AA School - Intermediate 14 - Ele Mun - Term 1 WIP by Ele Mun

Ele Mun // Intermediate 14 - Term 1 Portfolio -

1 Introduction

// 1.1 - Radical Foundations

// 1.2 - Ecology 1 : Montague on the Gardens

// 1.3 - Ecology 2 : Kingâ&#x20AC;&#x2122;s Library at the British Museum

2 Rules of Translation

// 2.1 - The Piranesi Vase

// 2.2 - The Unprimed Canvas

// 2.3 - Shadow Range Analysis

3 Precedents

// 3.1 - Textile Glossary

// 3.2 - Case Study Textile Architecture

// 3.2 - Case Study : Conservation Studios

4 Aedicule

1.0 - Site Location

Introduction

Bedford Square

1. Radical Foundations 2. Aedicule

Wider Bloom

1:2

1.0 - Site Location

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1 2 British Museum

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Introduction

1.1 - Radical Foundations

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1.1 - Radical Foundations

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Introduction

1.2 - Montague on the Gardens

1.2 - Montague on the Gardensa

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Trajectory of two bodies in space, in relation to exhibit. [ Subject 01 ] : The Browser | [ Subject 02 ] : The Observer

Afternoon

15th October 2017 ( Sunday )

Introduction

King’s Library , British Museum

1.2 - Montague on the Gardens Introduction

Montague on the Gardens, Montague Street 1 : 150

1.2 - Montague on the Gardensa

Introduction

Value of Space, in relation to Views. Views from Classic Single, Double and King Rooms. Movement of Linen through service ( third ) spaces.

Evening

19th October 2017 ( Thursday )

Rules of Translation

2.1 - The Piranesi Vase

Rules of Translation

2.1 - The Piranesi Vase

Piranesi’s Vase

1:5

The Piranesi Vase : From Parts to Whole In 1769, Piranesi had acquired a great number of ancient fragments found at the Pantanello, a site on the grounds of the villa of the Roman Emperor Hadrian at Tivoli near Rome. These fragments were incorporated into the vase ( two out of three of the bull’s heads on the base, sections of the lion’s legs and parts of the relief depicting satyrs picking grapes ) - the rest are entirely of his own making, informed by his knowledge and understanding but essentially based on fragments that were all around him. In Piranesi’s descriptions on the vase, Piranesi credited the origins of the vase as the Villa Adriana without mentioning that only small fragments of it were antique.

Rules of Translation

2.1 - The Piranesi Vase

Rules of Translation

Ancient Fragments

Unfolded elevation of ornaments on the base of the vase, only two out three bullâ&#x20AC;&#x2122;s heads were ancient, from the 2nd c

2.93 m 2.80 m

11 2.12 m

2.15 m

1.17 m

0.87 m

Rules of Translation

0.32 m

The Pirane

Which parts of the va

2.1 - The Piranesi Vase

Piranesiâ&#x20AC;&#x2122;s Vase

1 : 10

century.

ase are more provileged to the observer ?

Rules of Translation

esi Vase : Privileged Parts

2.1 - The Piranesi Vase

Frieze - In Search of a Pattern

Rules of Translation

Unfolded elevation of the relief, depicting satyrs picking grapes.

Piranesiâ&#x20AC;&#x2122;s Vase

2.1 - The Piranesi Vase

1:5

Rules of Translation

2.2 - The Unprimed Canvas

Rules of Translation

Plain Weave

Rules of Translation

The warp threads ( vertical ) are held, stationery and intension while the weft threads ( horizontal ) is simultaneously drawn through and inserted over and under the warp threads. The warp and the weft are aligned so they form a simple criss-cross pattern. The unprimed canvas is usually plain woven, the thread density is evenly distributed and becomes less prone to expansion or contraction due to moisture in the atmosphere.

Twill W

The Twill Weave is done by passing the we warp threads ( vertical ) and then under tw an offset between rows to create a diagon woven fabric gene

eft threads ( horizontal ) over one or more wo or more warp threads and so on, with nal pattern. Because of this structure, twill erally drapes well.

2.2 - The Unprimed Canvas

Weave

The Warp and the Weft

Satin Weave

The Satin Weave tyically has a glossy surfaace and a dull back, made by four or more weft yarns ( horizontal ) floating over a warp yarn or vice versa. A satin fabric tends to have a high luster due to the high number of floats ( missed interlacings ) in the weave.

Rules of Translation

2.2 - The Unprimed Canvas

Rules of Translation

Boro : The Utilitarian Nature of the Sashinko Stitch Boro textiles are usually sewn from the 19th and early 20th century rags and patches of indigo dyed cotton.

In most cases, the arrangement of patches and mending stitches is born out of necessity and happenstance, on what is available in the moment and was not planned by the maker beforehand.

Rules of Translation

Sashinko is a form of reinforement stitching from Japan that started out as a practical need during the Edo era. Today it is often used purely for decorative purposes in quilting and embroidery - the stitiching is most dense where it needs to be.

2.2 - The Unprimed Canvas

The Boro

Re-inforcement sticthing ; more dense where it is needed.

Rules of Translation

2.2 - The Unprimed Canvas

Rules of Translation

Boro : A Palimpsest of Parts The Boro begins to be seen as a palimpsest of parts, dissected into three layers :

Layer 1 : - Base Layer 2 : - Connection Layer 3 : - Infill

Rules of Translation

Each layer consists of patches usually larger than the proceeding one. The diversity of patches on any given piece is a veritable encyclopedia of hand loomed fabrics from historical Japan.

The Boro

2.2 - The Unprimed Canvas

Rules of Translation

2.2 - The Unprimed Canvas

Rules of Translation

Deterioration on the Canvas

Rules of Translation

Paintings on stretched canvas deteriorate first through embrittlement and cracking, then through long term relaxation under tension. Much of the tension is carried in the paint and ground, not in the canvas, but where the paint cracks, all the tension is taken by the canvas. Re-alignment of forces causes the islands of paint to cup and separate from the canvas, causing the familiar raised cracks and cupped paint on the painting.

2.2 - The Unprimed Canvas

The Canvas

Long-term relaxation under tension.

Tension

Embrittlement and cracking.

Paint Ground

Canvas

Islands of paint cup and separate from canvas.

Rules of Translation

- Winter Solstice -

2.3 - Shadow Range Analysis

Rules of Translation

- Summer Solstice -

2.4 -Ergonomics

Rules of Translation

0.85

1.17

1.30

0.85

1.41

0.83

Fast

Rules of Translation

1.59

1.94

1.49

1.88

1.56

1.90

1.93

1.56

Body Posit

The body in different positions can start to imply com sitting on a chair, leaning forward is less relaxing th

2.4 - Ergonomics

Body Position Studies

1.80

1.76

1.27

0.49

0.86

1.76

0.92

Slow

mfort, or the temporality of the positions. For example, han sitting on the floor and leaning against the wall.

2.61

1.88

1.86

2.26

Rules of Translation

tion Studies

2.07

1.95

1.72

3.1 - Textile Glossary

Material Studies

Fibres

Natural

Weaves

Cotton

Wool

Linen

Light Permeability

Typically Dictated by Thread Count & Color. More Dense, More Opaque. Closer to Black, More Opaque.

Moisture Absorbtion

Up to 32 % of its own weight, without feeling wet.

Up to 30 % of its own weight, without feeling wet.

Coat

Precedents

Elasticity

UV Resistance

Tighter the weave, the less UV can get through.

Estimated Lifespan ( Under Influence of Weathering )

5 Years

3 - 4 Years

Unique Properties

Heat Resistant to temperatures experienced in building practice.

Good crease recovery values.

Suitable For

Limited to interior-use or to lowstrain temporary outdoor use.

Use as furniture or decoration fabric in interior.

5 Years

1. High Luminosity. 2. Absorbs & Releases moisture ve quickly.

Use as furniture or decoration fa in interior.

Textile as Building Material 3.1 - Textile Glossary

Synthetic

Polyester ( PES )

Aluminium / Steel

Polyvinyl Chloride ( PVC )

30 - 35 %

ery

abric

30 % Dependant on coat thickness.

0 - 25 %

28 Rainproof

10 - 20 Years

> 20 Years

1. High Crease Resistance 2. Special PES Acoustic Textiles have a sound - abasorbing effect to minimise sound pollution/

Optimum Glare, Visual & Sun Protection, Efficient heat protection to regulate spatial climate.

Interior membrane as sound-absorbant.

Exterior membrane for protection from sun., interior climate regulator.

15 - 20 Years

1. High Kink resistance 2. High Tear resistance 3. Permanent Protection from soiling

Exterior membrane for wide-spanning surface structures.

Precedents

3.1 - Textile Glossary

Material Studies

Fibres

Synthetic

Weaves

Polytetrafluoroethylene ( PTFE )

Coat

Light Permeability

Fluoropolymer

Aromatic Polyamide ( Aram

Polyvinyl Chloride ( PVC )

15 - 40 %

Up to 90 %

0 % ( Opaque )

Moisture Absorbtion

Elasticity

UV Resistance

Estimated Lifespan ( Under Influence of Weathering )

> 25 Years

Unique Properties

1. Anti-adhesive, very resistant to soiling and chemicals. 2. Permanent Kink resistance and excellent abrasion resistance

Suitable For

Precedents

When Coated

Foldable Membranes for sun protection.

> 25 Years

Allows for diffused and thus low-glare light within the daylight colour spectrum to pass through it.

Small interior spans to diffuse light

> 25 Years

Most highly resilient of all synthe textile membranes.

Limited to special uses that requir high strength but do not need hig elasticity and translucency.

etic

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3.1 - Textile Glossary

mid )

Textile as Building Material

Inorganic

Fibreglass

Polytetrafluoroethylene ( PTFE )

Silicon

Up to 25 %

Up to 45 %

30 Rainproof

> 30 Years

1. Categorised as fireproof 2. Low kink resistance

> 30 Years

Anti-adhesive, self-cleaning surface.

Rainproof

> 30 Years

Very similar to PTFE Coated Fibreglass weave, but soils.

Weather protection for large spans and large sized modules.

Precedents

Sum me rS

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4.1 - Aedicule

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Aedicule

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1 - Dark Conservation Studio 2 - Semi - Dark Conservation Workshop 3 - Bright Conservation Workshop 4 - Meeting Spaces 5 - Circulation for Art

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4.1 - Aedicule

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Spaces ;

Scale 1 : 50

Aedicule

1 - Bright Conservation Studio 2 - Semi - Bright Conservation Studio 3 - Dark Conservation Studio 4 - Meeting Spaces 5 - Circulation for Art

: Sun set Sum mer Sols tice

A - Fluoropolymer B - Polytester Coated with Aluminum C - Polytetrafluoroethylene

unse ce : S olsti ter S Win

Weave ;

Aedicule

4.1 - Aedicule

Aedicule

Scale 1 : 50