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.