permanent fractality portfolio by Jeffrey See Thoo

permanent fractality bringing human closer to the nature by harmonizing the two entity

design studio iv portfolio

project timeline

theory + craft research

new grammar of ornamentation

facade + craft center

all works and documentation of the project produce by this author is original and certain research are from several sources that has been cited. no plagiarism is involved in making this portfolio, only pinteresty reference is used, as this only inspired me.

acknowledgment

p1 theory + craft research

based on these two articles given to the project, it is a continuation of the entire design studio project. To discuss the similarities and differences between the two-given article. The content of the article is to relate back to the core design intentions. One of which is written by Kengo Kuma, a Japanese architect that uses informal approaches in designing spaces, structures and forms. In the article, he talks about architectural form in Tokyo and the design challenges he faces such as form. Moreover, he also argues that architects should relate to the human body and material because his theory is that using the best material does not mean it creates a space that is pleasant nor beautiful. the second article talks about the nature of a material and human perceive pattern as a crystallization of natural product for instance bamboo as the writer solely draw attention to the material. Pattern is a creation of the human hand; the goal is to make nature even more natural. Which is similar to the first article where Kengo Kuma design an observatory rather than creating a solid form, he creates an invisible form where it blends the structure with the surrounding natural site. Furthermore, the two articles reference the relationship of cooking and architecture that both uses three main elements such as utility, materials and technique. These two articles also shared one major similarities, which is craftsmen and the challenges and restriction of working on the materials.

although these two articles are quite similar, there are differences in certain aspect of the approach in form. One is about discovering and inventing new form and detail, the other is about natural form by conforming to the laws of nature. Based on this, I agree with the theory of both writers, stating that the challenges of working with the natural material and proper techniques apply will achieve something that respect both the nature and human perception. therefore, in relation to the ornamentation topic as mention earlier, there are three keywords which I am drawn to nature, human perception and techniques. Based on these three elements, I have discovered that in order to achieve great form that develops around ornamentation is to understand the natural laws such as a structure of a flower and human behaviour. Figure 1 Kengo Kuma M2 in Tokyo uses post-modernism style and informal approaches in designing the form of the structure, a design to break the barrier of traditional form Figure 2 Kiro-san observatory design by Kengo Kuma, he creates a form that is invisible blends into the site itself. Which he called invisible architecture. Figure 3,4 Comparison between the nature and pattern, the similarities are that both are symmetrical form. Both of the articles mention that design should mimic the natural world because nature develops and evolve from billions of years. Therefore, materials that are challenging to work, will truly shine if the proper techniques are applied.

project 1a : essay on theories of ornamentation

thai ceramics

collection of groupmates credits to christopher jass lethisha yousef

introduction thai ceramics refers to ceramic art and pottery designed or produced as a form of Thai art. Much of Thai pottery and ceramics in the later centuries was influenced by Chinese ceramics but has always remained distinct by mixing indigenous styles with preferences for unique shapes, colours and decorative motifs. Thai pottery and ceramics were an essential part of the trade between Thai and its neighbours during feudalistic times, throughout many dynasties.

project 1b : craft research

thailand bangkok ceramics studio // pottery studio // clay workshop a community of people who are passionate about ceramics and making new friends. mold making // social pottery session / glazing / firing

ceramic studios 16 ceramic studios // 4 in bang krachao Yarnnakarn company limited Chaang Ocarina Ceramic Studio Cone Number 9 aoon pottery Som ceramic Bangkok Ceramics and Pottery Club Treerachin Aromdee Art Studio

project 1b : craft research

Palm Pottery Studio Charm-Learn Studio Poteri Clay Workshop A Clay Ceramic YARNNAKARN + AGO PCHA CERAMIC Attic Studios Dinner Ceramics Studio

cham learn studio minimal // simple // clean // diningware

a clay ceramic creative // attractive surface paintings // decoration

aoon pottery traditional // rough // unique texture // cultural arts

history

the blue lines represent the river connection of each indivudual kiln site, which is the integral part of their transport netwerk system to distribute the ceramic wares.

main kilns that are located in thailand and the comparison of active and historical sites.

location

project 1b : craft research

phan kiln site

sawankhalok kiln site

active ceramic studios

located in Chiang Rai province near the district town of Phan. According to Sayan Prishanchit suggests that the activity of Phan kilns lasted no more than fifty years.

often the most thorough and detailed research of all kiln group in Mainland Southeast Asia. The kiln sites is one of the most successful.

based on the research, it is known that most active ceramic studios are located in the capital of thailand, due to the traditional kiln being obselete. In one study, the reason why traditional kilns lose their pressence is because of the large quantity of chinese import ceramics that result of the closure of traditional thai ceramics. Although some of the tradiational ceramic managed to survive.

sankampaeng kiln site

sukhothai klin site

the kiln site operated around from the first half of the thirteenth century to the late sixteenth century. Which located in the overland.

one of the most famous site in this group. This kiln site is one of the oldest, even older than Si Satchnalai.

geology

kilns built near river source frequent locations along rivers-for the immediate convenience of building kilns in the riverbanks and sending wares to market by boat-enabled them to bring supplies from more distant sources and therefore continue operating in one place after local clay and firewood had been exhausted.

early kiln site uses inground kiln structures, typically inground kiln produce earthenware. Site that uses inground kiln are : Sawankhalok (Si Satchnalai) Mon phase 13th - 14th century Sankampaeng 13th - 14th century

later in the century uses surface kiln, that mainly produce stoneware. . Site that uses inground kiln are : Sukhothai 14th - 15th century Phan 15th - 16th century

excavation site and characteristics of the clay source

a clay excavation site, that is commonly found in thai kiln sites.

project 1b : craft research

Phan Number of kilns : 30 Excavations : 15

Sawankhalok (Si Satchnalai) Number of kilns : 600 Excavations : 263

San Kampaeng Number of kilns : 83 Excavations : 9

Sukhothai Number of kilns : 100 Excavations : 51

the clay is light colored and distinctive for its strange iridescent quality without any specks of impurities being plainly defined, such as the white and black speckled clays of Sukhothai and Sawankhalok (SI Satchnalai).

the high-fired stoneware and the fired body is greyish with black spot. Due to the high iron oxide content of the clay, but the clay is much finer than Sukhothai clay.

similar to the Sawankhalok ware, which have very fine clay source to produce wares that are upmost quality with little or none white particles found in the ceramic body.

sukhothai uses clay that are less fine when compare to other kilns around Thailand. The characteristics are coarse, grainy, greyish and sometimes brownish body with particles embedded inside the ceramics.

earthenware clay is typically dug from a vein close by the potterâ&#x20AC;&#x2122;s village. The layer of topsoil, generally about 1 meter thick, is stripped to expose the clay.

clay mining although common ceramic production developed and thrived at sites where the necessary raw materials-notably clay-were available. When the site exhausted the clay excavation. The kiln site will rely on outsource of the clay material.

a map of the clay mining site, which is located in Chao Phraya River. The blackish, plastic transported clay is found throughout the great central plain of the Chao Phraya Kiver. Much clay is mined and processed in Changwat Nonthaburi and brought 10 kilometers downstream to Bangkok by boat.

project 1b : craft research

stoneware clay is excavated from mines dug deep to reach and follow veins of specialized clay. The source of the clay is delivered by riverboat.

location of chao phraya mining site and the relation between kiln sites and river source.

a traditional clay mining boat found in Chao Phraya River.

monotone

singular tone color glazing

celadon glaze found in Kalong Phan Sankampaeng Sawankhalok

White glaze found in Sawankhalok Sukhotai

incised brown and white found in Sawankhalok

brown or black glaze Found in most kiln sites around central thailand. Which is Kalong, Sankampaeng, Sawankhalok

white glaze with black or brown under glaze Found in Kalong, Sankampaeng, Sawankhalok, Sukhotai

green glaze with brown or black under glaze found in Sawankhalok

two different color of glazing

project 1b : craft research

duotones

different variation of thai ceramics the types of unique ceramics wares in historical kiln sites and thier different characteristic of the wares.

architectural antefix

basins

tukhata dolls

kendis

covered box

bottle

bowl

sawankhalok (si satchnalai)

chaing mai province

province

pedestal basin

bowl

sukhothai

famed for its stoneware of plates, dishes and bowls, having an underglaze iron black decoration of fish in the center.

project 1b : craft research

mortar

the majority of the kiln shards were especially jars, bottles, mortars, and basins in small and medium sizes.â&#x20AC;? dishes, plates and bowls are also among the most common finds.

sukhothai

bottle with long neck

jar with lid

sankampaeng

produced mainly architectural fixtures. the unique types of wares produced, which is Tukhatha (dolls), boxes with lid and kendis

jars

small oil lamp

plates

cup

jar with plain mouth

vessel in an elephant form

kendis in bird form

phan

common shapes of phan wares include bowls, plates and dishes, but also some rarer forms such as jarlets, kendis in bird form and elephants.

sukhothai

chaing mai

province

analysis of motif

free ornaments

repetition ornaments

symbolic

free ornaments are those ornaments that are applied to suggest the end or finish of an object.The word ‘free’ implies a freely treated edge-ornament.This technique make the ornament appears multi-dimensional. It’s symmetrical, not only from top to bottom but also from left and right.

repeating ornament it about extension itself in every direction, its details without regard to any definite boundary.These are either in geometrical,organic or combined elements. The elements are in diagonal direction and rhythm ordered.

back to the prehistoric period, the Buddha as a symbolic icon for the Buddhist religion and treat the icon of the Buddha with respect. The Buddha was a teacher and an “enlightened being” and as such,the statues and icons of him are meant as objects for teaching and guiding. Because of this, much of the imagery was borrowed. Imagery such as where the Buddha statue’s hands rest.

project 1b : craft research

pattern form

construction form

p2 new grammar of ornamentation

infinity where individual panel are duplicate and reflect infinite amount of times to create a complicated language which we as being derived from

project 2 : new grammar of ornamentation language

project 2 : ornamentation concept

01 a map of a urban road design, that link each location with centralize radial form. as shown black box represent the central city where density of the people is high. 02 spiral form with complex pattern of a flower. a infinity loop which recreates itself repeatedly, no matter what scale. 03 a grid form with abstract shades of colors to differentiate on each other to create a harmony form. 04 - 05 conceptial radial form of a space, which creates unity and security by forming a centralize space.

06 - 10 as mention earlier, fractals are everywhere. it is creator of life and existence as we know. for instance, a galaxy, a pistill in the flower, curve branches on a vine, a typhoon which destroys the land and a structure of a vegetable which give its rigidity of the elements.

10 05 manipulated grid and radial form case study of the form itself to better understand the pattern which applies on the building elements.

project 2 : comparison between new grammar of ornament and nature

project 2 : ideation sketch

fractal pattern

inversed fractal pattern

a collection of grid, inspired by fractal of golden ratio

project 2 : core ornamentation grammar

project 2 : overall ornamentation pattern

01 office winhov city_stefen muller

02 vessel_thomas heatherwick

02 05

03 judicila centre_koller studio

04 turbinehuset_daneilsen

05 sheung wan hotel_thomas heatherwick

06 - 07 lideta_mercato / void house

08 - 09 fractal facade_maycon sedrez project 2 : ornamentation in building element case study

project 2 : transformation of pattern to building element sketch

project 2 : building element development 01

project 2 : building element component

project 2 : building element development 01 model

01 axonometric view one of the manipulated window design. 02 axonometric view two entralize solid form with arrangement to create depth and volume. 03 front view of the window design, that are two types of solid and void, solid is to shade the opening and void is to create air ventilation and view. 04 axonometric view three

05 bottom view, as the form is a complex arrangement, therefore, complex from evolves in every view of the desi 06 close up view showing form and details

clay model exploration progress of clay model and tangible development.

project 2 : building element development 01 exploration model

project 2 : building element final development

01 frame to hold each panels of the layer component 02 using hooks to hold the individual panels 03 frontal view of the ornament pattern design showing the multi layered components 04 3d layered view showing each components in specific order 05 axonometric view

06 frontal view plus layered view

b. mock up model 01 ideation model represents the building element in physical model

project 2 : building element final development

01 top view of the model, showing the components plus the light and shadow effect 02 close-up of the model focusing on the first layer 03 close-up of the model focusing on the second layer

c. mock up model 01 details details of the physical model, showing the layers of ornament.

project 2 : building element final development

01 frontal view showing the refine version of the mock up model 02 top view showing individual ornamental panels 03 close-up axonometric view 04 layered axonometric view 05 model focusing the grid structure element, the internal grid is a modular grid to create an easy assemblage of the window element

06 model focusing on the exteral ornament that creates the ornamental design concept based on site and craft

e. final model progress of clay model and tangible development.

project 2 : building element final development

project 2 : building element life cycle

project 2 : building element final development

project 2 : building element assembly guide

p3 facade + craft center

design studio 04_final review

facade and craft center using nature as art and being and transform to a pattern

core concept

> intergrate concept

> typology of facade and space

> case study

> extract

> redevelop ; reconstruct

> understand

> propose

the process

what is fractal ?

fRActaL = subdivide fractal is a mathematical geometric pattern that produce in infinite amount of times, that creates a dimension in a dimension. complex patterns that are self-similar across different scales. what makes me interested ? it is an entity that repeats itself indefinite it is a unpredictable form and arrangement it is complex it is chaotic . . it creates unity it creates a new form it relates to the site it relates to the craft it relates to the program . . it is the pattern of mother nature it is everything

the beginning

intergration of facade and site : concept

bang kachao figure ground fractal pattern : site

pattern

craft

A mathematical fractal pattern, purposeprograms is to based on the proposed at the site measure the coastline of a continent. As we determine the true length the coastis cannot permaculture, the offacade will follow the line. The koch snowflake is a measuring tool. needs, and of the program Based on ethics the site located nearobjective chao phraya the river line element is used to create a willriver, reflect onto the facade fractal pattern, as to relate back to the orna-

not only program, the initial pattern development based on theory of fractality is present and intergrated to the facade, both arrangement and scale of each detail of the facade

as craft is the core design principle, traditional craftsmen is retain in its shape and form of the facade. for instance, the material used, the source material and labour of the facade

pattern + facade = dynamic pattern facade

pattern + craft = materialize facade

koch snowflake

mental development.

and out, the pattern will remain as the same

scale section 2

concept

Something that cannot be measured, the more the pattern zooms in, the more form and cracks appear. Therefore, infinite of form that cannot be measured. It is known as coastline paradox.

site + facade = vertical farming coastline paradox coastline paradox coastline paradox

case study 01 : craft building : the center for asian art at the ringling musuem of art architect : Machado Silvetti year : 2016 form : slip casting material : glazed terracotta facade type : wall cladding. the façade is composed of deep-green, glazed terra cotta tiles that address the client’s requirement .the sharp terra cotta forms are intended to evoke the art objects but are also inspired by colors found in nature and the whimsical architectural terra cotta tiling found in the original Ca’ D’Zan.

case study 02 : pattern building : fuzhou strait culture art center architect : PES Architects year : 2018 form : custom develop ceramic fabrication material : white glazed terracotta facade type : metal frame with louver panel ceramic is used as the main material of the facade due to its significance in the historicalk context of the maritime silk road trade connecttion between china and the rest of the world. the main façade ceramic louvre section is lens-shaped, relating to the form used in the massing of the buildings. This also maximizes the shading capacity of the vast glass façade.

case study 03a and 03b : site product : wall plantation, air cooler architect : manoj patel design studio reduce, reuse, recycle are the principle when this designer thought of this, by using or repurpose clay roof tile has upcycled locally produced tiles into a green wall with natural cooling benefits,

product : breath box architect : nas architecture the wind comes lift the many reflective modules, providing a duality between visual experience and reflection ripple. case study

case study

extract fabrication

structure 02

arrangement 03a

reflection 03b

green wall as pattern

03c

self sustain

extraction

case study 01 ideation sketches

case study 02 ideation sketches study of facade fabrication and panel arrange in relation with the programs

study of structure arrangement 1. arrows in the sketches indicate the arrangement of the structure element

1. arrangement pattern 2. fabrication and form making of the panels

case study 03a ideation sketches

sketches

2. layering effect of the each diagonal lines 3. angle of the panel in relation to the enviroment factor

case study 03b ideation sketches study of innovative ideas in vertical farming

study of reflectivity of the facade panels and the kinetic factors

1. replacing traditional clay pots

1. movable panels power by the wind

2. water retain in the porous clay material

2. different reflection of the site entity

3. individual pattern angle arrangement

3. mimic and reuse the site as a pattern

translation of pattern

diagonal 1 way

planters

grid 1 way

structure

diagonal 1 way

structure and grid mix

diagonal 2 way

external grid

grid 2 way

concept : language

= building structure

from pattern original pattern

deconstruct

simplified

layered

to facade variation 01

flat

pattern

extrude

box

depth

flat

diagonal

one way

two way

to structure variation 01

development 01_transformation

physical model 01

01 grid + diagonal 02 one way + two way + 03 two way + extrude+ inverse+

01 panel and structure merge as one 02 mixing two way diagonal lines 03 grid line with extrusion panel

close up detail of the model development 02_prototype

from case study transformation

to facade pattern variation 01

models

analyze pattern

variation

merge

flat

diagonal

first way

second way

two way

mix pattern

one way grid

one way diagonal

extrude panels

three way

to facade pattern variation 02

development 02_transformation

relation between = site topography + facade

layered on site left

layered on site right

3d layered on site left

3d layered on site right

left way

right way

layered

mix variation

vertical

layered

mix grid

translate to diagonal pattern

translate to grid pattern

horizontal

development 03_transformation

facade pattern intergration transformation

facade intergration

development 03_final form facade transformation

final facade variation

variation 01

variation 02

for entrance building skin and peforated view shader

for main vertical farming and partial view shader

it is known that this facade is to cater both user program, site context and pattern concept

it is created to have variation facade with different functions and purpose

development 03_final form

facade function

01 circulation

02 02 03

03 02 vertical farming

01 intergrated balcony development 03_final form

02 circulation for building

03 planter box following the facade

03 planter box for facade

facade final form, materiality and texture 01

as a whole the facade material will mainly be using clay as ut relates back to the craft and concept. the choice color is included using earth color as it resembles clay making materials from the site. as for texture there are 2 types of texture shiny = glass porous = clay the shiny part is the structure where it reflects light from the exterior and bounce back to the interior with the external color facade makes the interior vibrant. the porous part is where the clay metarial take place as clay material is use for vertical, the material need to retain water for the vegetation 01 photomontage elevation 02 interior view of variation one 03 interior view of variation two 04 variation one corridor arrangement view 05 top floor view

development 03_final form

relation of thai motif + proposed facade

thai culture > facade pattern

thai ceramic benjarong bowls

comparison

pattern variation

proposed facade

facade technical drawings variation 01

01 front elevation view 02 plan view 03 section view scale 1:100

development 03_final form

facade details variation 01

detail from plan and section 01 close up section detail of the facade in relation with the floor slab and internal planter box 02 detail plan view of the fenestration openings and balcony area 03 ceramic louver component with T-bracket and internal steel core for reinforcement and mounting

not to scale

development 03_final form

d g

detail assemblage guide

assembly sequence

sub components

a section of a proposed building with exposed interior, columns and floor beam to utilize for the ornamental facade mounting points b internal concrete planter box to that is part of the floor beam c internal grid frame made of aluminium to support the external diagonal grid element, it is mounted directly to the building floor beam, acting as a primary support for the cantilevered floor beams d internal grid fasteners using undercut facade anchor bolt and u-bracket to mount the diagonal grid element which made of aluminium with painted finished e ceramic louveres is then mounted to the diagonal grid to act as a support and tie for the structure, it creates a weaving pattern which relates to the concept of fractality f external planter box is mounted together with the diagonal grid and cluttered diagonal element g the final element is the balcony, which also install together with the facade and building floor building that are integrated with each other to create a seamless construction

01 1000mm x 250mm stainless steel T-bracket with black powdered coated fin. 02 250mm x 250mm heavy duty stainless steel L-bracket with black powdered coated fin. 03 M12 ultimate undercut anchor bolt carbon steel with zinc plated (HILTI HDA-T M16 30MM) 04 M12 heavy duty wall expansion sheild anchor hex bolt (HILTI HLC M5 62MM) 05 stainless steel M8 hex head bolt with nut fasteners

1 20mm thick cement render with external coating for protection to architects detail 2 200mm thick concrete floor slab with 15mm diameter reinforced steel bars, vapor barrier and cement screeding to engr detail 3 internal grid element - 250(h) x 250(w) mm high grade aluminium rectangular hollow section with black powdered coated finished to be mounted on the building floor beams with L-bracket 4 internal planter box - 350(h) x 250(w) mm concrete planter box with external plaster finished intergrated to the building floor slab 5 external diagonal grid - 130(w) x 250(w) mm high grade aluminium rectangular hollow section with painted finished mounted diagonally to the internal grid with hex bolt 6 steel frame - 350 x 350mm steel I-section columns bolted to floor slab, 300 x 390mm deep steel I-section beams at floor slabs 7 wall - 150mm thick brick wall with 20mm thick plaster finished externally 8 cluttered diagonal louvers - 250mm x 400mm ceramic louver with external colored glazed finished with T-bracket support to mount on to the external diagonal grid with M8 hex bolt 9 glazing - size varies between opening, 10 mm thick tempered glass sealed double-glazed units with proprietary aluminium frame at bottom and 20mm deep aluminum 10 stainless steel T-bracket with M8 hex bolt 11 undercut anchor bolt refer to sub component list

a ceramic louvers to be mounted to external diagonal grid b stainless steel L-brackets for mounting internal grid structure c T-bracket mount to the external diagonal grid frame with stainless steel M8 hex bolt d close up of the ceramic louver

detail assemblage guide

facade prototype model 01

02 07

03 05

01 layered model 02 prototype ceramic model 03 interior view 04 front view 05 close up of the entrance 06 close up of the second flr 07 overall view of the facade 08 facade pattern

development 03_final form

facade construction model

4 b a

1 a 200mm thick floor slab with 15mm diameter steel bar reinforcement in contact with the soil b pass through entrance of the facade for user circulation to the building c internal grid structure mounted to the building floor beam and steel structural frame d 150 x 300mm concrete beam with 15mm diameter reinforced steel bar to support the facade structure using heavy duty stainless steel L-brackets with undercut anchor bolts e internal concrete planter box with plaster finished to be connected to the floor beam seamlessly development 03_final form

2 section cut through showing the floor slab and facade relationship and connection 3 axonometric angle view of the construction model 4 detail close up of the floor slab and foundation in contact with the soil

facade construction model a

development 03_final form

a human figure as scale reference to the model, showing the structural steel frame and concrete floor slab b opening for the user circulation in relation to the external corridor and facade with exposed steel structure c shadow cast of the ornamental facade d showing the structural steel column in and concrete floor slab e ornamental facade with brackets mounted to the building floor slab and beam f entrance of the ornamental facade and building g floor slab layered cut to show the reinforced steel bar, vapour retarder and cement screed with cement render floor finished h section view of facade and building relation i prototype ceramic louvers to showcase the actual facade element proposal j ceramic louver and T-bracket relation k ceramic texture to evoke a sense of handmade craft

facade and craft center permanent culture as concept to harmonize the nature and humanity

sequence site issue and context brief and intentions users program matrix the program site strategies site and building concepts and process massing development final proposal typology of plants proposed site landscape material selection proposal renderings and photomontages

narrative sequence

site appreciation

concept and intentions

users

program concept

design experience intention

permaculture

01 program connection to determine the type of program and its relationship to other external programs that enhances the activities and purpose of the site and community

02 program cycle as a self sustaining culture, the programs are interrelated to each other with cycle to acheive true permanent culture at the site

program matrix

480sqm for permaculture

200sqm for rejuvenate

120sqm for service

500sqm total build up area + 300sqm total open space

core bubble diagram massing development : space arrangement and site development

rejuvenate lounging activities

05 07

multiply multi purpse activities

farming micro and flower farming

greenhouses floating and land greenhouse is use for plant propagation

for additional food cultivation for the community and for users

super adobe domes

compost making natural fertilizer to use in farms

aquaponic and aquaculture system usage of floating farming system that uses fish waste as fertilizer

programs and space location arrangement within the site

design development : site

in relation to three entity ; site, craft and users. the concept deriving from the site itself. as the site is know that buildings and space is scattered with a un-uniform shapes and sizes, therefore it ties back to the fractality concept, which represent the unpredictable organization. in continuation, new ornamentation pattern language is layered onto the site to find the interaction of the typography and the pattern, after that concept from site is apply to the pattern and site typography to extract the form arrangement of the space. in comparison to the concept the organization of space emphasize on users interaction and experience rather than a bombastic design, the structure is mold onto the site typography to create a invisible architecture that interacts the typography.

concept : site and space planning concept process

final concept : harmony = site + pattern + core concept

final concept : function

collection of harmonize concept sketch 07

01 form arrangement using facade as fins 02 space manipulation 03 section and height 04 site and pattern layering 05 the flow and heirarchy 06 spatial form manipulation 07 cloud bridge that connects two spaces together

final proposal : sketch ideation of building form

first draft : development 01 centralize

second draft : development 02 complexity and fluidity

third draft : development 03 visual separation and fins

initial sketch of the proposed site, with centralize design with multi-directional entrance. why? is because to evoke a sense of lost and chaos. so that user may experience the space with different views and path each time they visit.

as the space have been located at the site, for this development will be focusing on the circulation to the site and internal space. the space is arrange in a chaotic form for a continuous concept.

using the harmonize concept, the plan represent the soild and void relationship between the site and programs with the key programs located at the top of the hill and the solid represent facade pattern relationship. the constrast between the horizontal lines and hill contour that blends together as one.

1. centralize space that follows the hill countour to maximize view out and in the site itself

1. circulation that are centralize evn the internal space, micro and macro

1. multi layering facade to create a sense of fractality

2. scattered space to increase openness of space for programs

2. spatial manipulation ; divide / rotation / level 3. space conform by natural attributes ; open spaces for permaculture programs arrows reperesent the circulation to the site and space

massing development : sketches

2. curve bridge represent the constrast and the flow of human circulation

initial development massing with location of space and research of site and toporaphy selection for the best possible spatial arrangement catering to site and programs

continous development as for the site the core concept is fractal which has a radial form therefore, the space arrange according to the concept in this development, allocation of open and closed space is defined and facade implementation is also apply to certain area to have the best function of the facade catering to user and space circulation

final draft the conclusion of the development will emphasize on three elements, the facade, the material, and the space separation. The prominent part of this development is the heirachy of walls placing to separate users visual, solid facade and void facade that showcase the privacy and intimacy of the site catering to structural ornamental facade, users and material

massing development : design development ideation

view from chao phraya river as the view suggest the main overall space will be focusing the view of the river because to attract the urban area and tie back the original design brief and site synthesis

axonometric overall view based on the previous findings and site synthesis, the larger part of the design not only involve only the space itself, but also the larger picture, which is the site and existng buildings and features massing development : design proposal ideation

facade

macro circulation

micro circulation

core design

hierarchy

open spaces for programs

massing development : building function concept

PRODUCED BY AN AUTODESK STUDENT VERSION

01 site plan scale 1:400 02 main section view 1:200

02 PRODUCED BY AN AUTODESK STUDENT VERSION

03 close up of the main spaces nts

PRODUCED BY AN AUTODESK STUDENT VERSION

massing draft plans and section for craft center

massing development : space

PRODUCED BY AN AUTODESK STUDENT VERSION

2 3

4 PRODUCED BY AN AUTODESK STUDENT VERSION

key plan nts

location plan nts

site plan

scale 1:350

final proposal

1 2 3 4 5

main entrance chao phraya river pier docking area botanica garden house reserve agriculture plantation

6 7

13 5

ground floor plan scale 1:250

final proposal

1 2 3 4 5 6 7

training studio multipurpose area ceramic studio greenhouse micro farming space compost making workshop agroforest farm

8 9 10 11 12 13 14

toilet refuse gardening studio services garden open area aquaponic farm kitchen

3 2

first floor plan scale 1:250

final proposal

1 2 3 4

traning studio lounge cafe corridor viewing deck

roof plan scale 1:250

final proposal

mango tree palm tree

papaya tree

kaffir lime thai basil

bettle nut palm

banana tree

heliconia

birds paradise

pineapple

monstera

java apple

birds eye chili

coriander

garlic

lemongrass

spearmint

turmeric

sago palm horsetail reed bamboo water lily type one

dwarf cavendish banana bird nest fern

propose vegetation

water lily type two

lipstick palm boston fern

vegetation plan scale 1:250

planting strategies

palm

cycad

monstera

bucida

eugenia

papaya

mango

frangipani

small ground coverage plants planting function

material exploration inspiration materials and texture in relation to the site, craft and programs

site hill

color

waves

color

layers

texture

â&#x20AC;&#x2DC; materials and texture have a deeply complex language of thier own that evolves and changes over time â&#x20AC;&#x2122; hapacity and time - juhani pallasmaa design proposal : material selection

夯土

hāngtǔ (rammed earth) proposed material

as a continuation of the core concept, this material is used to construct the main elements of the propose craft center. this material uses clay, gravel, sand and silt and by ramming the mixture together, hence the named. it requires structural formwork to support the material when constructing and it is also one of the oldest natural building system that humans have created. in relation to the site, local clay and ingenuous rock found at the site is to make, create and embeded into the walls to create a material deriving from the cultural landscape and built enviroment. the application of form, texture and pattern of the material will also enhances the ethics of the program, which is the growing connection between the people, spaces and nature.

draft design proposal : material selection

east elevation

west elevation

north elevation

south elevation

final proposal drawings : elevations

through training studio and cafe

through corridor

through compost making and training studio, cafe and toilet

through greenhouse

final proposal drawings : sections

3 4

5 6

11 7 8

final proposal drawings : exploded axonometric

1 skylight glazing 2 rc flat roof 3 ceramic facade 4 rammed earth wall 5 glazing 6 concrete texture wall 7 second floor slab 8 sub wall 9 ground floor slab 10 first floor level 11 overall building

final proposal drawings : overall view of the user activities and space

final proposal drawings : activities

creating space experience the main goal is to create a structure that has a low impact to the surrounding context therefore, walls are to give a spatial separation in between programs and to encapsulate the view of the chao phraya river.