METALLIC FABRIC: FROM FABRIC TO METAL, SOFT TO HARD

METALLIC FABRIC

TEAM MEMBERS

JINGYANG YUAN 22118806

XINYU TAN 22072279

YUNXUAN XIAO 21163930

ZHIYUAN TIAN 22165867

TUTORS|

CHRISTOPHER S. FISCHLEIN, DANIEL WIDRIG, GUAN LEE

RESEARCH CLUSTER 6 BARTTLET SCHOOLE OF ARCHITECTURE, UCL ARCHITECTURAL DESIGN

CONTENTS

CHAPTER 1:

INITIAL STUDIES OF MATERIALS

INTRODUCTION OF LOST WAX CASTING

INITIAL STUDIES OF MATERIALS

- Material Research

- Material testing

- Metal Casting testing

CHAPTER 5:

CHAIRS DESIGN 2 - FRAMEWORK + SURFACE

GUIDELINE FOR CHAIR DESIGN

SURFACES ON THE CHAIR

CHAPTER 2:

DEVELOPMENT OF MATEIRAL EXPLORATION

INITIAL STITCHING EXPLORATION

METAL CASTING TESTING

INITIAL DIGITAL SIMULATION

CHAPTER 3:

DESIGN LANGUAGE EXPLORATION

INITIAL STITCHING

- Seam

- Typology - 2D

- Typology - 3D

- Surface

- Structure

CHAPTER 4:

CHAIRS DESIGN 1 - STITCHES AS FRAMEWORK STRUCTURE

STITCHING PROCEDURE

SAMPLES OF CHAIR

1:1 SCALE OF CHAIR

DEFORMATION OF CHAIR

CHAPTER 6:

STOOL DESIGN - FROM FABRIC SURFACE TO STRUCTURE

SAMPLES FOR TESTING

STOOL FOR METAL CASTING

LOST WAX CASTING

CHAPTER 7:

DEVELOPMENT IN ARCHITECTURAL SCALE

FACADE DESIGN

PAVILION DESIGN

CHAPTER 8:

ARCHITECTURAL PROPOSAL

WALL PANEL

INTERIOR DESIGN

INTRODUCTION

The design language is often interoperable in various fields, and the use of the same elements in different fields will produce new functions and aesthetics. We defined it as properties transferring. And this project is about the properties of a material transferring to another one contrastive material.

We mainly focus on the design language of fabric transformation in fashion design, taking these common techniques in fashion design as our design vocabulary, and organizing them into our design language. Decorative textures and functional seams that are used on flat fabrics in fashion design

become the primary structure in our designs, forming three-dimensional objects of different sizes, such as different sizes of chair, on a whole piece of two-dimensional fabric.

While exploring the morphology, we are also studying the process technology that can transfer the morphology of one material to other materials.Here we have chosen the lost wax casting that allows us to transform soft fabric into lightweight and hard metal. The aesthetics of fabrics that are not related to traditional architecture can be presented as a metal architectural language with strong material contrast.

CHAPTER 1:

INITIAL STUDIES OF MATERIALS

INTRODUCTION OF LOST WAX CASTING

INITIAL STUDIES OF MATERIALS

- Material Research

- Material testing

- Metal Casting testing

The first key point of this project is to understand the special properties of the material we need. In order to realize our theme, we selected various soft fabrics in fashion design as the research objects, took strong metal as the target, and explored the possibility of fabric shape that cannot be achieved by other materials. In the experiments, we used wax to assist the fixing of the fabric form.

Lost Forms_2018

fig.1

fig.3

fig.2

fig.4

Pinfill_2015-2016

Soft Core_2018

Soft Core 2_2019

LOST WAX CASTING | PROCESS

1 Creating an object 3 Fireproof clay is put into the impression, making a sharply defined duplicate of the original model.

5 Hot wax is poured into the gap which produces a clay model covered in wax

7 A finely granulated flour is applied to the surface of the model for making an “investment mold"

8 Pouring in the liquid bronze at the top

2 The model is put into a bed of elastic and shapable material held in place by a rigid outer mold. When the model is removed, its impression remains.

4 When this second model is returned to the mold, there is a gap between the model and the mold for pouring wax.

6 Wax pipes are attached to the wax-covered model for flowing molten wax, molten metal and air when pouring metal in.

9 Breaking the cladding and investment mold for getting the bronze model

INITIAL STUDIES |

Different Types Of Wax

MATERIAL PROPERTIES

INITIAL STUDIES | MATERIAL PROPERTIES

Different Types Of Fabric

Spongiprene

INITIAL STUDIES | MATERIAL TESTING

Variable：Number of times that dipping in wax

Cotton rug canvas dipping in the wax liquid for different times in order to observe the morphological changes of the wax attached to the mesh fabric. The wax liquid formed a drop-like solid wax column more evenly along the grid. Since the cotton rug canvas hardly absorb the wax liquid, the adhesion of the wax is directly related to the temperature of the wax liquid.

INITIAL STUDIES | MATERIAL TESTING

Variable: 3 dimensional shape of the fabric

Cotton rug canvas in 3 dimensional shape dipping in the wax liquid for different times in order to observe the form changes Comparing with 2 dimensional fabric mesh, the wax liquid formed the drop-like solid wax column in different directions. In addition, the fabric cube with wax also was burnt with fire to create holes on the surface which increased morphological possibility.

Variable：Mixing of different substances with wax liquid

Different substances are mixed with wax liquid such as pigments and glues. Some are paints and glues mixed with wax liquid acting on the fabric mesh. Some are the paint and glue first attached to the fabric mesh and then dipped in wax.

INITIAL STUDIES | MATERIAL TESTING

Creating texture: Burning

We used two-dimensional mesh fabric to make a three-dimensional box and then dipped it in wax, then used it as a candle and burned it in a few unevenly distributed places. The burnt area presented unique texture.

INITIAL STUDIES | MATERIAL TESTING

Creating texture: shaping wax in water

There are two ways to shape wax with water which are stirring while pouring, and stretching by lifting solidified wax in water. Water created a natural, organic texture on the wax.

Creating texture: Shaping wax and fabric in water

We combined all the previous experiments and did a new experiment of shaping both wax and fabric in water. Waxes not only held deformable fabrics in shape but also created texture on their surface.

INITIAL STUDIES | MATERIAL TESTING

Creating form: Exploring the potential of fabric by using fashion design techniques

According to our research on properties of different fabric, we decided to use spongiprene to continue the further development which is exploring the language of form through sewing and stitching. Then the fabric can be solidified with the shape by dipping in wax.

Preliminary material experiments helped us select the best fabric for further development. The next step to do is to conduct research experiments on this specific fabric. It started with some research common techniques in fashion design and taking them as our design vocabulary, and then organizing them into some more complex forms as our design language.

CHAPTER 2:

DEVELOPMENT OF MATEIRAL EXPLORATION

INITIAL STITCHING EXPLORATION

METAL CASTING TESTING

INITIAL DIGITAL SIMULATION

DESIGN LANGUAGE | STITCHING

STITCHING ON SPONGIPRENE BASIC STITCHING

Typology 1

Typology 3

Typology 2

Typology 4

Preliminary material experiments helped us select the best fabric for further development. The next step to do is to conduct research experiments on this specific fabric. It started with some research common techniques in fashion design and taking them as our design vocabulary, and then organizing them into some more complex forms as our design language.

INITIAL STUDIES | FORM DEVELOPMENT

FORM DEVELOPMENT BASED ON INITIAL STITCHES

Typology 1

Typology 2

Typology 3

Typology 4

Typology 5

Typology 6

INITIAL STUDIES | CONTROLLABLE SYSTEM | FRAME

This part is looking at the feasibility of casting precision, which inspired us that in the step of waxing and fixing the fabric. Here we introduced a frame as a measurement to control the precision of the shape.

Assembly Process

INITIAL STUDIES | IDEA APPLICATION

We used the frames for fixing 5 pieces of fabric with stitches and the edges of part of the fabric according to the ruler on the frame so that each fabric can be connected together one by one. Not only the function of controlling the connecting part, but also made fabric stretch to a great extent. After that we brushed wax on the fabric so that the fabric solidified and fixed in these shape and can be removed out of the frame. Because of the wax dipping process, these unique shapes can be preserved and transferred to different materials.

DESIGN LANGUAGE | DIGITAL SIMULATION

THE FOURTH PLINTH

Digital simulation - ZBrush

Digital simulation allowed us to make our design language into different scale such as chair and sculpture, and to exploration of more potential application.

CHAPTER 3: DESIGN LANGUAGE EXPLORATION

INITIAL STITCHING

- Seam

- Typology - 2D

- Typology - 3D

- Surface

- Structure

DESIGN LANGUAGE EXPLORATION| REFERENCE

SEAMS AND STITCHES

Contrasting traditional techniques such as macrame and knot-making with unconventional materials, this project explores architectural forms and optical illusions.

Contrasting traditional techniques such as macrame and knot-making with unconventional materials, this project explores architectural forms and optical illusions.

1. Acne Studios onny Johansson

2. Hand Embroidered Natural Bones fameed Khalique

3. Knot Knitting ennifer Barrett

4. The Last Dress fiona duthie

1-2. Digital Grotesque 1 Ben amin dillen urger

3-4. Subdivided Columns michael hansmeyer

DESIGN LANGUAGE EXPLORATION

INITIAL SAMPLE Different types of Stitch

INITIAL SAMPLE | 2D | Thickness 2

Tubes as filling for change thickness

Different thickness without filling + Tightening the threads

Height differences

Changing thickness without filling and tightening the threads

Thicker seam +

Thinner seam

DESIGN LANGUAGE | STITCH SIMULATION | HOUDINI

Using Houdini to simulate the action of stitches on fabric, from single points to straight lines to complex stitches.

ONE STITCH ONE SEAM

NODES 1

NODES 2

STITCH SIMULATION | MAYA

Using Maya's inflation function to mimic the volume created by the stitching on thefabric. And combine it with similar stitches.

STITCH SIMULATION | MAYA

Using Maya's inflation algorithm to simulate the stitching we did to curl the fabric andthen tie it tightly, the different sized lines were put together just as we did in practice.

Applying such a curved stitch to a curved model in space simulates the way the stitch works in three-dimensional.

INITIAL SAMPLE | 2D | Straight Lines

DESIGN LANGUAGE | FORM DEVELOPMENT

FORM DEVELOPMENT | OTHERS

COMBINATION

Fabric + Foam Tube

Combining fabric with foam tubes to create a three-dimensional structure using foam tubes and sewing

Fabric + Fabric

Multiple irregular pieces of fabric are pieced together using sewing to create a texture

COMBINATION

The fabric is considered as a way of filling gaps, taking advantage of the tension of the fabric. The fabric is used for the connection between boards by sewing and perforating, for the simulation of the connection between metal sheets and fabric.

Fabric + Wooden Sheet

DESIGN LANGUAGE | FORM DEVELOPMENT

Surface with stitches | texture and overall shape

DESIGN LANGUAGE | FORM DEVELOPMENT

COLLAGE SURFACE | Testing the idea of surface splicing

DESIGN LANGUAGE| STRUCTURALIZED FABRIC

CUTTING AND CONNECTING

CHAPTER 4: CHAIRS DESIGN 1 - STITCHES AS FRAMEWORK STRUCTURE

STITCHING PROCEDURE

SAMPLES OF CHAIR

1:1 SCALE OF CHAIR DEFORMATION OF CHAIR

Based on a detailed study of the stitches, we further extracted the language use the fabric.

Taking into account the casting process and necessity, the area of thecloth was reduced and the three-dimensionality of the stitches increased, usingcurves to guide the framing and development of the entire project.

In our experimentation, we found that dividing a fabric surface into strips of equal widtharrangement and interpreting the stitches on the strips reduced the area of the fabric, while such stitches had the potential to create a richer form.

Initial Element 1

Initial Element 2

DESIGN LANGUAGE DEVELOPMENT STITCHING PROCEDURE

Stitching method for larger scale Details on the stitched fabric

Step 1: Cutting through light-colored lines

Step 2: Sewing into tube shape

Step 3: Rolling up and stitching

1. Area of intensive texture

2. The reverse side of the stitch

The three-dimensional samples thus generated from a flat surface are subject to a number of design constraints.

Firstly, the form of the sample is related to the drawing on a flat fabric.

Secondly, the stitches of the thread shapes are linked to each other in different places, which can also produce variations.

Finally, the process of hanging the sample on a square frame in ccordance with the shape of the sample allows further control over the form of the sample.

APPLICATION | 1:1 SCALE OF CHAIR

A full-size chair is assembled from several parts. Every piece is cut and sewd symmetrically and also assembled to form a symmetrical chair.

With a proven workflow, we tried to make a chair on a 1:1 scale. We made the chairin several parts separately. They were then assembled and fixed to the frame, eachpart being connected to the other using interlocking, juxtaposing and nestingmethods.

APPLICATION 1:1 SCALE OF CHAIR

We have a rich approach to the details of our projects. This is not only in the size ofthe stitches, but also in the combination of stitch curves and fabrics, the interlacingbetween stitches, etc.

The design has been in a symmetrical design context for a long time and we havetried to break it from certain angles.

By cutting the threads of some of the fixed parts.each time a control thread is reduced, a part of the chair changes under the influence of gravity. The symmetrical sewing with the free flowing state of the objectbetter expresses the fluidity of the material and at the same time breaks thedistanced and serious atmosphere of the project.

After cutting the controlling threads, we repeatedly reversed the entire frame tocreate a rich variation in the form of such a soft chair. We weakened the control overthe fixation of the chair, using gravity to create variations in form and observation.The symmetrical handwork produces a rich variety.

The focus of the work shifts from trying to achieve a symmetrical figure to allowingthe chair to produce a more free-flowing form. This state of affairs is not only moreplayful, but also an expression of our reflection on materials, craftsmanship and howto introduce free change

CHAPTER 5:

CHAIRS DESIGN 2 - FRAMEWORK + SURFACE

GUIDELINE FOR CHAIR DESIGN

SURFACES ON THE CHAIR

Guideline Option 1

Simple shape of single chairs

Simple geometry as a boundary to ensure a simple shape

Creating simple and asymmetrical guideline of chairs

Controlling edges for individual chair and generating a series of chair

Other usage: modular architectural element (eg. facade system)

An asymmetrical chair surface fitting the guideline

Chair with stitched fabric surface

METHOD 01 SQUARE AND STRUCTRUAL LINES

METHOD 02 CURVES AND STREAMLINE

METHOD 01 SQUARE AND STRUCTRUAL LINES

DESIGN LANGUAGE | SUBDIVISION OF SURFACE

METHOD 01

STEP 1: Split along the structure of the chair

STEP 2: Subdivision of surfaces with high curvature

STEP 3: Partial hollowing of the chair

DESIGN LANGUAGE | SUBDIVISION OF SURFACE

METHOD 02 CURVES AND STREAMLINES

SEGMENTATION | TEXTURE EXPLORATION

Different perspectives

Guideline option2

Simple Shape Analysis

After simplifying a single chair surface, extract the shape, and find the topological relationship between the contour shape and the overall radian.

Generation Of Guide Lines

Use the same arc to combine to form an asymmetric guideline.

Facade System

Facade systems with different effects can be formed by combining monomers in different ways.

Combination System

Guidelines can be freely combined to form different shapes.

CHAIR DESIGN LOGIC| GUIDELINE

Guideline option2

Facade System

DESIGN SYSTEM DEVELOPMENT | APPLICATION

Chair design

A new system of geometric frame for ensuring a simple shape and connecting each other in various directions

Unit (from different views)

Combination in different directions (for more possibilities in architecture)

DESIGN SYSTEM DEVELOPMENT | APPLICATION

Sculpture/Installation/Column

DESIGN SYSTEM DEVELOPMENT | APPLICATION Facade system

Perspective

Front

DESIGN SYSTEM DEVELOPMENT | APPLICATION

Chair design

Guideline | simple shape + proper scale

Chair Design | Different views

Chair 1

from symmetry to asymmetry (ensuring balance)

Chair 2 |Development

DESIGN SYSTEM DEVELOPMENT | APPLICATION

Chair Design | Supporting Structure | Edges controlling

CHAIR DESIGN | SURFACE ANALYSIS

Chair Design | Surface | Outline hierarchy

Primary frame

The overall shape of the surface

Components

Frames as guide lines

Straight lines texture

Long and narrow shape for direct use or bending

Secondary frame

Spliting the surface into parts

Surface fillings

Creating more detailed texture

Curve texture

Applying to curve edge of the surface, and also to creating hollow part

Sector texture

Use for corner parts, and also for creating large piece on the surface

CHAIR DESIGN | SURFACE ANALYSIS

Chair Design | Surface | Contrastive elements of the detail

3-dimensional & Flat

Overlapping & Splicing

Hollowing & Covering

CHAPTER 6:

STOOL DESIGN - FROM FABRIC SURFACE TO STRUCTURE

SAMPLES FOR TESTING

STOOL FOR METAL CASTING

LOST WAX CASTING

STOOL DESIGN | TESTING IDEA

Samples | Splicing stitched fabric pieces

STOOL DESIGN | TESTING IDEA

Samples | Splicing stitched fabric pieces

STOOL DESIGN | TESTING IDEA

Samples | Splicing stitched fabric pieces

STOOL DESIGN | TESTING IDEA

Samples | Splicing stitched fabric pieces

STOOL DESIGN | TESTING IDEA

Waxing | Solidifying the fabric

At this stage we wanted to incorporate wax into part of the design so that the stool would maintain its shape with the wax before moving on to the metal casting step. In addition, we also hoped that the fabric stool can be separated from the wooden frame support to achieve self-support after being hardened by wax.

STOOL DESIGN | TESTING IDEA

Waxing | The stool with solidified fabric

STOOL DESIGN | TESTING IDEA

Sample | Limitations

1.

that were not hot enough set prematurely on the surface of the fabric, causing some loss of texture. Need to think about how to restore the texture to the greatest extent.

itself, so it was difficult to support itself after moving away the wooden frame.

Waxes

2. The support of the wooden frame leads to the unreasonable structure of the fabric chair

3. The connection between the fabrics was not considered in the sample. Some openings at the end of the fabric need to be avoided.

STOOL DESIGN | DEVELOPMENT

Stool Development | Design for metal casting

After testing the ideas previously, in this optimization stage we aimed to design the stool which is potential to move on to the metal casting step. So we designed the basic shape of the stool with a quadrilateral seat and 3 chair legs, and scientifically considered the structure of the distribution of the fabric to achieve self-support.

STOOL DESIGN | DEVELOPMENT

Stool Development | Basic shape of the stool

Stool Development | Structural Optimization

In order to achieve the rationality of the structure, grasshopper was used as a structural optimization topology tool to find a solution for the fabric distribution. The result came from Grasshopper provided a simulation that fits the mechanics.

STOOL DESIGN | DEVELOPMENT

Stool Development | Structural Optimization

Structural Optimization | Options of Load point

Structural Optimization | Grasshopper script

1. Loads during sitting

data of

analysing and creating model Result preview

Basic

STOOL DESIGN | DEVELOPMENT

Structural Optimization | Selected Structure

Following the structual optimization, a material layout calculation resulted in reducing parts of the volume, while still enabling the necessary stiffness, comfort and functional requirements to be met. On this basis, a variety of forms were generated for selection, and we selected an ideal form as a reference for subsequent development.

Top

Front

STOOL DESIGN | DEVELOPMENT

Stool 1 | Distribution of the fabric following the selected structure

In practice, the position of the fabric followed the direction of the optimized structure in the digital model as much as possible. Although it is impossible to completely follow every structure, it also covered all parts of the optimized structure with fabric to ensure that the stool could stand stably.

STOOL DESIGN | DEVELOPMENT

Stool 1 | Display at different angles

Stool 1 | Limitation

In this stool, several overlapping layers of fabric resulted in a heavy visual effect. Each single piece of the fabrix is also too wide, so the excessive use of materials led to the ineffectiveness of the optimized structure.

STOOL DESIGN | DEVELOPMENT

Stool 2 | Distribution of the fabric following the selected structure

This stool is a relatively successful result. On the basis of following the optimized structure, it reduced 30% of the fabric compared with the previous chair. Therefore, this stool will be sent to be cast into metal.

STOOL DESIGN | DEVELOPMENT

Stool 2 | Display at different angles

STOOL DESIGN | DEVELOPMENT

Stool 2 | Optimization of waxing technique

For the problem of texture loss caused by the previous operation of brushing wax on the fabric, a technical improvement has been made at this stage.

It is difficult to maintain the high temperature of the wax liquid by first melting the wax into a wax liquid and then brushing it on the fabric, so the wax liquid can only soak into the shallow layer of the fabric which would cause the loss of texture.

The solution to this problem is to paste warm wax on the surface of the fabric first, then use a heat gun to melt the wax and make it soak into the deep layer of the fabric in a high-temperature liquid state.

STOOL DESIGN | DEVELOPMENT

Stool 2 | Optimization of waxing technique

Stool 2 | Comparison of Fabric Sections

From the comparison of the cut surfaces of the fabric, it can be seen that the optimized waxing method enables the wax liquid to harden the inside of the fabric, so that the originally soft fabric becomes strong enough to be the self supporting structure.

Step 1: Pasting warm wax on the surface of the fabric

Step 2: Melting the wax with high temperature and low speed wind

Step 3: Blowing the wax liquid into the deep layer of the fabric with low temperature and high speed wind

Limitation: Improper control of the use time of the hightemperature and low-speed wind would cause the fabric to be overheated and then damaged.

Section 1: by the Method of brushing wax liquid

Section 2: by the Method of melting wax by heat gun

STOOL DESIGN | METAL CASTING | LOST WAX CASTING

Preparations before metal casting | Step 2 - Building Structure

hierarchy of the wax structure

Main support: Fixing the overall shape Secondary support: Fixing details

Adding more wax at the joint between the bracket and the stool to strengthen the whole structure

This part is to make the opening for pouring the liquid metal

Wax welding for the bracket

Add the opening part for the casting

STOOL DESIGN | METAL CASTING | LOST WAX CASTING

Preparations before metal casting | Step 2 - Coating

The 1st step of coating is to apply a layer of liquid that can make the coating gypsum slurry better adhere to the object.

The 2nd step is covering the stool with gypsum slurry.

The final step is to coat the outermost layer with a specific flour.

STOOL DESIGN | METAL CASTING | LOST WAX CASTING

Step 3 - Metal Casting

After the fabric was burned off along with the wax, the plaster shell that remained was ready for metal casting. After burying the stool with sand that controls the temperature of the shell and fixes the position of the object, metal liquid can be poured from the opening. So the metal casting step is done.

STOOL DESIGN | METAL CASTING

Casting | Before and After

CHAPTER 7: DEVELOPMENT IN ARCHITECTURAL SCALE

FACADE DESIGN

PAVILION DESIGN

Extracting shapes from frames

Shaded Side Sunny Side

Different Patterns

Extracting shapes from frames

The facade structure is formed by steel cables and tubes. The main steel cables are connected to the building structure, and function as main load-bearing components. And the steel tubes support whole structure. Casting component is connected to steel cables.

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FACADE| SUNSHINE Direction

Design objective:

To balance light conditions on different elevations.

\ Facade

The longer the facade is exposed to direct sunlight, the more time it is shaded; the less time it is exposed to direct sunlight, the less time it is shaded.

Facade| Sunshine duration test

Comparison between two vertical elevations

texture applying to the surfaces

The single curved side of the façade is attached to a straight grid, while the other side has a freer embodiment of the linear form of the stitching. This form simulates the irregular turnings caused by the stitching on the fabric and adds a lot of detail to the façade.

PAVILLION SCALE

DESIGN APPLICATION |PAVILION

The creation of the base form

Generation of small-volume installation products

Starting from a basic logic and small units, some simple installations are formed. First the curved frames with multiple angles are freely assembled together and then the volumes are produced by means of combination with embedded stitching.

basic curves basic unit

Formation of wall units

Inset surfaces in truss

Random fluctuations

Inset surfaces in curved truss

Attempts at this stage of architectural digital models were difficult to reflect the three-dimensional effect of the physical fabrics, therefore cannot be considered a successful attempt. The next development will pay more attention to restoring the natural deformation and three-dimensional effect shown in the previous physical chairs.

CHAPTER 8: ARCHITECTURAL PROPOSAL

WALL PANEL INTERIOR DESIGN

ARCHITECTURE PROPOSAL | DESIGN LOGIC Process of Development

Creating curves Creating width

Adding stitches

Adding surfaces

Curves + Surface

ARCHITECTURE PROPOSAL | WALL PANEL

Typology | Window frame, Partition wall

The decorative wall panels can be matched with the glass curtain wall in the building. It can not only ensure enough lighting to enter the interior of the building, but also play a role in visual blocking, bringing openness and privacy to the users of indoor space at the same time.

ARCHITECTURE PROPOSAL | INTERIOR DESIGN

Stair railing

Column

ARCHITECTURE PROPOSAL | INTERIOR DESIGN

Renderings

ARCHITECTURE PROPOSAL | INTERIOR DESIGN

Renderings

METALLIC FABRIC

FROM SOFT TO HARD FROM FABRIC TO METAL