This project was developed during Contemporary Technologies which consisted in study of modern design methodologies, digital tools and production techniques. Year 3. BA (HONS) INTERIOR ARCHITECTURE & DESIGN British School of Art and Design, Moscow

1. FROM SHEET TO FORM
“It is an investigation of
just how far designing in
paper can be pushed”
ALEVTINA ROMANENCO, L6
CONTEMPORARY TECHNOLOGIES

2. In recent years, more and
more designers use folding
techniques in their work to
make three-dimensional
forms from two-dimensional
sheets of fabric, cardboard,
plastic, metal and many oth-
er materials.
These objects will per-
haps not be origami-like in
appearance, or the folding
may only be a detail, but
most will nevertheless have
been folded – wholly or in
part – in some way. Since
almost all objects are made
from sheet materials (such
as fabric, plastic, sheet
metal or cardboard) or are
fabricated from components
used to make sheet forms
(such as bricks – a brick
wall is a sheet form), folding
can be considered one of
the most common of all de-
sign techniques.
The father of modern color theory and minimalistic art, Josef Albers, taught origami and
paper folding in the 1920s and 30s at the famous Bahaus design school. His methods,
which involved sheets of round paper that were folded into spirals and curved shapes,
have influenced modern origami artists like Kunihiko Kasahara.
Introduction
Josef Albers and Paperfolding:
Bauhaus class, 1928
Rotation. A motif is repeated around
one commen point
A crease pattern made on a square
1
Exploration of sipmle
paper folding techniques

3. Folded motif a rectangular
BacksideThe other form of the front sideFront side
Workschop exercises
Exploration of complex
paper folding techniques
2

4. Workschop exercises
Exploration of complex
paper folding techniques
BacksideThe other form of the front side Front side
Folded motif a square
3

5. 2 3 4 5 61
Below are some of the many
forms which this motif can
assume.
Connecting folded elements
between each otherFolded motif a square
Workschop exercises
Making element
from folded motif
4

6. Workschop exercisesPaper folding techniques
The other form of the front sideTop
Bottom Front side
Folded motif
Creating an element by folding and then
connecting it in a structure
1 2 3 4
Creating a patern
5

7. 1 2 3 4 5 6
Creating
an element
Connecting
two elements
Creating a folding motif, a structure
Testing diffrent
configurations
Workschop exercisesPaper folding techniques
6

8. Workschop exercisesStructure design
Creating an element by
twisting paper stripe
Testing the material by twisting a
steel stripe
Experiments with paper/steel stripes
Creating a patern
7

9. Workschop exercisesStructure design
Experiments wit h coloured paper/plywood stripes
Changing the spape when moving Testing the material. Twisting a wet plywood stripe
Twisting motif
Creating a patern Creating a patern
8

10. DesignDevelopment
After numerous experimentation with the stripe of paper
First i took a strip of
thicker paper (aprox.
40cm long on 3.5cm
wide).
As paper is a flexible
material I could twist
the strip in a square
(aprox. 5cm on 5cm)
Making more of these
‘folded strips’, I start-
ed searching the con-
tact points and further
connections.
Finding the points of
connection i obtained
a very interesting and
flexible structure
Then, with my right
hand i start twisting
it counterclockwise
from one end.
I twisted it till the time
some kind of edges
appeared on it.
Then i made some
valleys and moun-
tains from the edges,
for making the pro-
cess of twisting more
flexible.
Then i start twisting
again the stripe.
After making 2 and a
half circles of twisting
(about 500 dergee)
i obtained a folded
stripe.
1
2
3
4
5
6
9

11. Testing the limits
By making
incision on
plywood
and then
trying to twit
it it broke.
Then i tried
folding steel
strips. It
wasn’t ac-
curate but
by using
special tool i
could reach
clarity.
The first mate-
rial to test was
plywood. I made
some strips and
wet them for
making it more
flexible.
DesignDevelopment process
10

12. DesignPaper model
DESIGN IS FLEXIBLE AND CAN TAKE ANY SHAPE
2ND CONFIGURATION
1ST CONFIGURATION
3RD CONFIGURATION
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13. DesignMaking prototype. Scale 1:1
FIELD OF APPLICATION
sandwich panels
planking
metal
wall panels
drainage systems
MAINSTEPSFORMANUFACTURE
1ST STEP
Steel shearing/cutting
2ND STEP
Press brake forming/bending
4TH STEP
Assembling
3RD STEP
Drilling holes
FOR CEILING DESIGN
STRUCTURE (area 26м2):
Rolled zinced steel
thickness - 1мм
width - 1000мм
required length - 60м
THE MAIN ADVANTAGES
100% recyclable
cost effective
durable
lightweight
reflective
Is an homage to Rus-
sian Suprematism. It is
inspired by Frei Otto’s
work which paved the
way for material-struc-
tural form-finding
processes.
The pleated metal
structure is an affirma-
tive response to David
Chipperfield’s premise
of the Biennale that
stresses the impor-
tance of continuity in
the history of architec-
tural research.
This year’s Biennale
theme “Common
Ground” aims to
show the cumulative
power of architectur-
al research and the
historical lineage that
unifies the discipline.
Assembling
the steel piec-
es with screws
and nuts
Zaha Hadid Architects’s “Arum” installation at the
2012 Venice Biennale
I choosed this material for my design for both practical and
aesthetic reasons.
ROLLED
STEEL
12

14. DesignDesign drawings
C
B
A
1
2
8
5
11
3
9
6
12
4
10
7
36pcs
ELEMENTS OF THE STRUCTUREPLAN OF THE STRUCTURE
ELEMENTS FOR DESIGNING THE STRUCTURE 9 Х 6m = 54m
1
2
3
4
A
B
C
45
o
90
o
- hill fold 90
- valley fold 90
- holes for screws
0
0
13

15. + + =
POSITION OF THE LED LAMPS
PART OF THE STEEL CEILING DESIGN
STRUCTURE
CEILING DESIGN STRUCTURE INTERACTING WITH LIGHTING
A polished steel canopy reflects visitors walking
underneath at this events pavilion in Marseille’s har-
bour by UK firm Foster + Partners (+ slideshow).
Norm 03 lamp by Britt
Kornum
The various shades give the
lamp its attractive appearance
while reflecting light in all
directions
Lamp LED
direction-
al light for
tracking
systems
Placing the traking system between
the gaps of the steel structure design
The concept is to use the desing structure as a ceiling panel in the darkest corner of the exhibition hall. Within the interaction of directional lighting will give
diffrent shades of the structure and create a louge mood.
CLAYTON UTZ, CANBERRA
Bates Smart’s project for law firm
DesignDesign concept
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16. BALUSTRADE FLOOR PLAN
SECTION 1-1
SECTION 2-2
Large exhibition hall is
a loft with a total area of
1000 sq.m. - 700 sq.m. 1
floor and 300 sqm - Bal-
ustrade. Ceiling height -
7.5 m have access to an
outdoor balcony.
Moscow. Big Hall on Artplay
Location of the Big Hall on Artplay
place for cielling
steel panel
Corner space in the Big Hall for the design structure Big Hall space
Exhibition in the Big Hall
S=26m2
place for cielling
steel panel
place for cielling
steel panel
DesignSite location
15

17. FINAL DESIGN PROPOSAL - CEILING PANEL
DesignDesign collage
16