ARCHITECTURE DESIGN STUDIO:
AIR
ALEXIS CHARTERS
The Case for Innovation
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Contents 01. Case for Innovation 1.1 Architecture as a discourse
1.2 Computing in architecture
1.3 Parametric modelling
02. The cut project
2.1 Group research and argument + Cut Case study 2.2 Cut case study 2.3 Expression of interest (EOI) presentation
2.4 Response to feedback + development
03. The Gateway Project
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ABOUT ME... HELLO, MY NAME is Alexis, this is my second semester here at Melbourne Uni. I completed 3 semesters of a Bachelor of Architecture in Christchurch in New Zealand before moving to Melbourne last year. I am now planning on finishing my degree here in Melbourne. Previously while studying in NZ I learnt how to use design packages ArchiCAD and Sketch up and I took Virtual environments last semester so have learnt the basics of Rhino, all though I would still class myself as a beginner!! I can see why Rhino and Grasshopper are important to learn and although frustrating at the moment as I’m still unable to realise the ideas in my head, I looking forward to learning more and hopefully being able to achieve some more complex designs. I think parametric design seem to be the direction architecture is currently taking and having the ability to use these packages is something that future employers will be looking for. 4
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PREVIOUS WORKS THE DESIGN PROJECT I’m introducing on the right was a project from Virtual Environments where we were asked to design a lantern inspired by a natural form. I choose coral as my natural form. the aspects of coral I wanted to include in my model were the interesting patterning of coral and the fluidity and movement that I observed when looking at certain varieties of coral underwater. I also wanted to make sure the lantern produced an interesting light which is another important aspect of coral which I really wanted to be an important feature of my lantern. We used Rhino to produced the the drawings for the model and then used panelling tools to produce panels that would be ready to roll out and be sent to the card cutter for fabrication.
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PART A:
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SHIGERU BAN
CHRISTCHURCH CATHEDRAL THE IMAGES ON the left are concept models for a replacement temporary church for Christchurch after the cathedral was destroyed in an earthquake. It was designed by Shigeru Ban one of my favorite architects. Bans works experiments with nontraditional building materials with the main discourse being in sustainability and recyclability. Ban is an innovator in low cost and recyclable materials. This design has been made with cardboard tubes a material that ban often works with as it is light weight, cheap, and able to be recycled. His use of paper could possibly be influence by traditional Japanese architecture. His work is simple and minimalist which could also be influenced by modernist ideals with his materials often left in their raw natural form. Ban seems to me, like a socially conscious architect. He has worked to provide low cost easy to assemble buildings for disaster victims and refugees. I find his work, although often understated, to have a beauty in its simplicity and honesty.
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KISHO KUROKAWA
NAKAGIN CAPSULE TOWER
MY NEXT FAVORITE building is the Nakagin Capsule Tower designed by architect Kisho Kurokawa. Kurokawa was a member of the metabolists. The group’s ideals were said to be in response to a new period of living. The name is ment to represent this new age of living where buildings act like living organisms which are able to grow, reproduce and transform in response to their environment. The Nakagin Capsule Tower encompasses many of these ideals and like sense and with the world resources depleting I really think
we need to be considering aspects of design such as these more often. my previous favorite building also fits in the bracket of being ‘sustainable’ and ‘recyclable’ with the capsules being able to be individually replaced when needed. I am really interested in the concept of architecture which is able to change, grow, and evolve rather than buildings that are static and become outdated. The idea of being able to recycle and reuse parts of the building just makes sense to me.
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1.2 COMPUTERS
IN THE ARCHITECHTURAL DESIGN PROCESS
DESIGN IS STATED in “Architecture’s New Media” to be the most important ability humans have that separate them from animals. We humans are able to assess complex problems and come up with different means of solutions. It is this problem solving which is said to assist’s human in the design process but is not the only tool needed. Design unlike some other problems often does not contain enough information to be solved rationally. There will always be compromises or trade-offs that need to be met and the outcome of many design decisions cannot always be predicted. Architectural design is different to art where the artists creativity is the main driver on getting the intended result. With architectural design you need to deal with “externally imposed constrains” which means that both sides of your brain will be needed to come up with a solution. Computers are programmed to work within certain constraint and boundaries and are made to follow certain rules which they have been
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programmed to do. Computers are not able to make human error and there for excellent to use to help with the analytical aspects of your design. although as they are not capable of creating we will always need to programme the computer first to be able to get it to produce a design it will never be able to design by itself. That why it is helpful for us to use the tools the computer possesses to assist us with the rational and sometime monotonous aspects of the design process. Computers are excellent at assisting with aspects of the project such as drafting, but humans still often like to be in control of the final outcome so they can assess whether or not they like the result and weather they find it aesthetically pleasing etc. One of the major advantages of using computer is their ability to perform calculations for things such as quantity and cost of materials. You are also able to use computers to calculate factors of the building design such as heat gain, ventilation and energy efficacy.
The MIAMI SCIENCE MUSEUM THIS BUILDING UTILIZES SOME OF THE BENEFITS OF USING COMPUTERS TO ASSIST IS THE DESIGN PROCESS. A BUILDING INFORMATION Modeling (BIM) software has been used which lets the designer examine different elements of the building, such as the heating and cooling, the cost, the building materials. The design is able to be digitally modeled in a way that allows you to be able to view how specific changes to the model will impact on energy efficacy, structural loads as well as other variables. BIM can be used to help assist the designer in a more sustainable outcome for the design by allowing you to analysis thing such as solar gain, ventilation and energy efficiency.
such as ‘time and cost.’ You are able to simulate aspects of you design such as wind flow around the building and how this could alter the shape or surface of the building. The main difference between BIM and CAD is CAD shows how the building looks and is constructed while BIM allows you to see how the building is going to function. Because of this it is able to save costs in thing like calculation of materials and will also save time in the building design process. It is also said to be very effective in assisting to provide ways to design sustainably.
BIM creates a 3d model of the design which can be layered with additional information
With the design of the science museum solar strategies, water systems, and the shape of The Case for Innovation 13
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the building impact ventilation through the space, were assesed using BIM software to asses how these elements could be maximized to not only reduce their energy and external resource needs, but how they could fill these voids on site, independent of the grid or other parties. New advancing in digital technology is changing the way we design today. Architecture in the digital age looks at the new realm of computer design which is ever-changing and evolving. It suggests that this new era of design is the digital equivalent of the industrial revolution. I find this to be an interesting suggestion but one in which I am inclined to agree with. Looking back to the 80’s and 90’s growing up computers where such a foreign concept one day and before you know it they are appearing everywhere. Today you feel like you relay on a computer for work and study as well as communication. This is the digital age and using computers to assist in architectural design will just expand and advance the way we work to allow for faster and more accurate planning as well as allowing us to create complex form that were previously to difficult or expensive to design. Three dimensional modeling has been evolving rapidly in other area of design such as ship and plane building software. It makes sense to look to other processes to increase production methods.
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GENETIC ARCHITECTURE KARL CHU IS said to be a leading figure in the ‘genetic architecture’ feild. Chu considers architecture as ‘an extension of the human and post-human being’, he thinks about a new future of architecture where buildings are able to evolve along with its inhabitants. Chu has worked on several ‘genetic architecture’ projects or what he likes to call “architecture of possible worlds.” This new form of architecture can act live a living organism by self-assessing, self-healing and self-modifying. This would therefore help in minimizing their need to be repaired or maintained by external sources by allowing them to morph, process, and react. These buildings could even meet the needs of its inhabitants by sensing the moods or health of its occupants and act accordingly.
Chu states that genetic architects are not trying to imitate or copy biology but thinks of it more of looking to gain ideas and knoledge through the integration of artificial intelligence and biological processes. Some of Chus statement sound pretty far fetched but i dont think this means we should dismiss them. i consider his ideas to be thought provoking and interesting although prehaps not buildable yet with todays technology. maybe we wont have a “a massive computational and selfaware system in which all its components, inhabitants and systems are endowed with intelligence.” but prehaps we will have a new architecture which can adapt and change to suit the needs of its inhabitents.
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1.3 PARAMETRIC MODELLING
IN THE ARCHITECTURAL DESIGN PROCESS
THE USE OF computers in the design processes has been changing from their previous use as a computerised drafting tool or ‘computerisation’ where basically you used the computer to produce technical drawing from a 3D model. Today though this software has evolved to what they are now calling ‘computation’ where the software is now capable of making decision. The software is programmed so that it will find solutions to your design within in set parameters. For example if these parameters where related to a sustainable design, aspects such as wind, glazing and orientation could be worked
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out so that you where able to maximize the benefit based on your set parameters. The software is designed so that when you change one component of your design it will automatically update the rest of your model, whilst staying within the set parameters. This helps to save time and minimises material wastage and cost which are all positive aspects of the software. Some of the negatives associated with designs built are there expensive cost which is in result of the unconventional forms which are produced. Some people have also criticised as being ‘blobs without any design value.
BAO’AN INTERNATIONAL AIRPORT
TERMINAL 3
THIS IS A design by Studio Fuksas for an extension of the Shenzhen airport with Knippers Helbig taking responsibility for the facade. The building has a 200,000- m2 double-layered facade and roof construction with spans up to 80 m. Knippers Helbig developed a parametric design tool for the facade, which consists of 60,000 panels attached to a free-form shell with windows
of different sizes. Besides providing specific dimensional data for each panel and each design iteration and executing the definitive design the engineers came up with a geometrical solution for the building’s 450,000 member frame. This form of parametric design has been used in assisting the design fuction and process.
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The Cut
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2.1 LEARNING DIGITAL / PARAMETRIC THEORY I HAVE BEEN enjoying learning more about digital and parametric theory. I am discovering more about the definitions of what parametric architecture is and about the differences between computerisation and computation. Learning about other forms of digital architecture such as genetic and kinetic. This has all been fairly interesting to me. It seems that there are a lot of people out there at the moment pushing boundary’s and really trying to open up to a world of new possibilities… who knows what the architecture of the future will be… will it be a building which is able to adapt and change itself to suit its environment, who knows. I can see that parametric software is a valuable tool and if used to help building be more sustainable
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and minimised material wastage then it is an important design tool for the future. Whether or not it will become the new ‘style’ of the future is to me erelavent. But will it be used to create a new interesting style of architecture and help us to create more sustainable buildings? I think the answer is yes. Learning how to use the grasshopper software has been really challenging.I have found that the tutorial are easy enough to follow but I find that I am not always understanding, what exactly the components I am plugging in to each other are, and what are they actually doing and how does this actually make it work??. Hopefully thought these are thing I will have an understanding of when I reach the end of the subject.
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2.1 PANALISATION
IN THE IN
THE ARCHITECTURAL DESIGN PROCESS THE AREA OF parametrics our group wants to pursue is panalisation. Panalisation involves the breakingup of complex surfaces by repeating elements. Panalisation is an interesting technique which allowsyou to construct a complex form from multiple panels and simple geometric shapes. This approach iswell suited to the site in Wyndham as because it will be easy to transport and then can be constructed on site. Having multiple panels also makes maintenance work easy and cost effective as the panelscould be replace individually. The panels will be easy to install and construct. These benefit will also result in a cost effective design. Panalisation can be used to create various forms and surfaces and isnot restrictive which will mean we will not be limiting our design. We are able to
adapt the design to avariety of scales and sites and the sculpture could be change and adapted to move to a different site. With simple regular panel there is the possibility to create complex irregularly in forms by having thepanels follow different curves or surfaces or you can have the panels attached so that they can bemade selfsupportive. It will be easy to create a visually exciting sculpture via retain of panels orchanging position to allow different effect with lighting and shadows. The panalisation method isadaptable to different materials. The flexibility in materials can allow for cost effective and sustainablematerials to be used. The components are adaptable and can be recycled. The sculpture can evolve andchange to remain exciting to visitors or local residents.
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2.2 VOUSSOIR CLOUD DESIGN INTENT THE VOUSSOIR CLOUD project by IwamotoScott is a site-specific installation inspired by the works of Antonio Gaudi and Frei Otto, who used hanging chain models to find their forms. The engineering firm who worked on this project used computational hanging chain models to help refine and adjust the profile lines. It was first modelled in Rhino, as pure catenaries. They also used form-finding programs that could help determine purely compressive vault shapes as shown in the images on the left. Their design explores the conflicting ideas of the traditional compression of a vault combined
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with the use of ultra-light weight materials. When the panels are joined together, the voussoirs create a natural vault. The success of the entire structure depends upon each of the individual units. We consider the design to be successful in terms of finding the juxtaposition of vault compression and ultra-light materials. However, the constraints of the parametric design may have lead to restricted outcomes. The inability to evolve the design outside of the constraints of the parameters may have limited the aesthetics of the design and prevented an even more successful result.
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2.2 VOUSSOIR CLOUD RECREATION IN GRASSHOPPER THE FIRST STAGE of our recreatiom in grasshopper involved learning to apply panels to surfaces which we lernt how to do using the box morph tool (as shown in figure 1). Once we had this definition worked out we created the base form by useing curves and lofting the surface(figure 2) before creating a panel similuar to that of the Voussoir cloud and using another deffinition again using the box morph tool to apply the panels to our surface (figure 3). This time we also used the cull tool which allows for a regular or irregular paterning between panels and void spaces. Our final outcome of the re-engineered Voussoir Cloud project has a common aesthetic with the original project. The base surface is a similar design and layout, although our surface is more regular – each ‘cone’ is of the same dimensions and laid out in a grid structure. The surface of the Voussoir Cloud uses varying scales for the ‘cones’, and is
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much more curvilinear. The panels of the Voussoir Cloud are variations of the Voussoir wedge – ranging from zero curved edges to three curved edges. These panels were difficult to recreate, therefore we decided to use an organic shape for the beginning of our design. Like the Cloud, our panels have solid and void spaces, allowing for penetration of light. IF UNCONSTRAINED BY the original form, we would experiment more with irregularity in the patterning and incorporation of light / shadow effects via varying depths of panels and different transparencies of materials. We want the installation to be multidimensional to provide different experiences from varying viewpoints. We would also like to explore the possibility for an evolving installation – i.e. one that that had the possiblity to be changed or adapted.
FIGURE 1 SHOWS experimentation useing box morph tool creating 3D triangular panels along a surface
FIGURE 2 SHOWS recreation of the base surface
FIGURE 3 SHOWS applying a panelisation definition again using the box morph tool and inputing a petal shaped panel onto our base surface.
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CUT CASE STUDY 2.0
MATRIX EXPLORING DIFFERENT INPUTS AND OUTPUTS TO DEFININTION PANELISATION IS A flexible technique for designing the gateway. In our group initially we started with “Voussoir Cloud” Project as inspiration. The first outcomes had similarity to the “ Voussoir Cloud” in terms of shape and structure. Theses outcomes were result of working with panels as a uniform shape of arches. Next step we start to put aside the “Voussoir” arches and experimenting nonuniform panels. Non-uniform panels had a unlimited results and shapes but in terms of structure and workability of panels it was not very successful. Lastly we examine the flat surfaces and arranging panels on flat surfaces. This option was successful because the panels could vary in terms of their design. In terms of structure it was much lighter. The other advantage of last option was the flexibility of assembly and design. The flexibility of final outcome increase the level of sustainability of the project. This meanse by using this approach an technique any changes are applicable.
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FIGURE 1
FIGURE 2
FIGURE 3
FIGURE 4
FIGURE 5
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FINETUNING OF DEVELOPMENT ONCE WE HAD the technique worked out and were able to panelise a base surface we decided on using a triangular shaped panel due to it being a strong geometric shape which we hoped to provide more support to our structure. The first panels we used (figure 1) were three dimensional panels with a 10mm depth to them, aesthetically we thought these panels work but with so much negative space and with many of the panels not touching the design would not be able to structurally support itself. With figure 2 we added a greater depth to the panels which would create more strength to the structure but again due to the fact that many of the panels were not joined we realist we may to provide a base structure to the model which was not something we wanted to do as we thought it would
compromise the aesthetics of the design. We decided to move away from the box morph definition and use one that applies the panels flat and joined to the base surface as this would allow the structure to be fully self supported (figure 3). The next issue we had with this form was that the triangle panel were uneven in size due to the points used to create them not being evenly spaced. To eradicate this issue we went back and change the points to be more regular before plying the panelling definition to the surface (figure 4 & 5). The final stage of the design process was to offset the edges of the panels which we though may create more interest in the form by showcasing how light and shadow effects can add a new dimension to a panelised surface.
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FIGURE 1
FIGURE 2
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FABRICATION ONCE WE HAD our model finished in Rhino/ Grasshopper it was onto the next stage of fabrication. The first step was to make a prototype of the model to scale which we printed out on plain paper and assembled (figure 1). The pieces all fitted together well but the two concerns we had were regarding the rigidity of the structure. It was hard to tell as the paper was much thinner than the card we were intending to use so we weren’t
able to fully gage what the outcome would be... The other concern we had was perhaps the large cut outs were also compromising the stability of the structure. We decide the only way to be sure was to test using a thicker card so we sent the files (figure 2) off to the fablab to be laser cut. Luckily for us the card provided the support we needed and we were pleased with the final outcome (below)
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EXPRESSION OF INTEREST
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EXPLORING PANELISATION AS THE PREFFERED ASPECT OF PARAMETRIC ARCHITECTURE SUITED FOR THE WESTERN GATEWAY PROJECT
OUR GROUP CONSIDERS panelisation to be an interesting and exciting tecnique which would be well suited to an installation for the western gateway project. Panelisation is an adaptable and flexable technique which allows for panels to be be easily adapted to a wide variety of regular or organic curved surfaces and forms. The element which make up each individual panel can be identical, slightly varied or completley different this can allow for a different experience for the passerby from differnt location being able to produce a different asthetic from different points. By being ably to include slight variations to simple geometric shapes you can easily create visually amazing results.
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PANELISATION VERSITLITY THE VERSATILIT Y AND choices available for panels is wide in scope and is part of what the panelisation technique so attractive. Once you have decided on a form or surface area that you require to be panelized there are many different aspects to decide on which will all dramatically change the outcome of your design. Scale is one factor and when wanting to achieve a smoother finish on a curved surface smaller size panels will allow you to achieve this whilst have a larger size panel will result in a more angular form. Panels can be rotated to allow for light to pass through in a particular way or onto particular place or can be angled to cast shadows on certain areas at a particular time of day. The angle of panels can also change the aesthetic of the
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design from varying view points. Panelized surfaces can be continues or can be design as to have both positive and negative spaces. This can be easily achieve while using parametric design software such as grasshopper and using the cull tool which allows you to create a pattern of void and non void spaces. The depth of panels can also be altered to create more depth to your structure and again can alter to visual effect for the viewer. From simpler triangular panels to complex abstract 3 dimension paneling there is so much versatility in terms of design outcomes. Panenisation can also be adapted to a variety of different material form light weight paper structures to steel or aluminum more suited for exterior spaces.
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SHADING SHELL
BARCELONA
A PARAMETRIC DESIGN WITH PANEL OPENINGS FORMULATED BASED ON THE AMOUNT OF SUN EXPOSER
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THIS SHADING SHELL has been design with a catenary roof wish was developed from generation of the optimal amounts of sun exposure required for the area. A sun exposure analysis was undertaken to determine the foot print needed for this optimal area of shading. These values were inputted into programmes Rhino which ‘generated the surface to be relaxed’. Once this geometry is relaxed it also gets analysed according to the values and sun exposure inputted into rhino which then generated openings in each panel with the size of these openings being determined be the optimal amount of light to pass through. It is design like this that really show how parametric software can be used in a positive way to produce an optimal environment for the people using the space.
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HELIOS HOUSE “THE GEOMETRY OF the stainless-steel cladding was designed to reflect light sources concealed within the stainless-steel skin, further cutting energy usage by optimizing artificial lighting”
THIS BP STATION was designed with that intention that it would to draw attention to its environmental message. The panelised canopy made up of 1,653, stainless steel, triangular panels helps to draw attention from passersby. This panelised cladding is considered to be what gives the design ‘visual unification, giving all surfaces the same faceted physique.’ Stainless steel was able to be prefabricated into this ‘complex geometry, which was one of the main drivers behind the choice of materials with the other factor being the low maintenance, durability and recyclability of the material. The fabrication of the panels was optimized in a way that it was able to conserve on labour cost and material wastage. Each steel panel was laser cut to precise dimensions and pre assemble in components that could easily be transported. These panels once on site were interlocked together and attached with welded studs to a fibreglass structure which took only 4 weeks to erect.
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THIS DESIGN AGAIN seems to benefit from the positive attribute of using the panelisation technique. With minimising of material wastage, ability to be prefabricated to allow less labour and material cost, easy transportability and ease of assembly on site. The only drawback I can consider with this precedent is the need for a supporting structures... this does not have to be a negative but need to be considered in the design process... Is the panel material being used in fabrication going to be able to self support? In many cases I think with careful planning it is possible to eliminate the need for a support, or another option would be to integrate a support into the design
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FEEDBACK + OBJECTIVES
FROM MIDSEMESTER CRITIQUE: HOW CAN THIS technique be adapted to the site
PANELS ON MATRIX and slides from presentation show how panels can have versatility and can be extruded and angled in ways that add complexity and interest to the design we would like to see more of this included in the design YOU HAVE TALKED about light and shadow but how about considering this at a more advanced level considering things such as diffused light YOU HAVE DISCUSSED the positive aspects of panelisation but how about the negative aspects and how you would try to over comes these YOU NEED TO reference where the comment on the precedents is coming from this will help to give credibility to your argument. HOW WILL YOU design engage with the brief and the people YOU HAVE SHOWED only inside precedents how will your technique work with the materials needed for and outside installation HOW WILL A large installation be supported if you are using lightweight materials, will you need a frame HOW WILL THE materials be attached fastened together to avoid the possibility of panels coming loose
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FURTHER DEVEOPMENT MOVING ON TO the next section of the design process these are all points we want to consider to hopefully result in a more favourable design. Although we were all happy with the outcome of the model from an aesthetic point of view we agreed that we did not develop the panels further enough to demonstrate their ability to form more complex and varying outcomes. With the next stage being more site specific we would like to focus on researching some more outdoors precedents as well as considering materiality and safety of
a roadside panelisation installation. We would like to experiment with adapting the shape, angle and opening of each panel in our design to show how the panelisation technique can work to allow a variety of interesting viewpoints for the passerby by. We would also like to look towards whydam vale area for some insperation to come up with a design that not only appeals to visiters or passers by but that nakes a statement about wyhdam and that can be cellerbrated by the local people aswell.
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REFLECTION
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REFERENCES HT TP://WWW.METALMAG.COM/INDUSTRIAL-PROJECTS/HELIOS-HOUSE.ASPX HT TP://WWW10.AECCAFE.COM/BLOGS/ARCH-SHOWCASE/2011/07/22/AORTIC-ARC-INCALIFORNIA-BY-VISIBLE-RESEARCH-OFFICE/ HT TP://WWW.KISHO.CO.JP/ HT TP://WWW.TRIANGULATIONBLOG.COM/2011/06/VOUSSOIR-CLOUD.HTML HT TP://WWW.PROGRAMMINGARCHITECTURE.COM/INDEX.PHP?OPTION=COM_CONTENT&V IEW=ARTICLE&ID=46&ITEMID=64 HT TP://WWW.TREEHUGGER.COM/SUSTAINABLE-PRODUCT-DESIGN/GENETICARCHITECTURE-WHEN-BUILDINGS-THINK-WITH-THEIR-SURROUNDINGS.HTML
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PART C:
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