tengku INDA
qed design portfolio
“ If you are irritated by every rub, how will your mirror be polished? ” - Rumi
table of
contents
National Trust Pavilion
National Trust Pavilion
part I
part II
Dream Pavilion sleepwalk
Study Trip
Cornwall
Workshop
Digital Symposium
The Shelter
boyana stoeva
AfterWar
tengku inda
The Sentry
richard jefferis
The Blow
fatin zolkeplay
Rest
alan pun
The Peak
omer osman
[ National Trust | Dunham Massey ] Autumn 2013
national trust pavilion part I
A micro passive-pavillion that should provide shelter but be accessible and educational that marks the catastrophic event of World War 1 in history.
[ National Trust | Dunham Massey ] Autumn 2013
the shelter pavilion A simplistic and stylised depiction of the bunkers and trench bunkers used in World War 1.
boyana Stoeva The Shelter is a simplistic and stylised depiction of the bunkers and trench bunkers used in World War 1. The series of ribs of different heights, forming the skeleton of the pavilion, are then interconnected with thin but densely gridded rope, creating an obscure area where one can sit and relax. The materials used in the structure are of natural colour, creating a camouflage which makes the pavilion slid past the eye of the by-stander making the people passing through seem like shadows in the forest. The skeleton of the structure allows for ribs to be added or subtracted from the pavilion making it adaptable and easy to fit within any surrounding. Thus providing the visitor with a place where they can observe without being observed.
precedent studies Philbrook - Vine Pavillion
Moorhead - Mobile Chapel Pavilion
Puppet Theatre - Green Pavillion
Shell - Strings Pavillion
1. The bottom end of the skeleton are bolted to a metal foundation that is then hammered to the ground
3. 2. 1.
2. The bench is bolted to the frame by 2x4 deck bench brackets 3. The rope ends are fastened with metal rings to the skeleton of the structure
[ National Trust | Dunham Massey ] Autumn 2013
the blow pavilion A pavillion recreating and representing the value of Dunham Massey during the time of clamity of World War 1.
fatin zolkeplay The crisis that came along with a series of diplomatic clashes between the Great Powers had touched and affect almost everyone’s life. It was a crucial time for everyone, including the family who lives in Dunham Massey. They offered the Red Cross their own mansion to be converted into a hospital, which is now known as Stamford Military Hospital. The environment and ambience was calm and peaceful, even during times of war, providing a sanctuary to the regiment. Most of the soldiers claimed Dunham to be a ‘Sanctuary from the trenches’ as it was the only place that they could find a piece of heaven. The reason so is because the soldiers have to go back to their posts once they have recovered.
‘The Blow’ represents the value of Dunham during that time of clamity. Different angles are formed to give a sense of different openings and enclosures of the space.When the wind blows, the random sound appears recreating how the regiment felt after the recovery process.
precedent studies Mobius - Parasite Pavillion
Seat - Public Pavilion
ZA11 - Refabricate Pavilion
the effects of wind onto the pieces
Sandwich steel plate is the best option to join the timber truss as they allow jointing at different angles. Every piece of timber panel and other materials need to be measured off site and the connection needs to be done on site. The fabrication will start off with a series of triangular shape, creating an octagon shape as its base. It is then followd by having a trangular shape wall with different angle projection.
hinge connection on metal/ acrylic/ plywood with timber panel
a pinned corner tenon joint
a connection of Polyester to timber panel
jointing timber trusses (sandwich steel plates)
plan
[ National Trust | Dunham Massey | Shorlisted ] Autumn 2013
afterwar pavilion A memorial for the World War 1 whereby the project is not a static space but it is a ‘pathway’ to remembrance.
tengku inda The project is as a memorial, or a place of remembrance for the World War 1. The project is not a static space, but it is a ‘pathway’ to remembrance. So the form is more of a pathway, with series of sound in an enclosed space, creating that hallucination effect making them remember and feel back how the soldiers felt during the time of war and after war.
click to watch video (external link)
precedent studies Aeolus - Acoustic Wind Pavillion
Sinuous - Dynamic Wood Pavilion
Salzburg - Repetitive Assemblage Pavilion
Naves - Lightness Transparency Pavilion
After a week of brainstorming and precedent studies, we had to come up with a complete design to be presented at the end of the day. It should include visuals, and concepts with a strong story line. Additional points are constructions , assembly and costings. I’ve decided to focus on the idea and story telling first and will focus on the rest as soon as I get a strong core of what I really want and expected out of my design. I’ve experimented with different designs and configurations, playing with forms and elements which intrigues the senses of not only visually but also in terms of hearing.
On a normal windy day, the pavilion could be experienced with others. Slow and separate sounds of the wind chimes dancing through the air, following the wind. The pavillion could also be a sanctuary for those who enjoys their peace. And a place of learning for the young ones. The unique form creates an exotic silhouette during the night, enhanced by the soft winds and the bamboo song.
Using the same concept of the wind chime, the angklung is instead hanged outside a rod. When the wind blows, the angklung will sway and knock the rod producing the sound. The form is designed in a way where it looks chaotic yet in harmony with the surroundings. It adds on to the ambience of the design.
click to watch video (external link)
The base is placed onto the site, with the bench and wooden stiffeners nailed on the base. Holes drilled into the stiffeners. The columns are secured into the stifferenrs.
The roof panel strips are placed from one end of the acrylic rods to the other end. It is then fastened by drilling a nail through the panels into the rods.
The acrylic rods are placed and held by the stiffeners. Nails are hammered into the rod for the fastening of the wind chimes. The chimes are propped onto the acrylic rods.
Steps 2 and 3 are repeated with different lengths of acrylic rods, roof strips and wind chimes. The finishing touch would be securing any loose strips/ rods.
After the crit session with the tutors, I have then futher developed my idea into a more elegant and ghastly effect but still maintaining the same idea and concept. The issue is how to make it in harmony to the site and not looking awkwardly at the middle of the mount. I have also thought of the structural supports and how it will later on be constructed on real site. The challenge is to get the elegant curve shape but still maintain the straight members of the beams as it will be easier for refabrication.
The entrance of the pavilion is broad and open, with little wind chimes hanging on it. This creates a softer effect, as of what it feels like Afterwar. But as soon as they go deeper into the pavilion, the wind chimes gets denser as the sound get louder and more often. With the sounds of clanking of metal bits and smaller amounts of sunlight passing through into the pavilion, it creates a posttension effect making them feel how it’s feels like during the war.
The idea of using wind chimes goes down to the core nature of its literature. The meaning of the wind chime in the native language of Malay Archipelago (angklung) is incomplete tone. It is also similar to the sound of broken things, after a storm, after war. Due to the very windy conditions of the site, the design is to be ‘transforming the wind into music - aural architecture’.
During a storm, the angklungs will sway violently against the rods, making hectic and loud noises which emulates the sound during the war. The pavilion follows the mood of the weather, adapting to the different climate change, but still serves as the same purpose. As a remembrance of what was lost during the war.
The pavilion has an option to adapt to whichever site proposed to it, as long as the system and concept remains the same. However, on a flat land, the construction will be simpler but the ambience is still retained. It will act as a pathway, framing the view of where the path leads to, engaging with the visitors of the site. Indirectly, the visitors still have to go through and experince the pavilion enhancing their trip to Dunham Massey. The other suitable sites for the pavilions are Site A and Site C. Site A is where there is a large pathways with tall trees which does not obstruct the winds for the wind chimes, making it suitable for the condition. Whilst at Site C, the pavilion frames the entance to the bridge enhancing the walk towards the lawn.
[ National Trust | Dunham Massey | winner ] Autumn 2013
rest pavilion A pavilion acting as a tribute piece to the Stamford Military Hospital, to commemorate their effort during World War 1.
alan pun Now owned by the National Trust, Dunham Massey Park is full of historical value. Notable for it’s role in the WW1, from April 1917 to January 1919 Dunham Massey Hall was commissioned as 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. During that time it was open, 282 soldiers were treated there. The soldiers who came to Dunham were lower ranking and came from regiments all over the country, as well as some from as far as Canada. For these men it is likely that they would never have been to the house like this let alone enjoyed the lifestyle Dunham offered. With fresh fruit, croquet, walks in the park and boating on the moat, Dunham did become a sanctuary from the Trenches for many of these men.
click to watch video (external link)
Fun and adventures. The original idea is to be created specifically so that as soon as children sees it, they can’t resist but to go over there, and have a mini adventures and explorations inside it. Light and shadows. The lattice setup takes advantage of the light shimmering through the trees by creating even more dynamic light and shadow patterns when it goes through the facades Easy to set up. All the parts are prefabricated offsite, and then transported to the site for a quick and easy assembly.
Respects the surroundings. It is a light structure made of timber that fits into the natural surroundings. The hospital connection. Stamford Military Hospital first opened with 25 beds in April 1917. To commemorate the origins of the hospital, the pavillion is constructed from twenty-five 1 meter wide main frames, which resembles a bed frame.
After the crit session with the tutors, I have then futher developed my idea into a more elegant, yet sturdy structure but still maintaining the same idea and concept. The issue is how to make it in harmony to the site and not looking awkwardly at the middle of the lawn. The comments from the previous design was that it lacks layers of contextual and conceptual fabirc to enhance the richness of the project. I have thought that since I would make a representation of the beds in Dunham Massey then I could make an abstract furniture/ graves of the beds immitating my main design intention. I have also thought of the structural supports and how it will later on be constructed on real site. The challenge is to get the elegant curve shape but to make sure that it is sturdy enough to sustain a person’s weight.
‘Rest’ is a place to lie down and contemplate. It is a tribute piece to the Stamford Military Hospital, to thank them and commemorate their effort during WW1.
We don’t spend enough time looking up. There is something really meditative about lying down, and looking up at the sky. It can be an act of healing.
On one level the pavlion look like sculptural beds where people can lie on, relax and look up in the sky. The experience of taking a few minutes to look up to the sky is itself a healing process, which ties back to the important work the hospital partook. But on another level, these sculptural beds can also resemble graves. The intention was to leave to the visitors themselves to interpret whether it is about life or death. Because for a soldier in WW1, being in a hospital that is the reality for them. They could either be healing, or they could be dying from wounds or diseases they caught.
The design however is adaptable to different site locations and in terms of materiality and cost. There was an option to do only three beds and construct the other three after receiving suffiecient funsings from sponsorships.
[ National Trust | Dunham Massey | winner ] Autumn 2013
sentry pavilion A highly interactive pavillion with the user, that provides a sculptural statement when viewed from across the lawn.
richard jefferis I want something that is highly interactive for children. Something that provided a sculptural statement when viewed from across the lawn. It should be something that embodied the beauty of the surroundings of Dunham Massey while at the same time sending a message about the World War 1. The story of the periscope is engraved above the viewing hole and below are things to spot from the ‘sentry post’. A single material is used to construct the pavilion; 18mm Marine Plywood which is thoroughly treated to protect from the elements. The base is anchored into the ground with 12 heavy duty marquee stakes. The top mirror of the periscope is mounted onto an axle fixed to a bicycle gear wheel. A wheel at the bottom is attached to handles which can be turned by the person looking through. Using bike chain makes it easy to use recycled parts.
click to watch video (external link)
precedent studies Yggdrasil - Sculpture Periscope Pavillion
Celestins - Underground Periscope Pavilion
Miriam Maselkowski - Sculpture Pavilion
The result is a pavillion based on the design of a periscope. During World War 1, their role was to peer over the top of the trenches to spot the enemy. And here the design translates into peering through the trees. Hence, the siting of the pavilion underneath the large cedar tree next to the lawn.
Highly playable for the kids, they are presented with information as well as things to spot through the periscope such as the main House, the Orangery or potentially targets around the lawn.
The complex mechanisms which controls the rotation of the periscope is the same technology used for the ball bearing, but applied in a bigger scale, allowing maximum rotation and a 360 degree view of the whole site for the visitors.
The concept of the bicycle gear is used to control the mirror at the topmost end of the periscope. This allows the viewer move freely not only horizontally but also vertically which makes it possible for them to adjust the height and view of what they want to see.
1. Heavy duty Lazy Susan mechanism 2. Recessed wheels x2 3. Guard for security and stability 4. Splayed base for tower locks under guard 5. Holes for large marquee pegs 6. Steps to be fixed internally to brackets
All of the parts are designed to fit inside a standard sheet of plywood which can be CNC milled for precise fabrication. The interlocking parts can be test assembled in a workshop before reconstruction on site. Several more complex components such as base units and the top assembly can be transported pre-fabricated.
[ National Trust | Dunham Massey | winner ] Autumn 2013
the peak pavilion A monument to the fallen soldiers of World War 1, inspired by the simple and heavy form of a tombstone.
omer osman World War 1 was a turning point in history and resulted in a huge loss of life. Due to the sheer scale of death in the war, many soldiers who died while in battle during the war went missing or were buried in mass graves, without receiving gravestones. Headstones are an important acknowledgement of ones life and it is a tragedy that family and friends of many of the victims were not able to locate, visit their graves in a conventional manner and pay their tributes. There lies the inspiration for ‘The Peak’. The Peak is a monument to the fallen soldiers of World War 1. It consists of a series of timber panels emitating heads, whose form and mass is inspired by the simple and heavy form of a tombstone. These panels are arranged such that each one of them is facing a World War 1 battle field.
click to watch video (external link)
precedent studies Aeolus - Acoustic Wind Pavillion
Sinuous - Dynamic Wood Pavilion
Salzburg - Repetitive Assemblage Pavilion
Naves - Lightness Transparency Pavilion
After studying a few prominent war memorials such as the Holocaust Memorial (Berlin), the 7-7 memorial (London) and the drug war memorial (Mexico City), five characteristics were identified as being paramount in creating a contempltive and reflectve work. These are repetitiveness, height, mass, weight and simplicity.
The Peak consists of 12 panels or ‘tombstones’. Each panel has a maximum height of 2.4 meters and 600mm wide. The 12 panels are then arranged in a circular manner such that each one is roughly facing a World War 1 battlefield.
simplicity
weight
mass
height
orientation
repetitiveness
The Mount is located on an isolated spot adjacent to the house at Dunham Massey, providing a secluded and contemplative atmosphere, perfect for such a memorial, whose primary condition is not only what you see, but also what you feel when standing within it.
The Peak will also function as an educational pavilion. Many poems were written by soldiers while in battle during the war and these have had a profound effect on the course of poetry throughout the 20th century. In order to commemorate such literary masterpieces, each panel will be engraved with a poem written by soldiers, enabling us to reflect on our own lives and what we owe to the soldiers that risked their lives to make the world a better place. The Peak is therefore envisaged as a memorial to the fallen victims of the World War, whether they be soldiers or civilians, as every war victim deserved to be remembered with dignity.
Although the peak would be ideally be situated on the Mount, it is a very adaptable piece and can therefore be placed on a variety of different sites. Due to the simplicity and flexibility of the form, the panels can simply be enlarged, shrunk or rearranged in orfer to fit their surroundings.
Construction- off site 1. Cut 18mm marine plywood into required dimensions using CNC cutter 2. Engrave poems and text onto each panel using CNC Machine or Laser Cutter 3. Cut 2x4 timber into required lengths for frame construction 4. Construct wooden frame out of 2x4 timber pieces 5. Use screws and/or cascamite glue to join marine plywood sheets onto frame
Assembly- on site 6. Identify and mark location of each panels using a compass. 7. Using a sledge hammer, carefully drive fence post spikes into the marked locations. 8. Once the spikes are in place, insert the ‘tombstones’ into the box and tighten the bolts using an adjustable spanner and ratchet set. 9. While tightening the bolts, keep checking the panels are vertical using a spirit level. 10. Repeat steps 8-10 for the remaining panels.
[ National Trust | Dunham Massey ] Autumn 2013
concept booklet A bookelet with conceptual sketches of all 4 pavillions to show the relation of one pavillion to the other.
[ National Trust | Dunham Massey ] Autumn 2013
national trust pavilion part II
An design to build project, engaging real clients with real site challenges and financial supports.
[ National Trust | Dunham Massey | winner ] Autumn 2013
rest pavilion
A pavilion acting as a tribute piece to the Stamford Military Hospital, to commemorate their effort during World War 1.
National Trust Client Meeting, Dunham Massey. 6-11-13
structural prototype 1 The original structure is where strips of ground needs to be dug up and two timber joists acts as foundations. Then the 1m wide ‘ribs’ are secured onto the foundations with angle brackets. A metal rod is then threaded through the ribs to secure the bed horizontally. Problems with this configuration:
Off-site
1.
CNC cut the wat x 18mm) to the holes for angle
2.
- the ribs are constantly touching the ground, the constant moisture will damage the timber quickly. - the large amount of angle brackets lead to unelegant detailing.
treat all timber
3.
using wood glue of 18mm panel
Construction
On-site Construction
4.
terproof plywood (2440mm x 1220mm e specific shape and dimensions, also brackets and threaded steel bar
steel plates with holes drilled at correct places for horizontal structural support
1.
4.
dig out ditch on ground for timber joist foundation to go in
2. secure panels onto the timber joists foundations by nailing down the angle brackets
5.
5. hammer down met-posts into the ditches
panels with waterproof adhesive
e adhesive, paste 2 of the same shape ls into a 36mm thick panel
3.
screw on the angle brackets with nuts (40mm long) and tighten/ secure it with the bolt on to the shaped ‘ribs’ slot timber joist foundations into the metposts
tie panels together horizontally with metal threaded bars, this gives it horizontal structural support
structural prototype 2 In this version, the two joists are raised up 100mm above the ground, and rests on met posts on either side. This solves the problem of excess moisture damage. The width of the ribs are now shortened to 600mm. The height of the ribs have also increased, which makes it more structurally stable. This configuration is also designed so that the whole bed, minus the met posts are prefabricated, leading to a shorter onsite build time. This leads to a different social dynamics as one bed now only fits one person, whereas the previous 1m wide bed can fit two people at the same time. The way the structure is expressed here resembles a medical stretcher, which ties back to the War theme. Problems with this configuration: - There are even more angle brackets in this configuration. The unelegant detail issue has not been solved.
The ‘beds’ imitating a stretcher, which are widely used during the involvement of Dunham Massey in World War 1.
structural prototype 3 This version is similar to Prototype 2, except the two joists recedes into the ribs, which makes it more structurally stable. The change in structural expression results in the lost of the stretcher resemblences but the ribs seemed to have gained a slight floating off the ground effect. Problems with this configuration: - Unelegant angle bracket problem still not resolved.
latest structure In this latest structural configuration, the two joists are now completely gone. This is instead replaced by blocks of three 18mm of plywood in between the ribs. Tensile bars are then threaded through where the blocks are. This leads to the metal bars being hidden, which leads to more elegant detailing. Some of the rib panels are extended downwards so that they act as structural legs. This design also solved the problem of the unelegant exposed angle brackets as it removes the need for them.
Elevation
Plywood sheets CNC pattern
bed configuration (to be confirmed) Though original configurations depicts a symmetrical layout. After consultations with tutors and further thoughts, having them arranged in a seemingly random order would be more effective as it emphasises the choatic nature of War. Also, because of the nature of the beds themselves: that when viewed at a perpendicular angle, the gaps in between the fins are ‘see through’, making the structure lighter, but then when the sight angle is changed, the bed suddenly appears more dense as the gaps are hidden, it would be advantages to play around with this effect. The other factor to consider is the social dynamics of when people lie on these beds, do we want to create a space for conversation to happen, or is it more about isolation and contemplation?
configuration 1
configuration 2
configuration 3
colours configuration (to be confirmed) Because of the abstract nature of this project. It was agreed that the colour should not remain a natural wood colour, as that would take away the level of abstraction associated with it. Different colours will have different emotional associations and its relationship with the site is also different. These are factors which will need to be examined deeper before reaching a decision.
Black
Yellow
Red
Green
serious, heavy, death
harmonious with the surrounding green
clashes with the surrounding green, blood, danger
blends into the surrounding green, peace, organic
client interaction The National Trusts has chosen Rest as one of the pavilions to be built. The site has also been confirmed to be on the ‘Dog’s Graves’, an open lawn overlooked by the mansion.
Due to costs constraints, the National Trust agreed to only building 3 beds as opposed to the originally proposed 6. We left the possibility of adding the other 3 beds at a later date if enough funding was raised.
The National Trusts staff visits the MSA, and we presented our design proposals to them.
1515 OctOCT
Presentation to NT
Presentation to NT
Meeting with the National Trust staff in Dunham Massey, where we talked about the progress on the project, project time scale, and further examined site conditions.
22 22 OCT Oct
Rest chosen and site ‘Rest’ chosen & Sitecomfirmed confirmed
29Oct OCT 29
Comfirmation of reduction Confirmation of of beds Reduction of Beds
NOV 66Nov
National Trust Visit
National Trust Visit
kickstarter project In order to help fund this project, we decided to utilise the online crowdfunding platform Kickstarter. This required us to think about how to market the project to the public. This includes thinking about the tone of voice, not using architectural jargon, and how to simplify the message. A promotional video featuring a live shoot of the team was created especially for this campaign, introducing a human element to the project. Link: http://www.restandsanctuary. co.uk/rest
team dynamics Zlatina
Alan
Izzy Charlotte
Mohamed
Chu Huan
Tengku Inda Tiffany
TIFFANY WONG
CHARLOTTE GARRETT
TAN CHU HUAN
Structure Research
Portfolio Preparation
Meeting with Carpenter
Shell Client Contact
Kickstarter
Meeting with Tutors
National Trust Pavilion Part 2
Cost Estimation
IZZY BLACKLOCK
Assembly Guide
Physical Models
Meeting with NT
MOHAMED HAISAM
Videos
Materials Research
Rest Suppliers Contact Site Visit
Meeting with Workshop
Design Revision
ZLATINA SPASOVA
TENGKU INDA
ALAN PUN
[ Triumph Pavilion | London ] Autumn 2013
Dream pavilion triumph pavilion
Based on the concepts of sleeping patterns, surrealism and detachment from reality. The kaleidoscopic effects, created by the interior’s mirrored surface are to enhance the feelings of distortion and confusion
table of
contents Introduction The Site Inspiration/ Concept - Dream/ REM, etc How Kaleidoscopes work Form Selection Model Making - Experimenting with form Precedents Material Studies Structure & Construction Making the model (AutoCad files and workshop) Final Model Site Plan + Elevations Montages Competition Sheet Group Work
Triumph Pavilion 2014: dream pavilion Proposal
The brief is to design a temporary, freestanding, transportable and contemporary showcase Pavilion to be installed in the Museum Gardens. The theme for this year’s Triumph Pavilion is “Dream”, hence the Pavilion will be entitled “Dream Pavilion”. It is a theme that invites participants and visitors to dream about a unique space, creating a place, achieving an ambition or simply being inspired by a series of thoughts, images and sensations. The planned Pavilion structure will be designed by a selected architect or design team through this Pavilion competition after the deleberation of an internal panel. The Panel will select a competition winner from the submitted entries that most satisfies the brief and is befitting of the Museum Gardens. The Pavilion design should also encourage and highlight the need for ecological and sustainable design principles where possible. The Pavilion should not exceed 4 meters in height and 60 Square meters in area.
Constraints
Budget: $10,000 USD (or GBP equivalent) including all materials, fabrication, construction, breakdown and any transportation cost. Build Commencing: 03rd March 2014 Build Completion: Completed and in place by 27th May 2014
Realisation
The winning project team may be assigned to an architectural office or co-architect to collaborate in further developing the construction drawings and prepare it for construction where the team lacks the experience. The Pavilion is expected to be fabricated offsite and assembled or placed in position in the Museum Gardens in accordance to the site build schedule, which is usually a maximum of 3 (three) days.
2013 Winner: The Peace Pavilion
the site museum gardens The site, which is the subject of the competition, is the Museum Gardens, Cambridge Heath Road, Bethnal Green, London E2 9PA, which is within the Tower Hamlets and Hackney borough of London. The Museum Gardens is on the English Heritage Register of Historic Parks and Gardens. It is approximately 1.05 hectares (approximately 10,520 square metres) in size. It is bounded by Cambridge Heath Road, Museum Passage (separating the Gardens from the V&A Museum of Childhood), St John’s Church (Roman Road) and Victoria Park Square. The site’s main use is as a recreational garden for living, working and visiting communities around and it is clearly important that the most is made of this key location for the Pavilion. The gardens are locked overnight, from sunset to sunrise.
Arial view
A
B
C
D
the science of dreaming When we sleep, our brain enters cycles or phases of sleep. We can identify theses phases by different levels of brainwave activity. During a phase that occurs close to being awake, we enter Rapid Eye Movement (REM) Sleep. This is when we dream. These graphs show the subtle difference with Rapid Eye Movement (REM) and normal sleep patterns. There are Sawtooth Waves that represent moments of dreaming.
Left: An EEG moniter that reads brain activity being used in a sleep study. Below:Waves in the brain are measured using EEG, or Electroencephalography. Measured in Hertz (Hz), the brain fires different waves types at different frequencies throughout sleep cycles.
the science of dreaming We want the pavilion to give moments of distorted realities in the same way that our sleep cycle gives dream moments.
Dream
Dream
Dream
Reality Reality
Reality
y
it Real
Kaleidoscope concept CONCept A kaleidoscope is typically a small cylindrical object used to entertain children and adults. Its based on the principle of infinite reflections and creates within itself a small, surreal and distorted reality. The confusing environment that a kaleidoscope creates is similar to the person’s dream. In the diagram below we’ve represented both dream and the walk through the pavilion as a linear experience, showing how the confusion increases as one navigates through the environment. The diagram aims to give a visual representation of the relationship between kaleidoscope and dream.
how do kaleidoscope work? A kaleidoscope is usually a cilinger with mirrors containing small coloured objects like beads or pebbles. Its operates on the principle of multiple reflection and aims to create beautiful views and confusion. There are four basic shapes that create a kalediscopic effect (ie. infinite reflections) and these are Square, Equilaterial Triangle, Circle and Haxagon. Technically any shape will create a kaliedoscopic effect if all the angles inside it are equal (in eq. triangles its 60 degrees, square 90 degrees, etc). The diagrams below explain visually the concept of multiple and infinite reflection. Typically in a kaleidoscope there are three rectangular mirrors set at 60째 to each other so that they form an equilateral triangle. Diagram_01 represents how the 60째 angle creates seven visible duplicate images of the objects, five at 60째, and 2 at 90째.
The principle of multi-reflection:
Diagram 1
form configuration
initial form ideas
suitability
y on site
kaleidascopic effect
user journey
aesthetics
material studies Kaleidescope concept of reflection is our main core design . As it plays with an infinity reflection that works well with a real mirror, finding a perfect material which can replace it in a friendly way is a challenge. This pavilion is located at the Garden Museum which open to all ages of user. Our main concern is to used a reflective material which user-friendly, easily installed, durable, low-priced yet still maintain the reflection quality. Deep study on reflective materials determine our decision to used Vinyl mirror Adhesive sheet for the interior space and Cooper Vinyl sheet for the exterior skin.
Vinyl Mirror
Mylar Mirrored
Adhesive sheet with rate of reflection up 99%. Great Useful in artwork, signage, displays, decor and for making mirror and can stands up against water, photo studios. Apply with double-stick tape or spray dirt, grease, salt, mild acids, and oil. It can be applied adhesive. Commonly used for distorted reflection. on interior or exterior surface. It is also compatible with Cricut Machines.
Mirror Tiles Mirror tiles is one of the options for interior spaces, where this tiles will be installed as a path platform. It is more durable to withstand any weight go through it and can simply be cut to size. Their flexibility enables them to be fitted in our design form.
Copper Metallic Mylar
Copper Sheets
Copper Metallic Glossy vinyl
The copper Mylar foil is of a low surface oxygen characteristics, can be attached to a variety of different substrates such as metal, insulating materials, and etc within temperature range. Mainly used for electromagnetic shielding and antistatic, conductive copper foil on the substrate surface, combine with the metal substrate into self-adhesive copper foil, copper foil of the double glue, single copper foil duplex copper foil.
It is a basic copper with a variety of purposes including uses in arts and crafts, flashing, construction, manufacturing, electrical applications and etc. They are processed into continuous cast wire, shapes, rolled products and strips as well as wire made of copper and copper alloys.
This glossy vinyl can be used indoor and outdoors. It is an adhesive vinyl with a water proof and weather resistant. This vinyl is compatible with craft cutters and can be used in many applications.
Copper Metallic Glossy vinyl
Vinyl Mirror
design development Our pavilion plays on the concept of distorted realities, which is our interpretation of dreams. Dreams happen in a phase of our sleep cycle that represents the pinnacle of brain activity. In a typical sleep, this phase builds, passes and reoccurs. In the same way, our pavilion design is about reaching a pinnacle at which the users experience of reality is magnified and distorted. Quadrilateral triangle give infinite reflections which is both playful and immerse. Slits in the side create a continuous ribbon which you can follow through the pavilion. The gaps also serve as a reference to the reality outside as the surrounding parkland can be seen from within as well as reflected to form part of the images you witness inside.
Equilateral Triangle
Extrude triangle to create a triangular tunnel. Wrapping the inner surfaces of this tunnel in reflective film creates a kaleidoscopic effect of infinite reflections.
Bend the tunnel to create a z-shape.
Add slits throughout the structure to let light in and reduce confusion as to where the mirrored surfaces are. The slits create a continuous ribbon that leads people through the pavilion, thus acting as an added safety measure.
Elevate the Pavilion and add ramps on either side.
design process
precedent studies Mark’s House - Summer Pavillion
Artist - Pavillion for an Artist
Mark’s House is a temporary summer pavilion in Flint. This project is a huge glimmering house silhouette that turns empty space into an inspiring cultural meeting point. Building up into the air above the shelter with a facade of reflective material gave the impression of being suspended over the lot below. The 4,000 pound Mylar-clad structure is designed to reflect and withstand the elements. The stage is set for a concert, sport, racing event with a light box as a ceiling displays the face of a global donor.
Pavilion for an Artist is a camouflaged building with mirrors which reflects the surrounding and blends into Amsterdam, it is a space for a visionary artist enjoys a peaceful place to work and store their art objects. Unin where the artist can walk, roam, invent and be engrossed in their own world. Used of mirror as a camouflage st design approached to represent an interface change of an artist role in society and their working method.
Materials The architects had to use reflective Mylar for the cladding instead of the adhesive mirrored panel listed in their proposal.
Materials Camouflaged wall structure, Mirror
o natural environment. Located in nterrupted space inside is a place tructure from the outside view is a
Infinity - Mirror Pavillion
Pheonix - Closer than it appears Pavillion
Infinity Mirrored Room, Yayoi Kusama’s work plays with hundreds of multi-coloured LED lights, suspended at different heights and dangling from floor to ceiling. She transforms a room into feels like an eternity. The cube shaped, mirror paneled room has a shadow reflecting pool as its floor and the lights flicker on and off. The bedazzling box is another installation of her work, which gives the viewer the impression of never-ending perspective as they gaze inside its small windows. She plays with the element of shapes and colours reflecting before them to create an infinity effect. It is an opportunity to the viewer to experience looking into a psychedelic Tardis.
‘The Phoenix is closer than it appears’ is a large mirror installation by German artist Thilo Frank. He was trying to shift the reality with new perception of oneself in million of copies, dizzy and completely disorienting. A large mirror installation inside and outside it appears to merge into the surrounding space. By revealing a perfectly euclidical core, the visitor becomes the spatial focal point by moving on a swing through the vivid conceived environment. A Physical reflection has been translated within the installation room into an imaginary reflection of the viewer’s body.
Material Mirror and LED lights
Materials steel, glass mirrors, aluminum, wood, light, rope
construction & Plan
final images
concept models We tested different methods of achieving a kaleidoscope effect whilst allowing enough light into the pavilion. The early model on the left shows the idea of a continuous ribbon of mirrored surface that wraps to create the form of the pavilion. The model on the right shows the effect of a contrasting material on the outside of the pavilion. We rejected a completely black skin because we wanted to attract visitors from across the park with a shiny material, although there was a sense of surprise with this design; when the user realises the interior is so opposing.
translating the concept into a pavilion This diagram illustrates how our concept turned into the pavilion. The dream moments represent different types of distorted realities.
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After making your way through, the visitors emerge back into the park and real life, simulating the post-confusion sensation of waking up after a dream.
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To begin with, it’s about falling into slumber from the outside world, before visitors explore the inside of the pavilion and the world of confusion and distortion that follows along the journey.
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development model This model was pivotal for the development of the form of the pavilion. We wanted to create an experiment with the slits in the side of the walls. This is to allow light into the structure and also to give glimpses of the exterior world. They also act as a wayfinding measure. Here we tested different lighting conditions.When light passes through the gaps, beautiful patterns are reflected on surrounding surfaces.
development model These photos made us realise that we needed to retain the idea of the slits in the side. The patterns through around the room gave us the idea of lighting the structure at night or on special occasions to give the same effect.
final model We decided to make a final model using realistic materials to compare with the quality of the render we were coming out with. Simulating reflections, particularly to an infinite degree, is difficult with render software. With the physical model we were able to locate the structure in a grass environment and achieve the effect of a prismatic tunnel. The copper on the exterior of the model also caught the light in a way we wanted to express in our proposal. The materials contrast but also have similar properties.
making photos These images show the way we learned to work with glass, in collaboration with the glass workshops at MMU. We also learned about photographing models effectively for use in renders.
final model This photograph illustrates the effect we wanted to creat of instilling interest from a distance. The reflective properties of the copper catch the sun and create a glisten. The open ended pavilion also sloped in toward the entrance to further entice the visitor. On arrival, they witness the view into the tunnel and enter the dream journey.
shadow study We used the physical model to illustrate the way the pavilion casts shadows throughout the day. Traditional sunpath analysis does not capture the additional shadow caused by the reflections.
Morning
Noon
Afternoon
shadow study video Because of the kaleidascopic nature of this pavilion - how it looks during different time of the day is of interest to us. The reason why there are slits in the pavilion, apart from letting the user having ‘glimses’ of reality, is to let Sun light in, which changes the interior atmosphere, depending on the time of day.
Click here to see shadow study video (external link)
rapid prototyping with 3d printing
1
2
Even models from SketchUp can be used for 3D printing. The file type .STL is used with MakerBot technology. A free plugin for SketchUp is available which exports an STL. Ensure only a selection is exported as otherwise a large file is created.
Software called ReplicatorG is available for free online. This is what communicates with th 3D printer. Python installation is also required. The .STL file is imported. Ensuring the base of the model is on the base of the platform an centred, the file can be converted to script.
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Print!
The program then generates a GCode. This is the script that will be fed to the printer as a list of instructions. Here you can add options like support structure for delicate models. The 3D printer creates a thin mesh that supports the material and can be easily removed afterwards. Here you also select options for which extruder to use. The MakerBots have two with different colours so this selection will dictate that.
The GCode looks like this. It is a series of scripting commands that inform the behaviour of the MakerBot. From here, you can send the model to print directly if connected through USB or files can be written to an SD card. Note, the filetype must be .x3g
The code can now be sent to the machine for fabrication
rapid prototyping with 3d printing
The results from our first attempt were mixed. This model was not particularly successful as the material was not sufficiently supported
The university has 5 MakerBot Replicators for student use. The machines are founded on principles of ‘open source’ which means that the technology is freely available. This does mean that they are somewhat basic, although easier to fix.
The machine often adds ‘spaghetti’ to the model when too much material is fed through the extruder.
‘This is the raft’ that the machine uses as a base. It can be peeled off after printing.
rapid prototyping with 3d printing
In this version, the 3D Printer decided to stop fabrication mid way through. As you can see, the result is unfinished. Occasionally the conversion from 3D digital model to code can be problematic, leading to incorrect instructions being fed to the machine.
This final attempt was more successful, although we can still see some of the ‘spaghetti’ towards the base of the model. We can also see some of the creep effect on the bottom left corner. This occurs when the plastic cools too quickly, causing the corners to shrink upwards. If the heated plate is not in complete contact with the material on application then the model will warp.
The development of the competition sheet was an iterative process, as the design affected the whole group. Individual elements were worked on by different people, before the components came together on the sheet. Inda made mock ups of the way the sheet could look, which we all commented on and discussed. Once we made decisions about key changes to make, she re-designed and altered elements of the page. We repeated this process several times before we arrived at the composition we were happy with.
Sheet Design
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competition sheet development
q Group Discussion
q Group Decision
q Final Output
top: We used dummy images to convey the overall appearance. For example, we knew the main image would include a figure stood at the entrance to the pavilion as this is the most visually impressive. bottom: The final competition sheet image which was submitted to ArchTriumph for competition entry.
group work
BOYANA ANAYOB STOEVA AVEOTS
This diagram shows the collective activites and their inputs from each team member. The final design output is broken down NITAF OMER into constituent parts which were OSMAN HAYbest YARUH T tackled by the team members suited based on their skill sets. Tasks that require more effort can be tackled by several team members in subgroups.
3D Model
gniredneR
ledoM D3
Rendering etiS D3 ledoM
3D Site Model
Construction Sequence
noitcurtsnoC ecneuqeS
etiS sisylanA
redner-tsoP noitcudorP
Physical Model Kaleidoscope Research
FATIN THURAYYAH
Site Analysis
DREAM PAVILION
MAERD NOILIVAP
&shparG smargaiD
ledoM oediV
Model Photography
epocsodielaK hcraeseR
Graphs& Diagrams maerD hcraeseR
Dream Research
Concept Development
Post-render Production
Model Video
ledoM yhpargotohP
UKGET ADNI
TEGKU INDA RICHARD JEFFERIS
NALA NUCompetition PSheet
ALAN PUN
noititepmoC teehS
Our group was effective in our teamwork methodology. We established roles, committed to an outcome, communicated openly and shared workload. An australian study into teamworking effectively (Tarricone & Luca) outlines the common factors to successful working groups. They are summarised below: -Commitment to team success and shared goals -Interdependence
-Interpersonal skills -Open communication and positive feedback -Appropriate team composition -Commitment to team processes, leadership & accountability The team members all had a supportive attitude towards each other and behaved as a cohesive unit. Regular face to face meetings as well as digital platforms for exchanging ideas ensured that the
group was always aware of the scope of the project, what stage it was at and what contributions needed to be made. We gave and accepted feedback appropriately and all participated in feedback on work. We regularly designed as a group with a large sheet of paper and were all involved in solving design issues or brainstorming ideas.
[ MArch Atelier qed | Cornwall ] Autumn 2013
study trip cornwall
The atelier’s study trip to Cornwall was a unique and bonding experience for the whole unit.
table of
contents Introduction Day 1: Newlyn & Exchange Galleries Day 1: Minack Theatre & Land’s End Day 2: University of Cornwall Day 2: Falmouth & Maritime Museum Day 3: Greevor Tin Mines Day 4: The Eden Project Day 4: Group Work during the trip Sketches and Paintings Thriller & the Harlem Shame
introduction Cornwall This is a general documentation of our study trip to Cornwall with qed. The main aim of the trip was to research and study Cornwalls unique ecology and geogrphy. Some building analyses were carried out by both 5th and 6th year students. For the 6th years, Cornwall presented a potential site for their thesis projects. During the trip, group work continues for both NT and Dream pavilion projects.
newlyn art gallery In the first day of the trip, we went to Newlyn, the southernmost town on the British mainland. With only one winding road through it, this place is inviting us to stroll and discover the beauty of this town. Newlyn Art Gallery, a listed Victorian building which seems unchanged when approached from the road; with the impressive top-lit gallery situated behind and the magnificent coastline on the background. The subtlety of this building exhibits some magical as well as practical moments. The high-ceiling room in the first floor of the extension is comfortable; reserving the surprise of the impressive panorama view for the ambitious widescreen window.
exchange art gallery Walking into Penzance, the new glazed gallery wrapping with structural verge around the corner of high street caught our attention. The new glazing facade floats above the ground along the street front contrasting against the traditional heavy stone buildings adjacent and opposite; providing a new identity for the gallery. The façade brings transparency to the gallery, inviting investigation. The glass fins also incorporate a translucent interlayer, filtering low-angled sunlight into the gallery space, cafÊ and bookshop. Being in the space, as people walk by, light emitted through the glass fins ebbs and flows, rather like the tide lapping close by.
minack theatre The Minack Theatre clings perilously to a cliff, a stone’s throw from Land’s End. minack from Cornish “meynek” means a stony or rocky place. The Minack Theatre is a very fine example of architecture without architect. It was designed, financed and built by Rowena Cade who was a passionate woman having a deep interes in theatre and performing arts. A local production of The Tempest, due to be shown in the grounds of her house at Minack Head in 1932, prompted her to design and create the beginnings of what was to become a life long work of passion and dedication.
Rowena Cade With no previous manual labour experience, Rowena learned how to build from her gardeners, with whom she created the rudimentary beginnings of the theatre that exists today. She developed techniques for wet cement work, inscribing lettering and Celtic motifs. She fetched sand up the steep way from the beach, and carried huge beams. it is interesting to note that the materials used to construct this inspiring piece of architecture were locally sourced. The theatre proves that even at that point of time, without using advanced technology that we have these days, a magical architectural intervention are not impossible despite taking so many years to be completed. this theatre could easily be an exemplar of a sustainable piece of architecture, a notion that we presently are obsessed with.
land’s end It was the worst storm in 5 years, with strong winds and heavy rains. Coach arrived at Land’s End not long after leaving Porthcurno; it is only 4 miles away. Buildings and shops were not opened. Standing near the rugged wave lashed cliffs, Longship Lighthouse can barely be seen in the middle of St. Jude’s storm. Yet, it is interesting to see the magnificent landscape under the extreme weather. The landscape itself is dramatic in terms of the coastline, reefs and savage cliffs. With the addition of wild nature elements such as waves, winds and rains, the scenery was awe inspiring.
university of cornwall Tremough Campus 3 Universities, 1 Campus Tremough Campus is a collaborative space between the University of Exeter, University College Farmouth and the University of Plymouth. It is also where the School of Mine is. Through talks from the researchers that worked there, it was interesting that the majority of funding for the LEED buildings in the campus came from the EU. We also got to see building facades made from local Cornwall stones.
Lessons from real life Architecture failures This green roof at the university, originally designed to be accessible, is fenced off permanently because of a structural miscalculation. The engineers and architects of this project didn’t take into consideration of rainfall load into consideration. The roof therefore is not strong enough to hold people while the green roof is wet. Let us learn from others’ mistakes so we don’t have to make them.
national maritime museum falmouth This large regeneration scheme is comprised of two joined maritime museums, commercial, retail and residential buildings, a public events square and marina (fig 1). The complex has been carefully planned to make a major contribution to the sequence of public spaces along the waterfront and to create a pedestrian route linking the old town centre with the lifeboat station and Falmouth docks (main map). It is a focus for waterfront activities of all kinds in Falmouth, and the square is often covered with a tent for Falmouth’s Regatta Week or for concerts. The Maritime Museum is designed to be an integral part of the Falmouth waterfront. Wind, water and tides have been incorporated to feature as much in the visitors’ experience as the boats and local maritime history. The building address its surroundings directly throughout partial construction on water.
“the concept of landmark building as catalyst for urban regeneration is a familiar and abused phrase that it is hard to approach a (lottery project) without suspicion. Yet here is a case of a spectacular building quite at home in its surroundings.”
tate st ives Tate St Ives is an art gallery which offer a programmes and exhibitions art by modern British presented in the unique context of St Ives. It is lies on the site of an old gas works, with interesting scenery overlooking the Porthmeor Beach. The Tate St Ives offers constantly changing exhibitions as well as its remarkable permanent collection of art. Design of the building is prominent, hence attracting people to walk in. exploration of the interior space of the building leads to the main focused point. The core building which consists of a huge cylindrical glass window creates a space with a wide and astonishing view towards the seaside and the ocean.
b. hepworth museum & garden Barbara Hepworth Museum is a collection of sculptures. It is a part of townscape trail which link the visual and cultural continuity while exploring its location. The building is camouflage with surrounding and the inner garden is hardly seen from the outside. This is where the artist lived and worked. It is Interesting to look at how she developed her idea within a small context and brings a brilliant spatial design to explore it. Garden Sculpture is within a constrained site where the sculptures being arranged and allocated to fit in the context.
geevor tine mine Tin Mining was an important part of Cornish history, developing its industry and economy. We visited Geevor Tin Mine Museum, located in the far west of Cornwall. It is a tin and copper mine famous for its production of over 50,000 tons of black tin. Geevor was described to us upon our arrival as much more than just a mine, but also the story of a people and a landscape. The major highlights of the visit was the underground tour of the Mexico shaft, where we were able to get a sense of what the local miners experienced while working Long hours in dark and cramped conditions. We were given a tour through the mine buildings to see all the original machinery and followed the process of tin mining, as well as a visit to ‘The Dry’ where the miners lived, which has been left almost exactly as it was on the day the last working miner left. We finished our tour with an bit of ‘mineral panning’ on the tin floors in the mill where we enthusiastically searched for ‘gold’ and ‘gemstones’.
eden’s project detailed study
personal sketches
Each sketches I’ve tried to pick up the unique elements found there at the places we visited. That is why I’ve chosen different types of media to express those individual sketches of what I see, how I felt and how it seems like at that moment.
The sketch above is done early in the morning outside our dorm. It was freezing cold outside, so I’ve decided to made some paint blotches to place the colours onto the drawings but immitating the frozen nature of the site.
The sketch above of the lobster is actually an art sculpture at the Newlyn Art gallery. Most of the things found there are bizarre and explicit but with utmost attention to details. Which is why I tried to pick out those intricate details found on this sculpture made out of eating utensils.
Below is a sketch at one of the buildings in Eden’s project, the Seed. This is the roof area where you can see reflections of sunlight by the glass panels. I tried to capture the different rays of colours seen and incorporate and mix them up into one whole mess of a painting.
qed thriller Boo! Get ready to get frightened!
click to watch video (external link)
harlem shake ‘“We should consider every day lost on which we have not danced at least once.” - Friedrich Nietzsche
click to watch video (external link)
[ MArch Atelier qed | MSA ] Autumn 2013
digital design symposium
talks by Prof. Nik Dunn, Prof. Martyn Amos, and Prof. Keith Brown with guests speakers T. Kocaturk, B. Davidson, Ruari Gluyn, D. Krolokows.
table of
contents Day 1: Day 1: Day 2: Day 2: Day 3: Day 4: Day 5:
Introduction Introduction to Processing Introduction to Arduino Introduction to 3D printing Digital in Design Code & Form Integrated Workshop Guest Lecture Re-Map/ qed joint studio review
introduction digital symposium The Digital Design Symposium was a joint five day event with the QED and [Re_Map]units. Through a series of Events and lectures throughout the week, students would be taught object orientated programming, arduino, 3D printing, their use in practice today and the possibilities that digital technologies bring to the profession.
EVENT 3.0 - INTRODUCTION TO 3D PRINTING Using our own 3D models produced for the Dream Pavilion project we were taught how to convert them into ďŹ les that a 3D printer would be able to reproduce.
[Re_Map], QED and Creative Multimedia: Digital Design Symposium 11.11.13 - 15.11.13 PROGRAMME OF EVENTS Monday 11.11.13
Tuesday 12.11.13
Wednesday 13.11.13
Thursday 14.11.13
Friday 15.11.13
10.00-13.00 EVENT 1.0 Introduction to processing Basic terms / visualisation‌ 6th floor studio (CH 602)
10.00-17.00 NO EVENTS
10.00-13.00 EVENT 3.0 Introduction to 3D printing (6th floor open studio)
10.00-16.30 EVENT 5.0 Code and form integrated workshop to show relationship between code and 3D virtual and physical production. (6th floor open studio)
10.00-13.00 EVENT 7.0 Studio review session / discourse. Pechu Kucha from last years YR5 (Benzie 403)
14.00-17.00 EVENT 2.0 Introduction to Arduino 6th floor studio (CH 602)
LUNCH 14.00-15.00 EVENT 3.0 Introduction to 3D printing (6th floor open studio) 15.00-19.00 EVENT 4.0 Digital in Design (Benzie 403)
17.00 EVENT 6.0 Prof. Nick Dunn Prof. Martyn Amos Prof. Keith Brown (GM LT4)
LUNCH 14.00-18.00 EVENT 8.0 Key note speakers T. Kocaturk B. Davidson Ruari Glyn D. Krolokowski (Benzie 403) DRINKS
Brief Day One
introduction processing Exercise 1 and 2 In order to maintain a general understanding of how processing script can act as a new tool for architectural design Output: The workshop gave participants a hands-on introduction to Processing. The primary goal of the workshop was twofold. Firstly, participants gained an understanding of how OOP methods can be easily integrated into their own design practice to provide powerful data manipulation and visualization. Secondly, participants gained an understanding of the fundamentals of programming in Processing,which allowed them to further develop their own skills through self-directed studies.
The workshop will be structured in 4 parts: 1. Demonstration of OOP in processing. This will highlight the significance of using objects and serve as an introduction to the Processing environment 2. Introduction to the fundamentals of coding a) 2D drawing b) Data types c) Data management (arrays) d) Iteration (loops)(applied in every exercise) 3. How to write our own classes and ‘super charge’ our sketches 4. Using external libraries
Output: The program executes print line which runs in an infinite loop.
Output: Create an elipse that changed colour depending on the pointer’s x and y coordinates
Model A
Model B
Summary Output Create two eclipses that connect to one another within a specified distance at the same time storing individual data.
Exercises 1 through 2 introduced the basic tools and functions for scripting in processing. While model A and B are examples of how these functions can create complex architectural forms.
introduction arduino Button Test. Turns on and off a light emitting diode (LED) connected to digital pin 13. When pressing a pushbutton attached to pin 10. EasyButton automatic function call LED. Changes the colour of a special LED in sequence upon pressing a button and running the code through arduino. Button input to server. Pushing a button connecting to the arduino and running the appropriate code activates the server motor causing it to rotate until the button is stopped being pushed.
introduction 3d printing 3D Printing or Additive Manufacturing is a making process whereby layers of a material are built up to produce a 3D form. The process has been around for over 20 years, but recently the technology has become readily available and affordable. Its primary application to architecture is its ability to reproduce complex forms directly from digital sources. Mostly used in modelmaking to create organic shapes, 3D printing can be used for wider applications such as rapid prototyping and there have been many different examples of commercialisation of the technology. Asda now has a facility where customers can 3D print a model of themselves.
Asda’s 3D print service scans customers with high quality imaging capture and maps it onto a 3D model created by the same scan. A 3D printer produces models of the customers for collection in store. Artist Joshua Harker creates intricate patterns in 3 dimensions using 3D printing as a medium. The precision of the machines mean that he can achieve results that would be near impossible with conventional making techniques.
Desktop 3d printing MakerBot Industries is a company founded in 2009 that has brought 3D printing into the home. Their open source philosophy means that all of the software needed has free licence and sharing your digital models via their Thingiverse makes it very accessible. The process used in the Replicator models uses a filament which is fed through a heated nozzle. This melts the material and puts a thin layer onto a heated plate. After several layers have been added a 3D form emerges.
The university has 5 MakerBot Replicators for student use. The machines are founded on principles of ‘open source’ which means that the technology is freely available. This does mean that they are somewhat basic, although easier to fix.
Makerbot’s other models, the ThingO-Matic and the Replicator 2, their latest offering.
The Replicator 2, as seen here, is a more advanced and intuitive version, with a higher capacity for detail than that of Thing-O-Matic
On the other end of the spectrum is the current largest 3D printer, the Objet 1000.
from digital to physical Even models from SketchUp can be used for 3D printing. The file type .STL is used with MakerBot technology. A free plugin for SketchUp is available which exports an STL. Ensure only a selection is exported as otherwise a large file is created.
Software called ReplicatorG is available for free online. This is what communicates with the 3D printer. Python installation is also required. The .STL file is imported. Ensuring the base of the model is on the base of the platform and centred, the file can be converted to script.
The program then generates a GCode. This is the script that will be fed to the printer as a list of instructions. Here you can add options like support structure for delicate models. The 3D printer creates a thin mesh that supports the material and can be easily removed afterwards. Here you also select options for which extruder to use. The MakerBots have two with different colours so this selection will dictate that.
The GCode looks like this. It is a series of scripting commands that inform the behaviour of the MakerBot. From here, you can send the model to print directly if connected through USB or files can be written to an SD card. Note, the filetype must be .x3g
printing process Even models from SketchUp can be used for 3D printing. The file type .STL is used with MakerBot technology. A free plugin for SketchUp is available which exports an STL. Ensure only a selection is exported as otherwise a large file is created.
The results from our first attempt were mixed. This model was not particularly successful as the material was not sufficiently supported
The machine often adds ‘spaghetti’ to the model when too much material is fed through the extruder. The second attempt was more successful
‘This is the raft’ that the machine uses as a base. It can be peeled off after printing.
digital in design Keith Brown, artyn Amos & Nick Dunn combined lecture on sculpture, design and human nature. Keith initially designed intuitively allowing the very materials and tools to almost suggest their own form. The process was explicitly linked to the final result and thus the form directly related to the craft. As technology progressed so did his process of design and thus computer modelling opened up new dimensions of design in which pure sculpture would not be possible. The production of ‘impossible’ sculpture is tested through modern tools of production/ fabrication, e.g. 3D printing. In some of his earlier pieces Keith tested with teh nation of self replication, playing with the idea of ‘slicing’ and reordering to produce pieces that had an inherent link to each other even though each piece was unique. One piece could not exist without the other. In his later works and as computer software has advanced, so to has Keith’s process of design. Now it is the ‘tools’ and process of creating digital sculpture that determine the final form of object.
In the digital world manipulation of form is infinite and thus order is created through certain rules being applied to each sculptural piece. For example many of the pieces produced follow numerical patterns and thus organic flaws can be seen running
through the sculpture even though the final form is merely 1 derivation of a possible infinite form. To translate many of these computational models into tangible sculpture 3D printing in its many different forms have been used. Works
produced by the technology in its earliest years has a very different outcome to more modern methods, this gives rise to new challenges and design opportunities within digital design. 3D printing technology is tested to its limit and various versions of the technology have been used and tested to produced a wide variety of colours, textures and details.
digital in design Keith Brown, artyn Amos & Nick Dunn combined lecture on sculpture, design and human nature Swarm Intelligence Dr Martyn Amos Martyn is an academic researcher in computer science at MMU and is interested in investigating the future of computing by utilising several active research groups looking at: -Mathematical Modeling and Flow Analysis -Logic and Computation -Image and Sensory Computation -Intelligent Systems & Novel Computation He is leading in the work he is doing at the intersection of computer science, mathematics, biology and engineering.
The Super Organism The Behaviour and Beauty of Insect Societies Colonies of social insects are biological supercomputers. We can learn from their behaviour and they can teach us how to build using basic systems.
Biological Super Computers Ants and termites, at some level, are chemical-sensing automata; ie. they work like machines. They move around, sense their environment and act according to simple rules. This system applies to the collective nature of the colony and this gives it its power. By themselves they are useless but together they are very powerful.
Simple Rules = Great Results When we look at termites piling wood we see that they have only two rules that they all obey. Rule One - walk around randomly Rule Two - if you hit a wood chip pick it up if you don’t have one OR put one down if you do have one Modeling Simple Behavior Martyn used these simple rules to model the behavior of the termites to discover if the way they work comes down to just these basic rules. The white dots are the termites and the yellow is the woodchips. What Martyn was able to discover was that however, the simulation was started the wood chips always ended up in piles within the confines of the programme. It is these basic rules that have produced some amazing animal architecture all without plans, managers or architects; just two basic rules. No single termite could do this alone but it is only possible as a colony.
What can we Learn from Swarm Behavior “An ant colony is a problem solving instrument� Building abstract models of swarm behavior and applying these algorithmically to the computer based problems. These algorithms are very good for solving problems involving routing. By modifying the environment and implementing a selfreinforcing, self-organising process gives rise to the emergence of unplanned yet coherent behaviour.
digital in design Ant-nav Keith Brown, artyn Amos & Nick Dunn combined lecture on sculpture, design and human nature
When ants go out to find food they leave a trail so they can find their way back to the colleny. If two ants go different ways arond an obsticle the faster ant will arrive back at the colleny first and the next ant will follow the faster ant to the food. If the obsticle moves this is reaplyed and the fasted route is always taken.
Mobile Phones with Ant Logic This system has been used by mobile phone companies to optimise phone connectivity when masts are down. They trace the all the calls that look for the next nearest mast and follow the ones that get back first. This process has been used successfully and is being looked at by delivery companies and how it can be applyed to other proiblems.
Annular Sorting
Second Attempt
Ants sort their eggs so that the smallest are in the middle of the nest, the largest are on the outside and the rest are in between. Each egg also needs a certain amount of space left around the out side of it.
The eggs are laid out in three piles of the different sizes. This was to see if the same would happen or would the piles stay separate. The result was that after the same “faffing about” time the eggs ended up again in the correct order with the right spacing.
This all has to be done without a supervisor. The ants just have to know. Martyn modeled this with a set of rules and tested to see if it could work. The white ants have the two simple rules from before but a third has been added. Rule 3 The larger the object the larger the space that needs to be left around it. The eggs want to be close to each other but not too close.
First Attempt The eggs (blue) of different sizes are randomly distributed. The ants (white) follow the rules and after a time of “faffing about” the eggs are ordered correctly in a bulls eye shape with the correct amount of space between each egg.
Implications for Design Martyn is interested in how interacting agents might design physical structures in the same way. He asks the question; Can we build a system where we define the rules, and then just let the structure emerge with no topdown placement of components? Could this be the future?
code & form integrated workshop Aim of class: Advanced processing class Using the basic code components learnt in Event 1.0, to produce code that would show the relationship between code and 3D virtual and physical production. The class used in more detail: loops, arrays, floats, distcalcs (distance calculations) and ellipses.
Array & Loop
Ellipse & String
Ellipse on string In this code the circle would follow the mouse around the screen. Whilst having 4 ‘strings’ attached to it with the other end at fixed locations in the void screen. The code would allow us to change the colour, size, and outline of the ellipse and to alter the thickness of the strings.
This code taught us how to use arrays (selection of integers/data) and then use of loops to select one integer from array at a time. By doing this we could then apply an ellipse code to each integer that is selected to generate a visual image
Translating external data into code format This tutorial took the code from the arrays and loops, but this time applied it to more complex data. The data would be typed up in a .txt file and be accessed through processing as an external source. A code would take the data and divide each number with a comma in order for it to be applied to ellipses in various different ways to alter its location, size and shape.
PeasyCAM
Floats
Peasycam was a plugin library that allowed the void space to be 3D space. This opened up even more potential for processing. 2 cubes were coded to appear and with a click and drag of the mouse we could spin and rotate the shape.
A float is a floating-point number, which means it is a number that has a decimal place. Floats are used when more precision is needed. Different function can be embedded into the code. In this example, a the movement of the mouse cursor would reduce the size of the circles around it creating a ‘live’ wall that distorts in accordance to mouse movements.
re_map/ qed joint studio review The joint studio on Friday 15th November was a great opportunity for students working in two very different from one another ateliers to come together, discover each other’s work and exchange ideas. The ‘event’ was aimed to mark the end of the Digital Design Symposium Week, intended as a shared activity between the two units as well. The agenda for the day was to have round table discussions on: - 5th Year draft TECH Presentations - 6th Year Re-Map projects from last year - Presentation and Peer review of studio work to date
The event allowed us to see the wide nature of architecture uncovered through the different approaches of the ateliers. While qed have been predominantly involved with the design of pavilions, both for a competition and for a real client, [Re_Map] have been doing an extensive research-based project since the beginning of the year. Students from both units have been equally busy and productive, as we could see from the amount and quality of work viewed on the day. Throughout the whole morning we were working into mixed groups of 5th and 6th years with representatives from both ateliers.
The day started with 5th Years’ TECH presentations. There seemed to be a discrepancy between the outputs required from the two units. While ReMap had nearly finished presentations ready for discussions, qed have prepared only unit project work to present. However, this was a good opportunity for qed students to view actual examples of TECH presentations and to participate in an active discussion and evaluation in terms of content and presentation quality. It would have been better if our unit was more prepared so that we could get constructive feedback ourselves.
On Friday we also had to present our National Trust pavilions and the progress we have achieved so far. This was an excellent rehearsal opportunity for the Supercrits we are to have within the next few weeks. We had to present our work to an audience that was completely unfamiliar with the projects we have been dealing with and it is very likely that we will be asked similar questions as the ones that were raised during those informal presentations. As our NT projects are still ongoing, we could use the feedback we received for their further development.
We delivered short informal presentations on our Dream Pavilion competition proposals and got engaged into some really interesting and fruitful debates. The [Re_Map] students seemed quite intrigued by this particular project and some lively discussions took place. Perhaps, it would have been better for such an activity to have happened a few days earlier, so that we could use the feedback constructively for the final submission. Last but not least, we were presented with some really exciting 6th year’s Re-Map projects from the year before. They were extremely well researched and executed and could serve as an inspiration and example.
In conclusion, we could say that this was quite a refreshing studio approach that was beneficial for both studios. It was a fun way to mix and mingle with other atelier students, to network and see different approaches to design. [Re_Map] seemed to have a clearer idea of the agenda for the day and the outcomes they wanted to achieve. Nevertheless, qed managed to extract as much benefit as possible out of the opportunity given. The event ended with cake and a ‘Thriller’ video (joint self-initiated project of qed students), which by itself would turn any day into a success.
event 8.0 Concluding lecture to the Digital Design Symposium featuring Ruari Glynn of The Bartlett, Bruce Davidson of Amanda Levete Architects and Tuba Kocaturk of Liverpool School of Architecture.
robotics and the visual world
Ruari Glynn is an installation artist based in London. With recent exhibition at the Tate Modern London, Centre Pompidou Paris, and the National Arts Museum of China, Beijing, he’s building a growing reputation for captivating art works inspired by perceptual psychology and performance as well as from his training in architecture, and his compulsion to use and abuse contemporary technologies. His lecture focused on his recent work with performance with artsts and
Ruari Glynn
robotics. In his work he explored a fascination with motion as the primal feature of the visual world. Believing motion to e of far greater importance to how we perceive the world than features, Glynn states that 99% in Architecture is genetic algorithms and form = waste. Throughout developing the ‘anima’, the life the breath, the soul of a project his installations strip back other effects to explore the expressive quality of motion and gestural interaction.
augmented beginnin
innings
Bruce Davidson
Bruce Davison’s lecture was titled, digital fabrication have allowed to Augmented beginnings: Partnering challenge conventional nations of intuition with computation. forms and space. Bruce Davison leads AL_A’s computational research group, integrating this with design development across all the office’s projects. Davison’s lecture on partnering intuition with computation explored the ethos rooted in technology as an extension of the body and the transformative potential of space. The developments in
bim in architecture
Dr. Tuba Kacofurk
Dr. Tuba is an Architect, with a PhD in Architecture and Building Technology, obtained from Delft University of Technology, the Netherlands. Currently she is a Reader in Digital Architecture, at Liverpool School of Architecture in UK. Her research centers upon the creative generative and collaborative use of digital technology in architectural and urban design. Her lecture on BIM concentrates on the IT impact on Design learning,
Collaborative Knowledge Modeling and Emerging socio-technical systems in Architectural industry. The research she presented set the agenda for the future of crossdisciplinary integrated design, and digitally networked collaborative design practices.
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appendix
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appendix
Connect the world, 2010. Unknown WWI soldier buried as mass graves give up secrets. [online] Availabe at<http://edition.cnn.com/2010/WORLD/europe/01/30/wwi.soldier.buried/> [Accessed 30 September 2013] University of Oxfort.,The first world war poetry digital Archive. World War 1 Poetry [online] Availabe at <http://www.oucs.ox.ac.uk/ww1lit/>[Accessed 25 October 2013] Modern History Sourcebook,1917. World War I Poetry. [online] Available at <http://www.fordham.edu/halsall/mod/1914warpoets.html> [Accessed 1 November 2013] PHOTO Dunham Massey,2013. Site Pictures (The Mound). Own photos SPONSOR CONTACT NUMBER Kind Regards Andy Betts Branch Manager Travis Perkins Altrincham 3248 0161 928 1160 Andrew Betts andrew.betts2@travisperkins.co.uk (Touch wood recycling) Peter Howarth Timber- Rob Bailey fallowfield John - Kavanah timber Iain - George Hill, Oldham Jessica Webb - National Trust & Dunham Massey
â&#x20AC;&#x153; If you are irritated by every ru
ub, how will your mirror be polished? â&#x20AC;? - Rumi