6.THE NOMADLAND-S2_2(Process+Concept)/RIBA Silver Medal Nomination

Tale XII: The Concern From A Family

When I was very young, this teapot, which my father found at a yard sale, was treasured by my father and kept in a display cabinet, where no one was allowed to touch it. Until one day things changed and the other objects in the same cupboard as the teapot (all old exhibition pieces, and family photos) suddenly disappeared. As our family was confused, my father, who was about to have an attack, noticed a change in the teapot: the objects that had disappeared had left some special traces on the teapot, either a corner of the border of a photograph or a string of rosary beads from a Buddha statue.

My father muttered something, and the teapot shifted and made a buzzing sound (so the teapot could talk!) The teapot says its name is Odradek, and it doesn’t know where it came from or what it does. It has been swallowed up by those things that seem old or useless because of the passage of time (which is why it was found at a yard sale). The Odradek lived in our house for a long time.

There is a teapot in my home.

Conclusion

Nomadland "STAGE"

Conceptual collage

"THEORY"

Architecture, a point of view

How could architecture intervene into the social agenda? We constantly questioned ourselves in the past weeks. As we go through the North Sea study with the lens of nomadism, especially when we concentrate on the causality of mass production, we observe complex social and political conflicts extracted by the phenomenon of the modern nomad. It gradually becomes a complex theory which is also a metaphor for the alienation of space and labour of capitalism in the context of technology development dependency.

We made a decision to explain our critical thinking and reflection within nomad theory through architectural narrative. In the beginning, we referred to literary works in relation to the field of architecture. The works of Walter Benjamin provided the main inspiration. His book The Arcades along with The Storyteller, are both collections composed of fragments, a series of précis for a grander work to come. Those dreamy, scattered fragments express the author’s self-reflection on living in the city, and they created a precise atmosphere as one body of work. In a way, we started to collate our initial ideas of the Nomadland including the collective study of the real theory and our separated imaginations. We named the process as “Nomadland Workshop”, and eventually it came up with 12 mythological worlds with poems and drawings. It is always driven by the theory/critique, but there was no specific framework for the making of tales. Therefore, the collage, poem and architectural drawings are telling the same story with different voices, which brings many fortunes and possibilities.

We all agreed that the set of 12 tales should be published as an independent pamphlet, and arranged at the beginning of this document to deliver an atmosphere from the first view. It is imagined as a perceptual note of Nomadland, written by the people who had ever lived and experienced this world. This approach revealed the relation between 12 tales and the actual “design”. Then we created a fictitious story of how we found these manuscripts to make the work credible but mysterious. We hope the audience feels fascinated with the blurry of time and space, and immerse in these stories. It creates an illusion, and then explained in the following handbook. The “behind the scene” chapter breaks the fourth wall to directly build conversation with the reader.

As we mentioned, the tales are inspired by various materials. For example, the name “how soon is now” and “turn on the sun” came from the song name of bands, and the last tale was a direct homage to Kafka's short story. We were enchanted with the atmosphere which is delivered by literature, music and artwork, and we believe architecture could be the same. The architectural practice can be readable and not solely academic in nature.In the perception, interpretation, or misreading, each view can construct its own imaginary entity, through which, the architecture is able to pass the story and thought.

PART B FOR STUDIO THREE

Chapter II: Storyboard

The Nomadland started as a vision, this chapter includes early sketches and sets for the story in imagination. Fragments of writing, scenes, and thread of the story will keep inspiring the work in Studio 3.

Main Characters

Initial setting for two actors in the story, respectively represent the citizens and nomads. The perception of two different groups reflect the duality in the whole concept: the nomad lives and works within the system and the citizen plays an outsider who intrudes the system and encounters the nomad. This idea of the perspective of both continued throughout each step, such as the two writers of the tale book.

The Nomad-Jeffery The Citizen-Frank

Storyboard

The first attempt to start a design with storytelling. Referring to the drama structure, the storyboard is composed with five parts including Prologue, Rising, Climax, Falling and Monologue. The story came from the reflection on theoretical research and we decided to make storytelling and architectural design (technical aspect) as a parallel workflow. However, it turned out that the two deficient parts stagnated in waiting for each other and even restricted our imagination. So we turned our direction to complete building nomad theory first and leave the storybook as the final outcome of Studio 3.

Paper Model Test

Through the multiple placements of the paper models, we sought to explore the urban fabric and the experience and feel of journeys in designing Nomad land. Playgrounds, cinemas, theatres, parks, post offices, libraries, streets, stadiums and churches are used as representative city nodes to test the urban journey. Through a linear single track, double track and radial layout, the complex relationships contained in the city are observed. These include the relationship between the individual and the collective, such as people walking through the streets as independent individuals, and forming a transient collective in public spaces such as theatres cinemas and libraries. The link between materiality and culture, the different feelings in spaces of entertainment, where material desires are extremely satisfied, and spaces where information and culture are transmitted in a significant way, and the control that both have over people. A follow-up development on these tests will be made in studio3.

Paper Model Test

According to the theory of the linear city, functionalized buildings are placed in parallel through a linear monorail arrangement, centred on decision making. As functional demands increase and each end keeps growing, the city only gets longer, without wider.

In order to weaken the disadvantages of the mono-track system, an attempt is made to improve the experience of being in the space through a dual linear model. Bringing the recreational architecture forward and the cultural and informative spaces back. With cultural communication control as a guideline, the whole city is radiated through information, and the carrier is none other than the people in the space.

Along the axis of the main street, the buildings are still arranged in a bilinear way. The dual role of the street as a link and a place of exchange is exploited. On the one hand, forming a wider network of urban streets and transport networks; on the other hand, being destinations in their own right. A physical means of linking the sociological framework of the city.

Central radial arrangement to link individual and collective connections and to reinforce the centripetal nature of urban architecture. Object-centred, the central element may change depending on the purpose and historical context. A strengthened community of public spaces and infrastructural connections.

PART C

FUTHER ATTEMPTS

Chapter III: Building The Stage

This chapter includes research and tests at the early stage which aimed to give a general physical sense of “the stage”. It can be seen as integration and translation of the storyboard which brings the design back to the system scale. Meanwhile, the efforts including rational programming and technological study improved the feasibility of the story and helped to generate new ideas. Although the cooperation of the two parallel works didn’t come to the end, the holistic study will still form the spine of the final design.

The Industry Show

During the story writing, we found the creation of momentary scenes to be quite easy, but it’s almost impossible to perceive the whole picture through these fragments, and unsurprisingly, we gradually lost ourselves in these individual scenes without any physical form. Therefore, we began modelling the whole site as a test of our story. A clear journey connected a series of moments which we created before. It also created a clear view of the tectonics of Nomadland for the first time, which gave a sense of the contradiction and complexity of this hybrid programme.

New Industrial Hub

Flow of wind turbines

Flow of containers

Hydraulic System

Reverse Osmosis

Saltwater, found in seas and oceans, makes up 98 percent of the Earth's water. The remaining 2% is freshwater, which is used in houses, farms, and industry, although it is inaccessible to 40% of the population.

Reverse osmosis is the most advanced and efficient technology. The desalination of seawater is generally accomplished using reverse osmosis (RO). Reverse osmosis is not only the most advanced desalination system on the market today, but it's also the most efficient and beneficial for the environment: it emits up to four and a half times fewer greenhouse gases than other technologies, doesn't harm the marine environment, and can recover a large portion of the energy used in the process.

A semi-permeable membrane is used in RO systems to remove ions, molecules, and undesirable pollutants and particles (salt in the case of desalination).

Electric System

Pumped Storage Power

Pumped storage power plants work on the premise of being both an energy storage and a hydroelectric power plant in one. When there is an excess of power on the grid, the pumped storage power station changes to pumping mode, which involves an electric motor driving pump turbines to move water from a lower reservoir to a higher storage basin. If the grid's demand for energy increases, water is discharged from the top basin to the bottom via a pressure pipeline. The water rotates the pump turbines, which are now in turbine mode and driving the generators. Electricity is created and fed into the grid in a matter of seconds.

Electric System

Hybrid Solutions

Instead of using precious freshwater, employing saltwater for pumped storage plants with the ocean as the lower reservoir has enormous potential. Small grids on islands could benefit from this symbiotic saltwater approach. We can help deliver fresh water and environmentally friendly energy at the same time by combining a seawater pumped storage system and a desalination plant that uses reverse osmosis (RO) to transform seawater into drinking water. The lowest reservoir would be the ocean, with the higher reservoir being nomadland.

Servicing Units Design

This study is part of the test on the “cluster” scale, discussing the compound mode of living and servicing. It was designed as a reputable unit which includes the servicing shaft and surrounding living area. The making of the servicing unit was the most detailed approach in the previous study which intended to capture the potential operating mechanism, spatial structure and architectural aesthetic of this big complex machine.

Chapter IV: Instructive Models & Tests

Model study I

Look into the Distance

Look into the horizon

I miss the young me

Feet in the sea

Free wandering

For the first time

Replay memories to get by

The dream fades

And I'm stuck in real life

Keep you at the distance

Had to sense it all

Never get back

The citizens and the nomads are at opposite ends of the stage. The former live in a framework with boundaries, the latter are free by nature but have less of a sense of belonging. The two seemingly different modes of life are also inextricably linked. On different sides, we look into the distance with a moon. Perhaps we all have been or will be nomads.

Model study II

Structure in the Structure

Why did you come

How did you come here

House to house, field to field

Everything goes so fast in this world

There’s no place for us to be alone

What is this that we come for

Solid, fresh and silence

A break to make lives live

What are we here for

Return to what we have abandoned

It takes us into a new frame of space

Structures within structures, without enclosed spaces. They exist either attached to the building or occupy a corner on their own. Can they be called spaces? And can they be considered part of the city?

Model study III

Emotional Experience

Squirrels walk on tiptoe in May

Wisteria blooms in the sunshine

Chirping, laughing and clinking

Blue-grey sidewalk behind the yellow staircase

Workers clanking away on the street

The aroma of cumin and pepper float in the air

Red rooftops issuing smoke and flames

Across the blank square

Climb to the top of the tower

Where are we ahead, you wondered

The different sizes and shapes of the pieces represent different spaces, and the variety of colours represents the emotions that people experience in different spaces. The white curves represent the many different ways of moving through the space and the different spatial sensations it brings. That’s the only way a person can come into a city: from inside.

Model study IV

Top or Bottom

Some go high

Some go low

You don’t know what you don’t know

But keep in mind

The places you want to go

Top or bottom

That doesn’t matter

You will leave a part of you wherever you may go

Someone will leave you words when you need them the most

You leave a part of you with those that need it most

Columns of varying lengths are interspersed with boards at varying heights. This is exactly what happens to the people and buildings on this land. People move with the flow, up and down, and no one can foresee their future 100 per cent. Spaces are arranged at staggered heights, but no one can tell which is really the top and the bottom.

Model study V

City Underpinning

Same old moon looked down

Same old landmarks were silent

The town seems still and lonesome-like to see. After turning around a bend there is a roar

The men who can’t remember when they began Solitary worker with hammer in the hand

You will find us if you want changed the city but still the same There’s a city, there’s must be supporting army

The functioning of the city requires the support of many industries behind the scenes, such as industry and services. The different elements such as rivets, screws, blocks of wood and so on represent the industries and people that support the city. They generally go unnoticed, hidden behind the glitz and glamour, and are an integral part of the city.

Model study VI

Flexibility between Order

Hands locked behind your back

Walk gravely along the lines

Someone stand with you yet cannot see what you see you both step to an open space

At that moment the very street has a hunch

The whole city, and its uncertain space

Of the world for the endless another side that disperses

You sit in contemplation

What appears to be the harmony

Within the regular framework, spaces are flexibly interspersed, superimposed and interlaced in the city. The order of space is enhanced by the rhythmic sense of superimposition, introducing flexible pieces of varying forms, either curved or vertical, allowing freedom and discipline to co-exist. In the relational aesthetic, space is allowed to become critical, not in terms of fragmentation, but in terms of juxtaposition.

Model study VII

Polyhedral Tower

People have lived here for centuries

Same life day by day

The great canvas lies beneath the land

Records the pattern of every moment

Even the forked lightning

There are certain gaps and yawns

Some pattern is forgotten

As if it doesn’t matter.

On one side the lines are divided in decreasing order, one into two and two into four. Like flowing water, it moves from the main stem to the tributaries. Each point of separation is a substation. On one side is a grid-like flow, going back and forth between two points, leaving traces of movement throughout the frame. It is the pattern of different people’s lives and the scene of the city at work.

Polyhedral Tower

Model study VIII

Island

Into another frame of space, Where we can reshape

Not only what we are, where we are from But what in the risk and moment of our day We may become.

Into and out of the sea

The faces here look one to another in surprise

At what has been made

Look at the actual land, Look at the possibilities Irradiating all these possibilities.

Trying to see the relation, From one memory to another

One is so strange, and then, To try and see what looms Who was there, Who will be there

It gets stranger

The acrylic glass block represents our imagination of Nomadland. It establishes connections with both sea and land. In this vast space, new countries may be created, new shores may be seen, but the path here is not necessarily for everyone.Is it a waste of life, or is it a time to enjoy the light? In this little corner, it is possible to have a life of your own, away from worries and strife.

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