The project was divided amongst the group, into cat-egories of mechanism, struc-ture, scale and material of paper, and surveying. After weeks of development meet-ings, the details of the installa-tion were determined and materials were ordered to start cutting out the components. Work commenced in the BIAD workshop where we utilized the CNC router to cut out members 2m tall on 18mm plyboard. Numerous problems arouse with the drill bits break-ing and the wood cracking. Despite these setbacks the wood components were com-pleted to a high standard.

Next would be the most tedious portion of the installation, the final fold-ing of the origami sheets. With assistance from the fashion department we were able to sew together specially ordered tare proof paper making a combined sheet size of 1782mm x 3564mm. With each sheet taking approxi-mately two hours each to fold, the next step was to transport the components to The Public and set up the installation.

Design Development It was first experimented with a small scale test that would prove whether or not the idea was practical. The style of origami that was thought most effective was the Magic Origami Ball, and through research of some youtube videos and four hours of folding later it was created. Following the folding, a 1:5 scale mecha-nism and frame was designed to allow movement to the paper in a way that was most desired. This prototype was presented and explained to Graham Peet where he expressed his likes, dislikes, and concerns towards the installation. During this meet-ing a proper location for the installation was chosen, chang-ing the shape of the structure significantly, but still keeping the initial concept.

The meeting was headed by Will Alsop and attended by our group as well as twenty to thirty undergraduate students in interior design as well as Architecture from other universities, needless to say we were the smallest group present. One by one we went around the table allowing each student to explain their ideas. After a long day of discussion Mr. Alsop told everyone which ideas to develop further and when to return for the setup of his exhibition called “Box of Delights”. No clues were given on what the exhibition was going to entail.

The meeting was headed by Will Alsop and attended by our group as well as twenty to thirty undergraduate students in interior design as well as Architecture from other universities, needless to say we were the smallest group present. One by one we went around the table allowing each student to explain their ideas. After a long day of discussion Mr. Alsop told everyone which ideas to develop further and when to return for the setup of his exhibition called “Box of Delights”. No clues were given on what the exhibition was going to entail.

The meeting was headed by Will Alsop and attended by our group as well as twenty to thirty undergraduate students in interior design as well as Architecture from other universities, needless to say we were the smallest group present. One by one we went around the table allowing each student to explain their ideas. After a long day of discussion Mr. Alsop told everyone which ideas to develop further and when to return for the setup of his exhibition called “Box of Delights”. No clues were given on what the exhibition was going to entail.

The meeting was headed by Will Alsop and attended by our group as well as twenty to thirty undergraduate students in interior design as well as Architecture from other universities, needless to say we were the smallest group present. One by one we went around the table allowing each student to explain their ideas. After a long day of discussion Mr. Alsop told everyone which ideas to develop further and when to return for the setup of his exhibition called “Box of Delights”. No clues were given on what the exhibition was going to entail.

BRANDON M SCOTTs11729796

Tutor: Alessandro Columbano05.01.12

ARC7202/ M.Arch Elec-tiveACADEMIC YEAR 2011/12REPORT

BRANDON M SCOTTs11729796

Tutor: Alessandro Columbano05.01.12

ARC7202/ M.Arch Elec-tiveACADEMIC YEAR 2011/12REPORT

The meeting was headed by Will Alsop and attended by our group as well as twenty to thirty undergraduate students in interior design as well as Architecture from other universities, needless to say we were the smallest group present. One by one we went around the table allowing each student to explain their ideas. After a long day of discussion Mr. Alsop told everyone which ideas to develop further and when to return for the setup of his exhibition called “Box of Delights”. No clues were given on what the exhibition was going to entail.

The meeting was headed by Will Alsop and attended by our group as well as twenty to thirty undergraduate students in interior design as well as Architecture from other universities, needless to say we were the smallest group present. One by one we went around the table allowing each student to explain their ideas. After a long day of discussion Mr. Alsop told everyone which ideas to develop further and when to return for the setup of his exhibition called “Box of Delights”. No clues were given on what the exhibition was going to entail.

The meeting was headed by Will Alsop and attended by our group as well as twenty to thirty undergraduate students in interior design as well as Architecture from other universities, needless to say we were the smallest group present. One by one we went around the table allowing each student to explain their ideas. After a long day of discussion Mr. Alsop told everyone which ideas to develop further and when to return for the setup of his exhibition called “Box of Delights”. No clues were given on what the exhibition was going to entail.

The meeting was headed by Will Alsop and attended by our group as well as twenty to thirty undergraduate students in interior design as well as Architecture from other universities, needless to say we were the smallest group present. One by one we went around the table allowing each student to explain their ideas. After a long day of discussion Mr. Alsop told everyone which ideas to develop further and when to return for the setup of his exhibition called “Box of Delights”. No clues were given on what the exhibition was going to entail.

BRANDON M SCOTTs11729796

Tutor: Alessandro Columbano05.01.12

ARC7202/ M.Arch Elec-tiveACADEMIC YEAR 2011/12REPORT

BRANDON M SCOTTs11729796

Tutor: Alessandro Columbano05.01.12

ARC7202/ M.Arch Elec-tiveACADEMIC YEAR 2011/12REPORT

Introduction .........................................................................................................01The Team................................................................................................................02Meet Graham Peet..............................................................................................03Initial Installation Concept...............................................................................04Meeting Will Alsop..............................................................................................10Box of Delights Setup........................................................................................11News Articles........................................................................................................15The Living Wall.....................................................................................................17Prototype...............................................................................................................19Exploded Structure............................................................................................21Workshop Construction...................................................................................22Paper Folding.......................................................................................................23Rendering..............................................................................................................24Bibilography.........................................................................................................28Appendix A...........................................................................................................29

Table of Contents

As for the groups task in selecting this elective it was expected that the opportunity to attain new knowledge, gain experience, and skills would be abundant as the course progressed. The brief illustrated that the project would be based at The Public in West Bromwich, where it would present the opportunity to assist Will Alsop in one of his exhibitions. During the beginning of the course it was not known what to expect of the group or from the many people involved. As a result the project evolved into two separate ones.

BOX OF DELIGHTS

Research and Investigation

The project commenced with the arrangement of a meeting at The Public where we were to be introduced to the cura-tor (Graham Peet) as well as get an initial idea of what was to be expected of us. During this visit we toured the entire building, while the curator pointed out desired areas for a change, and the opportunities for our group to develop it. Following this tour and briefing it was surprisingly clear that the building was our canvas, and anything we thought of could possibly become a potential exhibit. This was an aspect of the project which was not expected and we were unsure where it all tied in with assisting Will Alsop. As homework we were given the task of selecting a location anywhere throughout the building and develop a possible digital installation to show-case at the next meeting.

Inspiration was drawn from the loca-tions and technology available to us provided by The Public as well as numerous exhibits that were in progress during our time at the building. I developed two main ideas, one located in a prime area on the circula-tion ramp and the other in the main exhibition space on the top floor. The ideas were graphi-cally illustrated as follows.

Introduction Following the exhibition, the time spent on it seemed somewhat short and unsatisfying, and the curator was still interested in creating an installation somewhere else in The Public. We all took it amongst ourselves to think of some innovative installation ideas, which all steamed off of our original ideas presented in the previous meeting. After many group discussions with the curator it was determined that it would be best to choose only one of our ideas to develop further. Debating which idea to carry on with, it was determined that my idea of the living wall was the most practical, innovative and appropriate for a temporary installation.

Inspiration/ concept The idea of the living wall was designed with the intention of an interactive vertical surface that reflects and responds to those who passed it. From my observations of origami and its ability to turn ordi-nary paper into a shape that can ungulate and wave easily with very little effort, I saw this as the perfect application for the “living wall”. The movement was originally expected to respond to sound with the use of sound sensors, that would react differently to talking, stepping, and clapping. This proved to be inad-equate and was soon changed to the wall responding to movement, but then simplified even further by making the installation hand crank powered.

01

The meeting was headed by Will Alsop and attended by our group as well as twenty to thirty undergraduate students in interior design as well as Architec-ture from other universities, needless to say we were the smallest group present. One by one we went around the table allowing each student to explain their ideas. After a long day of discussion Mr. Alsop told everyone which ideas to develop further and when to return for the setup of his exhibition called “Box of Delights”. No clues were given on what the exhibition was going to entail.

Even during the two day setup of Will Alsop’s exhibition the students were still unclear on what he was trying to achieve with his “Box of Delights” concept. To describe it, it can be said that the observer experiences an explosion of shapes and colors in what was once a simple exhibition

space. With the use of a ominous sound track, and projectors casting arbitrary images over floating stuffed paper forms can cause the one experiencing the space to transcend to another level of enlightenment. A somewhat peaceful place to be.

THE LIVING WALL

As for the groups task in selecting this elective it was expected that the opportunity to attain new knowledge, gain experience, and skills would be abundant as the course progressed. The brief illustrated that the project would be based at The Public in West Bromwich, where it would present the opportunity to assist Will Alsop in one of his exhibitions. During the beginning of the course it was not known what to expect of the group or from the many people involved. As a result the project evolved into two separate ones.

Research and Investigation

The project commenced with the arrangement of a meeting at The Public where we were to be introduced to the cura-tor (Graham Peet) as well as get an initial idea of what was to be expected of us. During this visit we toured the entire building, while the curator pointed out desired areas for a change, and the opportunities for our group to develop it. Following this tour and briefing it was surprisingly clear that the building was our canvas, and anything we thought of could possibly become a potential exhibit. This was an aspect of the project which was not expected and we were unsure where it all tied in with assisting Will Alsop. As homework we were given the task of selecting a location anywhere throughout the building and develop a possible digital installation to show-case at the next meeting.

BenTumi

Sam

Brandon

Inspiration was drawn from the loca-tions and technology available to us provided by The Public as well as numerous exhibits that were in progress during our time at the building. I developed two main ideas, one located in a prime area on the circula-tion ramp and the other in the main exhibition space on the top floor. The ideas were graphi-cally illustrated as follows.

Introduction Following the exhibition, the time spent on it seemed somewhat short and unsatisfying, and the curator was still interested in creating an installation somewhere else in The Public. We all took it amongst ourselves to think of some innovative installation ideas, which all steamed off of our original ideas presented in the previous meeting. After many group discussions with the curator it was determined that it would be best to choose only one of our ideas to develop further. Debating which idea to carry on with, it was determined that my idea of the living wall was the most practical, innovative and appropriate for a temporary installation.

Inspiration/ concept The idea of the living wall was designed with the intention of an interactive vertical surface that reflects and responds to those who passed it. From my observations of origami and its ability to turn ordi-nary paper into a shape that can ungulate and wave easily with very little effort, I saw this as the perfect application for the “living wall”. The movement was originally expected to respond to sound with the use of sound sensors, that would react differently to talking, stepping, and clapping. This proved to be inad-equate and was soon changed to the wall responding to movement, but then simplified even further by making the installation hand crank powered.

The Team

02

The meeting was headed by Will Alsop and attended by our group as well as twenty to thirty undergraduate students in interior design as well as Architec-ture from other universities, needless to say we were the smallest group present. One by one we went around the table allowing each student to explain their ideas. After a long day of discussion Mr. Alsop told everyone which ideas to develop further and when to return for the setup of his exhibition called “Box of Delights”. No clues were given on what the exhibition was going to entail.

Even during the two day setup of Will Alsop’s exhibition the students were still unclear on what he was trying to achieve with his “Box of Delights” concept. To describe it, it can be said that the observer experiences an explosion of shapes and colors in what was once a simple exhibition

space. With the use of a ominous sound track, and projectors casting arbitrary images over floating stuffed paper forms can cause the one experiencing the space to transcend to another level of enlightenment. A somewhat peaceful place to be.

THE LIVING WALL

As for the groups task in selecting this elective it was expected that the opportunity to attain new knowledge, gain experience, and skills would be abundant as the course progressed. The brief illustrated that the project would be based at The Public in West Bromwich, where it would present the opportunity to assist Will Alsop in one of his exhibitions. During the beginning of the course it was not known what to expect of the group or from the many people involved. As a result the project evolved into two separate ones.

Research and Investigation

The project commenced with the arrangement of a meeting at The Public where we were to be introduced to the cura-tor (Graham Peet) as well as get an initial idea of what was to be expected of us. During this visit we toured the entire building, while the curator pointed out desired areas for a change, and the opportunities for our group to develop it. Following this tour and briefing it was surprisingly clear that the building was our canvas, and anything we thought of could possibly become a potential exhibit. This was an aspect of the project which was not expected and we were unsure where it all tied in with assisting Will Alsop. As homework we were given the task of selecting a location anywhere throughout the building and develop a possible digital installation to show-case at the next meeting.

Inspiration was drawn from the loca-tions and technology available to us provided by The Public as well as numerous exhibits that were in progress during our time at the building. I developed two main ideas, one located in a prime area on the circula-tion ramp and the other in the main exhibition space on the top floor. The ideas were graphi-cally illustrated as follows.

Introduction Following the exhibition, the time spent on it seemed somewhat short and unsatisfying, and the curator was still interested in creating an installation somewhere else in The Public. We all took it amongst ourselves to think of some innovative installation ideas, which all steamed off of our original ideas presented in the previous meeting. After many group discussions with the curator it was determined that it would be best to choose only one of our ideas to develop further. Debating which idea to carry on with, it was determined that my idea of the living wall was the most practical, innovative and appropriate for a temporary installation.

Inspiration/ concept The idea of the living wall was designed with the intention of an interactive vertical surface that reflects and responds to those who passed it. From my observations of origami and its ability to turn ordi-nary paper into a shape that can ungulate and wave easily with very little effort, I saw this as the perfect application for the “living wall”. The movement was originally expected to respond to sound with the use of sound sensors, that would react differently to talking, stepping, and clapping. This proved to be inad-equate and was soon changed to the wall responding to movement, but then simplified even further by making the installation hand crank powered.

Graham PeetThe Public Curator

02 03

The meeting was headed by Will Alsop and attended by our group as well as twenty to thirty undergraduate students in interior design as well as Architec-ture from other universities, needless to say we were the smallest group present. One by one we went around the table allowing each student to explain their ideas. After a long day of discussion Mr. Alsop told everyone which ideas to develop further and when to return for the setup of his exhibition called “Box of Delights”. No clues were given on what the exhibition was going to entail.

Even during the two day setup of Will Alsop’s exhibition the students were still unclear on what he was trying to achieve with his “Box of Delights” concept. To describe it, it can be said that the observer experiences an explosion of shapes and colors in what was once a simple exhibition

space. With the use of a ominous sound track, and projectors casting arbitrary images over floating stuffed paper forms can cause the one experiencing the space to transcend to another level of enlightenment. A somewhat peaceful place to be.

THE LIVING WALL

As for the groups task in selecting this elective it was expected that the opportunity to attain new knowledge, gain experience, and skills would be abundant as the course progressed. The brief illustrated that the project would be based at The Public in West Bromwich, where it would present the opportunity to assist Will Alsop in one of his exhibitions. During the beginning of the course it was not known what to expect of the group or from the many people involved. As a result the project evolved into two separate ones.

Research and Investigation

The project commenced with the arrangement of a meeting at The Public where we were to be introduced to the cura-tor (Graham Peet) as well as get an initial idea of what was to be expected of us. During this visit we toured the entire building, while the curator pointed out desired areas for a change, and the opportunities for our group to develop it. Following this tour and briefing it was surprisingly clear that the building was our canvas, and anything we thought of could possibly become a potential exhibit. This was an aspect of the project which was not expected and we were unsure where it all tied in with assisting Will Alsop. As homework we were given the task of selecting a location anywhere throughout the building and develop a possible digital installation to show-case at the next meeting.

Inspiration was drawn from the loca-tions and technology available to us provided by The Public as well as numerous exhibits that were in progress during our time at the building. I developed two main ideas, one located in a prime area on the circula-tion ramp and the other in the main exhibition space on the top floor. The ideas were graphi-cally illustrated as follows.

Introduction Following the exhibition, the time spent on it seemed somewhat short and unsatisfying, and the curator was still interested in creating an installation somewhere else in The Public. We all took it amongst ourselves to think of some innovative installation ideas, which all steamed off of our original ideas presented in the previous meeting. After many group discussions with the curator it was determined that it would be best to choose only one of our ideas to develop further. Debating which idea to carry on with, it was determined that my idea of the living wall was the most practical, innovative and appropriate for a temporary installation.

Inspiration/ concept The idea of the living wall was designed with the intention of an interactive vertical surface that reflects and responds to those who passed it. From my observations of origami and its ability to turn ordi-nary paper into a shape that can ungulate and wave easily with very little effort, I saw this as the perfect application for the “living wall”. The movement was originally expected to respond to sound with the use of sound sensors, that would react differently to talking, stepping, and clapping. This proved to be inad-equate and was soon changed to the wall responding to movement, but then simplified even further by making the installation hand crank powered.

04

The meeting was headed by Will Alsop and attended by our group as well as twenty to thirty undergraduate students in interior design as well as Architec-ture from other universities, needless to say we were the smallest group present. One by one we went around the table allowing each student to explain their ideas. After a long day of discussion Mr. Alsop told everyone which ideas to develop further and when to return for the setup of his exhibition called “Box of Delights”. No clues were given on what the exhibition was going to entail.

Even during the two day setup of Will Alsop’s exhibition the students were still unclear on what he was trying to achieve with his “Box of Delights” concept. To describe it, it can be said that the observer experiences an explosion of shapes and colors in what was once a simple exhibition

space. With the use of a ominous sound track, and projectors casting arbitrary images over floating stuffed paper forms can cause the one experiencing the space to transcend to another level of enlightenment. A somewhat peaceful place to be.

THE LIVING WALL

As for the groups task in selecting this elective it was expected that the opportunity to attain new knowledge, gain experience, and skills would be abundant as the course progressed. The brief illustrated that the project would be based at The Public in West Bromwich, where it would present the opportunity to assist Will Alsop in one of his exhibitions. During the beginning of the course it was not known what to expect of the group or from the many people involved. As a result the project evolved into two separate ones.

Research and Investigation

The project commenced with the arrangement of a meeting at The Public where we were to be introduced to the cura-tor (Graham Peet) as well as get an initial idea of what was to be expected of us. During this visit we toured the entire building, while the curator pointed out desired areas for a change, and the opportunities for our group to develop it. Following this tour and briefing it was surprisingly clear that the building was our canvas, and anything we thought of could possibly become a potential exhibit. This was an aspect of the project which was not expected and we were unsure where it all tied in with assisting Will Alsop. As homework we were given the task of selecting a location anywhere throughout the building and develop a possible digital installation to show-case at the next meeting.

the OPPORTUNITY

? ?ramp

EVENT

MOVEMENT

FIRST THOUGHTS...

The opportunity is presented on the circulation ramp to create a different experience from the rest of the building. Initial thoughts were to introduce a tunnel like installation that allows un disturbed movement through a space where an event would take place. This event would take you into another location by using all five senses. This

PLANLEVEL D MEZZANINE

LOCATION between turn 2 and 3 on the ramp.

idea would then evolve into the reciprocal where the event taking place is in fact the removal of all familiar noises, smells, and visuals post entering this space.

Inspiration was drawn from the loca-tions and technology available to us provided by The Public as well as numerous exhibits that were in progress during our time at the building. I developed two main ideas, one located in a prime area on the circula-tion ramp and the other in the main exhibition space on the top floor. The ideas were graphi-cally illustrated as follows.

Introduction Following the exhibition, the time spent on it seemed somewhat short and unsatisfying, and the curator was still interested in creating an installation somewhere else in The Public. We all took it amongst ourselves to think of some innovative installation ideas, which all steamed off of our original ideas presented in the previous meeting. After many group discussions with the curator it was determined that it would be best to choose only one of our ideas to develop further. Debating which idea to carry on with, it was determined that my idea of the living wall was the most practical, innovative and appropriate for a temporary installation.

Inspiration/ concept The idea of the living wall was designed with the intention of an interactive vertical surface that reflects and responds to those who passed it. From my observations of origami and its ability to turn ordi-nary paper into a shape that can ungulate and wave easily with very little effort, I saw this as the perfect application for the “living wall”. The movement was originally expected to respond to sound with the use of sound sensors, that would react differently to talking, stepping, and clapping. This proved to be inad-equate and was soon changed to the wall responding to movement, but then simplified even further by making the installation hand crank powered.

04 05

The meeting was headed by Will Alsop and attended by our group as well as twenty to thirty undergraduate students in interior design as well as Architec-ture from other universities, needless to say we were the smallest group present. One by one we went around the table allowing each student to explain their ideas. After a long day of discussion Mr. Alsop told everyone which ideas to develop further and when to return for the setup of his exhibition called “Box of Delights”. No clues were given on what the exhibition was going to entail.

Even during the two day setup of Will Alsop’s exhibition the students were still unclear on what he was trying to achieve with his “Box of Delights” concept. To describe it, it can be said that the observer experiences an explosion of shapes and colors in what was once a simple exhibition

space. With the use of a ominous sound track, and projectors casting arbitrary images over floating stuffed paper forms can cause the one experiencing the space to transcend to another level of enlightenment. A somewhat peaceful place to be.

THE LIVING WALL

As for the groups task in selecting this elective it was expected that the opportunity to attain new knowledge, gain experience, and skills would be abundant as the course progressed. The brief illustrated that the project would be based at The Public in West Bromwich, where it would present the opportunity to assist Will Alsop in one of his exhibitions. During the beginning of the course it was not known what to expect of the group or from the many people involved. As a result the project evolved into two separate ones.

Research and Investigation

The project commenced with the arrangement of a meeting at The Public where we were to be introduced to the cura-tor (Graham Peet) as well as get an initial idea of what was to be expected of us. During this visit we toured the entire building, while the curator pointed out desired areas for a change, and the opportunities for our group to develop it. Following this tour and briefing it was surprisingly clear that the building was our canvas, and anything we thought of could possibly become a potential exhibit. This was an aspect of the project which was not expected and we were unsure where it all tied in with assisting Will Alsop. As homework we were given the task of selecting a location anywhere throughout the building and develop a possible digital installation to show-case at the next meeting.

the CONCEPT The concept is based on changing the feel of an environment by the use of visual enhancement. On a portion of the walkway I propose constructing a simple structure which encloses the passerby. Projectors would cast images on a fabric that can be seen from the opposite side. These images would be of different environments, for example in the image it displays clouds. It could cast arid, wet, cold climates, and can even include the use of artificial enviromental conditions.

Inspiration was drawn from the loca-tions and technology available to us provided by The Public as well as numerous exhibits that were in progress during our time at the building. I developed two main ideas, one located in a prime area on the circula-tion ramp and the other in the main exhibition space on the top floor. The ideas were graphi-cally illustrated as follows.

Introduction Following the exhibition, the time spent on it seemed somewhat short and unsatisfying, and the curator was still interested in creating an installation somewhere else in The Public. We all took it amongst ourselves to think of some innovative installation ideas, which all steamed off of our original ideas presented in the previous meeting. After many group discussions with the curator it was determined that it would be best to choose only one of our ideas to develop further. Debating which idea to carry on with, it was determined that my idea of the living wall was the most practical, innovative and appropriate for a temporary installation.

Inspiration/ concept The idea of the living wall was designed with the intention of an interactive vertical surface that reflects and responds to those who passed it. From my observations of origami and its ability to turn ordi-nary paper into a shape that can ungulate and wave easily with very little effort, I saw this as the perfect application for the “living wall”. The movement was originally expected to respond to sound with the use of sound sensors, that would react differently to talking, stepping, and clapping. This proved to be inad-equate and was soon changed to the wall responding to movement, but then simplified even further by making the installation hand crank powered.

06

The meeting was headed by Will Alsop and attended by our group as well as twenty to thirty undergraduate students in interior design as well as Architec-ture from other universities, needless to say we were the smallest group present. One by one we went around the table allowing each student to explain their ideas. After a long day of discussion Mr. Alsop told everyone which ideas to develop further and when to return for the setup of his exhibition called “Box of Delights”. No clues were given on what the exhibition was going to entail.

Even during the two day setup of Will Alsop’s exhibition the students were still unclear on what he was trying to achieve with his “Box of Delights” concept. To describe it, it can be said that the observer experiences an explosion of shapes and colors in what was once a simple exhibition

space. With the use of a ominous sound track, and projectors casting arbitrary images over floating stuffed paper forms can cause the one experiencing the space to transcend to another level of enlightenment. A somewhat peaceful place to be.

THE LIVING WALL

As for the groups task in selecting this elective it was expected that the opportunity to attain new knowledge, gain experience, and skills would be abundant as the course progressed. The brief illustrated that the project would be based at The Public in West Bromwich, where it would present the opportunity to assist Will Alsop in one of his exhibitions. During the beginning of the course it was not known what to expect of the group or from the many people involved. As a result the project evolved into two separate ones.

Research and Investigation

The project commenced with the arrangement of a meeting at The Public where we were to be introduced to the cura-tor (Graham Peet) as well as get an initial idea of what was to be expected of us. During this visit we toured the entire building, while the curator pointed out desired areas for a change, and the opportunities for our group to develop it. Following this tour and briefing it was surprisingly clear that the building was our canvas, and anything we thought of could possibly become a potential exhibit. This was an aspect of the project which was not expected and we were unsure where it all tied in with assisting Will Alsop. As homework we were given the task of selecting a location anywhere throughout the building and develop a possible digital installation to show-case at the next meeting.

the IDEA

NOISE

NOISE

NOISE

NOISE

NOISE

NOISEABSOLUTE

SILENCE

Fabric for interior

MDF sheets for walls

Acoustical Foam for complete noise isolation

PRIMARY CONSTRUCTION MATERIAL

The idea of this installation is the complete isolation from all noises, smells, and visuals in the Public for a short period of time.

TRANQUILITY BOX

Inspiration was drawn from the loca-tions and technology available to us provided by The Public as well as numerous exhibits that were in progress during our time at the building. I developed two main ideas, one located in a prime area on the circula-tion ramp and the other in the main exhibition space on the top floor. The ideas were graphi-cally illustrated as follows.

Introduction Following the exhibition, the time spent on it seemed somewhat short and unsatisfying, and the curator was still interested in creating an installation somewhere else in The Public. We all took it amongst ourselves to think of some innovative installation ideas, which all steamed off of our original ideas presented in the previous meeting. After many group discussions with the curator it was determined that it would be best to choose only one of our ideas to develop further. Debating which idea to carry on with, it was determined that my idea of the living wall was the most practical, innovative and appropriate for a temporary installation.

Inspiration/ concept The idea of the living wall was designed with the intention of an interactive vertical surface that reflects and responds to those who passed it. From my observations of origami and its ability to turn ordi-nary paper into a shape that can ungulate and wave easily with very little effort, I saw this as the perfect application for the “living wall”. The movement was originally expected to respond to sound with the use of sound sensors, that would react differently to talking, stepping, and clapping. This proved to be inad-equate and was soon changed to the wall responding to movement, but then simplified even further by making the installation hand crank powered.

06 07

The meeting was headed by Will Alsop and attended by our group as well as twenty to thirty undergraduate students in interior design as well as Architec-ture from other universities, needless to say we were the smallest group present. One by one we went around the table allowing each student to explain their ideas. After a long day of discussion Mr. Alsop told everyone which ideas to develop further and when to return for the setup of his exhibition called “Box of Delights”. No clues were given on what the exhibition was going to entail.

Even during the two day setup of Will Alsop’s exhibition the students were still unclear on what he was trying to achieve with his “Box of Delights” concept. To describe it, it can be said that the observer experiences an explosion of shapes and colors in what was once a simple exhibition

space. With the use of a ominous sound track, and projectors casting arbitrary images over floating stuffed paper forms can cause the one experiencing the space to transcend to another level of enlightenment. A somewhat peaceful place to be.

THE LIVING WALL

As for the groups task in selecting this elective it was expected that the opportunity to attain new knowledge, gain experience, and skills would be abundant as the course progressed. The brief illustrated that the project would be based at The Public in West Bromwich, where it would present the opportunity to assist Will Alsop in one of his exhibitions. During the beginning of the course it was not known what to expect of the group or from the many people involved. As a result the project evolved into two separate ones.

Research and Investigation

The project commenced with the arrangement of a meeting at The Public where we were to be introduced to the cura-tor (Graham Peet) as well as get an initial idea of what was to be expected of us. During this visit we toured the entire building, while the curator pointed out desired areas for a change, and the opportunities for our group to develop it. Following this tour and briefing it was surprisingly clear that the building was our canvas, and anything we thought of could possibly become a potential exhibit. This was an aspect of the project which was not expected and we were unsure where it all tied in with assisting Will Alsop. As homework we were given the task of selecting a location anywhere throughout the building and develop a possible digital installation to show-case at the next meeting.

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Inspiration was drawn from the loca-tions and technology available to us provided by The Public as well as numerous exhibits that were in progress during our time at the building. I developed two main ideas, one located in a prime area on the circula-tion ramp and the other in the main exhibition space on the top floor. The ideas were graphi-cally illustrated as follows.

Introduction Following the exhibition, the time spent on it seemed somewhat short and unsatisfying, and the curator was still interested in creating an installation somewhere else in The Public. We all took it amongst ourselves to think of some innovative installation ideas, which all steamed off of our original ideas presented in the previous meeting. After many group discussions with the curator it was determined that it would be best to choose only one of our ideas to develop further. Debating which idea to carry on with, it was determined that my idea of the living wall was the most practical, innovative and appropriate for a temporary installation.

Inspiration/ concept The idea of the living wall was designed with the intention of an interactive vertical surface that reflects and responds to those who passed it. From my observations of origami and its ability to turn ordi-nary paper into a shape that can ungulate and wave easily with very little effort, I saw this as the perfect application for the “living wall”. The movement was originally expected to respond to sound with the use of sound sensors, that would react differently to talking, stepping, and clapping. This proved to be inad-equate and was soon changed to the wall responding to movement, but then simplified even further by making the installation hand crank powered.

08

The meeting was headed by Will Alsop and attended by our group as well as twenty to thirty undergraduate students in interior design as well as Architec-ture from other universities, needless to say we were the smallest group present. One by one we went around the table allowing each student to explain their ideas. After a long day of discussion Mr. Alsop told everyone which ideas to develop further and when to return for the setup of his exhibition called “Box of Delights”. No clues were given on what the exhibition was going to entail.

Even during the two day setup of Will Alsop’s exhibition the students were still unclear on what he was trying to achieve with his “Box of Delights” concept. To describe it, it can be said that the observer experiences an explosion of shapes and colors in what was once a simple exhibition

space. With the use of a ominous sound track, and projectors casting arbitrary images over floating stuffed paper forms can cause the one experiencing the space to transcend to another level of enlightenment. A somewhat peaceful place to be.

THE LIVING WALL

As for the groups task in selecting this elective it was expected that the opportunity to attain new knowledge, gain experience, and skills would be abundant as the course progressed. The brief illustrated that the project would be based at The Public in West Bromwich, where it would present the opportunity to assist Will Alsop in one of his exhibitions. During the beginning of the course it was not known what to expect of the group or from the many people involved. As a result the project evolved into two separate ones.

Research and Investigation

The project commenced with the arrangement of a meeting at The Public where we were to be introduced to the cura-tor (Graham Peet) as well as get an initial idea of what was to be expected of us. During this visit we toured the entire building, while the curator pointed out desired areas for a change, and the opportunities for our group to develop it. Following this tour and briefing it was surprisingly clear that the building was our canvas, and anything we thought of could possibly become a potential exhibit. This was an aspect of the project which was not expected and we were unsure where it all tied in with assisting Will Alsop. As homework we were given the task of selecting a location anywhere throughout the building and develop a possible digital installation to show-case at the next meeting.

Inspiration was drawn from the loca-tions and technology available to us provided by The Public as well as numerous exhibits that were in progress during our time at the building. I developed two main ideas, one located in a prime area on the circula-tion ramp and the other in the main exhibition space on the top floor. The ideas were graphi-cally illustrated as follows.

Introduction Following the exhibition, the time spent on it seemed somewhat short and unsatisfying, and the curator was still interested in creating an installation somewhere else in The Public. We all took it amongst ourselves to think of some innovative installation ideas, which all steamed off of our original ideas presented in the previous meeting. After many group discussions with the curator it was determined that it would be best to choose only one of our ideas to develop further. Debating which idea to carry on with, it was determined that my idea of the living wall was the most practical, innovative and appropriate for a temporary installation.

Inspiration/ concept The idea of the living wall was designed with the intention of an interactive vertical surface that reflects and responds to those who passed it. From my observations of origami and its ability to turn ordi-nary paper into a shape that can ungulate and wave easily with very little effort, I saw this as the perfect application for the “living wall”. The movement was originally expected to respond to sound with the use of sound sensors, that would react differently to talking, stepping, and clapping. This proved to be inad-equate and was soon changed to the wall responding to movement, but then simplified even further by making the installation hand crank powered.

08 09

This proposal would be located in the main exhibi-tion space, and is a portion of the bigger idea that I did not get to illustrate. Similar to the first idea its about giving the user different sensations. the user would step into a four walled room with a ceiling and all 6 surfaces would have projected images of falling from different structures or even from the sky. This is meant to resemble the feeling of falling in a dream, which im sure we have all experienced. Right before you hit the ground the room goes black. One of the 4 walls would be pushed out slightly on an angle to allow access to the room. This would use the material that are available to us. 4 parti-tion walls, ceiling, 6 projec-tors, and possibly a digital touch screen monitor for options if so disired.

The meeting was headed by Will Alsop and attended by our group as well as twenty to thirty undergraduate students in interior design as well as Architec-ture from other universities, needless to say we were the smallest group present. One by one we went around the table allowing each student to explain their ideas. After a long day of discussion Mr. Alsop told everyone which ideas to develop further and when to return for the setup of his exhibition called “Box of Delights”. No clues were given on what the exhibition was going to entail.

Even during the two day setup of Will Alsop’s exhibition the students were still unclear on what he was trying to achieve with his “Box of Delights” concept. To describe it, it can be said that the observer experiences an explosion of shapes and colors in what was once a simple exhibition

space. With the use of a ominous sound track, and projectors casting arbitrary images over floating stuffed paper forms can cause the one experiencing the space to transcend to another level of enlightenment. A somewhat peaceful place to be.

THE LIVING WALL

As for the groups task in selecting this elective it was expected that the opportunity to attain new knowledge, gain experience, and skills would be abundant as the course progressed. The brief illustrated that the project would be based at The Public in West Bromwich, where it would present the opportunity to assist Will Alsop in one of his exhibitions. During the beginning of the course it was not known what to expect of the group or from the many people involved. As a result the project evolved into two separate ones.

Research and Investigation

The project commenced with the arrangement of a meeting at The Public where we were to be introduced to the cura-tor (Graham Peet) as well as get an initial idea of what was to be expected of us. During this visit we toured the entire building, while the curator pointed out desired areas for a change, and the opportunities for our group to develop it. Following this tour and briefing it was surprisingly clear that the building was our canvas, and anything we thought of could possibly become a potential exhibit. This was an aspect of the project which was not expected and we were unsure where it all tied in with assisting Will Alsop. As homework we were given the task of selecting a location anywhere throughout the building and develop a possible digital installation to show-case at the next meeting.

Inspiration was drawn from the loca-tions and technology available to us provided by The Public as well as numerous exhibits that were in progress during our time at the building. I developed two main ideas, one located in a prime area on the circula-tion ramp and the other in the main exhibition space on the top floor. The ideas were graphi-cally illustrated as follows.

Introduction Following the exhibition, the time spent on it seemed somewhat short and unsatisfying, and the curator was still interested in creating an installation somewhere else in The Public. We all took it amongst ourselves to think of some innovative installation ideas, which all steamed off of our original ideas presented in the previous meeting. After many group discussions with the curator it was determined that it would be best to choose only one of our ideas to develop further. Debating which idea to carry on with, it was determined that my idea of the living wall was the most practical, innovative and appropriate for a temporary installation.

Inspiration/ concept The idea of the living wall was designed with the intention of an interactive vertical surface that reflects and responds to those who passed it. From my observations of origami and its ability to turn ordi-nary paper into a shape that can ungulate and wave easily with very little effort, I saw this as the perfect application for the “living wall”. The movement was originally expected to respond to sound with the use of sound sensors, that would react differently to talking, stepping, and clapping. This proved to be inad-equate and was soon changed to the wall responding to movement, but then simplified even further by making the installation hand crank powered.

10

The meeting was headed by Will Alsop and attended by our group as well as twenty to thirty undergraduate students in interior design as well as Architec-ture from other universities, needless to say we were the smallest group present. One by one we went around the table allowing each student to explain their ideas. After a long day of discussion Mr. Alsop told everyone which ideas to develop further and when to return for the setup of his exhibition called “Box of Delights”. No clues were given on what the exhibition was going to entail.

Even during the two day setup of Will Alsop’s exhibition the students were still unclear on what he was trying to achieve with his “Box of Delights” concept. To describe it, it can be said that the observer experiences an explosion of shapes and colors in what was once a simple exhibition

space. With the use of a ominous sound track, and projectors casting arbitrary images over floating stuffed paper forms can cause the one experiencing the space to transcend to another level of enlightenment. A somewhat peaceful place to be.

THE LIVING WALL

As for the groups task in selecting this elective it was expected that the opportunity to attain new knowledge, gain experience, and skills would be abundant as the course progressed. The brief illustrated that the project would be based at The Public in West Bromwich, where it would present the opportunity to assist Will Alsop in one of his exhibitions. During the beginning of the course it was not known what to expect of the group or from the many people involved. As a result the project evolved into two separate ones.

Research and Investigation

The project commenced with the arrangement of a meeting at The Public where we were to be introduced to the cura-tor (Graham Peet) as well as get an initial idea of what was to be expected of us. During this visit we toured the entire building, while the curator pointed out desired areas for a change, and the opportunities for our group to develop it. Following this tour and briefing it was surprisingly clear that the building was our canvas, and anything we thought of could possibly become a potential exhibit. This was an aspect of the project which was not expected and we were unsure where it all tied in with assisting Will Alsop. As homework we were given the task of selecting a location anywhere throughout the building and develop a possible digital installation to show-case at the next meeting.

Inspiration was drawn from the loca-tions and technology available to us provided by The Public as well as numerous exhibits that were in progress during our time at the building. I developed two main ideas, one located in a prime area on the circula-tion ramp and the other in the main exhibition space on the top floor. The ideas were graphi-cally illustrated as follows.

Introduction Following the exhibition, the time spent on it seemed somewhat short and unsatisfying, and the curator was still interested in creating an installation somewhere else in The Public. We all took it amongst ourselves to think of some innovative installation ideas, which all steamed off of our original ideas presented in the previous meeting. After many group discussions with the curator it was determined that it would be best to choose only one of our ideas to develop further. Debating which idea to carry on with, it was determined that my idea of the living wall was the most practical, innovative and appropriate for a temporary installation.

Inspiration/ concept The idea of the living wall was designed with the intention of an interactive vertical surface that reflects and responds to those who passed it. From my observations of origami and its ability to turn ordi-nary paper into a shape that can ungulate and wave easily with very little effort, I saw this as the perfect application for the “living wall”. The movement was originally expected to respond to sound with the use of sound sensors, that would react differently to talking, stepping, and clapping. This proved to be inad-equate and was soon changed to the wall responding to movement, but then simplified even further by making the installation hand crank powered.

10 11

The meeting was headed by Will Alsop and attended by our group as well as twenty to thirty undergraduate students in interior design as well as Architec-ture from other universities, needless to say we were the smallest group present. One by one we went around the table allowing each student to explain their ideas. After a long day of discussion Mr. Alsop told everyone which ideas to develop further and when to return for the setup of his exhibition called “Box of Delights”. No clues were given on what the exhibition was going to entail.

Even during the two day setup of Will Alsop’s exhibition the students were still unclear on what he was trying to achieve with his “Box of Delights” concept. To describe it, it can be said that the observer experiences an explosion of shapes and colors in what was once a simple exhibition

space. With the use of a ominous sound track, and projectors casting arbitrary images over floating stuffed paper forms can cause the one experiencing the space to transcend to another level of enlightenment. A somewhat peaceful place to be.

THE LIVING WALL

As for the groups task in selecting this elective it was expected that the opportunity to attain new knowledge, gain experience, and skills would be abundant as the course progressed. The brief illustrated that the project would be based at The Public in West Bromwich, where it would present the opportunity to assist Will Alsop in one of his exhibitions. During the beginning of the course it was not known what to expect of the group or from the many people involved. As a result the project evolved into two separate ones.

Research and Investigation

The project commenced with the arrangement of a meeting at The Public where we were to be introduced to the cura-tor (Graham Peet) as well as get an initial idea of what was to be expected of us. During this visit we toured the entire building, while the curator pointed out desired areas for a change, and the opportunities for our group to develop it. Following this tour and briefing it was surprisingly clear that the building was our canvas, and anything we thought of could possibly become a potential exhibit. This was an aspect of the project which was not expected and we were unsure where it all tied in with assisting Will Alsop. As homework we were given the task of selecting a location anywhere throughout the building and develop a possible digital installation to show-case at the next meeting.

Inspiration was drawn from the loca-tions and technology available to us provided by The Public as well as numerous exhibits that were in progress during our time at the building. I developed two main ideas, one located in a prime area on the circula-tion ramp and the other in the main exhibition space on the top floor. The ideas were graphi-cally illustrated as follows.

Introduction Following the exhibition, the time spent on it seemed somewhat short and unsatisfying, and the curator was still interested in creating an installation somewhere else in The Public. We all took it amongst ourselves to think of some innovative installation ideas, which all steamed off of our original ideas presented in the previous meeting. After many group discussions with the curator it was determined that it would be best to choose only one of our ideas to develop further. Debating which idea to carry on with, it was determined that my idea of the living wall was the most practical, innovative and appropriate for a temporary installation.

Inspiration/ concept The idea of the living wall was designed with the intention of an interactive vertical surface that reflects and responds to those who passed it. From my observations of origami and its ability to turn ordi-nary paper into a shape that can ungulate and wave easily with very little effort, I saw this as the perfect application for the “living wall”. The movement was originally expected to respond to sound with the use of sound sensors, that would react differently to talking, stepping, and clapping. This proved to be inad-equate and was soon changed to the wall responding to movement, but then simplified even further by making the installation hand crank powered.

12

The meeting was headed by Will Alsop and attended by our group as well as twenty to thirty undergraduate students in interior design as well as Architec-ture from other universities, needless to say we were the smallest group present. One by one we went around the table allowing each student to explain their ideas. After a long day of discussion Mr. Alsop told everyone which ideas to develop further and when to return for the setup of his exhibition called “Box of Delights”. No clues were given on what the exhibition was going to entail.

Even during the two day setup of Will Alsop’s exhibition the students were still unclear on what he was trying to achieve with his “Box of Delights” concept. To describe it, it can be said that the observer experiences an explosion of shapes and colors in what was once a simple exhibition

space. With the use of a ominous sound track, and projectors casting arbitrary images over floating stuffed paper forms can cause the one experiencing the space to transcend to another level of enlightenment. A somewhat peaceful place to be.

THE LIVING WALL

As for the groups task in selecting this elective it was expected that the opportunity to attain new knowledge, gain experience, and skills would be abundant as the course progressed. The brief illustrated that the project would be based at The Public in West Bromwich, where it would present the opportunity to assist Will Alsop in one of his exhibitions. During the beginning of the course it was not known what to expect of the group or from the many people involved. As a result the project evolved into two separate ones.

Research and Investigation

The project commenced with the arrangement of a meeting at The Public where we were to be introduced to the cura-tor (Graham Peet) as well as get an initial idea of what was to be expected of us. During this visit we toured the entire building, while the curator pointed out desired areas for a change, and the opportunities for our group to develop it. Following this tour and briefing it was surprisingly clear that the building was our canvas, and anything we thought of could possibly become a potential exhibit. This was an aspect of the project which was not expected and we were unsure where it all tied in with assisting Will Alsop. As homework we were given the task of selecting a location anywhere throughout the building and develop a possible digital installation to show-case at the next meeting.

Inspiration was drawn from the loca-tions and technology available to us provided by The Public as well as numerous exhibits that were in progress during our time at the building. I developed two main ideas, one located in a prime area on the circula-tion ramp and the other in the main exhibition space on the top floor. The ideas were graphi-cally illustrated as follows.

Introduction Following the exhibition, the time spent on it seemed somewhat short and unsatisfying, and the curator was still interested in creating an installation somewhere else in The Public. We all took it amongst ourselves to think of some innovative installation ideas, which all steamed off of our original ideas presented in the previous meeting. After many group discussions with the curator it was determined that it would be best to choose only one of our ideas to develop further. Debating which idea to carry on with, it was determined that my idea of the living wall was the most practical, innovative and appropriate for a temporary installation.

Inspiration/ concept The idea of the living wall was designed with the intention of an interactive vertical surface that reflects and responds to those who passed it. From my observations of origami and its ability to turn ordi-nary paper into a shape that can ungulate and wave easily with very little effort, I saw this as the perfect application for the “living wall”. The movement was originally expected to respond to sound with the use of sound sensors, that would react differently to talking, stepping, and clapping. This proved to be inad-equate and was soon changed to the wall responding to movement, but then simplified even further by making the installation hand crank powered.

12 13

The meeting was headed by Will Alsop and attended by our group as well as twenty to thirty undergraduate students in interior design as well as Architec-ture from other universities, needless to say we were the smallest group present. One by one we went around the table allowing each student to explain their ideas. After a long day of discussion Mr. Alsop told everyone which ideas to develop further and when to return for the setup of his exhibition called “Box of Delights”. No clues were given on what the exhibition was going to entail.

Even during the two day setup of Will Alsop’s exhibition the students were still unclear on what he was trying to achieve with his “Box of Delights” concept. To describe it, it can be said that the observer experiences an explosion of shapes and colors in what was once a simple exhibition

space. With the use of a ominous sound track, and projectors casting arbitrary images over floating stuffed paper forms can cause the one experiencing the space to transcend to another level of enlightenment. A somewhat peaceful place to be.

THE LIVING WALL

As for the groups task in selecting this elective it was expected that the opportunity to attain new knowledge, gain experience, and skills would be abundant as the course progressed. The brief illustrated that the project would be based at The Public in West Bromwich, where it would present the opportunity to assist Will Alsop in one of his exhibitions. During the beginning of the course it was not known what to expect of the group or from the many people involved. As a result the project evolved into two separate ones.

Research and Investigation

The project commenced with the arrangement of a meeting at The Public where we were to be introduced to the cura-tor (Graham Peet) as well as get an initial idea of what was to be expected of us. During this visit we toured the entire building, while the curator pointed out desired areas for a change, and the opportunities for our group to develop it. Following this tour and briefing it was surprisingly clear that the building was our canvas, and anything we thought of could possibly become a potential exhibit. This was an aspect of the project which was not expected and we were unsure where it all tied in with assisting Will Alsop. As homework we were given the task of selecting a location anywhere throughout the building and develop a possible digital installation to show-case at the next meeting.

Inspiration was drawn from the loca-tions and technology available to us provided by The Public as well as numerous exhibits that were in progress during our time at the building. I developed two main ideas, one located in a prime area on the circula-tion ramp and the other in the main exhibition space on the top floor. The ideas were graphi-cally illustrated as follows.

Introduction Following the exhibition, the time spent on it seemed somewhat short and unsatisfying, and the curator was still interested in creating an installation somewhere else in The Public. We all took it amongst ourselves to think of some innovative installation ideas, which all steamed off of our original ideas presented in the previous meeting. After many group discussions with the curator it was determined that it would be best to choose only one of our ideas to develop further. Debating which idea to carry on with, it was determined that my idea of the living wall was the most practical, innovative and appropriate for a temporary installation.

Inspiration/ concept The idea of the living wall was designed with the intention of an interactive vertical surface that reflects and responds to those who passed it. From my observations of origami and its ability to turn ordi-nary paper into a shape that can ungulate and wave easily with very little effort, I saw this as the perfect application for the “living wall”. The movement was originally expected to respond to sound with the use of sound sensors, that would react differently to talking, stepping, and clapping. This proved to be inad-equate and was soon changed to the wall responding to movement, but then simplified even further by making the installation hand crank powered.

15

The meeting was headed by Will Alsop and attended by our group as well as twenty to thirty undergraduate students in interior design as well as Architec-ture from other universities, needless to say we were the smallest group present. One by one we went around the table allowing each student to explain their ideas. After a long day of discussion Mr. Alsop told everyone which ideas to develop further and when to return for the setup of his exhibition called “Box of Delights”. No clues were given on what the exhibition was going to entail.

Even during the two day setup of Will Alsop’s exhibition the students were still unclear on what he was trying to achieve with his “Box of Delights” concept. To describe it, it can be said that the observer experiences an explosion of shapes and colors in what was once a simple exhibition

space. With the use of a ominous sound track, and projectors casting arbitrary images over floating stuffed paper forms can cause the one experiencing the space to transcend to another level of enlightenment. A somewhat peaceful place to be.

THE LIVING WALL

As for the groups task in selecting this elective it was expected that the opportunity to attain new knowledge, gain experience, and skills would be abundant as the course progressed. The brief illustrated that the project would be based at The Public in West Bromwich, where it would present the opportunity to assist Will Alsop in one of his exhibitions. During the beginning of the course it was not known what to expect of the group or from the many people involved. As a result the project evolved into two separate ones.

Research and Investigation

The project commenced with the arrangement of a meeting at The Public where we were to be introduced to the cura-tor (Graham Peet) as well as get an initial idea of what was to be expected of us. During this visit we toured the entire building, while the curator pointed out desired areas for a change, and the opportunities for our group to develop it. Following this tour and briefing it was surprisingly clear that the building was our canvas, and anything we thought of could possibly become a potential exhibit. This was an aspect of the project which was not expected and we were unsure where it all tied in with assisting Will Alsop. As homework we were given the task of selecting a location anywhere throughout the building and develop a possible digital installation to show-case at the next meeting.

Inspiration was drawn from the loca-tions and technology available to us provided by The Public as well as numerous exhibits that were in progress during our time at the building. I developed two main ideas, one located in a prime area on the circula-tion ramp and the other in the main exhibition space on the top floor. The ideas were graphi-cally illustrated as follows.

Introduction Following the exhibition, the time spent on it seemed somewhat short and unsatisfying, and the curator was still interested in creating an installation somewhere else in The Public. We all took it amongst ourselves to think of some innovative installation ideas, which all steamed off of our original ideas presented in the previous meeting. After many group discussions with the curator it was determined that it would be best to choose only one of our ideas to develop further. Debating which idea to carry on with, it was determined that my idea of the living wall was the most practical, innovative and appropriate for a temporary installation.

Inspiration/ concept The idea of the living wall was designed with the intention of an interactive vertical surface that reflects and responds to those who passed it. From my observations of origami and its ability to turn ordi-nary paper into a shape that can ungulate and wave easily with very little effort, I saw this as the perfect application for the “living wall”. The movement was originally expected to respond to sound with the use of sound sensors, that would react differently to talking, stepping, and clapping. This proved to be inad-equate and was soon changed to the wall responding to movement, but then simplified even further by making the installation hand crank powered.

15 16

The meeting was headed by Will Alsop and attended by our group as well as twenty to thirty undergraduate students in interior design as well as Architec-ture from other universities, needless to say we were the smallest group present. One by one we went around the table allowing each student to explain their ideas. After a long day of discussion Mr. Alsop told everyone which ideas to develop further and when to return for the setup of his exhibition called “Box of Delights”. No clues were given on what the exhibition was going to entail.

Even during the two day setup of Will Alsop’s exhibition the students were still unclear on what he was trying to achieve with his “Box of Delights” concept. To describe it, it can be said that the observer experiences an explosion of shapes and colors in what was once a simple exhibition

space. With the use of a ominous sound track, and projectors casting arbitrary images over floating stuffed paper forms can cause the one experiencing the space to transcend to another level of enlightenment. A somewhat peaceful place to be.

THE LIVING WALL

As for the groups task in selecting this elective it was expected that the opportunity to attain new knowledge, gain experience, and skills would be abundant as the course progressed. The brief illustrated that the project would be based at The Public in West Bromwich, where it would present the opportunity to assist Will Alsop in one of his exhibitions. During the beginning of the course it was not known what to expect of the group or from the many people involved. As a result the project evolved into two separate ones.

Research and Investigation

The project commenced with the arrangement of a meeting at The Public where we were to be introduced to the cura-tor (Graham Peet) as well as get an initial idea of what was to be expected of us. During this visit we toured the entire building, while the curator pointed out desired areas for a change, and the opportunities for our group to develop it. Following this tour and briefing it was surprisingly clear that the building was our canvas, and anything we thought of could possibly become a potential exhibit. This was an aspect of the project which was not expected and we were unsure where it all tied in with assisting Will Alsop. As homework we were given the task of selecting a location anywhere throughout the building and develop a possible digital installation to show-case at the next meeting.

Inspiration was drawn from the loca-tions and technology available to us provided by The Public as well as numerous exhibits that were in progress during our time at the building. I developed two main ideas, one located in a prime area on the circula-tion ramp and the other in the main exhibition space on the top floor. The ideas were graphi-cally illustrated as follows.

Introduction Following the exhibition, the time spent on it seemed somewhat short and unsatisfying, and the curator was still interested in creating an installation somewhere else in The Public. We all took it amongst ourselves to think of some innovative installation ideas, which all steamed off of our original ideas presented in the previous meeting. After many group discussions with the curator it was determined that it would be best to choose only one of our ideas to develop further. Debating which idea to carry on with, it was determined that my idea of the living wall was the most practical, innovative and appropriate for a temporary installation.

The Living WallInspiration/ concept The idea of the living wall was designed with the intention of an interactive vertical surface that reflects and responds to those who passed it. From my observations of origami and its ability to turn ordi-nary paper into a shape that can ungulate and wave easily with very little effort, I saw this as the perfect application for the “living wall”. The movement was originally expected to respond to sound with the use of sound sensors, that would react differently to talking, stepping, and clapping. This proved to be inad-equate and was soon changed to the wall responding to movement, but then simplified even further by making the installation hand crank powered.

17

The meeting was headed by Will Alsop and attended by our group as well as twenty to thirty undergraduate students in interior design as well as Architec-ture from other universities, needless to say we were the smallest group present. One by one we went around the table allowing each student to explain their ideas. After a long day of discussion Mr. Alsop told everyone which ideas to develop further and when to return for the setup of his exhibition called “Box of Delights”. No clues were given on what the exhibition was going to entail.

Even during the two day setup of Will Alsop’s exhibition the students were still unclear on what he was trying to achieve with his “Box of Delights” concept. To describe it, it can be said that the observer experiences an explosion of shapes and colors in what was once a simple exhibition

space. With the use of a ominous sound track, and projectors casting arbitrary images over floating stuffed paper forms can cause the one experiencing the space to transcend to another level of enlightenment. A somewhat peaceful place to be.

THE LIVING WALL

As for the groups task in selecting this elective it was expected that the opportunity to attain new knowledge, gain experience, and skills would be abundant as the course progressed. The brief illustrated that the project would be based at The Public in West Bromwich, where it would present the opportunity to assist Will Alsop in one of his exhibitions. During the beginning of the course it was not known what to expect of the group or from the many people involved. As a result the project evolved into two separate ones.

Research and Investigation

The project commenced with the arrangement of a meeting at The Public where we were to be introduced to the cura-tor (Graham Peet) as well as get an initial idea of what was to be expected of us. During this visit we toured the entire building, while the curator pointed out desired areas for a change, and the opportunities for our group to develop it. Following this tour and briefing it was surprisingly clear that the building was our canvas, and anything we thought of could possibly become a potential exhibit. This was an aspect of the project which was not expected and we were unsure where it all tied in with assisting Will Alsop. As homework we were given the task of selecting a location anywhere throughout the building and develop a possible digital installation to show-case at the next meeting.

Inspiration was drawn from the loca-tions and technology available to us provided by The Public as well as numerous exhibits that were in progress during our time at the building. I developed two main ideas, one located in a prime area on the circula-tion ramp and the other in the main exhibition space on the top floor. The ideas were graphi-cally illustrated as follows.

Introduction Following the exhibition, the time spent on it seemed somewhat short and unsatisfying, and the curator was still interested in creating an installation somewhere else in The Public. We all took it amongst ourselves to think of some innovative installation ideas, which all steamed off of our original ideas presented in the previous meeting. After many group discussions with the curator it was determined that it would be best to choose only one of our ideas to develop further. Debating which idea to carry on with, it was determined that my idea of the living wall was the most practical, innovative and appropriate for a temporary installation.

Inspiration/ concept The idea of the living wall was designed with the intention of an interactive vertical surface that reflects and responds to those who passed it. From my observations of origami and its ability to turn ordi-nary paper into a shape that can ungulate and wave easily with very little effort, I saw this as the perfect application for the “living wall”. The movement was originally expected to respond to sound with the use of sound sensors, that would react differently to talking, stepping, and clapping. This proved to be inad-equate and was soon changed to the wall responding to movement, but then simplified even further by making the installation hand crank powered.

1:5 Scale model of initial proposed installation

17 18

The meeting was headed by Will Alsop and attended by our group as well as twenty to thirty undergraduate students in interior design as well as Architec-ture from other universities, needless to say we were the smallest group present. One by one we went around the table allowing each student to explain their ideas. After a long day of discussion Mr. Alsop told everyone which ideas to develop further and when to return for the setup of his exhibition called “Box of Delights”. No clues were given on what the exhibition was going to entail.

Even during the two day setup of Will Alsop’s exhibition the students were still unclear on what he was trying to achieve with his “Box of Delights” concept. To describe it, it can be said that the observer experiences an explosion of shapes and colors in what was once a simple exhibition

space. With the use of a ominous sound track, and projectors casting arbitrary images over floating stuffed paper forms can cause the one experiencing the space to transcend to another level of enlightenment. A somewhat peaceful place to be.

THE LIVING WALL

The project was divided amongst the group, into cat-egories of mechanism, struc-ture, scale and material of paper, and surveying. After weeks of development meet-ings, the details of the installa-tion were determined and materials were ordered to start cutting out the components. Work commenced in the BIAD workshop where we utilized the CNC router to cut out members 2m tall on 18mm plyboard. Numerous problems arouse with the drill bits break-ing and the wood cracking. Despite these setbacks the wood components were com-pleted to a high standard.

Next would be the most tedious portion of the installation, the final fold-ing of the origami sheets. With assistance from the fashion department we were able to sew together specially ordered tare proof paper making a combined sheet size of 1782mm x 3564mm. With each sheet taking approxi-mately two hours each to fold, the next step was to transport the components to The Public and set up the installation.

18

Design Development It was first experimented with a small scale test that would prove whether or not the idea was practical. The style of origami that was thought most effective was the Magic Origami Ball, and through research of some youtube videos and four hours of folding later it was created. Following the folding, a 1:5 scale mecha-nism and frame was designed to allow movement to the paper in a way that was most desired. This prototype was presented and explained to Graham Peet where he expressed his likes, dislikes, and concerns towards the installation. During this meet-ing a proper location for the installation was chosen, chang-ing the shape of the structure significantly, but still keeping the initial concept.

The project was divided amongst the group, into cat-egories of mechanism, struc-ture, scale and material of paper, and surveying. After weeks of development meet-ings, the details of the installa-tion were determined and materials were ordered to start cutting out the components. Work commenced in the BIAD workshop where we utilized the CNC router to cut out members 2m tall on 18mm plyboard. Numerous problems arouse with the drill bits break-ing and the wood cracking. Despite these setbacks the wood components were com-pleted to a high standard.

Next would be the most tedious portion of the installation, the final fold-ing of the origami sheets. With assistance from the fashion department we were able to sew together specially ordered tare proof paper making a combined sheet size of 1782mm x 3564mm. With each sheet taking approxi-mately two hours each to fold, the next step was to transport the components to The Public and set up the installation.

18 19

Design Development It was first experimented with a small scale test that would prove whether or not the idea was practical. The style of origami that was thought most effective was the Magic Origami Ball, and through research of some youtube videos and four hours of folding later it was created. Following the folding, a 1:5 scale mecha-nism and frame was designed to allow movement to the paper in a way that was most desired. This prototype was presented and explained to Graham Peet where he expressed his likes, dislikes, and concerns towards the installation. During this meet-ing a proper location for the installation was chosen, chang-ing the shape of the structure significantly, but still keeping the initial concept.

The project was divided amongst the group, into cat-egories of mechanism, struc-ture, scale and material of paper, and surveying. After weeks of development meet-ings, the details of the installa-tion were determined and materials were ordered to start cutting out the components. Work commenced in the BIAD workshop where we utilized the CNC router to cut out members 2m tall on 18mm plyboard. Numerous problems arouse with the drill bits break-ing and the wood cracking. Despite these setbacks the wood components were com-pleted to a high standard.

Next would be the most tedious portion of the installation, the final fold-ing of the origami sheets. With assistance from the fashion department we were able to sew together specially ordered tare proof paper making a combined sheet size of 1782mm x 3564mm. With each sheet taking approxi-mately two hours each to fold, the next step was to transport the components to The Public and set up the installation.

Hand crank

Cogs

Supporting Structure

10mm Steel Bolts

Lateral Support

Rotating Arms

22mm Wood Dowell

Wood Connections

20

Design Development It was first experimented with a small scale test that would prove whether or not the idea was practical. The style of origami that was thought most effective was the Magic Origami Ball, and through research of some youtube videos and four hours of folding later it was created. Following the folding, a 1:5 scale mecha-nism and frame was designed to allow movement to the paper in a way that was most desired. This prototype was presented and explained to Graham Peet where he expressed his likes, dislikes, and concerns towards the installation. During this meet-ing a proper location for the installation was chosen, chang-ing the shape of the structure significantly, but still keeping the initial concept.

The project was divided amongst the group, into cat-egories of mechanism, struc-ture, scale and material of paper, and surveying. After weeks of development meet-ings, the details of the installa-tion were determined and materials were ordered to start cutting out the components. Work commenced in the BIAD workshop where we utilized the CNC router to cut out members 2m tall on 18mm plyboard. Numerous problems arouse with the drill bits break-ing and the wood cracking. Despite these setbacks the wood components were com-pleted to a high standard.

Next would be the most tedious portion of the installation, the final fold-ing of the origami sheets. With assistance from the fashion department we were able to sew together specially ordered tare proof paper making a combined sheet size of 1782mm x 3564mm. With each sheet taking approxi-mately two hours each to fold, the next step was to transport the components to The Public and set up the installation.

20 21

Design Development It was first experimented with a small scale test that would prove whether or not the idea was practical. The style of origami that was thought most effective was the Magic Origami Ball, and through research of some youtube videos and four hours of folding later it was created. Following the folding, a 1:5 scale mecha-nism and frame was designed to allow movement to the paper in a way that was most desired. This prototype was presented and explained to Graham Peet where he expressed his likes, dislikes, and concerns towards the installation. During this meet-ing a proper location for the installation was chosen, chang-ing the shape of the structure significantly, but still keeping the initial concept.

The project was divided amongst the group, into cat-egories of mechanism, struc-ture, scale and material of paper, and surveying. After weeks of development meet-ings, the details of the installa-tion were determined and materials were ordered to start cutting out the components. Work commenced in the BIAD workshop where we utilized the CNC router to cut out members 2m tall on 18mm plyboard. Numerous problems arouse with the drill bits break-ing and the wood cracking. Despite these setbacks the wood components were com-pleted to a high standard.

Next would be the most tedious portion of the installation, the final fold-ing of the origami sheets. With assistance from the fashion department we were able to sew together specially ordered tare proof paper making a combined sheet size of 1782mm x 3564mm. With each sheet taking approxi-mately two hours each to fold, the next step was to transport the components to The Public and set up the installation.

22

Design Development It was first experimented with a small scale test that would prove whether or not the idea was practical. The style of origami that was thought most effective was the Magic Origami Ball, and through research of some youtube videos and four hours of folding later it was created. Following the folding, a 1:5 scale mecha-nism and frame was designed to allow movement to the paper in a way that was most desired. This prototype was presented and explained to Graham Peet where he expressed his likes, dislikes, and concerns towards the installation. During this meet-ing a proper location for the installation was chosen, chang-ing the shape of the structure significantly, but still keeping the initial concept.

The project was divided amongst the group, into cat-egories of mechanism, struc-ture, scale and material of paper, and surveying. After weeks of development meet-ings, the details of the installa-tion were determined and materials were ordered to start cutting out the components. Work commenced in the BIAD workshop where we utilized the CNC router to cut out members 2m tall on 18mm plyboard. Numerous problems arouse with the drill bits break-ing and the wood cracking. Despite these setbacks the wood components were com-pleted to a high standard.

Next would be the most tedious portion of the installation, the final fold-ing of the origami sheets. With assistance from the fashion department we were able to sew together specially ordered tare proof paper making a combined sheet size of 1782mm x 3564mm. With each sheet taking approxi-mately two hours each to fold, the next step was to transport the components to The Public and set up the installation.

22 23

Design Development It was first experimented with a small scale test that would prove whether or not the idea was practical. The style of origami that was thought most effective was the Magic Origami Ball, and through research of some youtube videos and four hours of folding later it was created. Following the folding, a 1:5 scale mecha-nism and frame was designed to allow movement to the paper in a way that was most desired. This prototype was presented and explained to Graham Peet where he expressed his likes, dislikes, and concerns towards the installation. During this meet-ing a proper location for the installation was chosen, chang-ing the shape of the structure significantly, but still keeping the initial concept.

The project was divided amongst the group, into cat-egories of mechanism, struc-ture, scale and material of paper, and surveying. After weeks of development meet-ings, the details of the installa-tion were determined and materials were ordered to start cutting out the components. Work commenced in the BIAD workshop where we utilized the CNC router to cut out members 2m tall on 18mm plyboard. Numerous problems arouse with the drill bits break-ing and the wood cracking. Despite these setbacks the wood components were com-pleted to a high standard.

Next would be the most tedious portion of the installation, the final fold-ing of the origami sheets. With assistance from the fashion department we were able to sew together specially ordered tare proof paper making a combined sheet size of 1782mm x 3564mm. With each sheet taking approxi-mately two hours each to fold, the next step was to transport the components to The Public and set up the installation.

24

Design Development It was first experimented with a small scale test that would prove whether or not the idea was practical. The style of origami that was thought most effective was the Magic Origami Ball, and through research of some youtube videos and four hours of folding later it was created. Following the folding, a 1:5 scale mecha-nism and frame was designed to allow movement to the paper in a way that was most desired. This prototype was presented and explained to Graham Peet where he expressed his likes, dislikes, and concerns towards the installation. During this meet-ing a proper location for the installation was chosen, chang-ing the shape of the structure significantly, but still keeping the initial concept.

The project was divided amongst the group, into cat-egories of mechanism, struc-ture, scale and material of paper, and surveying. After weeks of development meet-ings, the details of the installa-tion were determined and materials were ordered to start cutting out the components. Work commenced in the BIAD workshop where we utilized the CNC router to cut out members 2m tall on 18mm plyboard. Numerous problems arouse with the drill bits break-ing and the wood cracking. Despite these setbacks the wood components were com-pleted to a high standard.

Next would be the most tedious portion of the installation, the final fold-ing of the origami sheets. With assistance from the fashion department we were able to sew together specially ordered tare proof paper making a combined sheet size of 1782mm x 3564mm. With each sheet taking approxi-mately two hours each to fold, the next step was to transport the components to The Public and set up the installation.

24 25

Design Development It was first experimented with a small scale test that would prove whether or not the idea was practical. The style of origami that was thought most effective was the Magic Origami Ball, and through research of some youtube videos and four hours of folding later it was created. Following the folding, a 1:5 scale mecha-nism and frame was designed to allow movement to the paper in a way that was most desired. This prototype was presented and explained to Graham Peet where he expressed his likes, dislikes, and concerns towards the installation. During this meet-ing a proper location for the installation was chosen, chang-ing the shape of the structure significantly, but still keeping the initial concept.

The project was divided amongst the group, into cat-egories of mechanism, struc-ture, scale and material of paper, and surveying. After weeks of development meet-ings, the details of the installa-tion were determined and materials were ordered to start cutting out the components. Work commenced in the BIAD workshop where we utilized the CNC router to cut out members 2m tall on 18mm plyboard. Numerous problems arouse with the drill bits break-ing and the wood cracking. Despite these setbacks the wood components were com-pleted to a high standard.

Next would be the most tedious portion of the installation, the final fold-ing of the origami sheets. With assistance from the fashion department we were able to sew together specially ordered tare proof paper making a combined sheet size of 1782mm x 3564mm. With each sheet taking approxi-mately two hours each to fold, the next step was to transport the components to The Public and set up the installation.

Design Development It was first experimented with a small scale test that would prove whether or not the idea was practical. The style of origami that was thought most effective was the Magic Origami Ball, and through research of some youtube videos and four hours of folding later it was created. Following the folding, a 1:5 scale mecha-nism and frame was designed to allow movement to the paper in a way that was most desired. This prototype was presented and explained to Graham Peet where he expressed his likes, dislikes, and concerns towards the installation. During this meet-ing a proper location for the installation was chosen, chang-ing the shape of the structure significantly, but still keeping the initial concept.

The meeting was headed by Will Alsop and attended by our group as well as twenty to thirty undergraduate students in interior design as well as Architecture from other universities, needless to say we were the smallest group present. One by one we went around the table allowing each student to explain their ideas. After a long day of discussion Mr. Alsop told everyone which ideas to develop further and when to return for the setup of his exhibition called “Box of Delights”. No clues were given on what the exhibition was going to entail.

The meeting was headed by Will Alsop and attended by our group as well as twenty to thirty undergraduate students in interior design as well as Architecture from other universities, needless to say we were the smallest group present. One by one we went around the table allowing each student to explain their ideas. After a long day of discussion Mr. Alsop told everyone which ideas to develop further and when to return for the setup of his exhibition called “Box of Delights”. No clues were given on what the exhibition was going to entail.

The meeting was headed by Will Alsop and attended by our group as well as twenty to thirty undergraduate students in interior design as well as Architecture from other universities, needless to say we were the smallest group present. One by one we went around the table allowing each student to explain their ideas. After a long day of discussion Mr. Alsop told everyone which ideas to develop further and when to return for the setup of his exhibition called “Box of Delights”. No clues were given on what the exhibition was going to entail.

The meeting was headed by Will Alsop and attended by our group as well as twenty to thirty undergraduate students in interior design as well as Architecture from other universities, needless to say we were the smallest group present. One by one we went around the table allowing each student to explain their ideas. After a long day of discussion Mr. Alsop told everyone which ideas to develop further and when to return for the setup of his exhibition called “Box of Delights”. No clues were given on what the exhibition was going to entail.

BRANDON M SCOTTs11729796

Tutor: Alessandro Columbano05.01.12

ARC7202/ M.Arch Elec-tiveACADEMIC YEAR 2011/12REPORT

BRANDON M SCOTTs11729796

Tutor: Alessandro Columbano05.01.12

ARC7202/ M.Arch Elec-tiveACADEMIC YEAR 2011/12REPORT

The project was divided amongst the group, into cat-egories of mechanism, struc-ture, scale and material of paper, and surveying. After weeks of development meet-ings, the details of the installa-tion were determined and materials were ordered to start cutting out the components. Work commenced in the BIAD workshop where we utilized the CNC router to cut out members 2m tall on 18mm plyboard. Numerous problems arouse with the drill bits break-ing and the wood cracking. Despite these setbacks the wood components were com-pleted to a high standard.

Next would be the most tedious portion of the installation, the final fold-ing of the origami sheets. With assistance from the fashion department we were able to sew together specially ordered tare proof paper making a combined sheet size of 1782mm x 3564mm. With each sheet taking approxi-mately two hours each to fold, the next step was to transport the components to The Public and set up the installation.

Bibliography Design Development It was first experimented with a small scale test that would prove whether or not the idea was practical. The style of origami that was thought most effective was the Magic Origami Ball, and through research of some youtube videos and four hours of folding later it was created. Following the folding, a 1:5 scale mecha-nism and frame was designed to allow movement to the paper in a way that was most desired. This prototype was presented and explained to Graham Peet where he expressed his likes, dislikes, and concerns towards the installation. During this meet-ing a proper location for the installation was chosen, chang-ing the shape of the structure significantly, but still keeping the initial concept.

1. How to "quickly" make an Origami Magic Ballhttp://www.youtube.com/watch?v=tGhcTwIJ4Es

2. How to make an Origami Magic Ballhttp://www.youtube.com/watch?v=uyX-T4y_INQ

3. http://www.thepublic.com/

The meeting was headed by Will Alsop and attended by our group as well as twenty to thirty undergraduate students in interior design as well as Architecture from other universities, needless to say we were the smallest group present. One by one we went around the table allowing each student to explain their ideas. After a long day of discussion Mr. Alsop told everyone which ideas to develop further and when to return for the setup of his exhibition called “Box of Delights”. No clues were given on what the exhibition was going to entail.

The meeting was headed by Will Alsop and attended by our group as well as twenty to thirty undergraduate students in interior design as well as Architecture from other universities, needless to say we were the smallest group present. One by one we went around the table allowing each student to explain their ideas. After a long day of discussion Mr. Alsop told everyone which ideas to develop further and when to return for the setup of his exhibition called “Box of Delights”. No clues were given on what the exhibition was going to entail.

The meeting was headed by Will Alsop and attended by our group as well as twenty to thirty undergraduate students in interior design as well as Architecture from other universities, needless to say we were the smallest group present. One by one we went around the table allowing each student to explain their ideas. After a long day of discussion Mr. Alsop told everyone which ideas to develop further and when to return for the setup of his exhibition called “Box of Delights”. No clues were given on what the exhibition was going to entail.

The meeting was headed by Will Alsop and attended by our group as well as twenty to thirty undergraduate students in interior design as well as Architecture from other universities, needless to say we were the smallest group present. One by one we went around the table allowing each student to explain their ideas. After a long day of discussion Mr. Alsop told everyone which ideas to develop further and when to return for the setup of his exhibition called “Box of Delights”. No clues were given on what the exhibition was going to entail.

BRANDON M SCOTTs11729796

Tutor: Alessandro Columbano05.01.12

ARC7202/ M.Arch Elec-tiveACADEMIC YEAR 2011/12REPORT

BRANDON M SCOTTs11729796

Tutor: Alessandro Columbano05.01.12

ARC7202/ M.Arch Elec-tiveACADEMIC YEAR 2011/12REPORT

The project was divided amongst the group, into cat-egories of mechanism, struc-ture, scale and material of paper, and surveying. After weeks of development meet-ings, the details of the installa-tion were determined and materials were ordered to start cutting out the components. Work commenced in the BIAD workshop where we utilized the CNC router to cut out members 2m tall on 18mm plyboard. Numerous problems arouse with the drill bits break-ing and the wood cracking. Despite these setbacks the wood components were com-pleted to a high standard.

Next would be the most tedious portion of the installation, the final fold-ing of the origami sheets. With assistance from the fashion department we were able to sew together specially ordered tare proof paper making a combined sheet size of 1782mm x 3564mm. With each sheet taking approxi-mately two hours each to fold, the next step was to transport the components to The Public and set up the installation.

Design Development It was first experimented with a small scale test that would prove whether or not the idea was practical. The style of origami that was thought most effective was the Magic Origami Ball, and through research of some youtube videos and four hours of folding later it was created. Following the folding, a 1:5 scale mecha-nism and frame was designed to allow movement to the paper in a way that was most desired. This prototype was presented and explained to Graham Peet where he expressed his likes, dislikes, and concerns towards the installation. During this meet-ing a proper location for the installation was chosen, chang-ing the shape of the structure significantly, but still keeping the initial concept.

The meeting was headed by Will Alsop and attended by our group as well as twenty to thirty undergraduate students in interior design as well as Architecture from other universities, needless to say we were the smallest group present. One by one we went around the table allowing each student to explain their ideas. After a long day of discussion Mr. Alsop told everyone which ideas to develop further and when to return for the setup of his exhibition called “Box of Delights”. No clues were given on what the exhibition was going to entail.

The meeting was headed by Will Alsop and attended by our group as well as twenty to thirty undergraduate students in interior design as well as Architecture from other universities, needless to say we were the smallest group present. One by one we went around the table allowing each student to explain their ideas. After a long day of discussion Mr. Alsop told everyone which ideas to develop further and when to return for the setup of his exhibition called “Box of Delights”. No clues were given on what the exhibition was going to entail.

The meeting was headed by Will Alsop and attended by our group as well as twenty to thirty undergraduate students in interior design as well as Architecture from other universities, needless to say we were the smallest group present. One by one we went around the table allowing each student to explain their ideas. After a long day of discussion Mr. Alsop told everyone which ideas to develop further and when to return for the setup of his exhibition called “Box of Delights”. No clues were given on what the exhibition was going to entail.

The meeting was headed by Will Alsop and attended by our group as well as twenty to thirty undergraduate students in interior design as well as Architecture from other universities, needless to say we were the smallest group present. One by one we went around the table allowing each student to explain their ideas. After a long day of discussion Mr. Alsop told everyone which ideas to develop further and when to return for the setup of his exhibition called “Box of Delights”. No clues were given on what the exhibition was going to entail.

BRANDON M SCOTTs11729796

Tutor: Alessandro Columbano05.01.12

ARC7202/ M.Arch Elec-tiveACADEMIC YEAR 2011/12REPORT

BRANDON M SCOTTs11729796

Tutor: Alessandro Columbano05.01.12

ARC7202/ M.Arch Elec-tiveACADEMIC YEAR 2011/12REPORT

The meeting was headed by Will Alsop and attended by our group as well as twenty to thirty undergraduate students in interior design as well as Architecture from other universities, needless to say we were the smallest group present. One by one we went around the table allowing each student to explain their ideas. After a long day of discussion Mr. Alsop told everyone which ideas to develop further and when to return for the setup of his exhibition called “Box of Delights”. No clues were given on what the exhibition was going to entail.

The meeting was headed by Will Alsop and attended by our group as well as twenty to thirty undergraduate students in interior design as well as Architecture from other universities, needless to say we were the smallest group present. One by one we went around the table allowing each student to explain their ideas. After a long day of discussion Mr. Alsop told everyone which ideas to develop further and when to return for the setup of his exhibition called “Box of Delights”. No clues were given on what the exhibition was going to entail.

The meeting was headed by Will Alsop and attended by our group as well as twenty to thirty undergraduate students in interior design as well as Architecture from other universities, needless to say we were the smallest group present. One by one we went around the table allowing each student to explain their ideas. After a long day of discussion Mr. Alsop told everyone which ideas to develop further and when to return for the setup of his exhibition called “Box of Delights”. No clues were given on what the exhibition was going to entail.

The meeting was headed by Will Alsop and attended by our group as well as twenty to thirty undergraduate students in interior design as well as Architecture from other universities, needless to say we were the smallest group present. One by one we went around the table allowing each student to explain their ideas. After a long day of discussion Mr. Alsop told everyone which ideas to develop further and when to return for the setup of his exhibition called “Box of Delights”. No clues were given on what the exhibition was going to entail.

BRANDON M SCOTTs11729796

Tutor: Alessandro Columbano05.01.12

ARC7202/ M.Arch Elec-tiveACADEMIC YEAR 2011/12REPORT

BRANDON M SCOTTs11729796

Tutor: Alessandro Columbano05.01.12

ARC7202/ M.Arch Elec-tiveACADEMIC YEAR 2011/12REPORT