Architecture Portfolio Selected studio works
Gina SĂŚther Berge
Undergraduate 2013 - 2016
Aarhus School of Architecture1
CV
Gina Sæther Berge 14 / 09 - 1992 Norway ginasberge@gmail.com +45 27132763
Digital skills Adobe CS6 InDesign, Illustrator, Photoshop Rhino 5 Vectorworks 2016 and 2017 Revit 2016 Grasshopper Alphacam Qgis 2.14
advanced
good
Hands on experience Education Aarhus School of Architecture I Aarhus, Denmark Fall 2013 - present Law program at Universitetet i Bergen I Bergen, Norway Fall 2012 - Spring 2013 Art program at Krabbesholm Højskole I Skive, Denmark Winter - Spring 2012 Asker vgs (Norwegian high school) I Asker, Norway Fall 2008 - Spring 2011 Holy Names High School (exchange program) I Windsor, Ontario, Canada Fall 2009 - Spring 2010
Work experience Dannheimer&Joos Architekten I Munich, Germany Internship September 2016 - present SAHL Arkitekter I Viby, Denmark Internship June 2016 TOMRA PRODUCTION AS I Asker, Norway Summer intern- optical assembly of recycling machines Summer 2012, 2013, 2015 Baker Hansen Sandvika Storsenter I Bærum, Norway Part time employee- barista, costumer service November 2010 - December 2011
Casting I concrete, Leca, clay, bronze, plaster Wooden joinery Brick construction Dismanteling house
Courses Robotics workshop Security and Architecture Social Design Digital - Analog I 3D printing course
Language skills Norwegian I mother tounge English I fluent Danish, Swedish I can understand and be understood German I basics
Communication skills I put great value into team work, and believe that the best results come from exchange of ideas and good discussions.
Interests Skiing, sailing, traveling, photography, drawing, family and friends.
2
Content The Sound Gallery 6th semester, individual bachelor thesis project
p. 4 - 17
Summer homes 4th semester, individual semester project
p. 18 - 27
The tile 5th semester, individual research project
p. 28 - 36
3
“A sound has no legs to stand on” John Cage
Århus
Holmsland Klit København
4 1:30 000
THE SOUND GALLERY 6th semester
Brief
Creating a ‘Space for Reflection’ with focus on materiality and construction
Site
Godsbanen, Aarhus, Denmark
Duration
8 weeks, 01/03 - 02/05 2016
Tools
Rhino, Qgis, CNC, robotic hot wire cutting, concrete and Leca casting, lasercutting
Programme
We talk about how buildings look. We talk about light, materials, flow, volumes. We visualize architecture. But we don’t talk about what architecture sounds like. Certainly, the acoustic environment is crucial when designing a concert hall or an auditorium, but it should not be limited to these spaces. We are at all times surrounded and affected by sound. In the article Dear Architects: Sound Matters, Michael Kimmelman writes «Often the sound of a place is so pervasive that we stop noticing what we hear. Or we think the sound could not be otherwise — that is, until we, say, turn off the buzzing overhead lights.» When a sound is gone, there is nothing left but the memory of it. You cannot touch sound, and you cannot see it. The idea of The Sound Gallery is to create physical frames for where sound can unfold. The construction will be designed to optimize the desired acoustic effects in terms of materials, dimensions, and geometries. The Sound Gallery should be dedicated to, and dictated by sound. Model photo of ‘The Cone’ 5 cast in concrete
1
2
3
4
6
CONTEXT
N 0 10 20 30 40 50 60 70 80
20.57
W
03.25
E
08.50
15.44 S Equinox
June 21.
December 21.
December: 7 sun hours. June: 17,5 sun hours
#
120 mm
20 °C
80 mm
10 °C
40 mm
0 °C
J F MAM J J A S OND Temperature
Precipitation
N
% 20
%
10
5%
E
W
S % Windless
0.2-5 m/s
5-11 m/s
The ground is heavily polluted from oil and chemical leakage, yet there is a great biodiversity. In 2015, there were registered over 500 different species of plants and animals in an area of 30 sqm. With little human interference, the nature has been allowed to grow freely. The area seems abandoned, yet it is constantly changing. The rails being filled with sand or blocks of concrete being moved from one day to the next. There is the occasional curious pedestrian. Finally, there is a great variation in noise pollution. At times it is as though Institut for X, Reuse, the DSB workshop, and the cars on the bridge and surrounding roads are competing, all depending on timing and how far the wind carries. The Green Wedge poses conflicting impressions which leaves a great variation of reactions. 1 Godsbanen First established in 1923, Godsbanen was until year 2000 the largest and busiest freight yard in Jutland. The building was renovated in 2012 to become Aarhus’ leading centre for cultural production, containing various workshops, studios, project rooms, theatre stages, auditoriums, a cafeteria and much more.
%
15
The Green Wedge, located North of Ringgadebroen and South of Godsbanen, is a space of contradiction and great contrast. There are still traces left of the freight yard, in the rails and the brick pavement for loading and unloading trains, yet it appears completely disconnected form the railway located south. The area is considered a cultural hot spot and makes up a unique community, yet most of the space is left abandoned and exposed. Except for Institut for X, Reuse and Håbets Allé, the space is simply in a transition period between plans of the municipality.
>11 m/s
2 Institut for X is a cultural platform for young designers, musicians, artists, entrepreneurs etc. As long as they are accepted, anyone can join the community by building their own office space. The area is in constant change and its existence is limited, as there are plans to build the new Architecture School on the grounds. 3 Reuse is a station for recycling, upcycling and waste management run by the municipality, where anyone can dispose their waste and pick up bulky items. Reuse aims to change the views on waste by hosting exhibitions, events and courses on waste and recycling.
Industry Residental Business Other Scale 1:2000
4 Håbets Allé is a project initiated by the municipality that aims to create an urban space for vulnerable adolescents. The users have built their own bicycle workshop, graffiti gallery, kitchen etc. The future of Håbets Allé is uncertain, but it is set to exist at least until 2017. 7
THE CHOSEN SITE
Site plan Scale 1:1000
Håbets Allé behind the concrete blocks and trees. The buildings can only be spotted form the street Reuse is the closest neighbour, with only a metal fence to separate. There is a great amount of noise pollution from building and maintenance.
DSB Workshop and the railway is the source to a lot of nise pollution. The intensity varies throughout the day and depends on weather conditions.
Ringgadebroen is lying on the continuation of the axis. It hovers over the train tracks, and even though being fairly close to the chosen site, noise from the cars is often suppressed by noise from the railway.
8
Aros and Scandinavian CC are lying on the axis created by the train tracks. Compared to the open and exposed site, they mark the beginning of the dense city.
Åhusene. The, in total, nine blocks are towering over the site in spite of the distance.
BASIC ACOUSTICS Research and investigation
Sound waves are vibrations, particles moving through an elastic medium, such as air, water, and most building materials. Frequency (Hz) describes the number of complete vibrational cycles of a medium per given amount of time, 1 Hz is equivalent to 1 cycle/ second. The audible frequency for human ears ranges from 20 Hz to 20 000 Hz. Frequency is the property of sound that determines pitch. Decibel (dB) is the unit used to express the intensity of sound energy. 0 dB is the quietest sound audible to the average human ear, while 140 dB is the threshold of pain. The decibel scale is expressed in a logarithmic scale, which means that an increase of 3 dB represents a doubling of sound intensity, while the human ear perceives a difference of 10 dB as a doubling. Echo is the reflection of sound arriving some time after the sound is produced. The ear cannot distinguish an echo from the original sWound with a delay of less than 1/15 seconds, and the reflecting surface therefore has to be a minimum of 17 m away (varies with temperature, air humidity, wind conditions). Reverberation (often mistaken for echo) is the persistence of sound after the sound is produced. The reverberation time is mainly determined by the material of the reflecting surface, but can also be enhanced or supressed through different geometries. If the sound wave hits a surface with low absorption coefficiency, most of the energy will be intact when the sound wave is reflected. If the geometry is irregular, the wave will continue to bounce onto reflecting surfaces and delay the reflection to reach the point where the sound was produced.
Three principles of controlling sound Three principles of controlling sound Three principles of controlling sound Reflection. The sound bounces off a, usually, flat and smooth surface. The sound wave is not able to penetrate through the surface very well, and is therefore turned back on itself, with only little amounts being transmitted. The angle of incidence is equal to the angle of reflection.
Typical sound levels (dB)
140 Threshold of pain
130 Jet takeoff (100 m away)
120 Operating heavy equipment
110 Inside loud stadium
100 Construction site
90 Heavy truck (15 m away)
Diffusion. The sound wave hits an irregular surface, causing the vibration to break up into smaller paths. The sound is divided and sent in many different directions, depleting its energy faster. The effect of diffusion is highly determined by the material of the reflecting surface.
80 Freight train (30 m away) Reflected path
Straigh
70 Vacuum cleaner (3 m away) Reflected path
Straigh
Source
60 Normal conversation (1,5 m away) Reflected path 50 Urban residence
Absorption. The surface absorbs the sound waves, transforming part of the energy into heat and part is transmitted through the absorbing body. The surface’s material and dimensions determine its ability to absorb.
Straig
40 Soft whisper (1 m away)
No
Source Source
No
No
30 Bedroom at night
20 Perceived silence
10 Receiver Source0
Parabolic surfaces. Sound waves from the source is projected onto the concave surface, and reflected outwards in a paralell path. The two parabolas can direct sound the from sourcethe to Parabolic surfaces. Soundfrom waves the receiver. source is projected onto the concave surface, and
Threshold of hearing (1000 Hz) Receiver
Source Receiver Source
9
Reverberation at AAA
Cigarkassen is a room with little reverberation, this in spite of the painted brick wall and large glass facades, both reflective materials. This is mainly due to the acoustical plates in the ceiling, and partly due to the many obstacles, such as chairs and the castings. Sound reflecting on people will be another obstacle, reducing the reverberation time. The effect can be compared to when removing furniture from a room, and noticing the difference in acoustics.
The main auditorium has moderate reverberberation time. Despite the large volume, the smooth walls, and no people to diffuse the path of sound, the experienced reverberation time is only about 1 second. The polstered seats are absorbing and the plaster plates in the ceiling are capturing and focusing the sound.
Click here for audio clip of the acoustics in each room 10
Det Høje Rum is a room with a lot of hard and reflecting surfaces. The experienced reverberation time is 4-5 seconds, meaning that the sound travels 1,3 -1,7 km within the room before it is no longer audible to the human ear. The glass and (painted) brick surfaces are reflecting the sound waves with little energy absorbed into the material.
STRATEGIES The acoustic sequence
4 The Filtered Hallway Up until this point, the space has been acoustically isolated from the surroundings. There is a lot of noise from passing trains and the DSB workshop. The three cones that are placed in a row will suddenly introduce the outside through filtering this specific acoustic environment. However, this is a dynamic space. Sometimes there will be no noise from the outside, only the visual connection, and other times, it will be focused into the hallway. The cone and the facade is built in concrete to prevent absorption of sound waves in the reflecting surface. Also, the strength of the material is able to bear the load of the geometry. The inside walls are built in Leca blocks.
3 The Anechoic Room The anechoic room is a sharp contrast to the echo courtyard. The sound of the door shutting door will hardly be noticable. Despite the expectation of a large space providing reverberation, the materials are absorbing and diffusing the sound waves, causing the energy to deplete faster. The materials should have two functions, to block sound from the outside, and to absorb sound from inside (see detailed section). The walls are slightly tilted outwards. The angle will project the reflecting sound waves upwards instead of sending them back to the source.
2 The Echo Courtyard A courtyard of 20*20*3,5 m is separating the two enclosed spaces. Shutting the heavy door of the reverberation chamber will leave a powerful echo. The walls are built up of concrete elements that have a heavy fundament in the ground to stabilize. Concrete will reflect most of the sound, creating as long an echo as possible .
1 The Reverberation Chamber The space contradicts the expectation of a small room having little reverberation. The irregular geometry will make the sound continue to bounce off surfaces, creating a delay in it reaching the source (also explained under in the glossary). Concrete will be able to carry the geometry and ensure a high amount of reflection.
11
4
3
2
1
12
b
a
c
c
b
a
Scale 1:200
Click here for audio clip of the acoustic sequence 13
A layer of 7 cm Leca pebbles covering the window to prevent sound waves reflecting on the glass and to filter the light coming in. Leca sound block 250*250*175 mm Loadbearing concrete wall Lose leca pebbles (2-4 mm, 4-10 mm, 10-20 mm) on the inner and outer wall held in place by chicken wire and reinforcement bars (masks 150*150 mm , 10 mm diameter). Horizontal rebars are cast into the concrete wall (left) and the mortar between Leca blocks (right) before being locked around the vertical reinforcement net. See image page 17
Two levels of Leca Universal block 490*200*190 mm
Costum cast blocks (300*300*200 mm), mixture of Leca pebbles (10-20 mm) and concrete. The surface is cut so that the pores inside the pebbles can absorb sound reflecting on the floor See image page 16
Concrete fundament cast in situ 500*1200 mm
Insulation Detail from section c-c Scale 1:20
14
Section a-a Scale 1:100
Section b-b Scale 1:100
Section c-c Scale 1:100
15
1:1 casting of floor element in The Anechoic Room 16
See further description page 14
Model photo of The Anechoic Chamber Light filtered through loose Leca pebbles See further description page 14
17
SUMMER HOMES FOR ELDERLY 4th semester
Brief
Vacation residences that consider both the individual house and assembly between them
Site
Holmsland Klit, West Coast, Denmark
Duration
10 weeks, 9/2 - 24/4 2015
Tools
Rhino, QGIS, Lasercutter
Programme
A summer home is escaping, letting duties and routines be. One dreams of a space to relax and disconnect. But the summer home is also the quest for change. There are those that don’t have a hectic life to escape from. The independent pensioner/retired is not restricted in the same way as the tired forty year old. It sounds deliberating. Still, there is difficult to self employ when it is not demanded. One can be trapped in a pattern filled with loneliness and isolation. Can the summer home be a place that provides activity, routines, and a community? I want to provide a space for interaction. A place where one is in close contact with nature and other people. The residence will be adapted elderly, affecting certain interventions and analyses. One will interact with nature, either physically or visually. The vacation residence will interact with the landscape, and make aware of the surroundings. Considering possible physical limitations, I will work in one plan, rather experimenting with ceiling heights to divide spaces. I will also experiment with view and variations of light. There will be focus on how the units are connected to encourage social relations, but also leave room for privacy.
18
2 1
THE SITE Wandering From the North Sea in the West to Ringkøbing Fjord in the East; separated and connected by Holmsland Dune. From hilly and dramatic to flat and modest. A range from 2 to 18 m above sea level. Clearly shaped by the dominant Western wind, the dunes are drawn towards the Northeast, witnessing of a landscape in constant change. 1 Thirteen meters above sea level, you can spot the ocean and the fjord from the same point. The wind from the Northwest is powerful. The sound of the waves rolling and climbing its way up on the beach, creates the illusion of the ocean being simply a stone throw away. 2 Two meters above sea level, with the dramatic terrain behind. You are in the midst of an open landscape. Exposed, almost watched. The dunes towards the East are separated. With few exceptions, they only appear as ir-
regularities in the landscape. Towards the South are vacation residences; sharply divided by a trail. The tall dunes are protecting against the Western wind, while the cry of the ocean is still dominating. 3 The junction, still two meters above sea level. An exit from the highway meets the trail. A modest dune is protecting against the wind, hiding the plain towards the South and the dramatic dunes towards the West. You are gazing outwards on Ringkøbing Fjord as if in a photograph. The landscape is quiet, a frozen moment in time. The sound of the ocean is pulling you back to the context. A woman on a bike is approaching from the North. The ground is carefully crackling in its contact with the wheels. The intensity increases. A car passes on the highway, before the sound slowly washes out. It is quiet again. You are watching over the mute landscape, while the ocean is crying for attention.
Århus
Holmsland Klit København
3 19
ZOOM Back to the junction, where the landscape is ambiguous in its character. The trail is both surrounding, and pushing towards the dunes. Because of the changing terrain, there is still some distance. You are watching without being watched. The two dunes are together forming a niche that are protecting against wind and sight. The open landscape towards the West is framed, and you can watch it from afar, from your own protected surroundings. You are pulled through the niche, and are again a part of the open landscape. A trail can be spotted a few hundred meters away, on the large plain. You feel most watched farthest away from human activity.
20
SPATIAL DEVELOPMENT Common space Private
Vertical and horizontal light
Movement through space
Kitchen Living space Sov
Living space
Kitchen
Living space
Kitchen
Bedroom Bathroom Bathroom Bedroom
Batthroom Bedroom
Room organization
Indirect light
The connecting hallway
21 The connecting hallway Manipulating space through light
Scale 1:5000
22
Scale 1:750
a
b
b
a
23
Housing plan Scale 1:200 a
c
b
c
24
Plan Scale 1:100
Section a-a Scale 1:200
Section b-b Scale 1:200
25 Section c-c Scale 1:100
26
Siberian larch is used both for inner and outer cladding. The material is suitable for the rough climate, and demands minimal maintenance because of its natural high level of harpix and fat.
27
THE TILE 5th semester
Brief
To produce a tile that filtrates light, investigating materiality through digital fabrication and casting techniques
Duration
5 weeks, 26/10 - 27/11 2015
Tools
Grasshopper, Rhino, Alphacam, CNC, plaster and clay casting
Programme
It is stated that from restrictions come creativity. Constraints dictating a design process can even enrich the final outcome. «Form ever follows function». Considering this, is it possible to successfully generate a form when there are no limitations? When digitally developing a design, one does not have to take the physical context, such as construction principles and material properties, into consideration. The possibilities are seemingly endless. Various parameters are already set. First, the format of producing six tiles, each with dimensions of 15x15x5 cm. Secondly, the tools and materials are given. Designing digitally, routing on the CNC machine, casting in plaster, followed by casting in clay. The produced tiles will, together with the other groups’ tiles, create a wall of variation, but with filtration of light as the common denominator. But to prevent the tile from simply being a manifestation of technology? As the tiles are thought of to be mass produced, the transition between the digital and the physical model is crucial. In the article Digital Craft, Neri Oxman states that «machining is by convention a form of execution, a final phase», and that ‘factory to file’ is overshadowed by ‘file to factory’. Considering this, I want to take advantage of the tools’ possibilities and limitations when generating a shape, adapting the design to the physical factors. The tiles are going explore how light projects on a curved surface, investigating the differentiation between bright and faded light.
28
Photo of clay casting
1.0 DEVELOPING THE DESIGN The first design proposal (fig. 1.1) projects light on a curved surface that graduates the intensity. The aim is to compare the behavior of light in the convex and the concave shape. As the form was initially sketched by hand before being drawn out in Rhino, the proposal does not make use of the possibilities of parametric design. It is therefore discarded. For the second proposal (fig. 1.2), parametric design is introduced. The shape is generated in Grasshopper, mainly using the command point attractor(fig. 1.4 to 1.6). The aim is to further explore the convex shape, creating variations in curvatures and sizes by projecting light through three openings. The shape turned out not able to be CNC milled properly, and therefore has to be adapted.
fig. 1.2 second proposal
fig. 1.3 final proposal
The third design proposal (fig. 1.3) is optimized to the tools of the CNC machine. In addition, the logic is slightly altered. The three holes are reduced to one, a larger opening is placed in the middle where the spheres meet in a plane surface. The design is simplified, and hopefully more refined.
fig. 1.1 first proposal
29
fig. 1.5 Grasshopper definition
y: 50 mm
y: 0 mm
fig. 1.6
30
Within the dimensions of 150x150x50 mm are seven attractor points (see illustrations 1.8). The maximum value in y-direction is set to 50 mm, allowing each point to move within this distance. At point 0 in y-direction, a sphere with a radius of 50 mm is generated. As the point moves closer to 50 mm in y-direction, the sphere decreases in size until it reaches 50 mm in y-direction, and a 0 mm radius.
fig. 1.4 The shape is defined by the number of points within the given dimensions. The definition creates spheres as the number of points increases. Illustrations show (from top left) 10, 30, and 70 points in x and y-direction.
2.0 CNC ROUTING The Rhino file is exported to Alphacam, and the tools for routing are set. The second design proposal is first routed, but without walls to complete the format of 150x150x50 mm. In addition, the tools are not small enough for the model, making the routing imprecise. When adding walls in Rhino, the model is not able to be routed because neither of the tools can mill it precisely without the machine hitting the material. Alterations are therefore made to the design (fig. 2.2) to fit the tools of the routing machine. The tools used are the skrub tool of 16x72 mm for the rough edges, and the ball tool 6x38 mm for detailing.
3.0 PLASTER CASTING technique
The model (fig. 3.1) is sand down before applying a thin coat of Borup Knastelak. This procedure is repeated two times, and finished by sanding down the last coat of laquer. Two to three layers of soap are applied to the model and walls (fig. 3.2). It is ready when the material stops absorbing the soap, and there is a thin, white layer on the surface. The walls are assembled to the model (fig. 3.3), and the casting mould is ready. Heidelberger Formengips Primosupra 70, is poured into a bucket of water until the plaster stops sinking, and appears on the surface. Any lumps are removed by hand through careful stirring. The mixture is poured into the mould, and shaken lightly to remove air bubbles. The casting is set to dry for 3-4 hours, and is then removed from its mould. The soap is washed off to prevent it from appearing on the clay castings. The mould is set to dry on a radiator overnight to increase its ability to absorb water from the clay casting.
fig. 3.5 mould A
registrations
fig. 2.2 second routing
fig. 3.2 soap applied
fig. 3.1 sand down
fig. 3.3 walls assembled
Three casting moulds were made.The first mould (fig. 3.5) was considered an experiment, as it combined two types of plaster. Due to lack of Heidelberger Formengips, regular plaster was added, constituting about 1/3 of the total. As a consequence, the casting was lighter and more fragile. The walls to the casting mould were not precisely angular, and see through duct tape was added in the corners to prevent leakage. The plaster dd not stick to the tape, making it easier to remove the casting from its mould. As the walls were screwed to the base, they were already easily pulled off. However, a lot of force had to be applied to get the base and the model out. Alterations were made for the second casting (fig. 3.6). The whole base was taped, making the mould easily slip from the base. However, it still stuck to the model. For the third casting (fig. 3.7) , in addition to taping the base, less soap was applied to the mould. The casting easily slipped out of its mould. Due to complications with timing of drying the plaster, the second mould was not used for casting clay. Only the first and third castings were dry at the same time.
fig. 3.6 mould B
fig. 3.7 mould C
31
4.0 CLAY CASTING
fig. 4.3 casting mould A
technique
fig. 4.4 casting mould C no 1
25 kg Cerama S20 stentøjsler, 100 g Dispex, and 10 L water are stirred together. The mixture is poured into the casting mould with a filter, removing any lumps. The mixture is set to dry until the edges are dry, and reach a thickness of approximately 4 mm. As the mixture is highly sensitive to factors such as temperature, the condition of the casting mould and so on, the drying time varies from 35-50 minutes. Excess clay is then poured back into the mixture for later use. The clay casting is set to dry before it is removed from the casting mould. Again, due to the sensitivity of the material, the drying time varies from 25 minutes to 1 hour. The clay needs to be dry enough not to collapse, but elastic enough to get out of its mould. When the clay is shrinking and releasing from the plaster (fig. 4.1 and 4.2) , it is usually ready.
no 3
There are different techniques to get the clay out of its mould. Air is blown into gaps and openings between the clay and plaster. When the clay is released from all edges, the mould is turned upside down and the material is knocked or jigged out of its mould. When the clay has dried for four to five days, it is put in the oven for 20 hours and is heated to 1200 degrees Celsius.
fig. 4.1 mould A
no 4
registrations In the first two castings, casting mould A (fig. 4.3) proves to be more successful than casting mould C (fig. 4.4) . A strange coincidence, considering that casting mould A consists of two types of plaster and that the soap has not been washed off. Ironically, the soap remaining on the mould does not affect the clay casting nearly as much as on casting mould C, where the soap has been carefully removed. During the third clay casting, casting mould A breaks in two pieces (fig. 4.1) when trying to knock the clay out of the mould. This is because of the mixing with regular plaster, making the casting mould more fragile. However, the clay now comes out much easier, as air can be blown in horizontally. From the sixth to the eight casting, the holes are filled with clay, and instead cut out after being removed from its mould. This turns out successful for casting mould A, but the clay still doesn’t come out in one piece from casting mould C. This is because the spheres in the two corners are small, making the distance from the sphere to the wall too big (fig. 4.6). The geometry will have to be altered digitally. 32
no 6
fig. 4.2 clay releasing from plaster
alterations
section a-a
fig. 3.4 casting process
alteration to section a-a
1
section b-b a
a
b
b 2
fig. 4.6 scale 1:5
3
4
fig. 4.5 problematic angle
5
6
fig. 4.5 casting mould A
fig. 4.7 all clay castings
33
5.0 THE TILE The process is considered an ongoing experiment, and the shape should constantly be developed and altered as new parameters are introduced. When routed, the area for the hole turned out bigger than predicted. The result could be for the opening to let in too much light for the curved surface to have any effect. Therefore, alterations are made to the tile after casting. When the clay is still elastic, holes of different shape and placements are cut out with a sharp knife. The variations in openings (fig. 5.1) explore the transition from focused to faded light. As the size of the opening increases, the light will gradually spread out on the curved surface (fig. 5.2)
34
section sequence see fig. 1.3
35
6.0 FURTHER DEVELOPMENT
REFLECTION
One could argue that the process ends when having a finished product. However, as mentioned in the introduction, part of my ambition has been to constantly develop the design throughout all steps. Most of the alterations have been practical ones, adapting the shape to the specific tools and techniques. Whether the spatial ambition has been achieved can first be determined when having the final product, or rather prototype, in hands. From here, the process can be inverted. Using the gained knowledge and the qualities of the product, and altered hypothesis and new parameters can be set. Redefining the program is necessary, as a shape cannot be scaled or multiplied without alterations, the same way as a context cannot be added to a shape not purposed for it.
When approaching the design process, I had two different options. My first proposal (fig. 1.1) displays the first alternative. The design was firmly controlled, and with a clear expectation of the outcome. I feared this would generate a shallow process, and that the next step could always be predicted. The shape was, as mentioned, first sketched by hand before being drawn out in Rhino. The second and third proposal (fig. 1.2 and 1.3), generated through parametrics, had an overall spatial ambition, but no with no decided expectation of outcome. There are advantages and disadvantages with both methods. Parametric design is a rather new discipline, and can be a great benefit to the design process when used right. However, being relatively inexperienced with the software often results in technical challenges and an overwhelming experience. There is still a common opinion among architects that to begin a process digitally limits the creativity. That the first steps should be analogue, either as a sketch or a model. Still, this approach does not make use of the potentials, often regarding efficiency and flexibility, of parametric design.
As the six produced tiles are meant to be a part of a wall with 190 others, the natural next step would be to consider them in larger volumes. However, the shape is generated as one, where the five remaining tiles are simply to prove the ability of mass production. To increase in volume, the tiles should be designed to differ, and together devise their own logic. At the same time, to avoid compromising with the potential of mass production, the number of variations would have to be limited. When generating variations among the tiles, another parameter should be added. In addition to being designed as one, the shape has also only been considered as convex. Its negative, the concave, has simply been regarded as the consequence. The initial idea for the tile was to compare light projection on both convex and concave surfaces, but was somehow forgotten when moving forward with parametric design. When developing a system, tiles also including light projection on a concave surface could be generated. The concave would be an equivalent, rater than a consequence of the convex. 36
Another aspect of development is defining a frame of reference. Of course, the intention has been for the tiles to create their own isolated system, unrelated to the surroundings. Still, could a shape defined by a specific context provide stronger spatial anchoring? The assignment would surely take another turn, but the relation between shape for the sake of shape and shape as a consequence of its surroundings could be explored. A convex and a concave shape has the potential to work in various contexts. Among these are in the world of acoustics. When sound bounces off a hard and plane surface, the energy remains intact, yielding discrete echoes. Curved surfaces, on the other hand, have the ability of scattering or even absorbing the sound. As ceramics is a sound reflecting material, an optimization of the shape of a potential acoustic wall is all the more important.
During the past weeks, the project has taken a turn towards the theoretical. It has become a reflection of the borderline between technology to aid architecture and technology for the sake of technology. My thoughts are, of course, hardly scraping the surface of a widespread issue, but has nevertheless been relevant to my process. In my first proposal, did I restrain from exploring the potential of technology simply because I was too conservative? And did I later become so fascinated by the technology that it resulted in uncritical thinking regarding space and form? Is there any architectural leverage in pulling a number slider to generate the desired shape?
Something happens in the shift from analogue to digital. A sketch drawn by hand does not demand any commitment, and it can be as conceptual or concrete as you want. Digital software such as Rhino and Grasshopper requires precise information, and an idea will instantly have to be concretized. Is the key to a successful process simply to start analogue and later move on to digital tools when having a clear idea of the design? And can it also be the other way around? Can a design be developed digitally, and through rapid prototyping, shifting between digital and physical prevent you from being lost in the world of endless possibilities? If the solution is to find a balance between the two mentioned methods, where and what is it? I have gained a lot of knowledge throughout the project, spanning from developing skills in digital software to learning about materials and fabrication. But most importantly, I have experienced being overwhelmed by developing a shape digitally. In coming projects, I will continue to be aware of the relation between the analogue, digital, and physical; both their potentials and constraints.
Thank you.
37
38