: using teardrop shaped major components to visualise closed vs. open phases. Phase CLOSED, pieces (major components) align to create desired pattern, non-threatened mode. 1.1 In movement, by spinning one piece (major component) each adjacent piece will move, pulled into motion by the location of intermediate components (not visible from exterior). 1.2 Phase OPEN, pieces (major components) disperse rotating in all directions and hence extending the circumference of space ‘protected’, threatened mode.
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DIGITAL DESIGN AND FABRICATION
DIGITAL DESIGN AND FABRICATION
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1.2
OPE N
1.1
IN MOTION
1.0
CLOSED
COMPONENTS AND FORM Translating mechanism into product
2 Hall, Edward T. ‘The hidden dimension : man’s use of space in public and private.’ (London : Bodley Head, 1969).
1.3 Plan view: Process of expanding the diameter of the users ‘intimate’ personal space bubble2. Closed phase to open phase results in the fanning out and uneven distribution of sharp major components. Creating a larger physical barrier between the user and the hypothetical threatening subject.
1.4 Exploded view of all necessary components: Intermediate components are bonded to the lower adjacent major component. The position / length of the bonded intermediate component determines the pattern at both closed and open phase [‘patterns’ are controlled and by no means random although they may appear to be]. Interwmediate components are laser cut thinner than major components in order to be hidden between layers and create the illusion of floating sections. All pieces will sit of a central ‘spine’ or tube, this spine dictates the centre of gravity around which the components spin. Superficial components essentially cap this spine.
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DIGITAL DESIGN AND FABRICATION
CLOSED >>
<< IN MOTION >>
>> OPEN
SUPERFICIAL COMPONENTS
INTERMEDIATE COMPONENTS
MAJOR COMPONENTS
DIGITAL DESIGN AND FABRICATION
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PHASE << INITIAL SPIN
PHASE << IN MOTION >>
1.5 Testing effects with finished model. Initial movement and spinning of upper major component works like a domino effect, pulling adjacent components into motion.
1.6 As each component is pulle cent the form of the model
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DIGITAL DESIGN AND FABRICATION
ed into motion by the adjachanges.
PHASE >> OPEN 1.7 Desired outcome for Open phase. The sharpened points of major pieces dispersed unevenly to increase diameter of user’s ‘intimate’ personal space bubble.
DIGITAL DESIGN AND FABRICATION
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STUDIO AIR Group work with Samantha Bonwick-Fyfe and Leo Zhang
Merri Creek: Artificial Branching Structures
3 Victorian State Government: Department of Sustainability and Environment, â&#x20AC;&#x2DC;Yarra Bend Flying Fox Campsite: Review of the Management Planâ&#x20AC;&#x2122; (Victorian State Government, 2009), pp. 4-6.
The focus of our studio was the creation of an artificial habitat for the Grey Headed Flying Foxes of Merri Creek. Flying Foxes in the area roost on native Eucalyptus, Melaleuca and Banskia trees however the last decade has seen a dramatic increase in flying fox populations roosting in these native trees, resulting in the death and degradation of native flora3. Our proposal attempts to put forward an artificial branching structure for the roosting of Flying Fox populations so as to decrease roosting on distressed trees and hence increase the health of native flora. Studio Air allowed me to explore algorithmic and parametric tools and implement these into the design process. It provided a great foundation of computational skills: my work in Studio Air can be split into three phases of algorithmic exploration detailed on the following pages.
2.0 Continue over page.
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STUDIO AIR
-3
_Fields
-4
-4 -3 4
-3
-4 4
6
_Species
Iterations n = 23 Point charges = 4 and -3 and -4 Proximity and magnitude of point charges creates a merging of fields
Iterations n = 23 Point charges = 4 and -4 and -4 Proximity and magnitude of point charges creates a merging of fields
Iterations n = 40 Point charges = 6 and -3 and -3 on interior point Increased charge on exterior point increases the volume of possible aggregated form
-3
_Fields
-3
-3 3
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_Species
Iterations n = 40 Point charges = 3 and -3 and -3 on interior point Negative charge on interior point allows for the creation of a hollow aggregated structure
Iterations n = 10 Point charges = 6 and -3 on interior point Fewer number of iterations (n) renders the continuous boundary fields unidentifiable
Iterations n = 40 Point charges = 6 and -3 on interior point The greater the number of iterations the better the bounding fields are visible
STUDIO AIR
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Explorations in Recursive Aggregation Phase One.
2.0 Previous page. Involved research into recursive aggregation and the exploration of an algorithm which allowed intersecting components to aggregate within the boundaries of charged fields - these fields can be visually represented within a bounding geometry (exemplified in the above matrix as â&#x20AC;&#x2DC;Fieldsâ&#x20AC;&#x2122;). The resulting proposal was for a series of hanging bulbs of aggregation which allowed for Flying Foxes to roost on. However the loading stresses towards the host tree still existed so the design was reviewed further. 2.1 Layered diagram of aggregation from 1 element to 7144 elements 2.2 Initial Design for roosting bulbs
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STUDIO AIR X
VE ATION
HOMOGENEOUS DISCRETE ELEMENTS ARTIFICIAL BRANCHING
CENTRAL GROWTH INCREASED DENSITY TOWARDS STARTING POINT
AGGREGATION IN CONTINUOUS SILHOUETTE UNPREDICTABLE BOUNDARIES
GROWTH - FROM 1 ELEMENT TO 7448 ELEMENTS
STUDIO AIR
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Explorations in Recursive Aggregation Phase Two. Phase Two stayed in line with the exploration of techniques of recursive aggregation but rather than randomly aggregate a bounding geometry the method was to aggregate along a â&#x20AC;&#x2DC;branchâ&#x20AC;&#x2122;. Creating a literal artificial branch - with changing components due to changing parameters along the course of the branch. Prototype components were CNC milled and bonded using a timber dowel system. However the resulting model was fragile and not equip for roosting - the components were too large and heavy. 2.3 Below: changing components arise due to changing parameters across the length of the branch. Following diagrams illustrate these changes. 2.4 Opposite page: analysing sagging angles of prototype. Testing physical model.
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STUDIO AIR
approx. 20 degree sag
> 65 degrees
STUDIO AIR
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Explorations in Recursive Aggregation Phase Three. The focus became on altering the components rather than the system. The same aggregation algorithm with the same parameters was used to construct the artificial branch however the components were altered to become smaller and more densely faceted (increased ability to grip). While the production method changed to a 3d powder printed system decreasing the weight of components compared to the heavy milled timber of phase 2 components. The new components also relied on a slotting mechanism as opposed to the timber dowels to bond together - again increasing stability while also allowing for an increased number of possible configurations ( notch 1, n.1, n.2 would be vastly different to say n.2., n.2., n2.). 2.5 Below: notch two to notch one configuration and bond 2.6 Below: notch one to notch two configuration and bond 2.7 Opposite: visualisation of aggregated artificial branch on host tree with Flying Foxes roosting.
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STUDIO AIR
STUDIO AIR
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CONSTRUCTION DESIGN ARCHITECT: CLARKE HOPKINS CLARKE PROJECT: Bio21 SCIENCE SUB SCHOOL Translating the construction / architectural documentation of Clarke Hopkins Clarke’s Elizabeth Blackburn School of Sciences at the University High School into an axonometric drawing and 1:20 physical model of the final structure. The finished drawing and model illustrate all stages of the construction process; from the results of the geotechnical report and the foundations to the window schedule and roofing.
3.0 Axonometric drawing of Clarke Hopkins Clarke’s Elizabeth Blackburn School of Sciences at the University High School.
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CONSTRUCTION DESIGN
CONSTRUCTION DESIGN
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CONSTRUCTION DESIGN 1:20 Physical Model Details. Images clockwise from top left. 3.1 Masonry wall inc. wall ties, terminate protection, waterproof membrane, double stud wall, insulation. 3.2 Detail of roof parapet inc. corrugated steel, aluminum panels, structural steel members, roofing mesh, waterproofing, insulation and roof sheeting. 3.3 Interior detail inc. post-tensioned slab detail, reinforcement, lost form work and wall bracing, insulation, plasterwork, ceiling. 3.4 Ceiling detail inc. suspended ceiling framework and connection to the first floor slab. 3.5 Pad footing supporting load from column; inc. mass concrete and reinforcement. Load paths illustrated. 3.6 Double stud wall detail on curve inc. multiple layers of specific plasterboard and connection of aluminum paneling to the wall via. top hats, glue.
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CONSTRUCTION DESIGN
CONSTRUCTION DESIGN
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STUDIO FIRE Exhibited at MSDx Semester Two 2018
Space as Relief - A VCE centre for Uni High
1 Hall, Edward T. ‘The hidden dimension : man’s use of space in public and private.’ (London : Bodley Head, 1969).
Whilst the educational environment intends to be a progressive and happy place facilitating learning as students progress up the academic chain and into VCE, school often morphs into an increasingly stressful place. My project, titled ‘Space As Relief’ engages with the Mindfulness pedagogy in order to create a new VCE centre promoting the importance of mental relief in order to increase the mental wellbeing of students and staff.
4.0 Material study of site: Story Street, Parkville
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STUDIO FIRE
STUDIO FIRE
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MASTERPLAN: VCE AND SPORT CENTRE AT UNIVERSITY HIGH SCHOOL
ACTIVATE SOUTH BOUNDARY
PLAZA LINKING SPORTS & VCE CENTRE
CONNECTION TO EXISTING LIBRARY
ACTIVATE GREEN SPACE
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STUDIO FIRE
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Program for Mindful Learning Environments
1 Hall, Edward T. ‘The hidden dimension : man’s use of space in public and private.’ (London : Bodley Head, 1969).
Generally mental relief for students, away from academic stress, exists at the end of a long day at school. By introducing new spaces specifically for relief into the typical school program [green no-tech terraces and reflective / meditative rooms] the school day is broken up - resulting in a more achievable outcome for students. The physical scattering of these spaces across the building allows students to ‘design their own day’ using the spaces as they feel personally necessary. 4.1 The adjacent diagrammatic illustrates the aforementioned physical scattering of spaces for relief. Resulting in a new school program, a day in which learning can be
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STUDIO FIRE
A. TYPICAL SCHOOL DAY
B. EXAM / ASSESSMENT PERIOD
C. INSERTING SPACE FOR RELIEF
D. DEMONSTRATING EXECUTIVE CONTROL
SPACE FOR RELIEF SPACE FOR LEARNING
STUDIO FIRE
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FORM FINDING Terrace typologies and indirect light 4.2 Historical context: early developmental sketches toying with the idea of breaking down an elongated form visually with reference to Story Street. Use the patchwork horizontal stacking of Story Street terraces to break down this single elongated form. Large presence of brick across Story Street also informed materiality of VCE building.
4.3 Indirect Lighting: Small diagrams illustrating the possible use of different roof lines to create different lighting conditions. Drawing on contemplative typologies (namely cathartic buildings; chapels, churches, cathedrals) and their use of light from above to create soft atmospheric conditions and a sense of calm.
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STUDIO FIRE
Scanned with CamScanner Scanned with CamScanner
STUDIO FIRE
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4.4 Section B-B [ref. page 37 floorplans]
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STUDIO FIRE
4.5 Space for learning: North facing classroom.
4.6 Space for reflection: Green terrace.
4.7 Space for learning: Multi-level collaborative study space connecting VCE centre to library.
4.8 Double height reflection space on level 1; frosted screen to the main stair.
STUDIO FIRE
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STUDIO X
VCE CENTRE NORTHERN FACADE >> FACING STOREY STREET
STUDIO FIRE
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PLANNING
LVL. G Focusing on spaces of movement and collaboration. Open to the green space / plaza connecting VCE building to Sports centre. Elongated and moving west towards the existing library lies a triple height mezzanine space intended for reading / individual study. Hanging meditative studio in the midst of individual study area. LVL. 1 Two green terraces for reflection accessible via level one. Classrooms and interwoven study spaces for collaborative / individual learning.
LVL. 2 Staff offices continue on to a third level to the east, however become more of a meeting space. Again classrooms for VCE subjects, both North and South facing classrooms.
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STUDIO FIRE
UP
UP
UP
MEDITATIVE STUDIO INDIVIDUAL STUDY SPACE UP [LIBRARY READING AREA]
STAFF ROOM DN
GALLERY
UP
DN
RECEPTION / WAITING
UP DN
DN
UP
DN
DN
GREEN TERRACE
UP
CLASSROOM
UP
DN
GREEN TERRACE
DN
DN
INDIVIDUAL STUDY SPACE
COLLAB STUDY SPACE CLASSROOM
UP
STAFF OFFICES
UP DN
CLASSROOM
DN
MEDITATIVE STUDIO
DN
CLASSROOM
GREEN TERRACE
CLASSROOM
INDIVIDUAL STUDY SPACE COLLAB STUDY SPACE
DN
CLASSROOM
DN
STAFF OFFICES
CLASSROOM
N STUDIO FIRE
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Isabella Chow Melbourne, Australia >> bellachowi@gmail.com +61433849388
Thank U. 36