Architecture Studio Air by Michael Raeburn

AIR

ARCHITECTURE DESIGN STUDIO JOURNAL MICHAEL RAEBURN

ISSUE 2012 SEM 2

CONTENT Part A: Case For Innovation Architecture as a Discourse................................................8 Computing in Architecture..................................................18 Parametric Modelling............................................................22

Part B: Cut Case Study Project Group Argument/Research...................................................28 Case Study 1.0........................................................................30 Case Study 2.0........................................................................32 Matrix........................................................................................36 Model Making/Process.........................................................38

Part C: Gateway Competition Site Analysis.............................................................................46 Proposal......................................................................................

â&#x20AC;&#x153;Architecture cannot divorce itself from drawing, no matter how impressive the technology gets. Drawings are not just end products: they are part of the thought process of architectural designâ&#x20AC;? //Michael Graves

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E S A C R O F NOV IN N O I T A 7

ARCHITECTURE AS A DISCOURSE I believe greatly, that an architectures’ main focus should be centralized around the function of people and the interactions we share with others in everyday life.

Michael Raeburn is my name and I’m an Environments student studying at Melbourne University. I’m 21 years old and have been studying for the last 3 years, previously studying Interior Architecture at Monash University in Caulfield. I’m a Melbourne born and bred student and I aim to one day become a successful independent architect. When I’m not studying I like to play music - I’m in a band and I alos like having the occasional hit of golf or tennis. I have a great interest in the psychology behind architecture and the way people interact with the environments around them. My approach to digital architecture is that it is increasing popular and impossible

DISCOURSE // STUDIO AIR 2012

to avoid. My experience with it generally sits in a love hate relationship at the conclusion of projects - enjoying the outcome although hating the process, or vice versa. I have experience in 3DMax, AutoCAD and most of the Adobe Graphic programmes. I’m not a fan in the idea of designing with digital software - I believe all general thought patterns and ideas should initially be reproduced by hand. I feel digital architectures’ place is in the presentation process of the design journey rather than a place for inspiration and experimentation. My design philosophy is quite embedded within me but at the same time I feel you need to be extremely flexible as an architect in order

to achieve ‘greatness’. I firmly believe hand drawing is the strongest tool when designing - it allows people to collectively talk on a universal level, stripping back all unnecessary technicalities, reacting with complete intuition. My ideal situation in approaching a desgin brief would initially involve hand drawrings or concept models and refining my idea further using digital media and presenting the project with either a rendered image or a highly refined hand drawing. ‘Less is more’ is a general distinction in a lot of my work, I tend to like creating objects and structures to their purest form - associating them with little ornamentation and with entire tribute to material quality.

self sourced images

DISCOURSE // STUDIO AIR 2012

Second year Interior Architecture, Semester two: Berwick Infomation center

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Second year Interior Architecture, Semester : My Residence

These two project have been done during my time at Monash University. The left done using 3dMax and the right using AutoCAD. Mental Ray has been used as the render for the two.

self sourced images

(The left) I was improving the spacial awareness for students entering Monash University (Berwick) and feeling a sense of the unknown. I hated the project - I felt it was very bland and bleak. (The right) I generated after a much longer period of time with much refinement. Materially, I felt the renders looked quite accurate. A better representation in regards to materiality and lighting of the environment.

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VAN DER ROHE BARCELONA PAVILLION Ludwig Mies van der Rohe’s Barcelona Pavillion is a building which strikes me as something timeless. A structure that seemingly creates a unique experience for the occupant - feeling completely within the structure whilst intrigingly feeling this sense of transparancy within this opened envelope of a space. My interest in this piece is generated through the concept behind the building being the boldness of ‘Weimar Germany’, commissioning a self-portrait of their race during the 1920’s. Superiority, progression and democracy are terms symbolic in the generation of this building. It was also a symbol of honesty - through the transparancy within the open-plan formation. Van der Rohe, being an integral member of the Bauhaus, carried through the philosophies explored and taught at the school, stripping back the

material to its purest form - functionality. The furniture resolates inside the building becoming an influential member of the experience for the user. I feel the building is revolutionary through it’s mastery in the open plan formation. I believe the schools’ views have ellaborated through education systems worldwide. Philosophies in the learning/teching process really resonate with my own upbringing as a student. Van der Rohe’s work s a celebration of all things Bauhaus and Modernist an style heavily influenced through the technology availible at the time. However a new wave of designing was occuring, paying particular attention to the meaning and justification of materiality, form, shape and colour. A systematic idea was taught with references to early principles of balance and order. www.ivarhagendoorn.com/photos/series/barcelona-pavilion-6

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GUGGENHEIM MUSEUM

LLOYD WRIGHT

The general experience visualized throughout this museum inspires me to draw references to it, when designing. The bold and distinct gestures to light, tone and form penetrate throughout the space, creating this euphoric, rhythmic, circular effect. Frank Lloyd Wright implemented this technique to challenge the founded movement projections carried out through museum designs. Personally, I have not visited the building although I can draw on publicists and photographs which suggest a sense of what it is like to occupy the space. Lloyd Wright’s philosophy on combining the epochs of natural environments and urban environments seem to translate in this design. The design origins of the piece refer back to temple-like structures, monumentally occupying a major corner of Fifth Avenue in New York (Manhattan), signalling superiority.

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Originally Manhattan was a hub for the wealthy, showcasing the worlds most expensive retail. The abstract stone or inverted tree stump structure provided a , en lighting the public with the education of art.

“museum for nonobjective painting”

The building symbolizes the intricacy of modernism, providing a pop culture monument to the public eye when referencing the style ‘modernist’. The subtlety of openings and surface reflections provides great contrast in the modern outlook of architecture from it’s ornamental ancestors. The contrast in form to the neighbouring structures really accentuates the volume, stamping it’s urban footprint on the urban fabric of the city. The building demonstrates regularity but also portrays imbalance resulting in a dynamic compositing of various experiences.

copycateffect.blogspot.com

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johnlewis.com

â&#x20AC;&#x153;A man at work, making something which he feels will exist because he is working at it and wills it, is exercising the energies of his mind and soul as well as of his body. Memory and imagination help him as he works. Not only his own thoughts, but the thoughts of the men of past ages guide his hands; and, as a part of the human race, he creates. If we work thus we shall be men, and our days will be happy and eventful.â&#x20AC;? //William Morris

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COMPUTING IN ARCHITECTURE Are we only as good as our ship-making or plane making cousins? Computing in architecture I feel is a complex and alternative way to think about designing. The process is completely different and conflicts with many disciplines being taught. The idealogical content of the concept I feel is a little unsubstantial, sometimes losing symbolism. Personally I don’t characterize the concept as being creative, but rather ‘logical’. The discipline requires great accuracy and meticularity but I feel lacks the creative depths in reacting to a particular situation. The unique nature of the technique is obvious asthetically - deterniming forms that are extremely difficult to comprehend and calculate. But the other natures which I find are invaluable is the ability to enhance the general idea in

computing // STUDIO AIR 2012

particular detail, suitably tailored to the problems focus. Progression in the understanding of geometries and forms opens a new opportunity for exploration and discovery. The article suggestiing we should adopt similar manufacturing, construction values to industries such as aeronaudics or shipmaking brings great question to the dependance of architecture discipline to other ‘more superior’ disciplines. It seems a little unfortunate that money is realistically creating these opportunities within these disciplines rather than creative innovation from outstanding individuals. Or these outstanding individuals are creating these programs specializing in with industries higher financial support.

A bakery is an establishment which revolves around routine and order. Architects here have created an interior space tailored to the baker’s custom wants and needs. The shelving unit on the wall is retractable and interchangable. The curvatious skin it creates on the interior is a result of computing in architecture - precisely measuring intricate forms to suit the needs and function. The architects Leeda Projects created this space untouching the existing context, almost like an inverted envelope encompassing the occupants. I feel computing is utilized as a tool extremely well in this context, creating an interior space customary to use and function, spacially tailored for the client.

LEEDA PROJECTS PTY LTD BAKER D CHIRICO

londondesignjournal.com

computing // STUDIO AIR 2012

weheart.co.uk

JURGEN MAYER METROPOL PARASOL This waffle structured monolith in Barcelona is an expression of timber within its purest form. Jergen Mayer, an architect who generates much discussion in his ideologies of architecture has created this representation of an organic structure through complex geometries. The metropol parasol is the expression of the skeleton becoming the skin is essentially honest and exposes all. The structure contrasts with the urban fabric of the environement, generating a space which vaguely encloses the viewer. The digital processors here allow Meyer to calculate the precise measurements needed to assemble the waffle form. Light penetrations are conveyed through direct extractions of light through the sun. This varies at times of year and obviously through times of the day. I find the generation of organic mimicry quite fascinating in portraying a geometric form as something organic. This questions perception and reality, illusion and solidness.

computing // STUDIO AIR 2012

parametric Modelling That isn’t architecture; a sense of the ‘experience’ is lost with no real suggestion to scale or proportion - it is only creating the logical solution to a sequence of problems. The ultimate function over form.

Software changing the entire process of ‘designing’ is obviously going to be a controversial tool with architecture previously so embedded in a common structure in terms of creating. The contested arguments I feel really center around the idealogic philosophies and intricate definitions of key terms. Schumacher’s definition of ‘style’ I feel resonates a sense of urgency within the ‘progression’. He suggests that the current state of mind is static and for architects to procede our ancestors, we must challenge our way of thinking and broaden our state of logic. I feel there is a niche market for parametric modelling although the market is not necissarily based around the asthetics in which Schumacher

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draws on. I feel a style is a way of thinking, a state of mind and a general cursor in how we occupy this planet. We must be extremely careful when using this software as there is a hint of self-indulgent connotated with the aesthetic values. This unfortunate nature is unfortunately devaluing the importance of parametrics in architects through the eyes of aspiring designers. The reknown ‘blob’ is killing the integrity and substance of architects; falling into a preconception that it is ok to plot parameters into a context and illustrate a random polyform, and then naming it architecture. The issue arises from individuals taking advantage of uneducation

of others and demeaning the knowledge base put into ‘designing’. I feel that parametrics’ place in the architectural community should somewhat revolve around the fuction of a structure rather than claiming something that it is blaitantly not - simulating a ‘new’ style. As displayed on the right, results of this lack theoretical integrity although stimulate our perceptions. Through parametrics we can filter and calculate functions of forms in a detailed and efficient manner. We must use this as a tool and implement, otherwise technology is too deeply dictating form and function.

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arata isozaki qatar convention center The Qatar national convention center is a structure calculated using parametrics processing the different loads the surface to create a supporting form as pictured. This generation of form complies with my role of parametrics within the architecture collective - physics are being expressed here to produce a form only accessible through parametrics. The support of the canterlever creates the focus of the building really questioning what should be celebrated as a form, the skeleton or the structure?

whitebook.co.uk

parametrics // STUDIO AIR 2012

T U C E S A C Y D U T S T C E J O R P

GROUP RESEARCH//ARGUMENT

reciproque.com flickrhivemind.net

artreview.com

argument // STUDIO AIR 2012

ARGUMENT // STUDIO AIR 2012

Currently, my observation on parametric architecture is still I feel uneasy. As I’m beginning to engage with the software, I’m experiencing the ‘wow’ factor which I’m sure everybody gets when they strart ‘creating’ these complex forms. Although I still feel uneasy about the amount effort inputed, with a seemingly unjust output. The forms seem too complex in the actual thinking work behind the result. I guess parametric architecture is architecture that requires more thinking and essentially isn’t down to chance, much like my initial exploration. It is a whole new experience for me, especially with the emphasis on mathematics, but it’s almost refreshing to feel a deeper sense of calculation - much like the satisfaction one might have back in the beginnings of ‘the architect’ where calculations were integral. Currently it seems like the calculation is still evident althought the bulk of it is on the engineers shoulders. You can easily see the convinience the program provides in dealing with different design solutions. The ‘wow factor’ is in itself a seducer to our architectural egos.

As a team we have decided to major in panelization. Our group are really focussing on four elements which conceptulize our thinking as a collective. We are exploring the use of filtered light through the variation in repeated form and different penetrations of light. This technique creates a sense of dissolve on pure form, almost creating an illusion on what is percievec and what is real form. The intricate detail of the interlocking efficiency within panelization creates stuctural efficiency. Numerous elements working as parralels and drones of one another create an entire element more structurally sound becasue of this multiple exchange. We were fascinated in the idea of movement throughout a structure, whether it being an active or interactive system or a static representation of movement as a form (such as fabric or string). This seemingly parrallels seamlessly with filtered light explorations, potentially connecting to the context of the site and the natural weather conditions present. This interactive movement with the existing elements could connect with the associator of the site, experiencing the structure.

Perception of the structure may change as different positions may interpret different patterns or rythms. We felt panelization mimics organic form though ultimately is completely geometric. This we noticed with great interest and again this common theme of the illusion, on what is percieved and what is reality. Much like Couvent de la Tourette’s structure below or Kapoor’s ‘Monumenta’, the perception of space is something that creates an experience for the viewer and filtered light can successfully do this. Jean Nouvel’s ‘Louvre’ is another which brings illusion to the eye of he perciever. A sense of unknown is met between percieved and reality. The effect, whether it being rythmic or a disorder of space, I feel interacts with the perciever’s emotion . The experience can subtly convey an idea of order, randomness, nostalgia or a sense of the monumental. Each of these examples (from left to right) are portraying illusion, drama and order. These ideas that we are trying to convey are hopefully broad enough to filter the spectrum in context, the needs and wants of the client.

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//CASE STUDY 1.0 This project done by students of Aalborg University, ‘Art615’ is an innovation paying special consideration to cultural dynamics around technology in Denmark. Mostly used in negative association such as crime neglegence, these students have used the lighting dynamics to achieve a positive social potentialities in form - exploration in the new and exciting on such subjects. Working in collaboration with local manufacturers ‘CNC’, a panelisation technique is used with square plates attatched to curvatious ribs. The quick

construction method of ribbed elements is a technique which I feel we as a group could utilize similar within our idea. The connection with light, revealing the structure is something which our group has taken much intrigue from and feel we should maybe explore this avenue of form making. This project semi ventures away from our exploration of stucture within our intentions as the panels being created are primarily supported by a rib structure

which really doesn’t reflect our intentions of self supporting elements, generating an interlocked system. The rib system really supports the functionality of the light systems present although in our groups case - could be done alternatively as a singular directed light source. The experience seems quite dramatic and the variation really attracts our group into applying something similar - variating in conditions (sun, heat and wind).

designplaygrounds.com

case study 1.0 // STUDIO AIR 2012

archdaily.net

case study 1.0 // STUDIO AIR 2012

//CASE STUDY 2.0 Voussoir cloud is a project done by Iwamoto Scott which occupies an interior gallery space with access to natural light. Panelization is implemented in true form - structurally, independently supported surfaces creating space. Openings of the space are quite reserved in the anchor points of the project allowing for structural efficiency implementing most of the weight to the lower areas. Filtered light, being a major focus for us is portrayed dramatically throughout the space by the various openings within the surfaces. Thin wood laminate is used as a material which I feel accentuates the realness and mimicry of organic form. The curved seams are pin-jointed together from panel to panel, operating as a self supported structure of hybrid arches. The illumination really creates a spectrum of enclosed space really focusing on the idea of shelter, what it means to enclose and separate interior from exterior. designplaygrounds.com

case study 2.0 // STUDIO AIR 2012

I started re-animating ‘Voussoir Cloud by implementing various curves using Rhino, setting up a platform for various surfaces. These curves were referenced in Grasshopper and consisted of three to four different anchor points transitioning arches into smooth curves from one point of the floor to another point. I then lofted these curves using Grasshopper which essentially created these tubular surfaces. Using the four edge surface tool in Grasshopper, I created the ‘ceiling’ elements, referencing the line around the lip of the loft with the contours of the arches conveyed. // A singular definition of one of the lofts can be seen below; I then began to create an input geometry (similar to the actual project’s) of a triangular prism - applied to the surfaces of each loft. When appliying the geometry to the four-edge surface panels, the surface input projected ‘invalid’, I was unable to express the full extent of the case study although a similar version is created.

case study 2.0 // STUDIO AIR 2012

//geometry development When deciding an input (geometry) for our own project, we wanted something that could have the potential to express both static and active movement. I investigated this idea of a panel - seemingly portraying a puncture of force. This potential panel could also be easily interactive with the environment around through wind penetrations and possibly heat variations applied onto the surface which could shrink/ expand properties. The puncture obviously creates a sense of filtered light through a series and repetition. The base geometry of

a square could be explored further although I feel that it is sufficient in supporting our idea. The flower like system and image could also be paralelled to a â&#x20AC;&#x2DC;puffer fishâ&#x20AC;&#x2122; in the expansion of material due to heat. I solved a suitable definition that could alter the opening of each of the four fins whilst being applied to a surface (like case study 2.0), The panel we found could only be able to rovolve 90 degrees as further would exceed the span and interfere with neighbouring panels on the surface. This I felt was a major breakthrough in our group.

case study 2.0 // STUDIO AIR 2012

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matrix The matrix is demonstrating our parametric process, the first row really showing the surface development which really is revolved around the potential light penetrations. This variation can be explored further in perceiving the projected surface in various ways - creating an illusion of space. The second row really plays around with pattern and rythym, repeating the valued geometry in various ways to again get a sense of the light penetrations and how the perceiver can view the space. The third row varies the technique through a pipe=like structure, determining various grid formats in which the four sided panel can be expressed. This was interesting to explore different formations of the geometry. The last row explores the density of the panelization and the variation of opening of the geometry. We found a medium density (in relation to perciever) would work successfully to achieve our goals as light penetrations could be clearly expressed while integrating a sense of movement and density.

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model making

This was part of the model which created a platform for the desired surface of our idea. we used the repesition of balser boards, mimicking an organic surface to create something that conveys movement. we stuck the balser pieces together with PVA glue whilst measuring precisely the intricate curves which were referencing our parametric representation. We felt the model turned out quite well although we would have liked the process to be done utilizing the fabrication lab rather than hand crafting the material. This was a time management issue which we as a collective can learn from. Digital fabrication reitterates parametric and digital design. We felt domonstrating a particular panel within the entire surface of panels was very important in communicating ideas aiming to convey. The model is done by hand, using box board and scoring the ‘inner x’ fins to allow for curvature. Essentially our final model will hopefully integrate a series of these. The model we felt was the most successful out of the three as it conveyed the idea indepth - communicating the idea of movement (a puncture) the play on light and perception of space and the visualization of how the stucture could actually look in reality. So ironically the most time spent on a model doesn’t reflect it’s effectiveness in expression.

models// STUDIO AIR 2012

self sourced images

models// STUDIO AIR 2012

self sourced images

models// STUDIO AIR 2012

This essentially is the model which we agreed conveyed interesting filtered light penetrations although lacked sophistication. As you can visualize, the patern and illusion of space is quite dramatic. The surface we felt could potentially be lit within (at night) and from the exterior (different times of the day). This light penetration could celebrate or hide different features of the site. Potentially, the surface could selectively not include some panels to frame certain aspects of the landscape, creating heirarchy. The missing panels - like the Voisure cloud could be reoccurent in the upper areas of the sculpture to effectively enhance the structuraly capability. Areas we needed to focus on were mainly the exploration of materials - in actually enabling the interactive ways certain materials can expand and shrink within sunlight and heat. This will alter the puncture of the panel and thus responsive to the

environment which was our initial intention. We were also critiqued on our time management, and suggested a much more sophisticated model could communicate more effectively. Our confidence in delivery was a little sparce therefore next presentation we noted that we should be very straight forward

and direct. Our concept development wasvery good and sophisticated - we generally needed more time spent on parametrics, learning about materiality and to efficiently use time. I feel our project has great potential in exicuting areas which we had initially focused on.

self sourced images

models// STUDIO AIR 2012

d n y w m a h e t a g y a w 34 75

site analysis The site sits as a gateway in and out of Wyndham, a region on the outer-skirts of Melbourne. The site itself is very flat with a small mound within blocks A and B. The road running through and the obvious focal point is the M1 - which continues all around Australia as an ongoing route. People travelling on the roads would predominantly be people who live in Wyndham, travelling into Melbourne for work. The nearest town is Werribee which attractions include the Werribee Zoo, Werribee Mansion, Werribee Racecourse and Werribee River. The distance from the site to Melbourne CBD is approximately 30km.

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The workable blocks which can be constructed onto are noted ‘A, B and C’. The wind is very prodominant and there isn’t much shading within the site. The site is at a low density and arid. A service station in the North East corner is a feature of the site which can be seen as a cursor. The site length is approximately 150m and the turnoff pictured is an exit for Werribee.

site analysis// STUDIO AIR 2012

c a

site analysis// STUDIO AIR 2012

bloom

doris sung

Doris Sung’s Bloom was our project which we could gain an understanding in thermobimetals. Here, she has applied a fusion of manganese and nickel to create a material which performs the way we wish. We however are using the combination of copper and aluminium to perform similarly. The expansion rates of these two metals are very different and the duo have been demonstrated in science ‘bimetal strip’ experiments. Bloom is a project in California which in comparison to rural Victoria, has quite similar temperature. Hence the appropriate application will seemingly perform the same effect. dosustudioarchitecture.blogspot.com

proposal context The relevance our design has in context to the site and Wyndham is revolved around two major factors; Wydnham’s illustrious agricultural history and it’s current urban projection in relation to Melbourne. Currently, Werribee (which sits within Wyndham’s region) is one of the highest growing populations in all of Victoria. It sits on the edge of Melbourne urban sprawl, housing the new generation of Australians. Our

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concept portrays that influx of people through an opening up of light - something flourishing within it’s environment, and growing, almost like an organism. This population boom carries the term ‘thrive’, which we have decided to name our projat after. This sense of thrive really conjours a similar energy when parralelled with agriculture. The bloom of a flower is another factor which can be drawn out of our proposal.

20km

melbourne wyndham site

geelong

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proposal surface

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The development of the surface is critically important to the scheme of the proposal. Being interested in movement, we considered the occupants movement thoughout the site - being in cars that travel around 100kms an hour. We decided that the surface should follow the road for an extended period of time to provide an experience which is prolonged as opposed to an instantaneous moment. We felt the filtered light penetrating though would effectively produce a sence of awareness to the context around the occupants. The penetrations will ultimately change constantly, reacting to the weather and heat exposed onto the panels. We wanted to create openings of the surface to frame parts of the landscape appreciating and growing

awareness of rural Wyndham. These openings, developed from church arches; changed through the application of movement to become more effective in capturing frames. The overall length of the longest surface would measure around 80m, essentially allowing for 6-7 seconds of experience time. The openings would contain 30-60 seconds of ‘frame’. The church-like arches developed from Iwamoto Scott’s Voussoir Cloud enabled an opening that transitioned the viewers eye, rather than exposing the vista instantaneously.

from Geelong to Melbourne and one (the longest) runnning from Melbourne to Geelong. The two parts will subsequently create a break in the ‘tunnel’ shifting and framing the conditions whilst transitioning experiences.

We felt the various heights in verticle clearance of the surface also produced a transition and accentuated the projection of light. The surface will be consisting of three parts, two

The development of surface was vital in interacting with the site, we felt it needed to be pushed to progress in the development of the scheme.

A series of arching spans will support the panels spanning a distance of 35m at times. The clearance of the tunnel measures at a minimum of 6m. The material used for the spanning arches will be a metal based product that is heat resistant to disable any structural interference with the ever-exanding panels.

proposal// STUDIO AIR 2012

plan As illustrated, the structure is consisting of 3 elements following the highway to create the prolonged experience. Being represented in a winter sunset, the stucture projects a harsh shadow to the east. The framed openings are located out towards the fields east and west, aknowledging the sparcity of the environment. The copper exterior is producing a shine from the sun which could be seen directly from approaching drivers.

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proposal materiality The materiality of the sturcture is centrallized around the thermo-bimetallic properties of the panel. The copper/aluminium combination allows the panel to create a curve which essentially creates deviations in light penetration. The panel is tabbed on the sides and the connected with a bolt and screw on the featured shaded area. The panel is then slotted into the supporting waffle structure. These inter-locking arches are made of a material which is minorly effected by heat. The waffle arches will be hollow, 135 x 500 thickness. The thinness of the material will allow for the junction of the panel. The hollowed (preferrably metal) will be filled with concrete to reinforce strength when penetrating through the ground surface. This should help against wind loads.

400

500

proposal// STUDIO AIR 2012

proposal sun path winter sun

summer sun

More direct sun penetration/ more heat/larger opening

Less direct sun penetration/ less heat/smaller opening The sunpath is an essential study which we needed to calculate in order to orientate our structure onto the site. When the sun hits the panel perpendicularly (90 degrees) the panelâ&#x20AC;&#x2122;s opening is at its maximum. Obviously when the sun is rising, the east side panels are most erect, and vice versa when the sun is setting. This will contrast for travellers going to and from work, experiencing different variations each trip. The diagram above demonstrates the structure in plan during a sunset in winter. As illustrated, the reflectivity from the sun is quite high which permits the opening of each panel to penetrate a pattern. On cooler days, the structure will be completely enclosed and lighting (which can also light up at night) on the interior can light up the road flowing through.

proposal// STUDIO AIR 2012

thank you

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