AR CHITECTURE

ar

chitecture

[intro]

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If architecture has always been considered a slow practice, interface design is one of the most dynamic environment included into the design process.

Into the field of architecture, interface design can be described as a compromise between what designers need and how designers achieve their ambitions.

For example, 3D modeling software are based on designers notions but are made by developers with a strong computer science background.

There is an emerging specialized figure with a background between general design and application development that is becoming relevant during the design process. Visualizing a project through AR or VR technologies is just one of the new trend in architecture, but there is more to come.

Furthermore, the fact that we can have virtual visualizations in real scale and real time is generating new possibilities in architecture.

Indeed this semester's focus has been based on the idea that in the future we will perceive the architectural design on two different coexisting levels : physical and virtual. Projection mapping, augmented reality design are just first experimentations of what is going to be a design outcome where virtual and physical information are mixed.

The design is a balance exercise between these two components and what we always considered to be visualization tools could be shifting to a virtual property included in the final design.

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.1

samples

figures Peter Testa supports the idea that Robotic is changing how space is conceived designed and fabricated. Indeed, robotic offers a first effort in merging virtual reference and physical reference in space. Peter is interested in creating new tools for the architectural process where traditional design procedures are questioned. This vertical studio has been very provocative and the best part has not been the design itself perceived as a " beautiful final object '', but the design as creating tools to gather information in order to re-display an initial object through a different media.

Peter testa based the studio on the possibility to bring physical information into virtual space through 3D scanning technologies. This is not what he considers a "techy" approach, he rather prefers suggesting 3D scanning as an input for students. This studio refuses any traditional approach and keep speculating on new possibilities included in the architectural process. The whole material presented during this chapter will be an abstraction of real architectural volumes, since the focus is oddly aesthetic.

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A U G M E N T E D R E A L I T Y + r o b o t h o u s e The harder bet during this semester was relating our focus on Augmented Reality with the use of robotics.

Augmented Reality can't be considered a new technology. Differently it's a new way to visualize information built on pre-existent technologies. AR is hard to describe since it's continously changing the way it's working and the devices that include AR applications.

Briefly, an AR device is a screen based device [ smartphone, I pad, headset ] that can be filtering the real space in real time adding any kind of visual information.

In cinematography, often we see vfx showing this "futuristic capabilities". For example "In time " by Andrew Niccoln.

Currently, sci-fi directors will need to put more efforts into their vision because what we were considering future is becoming old-tech day by day.

However, during the next pages there will be our interpretation of what can be architecture if we are "limited" to use AR, robots, and 3D scanning.

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3D AR captures

3D AR captures

3D AR captures

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New ground perception

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: our tool f l o a t i n g qualities Our "first move" to reverse every reference into the the design process has been deciding to scan the architectural objects avoiding any physical tool. We excluded the use of robot and scanning devices for the first part of the semester.

This decision has been very strong and could have been considered out of the studio format , but we will be fitting the requirements later.

We use our smartphone to scan AR augmented object, and AR augmented object mixed with real object.

The only benefit from scanning virtual object projected in real space is that we could scan every part of the object excluding the ground reference. In fact if we scan a real object we always need to exclude the surface that is facing the ground.

This is a very simple concept that remarks that virtual information can be visualized everywhere in the space, despite of their location and orientation. Also designwise, we were excluding the strong presence of a flat platform unifying all the elements in the Corbusier's rooftop of the Unite' d'habitation.

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ALSO ALSO

Scanning a composition of real objects and augmented object reveals a significant quality. AR can't work with real time perspective. It could work, if we apply a depth mask cloning the real object in the same position.

But we didn't.

The result of the scanning process was a collision of two different entities with still similar texture qualities coming from the rough scanning technique the object have been exposed to.

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This is maybe a sad reflection to point out. But I do believe is fundamental for understanding our aesthetic in relation with the interface design process. Software's choice, pc machine budget and othe very technical aspects become very important when you deal with design interlaced with research.

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In the studio format, there were suggestions about software to use for 3d scanning. We tried many other alternatives finiding new qualities that until that moment have never been considered in the vertical studio itself. Some software can recompose almost the 90%

of the initial real physical object with nice detailing. In the top images some differences of scanning processes.

Some software tends to close and add geometry, some other instead don't even try to recreate "fake meshes".

Also is interesting the fact that everything comes from a physical input.

A better execution of the photo scanning process brings to a better result in terms of realist virtual object. However a small percentage of abstractism remains unavoidable and this can be considered part of a new aesthetic.

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Real time captures during midterm review

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Device used during the midterm review. The physical model is placed on the wall. The screen is filtering the model with AR information.

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REPRESENTATION During midterm and final review the most common questions from the jury was regarding the use of the technology as tool for design or tool for representing.

Indeed we used AR in both conditions. First we scannered through a custom built application where our object were virtual information in the space. In a second moment we showed our final design mixing real object and AR object.

This screen device will consistently improve during the final presentation. I do believe we kept the discussion about the possibility in the future to have virtual information projected in the space using a real scale, pretty open.

We rather focused on a new possible aesthetic merging virtual and actual.

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C O M P O S I T I O N S As written in the previous statement, we didn't take any political position about the possibilities in the future to daily find ourselves in an immersive tunnel of augmented reality. However, we took in consideration the chance of having a design no longer based only on volumetric physical entities.

Our compositional approach has been very rough during the midterm presentation. We decided some diagramatic color or material to subdivide what can be consider actual and what considered virtual.

Every interpretation is an assebling of object with a shared aesthetic coming from the scannering process, but with different features based on the collision with augmented objects.

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I know this is all very abstract and instagrammable.

But, the diagrammatic subdivision offers a compelling reading in terms of structure of the object. For example, if we should apply a virtual facade in one room's wall, how we could do it? why ? how to display it ? is it just a visual object or does it include any interactive function

with the audience ? etc. Also I do need to specify that the aesthetic in the vertical studio and the seminar have been strongly affected by the "Fugly" qualities described by Peter as the transition from actual to virtual and still virtual to actual. A fugly object preserves initial features but underlines the 3D scanning process.

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AR a filling the outline

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AR as bridging

Volume composition test

A B S T R A C T V I R T U A L PROPERTY AR as "virtual pool"

It's just during the second halfo of the semester, after midterm review, where we tried to identify some main composition constructs.

-AR as a filling a physical built outline -AR as "bridging" between two physical entities -AR as "virtual pool" or where physical entites are located.

The first approach is more moderate then the others. In fact it still focusing on pure aesthetic values. Meanwhile the last two are arguing the possibilities to locate virtual properties into the space following a real scale planning at all costs.

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Top view with Ipad

Top view without Ipad

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During the review with Devyn Weiser we planned to built all the three models.

Unfortunately the short semester didn't allow us to build a triple screen slide experience.

However here's the design of the proposal.

The model identify a different relation with the ground in each interpretation.

Screen device model with triple experience

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Final model screen device

Clearly the final model version is one third slice of the initial proposal. We also preferred to enlarge the screen to let the audience see better the augmented model. The scale of the model was 1:200 and there are 5 markers allowing the augmented information to pop up as a sequence. There are two different compelling readings of this model beside any other interpretation.

On one hand the marker is a physical object triggering physical information, on the other the marker is also a physical reference for showing "spaces" or part of the model with a controlled timing.

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As it showed in the image we preferred to bring the first model to a final state. The outline strategy is promising in terms of architecture and aesthetic.The model looks half empty without including virtual information.

The balance between virtual and physical was our goal from the beginning of the semester.

Mixed model physical and digital object with markers

The color belonging to this model comes from accurate references suggested by Peter.

During the last decade on social media and video art took over motion graphic 3D design.

There is not a very defined movement, there is more a common utilization of software and plug in from different 3D artists. Motion graphics render aim to copy the real. However the limit imposed by the machine open new possibilities in terms of minimize the render expense.

Suddenly the quality of the aesthetic stays very abstract : flat colors, flat background and some nice material popping up. Also, these kind of artists pay bills with their daily social feed and they can't afford to spend too much time on rendering and composition.

We embraced this kind of palettes for our partially virtual design. We adopt palettes from Wang & Soderstorm, Estebandiacono, Bastiaan de Nennie, Zeitguised.

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Physical model top view

I N C O M P L E T E A E S T H E T H I C The incomplete aesthetic of the model shows how architecure in this case can be perceived as "void design" . Designing with a non-tangible matter as the virtual in the real space it is, force you to let the architecture working even without the virtual layer itself.

We didn't prefer any radical approach since we don't have enough budget to create a real scale design. #thesis

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In this spread is showed how the augmented reality is generated from a flat marker beside a real 3D printed model. The top right view shows the normal DSLR camera view without AR filter. During the capture, virtual models where animated denying a fixed ground reference.

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Final presentation, physical model

instagrammable architecture Pop colors and organic smooth shapes contribute to create an appealing envelope for an architecture that is including much more more complexity and discipline in itself.

This aesthetic features are crucial for understanding an emerging technology into the field of architecture.

We can argue that beside the application of technology, we tried to create a language where AR, design and robots are looping their negotiation over and over.

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Final presentation screen device in action

Final presentation full pin up

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Seminar has been the playground for the vertical studio. We considered it as a preliminary test for everything we did in studio and in some occasion our interpretation run a little bit more freely.

Beside the fact the the workflow we adopted has been the same we adopted in the vertical studio, we decided to scan melting objects,.

Testing a photogrammetry capture with an instable volume changing its boundaries during a certain ammount of time let us focus on the viscosity of the material itself and its relation with time.

We also considered in our "samples" some rigid volumes in order to have a mixed composition in a second moment between liquid and solid material.

This class has been an exercise of composition and association of objects. Every object belongs visually to the same semantic field through an abstraction process.

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A selection of objects we found in an Ice cream shop

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Once we abstracted the compositions, differently from studio we included more interactive contents. For example, we started to play with physical simulations in real time.

We distinguished the rigid bodies from particle ones and created depth mask paths where the particles could have been moving freely.

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Viscosity volumes evolution close up

Viscosity volumes evolution close up

Viscosity volumes evolution full picture

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Here's when we tried to apply some lighting to a real time render and involved the particle simulation. Even if the render quality is still very virtual and less physical we could argue that the particle behaviour was pretty real and unique.

The sequences in the spread shows how the liquid is evolving its relationship with the object and how it's modifying perceptions of color and shapes in the same moment. Ther are close up views that help to understand

the main goal of the virtual test.

It's significant how a simulation can be controlled through endless parameters and still being "naturally" executed.

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Markers play a very importnat role in every augmented reality experience. The quality of the media highly depends from the level of tracking that the marker is including. Some AR start up, like "MIRA" are selling AR headsets with a a folding marker that can enlarge its dimension if it's not working correctly using the standard one. The media we used to create AR contents is used to read from 1 to 5 stars the quality of the marker.

Creating a marker from nowhere with a pre-existing aesthetic it's not an easy task. Furthermore if we need to relate four trackers together during a pinup.

Being consistent is the key in design, but apparently when you start facing very technical issues, whatever works become a very valuable opportunity.

We met our ambitions in the middle of this compromise between efficency and aesthetic.

Each one of our four markers has a completely diffferent purpose in terms of AR experience. We defined them as tools, because indrectly they are serving architecture and design as visualization purposes first of all.

During seminar, AR remains a visualization tool and nothing else, contrary to studio.

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AR captures of the section tool render

#1 s e c t i o n t o o l The section tool is the most basic use that AR offers. Basically is a real time/real space clipping plane. It's based on the movement back and forth of the AR camera.

The object is cutted and if it's including different levels of informations in its envelope, all of this could be acting as an dynamic architectual section.

We located the object in between the marker to let understand the audience that the AR depth is not taking in consideration any real perspective reference. section tool diagram

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Z-Depth images and close up

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Differently here, we focused on the possibilities to assign a depth mask material to volumes.

This markers almost generates what we can call mixed reality, where perspective in virtual space is matching perspective in real life.

However, remains visible a strong architectural approach where the main object is "engraved into the wall" using the tracker as a background.

Colours are merging together and their juxtapposition are questioning what the real position of the object is for the AR camera. depth diagram

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Flat colours mixing render language with markers language

#3 f l a t c o l o u r s In this third effort we just studied the colours disposition without arguing anything about rebuilding a controlled space into the marker.

We deframmeted the main object leaving room for pop colours.

This marker is particular because becomes "nicer" just if it's used with AR. It actually doesn't work properly alone, and underlines the fact that something is needed to achieve a final aesthetic.

flat colours diagram

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Viscosity volumes in action

#4 c a p i l l a r y m o tion The tool number four is a collaboration between colours, depth mask, physic simulation and motion.

The liquid gravity is inverted, [it's going up] and its flow is filling a pre built depth mask container.

The goal of this exercise has been creating a new kind of representation where there are more levels of understanding and a strong relation with time.

capillary motion diagram

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During the final exhibition we displayed everything through I Pad and AR applications builted on them.

The most surprising thing about seminsr's final was that everyone refused the use of I pad arms swithcing to a more private experience holding the screen device in their hands. In fact, AR representation becomes effective when the virtual model is stable and can be visualized from every position looking for a new reference of perspective and depth.

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.3 I

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MICKEYMOUSE

This collaboration betwen me, Devyn Weiser, Kayho Yu and James Kubiniec begins during July 2017. At that moment I was doing my CPT at 78 Studios, where their focus is theme parks design and VR games.

I've been very lucky to be a part of this team and also I've been blessed for the chance of teaching for the first time in my design student career. It gave me endless inspiration.

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This class started focusing on physic simulation and rendering as a formal Visual Studies class should be. During the end of the semester, the students have been divided in three groups, managed by AT and TA. My group's focus was augmented reality and representation.

I can't say that my AR personal knowoledge in this case consistently changed from studio an seminar, but the student's application of what they learnt has been astonishing and mindblowing for me.

I wish I could keep a semi permanent position as this one during my architecture career postgraduate school. It would be a daily inspiration for every work I'll be doing.

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Mappy is a basic I phone application I created for Devyn's VS class. I was looking for an app that let you drop a body on the floor, and meanwhile the body is falling : lights, colors, projections and falling body itself can be controlleld by a short quantity of buttons. Mappy sounds like a fun game, actually it is and has been the first step toward what to the students provided during the final presentation.

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Indeed Mappy was just the basic setting provided to the student for building a custom scene in Unity. Mickey mouse has been the main object used in the first part of the class and the evolution of the Mickey's shape from flat geometry to complex polysurface is inspired to the Claes Oldenburh installation.

Mappy's captures

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Work by Qiao Shuqing and Ye Jiahao

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Work by Qiao Shuqing and Ye Jiahao

D E S I G N S T U D I O A P P L I C A T I O N S Some students preferred to apply the AR scene to their studio project. In this case the building has being animated in its context.

Even if the visual is pretty abstract is still interesting how the site [ CNC physical model ] fits in the overall composition.

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Work by Xiong Qin and Xu Mingzhe

Some other groups rather kept the playfulness of the initial application and involved new physical simulations.

This is a very common physical game that uses the irregularity of the ground to let the ball rolling around.

Xiong and Xu made this being a virtual version , including some triggers that are connecting lighting and impact between ball and walls.

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AR is all around the box but can be perceived just through the box

D E P T H M A S K R E A L I T Y In this example, the students enjoying creating a virtual space bigger than the physical container. Beside the sizing-tricks, the shapes of the two contrapposed spaces are matching just in the top. In this way we are losing the conception of the physical box and every face is revealing another level of information with his own perspective reference.

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Work by Chittenden Andrew, Tavdi Maximillian and Ragimova Dash

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Generic diagram

If we take in consideration the flat colour tool of seminar's chapter and we animate the virtual components, we are doing what Katlyin and Yawei accomplished during their final exercise.

The final outcome is a flat representation involving a continuous flow of animated shapes.

Some of the shapes have a opaque material assigned. All the others's material is depth mask.

The background marker remains partially visible and is working as an animation even if it's just a printed image. Negative animation.

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Work by Schwerdtfeger Kaitlyn and ZhangYawei

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Render sequences by students from early semester. Geometric Mickey Visual Studies taught by Devyn Weiser.

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.4 o f

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The act of representing begins with a negotiation between the relative importance placed upon various possible readings of the object in question. From graphic advertisement notices to the most pure abstracted art we aim to depict a hierarchy of information that can be perceived and interpreted by our audience.

In the essence of the representation, the visual language we use plays a very divisive role and becomes more important than the content of the representation itself.

We could argue that every political use of representation implies a virtuality of information.

The term "virtual" comes from the latin "virtus" and means "possessing certain virtues".

In this case "virtuality" means adding layers of information to the representation in order to orient the audience toward a determined reading of the representation.

Indeed, J.B. Harley in "The new nature of maps" states that in the representation of geographical maps we should be aware of technological constraints and geographical limits of knowledge, and the silences in the historical record owing to the destruction of evidence.

The criticism by J.B.Harley is clear. A geographical map is a reduced scaled copy of a determined physical environment and it should not to be interpreted as absolute truth.

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For example, currently the most accessible and powerful tool for consulting every kind of geographical information is Google Maps.

Certainly the progression from free hand maps to Satellite radar technology has been a great improvement. However we are still filtering pure geographical data with layers of information ; streets , places, images, traffic information etc.

We can consider this process as a virtualization of information.

By applying this definition to the use of maps in history we can distinguish two different moments when we read geographical information.

First, we read the texture of the environment itself, then boundaries and names in order to relate the environment to our "virtual knowledge".

J.B. Harley's statement is not judging how maps are built, in fact dealing with a map with no boundaries and no names would be meaningless for us. He is rather pointing out that there are many different ways for representing geographical data.

In other terms, maps are a good example of what we can consider a political declaration

through representation. This is evident in the variations that exist in planispherical projections, where the geopolitical origin determines whether the projection depicts Europe, Asia or America at its center.

This is a very simple example to illustrate that representation is affected by the importance of one set of information over another one.

Let's assume that during our education, there is geographical information that has always been hidden to us for some political reason.

We would grow up with a different impression about the space surrounding us. This is why we can argue that the understanding of reality is constructed and representation is a key player in that construction.

In an object-oriented-democracy we must consider that an object's representation concerns the eyes and the ears of those who are assembled around it. The representation of object is a "simulacrum" . It summarize the essence of one defined object in a hyper real experience seducing us through visual appeal.

Politic representation can be applied to any field. In the field of architecture in particular becomes a compatible application of it. Designers dealing with urbanism and any kind of small intervention, include in their work the creation of environments that people are experiencing daily.

Two recent interesting tech-focus in the field of representation in architecture are "Augmented Reality" and "Virtual Reality".

"Augmented Reality" is particularly interesting because it enables the possibility of streaming information in real time to every physical object. This information can be visualized through the use of any compatible screen device, including smart phones and special glasses.

Augmented reality is real time space information mapping and becomes a very powerful tool when is used to alter the reading of real physical objects. Additionally, AR offers a new perception of the object itself as a incomplete physical input that needs to cooperate with a virtual component for becoming one complete object output.

One future, the application of AR that is compatible to our use of smart phones today, is the of contact lenses or any other technology that let us "augment" daily life directly through our eyes with no need of any external device. We could consciously construct our own reality.

Augmented Reality is a new way to represent information and it is in its initial state of development.

Nevertheless, the difference between geo political representation in the form of maps and real time feedback through augmented reality is not so significant in terms

of improving the way political statements affect representation, and subsequently, also our daily living.

What makes representation evolve is that the weight of its influence in our lives is increasing exponentially. Indeed, a relevant consequence in this moment in history is the way people are interacting with each other. People find political representation almost everywhere, to the point that they wish personalize their own vision.

"Playing the same game" that J.B.Harley is warning us about, we are most likely to lose any common sense of our physical and social environment and how we interact with it.

Even if we are living in the "social era" , every kind of technology is reinforcing individual realities and self-worship. We aim to represent something as we would picture it in our mind rather than experiencing it. Reality is moving away from being a collective construct towards an individual construct.

The act of representing has transitioned from being information showed to the masses to an information "built by the masses for the masses "according rules defined by politic conditions organized by leaders.

AR ad scene from "Bladerunner 20149" by Denis Villenueve, 2017

h t c - v i r t ua l p r o p e r t y wa r n i n g !

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Revit and Dynamo are very powerful architecture tools. This semester gave me a taste of what it means going through a construction document process.

Kerenza Harris and Pavel Getov supported us with their long experience in the field and the AT, Vanessa De La Hoz did an amazing job in teaching us the software.

I can say that building a consistent CD set, team work is almost everything. Like DD or generally every phase of the project, team work is an aspect that can't be underrated.

.5 .a1 f i n d m o r e a t t a c h m e n t f u l l s e t

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PROJECT

ROBERTSON 1101 S Robertson Blvd Los Angeles, CA 90035 OWNER

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MICHELLE PAPPILLION 1101 S Robertson Blvd Los Angeles, CA 90035 ARCHITECT

STUDIO WAVE 960 e 3rd street || los angeles, ca 90012 OTHER

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FAÇADE ELEVATION SCALE 3/8'' = 1'-0"

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ISSUES/REVISION

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Date 20170919 20170926 20171003 20171010 20171024 20171031 20171107 20171114 20171121 20171128 20171205

Description G-Sheets A-Sheets Set Update Set Update Midterm Preparation Midterm Wall Section + Details Set Update ADA, Façade Systems Final Preparation Final

ROBERTSON FAÇADE SYSTEM ELEVATION

A-5.1 THIS DOCUMENT CONTAINS INFORMATION PROPRIETARY TO STUDIO WAVE. IT IS ISSUED EXCLUSIVELY FOR THE PURPOSE OF THIS PROJECT. IT MAY NOT BE REPRODUCED OR DISCLOSED TO OTHERS WITHOUT THE PRIOR WRITTEN CONSENT OF STUDIO WAVE. IT SHALL NOT BE USED IN CONNECTION WITH ANY OTHER PROJECT. STUDIO WAVE RETAINS THE COPYRIGHTS AND IT IS INDEMNIFIED WHEN THE DOCUMENT IS USED OR ALTERED BY OTHER PARTY. ALL RIGHTS RESERVED @COPYRIGHT 2017.

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1101 S Robertson Blvd Los Angeles, CA 90035

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1101 S Robertson Blvd Los Angeles, CA 90035 ARCHITECT

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AXONOMETRIC VIEW NO SCALE

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G-Sheets A-Sheets Set Update Set Update Midterm Preparatio Midterm Wall Section + De Set Update ADA, Faรงade Syst Final Preparation Final

ROBERTSO FAร ADE SYST

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THIS DOCUMENT CONTAINS INFORMATION PROPRIETARY TO STUDIO WAVE. IT IS FOR THE PURPOSE OF THIS PROJECT. IT MAY NOT BE REPRODUCED OR DISCLOS WITHOUT THE PRIOR WRITTEN CONSENT OF STUDIO WAVE. IT SHALL NOT BE US ANY OTHER PROJECT. STUDIO WAVE RETAINS THE COPYRIGHTS AND IT IS INDEM DOCUMENT IS USED OR ALTERED BY OTHER PARTY. ALL RIGHTS RESERVED @COPYRIGHT 2017.

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PA.F.03

PA.G.02

PA.H.03

PA.J.03

PA.K.02

+1 PA.J.04

PA.K.03

PA.B.04 PA.E.04

PA.C.04

PA.A.04

PA.A.04

PA.G.03

PA.H.04

PA.K.04

0

FAÇADE FA

SCAL PB.E.01 PB.A.01

PB.B.01

PB.C.01

PB.F.01

PB.G.01

PB.H.01 PB.I.01

PB.D.01

PB.J.01

PB.K.01

+2

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PB.J.02 PB.C.02

PB.E.02

PB.F.02

PB.K.02

PB.G.02

0

PB.A.02

PB.B.02

PB.C.03

PB.E.03

PB.F.03

PB.G.03

PB.H.02

PB.H.03

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FAÇADE FA

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PC.CD.01

PC.JK.01

PC.EF.01

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PC.K.01

PC.HI.01

+2 PC.BC.01

PC.JK.02

PC.CD.02 PC.AB.02

PC.EF.02

PC.K.02 PC.HI.02

+1

PC.FG.03

PC.BC.02 PC.AB.03

PC.CD.03

PC.EF.03

PC.FG.04

PC.GH.03

PC.GH.04

PC.HI.03 PC.HI.04

PC.K.03 PC.JK.03

PC.AB.04 PC.AB.05

0

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PC.CD.04

PC.EF.04

PC.CD.05

PC.EF.05

PC.K.04 PC.JK.04

FAÇADE FA

SCAL

99

J

PROJECT

K

ROBERTSON PA.J.01

1101 S Robertson B Los Angeles, CA 9

PA.K.01

PA.J.02

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OWNER

PA.K.02

MICHELLE PAP PA.J.04

1101 S Robertson B Los Angeles, CA 9

PA.K.03

FAÇADE 2D DETAIL C SCALE 1'' = 1'-0"

PA.K.04

3

ARCHITECT

STUDIO WAVE FAÇADE FAMILY C SCALE 3/16'' = 1'-0"

PB.J.01

960 e 3rd street || lo ca 90012

6

OTHER

PB.K.01

SEAL

PB.J.02

FAÇADE 2D DETAIL B SCALE 1'' = 1'-0" PB.K.03

FAÇADE FAMILY B SCALE 3/16'' = 1'-0"

2

5

IJ PC.JK.01

PC.K.01

PC.JK.02 PC.K.02

PC.K.03 PC.JK.03

FAÇADE 2D DETAIL A

PC.K.04

SCALE 1'' = 1'-0"

PC.JK.04

FAÇADE FAMILY A SCALE 3/16'' = 1'-0"

4

1

AS3140_CONSTRUCTION DOCUMENTS COURSE_SCI-ARC

PB.K.02

construction document

ISSUES/REVISION

Symbol

Date 20170919 20170926 20171003 20171010 20171024 20171031 20171107 20171114 20171121 20171128 20171205

D

G-Sheets A-Sheets Set Upda Set Upda Midterm Midterm Wall Sec Set Upda ADA, Faç Final Pre Final

ROBERTS FAÇADE SY PANEL FAM

A-5.

THIS DOCUMENT CONTAINS INFORMATION PROPRIETARY TO STU FOR THE PURPOSE OF THIS PROJECT. IT MAY NOT BE REPRODUC WITHOUT THE PRIOR WRITTEN CONSENT OF STUDIO WAVE. IT SH ANY OTHER PROJECT. STUDIO WAVE RETAINS THE COPYRIGHTS DOCUMENT IS USED OR ALTERED BY OTHER PARTY. ALL RIGHTS RESERVED @COPYRIGHT 2017.

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A

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-5.6

10 8

9

TOP SECTION SUN SCREEN 4' 6''

4' 6''

4' 6''

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4' 6''

4' 6''

4' 6''

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SCALE 1'=1/4"

A1

3 3

1 1

14

1

2

8 9

2' 3''

PANELS SCALE 1'=1/4"

2' 3''

2' 3''

2' 3''

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ELEVATION SUN SCREEN A3

SCALE 1'=1/4"

2' 3''

2' 3''

2' 3''

2' 3''

A3

8 1

11

11

11 3

3

3

101

9

2

2' 3''

ROBERTSON

1101 S Roberts Los Angeles, C OWNER

MICHELLE P

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4

13 14

1

1101 S Roberts Los Angeles, C

4

3

9

TOP SECTION CURTAIN WALL

8

SCALE 1'=1/4"

A -5.4

A1

ARCHITECT 12 4

STUDIO WAV

10

2"

11

960 e 3rd stree ca 90012

15

14 10

15"

OTHER

11 11

13

15

2"

7

2' 3''

4' 6''

4' 6''

4' 6''

4' 6''

ELEVATION CURTAIN WALL SCALE 1'=1/4"

4' 6''

A3

4' 6''

17

4' 6''

WALL SECTION SCALE 1'=1/4"

16

A4

14 14 1 9

6

1

4 5 15 7 6 4

EXPLODED AXONOMETRIC NTS

A5

PANEL FAMILY A

2

PANEL FAMILY B

3

PANEL FAMILY C

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HIGH PERF. COATED IG UNIT

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I BEAM STRUCTURE

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INSULATION LAYER

7

ALUMINIUM PANEL [SPANDREL]

8

ALUMINIUM SUPPORT COLUMN A

9

ALUMINIUM SUPPORT COLUMN B

SEAL

140_CONSTRUCTION DOCUMENTS COURSE_SCI-ARC

2' 3''

1

construction document

ISSUES/REVISION

Symbol

Date 20170919 20170926 20171003 20171010 20171024 20171031 20171107 20171114 20171121 20171128 20171205

G A S S M M W S A F F

ROBER FAÇADE S ORGAN

1 0 2A-5

With over twenty years of experience, the design team at MYST has completed several multi-family residential projects ranging from more inland, high desert homes, to small condominiums along the California coast. MYST provides expertise in not only understanding and executing local building code requirements, but also in offering solutions to design challenges unique to living near the ocean.

MYST seeks to provide sustainable alternatives to traditional design and construction, and we look forward to creating relationships with our clients that help foster these ideas.

Below are projects that allowed us to exercise our intended design aesthetics while providing sustainable solutions. Both the SEAFORM and BLOX projects have garnered signficant attention and praise, having been published in Dwell magazine, as well as ArchDaily and dezeen. The HAZE HOUSE won the distinguished design award in 2013 from the Irrigation Association, as well as the James Dyson Award for providing a 98% efficient, closed-loop system. •

SEAFORM, 2011 -- 12,000sf of tenant improvement construction within eight-unit existing building, we developed a kinetic façade system that responded to shade concerns during our environmental analysis

•

HAZE HOUSE, 2012 -- 4,250sf of new build construction, we devised irrigation solutions via the proposed residence’s sewage system to hydrate the plants on site using greywater and condensation

•

CALDA GUESTHOUSE, 2014 -- 1,000sf of additional living space in a detached two-story house, we integrated geothermal systems installed beneath the ground to provide natural heating

•

BLOX, 2015 -- 3,725sf of new build construction for a duplex, we designed and installed a green roof and communal garden for the tenants to tend and use

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Dear Mr. + Mrs. Ronaldo-Garcia,

It was wonderful meeting with you at our office last week to discuss your proposal for a duplex located at 998 Cedar Street. We take pride in engaging with our clients throughout each phase of the project, and welcome your input, ideas, and aspirations.

It seems that we share similar enthusiasm for the California coast, so we are delighted to work with you on your house.

Following our meeting, we visited the site to do an initial visit and would like to share some thoughts we have regarding its condition as well as some key elements located on the property. Throughout each phase of the project, we will keep issues with the site in mind -- for example, we noted the high amount of traffic along Cedar and 10th Streets and we will design with privacy in mind for you and your tenants.

Your appreciation for the natural beauty on the site -- the sycamore trees on the west side of the property and the Arroyo willows to the east -- has been noted, and we will do all we can to accommodate the existing flora of the site throughout each design phase. Your interest in a green wall with wisteria vine and ivy will be considered as well, as we also thought a green wall would provide excellent privacy. These elements will help to create a sanctuary within the bustling city, and will remind you of the proximity of the ocean, only about a mile away. This property will offer the best of both worlds: coastal culture and urban living.

We at MYST are familiar with constructing buildings on and near costal regions that incorporate rich plant-life into the design. Oftentimes, the structure of the soil as well as its microbial contents pose a challenge to fostering long-term vegetal growth. Partnering with our team of local consultants, we are confident that we can make your wishes for the house at 998 Cedar Street come true.

We look forward to working with you!

Thank you

.6 .a2 f i n d m o r e a t t a c h m e n t f u l l s e t

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x.1 r e e f r e s c u e virtualreality x.2

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From June 2017 to September 2017 I've joined a team developing its first Virtual Reality game.

In a first moment they asked me some information about designing a simple truss structure guesting the gaming area. After this first architectural "consultation" they let me do a little bit of everything related to the game.

I did enjoy the use of Unity and Maya to build some assets for the game, in relation with the real space. Also I was in charge to create some costume equipment and more technical aspects included in the attached design development report.

I have to say thanks to Paul Washburn, exPixar vet producer that joined Super78 studios just some months before I arrived. He believed in the role of the architecture as a glue between virtual and physical space, and I couldn't find a better occupation, given the fall semester I had after the internship .This experience showed me how architects can be helpful in many disciplines. Game design and theme parks design are the focus of the studio, and I found myself very comfortable in helping everyone that needed some design sensibility beside the creative process they are used to experience.

If during my last year of undergraduate studies I had the impression that 3D modeling software are dying or better are being replaced with different approaches for design, I had a strong confirmation after this experience.

I don't appreciate who radically states that coding is replacing design, but I do want to learn how to code very soon.

x.1 r e e f r e s c u e virtualreality

xx reefrescue

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Samson SRK21 Universal Rack Stand

Rack Mount High-End XForce Gaming System

APC Smart-UPS RM SMT1500RM2U 1000W/ 1440VA 2U Rackmount LCD UPS System

StarTech.com 1U 17� Rackmount LCD Console with 8 Port Multi-Platform KVM

TP-Link 8-Port Gigabit Ethernet Unmanaged Rackmount Switch (TL-SG1008)

Impulse X2 System

Behringer Eurorack Pro RX1602 Rackmount Line Mixer

Audio Visual Rack System

The graphics are official design drawings showed to the case manufacturer

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3/8’’

2’’ 1/4’’

1/4’’

1/4’’

4’ 3/4’’

1’ -4 3/8’’

1-7/8’’

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1’-7 1/4’’

4’-1/2’’

Gear VR [X16]

1’-10 5/8’’

4’ 3/4’’

1’-5 1/2’’

3’-7 5/8’’

3’-7 5/8’’

3’-7 5/8’’

Road Case top

9’

5’’

4’’

5’’

Wireless charger

Gear VR collector

Gear VR cleaning Kit collector

3’-9

3/8

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Cooling fan

2’ - 0

3/8’’

3’-4 1/4’’

Power Strip Drawer

Road Case body

VR Controller collector

Batteries Extra space

vr roadcase Unfortunately I didn't have the opportunity to visit the show so far, but I will very soon.

The collaboration with Steve Rosolio and Mike Smith from Super 78 brought me endless knowledge interms of what you actually is needed to let a VR experience working. The technology involved seems to be never enough until the final delivery. Also, outsourcing and orders have to match the expectations of the initial proposal. I always saw Roadcases in concerts, I actually never designed one specifically to guest VR masks and all the related component. VR it's an emerging technology and many accessories will keep popping up continuously offering a wide range of choices for VR users.

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Reef Rescue VR was created by Super 78, a themed attraction and technology studio, along with partners and developers in the field of motion tracking software and hardware.

The partners demonstrated the technology as “Aquarium Earth� at SIGGRAPH, the annual computer animation and advanced technology conference, in July 2016.

From the creation of captivating media to the design of enriched, immersive spaces, Super 78 builds worlds, both real and virtual, that are unforgettable.

Super 78 is a group of award-winning artists and technicians who deliver entertaining and educational stories across all platforms. Currently celebrating its 20th anniversary, this creative, production and special venue company extends well-known brands and intellectual properties into global destinations and the experiential marketplace.

With offices in Los Angeles and partners worldwide, Super 78 continues to expand by creating, producing and owning live action, animated and graphic content for the global market.

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Fun for the whole family, Reef Rescue is the world’s first high capacity, interactive virtual reality experience!

You’ll take a virtual dive into a beautiful 360° coral reef environment with up to 15 other people. And together, you’ll all blast away trash, plant coral branches, and feed fish, restoring the reef to perfect health!

Before the dive, you’ll meet Sting and Bob, a ray and a triggerfish, in their undersea home at the Great Barrier Reef. They’ll explain what corals are, how important they are to the global ecosystem, and why reefs in every ocean are threatened.

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Then you and your friends will don your “diving masks” and train to become Reef Rangers!

You’ll use the mask and a hand controller to pilot your own R.O.V.E.R. (Remotely Operated Vehicle for Exploring Reefs) mini-submarines!

Everywhere you look, you’ll see a kaleidoscopic variety of marine life: corals, schools of exotic fish, even a magnificent whale! You’ll even see the other players’ R.O.V.E.R. mini-subs in action!

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X2 w a l t d i s n e y b i r t h p l a c e e n l a r g m e n t design

Floor #1

Our project is about more than just a restoration. It is also an opportunity to research this period of the Disney family history which has sparked a larger vision for the home beyond the restoration.

Each day, we gain new insights into how and why Walt and Roy became the men they were. We are learning how their childhood, family and parents impacted their lives and laid a foundation that nurtured collaboration, creativity, and innovation.

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Floor #2

Our dream is that The Walt Disney Birthplace becomes a portal to new approaches in early childhood development and helps to inspire future Walts and Roys.to the academic year 2016-2018 at A collection of work belonging to the academic year 2016-2018 at A collection

Magic window conceptual drawings

In a quiet residential neighborhood just outside of downtown Chicago, IL, stands a modest family home on the corner of Tripp Avenue and Palmer Street. This house was designed and built by Flora and Elias Disney, Walt and Roy Disney's mother and father. Both Walt and Roy were born in this home and lived there until Walt was four and Roy was twelve years old.

Over the last century, the home has changed hands

several times and has been added to and altered significantly. These “renovations� have almost completely covered up the authentic details of the house.

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Magic window detail drawing

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Magic window conceptual drawings

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Office Area

Office Area

Office Terrace / Special events

Restoration Area

Entrance

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Green Area

Water screen Gift shop

WDB extension

Historic WDB experience

Underground workshop area

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Walt Disney Birtplace gift shop

Office window facade Restoration area back entrance

Green Area

Top view

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Connection House - Gift shop

Office Terrace / Special events WDB plaza

Restoration Area

Entrance

x x wa l t d i s n e y b i r t h p l a c e 1 3 2

X3 LUFTBALL99NS

LUFT BALL99NS by 7 Seconds You and I in a little toy shop Buy a bag of balloons with the money we got Set them free at the break of dawn Til one by one they were gone Back at base bugs in the software Flash the message "something's out there" Floating in the summer sky 99 red balloons go by 99 red balloons floating in the summer sky Panic bells, it's red alert, there's something here from somewhere else The war machine springs to life, opening one eager eye Focusing it in the sky as 99 red balloons go by 99 decision street, 99 ministers meet To worry, worry, super scurry, call the troops out in a hurry This is what we've waited for, this is it boys, this is war The president is on the line, 99 red balloons go by 99 knights of the air ride super high tech jet fighters Everyone's a superhero, everyone's a Captain Kirk With orders to identify, to clarify and classify Scramble in the summer sky as 99 red balloons go by 99 dreams I have had, every one a red balloon It's all over and I'm standing pretty in this dust that was a city.I could find a souvenir just to prove the world was here.And here's a red balloon, I think of you and let it go Pop-up installation rules [not many] $ 200 budget 3 hours for building an installation with a defined theme by the Installation team in a previous moment.

Photo by Randall Kevin

This POP-UP installation has been built purely for fun. Collaborating with Sci-Arc student Union, me and Stephen Bica are supporting the idea to have a pop-up installation team, building installation around the Art District every month. "Luft Ball99ns" has been a test.

During the next semester, the experience will be hopefully formalized as a student union activity.

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x x lu f t b a l l o n s 1 3 6

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Work experience SUPER 78 SUMMER 2017

TESTA + WEISER DEC 2016

ATELIER MANFERDINI MAY 2016

LzPR Architects NOV 2014-FEB 2015

Education SCI-Arc 2015-2018

Polimi

2012-2015

Academy of Fine Arts 2011-2012

Scientific Lyceum 2006-2011

Software Rhino, Grasshopper[ Karamba, Ladybug, Kangaroo, Waverbird etc.]. Maya, Autocad, Processing, Archicad, Catia, Cinema 4D, Unity, Keyshot, Logic Pro. Adobe creative suite : After effects, Lightroom, Illustrator, Photoshop, Premiere, Indesign MIcrosoft suite : Excel, word, Power point Interests Game design, Animation, Responsive facades Master's Scholarship 25k_entrance student scholarship 2015-2016

20k_continuing student scholarship 2016-2017

16k_continuing student scholarship 2017-2018

Pubblications Helsinki Design Competition : a Parametric Analysis [Archdaily] by F.Ranieri DEC 2014

Personal information Alessio Grancini 213.458.2492 alessio.grancini@gmail.com FALL 2017 GPA 4.0

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Gateway virtual Porffolio Fall semester 2017 at SCI_Arc Art District, LA A collection by @alessiograncini