MUTED VOICES
AR2102 DESIGN 4 | UNIT 1 RANDY CHAN STUDIO ELDON NG YEW KEONG | A0182451J JOHAQQIS JOHARI | A0183753X
UNIT 1 THE BUBBLE BOY
CONTENTS PROLOGUE 01 SEEING THE INVISIBLE slice(s) of nature
02 MEETING HALFWAY the fusion of ideas
03 USELESS MACHINES art cannot be finished
04 THE PAINTER the artist
05 1 IS TO ONE the machine
06 THE HIDDEN LIFE OF PLANTS the machine for living
07 THE GRAVEYARD
where ideas go to die
08 REFLECTIONS 09 ACKNOWLEDGEMENTS to randy chan and studio 3
P RO LO G U E | THE SEMESTER TOOK OFF RELATIVELY RAPID. BEFORE WE HAD THE TIME TO REACT, WE WERE THROWN INTO DEEP WATERS. RANDY WANTED US TO THINK, HE REALLY DID. HE CONSISTENTLY STRESSED THE FACT THAT WE ARE NOT BUILDING A BUILDING. LEAVING MOST OF US INCLUDING MYSELF WONDERING... WHAT ELSE SHOULD WE BE BUILDING? THERE WASN’T TIME TO FIGHT THE CURRENTS. ANY SIGN OF RESISTENCE PROVED FATAL. WE HAD TO BE THINKERS. THERE WAS NO WAY OUT. WE STARTED OFF SLOW, PURSUING LITERATURE. THE BOXMAN AND RHIZOMIC THEORY WERE PART OF THE HIGHLIGHTS. CONFUSED AND UNSETTLED. WE EMBARKED ON THE SEMESTER. THOUGH WE RARELY BROUGHT IT UP. THE BUBBLE BOY WAS THE FOCUS. THE SEMESTER DROVE US HEAD FIRST INTO UNDERSTANDING THE LOGIC OF CREATING AN ENVIRONMENT, AN EXPERIENCE. MUCH LIKE THE SHORT-LIVE BUBBLE BOY. IT SOUNDED SIMPLE. YET WITHIN THE FIRST WEEKS, WE WERE LOST. RANDY BELIEVED IN THE MULTIPLICITY OF LEARNING. RHIZOMIC IN THOUGHTS, THAT LEARNING SHOULD NOT BE ON A SINGLE TRACK. BUT RATHER ONE OF MULTIPLE REALITIES ALL RUNNING ALONG A SINGLE TIMELINE; AWAITING COLLISION. WHETHER ARTS, PHILOSOPHY OR PRACTICALITY, IT WAS OUR TASK TO RESOLVE IT ALL. PERHAPS WE WERE LOST. PERHAPS WE WERE NEVER FOUND. BUT IF OUR CREATIVITY ONLY STARTS IF WE ARE CURIOUS. THEN ITS BETTER LOST THAN TO BE FOUND. OR AS HE ONCE SAID TO US, “DESIGN IS A BOTTOMLESS PIT.” Randy Chan Studio|
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T H E G A P S I N O U R S TO R I E S | SEEING THE INVISIBLE | SLICE(S) OF NATURE
ELDON NG
WHEN GIVEN THE QUESTION OF INVISBLE, I WAS CURIOUS ABOUT THE RELATIONSHIPS THAT EXISTED WITHOUT OUR NOTICE. AND I WONDERED IF I WAS ABLE TO TRANSFORM THIS RELATIONSHIP INTO ONE OF GRAPHICAL REPRESENTATION. THE SLICE I CHOSE WAS MERE WEED. LIVING BETWEEN BRICK FLOOR CRACKS. FOR THIS VEGETATION DOES NOT GROW DUE TO HUMAN INTENTIONS, I BELIEVE THAT ITS EXISTENCE POSSESSED THE PUREST OF RELATIONSHIPS WITHIN THE ENVIRONMENT. THE STORIES THAT GO UNTOLD.
“IM NOT INTERESTED IN WHAT YOU KNOW, I’M INTERESTED IN WHAT YOU DON’T KNOW” -RANDY CHAN 2020
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SITE MAP
10-15 mm
20 mm
LL
E
FL
F RA
A SH
SE
AK
H F IS
U HO
SO
YU
2ยบ
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MAP OF NUS SCALE 1:1000
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DIRECT SHELTER AND INDIRECT
THE FROZEN 100 | I WAS INSPIRED BY THE MICROSCOPE. THE CONCEPT OF FREEZING EVERY SINGLE MOMENT WITHIN 2 PIECES OF ACRYLIC AND THEN COMBINING THE EXPERIENCE TO FORM A VISUAL UNDERSTANDING OF THE ENVIRONMENT.
EXPECTED OUTCOME
I REQUIRE A LARGE SAMPLE SIZE, MUCH LIKE MAPPING. THE TASK WAS THEN TO COLLATE AT LEAST 100 SAMPLES OF THE SITE. POST LOCATING AND UPROOTING THE WEEDS THAT LIVE BETWEEN THE CRACKS, I USED A THREAD TO MIMIC THE CONTOURS OF THE SPCAES LEFT BETWEEN THE BRICKS. I RECORDED EACH DETAIL AND CATEGORIZED THEM INTO THEIR IMMEDIATE SURROUNDINGS. THE FOCUS WAS ON WHAT IS ABOVE. NAMELY THE TREES, CLEAR SKIES, SHELTER, AND PROXIMITY FROM THE SHELTER. HOWEVER, DUE TO THE REFRACTIVE NATURE OF ACRYLIC, I WAS UNABLE TO GET A CLEAR PHYSICAL RELATIONSHIP BY LOOKING THROUGH THE SLIDES AS PLANNED. I THEN DIGITALIZED AND FUSED THE CONTOURS. LEAVING ME WITH THE AVERAGE FORM OF THE CRACKS. E8
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UNDER TREE AND SLOPE
U N F O R T U N AT E E V E N T S DUE TO THE REFRACTIVE PROPERTIES OF ACRYLIC. THE VISION OF CREATING AN ENTIRELY STRIP OF MICROSCOPING SLIDES WAS ONE THAT COULD NOT BE ACCOMPLISH. THOUGH THIS WAS DISCOURAGING, I HELD TRUE TO THE CAUSE OF COLLECTING DATA. A HUNDRED SLIDES WORTH OF DATA WAS EVENDIRECT SHELTER AND INDIRECT TUALLY COLLECT, PHOTOGRAPHED. AND DIGITALAND SLOPE ISED Randy Chan Studio|
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DEFROSTING THE 100 |
1-0.2,1 ND
2 - 0.1-2 S
3 - 0.2,2 S
4 - 0.2, 2 D
5 - 0.7,2.2 S
6 - 0.1,1.2 S
7 - 0.4,3 ND
8 - 1.1,2.3 D
9 - 0.1,1.5 ND
10 - 1.5,1.8 D
11 - 0.3,2.4 ND,SP
12 - 2,5.8 D,SP
13 - 2.8, 5.5 D
14 - 1.3,3 ND
15 - 2.8,1.5 ND
16 - 0.5,2.5 ND
17 - 3,1.8 ND
18 - 3,1 ND
19- 1.8,2.3 D
20 - 0.4,2 ND
21 - 1,2.8 S
22 - 0.4,5 S
23 - 0.3,4 S
24 - 2.2,2.4 S
25 - 1.9,2.3 ND
26 - 1.2,1.3 ND
27 - 2.2,2.4 D
28 - 2.8,4 S
29 - 1.7,2 ND
30 - 2.3,1.6 D
31 - 2.6,1.9 D
32 - 5,1.1 D
33 - 4.3,0.8 D
34 - 2.3,2.1 D
35 - 0.2,4 S
36 - 0.5,3 ND
37 - 0.3,2.1 ND
38 - 2.1,2.3 SP
39 - 2.6,1.4 SP
40 - 0.9,2.4 SP
41 - 3.4,3.1 D
42 - 1.7,2 ND,T
43 - 0.5,3 ND
44 - 1.2,2 D
45 - 1,1 D
46 - 1.6,1.8 D,T
47 - 1.9,2.5 SP
4.8 - 1.7,1.1 SP
49 - 0.5,2.3 T
50 - 0.5, 2.1 ND
51 - 0.7,2.5 D
52 - 0.6,2.1 ND,T,SP
53 - 1.3,0.7 ND,T
54 - 0.9,2.3 ND
55 - 1,1.5 D
56 - 1,1.5 ND
57 - 1.2,1.7 ND
58 - 1.1,1.9 SP
59 - 2.1,1.6 T
60 - 1.4,1.5 T
61 - 2.3,1.2 ND,T
66 - 2.5,1.4 ND,T,SP
63 - 1.9,1.3 ND,T
64 - 1.7,2.3 D
65 - 1.5,2.4 D
66 - 2,1.1 ND,T
67 - 1.8,1.1 ND,T,SP
68 - 2.5,2 ND,T
69 - 2.1,1.5 ND,T
70 - 2.,1.4 ND,T
71 - 0.9,2.8 ND, T
72 - 2.5,3.5 ND
73 - 1.6,3.2 D
75 - 2.2,1.8 ND
76 - 1.7, 2.8 ND, T, SP
77 - 1.1, 3.3 S
78 - 1.9,0.9 ND
79 - 2.5,2 D
80 - 2,1.3 ND,SP
81 - 0.1,1.5 ND,SP
91 - 2.6,1.1 ND,SP,T LEGEND
82 - 0.2,2 ND,SP
92 - 0.4,2.1 ND,SP,T
83 - 0.3,1.8 ND,SP
93 - 1.8,0.9 ND,SP
74 - 2.1,3.1 D
85 - 0.2,2.1 ND,SP
84 - 0.8,3.5 ND,SP
95 - 2.2,1.3 T,ND,SP
94 - 3.1,1.2 T,ND,SP
ND - NOT DIRECTLY UNDERSHELTER
86 - 0.6,1.4 ND,SP
T - TREE
96 - 2.6,1 T,ND,SP
SP - SLOPE
87 - 1.5,0.2 ND,SP
97 - 3,1.1 T,ND,SP S - SHELTER ABOVE
88 - 2.3,0.9 ND,SP
98 - 2.4,0.4 T,ND,SP
89 - 0.5,1.6 ND,SP
99 - 1.9,1.5 ND,SP,T
90 - 1,2 ND,SP
100 - 2.2,1 SP,T
A - B,C (A-NUMBER,B-DEPTH,C-WIDTH
LEGEND: S - SHELTER UNDER IMPACT ZONE
ND - NOT DIRECTLY UNDER IMPACT ZONE D - DIRECTLY SP - SLOPE T - TREE NUMBERS - INDEX OF LINE
SCALE 2:1 INSPIRED BY INVISIBLE CITIES, I WANTED TO CREATE A MAP THAT ALLOWS THE READER TO GAIN A PERSPECTIVE OF THE ENVIRONMENT IN ALL DIRECTIONS. GIVING A SENSING OF WHAT THE GOUND CONDITIONS COULD BE WITH REGARDS TO WHAT IS ABOVE. WITH THE EARLIER DATA, I WAS ABLE TO CREATE AN AVERAGE IMAGE OF THE INFLUENCE BETWEEN ABOVE AND BELOW, ALL I NEEDED WAS A SENSE OF DIRECTION.
THE FROZEN 100 |
SOME THREAD, ACRYLIC AND 5 DAYS. E10 | Randy Chan Studio
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LEGEND: S - SHELTER
ND - NOT DIRECTLY UNDER IMPACT ZONE
D - DIRECTLY UNDER IMPACT ZONE
SP - SLOPE
T - TREE
NUMBERS - INDEX OF LINE
MAPPING /map/ noun: mapping; plural noun: mappings an operation that associates each element of a given set (the domain) with one or more elements of a second set (the range). MAP noun /map/ a diagrammatic representation of an area of land or sea showing physical features, cities, roads, etc.
SCALE 2:1 BY WARPING THE CONTOURS IN RELATION TO ITS SITE CONTEXT, I WAS ABLE TO CREATE THAT VISUAL UNDERSTANDING OF THE SITE. WHERE THE TREES, SHELTER OR EVEN CLEAR SKIES MIGHT BE. A RAW SENSING OF SPACE, WITHOUT BEING WITHIN THE SPACE.
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INITIAL CONCEPTS OF MACHINES |
INITIAL CONCEPTS OF MACHINES | PRIOR TO THE GROUP SEGMENTS RANDY HAD SUGGESTED THAT WE CONSIDER INDIVIDUALLYWHAT OUR SLICE OF NATURE HAS INSPIRED US TO CREATE AS PART OF THE ENVELOPE.
PRIOR TO THE GROUP SEGMENTS RANDY HAD SUGGESTED THAT WE CONSIDER INDIVIDUALLYWHAT OUR SLICE OF NATURE HAS INSPIRED US TO CREATE AS PART MACHINE THAT COULD BETTER UNDERSTAND OUR INDIVIDUAL PLANTS.
MY IMMEDIATE INSPIRATION WAS PERPETUAL MOTION FOR THESE MOTIONS ARE CREATED DUE TO RELATIONSHIPS, THOUGH LITERALLY ‘PHYSICS’ RELATIONSHIP.
HERE STANDS A CONCEPTUAL MACHINE THAT FOLLOWS UP MY EARLIER CONTOUR CAPTURING THREADS. UPON COMPRESSION, THE THREADS FOR THE CONTOURS OF THE ENTITY OF THE PLANT.
HERE THE MAGNETIC FAN RUNS BY A MARBLE CAUSING FRICTION TO REVOLVE THE FAN BLADES THROUGH A MAGNETIC PULL OF AN EXTERNAL MAGNET.
METAL BALL TRACK METAL BALL FAN BLADES FRAME BALL BEARING
ROTATORY ROD
THE CLIMATE OF RAIN AND WIND POSED THE MOST INSTINCTIVE TOWARDS MY EARLIER CONCEPT OF RELATIONSHIPS. SUNLIGHT IS DEFINITELY A POTENTIAL RELATIONSHIP AS WELL, HOWEVER, IT DID NOT PROVIDE ME ANY FORM OF INSPIRATION TO PERPETUAL MOTION, NOT TO MENTION, SOLAR ENERGY ESSENTIALLY BECOMES ELECTRICITY WHICH WAS UNINTERESTING.
METAL WASHER EXTERNAL FRAME
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IT IS ALSO SUGGESTED THAT MAGNETIC FIELD CREATED BY THE MAGNET POSES POSITIVE INFLUENCES TO THE PLANT’S GROWTH. Randy Chan Studio| E15
MODEL MAKING
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PA R A L L E L U N I V E R S E | PERHAPS BEING UNDER THE SUN WAS WORTH IT . PERHAPS THE DAYS SPENT DIGGING INTO THE GROUND WAS FUN. AFTER ALL, I SAW SOMETHING. SOMETHING AS RANDY WOULD CALL IT, “INVISIBLE” AND I PRAY THAT I WAS ABLE TO GIVE IT A FORM. BRING THE INVISIBLE INTO LIGHT. FROM SILENCE TO LIGHT. PERHAPS EVEN THE WEEDS HAVE A STORY TO TELL. COULD IT BE THE FAILURES OF THE LANDSCAPE? I BELIEVE THAT THIS ANSWER IS YET TO BE UNCOVERED. YET WE MUST MOVE ON WHILE KEEPING THESE THOUGHTS IN MIND.
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‘BUT A GREAT BUILDING , LIKE GREAT LITERATURE OR POETRY, OR MUSIC, CAN TELL A STORY OF A HUMAN SOUL’ -DANIEL LIBESKIND
W H E N N AT U R E S P E A K S J OHAQQIS JOHARI
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W H E N N AT U R E S P E A K S |
‘WHEN NATURE SPEAKS’ EXPLORES AND INVESTIGATES WAYS IN WHICH NATURE COMMUNICATES WITH PEOPLE THROUGH VARIOUS SENSES SUCH AS SIGHT AND SOUND. THROUGH MAPPING OF VERTICAL ELEMENTS WHICH EVENTUALLY LED TO THE EXPLORATIVE MEANS OF LIGHT STUDIES ON A SLICE OF NATURE, AND ALSO LIFTING OF TEXTURES FROM ‘JAY’ TO BE TRANSLATED ON SHEETS OF MUSIC STRIPS. DIDEROT’S ENCYCLOPEDIA ON ‘MAKING OF MUSICAL INSTRUMENT - ORGAN’ IS UTILISED AS A REFERENCE FOR THIS EXPLORATION. THE VERTICAL PIPES OF THE ORGAN ARE ASSIMILATED AND LIKENED TO THE TRUNKS OR MAIN STEMS OF THE TREES. THE ATTEMPT THEN LOOKS AT CREATING A NEW INSTRUMENT FOR WHICH EACH INDIVIDUAL PLANT IS ABLE TO SPEAK THROUGH - IN THIS CASE, JAY
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I N V E S T I G AT I V E M A P P I N G SEQUENCE 01
SEQUENCE 02
SEQUENCE 03
ROUTE ANALYSIS
DIDEROT’S ENCYCLOPEDIA SIMILAR TO THE VERTICAL POLES MAPPED WITHIN THE SLICE OF NATURE ARE THE PIPES OF AN ORGAN. I AIMED TO FURTHER EXPLORE IF THERE WAS ANY FORM OR SENSE OF RHYTHM WITHIN THE ‘ARRANGEMENT’ OF THE TREES WITHIN THE SLICE OF NATURE.
SEQUENCE OF PHOTOGRAPHS TAKEN ALONG THE PATH OF ‘SLICE OF NATURE’. HOWEVER THE ROUTE ONLY ENABLED A LIMITED FIELD OF VIEW. E24 | Randy Chan Studio
SEQUENCES 2 AND 3 ALLOWED FOR A BETTER FIELD OF VISION TO BETTER ANALYSE A GREATER VOLUME OF TREES AND HENCE VERTICAL ELEMENTS THAT ARE TO BE MAPPED.
HOWEVER PINNING THE EXACT HEIGHT OF EACH MAPPED TRUNK PROVED TO BE NOT IDEAL DUE TO THE PERSPECTIVE OF THE PHOTO TAKEN. AN ALTERNATIVE OF UTILISING LIGHT AND SHADOWS TO DETERMINE THE PLACEMENT OF THE NOTES ONA MUSIC WAS USED.
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LIGHT A SIMPLE APPARATUS OF SCALE 1:50 WAS USED TO PIN POINT THE POSITION OF THE NOTES. THE LIGHTSURCE IS MOVED AT EVERY PANEL TO RE-ENACT WHAT I SAW AT EVERY STEP I TOOK, AS I TOOK THE PHOTOGRPAH. OPAQUE SCREENS ARE PLACED ADJACENT TO THE PANEL TO BE PHOTOGRAPHED TO ENSURE THAT THE LIGHT PEERING THROUGH THE TINY GAP OR POLES ARE OF THAT PARTICULAR PANEL.
Section B
RESULTS ARE GATHERED BY DEMARCATING THE BASE OF THE PEERING LIGHT. THE RESULTS ARE THEN INPUT ONTO ROWS OF MUSIC STRIPS WHICH CAN BE RUN THROUGH A MUSIC BOX
Section A
Plan
Opaque Screen
PORTION OF 1: 50 APPARATUS TO PIN POINT BY USING SHADOWS
Lightsource
Left Elevation
EXAMPLE OF MAPPING DONE 2mm Bristol Board
2mm Clear Acrylic Right Elevation
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T R A N S L AT I N G O N T O G R I D S
ROW 2 ROW 3 ROW 4
CDEFGABCDEFGABC CDEFGABCDEFGABC CDEFGABCDEFGABC CDEFGABCDEFGABC
ROW 1
TRANSLATED ON THE MUSIC STRIPS ARE THE POSITIONS OF THE BASE OF THE LIGHT SHONE THROUGH THE APPARATUS SET UP. FROM HERE, THERE WAS AN OPPORTUNITY TO DEVELOP BY PLACING THE RESPECTIVE LENGTHS OF VERTICAL PIPES IN AN ORGAN, AT THE RESPECTIVE POSITIONS.
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J AY
PRESENTED ABOVE IS A PACHIRA AQUATICA, OR ALSO KNOWN AS A MONEY PLANT BY MANY DUE TO THE LEGENDS AND BELIEFS LINKING TO WEALTH AND GOOD FORTUNE. HOWEVER, ABOVE IS ALSO MY ASSIGNED PLANT NAMED JAY. FROM HERE, JAY WAS TO BE REGARDED AS A SUBJECT IN CONTINUATION OF THE TRANSLATION OF MEANS IN AN ATTEMPT TO COMMUNICATE WITH IT. ASSUCH, THE MEANS AT WHICH I ATTEMPT TO RETRIEVE SUCH COMMUNICATION WAS BY MAPPING E30 | Randy Chan Studio
THE TEXTURES FOUND ON JAY. AFTER LIFTING THE TEXTURES, THEY ARE THEN TRANSFERRED ONTO THE MUSIC STRIPS AS BEFORE. THE MUSIC STRIPS ARE WOUND AROUND THE TRUNK IN A SPIRAL FORM TO EMULATE AND COVER THE FULL GROWTH PATH WHICH JAY HAD TAKEN. THIS IS IN COMPARISON TO MULTIPLE VERTICALLY LINEAR STRIPS WHICH WOULD SEEM DISCONNECTED. THE MAPPING SEEMED TO HAVE SOME ALLUSION TO COLUMNS. THERE WAS NO APPARENT CLUSTER OR VOIDS. DESPITE DEING READ LINEARLY, THERE WAS AN OVERALL MOVEMENT AND RHYTHM. Randy Chan Studio| E31
T R A N S L AT I N G O N T O G R I D S
ROW 2
ROW 3
ROW 4
ROW 5
ROW 6
ROW 7
ROW 8
ROW 9
ROW 10
CDEFGABCDEFGABC CDEFGABCDEFGABC CDEFGABCDEFGABC CDEFGABCDEFGABC CDEFGABCDEFGABC CDEFGABCDEFGABC CDEFGABCDEFGABC CDEFGABCDEFGABC CDEFGABCDEFGABC CDEFGABCDEFGABC
ROW 1
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THIRD DIMENSION C3 46.57 x 2.4 C#3 43.88 x 2.4 D3 41.34 x 2.24 D#3 38.95 x 2.15 E3 2.06 x 36.69 F3 1.98 x 34.56 F#3 1.90x 32.56 G3 1.82 x 30.67 G#3 1.7544x 28.89 A3 1.68 x 27.21 A#3 1.61 x 25.63 B3 1.55 x 24.14 C4 1.49 x 22.73 C#4 1.43 x 21.41 D4 1.37x 20.16 D#4 1.31 x 18.99 E4 1.26 x 17.88 F4 1.21 x 16.83 F#4 1.16 x 15.85 G4 1.12 x 14.92 G#4 1.07 x 14.05 A4 1.03 x 13.22 A#4 0.99 x 12.45 B4 0.95 x 11.72 C5 0.91 x 11.03 C#5 0.877 x 10.38 D5 0.84 x 9.77
PIPE SCALING REFERS TO THE RELATIONSHIP OF THE PIPE DIAMETERS THROUGHOUT A RANK OF PIPES. WHEN A RANK OF PIPES IS SAID TO HALVE ON THE 17TH NOTE, THIS MEANS THAT THE 17TH PIPE IS HALF THE DIAMETER OF THE FIRST PIPE. THE EQUATIONFOR CALCULATINGTHE DIAMETER OF EACH PIPE IN A RANK IS AS FOLLOWS:
D#5 0.80 x 9.19 E5 0.77 x 8.65 F5 0.75 x 8.14 F#5 0.75 x 7.66 G5 0.68 x 7.21 G#5 0.65 x 6.78 A5 0.633 x 6.38 A#5 0.60 x 6 B5 0.58 x 5.64
DIA(n) = SD / [2^((n - 1)/(HN - 1))] DIA(n) IS THE DIAMETER OF PIPE NUMBER n. SD IS THE STARTING DIAMETER OR THE DIAMETER OF PIPE NUMBER ONE HN IS THE HALVING NUMBER.
48 0
.00
C6 0.56 x 5.31 C#6 0.53 x 4.99 D6 0.53 x 4.69 D#6 0.49 x 4.41 E6 0.47 x 4.15 F6 0.43 x 3.9 F#6 0.43 x 3.67 G6 0.42 x 3.45 G#6 0.40 x 3.24 A6 0.38 x 3.05 A#6 0.37 x 2.86 B6 0.35 x 2.69 C7 0.34 x 2.53 C#7 0.32 x 2.37
0 0.0
28
D7 0.31 x 2.23 D#7 0.30 x 2.1 E7 0.29 x 1.97
ISOMETRIC
F7 0.28 x 1.85 F#7 0.26 x 1.74 G7 0.25 x 1.63 G#7 0.24 x 1.53 A7 0.23 x 1.44 A#7 0.22 x 1.35 B7 0.21 x 1.26 C8 0.21 x 1.19
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28.0000 28.0000 28.0000
28.0000
28.0000
28.0000
280.0000
28.0000
28.0000
28.0000
28.0000
PLAN
28.0000
28.0000
28.0000
28.0000
28.0000
28.0000
28.0000
28.0000
28.0000
28.0000
28.0000
28.0000
28.0000
28.0000
28.0000
28.0000
448.0000
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ELEVATION
WEST
NORTH
EAST
SOUTH E38 | Randy Chan Studio
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TREATMENT TO JAY
63.7
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M E E T I N G H A L F W AY | THE FUSION OF IDEAS
CO-DEPENDENCE | MOVING FORWARD IT WAS A MARRIAGE OF THOUGHTS. WE WANTED TO EXPRESS THE BEAUTY OF THIS CO-DEPENDENT RELATIONSHIP OF PLATNS THROUGH A THEATRICAL EXPERIENCE.
“THE TREE IS NOT THE FOREST” - SUZANNE SIMARD
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WE WERE INSPIRED BY ECOLOGIST SUZANNE SIMARD AND HER TED TALK, EXPRESSING HOW “A FOREST IS MUCH MORE THAN WHAT YOU SEE”. THAT TREES TALK MORE UNLIKE THE WAY WE PERCEIVE THEM, THEY COMMUNICATE OVER VAST DISTANCES. SIMARD EXPLAINS THIS HARMONIOUS YET COMPLICATED SOCIAL LIFE THAT TREES ENGAGE IN. THIS NOTION OF AN INVISIBLE RELATIONSHIP WITHIN THE FOREST IS WHAT WE HOPE TO EXPRESS.
USELESS MACHINES | ART CANNOT BE FINISHED
ALVARO SIZA VIEIRA HAS SAID, “ARCHITECTS DON’T INVENT ANYTHING; THEY TRANSFORM REALITY. THEY WORK CONTINUOUSLY WITH MODELS THAT THEY TRANSFORM IN RESPONSE TO THE PROBLEMS THAT THEY ENCOUNTER.” A CONCEPT IS OFTEN AT THE NUCLEUS OF A DESIGN, TO BE GRADUALLY REFINED AND SUBTLY RECONSIDERED AS A PROCESS PROCEEDS. “BEFORE IT IS A SCULPTURE, ITS JUST A MACHNIE, JUST A MACHINE, A MACHINE THAT DOES NOTHING” -JEAN TINGUELY
THE PROCESS OF ARCHITECTURAL DESIGN IS MUCH LIKE A VOYAGE. AT THE START OF THIS VOYAGE, IT IS THE DEVELOPMENT OF A COHERENT ARCHITECTURAL CONCEPT THAT NOT ONLY SUGGESTS A POSSIBLE DESTINATION, BUT ALSO SUPPLIES THE TRAVELLER WITH BOTH AN OAR AND A RUDDER. A CONCEPT REPRESENTS MORE THAN A SOLUTION; IT POSES A WAY OF THINKING ABOUT A DESIGN PROBLEM WHILE PROPOSING A SET OF OBJECTIVES WHILE IMPLYING POTENTIAL EXCLUSIONS. IT IS A ROUTE TO BE TAKEN WHILE EXCLUDING POTENTIAL DETOURS. THE CONCEPT INITIATES THE ACTION OF DESIGN.
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PLAN
THE ARCHIMEDES SCREW |
A
A’
“GIVE ME A PLACE TO STAND AND I WILL MOVE THE EARTH.”
USELESS MACHINE 01 | A
A’
INSPIRED BY PERPETUAL MOTION, WE SEEK TO CREATE AN INTERACTIVE MACHINE WHICH THE PLANT OPERATES.
-ARCHIMEDES
HE WAS PERHAPS MOST KNOWN FOR HIS VERY OWN PRINCIPLE. YET FEW ARE AWARE OF HIS MARVELOUS TECHNOLOGY THAT HE WAS GIVEN THE WORLD.
ELEVATION
AS ESTABLISHING A CO-DEPENDENT RELATIONSHIP WAS KEY, WE WANTED TO ENSURE THAT BOTH THE MACHINE’S EXISTENCE IS AS RELEVANT AS THE PLANT’S. IN THIS LOGIC, WE ENSURED THAT THE MACHINE WAS VITAL FOR THE PLANT’S SURVIVAL, AND IN TURN, THE MACHINE’S SOLE PURPOSE, WAS TO CREATE A LIVABLE ENVIRONMENT.
PLAN
CREATING NOT ONLY BASICS SUCH AS THE LEVER AND THE PULLEY SYSTEMS WE ALL TAKE FOR GRANTED TODAY, ARCHIMEDES WAS A GENIUS BEYOND HIS TIME. DESIGNING WAR MACHINES, AND EVEN DURING HIS FINAL MOMENTS, HE WAS IN THE MIDST OF CREATION.
SECTION AA’
THAT WAY, BOTH WOULD BE LIFELESS WITHOUT THE OTHER.
AS WE MOVE AWAY FROM PERPETUAL MOTION, WE WONDERED IF THERE WAS STILL A WAY TO TRANSPORT RESOURCES FROM THE GROUND UP TOWARDS THE PLANT.
ISO
THE SCREW WAS PERHAPS THE LARGEST BLESSING HANDED TO MAN FOR IT EASED THE TASK OF RETREIVING LIFE’S ESSENCE.
-ARCHIMEDES
THE MACHINE OPERATES WITH BASIC MECHANISMS SUCH AS THE PULLEY. THE CONCEPT REVOLVES AROUND PROVIDING WATER TO THE PLANT, WHICH IN TURN CAUSES SHIFTS IN MASS, ALLOWING VERTICAL DISPLACEMENT, CREATING KINETIC ENERGY. THE MOMENTS THEN CAUSES A CHAIN REACTION TO SEEK FOR EQUILIBRIUM, WHEN THE WATER IS REPLENISHED, AND THE CYCLE REPEATS EACH TIME THE PLANT CONSUMES WATER.
ELEVATION SECTION AA’
IT WAS ODD YET IT MADE PERFECT SENSE. A ROTATION TO INDUCE VERTICALITY. PERHAPS EVEN HE DIDN’T NOTICE THE SCULPTURE THAT HE CREATED. 1:20
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T H E PA I N T E R | THE ARTIST
“YOU WANT TO PAINT? FIRST OF ALL YOU MUST CUT OFF YOUR TONGUE BECAUSE YOUR DECISION TAKES AWAY FROM YOU THE RIGHT TO EXPRESS YOURSELF WITH ANYTHING BUT YOUR BRUSH” -HENRI MATISSE
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E58 | Randy Chan Studio
Randy Chan Studio| E59
PROCESS THE AIM OF THE SET UP WAS TO OBSERVE ANY RELATION BETWEEN THE SHADOWS CASTED ON THE GROUND AND THE RESULTANT RAIN PATTERNS. 01 A SET-UP WAS DONE TO LOCATE OUTLINE OF THE SHADOWS. AFTERWHICH, CHINESE INK WAS USED TO LEAVE AN IMPRESSION BY THE FALLING WATER. THE MENTIONED SET UP UTILISED DIFFERENT CONCENTRATIONS OF INK MIXED WITH WATER. HOWEVER THIS PROVED TO BE HARDER FOR US TO DISTINGUISH THE VARIOUS IMPRINTED SHADES. 02 WE THEN PROCEEDED TO USE DIFFERENT INK COLOURS - RED, BLUE & YELLOW. HOWEVER THIS RESULTED IN AN OVERLY COMPLICATED COLOUR PATTERN. 03 WITH OUR FINDINGS, WE REDUCED TO JUST UTILISING RED & BLUE INK COLOURS.
E60 | Randy Chan Studio
Randy Chan Studio| E61
E62 | Randy Chan Studio
Randy Chan Studio| E63
E64 | Randy Chan Studio
Randy Chan Studio| E65
MAPPING
LOCATING DRIP TIPS AND MAIN STEMS
ASSOCIATING DRIPTIPS TO MAIN STEM
OVERLAYING OVER PAINTINGS
IDENTIFYING DISTINCT POINTS OF INTERSECTION E66 | Randy Chan Studio
Randy Chan Studio| E67
AS A RESULT THIS MAPPING HAS ALLOWED US TO DICTATE THE SPEICIFICATIONS FOR THE OF THE DESIGN IN THE MACHINE. THE INTEGRAL PARTS OF THE SIZE IT DICTATES IS THE SIZE OF THE SPIRAL MARBLE CATCHER - IT ENCAPSULATES THE COVER OF THE LEAVES.
E68 | Randy Chan Studio
Randy Chan Studio| E69
1 I S TO O N E | THE MACHINE
‘ANY BUILDING THAT CONFORMS TO THE PLANS AND SPECIFICATIONS … IS AS ORIGINAL A WORK AS ANY OTHER’
E70 | Randy Chan Studio
Randy Chan Studio| E71
THE MACHINE
‘1:1 DRAWING’ | SCALE 1:10
AS WE MAPPED AND EPXLORED THE BOUNDARIES OF THE RELATIONSHIP BETWEEN MACHINE AND PLANT, WHAT WOULD BE THE ENVOLOPE? AND WHAT DID IT MEAN TO THE PLANT? COMMUNICATION THROUGH MUSIC. CLIMATE OF SOUND. WE UNDERSTOOD THROUGH OUR COUNTLESS READINGS THAT PLANTS WERE VERY MUCH CAPABLE OF COMMUNICATING. “A SILENT FORM OF COMMUNICATION.” THEY DO SO WITH THEIR ROOTS AND THROUGH SMELL. IT IS A SHAME THESE ARE INVISIBLE. HIGHLY SOCIAL BEINGS, CAPABLE OF SHARING RESOURCES AS WELL AS SENDING WARNINGS FOR IMPENDING DANGER. IT WAS THEN OUR DESIRE TO GIVE THE PLANTS A VOICE. A VOICE THAT COULD BE SEEN NOT JUST HEARD. THE PIVOTAL POINTS OF THE MACHINE IS ITS CATALYST WHICH IS THE CRANK AS IT IS GENERATED BY THE HUMAN USER. THE MACHINE ALLOWS US TO VISUALISE OUR RELATIONSHIP WITH THE ATMOSPHERE/ENVIRONMENT. THE SPEED AT WHICH THE USER SPINS CONTROLS THE WAY IN WHICH THE SUBJECT RESPONDS TO THE ENVIRONMENT. WE IMAGINED THAT EACH INDIVIDUAL PLANT WOULD HAVE THEIR OWN MACHINE AND OWN VOICE. | THIS BRINGS SIMARD’S POINT OF HOW PLANTS ARE ABLE TO COMMUNICATE ACROSS LARGE DISTANCES. HELPING THOSE THAT ARE IN DIRE SITUATIONS FROM THE EFFECTS OF DEFORESTATION - WHICH ARE ACTS OF HUMAN INTERVENTION. THE MACHINE IS RELICABLE AND AS INDIVIDUALISTIC AS ITS ARTIST OR PLANT WHICH INHIBITS THE MACHINE. THE POSSIBILITIES OF ARE ENDLESS AS DIFFERENT SPECIES OF PLANTS ARE ASSOCIATED WITH DIFFERENT PERCUSSIVE INSTRUMENTS OR EVEN WIND AND STRINGS. CREATING POSSIBILITIES OF A SYMPHONY OR AN ORCHESTRA.
E72 | Randy Chan Studio
Randy Chan Studio| E73
THE MACHINE
ISOMETIRC, PLAN, ELEVATIONS | SCALE 1:20
LEFT ELEVATION
FRONT ELEVATION
RIGHT ELEVATION
BACK ELEVATION
ISOMETRIC PLAN
A
ACRYLIC STAIRS
B
ACRYLIC HOOK
C
BICYCLE CHAIN BITS
D
TIMBER GEAR
E
XYLOPHONE
F
TIMBER LEGS
G
TIMBER MAIN BODY FRAME
H I
STEEL ROD FOR RAIL TIMBER ARC BRACE
J
TIMBER BASE PLATE
K
ACRYLIC BALL BOX
L
METAL SPIRAL (BASE)
M
SECONDARY GEAR
N O
BALL CATCHING BOWL
P
GEAR LINKING CRANK
Q
STEEL ROTARY ROD
METAL SPIRAL (TOP)
PLAN
E74 | Randy Chan Studio
Randy Chan Studio| E75
THE MACHINE
EXPLODED ISOMETRIC | SCALE 1:20
ROTATABLE COVER
CONTAINER
PROTOTYPE
MARBLE FILTTER
SPIRAL MARBLE CATCHER PLANAR MARBLE CATCHER
PLANT ROOT COVER SMALL MARBLE LIFT
RHS METAL FRAME
CRANK GEAR LIFT ACRYLIC MARBLE DISTRIBUTOR CONVEYOR BELT
CUSTOM EXTENDED XYLOPHONE LARGE ROTARY LIFT
MARBLE CATCHER + GUIDES
E76 | Randy Chan Studio
CONTEXT, AS RANDY WOULD SAY IT. AN ABSTRACTION OF MATERIALS FROM THEIR ORIGINAL CONTEXT BRINGS NEW LIFE AND MEANING; NEW IDENTITY. WE HENCE DECIDED TO CONSTRUCT THE MACHINE UTILISING MATERIALS MADE FROM FOUND OBJECTS. AS SUCH, WE HAVE REPURPOSED THESE OBJECTS AND GAVE THEM A NEW IDENTITY. A FRESH PERSPECTIVE OF WHAT THE REALITIES OF THESE MACHINES WERE AND WHAT THEY CAN BE. OR PERHAPS WANT THESE MACHINES WANT TO BE AS LOUIS KAHN PREECHED. COULD IT BE THAT THESE MACHINES WERE DESTINED FOR GREATER THINGS. WE ALSO BROKE DOWN THE CONSTRUCT INTO THREE MAIN PARTS - THE LIFT, THE CRANK AND THE PENCIL. FROM THIS, WE HAVE ESENTIALISED THE IMPORTANT PARTS IN ORDER FOR THE MACHINE TO WORK. THE CRANK IS SIGNIFICANT DUE TO OUR INTENT IN PORTRAYING HOW OUR HUMAN RELATIONSHIP WITH THE MACHINE IS ABLE TO OPERATE IT ACCORDING LY. IT IS THE USER WHO DICTATES THE SPEED . THIS MACHINE IS USED AS A MEANS TO REFLECT ON OUR RELATIONSHIP WITH THE SUBJECT MATTER - BE IT PLANT OR ATMOSPHERE.
Randy Chan Studio| E77
THE LIFT 1:20
DETAILS 01 WHEEL ----
H
A
60.0
444.5
I 20MM GEAR BITS 2MM THICK PLATE STAINLESS STEEL
J
DETAILS 02 GEAR BIT HOOK ----
1900.0
DETAILS 03 HAND CRANK ---B
M
C D
K
DETAILS 04
28.0
DETAILS 05
BRACKET SUPPORT ----
WHEEL ATTACHMENT ----
400.0
E F G
24.0
L
60.0
30.0
20.0 31.6 400.0
20.0 30.0 444.5 510.0
VERTICAL TRANSPORTATION WAS ESSENTIAL TO THE AID THE MACHINE’S OPERATION. THE LIFT IS A PARASITICAL APPARATUS THAT PROVIDES THAT MOVEMENT TO THE MARBLES.
E78 | Randy Chan Studio
MATERIAL DETAILS A
BIKE WHEEL
B
ACRYLIC HAND CRANK
C
ACRYLIC GEAR 2MM
D
STEEL ROD
E
STEEL NUT AND BOLT
F
STEEL L BRACKET
G
CHIP BOARD 12MM
H I
STEEL ROD FOR RAIL GEAR BIT
J
ACRYLIC HOOK 2MM
K
ACRYLIC WASHER
L
WHEEL
M
STEEL CURTAIN ROD
Randy Chan Studio| E79
DETAILING 1 BICYCLE WHEEL SCALE 1:2 MATERIAL DETAILS 1 BICYCLE WHEEL 2 STEEL PIVOT ROD 3 FLAT 3MM NUT 4 PLASTIC SPIRAL HOOK
520MM WHEEL
1
2
PLASTIC SPIRAL DESIGNED HOOK FOR CURTAIN ROD
3
4
ATTACHED TO CURTAIN ROD
E80 | Randy Chan Studio
Randy Chan Studio| E81
DETAILING 2 & 3 HAND CRANK & GEAR BITS SCALE 1:1 MATERIAL DETAILS 1
STEEL CONNECTER ROD
2
ACRYLIC HOOK 2MM
3
GEAR BIT
4
STEEL PIVOT ROD
5
ACRYLIC HAND CRANK 3MM
6
ACRYLIC GEAR 3MM
7
ACRYLIC WASHER 3MM
STEEL CONNECTER ROD ACRYLIC HOOK 2MM
1 2
3
STEEL PIVOT ROD 400MM 2.5MM RADIUS
ACRYLIC WASHER 3MM 4 ACRYLIC HAND CRANK 3MM
5
6
7
E82 | Randy Chan Studio
Randy Chan Studio| E83
DETAILING 4 L BRACKET AND CURTAIN ROD SCALE 1:1 MATERIAL DETAILS 1
STEEL CURTAIN ROD
2 STEEL L BRACKET 3 4MM NUT
1 STEEL CURTAIN ROD H1900MM 10MM OUTER RADIUS
4 4MM BOLT STEEL L BRACKET 2MM THICKNESS
2
3
NUT AND BOLT 4MM
4 ON SURFACE OF CHIP BOARD 12MM DEEP INTO UPPER LAYER OF CHIPBOARD PENETRATES BOTH CHIPBOARDS. SECURED ON BOTTOM SURFACE.
E84 | Randy Chan Studio
Randy Chan Studio| E85
DETAILING 5 WHEELS SCALE 1:1
MATERIAL DETAILS 1
STEEL 1MM WASHER
2
4MM BOLT
3 PLASTIC WHEEL 4
4MM NUT
DOTTED LINE INDICATES SELECTED T5 FLUORESENT LIGHT FITTINGS TO SPEC
DOTTED LINE INDICATES SELECTED T5 FLUORESENT LIGHT FITTINGS TO SPEC 1 STEEL WHEEL BASE PLATE 5MM WHEEL IS PRE-ATTACHED TO PLATE AND HENCE NON-REMOVABLE
2 PLASTIC WHEEL
3
4
E86 | Randy Chan Studio
Randy Chan Studio| E87
THE CRANK
2 X 12MM CHIPBOARD BASE
SCALE 1:10
20MM GEAR BITS 2MM THICK 20MM GEARPLATE BITS STAINLESS 2MM THICK STEEL PLATE
2 X 12MM CHIPBOARD BASE
STAINLESS STEEL
A A
340.0
E
340.0
E F
DETAILS 01
856.8
135.0
29.8 24.2 29.8 68.4 24.2
DETAILS 02 BICYCLE FORK STAND ----
B C
29.8 24.2
255.0
G G H HI
F
135.0
BIKE WHEEL BIKE WHEEL BICYCLE PEDAL BICYCLE PEDAL BIKE FRAME BIKE WHEEL BIKE PEDAL FRAME BICYCLE CHIP BOARD BASE 12MM BIKE FRAME CHIP BOARD BASE 12MM CHIP BOARD WHEEL BASE 12MM GUARD METAL METAL WHEEL GUARD METAL WHEEL GUARD GEAR BITS GEAR BITS GEAR WHEELS BITS STAND TRICYCLE TRICYCLE WHEELS STAND METAL NUTS AND BOLTS TRICYCLE WHEELS STAND WHEELS METAL NUTS AND BOLTS METAL NUTS AND BOLTS WHEELS WHEELS
C
D
TRICYCLE STAND ----
A A B B CA CB DC DD E EE FF FG GH G HI H I I
255.0
DE
68.4
856.8 597.2
B C
20MM GEAR BITS 2MM THICK PLATE STAINLESS STEEL
A
DETAILS 01
02STAND DETAILS BICYCLE FORK ---BICYCLE FORK STAND ----
B 2 X 12MM CHIPBOARD BASE
340.0
F DETAILS 02
135.0
01 DETAILS STAND TRICYCLE 597.2 856.8 ---TRICYCLE STAND 597.2 ----
255.0
I 128.5
70.0
50.0
128.5
70.0
50.0
G H
D
I
68.4
400.0 150.0
400.0 36.0
150.0
36.0
128.5
70.0
35.0
50.0
35.0
400.0
36.0
150.0
340.0
35.0
340.0 352.2 510.0
340.0
352.2 510.0
352.2 510.0 45.0 30.0
170.0
170.0
45.0 30.0 45.0 30.0
170.0
THE CATALYST OF THE MACHINE WAS THE UTMOST IMPORTANCE IN CAUSING MULTIPLE CHAIN REACTIONS. THE POINT OF CONTACT BETWEEN HUMAN AND ATMOSPHERE
E88 | Randy Chan Studio
Randy Chan Studio| E89
RSION
DETAIL 1 & 2 SUPPORT SET UP SCALE 1:2 MATERIAL DETAILS 1 MAIN BICYCLE FRAME 2 TRICYCLE LEG REST 3 4MM NUTS AND BOLTS 4 FRONT WHEEL FORK 4MM HOLES WERE DRILLED INTO THE MAIN BICYCLE FRAME TO PROVIDE ATTACHMENT POINT FOR TRICYCLE FOOT REST
4MM HOLES WERE DRILLED INTO THE MAIN BICYCLE FRAME TO PROVIDE ATTACHMENT POINT FOR TRICYCLE FOOT REST
1
2
PRODUCED BY AN AUTODESK STUDENT VERSION
3
TRICYCLE FOOT REST. DEVICE WAS DETACHED FROM ORIGINAL POSITION TO BE REATTACHED ON MAIN FRAME
4MM HOLES WERE DRILLED INTO THE MAIN BICYCLE FRAME TO PROVIDE ATTACHMENT POINT FOR TRICYCLE FOOT REST
BOLT PIERCES THROUGH CHIPBOARD (2 X 12MM) WITH NUT TO FASTEN AT BASE. 4 FRONT WHEEL FORK WAS DETACHED AND REPOSITIONED TO PROVIDED BASE STAND FOR MECHANISM
PIERCES THROUGH CHIPBOARD
E90 | Randy Chan Studio
Randy Chan Studio| E91
E92 | Randy Chan Studio
Randy Chan Studio| E93
THE PENCIL SCALE 1:10
ISOMETRIC
LEFT ELEVATION
FRONT ELEVATION 38.0
BACK ELEVATION 2MM ACRYLIC BOX WITH SUPPORTED BY 3MM MDF
443.0 143.8
2MM METAL WIRE G
A
D
40.0
B
1240.1
H I J 2016.0 200.0
C
ROLLER CONNECTION POINT TO MINIDUCHAMP E F STEEL WIRE CABLE
ELECTRONIC FAN CASING
IKEA SHELF BRACKET SYSTEM 12 MM CHIPBOARD X2
24.0
442.7
540.0 412.0
A
BIKE WHEEL
B
ACRYLIC HAND CRANK
C
ACRYLIC GEAR 2MM
D
STEEL ROD
E
STEEL NUT AND BOLT
F
STEEL L BRACKET
G
CHIP BOARD 12MM
H I
STEEL ROD FOR RAIL GEAR BIT
J
ACRYLIC HOOK
K
ACRYLIC WASHER
L
WHEEL
M
STEEL CURTAIN ROD
E94 | Randy Chan Studio
35.0
200.0
770.0 470.0
PLAN
IN ALL OF ITS FULL GLORY, THIS PENCIL FRAMES THE SUBJECT AND HOLDS IT. THE PENCIL DRAWS AS MARBLES FALLS ONTO THE SUBJECT. AS MARBLES ARE FILTERED OFF ARE RETURNED TO THE LIFT, THE REST THAT FALL INTO THE SPIRAL MARBLE CATCHERTRAVELS THROUGH THE PLANT AND INTO THE CONVEYOR TO SPEAK ITS MIND.
Randy Chan Studio| E95
DETAIL CONYEYOR BELT SCALE 1:4 MATERIAL DETAILS 1
STEEL L BRACKET 2MM
2 ART TUBE 65MM 3 WOODEN DOWEL 10MM 4 CORRUGATED PAPER 5
ACRYLIC 3MM CUSTOM DRILLED 4MM HOLE STEEL L BRACKET 2MM
1
2
3 WOODEN DOWEL 10MM
3MM ACRYLIC STRIPS
4
5
E96 | Randy Chan Studio
Randy Chan Studio| E97
DETAIL ACRYLIC DISTRIBUTOR D DETAILING 4 ACRYLIC
RIAL DETAILS
DETAIL BRACING
A STEEL L FRAME
A STEEL BRACING
T
SHER
SCALE 1:2
SCALE 1:4
SCALE 1:2
DETAILING 4 ACRYLIC DISTRIBUTOR
LT 4MM
MATERIAL DETAILS 1
SCALE 1:4 MATERIAL DETAILS 1
WOODEN DOWEL 10MM
2 PLYWOOD GATE 3 PLYWOOD PIVOT 4 ACRYLIC SHEET 3MM
EXISTING HOLES
5 L BRACKET 20MM 6 STEEL PIPE 3MM
1
2 PLYWOOD GATE 3 PLYWOOD PIVOT
7 MDF BOARD 3MM 8 BOLT 4MM 9 NUT 4MM
2
4 ACRYLIC SHEET 3MM 5 L BRACKET 20MM
WOODEN DOWEL 10MM
3
6 STEEL PIPE 3MM 7 MDF BOARD 3MM 8 BOLT 4MM 9 NUT 4MM
1 4
PLYWOOD 3MM
5
2
PLYWOOD 3MM PROVIDED BRACING 1.5MM
3
4
ACRYLIC SHEET 3MM
4
MATERIAL DETAILS 1 IKEA STEEL L FRAME
CUSTOM CUT 12MM HOLE
2 IKEA STEEL BRACING 3 NUT 4 WASHER
5
5 BOLT 4MM
6
7
8
EXISTING HOLES
9 1
E98 | Randy Chan Studio
Randy Chan Studio| E99 2
DETAIL XYLOPHONE SCALE 1:2
MATERIAL DETAILS 1 IKEA STEEL L BRACKET 2 NUT AND BOLT 3
XYLOPHONE
4 WOODEN BASE
IKEA STEEL L FRAME
1
2
XYLOPHONE PIECES ARE HELD DOWN BUT SINGLE NUT AND BOLT SYSTEM
3 XYLOPHONE WITH INITIALLY 15 NOTES, ADDED 3 NOTES.
WOODEN BASE FROM XYLOPHONE. XYLOPHONE PIECES ARE LOOSELY ATTACHED TO BASE 4
CUSTOM SLOT CUT 2MM ANGLED 10 DEGREES
E100 | Randy Chan Studio
Randy Chan Studio| E101
THE MACHINE SCALE 1:10
ALL DESIGN BEGINS WITH CONCEPT. IT IS ASSUMED THAT THE WHEEL BEGAN TO TAKE FORM IN THE HUMAN MIND WHEN PEOPLE NOTICED THAT ROUND STONES TURNED UNDERFOOT, PROPELLING THE BODY FORWARD. THE REALIZATION THAT A HEAVY LOAD COULD BE MOVED BY ROLLING IT ON LOGS IMBUED THE PHENOMENON WITH PRACTICAL APPLICATION. -MARJORIE ELLIOT BELVIN
E102 | Randy Chan Studio
Randy Chan Studio| E103
THE HIDDEN LIFE OF PLANTS | THE SOCIETY
“SO LONG AS THINGS ARE ONLY IN OUR UNDERSTANDING, THEY ARE OUR OPINIONS; THESE ARE NOTIONS WHICH CAN BE TRUE OR FALSE, GRANTED OR DENIED.” -DENIS DIDEROT
IGNORANCE | INDEED LEAN NOT ON OUR OWN UNDERSTANDING. FOR THERE ARE MANY THINGS OUR EYES FAIL TO SEE, OUR MINDS FAIL TO IMAGINE. SUZANNE SIMARD, AN ECOLOGIST WAS A HUGE INSPIRATION. HER PASSION AND LOVE FOR THE FOREST SHED SOME LIGHT ON HOW WE MAY VIEW THE FOREST. IN HER TED TALK AND BOOKS SHE EXPLAINS HOW TREES ARE VERY MUCH LIKE US, SOCIAL BEINGS AND REQUIRE COMMUNITY-LIKE STRUCTURES TO SURVIVE. FOR THE TREE IS NOT THE FOREST, AND THE TREE IS UNABLE TO CREATE THE NECESSARY CLIMATE. SHE ALSO EXPRESSES HOW PLANTS ARE CAPABLE OF COMMUNICATION WITHIN THEIR SOCIETY. HOW THEY ARE ABLE TO LEND SUPPORT TO NEIGHBORING PLANTS, SEND WARNINGS OF IMPENDING DANGER. AMAZING HOW SCIENCE HAS CHANGED OUR VIEW OF THE WORLD. BUT OF COURSE, WE ARE NOT SCIENTIST, BUT ARCHITECTS. THOUGH ITS NOT NECESSARILY OUR TASK TO DISCOVER, BUT IT IS DEFINITELY OUR MISSION TO EXPRESS. THIS CO-DEPENDENT RELATIONSHIP, THIS SOCIETY,; ALL WITH A MACHINE.
E104 | Randy Chan Studio
Randy Chan Studio| E105
THE MACHINE FOR LIVING | PERHAPS THE MOST IMMEDIATE THOUGHTS ASSUMPTIONS WE HAVE ABOUT PLANTS IS THEIR SLOW NATURE. THE FACT THAT THEY LIVE IN AN ALMOST COMPLETELY DIFFERENT TIMELINE AS THE WORLD. YET IF WE LOOK BEYOND THIS SHALLOW HORIZON, WE WOULD NOTICE THAT PLANTS ARE ESSENTIALLY DESIGNED TO LIVE. REGARDLESS OF ITS PACE, IT WAS DESIGNED TO BATTLE THE ENVIRONMENT IT IS BEING PLACED; WHETHER FORTUNATELY OR NOT. HERE WE INTEPRETE PLANTS AS THE LITERAL MACHINE, WHERE ITS EVERY ORGAN AND COMPOMENTS ARE REPRESENTED IN MECHANISMS THAT WE AS HUMANS CAN RELATE TO. AND PERHAPS ONE MIGHT BE WONDERING HOW A TRAIN SYSTEM FITS INTO THIS LOGIC. AND THAT IS PRECISELY WHAT SUZZANE IS INFORMING US. THAT THE FACT THAT PLANTS CAN COMMUNICATE AND EVEN SHARE RESOURCES. VERY MUCH LIKE TRAVELING, FROM ORGANISM TO ORGANISM. THESE GREEN TOWERS OF LIFE.
E106 | Randy Chan Studio
Randy Chan Studio| E107
E108 | Randy Chan Studio
Randy Chan Studio| E109
CONCEPT MODEL
E110 | Randy Chan Studio
Randy Chan Studio| E111
T H E G R AV E YA R D | WHERE IDEAS GO TO DIE
“IN DAILY LIFE, TRIUMPH IS MORE VISIBLE THAN FAILURE” -THE ART OF THINKING CLEARLY
C O N V E R S AT I O N S | THE PENCIL IS A SIMPLE TOOL, BUT WHEN USED APPROPRIATELY IT EXPRESSES JUST AS WELL AS THE HUMAN TONGUE. AS WE EMBARKED ON THIS JOURNEY, SO DID PENCILS. AND FROM HERE ON, BE THE MEMORIES OF THEIR WORK. THEIR FOOTPRINTS LEFT ON THE SAND. FOR US, A CONVERSATION BEYOND OUR WORDS
E112 | Randy Chan Studio
Randy Chan Studio| E113
E114 | Randy Chan Studio
Randy Chan Studio| E115
E116 | Randy Chan Studio
Randy Chan Studio| E117
E118 | Randy Chan Studio
Randy Chan Studio| E119
E120 | Randy Chan Studio
Randy Chan Studio| E121
E122 | Randy Chan Studio
Randy Chan Studio| E123
E124 | Randy Chan Studio
Randy Chan Studio| E125
E126 | Randy Chan Studio
Randy Chan Studio| E127
ACKNOWLEDGEMENTS | REFLECTIONS | “A TREE IS A TREE BECASUE IT IS ALSO A LARGE LEAF, A LEAF IS A LEAF BECAUSE IT IS ALSO A SMALL TREE. A CITY IS A CITY BECAUSE IT IS ALSO A LARGE HOUSE. A HOUSE IS A HOUSE BECAUSE IT IS ALSO A SMALL CITY -ALDO VAN EYCK
TO R A N D Y C H A N & STUDIO 3
WE WOULD LIKE TO THANK PROFESSOR RANDY CHAN AS WELL AS THE STUDIO FOR THIS SEMESTER THAT HAS GONE BY. IT WAS TRULY A PLEASURE WORKING AND LEARNING WITH YOU. WE SINCERELY HOPE THAT WE HAVE ALL GROWN TOGETHER AS A STUDIO, AND LEARNT ALL THAT WE CAN FROM EACH OTHER. MAY WE CONTINUE TO BE BLESSED WITH THE GIFT OF KNOWLEDGE.
(THE CHILD, THE CITY AND THE ARTIST)
PERHAPS WE STILL ARE LOST. PERHAPS WE SHOULD NEVER BE FOUND. REGARDLESS. THE PIT IS ONLY AS DEEP AS WE DESIRE IT TO BE. OUR NETS, ONLY AS WIDE AS WE CAST. AFTER ALL, IT IS AS LOUIS KHAN FORETOLD, THAT THE DESIRE TO EXPRESS, WOULD BE THE MOST IMPORTANT FEELING OF MANKIND.
A SPECIAL THANK YOU TO RANDY FOR YOUR OUTWARD, THOUGHTS, IMAGINATION AND INSPIRATIONS. WE SINCERELY HOPE THAT THE JOURNEY YOU EMBARKED ON WITH US HAS INSPIRED YOU JUST AS YOU HAVE INSPIRED US. THANK YOU
WHETHER A BUILDING, A SPACE, OR A SCULPTURE. WE HOPE THAT WE HAVE FOUND THAT DESIRE. IT WOULD BE AS RANDY HEEDS. TO SEEK THE UNSEEN, TO EXPRESS THE SILENCE. WE HOPE THAT IN THIS SEMESTER WE HAVE DEDICATED OUR MINDS TO A RHIZOMIC APPROACH, AND QUESTIONED OUR EVERY THOUGHT AND MOVE. TO BE MINDFUL OF CONSTRUCT, AND INTIMATE WITH SUBJECTS. TO REJECT WHAT WE KNOW, THOUGH NEVER ACCEPTING NOT KNOWING. END BY ELDON NG YEW KEONG JOHAQQIS BIN JOHARI
E128 | Randy Chan Studio
ELDON NG YEW KEONG JOHAQQIS BIN JOHARI
Randy Chan Studio| E129