6th year Portfolio - Volume 1

[eleni economidou] 2013-14

Portfolio VOLUME 1

M..Arch 6th year qed

MSA MArch 2013

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© Eleni Economidou Student no.12100412

MSA MArch 2013

**this publication can be found online at: just scan the QR bar-code.

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Eleni Economidou _MArch Master of Architecture 2013 Manchester School of Architecture University of Manchester Manchester Metropolitan University Year 6

T: E: W:

+447598942804 economidou.eleni@gmail.com economidou.eleni@stu.mmu.ac.uk www.elenieconomidou.com

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MSA MArch 2013

This portfolio has been prepared as part of a the 1st semester portfolio submission 5.1 for Manchester School of Architecture for the academic year 2013-2014. â&#x20AC;&#x201C;6â&#x20AC;&#x201C;

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Index: MArch Master of Architecture 2013-14 6th year works

Vol. 1 - Dunham Massey Garden Pavilion | National Trust | Fall 2013 | Vol. 2 - Dream Pavilion | Triumph Competition | Fall 2013 | Vol. 3 - Digital Design Symposium | Workshop | Fall 2013 | Vol. 4 - Dunham Massey Garden Pavilion Construction | Winter 2014 | Vol. 5 - DDMC | 2014 Vol. 6 - Professional Studies | 2014 Vol. 7 - [DUBAI] Architecture School Tower /// (AC-CA competition) | Thesis | 2014 |

| instructors: Colin Pugh, Siobhan Barry, Dominic Sagar | | unit: q.e.d.(quad erat demonstradum) | –7–

Dunham Massey

National Trust

GARDEN PAVILION

MSA MArch 2013

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Contents:

0.0 - Preface

1.0 - Pavilion Proposals Phase 1 - Stamford Memorial 1.1 - Pavilion Proposals Phase 1 - The Red Poppy 1.2 - Pavilion Proposals Phase 1 - Monumentary Monument

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0.0 Preface Brief: Design a micro passive-pavilion, a single space structure both functioning as a shelter but also accessible and educational; adaptable and capable of rapid prototyping and off site manufacture as an exemplar architectural intervention for a public site. __________ The client was Dunham Massey, owned and operated by The National Trust. _______ The site, Winter Garden and grounds at Dunham Massey, are regularly visited by all sectors of the community, from the very young to the very old, enjoying a range of activities throughout the day and the year.

To mark the centenary of the First World War the National Trust and the Imperial War Museum embarked on a four year programme to commemorate those who died in the conflict and the effects it had on society.

The design had to mark this catastrophic event in world history. images provided fro the brief as initial precedents

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1.0 Pavilion Proposals Phase 1 Stamford Memorial James Slocock

The Stamford Memorial takes the commemoration of WWI closer to home as a memory of the effort and commitment given by the volunteers of Stamford Hospital that operated in Dunham Massey during the war.

This pavilion creates a simple but familiar link with the image of a beehive. There is a symbolism created between the characteristics of a bee colony that creates a connection between its history, the Dunham Massey sight and the generations today. There are 52 hexagons representing the 52 beds of the Hospital and 283 batons suspended from the top of the arch in memory of the 283 soldiers that fought in the war and were treated at Stamford Hospital.

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Honey was used in many medicines at the time of the war, something that has become part of our everyday lives today. The bee community works so efficiently as one for the sole purpose of protecting the queen and survival. Each individual plays a vital role with their role in the ecosystem being absolutely vital to the natural environment we are familiar with. It is through this character that bees are well known for the perseverance.

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1.1 Pavilion Proposals

Phase 1 The Red Poppy Mohd Fakhruradzi Tajuddin

“ The end of the site, but the beginning from the past.”

Red poppy, undoubtedly is the most significant symbol of World War 1. Some history behind it- the destruction from WW1 has transformed the bare land into field of red poppies, growing around the bodies of fallen soldiers. It was the only plants to grow on the otherwise barren battlefields.

Therefore, it is the symbol of death, renewal and life. Medically, the red poppy is very suitable remedy to combat nerve problem and stress.

The Red Poppy is a direct and simple pavilion design that is intended to evoke the sense of remembrance to the visitors of World War 1.

The striking red colour of the pavilion is to attract visitor to come to the end of the site. The wide openings meant to capture the commanding view towards the lake of Dunham Massey garden.

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1.2 Pavilion Proposals Phase 1 Momentary Monument Steven Anton

Momentary monument is a temporary memorial to the Fallen, a modern monument to mark the anniversary of one hundred years of the beginning of the Great war.

A modular system of timber panels is arranged according to classical proportions based on celebrated monuments of the past. These pivot and can be reconfigured, which creates a kinetic sculptural object that is in constant flux, marking the passage of time as conditions of light and weather in the gardens progress.

The installation is situated on the parterre area in Dunham Massey gardens and acts as a semi monumental object centred on the main axis of the house, its potentially unstable configuration mirroring the displaced monumentality of the twenty-first century. â&#x20AC;&#x201C; 20 â&#x20AC;&#x201C;

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Contents:

0.0 - Preface

1.0 - Media vita - concept

1.1 - radio-waves 2.0 - Design Concepts

2.1 - Design c concept

3.0 - The mount 4.0 - Fabrication 5.0 - Assembly 6.0 - Detail 7.0 - Cost and Qualities 8.0 - Realisation

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0.0 Preface Brief: Design a micro passive-pavilion, a single space structure both functioning as a shelter but also accessible and educational; adaptable and capable of rapid prototyping and off site manufacture as an exemplar architectural intervention for a public site.

The intervention had to be a place to sit and rest whilst enjoying the wildlife, a stopping point to shelter from the elements, an architectural way-finding landmark to interpret place whilst signifying site or to frame a key view.

The proposed design had to also utilise digital fabrication methodologies. The pavilion should be able to hold up to 4 persons and must make provision for at least 1 wheelchair user or 2 childrenâ&#x20AC;&#x2122;s pushchairs. â&#x20AC;&#x201C; 26 â&#x20AC;&#x201C;

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Dunham Massey

Garden Pavilion

Phase 2

media viâ&#x20AC; a

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1.0 concept media vi†a (latin) = in the midst of life (we are in death).

A structure in the midst of completion.

media vi†a pavilion is in its form a symbol of the media soldiers used to communicate during the WWI. A memorial of the centenary anniversary since 1914.

Scan QR code to watch video or click link http://youtu.be/rCsuUQ-VQs

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Site Selected: The mount

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1.1 radio waves during WWI

On land, voice commands have always been used to direct operations.

Radio became essential to communication in the trenches during WWI with the advancement in the ability to transfer a voice rather than code.

Radio waves were first transmitted through the AM radio frequency in 1916.

Wireless Specialty Apparatus Co. SE-1220 Receiver c. 1918 The SE-1220 is the military version of the IP-500 radio receiver. â&#x20AC;&#x201C; 32 â&#x20AC;&#x201C;

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2.0 design

based on radio-waves

The symbol of radio waves and sound is perceived as a series of concentric waves, in this case, circles. This familiar form is translated into the design as set of layers, a series of messages in one structure.

Rhinoceros 3D and the Grasshopper plug-in were used in order to create a digital parametric model connecting these two concentric circles into something that could be used as a shelter. An ellipsoid shape is then introduced in order to cut the geometry and create a seating area. Then the geometry is evaluated and divided into interlocking ribs.

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2.1 c concept =100years

The form of the pavilion is in a C the Latin number equivalent of 100. The Centenary of the World War is in itself a means of communication through the commemoration of those who lived, fought and died in the War.

[Very often communication had to occur very quickly on the battlefield in enclosed, sometimes claustrophobic spaces. The smaller section represents the beginnings of a communication in a tight space, then becoming the vocal widespread transferring of the message to the receiver.]

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3.0 the mount site

The site that was selected was the mount due to the views that it could provide toward the lake, the shape of it that can better accommodate the c-shaped design but also due to the fact that is a historic site.

The visitor can sit and relax enjoying the wildlife around him while he learns about WWI.

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4.0 fabrication manufacture

The main aim of the design fabrication was simplicity.

The structure requires no bolts, screws, pegs or any other equipment apart from the CNC milling machine.

The waffle structure can support itself using only one material; 1.2mm recycled sheets of timber.

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5.0 assembly The assembly of the pavilion happens in four different phases. The main ribs the x direction ones are set vertically on site while the lower and upper part of the y direction ribs slide in between the x ones stabilising the whole structure.

Photos of the model fabrication using lasercutted 1.2mm pieces of softwood.

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1.

2.

3.

4.

1. X - direction Ribs 2. Upper part of y-direction ribs connects to x-ribs from above 3. Bottom part of y-direction ribs connects to x-ribs from below 4. The base gets assembled in place finalising the construction – 43 –

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6.0 detail The assembly makes use of 2 different joints. The cross halved joint used to connect the ribs of the waffle structure together and the dowel joint to connect the pieces that would make up the base.

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7.0 cost and quantities The construction will need several pieces of soft wood CNC cut to the correct shape, ready for assembly with no further connections needed. The CNC cost was underestimated.

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estimation timber sheets provided by TRiM (Timber Recycling in Manchester) quantity

dimensions(m) cost(£)

total (£)

16 8x3 3.00 48.00 32 3x3 1.13 36.16 23 6x3 2.25 51.75 14 2x3 0.75 10.50 11 5x3 1.88 20.68 2 7x4 3.50 7.00

174.09 CNC estimated cost: ~£700

~900

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8.0 realisation

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8.0 realisation reallocation to another site learning outcomes:

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Scan QR bar code for online publication

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Dunham Massey

Garden Pavilion

Phase 2

Entrenched

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1.0 Pavilion Proposals

Phase 2 Entrenched

Warren Lampson Suen

During World War I, military structures like trenches and bunkers dominated the landscape across Europe.

To protect troops from the enemy’s small arms fire and artillery. Trenches and bunkers were prominently constructed.

The cramped conditions created by trenches and bunkers made life really tough for the soldiers.

The design of the pavilion is in-spired by this kind of extreme and unique condition experienced by soldiers during World War I. – 56 –

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2.1 Pavilion Proposals

Phase 2 Entrenched

Warren Lampson Suen

From April 1917 to January 1919, Dunham Massey Hall was the Stamford Military Hospital. Offered to the Red Cross by the family who lived here, the hospital first opened with 25 beds rising to 52 by the time peace was declared on 11 November 1918. In total 282 soldiers were treated here.

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2.2 Pavilion Proposals

Phase 2 Entrenched

Warren Lampson Suen

Taking aspirations from World War I bunkers I within a contemporary design.

By providing the pedestrian with the unique about the World War I and trenches, Entrenched aims to resemble the cramped conditions soldiers experienced during World War feeling similar to that in trenches, the pavilion can be used as a location for a narrative journey or exhibition.

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2.3 Pavilion Proposals

Phase 2 Entrenched

Warren Lampson Suen

As an arched tunnel in form, the pavilion is designed to be placed along major pathway within the garden. With a framed waffle system, not only will it reduce the mate-rials required to build the pavilion without sacrificing any structural strength, but it also frames the view towards the sky.

The density of the waffle grid is optimized that it will block any lateral view of the pedestrians. This resembles the feeling of being in a trench during World War I where the only available view is upwards. â&#x20AC;&#x201C; 62 â&#x20AC;&#x201C;

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2.4 Pavilion Proposals

Phase 2 Entrenched

Warren Lampson Suen

The final design of the pavilion aims to significantly strengthen the sense of pedestrians entering it. To achieve this, the two ends of the pavilion are increased in size whereas the middle part is narrower. This created a varying experience for people walking through the pavilion.

At the same time, the experience becomes much more similar to that of World War I trenches which were not regular neither in form nor in depth.

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2.5 Pavilion Proposals

Phase 2 Entrenched

Warren Lampson Suen

The whole pavilion is designed in a waffle system.

Modules can be cut by CNC machines and be assembled on site as a pavilion.

The system involves dry connection and free from any fixing components if the largest designated size of ply sheet can be cut using CNC.

It can be easily erected on site without any complication in fixing providing the modules are accurately cut from plywood sheets. â&#x20AC;&#x201C; 66 â&#x20AC;&#x201C;

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Dunham Massey

Garden Pavilion

Phase 2

Fortify

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3.0 Pavilion Proposals

Phase 2 Fortify

Saidadul Shazri

Fortification was essential for survival and defence during World War One. The main means of fortification during World War One were trenches and bunkers.

Trenches gave an immediate defence for the frontline, providing shelter from gun fire and artillery. Bunkers, made of reinforced concrete, were strong and could deflect the blasts from nearby explosions.

Fortify is a space for people to interpret the trenches in a more poetic and meditative space in which to reflect on the experiences of World War One. On the site of Dunham Massey that served, through Stamford Hospital as a form of protection/fortification for the injured soldiers who returned during the war. â&#x20AC;&#x201C; 70 â&#x20AC;&#x201C;

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3.1 Pavilion Proposals

Phase 2 Fortify

Saidadul Shazri

The intention is to stimulate the spatial qualities of life in the trenches through visitor’s experience.

Being in the structure inflict the sense of claustrophobia and restricted view. The confined environment is an enactment of the condition of the trenches during the war, where the soldiers lived in a cramped space - hard to walk side by side, limited horizontal views except when stepping up to peek over the top.

Walking through Fortify gives the visitors a glimpse of life during the first world war.

The restriction of the walls creates a space replicating the changing form and roughness of the trenches. The restriction of views in the trenches created a fear and degree of blindness to the events overhead.

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3.2 Pavilion Proposals

Phase 2 Fortify

Saidadul Shazri

ASSEMBLY / FABRICATION BRICKS - MORTARS CONNECTION SYSTEM

Steel rods are used to bind the wooden blocks. Designated wooden blocks with holes are inserted into the rods

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3.3 Pavilion Proposals

Phase 2 Fortify

Saidadul Shazri

ASSEMBLY / FABRICATION BRICKS - MORTARS CONNECTION SYSTEM

Steel rods are used to bind the wooden blocks. Designated wooden blocks with holes are inserted into the rods

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3.4 Pavilion Proposals

Phase 2 Fortify Saidadul Shazri

ASSEMBLY / FABRICATION BRICKS - MORTARS CONNECTION SYSTEM

Steel rods are used to bind the wooden blocks. Designated wooden blocks with holes are inserted into the rods

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Dunham Massey

Garden Pavilion

Phase 3

Fortify

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Contents:

Timeline 0.0 - Initial design

1.0 - Design 2.0 - Re_design II 3.0 - Detail 4.0 - Weekly Reports

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0.0 Pavilion Proposals Phase 3 Preface

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0.0 Initial design

The main problem we faced when turning the initial concept into a viable construction was the small size and shear number of individual components. The pavilion also had to be constructed on-site within a time frame of two hours. This was set down by the client at the beginning of the competition.

Constructing two free-standing walls in the middle of a garden field with limited foundation support was going to be a challenge.

Firstly it was decided to use larger components. These would be bolted together off-site to form larger modules that would be connected together with steel poles. Further stability was gained by bracing the two walls together at the top of the structure.

CONSTRUCTION SYSTEM

Implementing brick-laying method using timber blocks instead, series of steel rods are used as the connectors between each blocks.

The blocks are drilled so that it can slot through the rods, hence involving only dry construction on-site.

Series of horizontal timber strips are fixed at the top part of the vertical structure, to act as a lateral bracing. Hence, the stability can be increased. â&#x20AC;&#x201C; 88 â&#x20AC;&#x201C;

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1.0 Design I

After considering the structural logic of using a piece of timber as a brick it was decided that the timber should be used as part of a frame system.

Using a frame of thicker ply as a kind of “form-work” on which this fencelike construction would be screwed could preserve the original geometry of the design whilst adding another dimension of complexity. The design was to be made more stable by making the walls thicker at the base and tapered towards the ends of the structure.

There was still the problem of children (one would hope that adults are more sensible) climbing the structure.

The solution was to make gaps between individual pieces of timber smaller at the bottom and limit the number of angles near the bottom of the pavilion.

CONSTRUCTION SYSTEM

The base joists are fixed to the ground according to the designated curve using met-posts as aground connection.

A series of CNC cut timber posts are fixed to the base joists which as as the primary members of the structure.

Timber planks are fixed to the customized posts using screws. Timber bracing is added ties the two walls together – 90 –

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2.0 ReDesign II

After

constructing 1:1 scale models it was found that the previous solutions were unviable. It was felt that a more radical redesign was needed. Hollow boxes made from thinner sheets of ply will be screwed together to form larger components. By altering the angles of the “bricks” in the walls, the structure is made more stable while still reflecting the trench condition.

By recessing the end capping of individual boxes the hollowness of the boxes can be expressed.

BASE DETAIL

As a temporary structure, temporary foundation was chosen. Met-post was chosen due to its minimal impact on the soil. 75 x 75mm x 750mm high met-post is used in this project.

HARD WOOD

The met-post is pinned into the ground. A timber block connector will be fixed to it.

Timber base will be fixed to the connector as a leveller due to uneven ground condition.

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3.0 Fabrication

Materials were kindly donated by Travis Perkins and construction is set to commence some time before the end of the year. The site of the pavilion has been moved to the Yellow Meadow towards the entrance of Dunham Massey gardens and the pavilion will be placed so that the existing path is running either side of the two walls.

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4.0 Weekly Reports

The reports keep the team up to date on the progress of the project inform external people as to the status of the build.

The weekly reports are uploaded weekly onto the team dropbox page and are emailed to tutors.

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4.0 Weekly Reports

The reports keep the team up to date on the progress of the project inform external people as to the status of the build.

The weekly reports are uploaded weekly onto the team dropbox page and are emailed to tutors.

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Dunham Massey

Garden Pavilion

Phase 3

The Sentry

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Contents:

0.0 - Site Change

1.0 - Foundation

1.1 - Foundation

1.2 - Foundation

2.0 - Construction sequence 3.0 - CNC FAbricator 4.0 - Model PhotosTypology 5.0 - Weekly Report 6.0 - Component Procurement

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0.0 Site Change

The original location of Sentry was amongst the trees. On the fringe of the main lawn (Site C).

This was part of the idea of spotting something amongst the trees and when using it; creating a sense of ‘spying on the surroundings behind camouflage and cover.

However after talking to the National Trust, Sentry had to be relocated into the open. The reason being that the Cedar trees in that spot suffered from ‘sudden limb drop’ causing quite obvious safety issues for the pavilion and users.

In a sense this new location makes Sentry more public friendly, something that is in the open is potentially seen as more interactive. With it being easily spotted in comparison to the chance of being missed from among the trees.

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1.0 foundation

The Sentry is a relative tall and slim structure. In proportion, the base is relatively small. With such a ratio, the foundation of the pavilion needs to be very strong.

The base late of the Sentry is nailed to the ground by ten iron pegs which are more than 400mm in length and 15 mm in diameter. The pegs are put into the ground with an inclined angle to increase structure strength.

Due to the fact that the base plywood plate of the foundation of Sentry is always touching the ground„ it is more vulnerable to the water from the ground soil. Hence, it is decided that the base sheet should be treated with extra damp-proof protection. An addition layer of 1 mm bitumen paint shall be applied to it to it.

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1.1 foundation

The Sentry is a relative tall and slim structure. In proportion, the base is relatively small. With such a ratio, the foundation of the pavilion needs to be very strong.

The base late of the Sentry is nailed to the ground by ten iron pegs which are more than 400mm in length and 15 mm in diameter. The pegs are put into the ground with an inclined angle to increase structure strength.

Due to the fact that the base plywood plate of the foundation of Sentry is always touching the ground„ it is more vulnerable to the water from the ground soil. Hence, it is decided that the base sheet should be treated with extra damp-proof protection. An addition layer of 1 mm bitumen paint shall be applied to it to it.

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1.2 foundation

The Sentry is a relative tall and slim structure. In proportion, the base is relatively small. With such a ratio, the foundation of the pavilion needs to be very strong.

The base late of the Sentry is nailed to the ground by ten iron pegs which are more than 400mm in length and 15 mm in diameter. The pegs are put into the ground with an inclined angle to increase structure strength.

Due to the fact that the base plywood plate of the foundation of Sentry is always touching the ground„ it is more vulnerable to the water from the ground soil. Hence, it is decided that the base sheet should be treated with extra damp-proof protection. An addition layer of 1 mm bitumen paint shall be applied to it to it.

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2.0 Construction Sequence

The final construction sequence is designed to strike a balance between ensuring complex components can be fabricated off-site and making sure that we can feasibly transport the elements to site.

An important aspect to the construction phase is the time constraint. The modular construction. with detailed assembly happening in the workshop. should enable a speedy assembly.

A full construction simulation is planned in the workshop before we tackle the build on site. This rehearsal should prepare the team to be better equipped to deal with inevitable unforeseen problems. â&#x20AC;&#x201C; 114 â&#x20AC;&#x201C;

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3.0 CNCFabricator RWJoinery

Following contact with RW Joinery, I went to Stockport to visit their factory. RW Joinery specialise in door-sets for architectural projects, but their timber workshop lends itself to other projects.

Their CNC machine is reasonably sophisticated and has numerous different cutting heads that are interchangeable by the machine itself.

The machine can handle oversized sheets so is suited to the fabrication of the pavilion.

This is the assembly part of the factory, usually used for doors, the workbenches are arranged such that material comes from the fabrication part of the warehouse and can be worked on by individual engineers â&#x20AC;&#x201C; 116 â&#x20AC;&#x201C;

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3.1 CNCFabricator RWJoinery

This is the CNC machine that will fabricate the pieces. The plywood is set onto the vacuum pads which hold it securely in place during cutting.

The process the factory has adopted is to cut all but 3mm of the material, leaving the remaining thickness to be finished off by hand using a jigsaw. This is to ensure the accuracy of the cut and to stop the pieces falling out of position during the cut.

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4.0

Model Photos

We used this model to present for the National Trust.

At 1:10 scale, you can just about look through and observe the periscope effect.

The model rotates to simulate turning the tower with the handles.

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5.0

Weekly Reports

The reports keep the team up to date on the progress of the project inform external people as to the status of the build.

The weekly reports are uploaded weekly onto the team dropbox page and are emailed to tutors.

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6.0

component procurement

Most of the components have been sourced online and delivered. This means that exact requirements for each component can be met and costs can be kept low by sourcing exact quantities of each. eBay has been a useful tool: and most of the products have been sourced from there. It also allows for re-use of components, such as the marquee stakes which are ex-military and heavy duty.

The bicycle chain and gearwheels have been donated by local bicycle repair shop Bicycle Boutique. They would otherwise have been scrapped.

Rotating ‘Lazy Susan’ mechanism 100mm plastic wheels for the base. recycled bicycle parts Ex-Military marquee stakes – 124 –

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Dunham Massey

Garden Pavilion

Phase 3

Group Work Overview – 127 –

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Contents:

0.0 - Material procurement

1.0 - Week timeline 2.0 - Week timeline 3.0 - Week timeline 4.0 - Week timeline 5.0 - Week timeline 6.0 - Week timeline 7.0 - Overview Appendix Bibliography

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0.0 material

procurement

This diagram illustrates the process by which we procured materials and secured contacts.

We approached many different timber companies to source materials and narrowed them down based on their availability and willingness to donate material.

The most effective methodology was to telephone companies as this was a direct channel of immediate communication. Email was used to forward details of the projects and to guage what materials were required.

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1.0

week timeline

In our first week as a group we spent some time adjusting our workforce.

We established channels of communication and brought everyone up to date with each project. We delegated roles and tasks so that each member of the team contributed according to their strengths.

This time-line illustrates the tasks and how much discussion was needed for each.

Usually we would upload images of work in progress for comment on facebook. This enabled us to quickly resolve any issues, express our opinions about solutions and review each others work.

Communication Diagram: This diagram shows the levels of our facebook communication throughout the days on the scale of 0-10. â&#x20AC;&#x201C; 132 â&#x20AC;&#x201C;

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2.0

week timeline

During this week we began evaluating the comments, suggestions and requirements from the National Trust. We immediately started tackling issues of sustainability, construction, form and safety. As well as procurement of materials.

We developed a new construction sequence for fortify, while working on its layout and overall appearance. The images onthe right show the changes to the design.

In comparison Sentry was a lot swifter to work on as the pavilion was designed with material and construction in mind.

During this week Sentry’s sustainability issues were tackled, the construction sequence was finalised and some modifications to the rotating wheel were made. Images on the right show the pavilion’s development.

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3.0

week timeline

During the week of the DDS we worked simultaneously on the workshops and the design of the two pavilions.

In this week, we modified the design for Fortify and developed a sophisticated 3D model to analyse it. We tested the design with a 1:1 model constructed in the workshops. This allowed us to examine the fixings and construction method.

For The Sentry, this week was spent transferring the design into drawings for cutting. The components were arranged on sheets within AutoCad for RW Joinery to send to their machine.

Communication Diagram:

This diagram shows the levels of our facebook communication throughout the days on the scale of 0-10.

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4.0

week timeline

This week was rather intense for Fortify as the project required a lot of reforming. The form of the design was changed multiple times before arriving at its final shape.

Multiple construction issues were being tackled and we got to recalculate the type and amount of materials needed.

Sentry’s development again was much smoother. The 3D model was successfully transferred to 2D drawings, each element had to be drawn out separately as RW Joinery had some technical difficulties and required more detailed drawings for the CNC machines.

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5.0

week timeline

This week we targeted Fortify to finalise the design.

It was useful to reach this stage, because it meant we could contact suppliers and potential timber cutting companies with specific requirements.

The meetings with Dom and Steve were useful to give updates on the project. Steve gave us some useful advice on the design and construction techniques. We then reviewed the design and incorporated changes he suggested during the consultation.

Communication Diagram:

This diagram shows the levels of our facebook communication throughout the days on the scale of 0-10.

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6.0

week timeline

This week was very intense for both Sentry and Fortify. The final details for the construction sequence were being produced while simultaneously having emergency structural and technical meetings with Dominic and Steve.

In the end, however, we managed to finish the foundation details of both pavilions, to develop a waterproofing and timber treatment strategy and to get our materials delivered and ready for cutting and assembly for Week 25_11.

Construction and assembly on site are to commence between 25.11 - 06.12

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7.0

overview

This diagram illustrates the various roles we played in shaping the design and administrating the project.

Certain roles that overlapped meant that we worked in sub-groups. For example, Steven, Radzi and Saidatul focused on producing outputs for Fortify’s construction. We managed ourselves through updates and clear channels of communication.

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7.1

overview

This enabled us to keep abreast of changes that were occurring and distribute jobs based on people’s availability.

We used a variety of methods to communicate, utilizing remote working through facebook and dropbox and face to face meetings to discuss important aspects of the design and review our progress

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Appendix

List of materials for timber hollow boxes

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Cutting arrangement of ply sheets – 149 –

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bibliography

Todman, D. (2011) ‘World War One: Misrepresentation of a Conflict’, BBC, [Online] Availabe: http:// www.bbc.co.uk/history/worldwars/wwone/perceptions_01.shtml Tomlinson, S. (2013) ‘The World War One wasteland: Haunting rare images show apocalyptic destruction on the Western Front’, Mail Online, [Online] Availabe: http://www.dailymail.co.uk/news/ article-2282108/World-War-One-wasteland-Haunting-rare-images-apocalyptic-destructionWestern-Front.html Wade, N. (1999). ‘Brain may grow new cells daily’. The New York Times, [Online] Availabe: http:// www.nytimes.com/1999/10/15/us/brain-may-grow-new-cells-daily.html War history online (2013) ‘An Undiscovered Canadian Internment Camp Housed 700 Jews during WWII’ [online] Avalaible: http://www.warhistoryonline.com/war-articles/undiscovered-canadianinternment-camp-housed-700-jews-wwii.html [Accessed 30 September 2013]

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© Eleni Economidou Student no.12100412

VOLUME 2

Arch Triumph

Dream Pavilion 2014

DREAMCATCHER

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Contents:

0.0 - Preface

1.0 - Concept

1.1 - Concept

2.0 Precedents

2.1 - Precedents

2.2 - Precedents

2.3 - Precedents

3.0 - Reasearch 4.0 - Concept 5.0 - Final Drawings 6.0 - Competition Sheet Bibliography

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0.0 Preface Brief: The brief’s objective was to design a temporary, free-standing, transportable and contemporary showcase Pavilion to be installed in the Museum Gardens, Bethnal Green, Cambridge Heath Road, London.

The concept had to be inspired by a series of thoughts, images and sensations that would invite participants and visitors to dream about a unique space while it would encourage and highlight the need for ecological and sustainable design principles.

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1.0 Concept Dreamcatcher We sleep on average eight hours a day, around two thousand six hundred hours a year. About a third of a lifespan is spent sleeping and dreaming.

Our dreams reflect our unconscious minds.

Dreams can be memories, fantasies, fears, or a chance to unlock our imagination and creativity. When we wake our dreams become a memory, lost somewhere in our unconscious. Most people struggle to remember the exact details of their dreams, if at all.

We visualise DREAMCATCHER as a place to lay, away from the busy lives we live. Lying inside a visual illuminated network of our complex mind, it is a place for

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people to relax and reconnect with those lost ‘memories’ of the unconscious world.

The design is inspired by the imagery of the neurotransmitter signals of the brain and the web like characteristics of a dreamcatcher.

Dreamcatchers were believed to catch good dreams and filter out the bad. DREAMCATCHER is a more modern interpretation of the story. The neuroweb is a place that catches the dreams and memories lost in the unconscious in a way that the feathers of a dreamcatcher guide the dream to the sleeping person below. The pavilion provides an environment to focus on remembering and reliving.

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1.1 Concept Interaction

The central core ‘neuro-web’ is formed from electro luminescent wire.

The lights up in different colours. In the way that visual representations of neurotransmissions that occur in the brain are mapped with sparks of colour. This light environment aims to create a similar environment that sparks imagination.

The use of lighting in the pavilion gives it a varied day and night use. The design of the pavilion creates an interesting combination of broken light and dark spots enhancing the internal environment in order to experience the lights during the day. This in the evening is obviously enhanced.

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Lighting impacts on a very different overall aesthetic throughout the day, giving the design a somewhat new experience at night.

The air-bed is a mechanism to manipulate the position of the user.

In a way that can only be experienced through lying down. Therefore encouraging a space of brief rest and to take in the complexity of the modern dreamcatcher.

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2.0 Precedents Windshape Pavilion Narchitects An ephemeral structure created as a gathering space dynamically changed. Woven from gauzy nets, the pavilion was designed to move and morph in the local wind, creating a spectacular art installation for the locals to enjoy. The surfaces of the pavilion would ripple, move, and even make noise, depending on the speed of the winds that blew through it.

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Construction A structural network of plastic pipes were joined together and stretched by aluminium colars.

Lengths of white polypropylene string were threaded through the lattice to create enclosures

reference: http://www.archdaily.com/4608/windshape-narchitects/

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Construction The structure is created from draped fabric over a steel structure reference: http://www.arcstreet.com/article-madrid-book-fair-pavilion-by-olga-sanina-marcelo-dantas-aurora-by-ryuji-nakamura-110934420.html â&#x20AC;&#x201C; 164 â&#x20AC;&#x201C;

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2.1 Precedents Madrid Book-fare Pavilion A volume between opaci-

ty and transparency, which filters the light to create a sheltered space. The external regularity contrasts with the small auditorium within which appears fluid and continuous.

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2.2 Precedents Shellfish Pavilion An experimental pavilion constructed using a robot which mimics a lobster’s natural fibre matrix

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Construction: Exoskeleton composed of strands of clear glass and black carbon fibres woven around scaffolding and hardened to maintain rigidity. reference: http://icd.uni-stuttgart.de?p=8807 – 167 –

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Theory: Gabo used time and space as construction elements where solid matter unfolds and becomes surreal and otherworldly.

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2.3 Precedents Naum Gabo The essence of Gabo’s art was the exploration of space, which he believed could be done without having to depict mass.

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3.0 research Dreams and sleep

Dreams are a window into our unconscious.

Dreams are images and imagery, thoughts, sounds and voices, and subjective sensations experienced when we sleep.

This can include people you know, people you’ve never met, places you’ve been, and places you’ve never even heard ofThey can also be your deepest and darkest fears and secrets, and most private fantasies. There’s no limit to what the mind can experience during a dream.

Dreams are most abundant and best remembered during the R.E.M. stage of sleep.

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This is the deepest stage of the sleep cycle, when your eyes are moving rapidly, your heart rate and breathing become inconsistent, and paralysis of your skeletal muscles

occurs, interestingly as a safeguard that keeps us from acting out our dreams physically.

Other theories on dreams are: our brain’s attempt

to make sense of what would otherwise be meaningless stimuli; or merely the brain firing signals as it organises the previous day’s thoughts and experiences.

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3.1 Research Unconscious, Sub-conscious, conscious: The unconscious mind contains our biologically based instincts. While we are fully aware of what is going on in the conscious mind, we have no idea of what information is stored in the unconscious mind.

The sub-conscious contains thoughts and feelings that a person is not currently aware of, but which can easily be brought to consciousness. It exists just below the level of consciousness before the unconscious mind.

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The subconscious is the part of the brain that for example stores our passwords and mobile number. Our feelings, motives and decisions are actually powerfully influenced by our past experiences, stored in the pre-conscious and instincts from the unconscious.

Sigmund Freud believed that the influences of the pre-conscious and unconscious reveal themselves in a variety of ways, including dreams.

SYNAPSE & NEURONS A neuron is an electrically excitable cell that processes and

transmits information through electrochemical signals. These signals between neurons occur via synapses. Neurons can connect to each other to form neural networks. This complex network is what passes signals from the brain.

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The dendritic tree is composed of thin structures called dendrites, that arise from the cell body (soma).

Through this frail structure, the cell communicates with other neighbouring neurons, receiving chemical signalling, which is transferred by electrical excitations to the soma.

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3.2 research neurological theory of dreams Dreams are random firings of neurons that form a storyline and make connections in the brain.

Theory: In 1977 Hobson & McCarley put forward the produced research claiming dreaming is the result of random impulses coming from the brain stem.

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3.3 research Brain mapping Brain mapping is a set of neuroscience techniques involving the mapping of biological properties into spatial representations of the (human or non- human) brain resulting in maps.

Theory: Maps of the brain can be created using EEG or MRU scanning. reference: brainmaps.org

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3.4 research Anatomy of a dreamcatcher

Dream catchers are believed to protect people who are sleeping from negative, bad dreams while still letting the positive, good dreams come through.

Once the sun rises, the bad dreams would just disappear.

Good dreams pass through the centre hole of the dreamcatchers. It is said that the web catches the bad dreams as they do not know how to pass through.

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Dreamcatchers have a variety of web styles. All of which have a complex design centred around a central node. This in a number of ways has a similarity to that of the neuron networks with the neuron itself forming the source of the signal.

The idea behind the feathers of the dreamcatcher being located above the ‘user’ creates an interesting conceptual link to pavilion in a space that can only be experienced by lying below

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4.0 Concept Development The dreamcatcher ‘s web could be as complicated as the maker wanted.

This was seen as a concept to represent the complexity of the neuron networks in the brain.

The idea of someone lying within a visual representation of the complex networks of their brain was a powerful image;which inspired the idea of some sort of ground manipulation that would get users to lie down.

The initial model took sections of the human brain arranged them in a sequence and lofted a surface to create a cocoon style structure.

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Using parametric design in Rhinoceros 3D and Grasshopper We managed to create a mesh around the surface that emerged from the brain sections.

However the mesh was not used due to its disproportion and complexity but we decided to keep the general idea of the networks around the structure.

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4.1 Concept Development The multiple levels of consciousness was something we wanted to portray in the pavilion as well. To add to the complexity of the mind. The centre would be the connection with the unconscious mind.

The form of a neuron has a certain organic beauty.

This aesthetic is something that can help to attract attention to the pavilion and enhance the experience.

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Generated

anner from

by CamSc

intsig.com

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4.2 Concept Previous Design Analysis

This design followed the ideas of the design concept however there were a number of issues. The structure was too basic and with the web design had too much of a resemblance to a spider and its web. The web itself also need to appear more complex.

The overall design was just far too transparent.

In order to create the intended experience with the EL wire the outside world needed to be more obscured and the interior much shadier. It was important that there was a ‘haziness’ and separation from the conscious world.

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4.3 Concept components External Shell: Inspired by the Neuron • Adds to multiple layers of consciousness - outside conscious - middle sub-conscious - core unconscious • Creates shadier space enhancing experience of lights inside • Further limitation to view of surrounding environment/ conscious world • Glulam Timber

The Synapse: • The centre of the experience.

• The link with the unconscious mind/memories • Dream State /Unconsciousness • Glulam Timber – 186 –

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neuro-web Dreamcatcher Element • Complexity of brain networks and neurotransmissions • Distortion of the outside world / half reality • EL wire enhances experience through colour light representing brain signals • Experiencing the unconscious world, also enhanced at night • Electro Luminescent Wire and Sail Cloth Ribbon

Brain Wave • Generated from the irregular brain wave activity during sleep • Manipulation of position • Lying floating state to experience surroundings • Inflatable Bed - Polyurethane or PVC – 187 –

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5.0 final drawings

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neuro-web Dreamcatcher Element • Complexity of brain networks and neurotransmissions • Distortion of the outside world / half reality • EL wire enhances experience through colour light representing brain signals • Experiencing the unconscious world, also enhanced at night • Electro Luminescent Wire and Sail Cloth Ribbon

Brain Wave • Generated from the irregular brain wave activity during sleep • Manipulation of position • Lying floating state to experience surroundings • Inflatable Bed - Polyurethane or PVC – 189 –

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6.0 Competition submission

learning outcome:

Out of this competition we managed to coordinate the teams skills, a hard task to achieve for a team of 6 memebers.

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bibliography Archiable (2011) ‘ZA11 Pavilion’, [online] Available : http://www.archiable.com/201107/110724_za11pavilion.html [accessed 28 September 2013] Archinect (2013) ‘Mobius: The parasite pavilion’, [online] Available: http://archinect.com/ blog/21823920/tag/210244/pavilion [Accessed 30 September 2013] Belbin, M. (2010) ‘Team Roles at Work’’, Taylor & Francis Ltd Bryant, C. (n.d.a.) ‘What are Dreams?’, [Online] Availabe: http://science.howstuffworks.com/life/ what-are-dreams.htm Connect the world (2010) ‘Unknown WWI soldier buried as mass graves give up secrets’ [online] Availabe: http://edition.cnn.com/2010/WORLD/europe/01/30/wwi.soldier.buried/ [Accessed 30 September 2013] Digital History (n.d.a.) ‘Overview of World War I’, [Online] Availabe: http://www.digitalhistory. uh.edu/era.cfm?eraID=12&smtID=1 Dreamcatchers.org (n.d.a.) ‘Dreamcatchers’, [Online] Availabe: http://www.dream-catchers.org/ Ghose, T. (2012) ‘Universe grows like a giant brain’, Live Science, [Online] Availabe: http://www. livescience.com/25027-universe-grows-like-brain.html Guisepi, R. (2001) ‘Tragic War And Futile Peace: World War I’, history-world.org, [Online] Availabe: http://history-world.org/world_war_one.htm Hackman, R. (2011) ‘Six Common Misperceptions about Teamwork’, [Online] Available: http:// blogs.hbr.org/2011/06/six-common-misperceptions-abou/ Healy, P. (2007) ‘Project Management’, Taylor & Francis Ltd International Association for the Study of Dreams (n.d.a.) ‘International Association for the – 192 –

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Study of Dreams’, [Online] Availabe: http://www.asdreams.org/about-dreams/ Janis, I. (1982) ‘Group Think’, Houghton Mifflin Maylor, H. (2010) ‘Project Management’, Pearson Education McLeod, S. (2009) ‘Unconscious Mind’, Simply Psychology, [Online] Availabe: http://www. simplypsychology.org/unconscious-mind.html Molenbroek, J. (2004) ‘Children’s Climbing Skills’, [Online] Available: http://www.academia. edu/245284/Climbing_Children nArchitects (2008) ‘Windshape’, [Online] Available: http://www.archdaily.com/4608/windshapenarchitects/ National Trust (n.d.a.) ‘Sanctuary from the Trenches - Project Sources’, [Online] Availabe: http:// www.nationaltrust.org.uk/article-1355804713730/ North West Timber Treatments Ltd (n.d.a.) ‘Timber Treatment Guide’ [Online] Available: http:// www.nwtt.co.uk/treatment-services.asp Noticias arquitectura (2012) ‘Seat Public Pavilion/ E/B office’, [online] Avaliable: http://socializarq. com/seat-public-pavilion-eb-office/ [accessed 28 September 2013 Peters, B. and De Kestelier, X. (2013) ‘Computation Works: The Building of Algorithmic Thought’, Volume 83, Issue 2, John Wiley & Sons Ltd Richardson, P. and Dietrich, L. (2001) ‘XS: Big Ideas, Small Buildings’, Thames & Hudson Richardson, P. and Dietrich, L. (2007) ‘XS Green: Big Ideas, Small Buildings’, Thames & Hudson Self, M. and Walker, C. (2010) ‘Making Pavilions’, Architectural Association Publications Tassicone, P. and Luca, J. (2002) ‘Successful teamwork: A case study’, Herdsa, [Online] Available: http://www.deakin.edu.au/itl/assets/resources/pd/tl-modules/teaching-approach/groupassignments/case-studies/case-study-edith-cowan-university.pdf

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© Eleni Economidou Student no.12100412

MSA MArch 2013

**this publication can be found online at: just scan the QR bar-code.

© Eleni Economidou 2013 –Portfolio 196 –