Coaches

This week I wanted to work on coaches because I've actually worked with road signs before and i know how to attach/ detach signs from posts or whatever they are stuck to. Their was one other in the group, chris, but neither of us are spatial so the visualising of what we are trying to do might not be fantastic. I went ahead and gave him the actual measurements of signs, instead of the shrunken down version of the week before. I also went ahead and loved at how structurally it could be made and how all the signs would be attached.

These are the ingredients really. I proposed the idea of building the large letter forms like you would a house, with a framework first (made out of recycled wood). Then apply plywood, paint it. Then work out where you want all your signs, drill holes where need be to bolt the sign in and bobs your uncle. Except for the name blades which would need to have the channels/sign fix or whatever it called attached to the back so they could be at the same height level as the rest of the signs, and easier to attach as well.

Type

We split up into two groups because their were heaps of us in type. We also divided the stories. Going through the ones we have, if nothing structurally changed to much we didn't have much to fix. For example the avoid one, Shanna had already made a type face to fit into those shapes. We then found out they changed the shape of the structure from hexagons, so guts for Shanna. We also had coaches, where the small type was already made because signs. All we needed to do was find the best fitting typeface for the shape of exit to be built out of and the way it would be laid out. I tried a few different ways, but tbh the way they had done it originally was quite nice and maze like. For cheese we were all in agreeance that it needed a rounder font but no one wanted to use bubble type. No one. Our idea was just to chose the best typeface that we liked and just to have the corners rounded to make it ore cheesy and less likely to rip the whatever was being laid over it.

Moon

Last week went terribly, and we had to stick with the moon which was great fun at first when we were in panic stations but we soon settled down and started discussing ideas. Pre-warning, I have no images or photos from what we made this week, I dont know who does. We wanted to keep the idea of the moon relying on the sun and the use of light and shadows.


I was back on materials again. We are kinda stuck not this, especially because it was pretty much us vcd kids working on it this week because sarai(?) had a hand in or something for spatial. I knew I had a piece of acrylic or whatever you call it in letterpress I could bring into class. However, I know nothing about the material and am/was worried about the flexibility. Its still our number 1 at the moment by i just feel their is better (and cheaper!!!)


So finishing class/ feedback from everyone was the material side of things needs working on. That acrylic is just a no for this pavilion and their are better materials out there.

Ismaili cetre

Played/Plays with the use of different kind of glass, which effects how it appears at day and night

https://www.theismaili.org/ismailicentres/toronto/architecture-toronto-0

Architecture of the Ismaili Centre, Toronto

• In designing the Ismaili Centre, Toronto, Charles Correa’s vision was to create a building that responds to the traditions of Islamic architecture in a contemporary design using modern materials.

  The most striking feature of the Ismaili Centre is undoubtedly the prayer hall, with its crystalline frosted glass dome and elegant steel trusses. The Centre is a complex of varied spaces for contemplative, cultural, educational and recreational purposes. Its design draws upon the traditions of Islamic architecture and incorporates these in a contemporary Canadian context, reflecting the Ismaili community’s permanent presence in Canada as well as its desire to welcome others in an exchange of cultures and ideas. The Centre’s exterior and the surrounding Park reflect these notions in their terraces, gardens and reflecting pools, presenting a serene space that is both modern and timeless.

  Approaching the prayer hall through the anteroom, one sees the “Muqarnas,” a finely crafted corbelled ceiling whose skylight provides a subtle transition from the outside to the serene prayer hall inside. Connecting the prayer hall and social area of the building is a generous foyer and its geometric stone floor pattern that flows from one to the other providing physical and visual connections between the two distinctive spaces. In the social hall, the ceiling is almost two stories high and the descending glass roof once again fills it with natural light while the glass doors open to the gardens beyond.

  The slightly raised atrium lounge anchors the foyer and embraces natural light as its glass walls rise through the upper floor to yet another skylight. A library and several classrooms are on this floor, while the upper level is home to administrative offices and a formal boardroom that opens onto a spacious stone terrace with views of the city and park below.

  https://www.theismaili.org/ismailicentres/toronto/architecture-toronto

3.4           TRANSLUCENT LAMINATE

Translucent laminates are becoming more widely used for decorative and screening purposes. They have the appearance of sandblasted glass or frosted film but are purer in colour. They are Grade A safety glass and have the added benefit of easier cleaning as the translucent film is contained within the two plies of glass. 

They are an excellent choice for privacy in bathroom windows. They have high light transmission while the opal interlayer disperses light evenly to give a pleasant glow effect in lighting the room. 

There are two types available: 

Opalucent Laminate (also known as translucent opal laminate).
Soft White Laminate (a softer higher visibility opal). 

Available in: 

6.38mm	2440 x 1840mm
	3660 x 2440mm
10.38mm	2760 x 2140mm
	3660 x 2440mm

3.5           SANDBLASTED 

Sandblasting glass with a combination of high pressure sand and air creates a frosted glass panel, which is permanent. Materials that can be successfully sandblasted are glass, plastic, metal and stone. 

A special sprayed on coating can be applied to the sandblasted side of the glass to reduce the marking characteristic of sandblasted glass. This is known as sandblast and seal. 

Sandblasting is only possible in situations where the glass has not yet been glazed. This process must be done prior to glazing or the frosted film option must be used. 

Note: Sandblasting can reduce the strength of the glass by as much as 60% depending on the depth of the sandblast and glass type. Care must be taken when using in human impact or high windload applications

3.6           FROSTED FILM 

Frosted film is an alternative to sandblasting as it also obscures the glass. Frosted film acts as a light diffuser, provides an opaque finish to the glass for privacy and is an ideal product where both light and privacy are required. 

Company logos or designs can be applied to create personalised features for corporate purposes. Frosted film is a vinyl product but unlike sandblast it can be applied after the glass has been glazed. Rolls are 1200mm wide so in some cases a join may be required, depending on panel size and pattern design.

3.7           TEXTURED/SLUMPED 

Kiln fired slumped glass offers an infinite range of textures and designs for signage, vanity tops, shower enclosure panels, glass partition walls and other decorative features. The top side is smooth but not flat and the other side has a textured finish from the mould. 

The glass edge remains flat for ease of glazing and has a fire polished finish. A large range of standard textured panels are offered and most of these patterns can be toughened to comply with human impact safety requirements. Slump glass can be used in external and internal applications.

Maximum and minimum sizes depend on the
manufacturers kiln size.

3.8           QUALAGE

Qualage is annealed glass with raised cames permanently bonded to both sides of the glass, to give the effect of traditional lead lighting.

Qualage is available in three designs - Tudor, Gothic and Colonial. 

Available in:
Clear Float, Clear Cathedral, Grey Cathedral and Grey Float. Vertical or horizontal pattern.
4mm and 5mm thickness.

Size:

2140mm x 1220mm

http://www.metroglass.co.nz/catalogue/024.aspx

Everybody look at the moon pt 2

Totally forgot to post this but I was looking into the kinds of materials that could be used to make this.

I first looked at concretes, polished, unpolished etc. because they have a decidedly moon like quality. However if we are going to be having these as posts/ bollards they are going to be really heavy and depending on what the end product is that could be a real issue. However I really like the look. 

Next I looked into different kinds of metals with different levels of reflective qualities, because reflection was another thing we were quite interested in about this moon subject. Another material that could end up weighing a lot though. I guess it depends on what you go with and how thick it is though. Personally still prefer the look of the concrete though. 

Next I looked into different kinds of translucent materials and the different level of control you can have with it and how light actually effects it night and day. From glass to acrylic, however it has to be strong enough to hold up the weight of a bunch of humans. 

All images found on google images ;)

Everybody look at the moon

So the two previous weeks weren't 100% however we thought the first idea had lots of potential. The whole you can sometimes see the moon during the day thing. We really liked the idea of using shadows and light to show this idea.

We had a few ideas before this one in terms of how we wanted to put type into the pavilion. We came up with this idea of having parts of the letter forms down on the ground with bollards shadows spelling out the words. However you cant always read the words, only parts, just like you cant always see the moon in the day.

We then started thinking, maybe this isn't actually pavilion enough, maybe its way to sculptural and that its needs something to make it into a pavilion. 

We came up with this idea of a multi level pavilion. Underneath when you look up you can see the writing caused by the shadows through the translucent materials. Or you can walk up and look down upon it. 

Rekindle

This week I was part of the Rekindle group. A few of the members were away at the beginning of the week for this but as spacial students they put together all the renders and what not of the idea we came up with.

So from the previous week we decided that we would do something entirely different, or it turned out that way anyway. Last week they were looking into recycled items, but they were looking at plastic bags and all that. We wanted to look at stuff that actually should have been recycled out of the chch situation likes materials within houses.

We decided on a recognisable home object, a chair, to make out of the recycled materials. So we decided to actually physically move some chairs around to see what kind of shapes we could make.

As you can see it wasn't that successful. However that was only one chair type and our ones were going to be made how we wanted them to be (in theory) so we plodded on. Another part of our idea was using light and shadow to spell things out for us. One way we tried this was by using a projecter and literally projecting onto chairs.

We liked how some of it would become distorted other parts would be clear and concise. However we didn't know how to do this in a space.

So we thought, why not actually just cut out shapes and have the sun do all the work. A free natural resource. It will distort in the shadows which will be quite cool, however you will have a very obvious letter form on the chair as well. 

The Spatial members of the group all started putting together different ways you could lay the chairs out. This is just one of them that I think Luuke put together.