FINAL PRESENTATION.

BEAUTIFUL WORDS.

A multi-scaled exploration into the creation of atmosphere using light, colour and texture. Particularly focused on experimentation with various systems of [offset] paneling, their relationship to the user and the sense of atmosphere they evoke.

This investigation exists within context of the spatial beliefs of New Zealand architectural theorist Julieanna Preston, especially those regarding the architectural envelope. Preston believes that architecture should be considered to be porous: a sieve; a valve; a facilitator. Allowing the envelope to become a riparian edge and blurring the ideas of wet and dry; hard and soft; in and out; and reflective of both those who inhabit it and the landscape in which it is situated.

THE JEWELLERY

Prototypes were composed of various forms of paneling connected using thin rods in the form of manipulated curtain pins. Of particular interest was the way in which light reacted to such forms and the different relationships between the paneling.

THE JEWELLERY BOX.

Intended to appear simple and ambiguous from the exterior, giving only clues as to its interior. A level of porosity is achieved through varying density levels, visible when light travels through the plastic. The box is customized for each item of allowing them to become lost within its box reflecting the dissolving of the traditional relationship between body and landscape as occurs when a body is submersed in water.

THE ELEVATOR SHAFT / ATRIUM SPACE.

A large scale building influenced by both the interior space created by its envelope and the site in which it is situated. It gives the impression that it extends to infinity, this being achieved through the refractive nature of fragmented glassand  the constant movement of the individual components, traced by the elongated steel cables and rods on which they are suspended. Visually the experience for those both inside and outside of the building is blurred, allowing some understanding of the world on the other side although remaining mostly ambiguous. The façade panels have been designed to concertina and slide past each other allowing movement of elevator cages whilst retaining a completely weather-tight exterior.

THE ELEVATOR CAGE.

A more in-depth investigation into the occupiable spaces within the atrium. The forms of which are determined through the extension of prominent lines within the rest of the façade. 

SLIDING FACADE COMPONENT

third attempt at refining and printing the sliding component. possibly would need to be fabricated at a larger scale to get it to completely function. only shows two of the four vertical cables/rods in addition to this there would be two fixed rods to which the fixed (bottom) component would be attached.

SCALE THREE [2]: DESIGN FORM OF ELEVATOR CAGES

SCALE FOUR: SLIDING COMPONENTS. [2]

The three components have been developed so as to include a series of lips and recessions that meant that when the top piece is pulled it pulls the piece below it and the fixed bottom piece limits how far the upper two can travel.

SCALE THREE: RHINO MODELLING. [2]

using the existing wireframe pattern from the jewellery box to plan interior space of a retail fit-out.
a series of interlocking panels constructed from frosted glass or acrylic plastic will provide an undulating surface into which the bottom half of the previously designed jewellery box will slot. this will be mirrored on the ceiling with the lids of the jewellery box thus leaving a ribbon of space between the two which would be glazed in a single pane of transparent glass. Occupation would be within the central void with access being gained between the 'purple' and 'red' layers in the above images.This is form i can imagine could function as a temporary/travelling display space that could be installed both inside or outside and when lit would then influence the appearance of surrounding buildings with rays of light and shadow being cast.  

details to be designed:
1. how the vertical panes interlock.
2. how the boxes slot into the vertical panels so as to create a single undulating surface.

BOX WIRE FRAME PLAN.

wireframe render from plan view of box.
to be used to dictate areas of differing scale of boxes within the shop and how the  glass shards will extend from them.

SCALE THREE: RHINO MODELLING. [1]

I intend to design a system of displaying jewellery within my jewellery box which is ultimately read as an extension of the box itself. The bases will be arranged to create a single undulating surface - the angles of the fracture between base and lid dictating the final form. This will be mirrored by the arrangement of the lids in their creation of the ceiling.
I have run into the problem of my original box having a much too complex geometry to be having such large numbers within the same file and will therefore have to re-think how i am going to go about designing the space. Instead of the arranging the boxes to form a pattern from which i would design their supporting structure I am perhaps going to have to do the opposite, designing the structure and then implementing the soon-to-be-simplified boxes in a potion of it as an example.

SCALE THREE: RE-MAKING BOX.

I tried various ways of simplifying my box to decrease the file complexity. As boolean and trim commands will no longer work with it it proved rather difficult. Using the previously constructed blue and green massing and explode/rebuild i was able to reduce the number of faces significantly but it still seems to be too complex when using multiple in one file.

DRAWING SCANS.

SCALE FOUR: SLIDING COMPONENTS.

SCALE FOUR: RHINO [1]

exploring how previous components can be morphed into occupy-able capsules.

SCALE THREE: DRAWINGS. [1]

Extension of lines from original exploded box drawing.
This being the effect/atmosphere that I want to achieve within the designed retail space.  It should be an extension of the box itself but lighter and not detracting from the jewellery itself.

SCALE THREE: WUNDERKAMMER RESEARCH.

"A movement known as Mannerism also arose in the early 16th century, and both art and collecting began to favour the unusual, the bizarre, and the ambiguous. Collections (also referred to as cabinets) were formed that were far more wide ranging than those of the 15th-century studiolo and whose purposes were more scientific than humanistic. North of the Alps these were known as Kunstkammern or Wunderkammern, from Kunst (“man-made objects”), Wunder (“natural curiosities”), and Kammern (“chambers, rooms”)."
Source: Britannica


http://www.metmuseum.org/toah/hd/kuns/hd_kuns.html

http://pesco.net/britannica_wunderkammern.html

http://www.suite101.com/content/the-cabinet-of-curiosities-a10793

SCALE FOUR: DRAWINGS. [3]

Exploration into how the 'elevator' components connect and are able to move in relation to each other without simply falling.
One option is to make a more structural and mechanical appearing system where two vertical steel rods connected at their furtherest point with a horizontal rod act as a stopper when they meet the component below.
Secondly is the idea of layered panes of glass which slide against each other, a lip on the edge of one pane pulling the next into motion, much like a rock and pinion lift. This would allow the space to concertina open and closed all the while achieving a completely enclosed space. This would also increase fragmentation of the surface of the structure allowing more interesting refraction and shadow patterns both within and outside of the space.

EXPLOSION OF BOX COMPONENTS.

animation of explosion/movement of the box (and now elevator) components.

JEWELLERY BOX PRINTS CONTINUED.

example of second layer of components for jewellery box.
this slots into one of the base pieces previously posted.

COLOUR: WHY THE WORLD ISN'T GREY.

Colour: Why the World Isn't Grey. Hazel Rossotti. p26-34; 44-47.

I am particularly interested in the way in which light behaves with glass of differing thicknesses and densities and the way in which the movement of light is diagrammatically mapped in the form of refraction diagrams.

SCALE FOUR: DRAWINGS. [2]

Sectional drawing showing structure in relation to the ground plane (mid-way up its height). This allows travel both above and below ground, the later of which i envisage would lead to an underground train system or something similar. The upper half would act as a lightwell to the spaces below.

SURFACE TENSION.

A soap bubble is a very thin film of soapy water that forms a sphere with an iridescent surface. Soap bubbles can help solve complex mathematical problems of space as they will always find the smallest surface area between points or edges. They usually last only for a few moments until they burst either on their own or when coming in contact with another object. Due to their fragile nature bubbles have also became a synonym for something that is attractive, yet insubstantial. 

Surface Tenison. Pilot Magazine. Issue 05. 2011. p130-137.
Photography by Derek Henderson + Tom Robertson.
Bubble-ologist - Natasha Yusoff

SCALE FOUR: DRAWINGS.[1]

A2 drawing over previous exploded jewellery box. To be considered as a form of vertical transport with some components being fixed and others acting as elevators. These are connected in a spiral motion by what could be a series of staircases or escalators.

CENTRE FOR FILM AND VISUAL MEDIA RESEARCH.

at London's Birkbeck College.
by Surface Architects.

links to jewellery box but on much larger scale.
fragmentation of volume yet fits together perfectly like a puzzle.
use of colour to give sense of volume and direction.

source: surface architects.