Final Case Study Architecture PDF

CASSANDRA KOKCEK DESIGN & TECHNOLOGY CASE STUDY DANIEL BODDAM AUSTRALIAN EXTERIOR AND INTERIOR ARCHITECT APRIL 4 2022 12:00AM DESIGN PROJECT  ent p t con a 01 ge TITLE.......

CASSANDRA KOKCEK DESIGN & TECHNOLOGY CASE STUDY DANIEL BODDAM AUSTRALIAN EXTERIOR AND INTERIOR ARCHITECT APRIL 4 2022 12:00AM DESIGN PROJECT  ent p t con a 01 ge TITLE..........................................................1 02 CONTENT PAGE....................................2 03 EARLY LIFE AND CAREER..............1 04 DESIGN INNOVATION..........................1 05 PROS VS CONS....................................1 06 DESIGN ANNOTATIONS......................1 07 DESIGN POSSIBILITIES.....................1 08 DESIGN PROCESS...............................1 09 POINT OF DIFFERENCE...................1 10 PRODUCTION PROCESS P1............1 11 PRODUCTION PROCESS P2...........1 12 DANIEL BODDAM WORK.....................1 13 CONCLUSION...........................................1 14 The Atelier. BIBLIOGRAPHY.......................................1 15 WANT TO LEARN MORE?.................1 ARCHITECTURE & URBAN DESIGN  "My love of architecture started from an early age. Both my parents are architects and our home was furnished by the modern classics. I was fascinated by the modernity and timelessness of the furniture that came with us from house to house, transforming our environment whilst forming early memories of home. " DANIEL BODDAM Early life and Career ARCHITECTURE DESIGN DESIGN DISCIPLINE, DESIGN FIELD, AREA OF EXPERTISE Daniel Boddam is an Australian designer renowned for his interior and exterior architectural professions within Australia but also remains prevalent on a transnational scale. Daniel's parents also pursued architecture as an occupational lifestyle; growing up amongst an innovative household, he often found himself embracing cultural heritage through regular travel amongst Venezuela via New York and Miami; his Venezuelan mother would frequently organise these trips to visit relatives each trip centred around architecture. "We moved around a bit when I was growing up but the furniture always came with us. So I began to identify furniture with a sense of home and belonging." He saw considerable displays of Art Deco and early modernist buildings in America. Daniel states "On our trips to Venezuela, we’d visit Brutalist museums that integrated the optical art of Carlos Cruz-Diez with the architecture to immerse you within the creation of the art. This really excited me, the offering of art and architecture as an object to be enjoyed and traversed. One of my earliest memories when visiting these building was a game I used to play, looking at the floor and guessing with my parents what stone was used!...Frank Lloyd Wright's work left a strong impression on me." The premature exposure to those architectural frameworks and the adolescent surroundings of traditional design inspired Daniel to reconnoitre employment in an innovative enterprise. Although juvenile when this edifice concept became an affirmed decision, he hoped to transition into an architect in correspondence to also being a profound furniture designer. Daniel attributes this influence to those formative years amongst family and design exposure. "In the modern movement, it was all about creating furniture that relates to function, as well as beauty and materiality. And that's what I was really interested in. So I decided to study architecture," he expresses. Daniel studied architecture at the University of Sydney, graduating on the Dean's Honours List in 2002. He then traversed abroad to an occupational opportunity in London with a firm that specialised in sustainable, mixed-used undertakings. Later returned home to Australia to operate within his family's establishment, toiling for only a few years before "setting up my eponymous studio in 2013 focusing on high-end residential projects and contemporary furniture"  DESIGN MOTIVATION? PURPOSE? DESIGN INNOVATION design needs; problem the design solves? One of the countless designs articulated by Daniel is the "Villa Carlo", located in Mosman, NSW. Villa Carlo is an integrated, contemporary interpretation of the Californian bungalow, embracing Daniel's signature considered minimalism whilst alluding to artisanal production and the clients' coveted portfolio of artworks. As a semi-detached home, Daniel intended to establish a deliberate discourse with its "neighbouring counterpart", a white rendered brick along with its blank panelled tenancy that was much more comparable to a conventional bungalow. As a result, he developed a storyline centred upon the realism of commodities, distilling the living area composition into a sequence of elementary outlines that exploit the bungalow typology's horizontal orientation. From the customised bronze pull towards the entranceway, fundamental interconnections establish a coherent spatial excursion. A split in the facades generates a complimentary glimmer of illumination where ascending and descending inclinations intersect; a nuanced and artistic movement that invites a dynamic interplay of foreground and background all through the evening. The macro is in the micro at Villa Carlo, which is constructed holistically integrating architectural and interior detailing producing a constant and harmonic conversation. The clients' artistic inclinations are mirrored in the atmosphere of the design innovation, which fearlessly interweaves art, communal areas, light, and natural; founding the intended outcome of a timeless and lyrical result. Ascending geometries and a focus on the The employment of large windows further Villa Carlo, designed by 3 Corp, is dedicated sculptural from the larger dimensions accommodates the integration of minimalist after the renowned Italian maestri Carlo reinforce its recurring artistic theme in a furniture bringing in a sense of balance Scarpa and strives to embody the essence of complimentary sense to the client, The framing above and beneath the padio between beauty and comfort ideal for space his oeuvre, reimagined in a contemporary and employing components like burnt Cambria consists of countless unintentional lining, interior designs, the incorporation of adding a distinctly Australian sense. Scarpa and Villa ash wood to provide solace. The dynamic as although its implementation is for framed wall in front of the top floor provides Carlo's work is interconnected by the emphasis nature of straight lines creates a homely structural reasons the lining of the support a sense of privacy without stripping the on authentic and true materials, in which and very spacious environment. beam forms a sense of harmony, contrast, and original space of the room. primary proportions as well as the unity within the design. It signifies movement perpendicular characterised interiors and the and guides the eye through the start to the consequent linear lexicon employed end of the home. throughout. The residence unfolds itself in an organised and proportionately balanced sense behind the weighted full-size glass doors, which is opened by an unique brass handle, this same Expertly placed lighting colour scheme is also transmitted to the beneath the second floor main entrance of the home, formatting an adds another dimension to flow throughout the home the overall space, formatting the depth and height while still focusing the attention towards the impressive areas of the home. villa carlo DANIEL BODDAM DESIGN The use of a singular spaces increases energy sufficiency and proven to be more cost effective in comparison to larger homes due to their small ANNOTATIONS requirements. Through the implementation of fewer appliances, smaller space for controlled temperature preferences, smaller environmental footprint also indicating financial freedom, ultimately leading to a self-sustained life, widening the target audience vertical Shapes prominent, signify solidity and stability through its repetition from the exterior framework to the main part of the house. The arch way brings a sense of elegance and charm through abundant pairing of sufficient decor and furnishings.The variation of VILLA CARLO colours all inspired by the given theme creates an organised movement in terms of promoted visual interest and the rhythm of how colours can intertwine and bounce of each other in a space (elegance, grounding, warmth etc are present THE STARK CONTRAST BETWEEN PREVALENT WARM TONES AMONGST THE KITCHENS EXTERIOR CABINETRY ALONG WITH FRAGMENTS OF NEUTRAL WHITE/GREY TONES COMPLIMENTS BOTH OPTICAL CONCEPTS THROUGH ITS SUITABLE COLOUR SCHEME FURTHER ENHANCING THE HOMES CHARACTER. The windows are also an idiosyncratic feature in terms of their placement being a straight vertical row also identified as a clerestory window. A clerestory window is a large window or series of small windows along the top of a structure's wall, usually at or near the roof line. Clerestory windows are a type of "fenestration" or glass window placement found in both residential and commercial construction. A clerestory wall often rises above adjoining roofs, the windows will be positioned to allow light to illuminate a large interior space. Through this, the employment of this design provides natural illumination throughout the room but also adds a sense of traditional design methodology as a part of its inspiration. Textures evident, create a physical illusion in terms of Abundance of DIFFERENT TEXTURED visual ARTISTIC elements. Through the extensive use of soft FURNITURE provide ILLUSIVE CONCEPTS furnishing, as well as the visual aspect of how FOR INSTANCE IN CONTRAST TO THE, COOL TONES, and LEATHER textures CAN embrace the theme AND bring POPS OF decorative interest (colour, prosperity and balance BY ADDING A SWADE OTTOMAN IN pattern, texture, etc.). The rug actS RETROSPECT TO THE RUGGED CARPET, can be seen by the rooms as artwork UPON the floor, continued use of soft applicants such as the GREY CURTAINS, THE SINGULAR BOOK, A WARM ACCENT WALL as well as the OTHER FORMATTING THE frameWORK to define furniture items all denoting the same grounding feel the space. The choice to keep the original frame of the concrete wall exposed, adds character in terms of the implemented industrial theme, the metal also compliments the vibrANCY OF THE ARTWORK reinforcing the optical aesthetic. Industrial themes often are exploited through metallic uses and features, this can be seen through the doors metal lining, the configuration of the CONTINUED FRAMEWORKS OF THE windowS also add to this the employment of multiple SLIDING DOORS are executed quite prominently considering the confined hallway for its implementation, not only does this benefit aesthetic features but also the illusion of added space, through enhanced lighting creating airflow etc. The Accent wall draws in all attention to the painting and is ultimately the focal point of the room, adds an unexpected engagement of first impression PROS VS CONS design advantages and disadvantages of Daniel's innovation on the individual, society and environment. DESIGN POSSIBILITES 1. "I treat each design as a research project where I build a narrative 1. PARAMETERS around a concept I'm trying to convey. I never rush this process, each OR LIMITS IDENTIFIED BY design at completion is highly resolved and considered." Daniel also THE proclaims, "In terms of managing time, it's always a work in progress DESIGNER? for me" through both statements, it is prominent that although all 2. WHAT OTHER aspects of design (size, shape, materials, mass, cost, transportability, POSSIBILITIES function) are highly considered time management seems to be a WERE parameter and limitation recognised. Effective time management INVESTIGATED increases overall focus and improves productivity and prioritisation; BY THE however, best-fitted decisions cannot be made if this aptitude remains DESIGNER? 3. HOW WERE neglected throughout design configurations. For example, materials THESE cannot be revered, nor the overall expense as thorough research for POSSIBILITIES alternative applications can be of costly value and its function in INVESTIGATED retrospect to the design's capacity, etc. ? 4. WHAT WERE THE CRITERIA In terms of design possibilities, before initiating an architectural USED BY THE design, there are a variety of aspects that should be evaluated. These DESIGNER BEFORE components influence the overall appearance of the property and are PRODUCTION necessary to apprehend, considering users will be appealing to the TO DETERMINE end-user's preferences and requirements. Aesthetics, functionality, THE SUCCESS trends, form, time, safety, and end-user applications are among the OF THE design concerns. There is a variance of functional aspects the design DESIGN? must employ to ensure the design brief and all factors are met. 5. HOW WERE Function refers to the practicality of spaces created whilst form refers THESE to the shapes aesthetic design of a building. In terms of functionality CRITERIA DETERMINED? a design inadequate of basic functional design elements may suffer 6. DOES THE from impractical proportions or accessibility, higher running costs DESIGNER USE and/or a lack of essential aspects such as storage space and adequate ACTION, TIME lighting or ventilation. All of these issues can have a dramatic impact AND FINANCE on the liveability and value of the home. Hence, determining the PLANS FOR perfect balance of form and function is the most desirable objective DESIGN, when designing however if done correctly it can capture the essence PRODUCTION of the form desired, while also maximising the functionality of the AND EVALUATION? design. Daniel considers all design possibilities before production to determine the overall success of his designs, this criteria includes a sense of personal action, time (despite difficulties) and financial prospects for innovation, production and evaluation, all of which are rencountered methods used to continuously embrace beneficial aspects on each project. For instance, Daniel states "product finishes are applied locally. The stone tops, upholstery and glassworks are 100% locally produced. Components are made both locally and internationally; artisans in Indonesia produce the base wood and metalwork while local French polishers and metal fabricators complete these pieces. Logistically combining and delivering Monument has not been without its challenges, however the final quality achieved has made this process worthwhile." and in terms of possibilities outweighed an example from applied furniture in the home via his released chair collection, Daniel retorts that "It was also important to me that the collection was as sustainable and environmentally conscious as possible. I spent a great deal of time researching each element to source a luxurious product that was ethically produced." Through both examples it is evident that with all given projects both architecturally and interior wise, the same met criteria is applied to identify the suitable outcomes further its success when met with design evaluations, finance etc. HOW DOES DANIEL DEVELOP IDEAS? DESIGN PROCESS resources were used in the design? OFTEN IDEA DEVELOPMENT BECOMES QUITE CONVOLUTED OR COMPLEX FOR SOME HOWEVER DANIEL EXEMPLIFIES THAT “THE POETRY OF REDUCTION” IS MY DESIGN MANTRA. I’M DRIVEN BY THE PURSUIT OF SIMPLICITY, ELEGANCE AND TIMELESSNESS, WITH THE BELIEF THAT A SENSE OF CALM AND WELLBEING CAN BE ACHIEVED THROUGH DESIGN. REGARDLESS OF EXPRESSION – ARCHITECTURE, INTERIORS, OR FURNITURE DESIGN – I DO SEEK TO INSPIRE HUMAN ENGAGEMENT AND A CONNECTION WITH NATURE WHILST CELEBRATING THE ARTISANAL; APPLYING A MODERN LENS TO MATERIALS, COLOURS AND TEXTURES INSPIRED BY THE RAW LANDSCAPE OF HOME. I LIKE TO THINK WE ARTICULATE A UNIQUELY AUSTRALIAN VOICE WITH GLOBAL RESONANCE."..."FOR ME, THE PLAN IS ALWAYS THE GENERATOR OF FORM." DANIEL PURSUES THIS SAME SETTING FOR EACH OF HIS CLIENTS DESIGNS AS WELL AS HIS OWN TO GENERATE OR DEVELOP IDEAS. IN TERMS OF TECHNIQUES AND TOOLS IN HIS DESIGN PROCESS, “I TEND TO THINK OF THINGS ARCHITECTURALLY. A LOT OF MY ARCHITECTURE PROJECTS ARE ACTUALLY THE CATALYSTS FOR FURNITURE PIECES,” HE SHARES. DANIEL FINDS POINTS OF REFERENCE WHERE AN “IDEA RIPPLES THROUGH EVERYTHING”. DANIEL IS ABLE TO CONSTRUCT FURNITURE THROUGH AN ARCHITECTURAL LENSE. DANIEL ALSO FEELS BEING "IMMERSED IN ANOTHER CULTURE AND BUILT ENVIRONMENT IS INSPIRING AS WELL AS RELAXING. CONTINUITY TO ME IS IMPORTANT AND I’M OFTEN INSPIRED BY THE BUILDING TRADITIONS OF THE PAST WHILE LOOKING FOR RELEVANCE TODAY." JUST AS HIS CHILDHOOD, CULTURAL HERITAGE AND SURROUNDINGS ARE AN ESSENCE TO HIS WORK AND FLOW OF NEWFOUND CONCEPTS. HE ALSO DRAWS INSPIRATION TROUGH NATURE FRAMEWORKS. "GOING FOR WALKS AND LOOKING AT THE COASTLINE TO CLEAR MY MIND IS ALWAYS A GOOD STARTING POINT. I FIND I’M MOST CREATIVE IN THE MORNINGS AND AS A DAILY RITUAL I START MY DAY BY SKETCHING CONCEPTS. I TREAT EACH DESIGN AS A RESEARCH PROJECT WHERE I BUILD A NARRATIVE AROUND A CONCEPT I’M TRYING TO CONVEY." DANIEL ALSO CONSIDERS THE HUMANITY AND INDIVIDUALITY OF HIS WORKS THROUGHOUT HIS DESIGN PROCESS, AS HE VALUES THE INSPIRATION FOUNDED UPON ARCHITECTS, ARTISTS AND DESIGNERS OF THE 1930'S, RENOWNED FOR THEIR INTEGRATION AMONGST THE ARTS OF BUILT ENVIRONMENTS AND DEMOCRATISING DESIGN. DANIEL STATES THAT HIS WORKS ARE "EACH DESIGNED ACCORDING TO USE, BE THAT THE ATTENTION TO ERGONOMICS OR AMPLIFICATION OF SOCIAL ACTIVITY. THE COLLECTION IS ABOUT CREATING POSITIVE SPACE; PIECES TO BE USED, ENJOYED AND ENHANCE THE EVERYDAY." WHILST APPLYING FUTHER PERSPECTIVE FROM HIS CLIENTS AMONGST THE INTIAL STAGES OF DESIGN LAYOUTS. HE STATES HIS "FAVOURITE PART IS REALISING MEANINGFUL WORKS FOR CLIENTS THAT ENRICH THEIR LIVES IN SOME WAY... THIS IS ACHIEVED WHEN ALL THE DESIGN LAYERS COME TOGETHER; THE ARCHITECTURE, INTERIOR DESIGN AND FURNITURE DESIGN FORM ONE BEAUTIFUL ENVIRONMENT." RESOURCEFUL APPLICATIONS AS MENTIONED ABOVE ALLOWS FOR A MORE REFINED FLOW OF PROGRESSION WHEN IDENTIFYING THE IDEAS OF SUSTAINABLE LAYOUTS WHILST STILL INCORPORATING CLIENTELE FEEDBACK FOR PAST AND FUTURE PRACTICES IN REGARD TO THE MATERIALISTIC PROPONENTS DANIEL EXCLAIMS THAT "WE EXPERIENCE AND INTERACT WITH FURNITURE THROUGH ALL OF OUR SENSES. A BEAUTIFUL TABLE SET, PERFECTLY DESIGNED FOR OUR BODIES AND PROPORTIONS, CAN BRING US CLOSER TOGETHER IN THE RITUAL OF FOOD. THE RELATIONSHIPS BETWEEN MATERIALS, TEXTURES AND SURFACES ARE AN IMPORTANT PART OF OUR SENSORY COMFORT.I ENJOY WORKING WITH THREE MAIN MATERIALS; WOOD, METAL AND STONE. THESE THREE BASE INGREDIENTS HAVE VERY DIFFERENT QUALITIES AND CHARACTERISTICS. I LOVE THE WARMTH OF WOOD AND THE EXPRESSIVE QUALITY OF VARIOUS GRAINS, THE SOLID PERMANENCE OF NATURAL STONE AND THE LUXURIOUS CONTRAST OF A HIGHLY FINISHED METAL. ALL OF THESE FINISHES HAVE A PALPABLE REALNESS THAT ADDS AN AUTHENTICITY TO MONUMENTS TACTILE APPEAL." THROUGH THIS, CLIENTS ARE ABLE TO APPREHEND THE SIGNIFICANCE OF MATERIALISM AND ITS COUNTERPART WHEN GENERATING IDEAS. POINT OF DIFFERENCE CREATIVE DESIGN INVOLVES USING COMPUTER-GENERATED IMAGERY AND DIGITAL ANIMATION TO VISUALISE A PRODUCT. IT AIMS TO PRODUCE UNIQUE AND MEMORABLE DESIGNS THAT STAND OUT SO THAT CUSTOMERS MAY EASILY IDENTIFY A BRAND OR PRODUCT...CREATIVE DESIGN IS A PROCESS THAT USES TOOLS TO CREATE RENDERS AND REPRESENTATIONS USED FOR MARKETING PURPOSES... COMPANIES REQUIRE CREATIVE DESIGN FOR IDEATION, DEVELOPMENT, MARKETING AND ROLLOUT RELATED TO PRODUCTS AND SERVICES...CREATIVE DESIGNERS ARE RESPONSIBLE FOR COMING UP WITH THE GENERAL IDEA OR CONCEPT FOR A PROJECT... FOR INITIALISING THE ROUGH LAYOUT, THEY MAY COLLABORATE WITH MANAGERS, OTHER ARTISTS, DESIGNERS OR ENGINEERS. TOGETHER, THEY EVALUATE THE FEASIBILITY OF AN IDEA AND FINALISE THE CRUCIAL ELEMENTS NEEDED FOR THE ACTUAL PRODUCTION OF A DESIGN. THEY MAY ALSO IDENTIFY ISSUES THAT CAN COME UP AND SUGGEST SOLUTIONS DURING THIS PROCESS.(WHAT IS CREATIVE DESIGN? SKILLS AND POPULAR CAREERS, 2022) ALTHOUGH DANIEL WORKS IN A MARKETING OR ADVERTISING FIELD TO CREATE VARIOUS MATERIALS TO PROMOTE A COMPANY AND ITS PRODUCTS, WHEN FORMATTING DESIGNS AS "CREATIVE" DANIEL WILL START DESIGNING THE ARTWORK USING PAPER SKETCHES AND DIGITAL ILLUSTRATION, AFTER CREATING THE CONCEPT, HE INTEGRATES A ROUGH LAYOUT, BASED MORE PROTOTYPES THEN TO ITS APPROVAL. WITHIN DANIELS WORK CONDUCTED ANALYSIS DETERMINE THE RESOURCES AVAILABLE FOR HIS CLIENTS AND FURNITURE WORKS AMONGST AESTHETIC PROSPECTS, TECHNICAL AND THE SIMPLICITY OF CONSTRUCTION LIMITATIONS. VISUAL AND FUNCTIONAL AREAS MAKE A DESGIN CREATIVE AS THERE ARE COUNTLESS METHODS TO ACHIEVE THAT SAME CONCEPT HOWEVER, VISUAL ILLUSTRATIONS, SUCH AS THE LISTED OPTIONS ABOVE AS WELL AS INSPIRATION DRAWN FROM PROJECT CRITERION, NEEDS AND REQUIREMENTS OF A DESIGN ESTABLISH MORE THAN WHAT IS ALREADY AVAILABLE. CREATIVE DESIGNERS WILL IDENTIFY THEIR OWN POINT OF DIFFERENCE TO ILLUSTRATE THE INNOVATION/DESIGNS BETTER OFFER IN COMPARISON TO OTHERS. WITH THE IN TEXT REFERENCE MENTIONED THE CONCEPTUALITY OF CREATIVITY ARE BASED UPON THE EXTENSIVE LIMITS DESIGNERS CAN APPLY TO DETERMINE A POINT OF DIFFERENCE FROM INTIAL DRAFTS TO FINAL DRAFTS AND WHY IT IS SEEN AS A MORE PROFOUND MODIFICATION IN RELATION TO SIMILAR PRODUCTS, DESIGNS, IDEAS ETC. VIA THE CHOICE OF INTERPRETING DATA FROM OTHER DESIGNERS, ENGINEERS ETC TO PRODUCE A DESIGN THAT EITHER STANDS OUT TO THE CLIENT OR FOR THE BENEFIT OF MARKET GROWTH. THIS IS SHOWN BY DANIELS REMARKS UPON PEER ASSOCIATION "WORKING WITH LIKE-MINDED CLIENTS IN INSPIRING LOCATIONS, WITH AN EMPHASIS ON QUALITY CRAFTSMANSHIP" THIS ALSO FALLS BACK INTO DESIGN PROCESS AS DANIELS "DESIGN PROCESS ALWAYS BEGINS WITH HAND SKETCHES, WHICH ARE THEN TRANSLATED INTO 3D WORKING MODELS AND PLACED INTO MY ARCHITECTURAL PROJECTS. I FIND THIS HELPS VISUALISE HOW THEY RELATE AND WORK WITHIN A DESIRED SPACE." PRODUCTION PROCESS P1 TECHNOLOGY A variation of online applications allow designers to implement certain designs visually, depending on preference and requirements for its completion, this includes countless processes such as Illustrator, Sketch-up (CAD), laser engraving and cutting, 3D printing, floor planner, smart-draw etc. Illustrator and Sketch-up are modelling applications that can be used to generate virtual illustrations of potential projects/designs before they are developed since they are simpler to employ, adjust, and update than existing representations. Whereas laser cutting (a thermal process in which a focused laser beam is used to melt material in a localised area) allows for certain pieces to be cut and etch materials into custom designs. Integrating the above applications into certain designs allows for easy application within 3D printing and laser cutting practises, to manufacture countless implementations such as furniture, structural drawings etc, which is embodied with all of Daniels projects. Through Daniels employment of these same applications, the providence of optical benefit allow for clients to apprehend and gain a personal feel of the design through the messy initial stages to the conclusion of the proposal. Daniel designates developed design ideas into a coherent designs, to communicate the clients ideas but also personal signature aspects. Since it provides details of the layout as well as the scale and dimensions of each design, it becomes easier for Daniel to produce functional and valued prospects."My architecture projects normally start with an understanding of the clients and site, which sets a narrative for the design. I like to think in terms of the materials (which are the main ingredients of each project) and how best to honour them. The design process is explored through hand-drawn concept sketches on butter paper which is then developed into a 3D working model on the computer. The furniture design normally starts with a curiosity, inspired by the landscape, built environment and artists that influence my work. In each piece, I try to instil depth and meaning through a layering of influences. Then I follow a similar process to my architecture projects by producing hand-drawn sketches, computer modelling and construction drawings."This allows Daniel to inspect the innovation with a high degree of realism and immersion, reaching far beyond static renderings, being that these platforms allow for virtual walks inside floor plans and customise them with available options, at his clients own pace and further be modified later if preferences change. "Responding to international border closures, I embraced the opportunity to design an entirely imagined project, the Paris Apartment; inspired by Matisse's proclamation," this statement is found directly on Daniels website (https://danielboddam.com/paris-apartment) of a digital showroom created entirely on a digital surface, so in terms of the designs final stages as well as beginnings, recent advances in architectural visualisation technologies have paved the way for virtually model homes to be viewed more accurately, a significant factor prominent when deciding upon materials, aesthetic advances etc. PRODUCTION PROCESS P2 designer process, designer reflection In regard to Daniels research, for production inspiration he retorts that "Whilst travelling in Europe and the Americas I was moved by the monumental architecture that I experienced there. I was inspired to create a collection that captured the essence of these great classical works. Looking through the lens of modern design, I explored the architectural ideas of the ancient world and translated these concepts into my furniture. Monument is a tribute to the past’s foundation in considered geometry, pure form and the permanence of natural materials. Allowing for a personal touch, each piece can be customised in a range of different palettes, materials and finishes." Daniel has also utilised environmental surroundings to encompass the main fragmentations of many contemporary designs in both his furniture and architectural works. In production processes it is fundamental for a designer to evaluate testing and experimentation in the overall development of their commercial products such as Daniels Europe trip and past Venezuela visits in his early childhood. Past methods still remain a significant characterisation in Daniels innovative design through its progressive evaluation conducted throughout the designs longevity and undertaking. As a designer, any time Daniel creates a newfound work he is also creating intellectual property, also known as IP. (The design of a program evaluation sets out the combination of research methods that will be used to provide evidence for the key evaluation questions being addressed in the evaluation brief. The design defines the data that is needed for the evaluation, and when and how it will be collected. The evaluation design needs to ensure that the evaluation will be as rigorous and and systematic as possible, while meeting needs for utility, feasibility and ethics. Good evaluation design is critical to the overall credibility, defensibility and utility of the evaluation. Specialist expertise might be needed to gather data about hard to measure outcomes or from hard to reach populations, or to develop an evaluation design that adequately addresses causal attribution in outcome and/or economic evaluations. Further, experience is needed to understand the feasibility of applying particular designs within the context of a program, and being sensitive to likely ethical and cultural issues. (Manage development of the evaluation design, 2022). Through this citation it is evident how progressive evaluation conducted throughout the design and production process is significant and prevalent factor within all of Daniels work, this same concept has been encountered all throughout his life considering his family background and passion from an early age. Daniel's design evaluation with respect to the impact on society and environment is substantially recognised through photos of all final product, system within its environment, for instance the various showings and or modelings of successful operation. This established an essential correspondence between the final product within its environment and the project proposal that was initially discussed with all clientele. Daniel discusses the employments potentialities of all furniture products as Daniel considers resource usage and how that ultimately affects the environment, and has spoken frequently on his research for more sustainable and recycled materials in future application. Daniel also integrates his evaluation to provide "consistency, discipline, and rationality to the source selection process" representing the essence of its significance including its costs and quality found on his website and listings. Finally, sustainable practices carried out in Daniels design process he states "...looking to transcend small moments in time and create something that has more substance and longevity. Running parallel to the social media ‘appropriation’, I think there is an underlying shift in consumer behaviour. We are looking for things that last as opposed too fast and wasteful consumption. We want to know where things are made and the impact these items can have on our planet. We are waking up to the harm of disposable, mass-produced products and starting to understand the true value of things." Daniel is self-aware of the hazardous environmental footprints throughout the design industry and the extent it drastically falls too. He incorporates a profound amount of eco design from the initial stages of his design to the end, as around 80% of the ecological repercussions of products are decided in its design phase hence his constant desire to pursue eco friendly innovations. FURNITURE & HOUSE WORK DANIEL BODDAM EST. 2013 CASE STUDY CONCLUSION "The Daniel Boddam Studio specialises in creating calm, refined living spaces with personality. Each project embraces the Studio’s philosophy of considered simplicity. Our projects seek to amplify our client’s lifestyles, whilst responding to the local environment. We believe in creating comfortable and functional homes that make you feel inspired and relaxed." Daniel Boddam embodies interconnectivity which too also pervades within Daniel's studio practise, between both the individual and the setting, as well as between the components throughout. He delivers a comprehensive approach that transcends his client's vision all through the exterior and internalised space by integrating architecture, interior prospects, and custom made furnishings. Daniel applies all aspects of design within his current occupation as well as the adolescent endeavours of his passion, by illustration of the numbered possibilities explored within the early stages of all his innovations embedded into a personalised design process grasping around sustainable, functional and aesthetic principles. He further reinforces the point of difference between all designs and furnishing by applying his personal characterisations beautifully intertwined again amongst the clients needs.  BIBLIOGRAPHY EARLY LIFE AND CAREER Boddam, D., 2022. [online] Danielboddam.com. Available at: [Accessed 9 April 2022]. DESIGN INNOVATION The Local Project. 2022. Villa Carlo by Daniel Boddam Studio - Project Feature - The Local Project. [online] Available at: [Accessed 9 April 2022]. PROS VS CONS The Local Project. 2022. Villa Carlo by Daniel Boddam Studio - Project Feature - The Local Project. [online] Available at: [Accessed 10 April 2022]. Www1.eere.energy.gov. 2022. [online] Available at: [Accessed 10 April 2022]. DESIGN POSSIBILITIES Assembly Label. 2022. At Home With Architect Daniel Boddam. [online] Available at: [Accessed 10 April 2022]. DESIGN PROCESS https://assemblylabel.com/blogs/journal/at-home-with-architect-daniel- boddam[Accessed 11 April 2022]. https://thelocalproject.com.au/articles/architect-of-the-month-daniel-boddam- sydney-nsw-australia/11 April 2022]. POINT OF DIFFERENCE Indeed Career Guide. 2022. What Is Creative Design? Skills and Popular Careers. [online] Available at: [Accessed 11 April 2022]. PRODUCTION PROCESS P1 & P2 https://thelocalproject.com.au/articles/architect-of-the-month-daniel-boddam- sydney-nsw-australia/[Accessed 11 April 2022]. Thank BY CASSANDRA KOKCEK APRIL 11, 2022 11:59PM WANT TO LEARN MORE? you 4 PRESS ENQUIRIES, OUR FURNITURE COLLECTION OR DESIGN SERVICES IN ARCHITECTURE AND INTERIOR DESIGN, PLEASE CONTACT US VIA: EMAIL: [email protected] reading CALL: +61 2 9660 1144 INSTAGRAM: @DANIELBODDAM (HTTPS://DANIELBODDAM.COM/CONTACT)