Atmospheric Twins, Vol 2

DESIGN STUDIO ERIK G L'HEUREUX DEAN’S CHAIR ASSOCIATE PROFESSOR

AR2102, AY 2019/2020 B.ARCH 2, SEMESTER 2

ATMOSPHERIC TWINS

VOL.

U JIN SEAH RYAN NEO ALOYSIUS NG ANTHONY DELA CRUZ REBECCA CHONG WONG YI JIE

CHLOE LAU VANESSA TAN LEONG YUE QI YAP YEE CHEN WU YU XUAN

2

DEPARTMENT OF ARCHITECTURE SCHOOL OF DESIGN AND ENVIRONMENT NATIONAL UNIVERSITY OF SINGAPORE

Impedance

by Chloe Lau Jia Yee and Vanessa Tan Xiao Xuan

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Impedance

by Chloe Lau Jia Yee and Vanessa Tan Xiao Xuan An experience of two climates along the spectrum of discomfort; one in a muted environment and the other in an amplified one. Two main envelopes exist, a physical and an acoustical.

Vanessa and Chloe enter the architecture.

The first thing that Chloe notices in the muted environment is the spikes on the underside of the envelope. These spikes within the dome act as a rough surface to absorb and dissipate the sound. It is very, very quiet inside this environment.

Vanessa hears Chloe’s voice. The voice, along with the constant noise produced by the traffic in the background, is amplified through the hearing blocks.

While the 2 individuals are within the same physical envelope, they are experiencing acoustic contrast.

Our architecture is located along Lower Kent Ridge road, a relatively busy road on both weekdays and weekends. It is located at a parking lot in front of staff club. The performance takes place on a weekday morning in which the road traffic is busier. Pedestrians and vehicles unknowingly partake in the performance as they add on to the ambient sound which will be further amplified in the amplified environment.

The frames which forms the physical envelope are also placed strategically, in a format derived from both the positioning of acoustic elements in the inner envelope and as a response to sunlight so as to achieve the discomfort from purely acoustics influence.

As Chloe, who is in the muted environement is already sheltered from the sun, to provide shading for Vanessa who is in the open amplified environment, the openings of the planes at the side of the amplified environment are deliberately reduced, while latex sheets are sandwiched by frames at the side of the muted environment to diffuse sun rays. The latex frames also conveniently enhance the acoustics by acting as an additional layer of sound insulation for the muted environment.

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Elevation of architecture on site.

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Angled perspective of our architecture from the point of view of the open, acoustically loud climate and environment.

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Top: West elevation showing the muted environment before it is enclosed by latex sheet.

Bottom: Interior of muted environment.

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Top: Spikes on the underside of the muted environment to aid in dissipation of sound energy.

Bottom: Chloe speaking through the cone in the muted environment.

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Top:East elevation of the open environment before inhabitation.

Bottom: East elevation of the open environment after inhabition by Vanessa 326 Impedence

Top: Top down perspective of our architecture.

Bottom: Perspective of our architecture focusing on the differences between the frames: reduction in offset area, offset area covered by latex sheet.

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‘AAABBCCCCC’architectural language achieved based on the different densities of the frames, achieved through positioning of the acoustic elements and sunlight.

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Drawing of Chloe and Vanessa experiencing the acoustics difference within our architecture on site.

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Probe #1 Our first architecture that focuses on concept and the two different climates, the hot and humid versus the open environment. The architecture also explores what happens if one environment is a subset of the other, with the architecture portraying a physical manifestation of a microclimate within a larger climate.

On one side of the architecture, latex is layered along the face of the drum and when Vanessa places the architecture on, the latex sheets come into close contact with her face. Vanessa’s breathing causes hot air to come into contact with the latex and the heat radiates off the surface, back onto her face. The sound produced by Vanessa is also directed and seems amplified.Chloe puts her head in the hole on the side of the model that contains the open environment. There, the sound produced by Chloe is absorbed by the rough surfaces of the roof of the enclosure, creating two different qualities of sound produced by the two performers.

The architecture, with a lack of focus on structure and purely is based on concepts of how to create two different environments and climates, focuses on the use of sound.

This architecture shows the possibility in expanding on this very concept of sound.

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South elevation showing the latex envelope that contains the two environments and climates.

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Top: East elevation depicting the view from the open environment and the closed environment at the far end.

Bottom: West elevation depicting the view from the closed environment (drum) and the open environment at the far end.

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Top: Chloe, Vanessa and Erik engaged in the performance.

Bottom: Sketches of our process. We first defined the form of our architecture, and created the two environments to contain the two heads. One environment is within a latex-covered drum and the other is open to air, with spikes on the underside of the overall envelope.

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Axonometric drawing that shows 2 environments, closed and open environments under the same latex envelope 338 Impedence

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Probe #2 We aimed to make our architecture work better in terms of structure as well as reduce the use of latex. The previous architecture from Week 2 was weak as the ribs that we used to support our architecture were not load-bearing. For this week, we made a frame in order to stick to the 1000x500x500mm dimensions more, making full use of the space.

The cone hangs freely from the center rib. The performance has to be done one after the other. A pulley system was installed for the Chloe to lift up the mask, meant for Vanessa’s use, whilst wearing the cone.

The architecture expands on the concept of the larger climate (the open environment) affecting the microclimate (the closed environment).

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South elevation showing both the open and closed environment, with the pulley and cone suspended in mid air.

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East elevation showing the view from the open environment, when Chloe speaks through the cone, the sound is transmitted from the open to the closed environment.

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Top: Chloe and Vanessa in the midst of the performance. Vanessa is in the closed environment while Chloe is in the open environment. When Chloe speaks, Vanessa listens. The main elements of this week’s probes are the cone and the mask which are all connected via a latex strip.

Top Left: Closed up view of pullley system which connects the 2 environments using the material of latex.

Bottom Left: Closed up view of pullley system with focus on the lifting of mask with tension when cone is pulled.

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Top: Attaching latex strips to rib for weaving Bottom: Skeleton of architecture with focus on structural ribs and weaved latex strips for shoulders support 346 Impedence

Top: Sketches for process. This week, latex is explored in its elastic ability and we attempt to use the weaving of latex to create a comfortable support for both Chloe and Vanessa’s shoulders. Poche is also introduced as both the acoustic envelope and the exterior envelope. A mask and a cone are the two main elements of the probe.

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Representing sound waves with concentric circles with different spacing

Exploration on sound waves representations with lines with different line weights 348 Impedence

Representing sound waves with dots of different density

Representing sound waves through an emotive approach: charcoal and waves Impedence 349

Sectional oblique showing 2 bodies interacting in our architecture.

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Probe #3 We explored the possibility of including our cone into the structure of the model, as well as creating a hierarchy of spaces by lifting one environment up to be higher than the other. Initially, we used strips of grey board to form the circumference of the cone. However, while we were testing the model out, we discovered that the sound created from the first environment did not travel well into the second environment.

As such, we created another cone to slot into the existing cone, allowing the sound to be better directed into the closed environment.

Based on the previous week’s model, our model lacked a form of reciprocation from the second environment back to the first. Hence, we opened up a hole in the face of the closed environment, so that instead of conversing back to the first person, the sound waves emitted by the person in the closed environment would be directed back into the open atmosphere and thus seem softer. There was a huge load on the first person’s shoulders due to the tilting of the model, hence we aim to resolve this in our next iteration.

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Top: Side elevation with Performers. The latex rope connects the two environments and Performers together and is in tension. The model is tilted as the shoulders of both Performers rest at different heights of the model, so the cone is perceived as parallel to the ground when the architecture is performed.

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Top: Chloe speaking through the cone from the amplified environment.

Bottom: Elevation of the muted environment which is largely covered except for a hole which Vanessa speaks through.

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Top left: The inside of this week’s cone is created with strips of greyboard.

Top right: The strips of greyboard did not enhance the acoustic ability of the cone.

Bottom: Sketches for this week’s process. Structural elements that hold the entire architecture as well as the cone were explored. The different shoulder supports for both Chloe and Vanessa were added to account for the small height difference between them.

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Sectional oblique showing Chloe and Vanessa experiencing the effect of impedence in our architecture.

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Probe #4 An experience of two climates, the cool open vs the hot humid.

Vanessa and Chloe support the architecture and both place it on top of their shoulders. Chloe is in the open environment while Vanessa is in the closed. Chloe speaks and her sound is directed using the cone, into Vanessa’s environment, who seemingly perceives the former’s voice to be louder. Vanessa in turn speaks, but Chloe cannot hear her as clearly, as Vanessa’s voice dissipates into the open. The objective is a play on sound quality and how it is perceived in two different ways through architecture.

Considering the current rapid transmission of nCov-19, our architecture allows for two individuals to converse without having face-to-face interaction, which aids in the preventing the spread of the virus.

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Elevation of two bodies in acoustic proximity. Structural improvements have been made while the concept of having a cone that supports our architecture stays.

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Top: Architecture in its ‘open’ state, where it exists as two separate entities.

Left: Architecture in its final form, when the cone joins both entities up to form a whole. Environments connected by the cone structure Right: Top elevation of the architecture.

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View of the open environment. Latex is used with two different functions in the architecture. First, it is secured around the head of Performer A and is used as a direct connection to Performer B. Next, the rough sheets of latex act as an insulator of sound to prevent ambient noise in affecting the quality of sound in Performer B’s environment.

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View of the enclosed environment. End elevation with face concealed by layers of latex. The latex covers the face in a random manner, but produces the hot and humid climate as Performer B’s breath is felt on her face. The latex acts as a tool to create a sense of discomfort, which includes smell and the limiting of sight.

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Top: Focus on the closed environment and end elevation.

Bottom: The closed environment is covered with a thin piece of grey board with holes pierced where Vanessa’s mouth lies, creating a speaker hole for B to transmit her sound out into the open environment.

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Top: Perspective view of model showing the structural connections and the uneven latex frames to dissipate sound waves.

Bottom: Perspective view of model showing latex’s connection to the cone. Diagonal frames further reinforces the structural strength of architecture.

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Top: Process sketches for the week. The two environments are more clearly denoted in two cubes, and are attached by rods for easier transportability.

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Sectional oblique showing Chloe and Vanessa interacting experiencing the effect of impedence in our architecture.

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Probe #5 As a continuation from Probe 4, we explored how we could improve on the structural outlook of the architecture.

The architecture makes use of orthoganal frames as its main structure and is held together by rods, which, based on Probe #4, allows the architecture to be more compact and transportable. This is done in mind of the final model that has to be transported to and presented at the final examination venue.

Based on experimentation, a non-spherical cone also helps to direct sound from the mouth of the speaker to the one who is listening. Hence in this iteration, we make use of an orthoganal cone to transmit the sound.

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Side elevation of architecture. In order to simplify the architecture as much as possible, with the cone still the bridge between the two environments, the original x-bracing used to support the cone have been simplified into frames with squares that help to hold the cone up. Waffle slabs are used for structural support.

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Top: The cone serves a conection and a form of contamination between the 2 separate entities and environments.

Bottom: Before joining the architecture, the architecture still exists in two separate entities, 2 separate environments, for ease of transportability. Fixing the architecture on the spot, during the performance, is still an area to be explored.

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Top: Focus on closed environment through end elevation. The random sheets of latex are still kept to create the uncomfortable experience of being enclosed in a hot and humid climate.

Bottom: Focus on open environment through front elevation. Hearing blocks implemented as a method of amplifying ambient noise in the open environment of Performer A, which acts as a way of insulating the sound being reciprocated from Performer B’s environment.

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Left: Front elevation of user interacting with hearing blocks. User hears amplified ambient sounds.

Right: End elevation of user interacting with hearing blocks. User hears amplified ambient sounds.

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Top: Process sketches for the week. The rods and frame system is still kept. However, this week we explored an orthogonal cone instead of a circular one.

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Probe #6 The probe requires one of the environments to come into contact with the ground.

Both Chloe and Vanessa perform the architecture near to the ground. They have to subject themselves to discomfort whilst getting into their respective positions.

The closed environment is now a muted box, layered with latex and greyboard to create an acoustically soft climate. Chloe, who is in the box, will hear subtle things such as her heartbeat and breathing, which makes it uncomfortable.

Vanessa is in the open environment instead. The directing of sound waves from inside the muted environment to the outside causes the sound to seem amplified and Vanessa is in turn uncomfortable as well.

This week, our aim is to explore the concept of comfort along with out original climates and environment, in hopes of taking our architecture a step further.

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Vanessa is sitting in the open environment while Chloe is hidden within the closed environment. The two are performing in an acoustically contaminated climate.

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Vanessa, who is in the amplified environment, detaches from the muted environment after the performance.

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Vanessa is supporting the open environment with her shoulders. Her ears are placed within two soccer ball-like hearing blocks.

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Chloe entering the muted environment.

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Sectional oblique showing the 2 bodies going through the different acoustics experience with Chloe in the muted environment and Vanessa in the amplified environment.

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Sketches which document our exploration on the forms of the hearing blocks to amplify ambient sound.

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Initial sketches for this week’s probe where we are faced with the challenge of extending the original 500m x 1000m architecture to the ground, while retaining the performative properties of our architecture.

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Probe #7 The probe is an extension from the previous weeks’ architectural performance. The architecture is now no longer limited by the 500x500x1000mm volume, but is allowed to be positioned as we envision it to be within the full 1.8m³ volume.

For this week’s probe, we have defined our climates to be an exploration along a spectrum of discomfort. Chloe is in the muted environment. It is uncomfortable. The first thing she notices is the spikes on the underside of the envelope, and next she hears her own breathing because it is awfully quiet. Chloe speaks through the cone.

Considering the typical human hearing range, we decided to explore the 2 extreme climates of discomfort through loudness and softness. Chloe is the one who enters the muted environment. To enter the dome, Chloe must crouch down and wiggle in. When Chloe speaks, the 2 environments are contaminated acoustically. Through air gaps formed by 3 layers of grey boards within the dome, as well as the presence of “spikes” attached to the underside of the dome, soundwaves are dissipated and absorbed, creating a muted environment. This muted environment leads to an uncomfortable climate experienced by Chloe, because it is too quiet. The spikes are take precedence from forms of the acoustic foams found in the anechoic chamber at Orfield Laboratories in Minnesota, also known as the “quietest place in the world”.

Vanessa hears Chloe’s speech as amplified sound as the sound waves are focused and reflected through the cone. Speech, combined with the atmospheric ambient noise, is channeled and focused into Van’s ears due to the presence of the hearing blocks.

The architecture is placed in areas with constant noise, such as along a pedestrian walkway in the park on a relatively busy day. The sudden change in volume while entering either environment results in discomfort through acoustics.

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Vanessa is sitting in the open environment while Chloe is hidden within the closed environment. The two environments are contaminated acoustically. are performing in an acoustically contaminated climate.

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Vanessa is sittingare in athe open environment while Chloe is hidden within the too closed environment. two are acoustically contaminated The ‘X’-frames bold architectural statement.

Unfortunately, there are many conflicting The elements andperforming this shouldinbeantaken into consideration in future. climate.

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East elevation of the architecture, before the layer of latex used to insulate and keep the sound within the environment is added.

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The architecture with the latex added to create the muted environment.

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Drawing of the acoustic environments, the two uncomfortable climates and the positions that both Vanessa and Chloe have to subject themselves to.

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Sketches which shows our process of designing the muted environment which dissipates sound energy. To connect the performative pieces, we used X-frames against the spherical parts.

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Probe #8 Similar to the last probe, the two climates of discomfort are kept the same.

Based on comments from the previous week, the language shown through the use of ‘X’-frames, vertical and horizontal planes, as well as the spherical domes and hearing blocks are clashing. Hence, we reduced the language to purely planes along the longitude and latitude of the spherical elements. The architecture is now a box that contains the acoustic performance.

Moving forward, more should be done regarding the structural aspect of the architecture as we are still using the weaker parts of the greyboard and the architecture has yet to achieve its true stability. We have to work on allowing our architecture to be more ‘poetic’ instead of purely performance-driven.

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South elevation of the architecture. Planes run along the horizontal and vertical axes of the architecture.

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Angled perspective of the architecture. We used frames, similar to the ones in the earlier probes such as Probe 5, to achieve our structure.

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West elevation of the architecture, the muted environment.

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East elevation of the architecture, the amplified environment.

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Drawing of the probe with inclusion of the decibels recorded within the 5 different positions in our architecture.

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Sketches which shows further improvisation to our hearing blocks. We took referrence from precdent studies (parabolic reflectors) and incorporated the learning points to our design.

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Identification of the 2 types of envelopes within our architecture. The acoustic envelope is held by frames which formed the structural envelope.

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Probe #8.2 We focus on creating a sturdier structure to hold up our acoustic elements. We intend to focus purely on designing an architectural box, leaving our acoustic elements as they were from the last week as they are already working well.

This week, we played around with structure and discovered that ‘T’ frames are the best in achieving the kind of structure that we want. The planes are offset so as to puncture holes within the architecture for viewing from the pedestrian’s point of view, and to allow sunlight to pass through.

The density of the planes are also explored. We create the different density of the frames, in an ‘AAABCCCC’ language, based on our acoustic elements. The density of the frames, in relation to sunlight and heat, is to be further explored as part of our poetic aspect of architecture.

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Angled top-down perspective of our architecture.

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Top: West elevation showing the muted environment before it is enclosed by the sheet of latex.

Bottom: Chloe interacting with the interior of the muted envuronment, 394 Impedence

Top: East elevation of the open environment before inhabitation.

Bottom: East elevation of the open environment after inhabition by Vanessa Impedence 395

‘AAABCCCC’architectural language achieved based on the different densities of the frames, achieved through positioning of the acoustic elements and sunlight.

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Structural changes Though 2 way slits are stronger when the modules are slotted into each other, the orientation in which the greyboard frames are slotted have great impacts on the stability of our architecture. The greyboards are stronger on certain planes than others.

We observing the slacking of the greyboard frames if they were to be connected in this oreintation.

Exploring 90 degrees slotting

Connecting greyboards on the weak side results in slacking and instability.

Parts of Architecture slacking as greyboards are not connected on the stronger side.

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Hence, from Probe #8.2 onwards, we slotted the greyboards frames on its stronger side, achieving greater structural stability.

Exploring 90 degrees slotting

Connecting greyboards on the strong side results in greater stability.

Slacking of greyboards is minimised and resulting Architecture is more structural.

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Sectional oblique with architecture on site, showing Vanessa and Chloe interacting with our Architecture and experiencing acoustic contrast.

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Sketches which document the change in joinery as greyboard can be connected on the strong side to increase structural stability of our architecture.

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Probe #9 We finalised a site for our Architecture. Our architecture is located along Lower Kent Ridge road, a relatively busy road on both weekdays and weekends. It is located at a parking lot in front of staff club. The performance takes place on a weekday morning in which the road traffic is busier. Pedestrians and vehicles unknowingly partake in the performance as they add on to the ambient sound which will be further amplified in the amplified environment.

This week, we made a more deliberate offset to the grid where The frames are also placed strategically, in a format (‘AAABBCCCCC’) derived from both the positioning of acoustic elements in the inner envelope and as a response to sunlight. As we are juxtaposing the 2 climates on the extreme ends of discomfort: the muted and the amplified, within the outer envelope, we want to keep our physical environment constant for both environments so as to achieve the discomfort from purely acoustics influence. To provide shading for Vanessa who is in the open amplified environment, the openings of the planes at the side of the amplified environment are deliberately reduced, while latex sheets are sandwiched by frames at the side of the muted environment to diffuse sun rays.

This week’s changes are made digitally as we practised stricter social distancing as a result of CoVID-19 situation.

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Architecture on site: Parking lot directly beside lower Kent Ridge road 406

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North Elevation

West Elevation

Top View

South Elevation

Digital renderings showing various elevations of Architecture.

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East Elevation

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South elevation showing the frames which are placed at strategically, in a format derived from the positioning of acoustic elements and as a response to sunlight.

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Sectional oblique with architecture on site, showing Vanessa and Chloe interacting with our Architecture and experiencing acoustic contrast.

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Sketches showing our thoughts process when the frames are offset from the regular grid in order to provide shading for Vanessa who is in the amplified environment such that the structural envelope acts as a neutraliser to allow both Chloe and Vanessa to experience discomfort from purely acoutics influence.

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Creative Research 1. The Megaphone with its 6-metre maximum diameter catches and transmits sounds from the environment.We intend to research on the amplification of ambient noise.

2. This trio of mammoth timber funnels is designed to magnify the natural sounds of a forest. Sound feeds from three directions to create a unique merged surround sound effect. The idea of a funnel that amplifies ambient noise is explored in our project.

3. It is a common myth that by holding a conch shell to one’s ear, one can hear the sound of the ocean. In actual fact, one hears the ambient noise through resonance.We intend to use this idea of resonance in our model to allow the user to listen to ambient noise.

4. The acoustic design of the interior creates a reflective surface to project the sound of the performers to the audience. The Acoustic Shells inspired us to create architecture to respond to sound, and also attempt to change qualities of sound produced.

1. The Megaphone by Norwegian University of Science and Technology

2. Giant Wooden Megaphones

3. Seashell resonance

4. Acoustic shells by Flanagan Lawrence

(https://architecturenorway.no/stories/other-stories/megaphone-2010/)

(https://www.funkidslive.com/learn/hallux/hearing-helpdesk/can-hear-sea-seashells/#)

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(https://www.seeker.com/giant-megaphones-amplify-forest-sounds-1770272829.html)

(https://www.dezeen.com/2014/07/22/flanagan-lawrence-acoustic-shells-shelter-stage-littlehampton/)

1. The acoustic design of the interior creates a reflective surface to project the sound of the performers to the audience. The Acoustic Shells inspired us to create architecture to respond to sound, and also attempt to change qualities of sound produced.

2. Between the World Wars, before the invention of radar, parabolic sound mirrors were used experimentally as early-warning devices by military air defence forces to detect incoming enemy aircraft by listening for the sound of their engines. This parabolic dish help to reflect sound coming from a specific direction towards a single direction, the center, henc concemtrating sound waves and amplifying ambient sound.

3. In the 1930’s the Dutch set up an ‘Air Watch Service’, similar to the British Observer Corps, to detect incursions of foreign aircraft. This spherical surface of this wearable helped to focus the reflected ambient soundwaves into a single direction directed towards the ears, thus, the individual will experience an increased volume.

1. Parabolic reflector installation

(https://www.aussiedestinationsunknown.com.au/category/miriams-moments/page/4/)

3. Dutch acoustical listening device

(https://martinmitchellsmicrophones.wordpress.com/tag/parabolic-reflector/)

2. Parabolic acoustical mirrors used as early warning system (http://www.slate.com/blogs/atlas_obscura/2013/10/11/)

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Design Exploration 1. To focus sound waves, we placed a drum over our head. When we speak, we will hear a much louder sound.

2. We also explored talking with a cup over our mouth. This allows the sound produced to become muffled and unclear, which changes the quality of sound.

3. We also tried to converse with handmade string phone, where sound waves are converted into vibrations at the bottom of the cups. We tried the experiment with fishing line, cotton thread and with latex. However, due to the elastic nature of latex, sound did not travel well, thus we moved away from this idea.

4. Directing of sound is apparent in a megaphone. Sound is focused through the cone, thus it is louder for the receiving party. We decided to use the megaphone as our main source of connection and contamination of sound between the two environments.

1. Testing the sound effects of the drum

2. Testing the sound effects of a cup

3. Testing the sound effects of a string phone

4. Testing the focusing of sound using megaphone.

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We explored different methods to amplify ambient noise in the amplified environement through the use of hearing blocks and parabolic acoustical mirror.

1. We made the very first version of hearing blocks which consist of 2 flat surfaces and a curved surface. There was some resemblance of amplification of ambient sound, however, it was too soft. This led us to our second iteration.

2. In our second iteration, we explored the possibility of constructing a more spherical surface in order to achieve greater amplification. We took reference from a soccer ball where we created the hearing blocks with hexagons and pentagons. In order tp seal the air gaps, we coated the inner surface with a thin layer of latex. With this iteration, we observed greater amplification.

1. Front view of version 1 hearing blocks. User hears amplified ambient sounds.

Back view of version 1 hearing blocks. User hears amplified ambient sounds.

2. Front view of version 2 hearing blocks. User hears amplified ambient sounds.

Back view of version 2 hearing blocks. User hears amplified ambient sounds.

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Design Exploration 1. following our second iteration, to further improve the amplification effects, we reduced the size of the individual modules to create a smoother curve which will aid in the focusing of soundwaves. Triangles were used instead, achieveing better amplication.

2. In this iteration, we increased the size of the hearing blocks in order to capture more ambient sounds. Using triangular modules, we adapted the geodesic dome tok form a parabolic acoustical mirror which observed the best amplification results. The form of the parabolic acoustical mirror is also more coherent with the the geosedic dome in the muted environment, allowing for a coherent architectural language.

1. Front view of version 3 hearing blocks. User hears amplified ambient sounds.

Back view of version 3 hearing blocks. User hears amplified ambient sounds.

2. User experiencing the amplication effects of parabolic acoustical mirror.

Top view of parabolic acoustical mirror.

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Research Method 1. We varied the diameter of the opening of the cone, keeping length as a constant to record the decibels of the focused sound when a sound of constant decibel is placed at the other end. 5 cones with different cone openings: 5cm, 7.5cm, 10cm, 12.5cm and 15cm were used in the experiment. From the results, we understand that the larger the cone opening, the better the focusing of sound, hence, in the probes, we took into account this result and incorporated a cone with larger opening in our architecture.

2. We varied the length of the cone, keeping diameter of cone opening as a constant to record the decibels of the focused sound when a sound of constant decibel is placed at the other end. 5 cones with different lengths: 25cm, 30cm, 35cm, 40cm and 45cm were used in the experiment. From the results, we understand that the larger the length of cone, the better the focusing of sound, hence, in the probes, we took into account this result and incorporated a longer cone in our architecture.

1. Cones with openings of different diameters.

Graph of decibels vs diameter of cone opening

Decibels

Decibels vs Diameter of cone opening

Diameter of cone opening (cm) Graph of decibels vs length of cone

Decibels vs Length of cone

Decibels

2. Cones with different lengths.

Length of cone opening (cm)

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Design research with latex We conducted initial research on the properties of latex with several samples. The findings are: latex are very stretchable (it can be stretched to length of 80cm-1m before tearing), latex can take the shape of any moulds and it traps humidity.

1. Our very first interaction with latex to explore the material properities. We added 10 layers of latex and dried it with the aid of a hair dryer.

2. We made a mask with latex to experience the humidty using latex as a material.

3. We poured several layers of latex over a styrofoam mould. We learnt that latex can take the shape of any mould.

4. To test the stretchability of latex (4 layers), we made a long piece of latex and stretched it. I can be stretched an extra distance of 1m before tearing.

1. Bowl shaped latex

2. Mask made by latex (researching into thickness of latex)

3. Latex casted with an egg-shaped mould

4. Long piece of stretched latex (research on the stretchability of latex)

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In the Same Air

by Leong Yue Qi , Wu Yuxuan, Yap Yee Chen

28 424 Conoid Building

Josef Odvárka

Josef Odvárka

Plot 1 (Block 47 + 51) 425 25

In the Same Air

by Leong Yue Qi, Wu Yuxuan, Yap Yee Chen In constructing our two climates, two environments and one envelope, we first decided on our two climates - tropics and temperate, which was later simplified to hot and cold.

In response to the current global climate of COVID-19, our envelope explores how connection or isolation can be created between two people. Despite physically isolating people, our envelope facilitates activities which are prohibited during these times. For example, due to the virus, people are not supposed to be within close proximity of one another. However, through our envelope, people are able to have a conversation with one another, as they are isolated and not at the risk of contamination from the other by breathing in the same air.

Transporting the envelope to the beach

In the Same Air 28 Building 426 Conoid

Josef Odvárka

In the envelope, the ‘hot’ and ‘cold’ climates are initially open to the external environment as well as to one another. However, after both inhabitants ‘breathe’ into the latex bubbles, isolation is created. When the person in the ‘cold’ climate ‘breathes’, the latex bubbles at the frame of the ‘hot’ climate expands, closing them off from the environment while creating humidity as the bubble expand inwards.

Simultaneously, when the person in the ‘hot’ climate ‘breathes’, the bubbles in the middle expand and close off the connection between the two inhabitants.

When wind flows in from the ‘cold’ climate’s envelope, the wind is closed off from the person in the ‘hot’ climate. The wind is then reflected off the bubble back to the person in the ‘cold’ climate. Thus, from the envelope’s connected to isolated state, the two climates are ‘enhanced’ or ‘exacerbated.’

In Week 11 and 12, we focused mainly on how to better integrate our envelope with the beach, as well as to document our process throughout this semester.

Transporting the envelope back

Josef Odvárka

Plot 1 (Block + 51) 25 In the 47 Same Air 427

Our chosen site was the beach, so that we can capitalise on the strong sea breeze, as well as the strong solar gain which amplifies the effect of being in our envelope.

28 Building 428 Conoid In the Same Air

Josef Odvárka

Josef Odvárka

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Elevation of envelope on the beach 28 430 Conoid Building

Josef Odvárka

Josef Odvárka

Plot 1 (Block 47 + 51) 431 25

Plan of envelope 28 Building 432 Conoid In the Same Air

Josef Odvárka

Josef Odvárka

Plot 1 (Block + 51) 25 In the 47 Same Air 433

Elevation of ‘cold’ climate

28 Building 434 Conoid In the Same Air

Josef Odvárka

Elevation of ‘hot’ climate

Josef Odvárka

Plot 1 (Block + 51) 25 In the 47 Same Air 435

View from the ‘hot’ climate

28 Building 436 Conoid In the Same Air

Josef Odvárka

View from the ‘cold’ climate

Josef Odvárka

Plot 1 (Block + 51) 25 In the 47 Same Air 427

Person at the ‘cold’ climate breathes into tube

28 Building 438 Conoid In the Same Air

Josef Odvárka

Person at the ‘hot’ climate breathes into tube

Josef Odvárka

Plot 1 (Block + 51) 25 In the 47 Same Air 439

Framing of the body - arms at rest

28 Building 440 Conoid In the Same Air

Josef Odvárka

Feet in squatting position

Josef Odvárka

Plot 1 (Block + 51) 25 In the 47 Same Air 441

Axonometric view of ‘cold’ climate

28 Building 442 Conoid In the Same Air

Josef Odvárka

Axonometric view of ‘hot’ climate

Josef Odvárka

Plot 1 (Block + 51) 25 In the 47 Same Air 443

Cantilevering of structure

28 Building 444 Conoid In the Same Air

Josef Odvárka

Quadrants ‘eating’ into one another

Josef Odvárka

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Exploded diagram of envelope showing various components 28 Building 446 Conoid In the Same Air

Josef Odvárka

Clothing Factor: 0.5

Clothing Factor: 0.1

Activity Level: 1.2

Activity Level: 1.4

Weight: 55 kg

Weight: 46 kg

Height: 165 cm

Height: 155 cm

Clothing factor and activity level of inhabitants in the envelope Following our narrative, the inhabitant in the ‘cold’ climate is dressed in T-shirt and shorts, whereas the inhabitant in the ‘hot’ climate wears a swimsuit. Thus, they have differing clothing levels of 0.5 and 0.1 clo respectively.

As the inhabitants adopt different postures - the person in the ‘cold’ climate sitting while the person in ‘hot’ climate squats - they also have differing activity levels. The ‘cold’ climate being sedentary and the ‘hot’ climate being lightly active, their activity levels are 1.2 and 1.4 MET respectively.

Josef Odvárka

Plot 1 (Block + 51) 25 In the 47 Same Air 337

Setting up the chair - backrest is initially laid down to allow person to enter

Backrest is folded up

28 Building 448 Conoid In the Same Air

Josef Odvárka

Sand is shovelled under the backrest to act as a stable support for the inhabitant

Chair is set up!

Josef Odvárka

Plot 1 (Block + 51) 25 In the 47 Same Air 449

Before inflation of bubble - the ‘cold’ side acts as a wind funnel and both climates receive wind 28 Building 450 Conoid In the Same Air

Josef Odvárka

Josef Odvárka

Plot 1 (Block + 51) 25 In the 47 Same Air 451

After inflation of bubble - the ‘hot’ climate is sealed off, wind reflects back to ‘cold’ side, and heat is trapped in the ‘hot’ side 28 Building 452 Conoid In the Same Air

Josef Odvárka

Josef Odvárka

Plot 1 (Block + 51) 25 In the 47 Same Air 453

Close-up of inflation of bubble - the state of the lungs and bubble are represented in their respective poche to illustrate the effect of breath on inflation of the latex bubble 28 Building 454 Conoid In the Same Air

Josef Odvárka

Josef Odvárka

Plot 1 (Block + 51) 25 In the 47 Same Air 455

Sectional oblique showing positions in time, atmosphere and climate. Magenta lines indicate movement of air.

28 Building 456 Conoid In the Same Air

Josef Odvárka

Scale 1:10 Josef Odvárka

Plot 1 (Block + 51) 25 In the 47 Same Air 457

Close-up of thermal imaging of space in envelope

28 Building 458 Conoid In the Same Air

Josef Odvárka

Josef Odvárka

Plot 1 (Block + 51) 25 In the 47 Same Air 459

Close-up of data in drawing - the temperature and wind speeds in relation to the latex bubble in its deflated and inflated states are represented in black and magenta respectively

28 Building 460 Conoid In the Same Air

Josef Odvárka

Josef Odvárka

Plot 1 (Block + 51) 25 In the 47 Same Air 461

Research Method

Temperature of ‘cold’ climate before and after inflation respectively

Temperature outside of envelope 28 Building 462 Conoid In the Same Air

Josef Odvárka

Temperature of ‘hot’ climate before and after inflation respectively

Josef Odvárka

Plot 1 (Block + 51) 25 In the 47 Same Air 463

References Initially, we looked at fashion for inspiration on how inflatable structures envelop the body.

In Week 11, we looked at some precedents in inflatable architecture, mainly Buckminster Fuller. Although his structures were not inflatable per se, his geodesic domes inspired spherical inflatable structures such as Bubble Dome by Pneuhaus.

Montreal Biosphere1 by Buckminster Fuller

Bubble Dome2 by Pneuhaus, inspired by Fuller’s geodesic domes

1

Martin, Hannah. 2016. “Buckminster Fuller’s Geodesic Dome and Other Forward-Looking Architecture.” Architectural Digest. Accessed April 5, 2020. https://www.architecturaldigest.com/gallery/buckminster-fuller-architecture.

2 Grozdanic Lidija. 2015. “Pneuhaus’ Temporary Bubble Dome Is Made from Hundreds of TPU Balls.” Inhabitat. Accessed April 5, 2020. https:// inhabitat.com/pneuhaus-temporary-bubble-dome-is-made-from-hundreds-of-tpu-balls/.

28 Building 464 Conoid In the Same Air

Josef Odvárka

Another work we looked at was the Serpentine Gallery Pavilion 2006 by Rem Koolhas and Cecil Balmond, whereby an inflatable canopy can be raised or lowered to cover the amphitheatre according to the weather.

With most inflatable structures, it involves a sense of ephemerality as the architecture is temporal. With our structure, we hope to achieve an episodic bubble, where the envelope can be activated whenever it is needed.

Serpentine Gallery Pavilion 20063 by Rem Koolhas & Cecil Balmond

Lowered canopy covers amphitheatre below according to weather

3

Hobson, Benedict. 2016. “Video: 2006 Serpentine Gallery Pavilion by Rem Koolhaas.” Dezeen. Accessed April 5, 2020. https://www.dezeen. com/2016/01/24/video-interview-julia-peyton-jones-rem-koolhaas-2006-serpentine-gallery-pavilion-inflatable-canopy-balloon-movie/.

Josef Odvárka

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28 Building 466 Conoid In the Same Air

Josef Odvárka

Design Miami 2013 pavilion4 by Formlessfinder As our chosen site is the beach, we looked at how our envelope could utilise and blend into the site more.

For Design Miami 2013’s pavilion, Formlessfinder came up with a design whereby visitors are invited to ascend the sand and activate the space. The pavilion comprises a halfpyramid of sand, buttressed by a retaining wall and is covered by an intricately engineered cantilever.

By adopting the concept of using sand as a structural component, we utilised the sand as support for the in the ‘cold’ climate. As such, the envelope appears to arise from the sand.

4

Thomson, Steven. 2013. “Formlessfinder Summons Architecture From Sand At Design Miami - Architizer Journal.” Architizer. Accessed April 5, 2020. https://architizer.com/blog/inspiration/collections/formless-finder-miami/.

Josef Odvárka

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Week 10

Elevation of envelope on the beach

28 Building 468 Conoid In the Same Air

Josef Odvárka

Josef Odvárka

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Moving the envelope on the beach In week 10, we worked mainly on improving the structural integrity of the chair for the person in the ‘cold’ climate. We also transported our envelope to the beach, to fulfil our vision of the envelope on our intended site.

28 Building 470 Conoid In the Same Air

Josef Odvárka

As we were bringing the envelope to the beach, we decided also to film the experience of the envelope on the beach with a 360 camera, to simulate the experience as if the viewer was there.

Part of the envelope on the beach

Josef Odvárka

Plot 1 (Block + 51) 25 In the 47 Same Air 471

Plan of the envelope on the beach

28 Building 472 Conoid In the Same Air

Josef Odvárka

Josef Odvárka

Plot 1 (Block + 51) 25 In the 47 Same Air 473

Elevation of ‘cold’ climate

28 Building 474 Conoid In the Same Air

Josef Odvárka

Elevation of ‘hot’ climate

Josef Odvárka

Plot 1 (Block + 51) 25 In the 47 Same Air 475

Inflation of middle latex bubbles - closing off intermediate space between two persons

28 Building 476 Conoid In the Same Air

Josef Odvárka

Josef Odvárka

Plot 1 (Block + 51) 25 In the 47 Same Air 477

Setting up the chair - backrest is initially laid down to allow person to enter

Backrest is folded up

Support for the backrest is slotted into the base and top of backrest 28 Building 478 Conoid In the Same Air

Josef Odvárka

Testing of the chair

Chair is set up!

Josef Odvárka

Plot 1 (Block + 51) 25 In the 47 Same Air 479

Sectional oblique showing positions in time, atmosphere and climate. Magenta lines indicate movement of air.

28 Building 480 Conoid In the Same Air

Josef Odvárka

Scale 1:10 Josef Odvárka

Plot 1 (Block + 51) 25 In the 47 Same Air 481

Probe 8 (Week 9)

Elevation of envelope

28 Building 482 Conoid In the Same Air

Josef Odvárka

Josef Odvárka

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Probe 7 envelope elevation For Probe 8, we worked on our previous envelope to further our narrative. The person in the ‘cold’ climate has a lower metabolic rate and is at a more relaxed state, whereas the person in ‘hot’ climate has a higher metabolic rate.

Previously, it was noted that our envelope resembled quadrants of defined climates.

28 Building 484 Conoid In the Same Air

Josef Odvárka

Probe 8 envelope elevation Thus, we tried to extend the length of the hot climate while spreading the frames out, and interlock these quadrants to give form to the whole structure.We also attempted to push the structural limits of greyboard by cantilevering the structure on both ends, reducing the visual impact of its mass.

After extending the ‘hot’ climate and spreading out the frames, we thought about how to give more comfort to the person in the ‘cold’ climate.Thus, we made arm rests for the person in the ‘cold’ climate and a backrest. However, the backrest was not able to support the full reclining force of the user yet.

We also changed the position of the tube which directs air into the bubble at the top instead of its sides, so that the bubble would inflate more evenly. With the armrest at the ‘cold’ climate and cantilevering of the ‘hot’ climate, it frames the view of the bodies within the envelope.

Josef Odvárka

Plot 1 (Block + 51) 25 In the 47 Same Air 485

View from ‘cold’ climate

28 Building 486 Conoid In the Same Air

Josef Odvárka

View from ‘hot’ climate

Josef Odvárka

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28 Building 488 Conoid In the Same Air

Josef Odvárka

Quadrants ‘eating’ into one another

Josef Odvárka

Plot 1 (Block + 51) 25 In the 47 Same Air 489

Arm at rest Framing of the body

28 Building 490 Conoid In the Same Air

Josef Odvárka

Feet in squatting position

Josef Odvárka

Plot 1 (Block + 51) 25 In the 47 Same Air 491

Sectional oblique showing positions in time, atmosphere and climate. Magenta lines indicate movement of air.

28 Building 492 Conoid In the Same Air

Josef Odvárka

Scale 1:8

Josef Odvárka

Plot 1 (Block + 51) 25 In the 47 Same Air 493

Sectional oblique with thermal imaging - however, themal imaging of humans detracts from the structure

28 Building 494 Conoid In the Same Air

Josef Odvárka

Scale 1:8

Josef Odvárka

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28 Building 496 Conoid In the Same Air

Josef Odvárka

Close-up of thermal imaging of bodies in the envelope

Josef Odvárka

Plot 1 (Block + 51) 25 In the 47 Same Air 497

360 VR Experience

Screencaps from the 360 VR video - entering the envelope on the beach

Contrast of the neon orange latex bubble against the sky - looking up from the ‘hot’ climate

28 Building 498 Conoid In the Same Air

Josef Odvárka

View from the ‘hot’ climate

View from the ‘cold climate‘ To simulate the experience of our envelope on our chosen site, we brought the envelope to the beach and filmed key scenes using a 360 camera.

Do feel free to check out the 360 video through the following link or scanning the QR code! https://tinyurl.com/inthesameair

For example, how the inhabitants enter the envelope and the inflation of the latex bubble.

Josef Odvárka

Plot 1 (Block + 51) 25 In the 47 Same Air 499

Research Method

Testing how the connection of the tubes affect the inflation of the balloons - in a single branch, the balloons are inflated unevenly

28 Building 500 Conoid In the Same Air

Josef Odvárka

In a split branch, the balloons are inflated more evenly

Josef Odvárka

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Thermal imaging in envelope after breathing in the ‘cold’ and ‘hot’ climates respectively

28 Building 502 Conoid In the Same Air

Josef Odvárka

Thermal imaging of person in ‘hot’ climate after breathing Josef Odvárka

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References

Turrell’s ‘Skyspaces5’ series: Above Horizon (2004)

5

James Turrell works with light and space to create artworks that engage viewers with the limits and wonder of human perception.

In‘Ganzfeld’, he uses luminous, neon lights to simulate the phenomenon of the loss of depth perception, as in the experience of a white-out.

In ‘Skyspaces’, specifically proportioned apertures in the ceiling open to the sky. When light is casted onto the ceiling, the viewer’s peripheral vision alters the way in which they view the sky.

Thus, instead of having a black latex bubble, we decided to dye our latex a fluorescent (or hazard) orange instead. The fluorescent orange contrasts with the teal of the ocean as well as the sky.

Turrell, James. n.d. Accessed March 27, 2020. http://jamesturrell.com/work/type/.

28 Building 504 Conoid In the Same Air

Josef Odvárka

Turrell’s ‘Skyspaces’ series: Space that Sees (1992)

Turrell’s ‘Ganzfeld5’ series: Dhatu (2009)

Turrell’s ‘Ganzfeld’ series: Akhob (2013)

Josef Odvárka

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Probe 7 (Week 8)

Elevation of envelope

28 Building 506 Conoid In the Same Air

Josef Odvárka

Josef Odvárka

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For Probe 7, we worked on improving the structural integrity of our envelope. Despite using a thicker greyboard of 3 mm previously, the frames in the ‘cold’ climate still tended to warp. By scoring the greyboard and folding it, the lateral forces on the greyboard is reduced, and the plate warps less. Thus, we are able to use a thinner greyboard for the frames in the ‘cold’ climate.

With the structure being lighter and by extending the base in contact with the ground, the frames are able to cantilever off the structure.

For our site, we decided to situate our project at the beach to capitalise on the strong winds.

View from ‘cold’ climate

28 Building 508 Conoid In the Same Air

Josef Odvárka

View from ‘hot’ climate

Josef Odvárka

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Research Method

28 Building 510 Conoid In the Same Air

Josef Odvárka

Scoring of greyboard to form a folded plate adds structural rigidity

Josef Odvárka

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Wind speed in uninflated state of envelope We experimented with a wind sensor and thermal imaging device to put our envelope to the test, and incorporated the approximate data into our drawings.

For example, taking the wind speed in the envelope before and after the latex bubble was inflated, and using thermal imaging on the different postures. We positioned a fan near the ‘cold’ climate and in our testing, we found that when the bubble was inflated, the wind was closed off from the person in the ‘hot’ climate quite effectively, the wind speed ranging from 0 - 0.2 m/s.

28 Building 512 Conoid In the Same Air

Josef Odvárka

Windspeed in inflated state of envelope

Josef Odvárka

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Thermal imaging of person in ‘cold’ climate

28 Building 514 Conoid In the Same Air

Josef Odvárka

Thermal imaging of person in ‘hot’ climate

Josef Odvárka

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Sectional oblique showing positions in time, atmosphere and climate. Magenta lines indicate movement of air.

28

Conoid Building

Josef Odvárka

Scale 1:6 Josef Odvárka

Plot 1 (Block 47 + 51)

25

Probe 6 (Week 7)

Elevation of envelope - latex bubble in deflated state

28 Building 518 Conoid In the Same Air

Josef Odvárka

Elevation of envelope - latex bubble in inflated state

Josef Odvárka

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View from ‘cold’ climate

28 Building 520 Conoid In the Same Air

Josef Odvárka

View from ‘hot’ climate

Josef Odvárka

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Positions of bodies in envelope For Probe 6, we expanded on the idea of the inflatable latex bubble. Previously, the bubble did not expand as much as it was limited by the frame. Thus, we casted latex on acrylic moulds to achieve a bigger volume. We mainly used four moulds to cast the latex — two for the bubbles in the middle, one for the frames at the ‘hot’ climate and one for the last frame of the ‘hot’ climate. The latex was also dyed black to absorb more heat. We realised that a bubble remained inflated for a relatively long time, taking around 4 minutes to fully deflate.

Latex bubble design - instead of having 2 separate material, we integrated greyboard and latex as one

28 Building 522 Conoid In the Same Air

Josef Odvárka

There was also the additional challenge of making one of the 500x500x500mm volumes self-supporting to the ground. We extended the frames from the ‘hot’ climate longitudinally and laterally, to make space for the person in the envelope.

Research Method

Casting latex dyed in black paint on acrylic molds

Casting process — using different acrylic molds to obtain various volumes of latex bubbles

Josef Odvárka

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Timelapse of a bubble deflating - 00:00 mark

Timelapse of a bubble deflating - 00:30 mark

Timelapse of a bubble deflating - 01:00 mark

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Josef Odvárka

Timelapse of a bubble deflating - 02:00 mark

Timelapse of a bubble deflating - 03:00 mark

Timelapse of a bubble deflating - 04:00 mark

Josef Odvárka

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Encounters

In a single branch tube, the layex bubbles inflated unevenly, with the remaining bubbles taking too long to inflate

In a split branch tube, the bubble inflated more evenly

28 Building 526 Conoid In the Same Air

Josef Odvárka

Latex bubble ‘pop!’ due to over-stretching

Legs of envelope came apart after moving around

Josef Odvárka

Plot 1 (Block + 51) 25 In the 47 Same Air 527

Sectional oblique showing positions in time, atmosphere and climate. Magenta lines indicate movement of air.

28 Building 528 Conoid In the Same Air

Josef Odvárka

Scale 1:5 Josef Odvárka

Plot 1 (Block + 51) 25 In the 47 Same Air 529

References

Inflatable fashion6 by San Kim

More inflatable fashion7 by Fredrik Tjærandsen

6

Hitti, Natashah. 2019. “San Kim Channels Fetishistic Freudian Theories in Inflatable Fashion Collection.” Dezeen. Accessed February 28, 2020. https://www.dezeen.com/2019/06/26/san-kim-graduate-inflatable-fashion/.

7 Pownall, Augusta. 2019. “CSM Graduate Fredrik Tjærandsen Envelops Models in Rubber Balloons.” Dezeen. Accessed February 28, 2020. https://www.dezeen.com/2019/05/31/fredrik-tjaerandsen-balloons-central-saint-martins-graduate-fashion-show/.

28 Building 530 Conoid In the Same Air

Josef Odvárka

Conversation Bubble8 by Ana Rewakowicz - a structure which is dependent on people to stay afloat and facilitates conversation 8

Rewakowicz, Ana. 2006. Conversation Bubble. Accessed February 29, 2020. http://rewana.com/inflatables-installations-performancesconversation-bubble.html

Josef Odvárka

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STB (Streambody)9 by Peter Jellitsch - a series of pen and ink drawings based on algorithms that predict how air will move through highrise buildings

9

Jellitsch, Peter. 2011. STB. Flickr. Accessed February 29, 2020. https://www.flickr.com/photos/jellitsch/5630948915/.

28 Building 532 Conoid In the Same Air

Josef Odvárka

Windshape10 by nARCHITECTS - a flexible structure which responds to wind

10

nARCHITECTS. 2006. Windshape. Accessed February 29, 2020. http://narchitects.com/work/windshape-2/

Josef Odvárka

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Probe 5 (Week 6)

Sectional oblique showing positions in time, atmosphere and climate. Magenta dots indicate movement of air.

28 Building 534 Conoid In the Same Air

Josef Odvárka

Scale 1:4

Josef Odvárka

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Probe 4 (Week 5)

Elevation of envelope

28 Building 536 Conoid In the Same Air

Josef Odvárka

Josef Odvárka

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‘Cold’ climate - side louvres in motion

For Probe 4, given the current climate of COVID-19, the direct transmission of air from one person to another proved to be potentially problematic. Thus, we decided to alter our approach to how breathing can affect another’s climate. Instead of direct transmission of air, the air from the person in the ‘cold’ climate is channelled to latex bubbles secured by greyboard frames to the ‘hot’ climate. The expansion of the latex bags create a layer of insulation, adding to the heat effect of the person at the ‘hot climate’.

As a reciprocal action, the person at the ‘hot‘ climate then operates the louvres at the side of the person at the ‘cold’ climate, creating wind for the user. As such, the juxtaposition of air velocity and stillness creates two different climates for the inhabitants at opposite ends.

28 Building 538 Conoid In the Same Air

Josef Odvárka

The person in the ‘hot’ climate feels isolated and uncomfortable due to solar radiation, and would seek desperately for comfort. By doing so, they move their head and operate the louvres at the side of the person at the ‘cold’ climate, creating wind for the user.

‘Hot‘ climate - inflation of latex bubble

Josef Odvárka

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1st frame of reference

2nd frame of reference

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Josef Odvárka

3rd frame of reference

Superimposing of frames to demonstrate movement of louvres

Josef Odvárka

Plot 1 (Block + 51) 25 In the 47 Same Air 541

Sectional oblique showing positions in time, atmosphere and climate

28 Building 542 Conoid In the Same Air

Josef Odvárka

Scale 1:4

Josef Odvárka

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Research Method

Experimenting with air cannon using latex to propel a volume Prototype testing the expandability of latex of air through a channel (air movement depicted through talcum powder) 28 Building 544 Conoid In the Same Air

Josef Odvárka

References

i:wing11 by Bionic Motion - a ventilation system inspired by a bird’s wings 11

Derringer, Jaime. 2009. “I:Wing.” Design Milk.

Accessed February 28, 2020. https://design-milk.com/iwing/.

Sketches exploring integration of latex and greyboard, using velocity of air to create different climates Josef Odvárka

Plot 1 (Block + 51) 25 In the 47 Same Air 545

Probe 3 (Week 4)

Elevation of envelope 28 Building 546 Conoid In the Same Air

Josef Odvárka

Josef Odvárka

Plot 1 (Block + 51) 25 In the 47 Same Air 547

For Probe 3, we decided to work on the reciprocity of the users in the two climates.

Previously, the person in the ‘hot‘ climate made the experience somewhat more enjoyable for the person in the ‘cold’ climate through the conversion of hot air to cool air.

We added shutters at the top of the envelope which act as louvres, that are operable by the person at the ‘cold‘ climate by moving their head foward or backward. The user can then operate the louvres according to the time of the day to provide some shade for the person at the ‘hot‘ climate.

Plan of ‘cold’ climate

28 Building 548 Conoid In the Same Air

Josef Odvárka

Plan of ‘hot’ climate

Josef Odvárka

Plot 1 (Block + 51) 25 In the 47 Same Air 549

Research Method

8 am Initial position Movement of shutters in relation to the sun

Anthropometry measurements

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Josef Odvárka

11 am Shutters in ‘hot’ and ‘cold’ climates both turn 40o, and those in ‘cold’ climate will reach their end positions

2 pm Shutters in ‘hot’ and ‘cold’ climates both turn 40o

5 pm Shutters in ‘hot’ climate turn another 40o and reach their end positions

Sketch of mechanism

Josef Odvárka

Plot 1 (Block + 51) 25 In the 47 Same Air 551

Initial position of louvres (open)

Mid position of louvres

End position of louvres (closed)

28 Building 552 Conoid In the Same Air

Josef Odvárka

Initial to mid position of louvres

Mid to closed position of louvres

Josef Odvárka

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Sectional oblique showing three positions in time, atmosphere and climate

28 Building 554 Conoid In the Same Air

Josef Odvárka

Scale 1:4

Josef Odvárka

Plot 1 (Block + 51) 25 In the 47 Same Air 555

Probe 2 (Week 2 & 3 )

Elevation of envelope 28 Building 556 Conoid In the Same Air

Josef Odvárka

Josef Odvárka

Plot 1 (Block + 51) 25 In the 47 Same Air 557

For Probe 2, we worked on improving the structural sensibility of our model as well as the creation of the two climates.

Using angled planes of greyboard, two climates are created whereby the ‘cold‘ climate is more shaded than the ‘hot‘ climate. Similar to the previous model, the views from the ‘cold‘ climate is restricted, while that in the ‘hot‘ climate are open.

To integrate latex, we casted the top half of a 1.5 litre bottle to act as a mask, which is connected to a tube. The process of breathing and respiration from the person in the ‘hot‘ climate through a latex tube causes the rapid expansion of the warm air, cooling the air down for the person in the ‘cold‘ climate.

‘Cold’ climate is closed off from surroundings

28 Building 558 Conoid In the Same Air

Josef Odvárka

‘Hot’ climate opens up to surroundings

Josef Odvárka

Plot 1 (Block + 51) 25 In the 47 Same Air 559

Sectional oblique showing atmosphere and climate 28 Building 560 Conoid In the Same Air

Josef Odvárka

Scale 1:3 Josef Odvárka

Plot 1 (Block + 51) 25 In the 47 Same Air 561

Research Method

Views from ‘cold’ climate are closed off, and solar shading is provided due to angles of greyboard

28 Building 562 Conoid In the Same Air

Josef Odvárka

Views from ‘hot’ climate are open, and solar shading is absent due to angles of greyboard

Study model to test angles of greyboard and their effect

Josef Odvárka

Plot 1 (Block + 51) 25 In the 47 Same Air 563

Elasticity of latex

Sketches to explore how an everyday process - breathing - can affect the other

Sketch of angles affecting line of sight

28 Building 564 Conoid In the Same Air

Josef Odvárka

Latex is casted around a bottle to act as a mask

Latex mask in inflated and deflated states

Josef Odvárka

Plot 1 (Block + 51) 25 In the 47 Same Air 565

Latex is casted on a mannequin head - however the latex could not maintain its form

A latex strip is folded to form a tube

28 Building 566 Conoid In the Same Air

Josef Odvárka

Latex casted on a mask - however, mask was not sufficiently airtight

References

12

The neck of plastic bottles compress air, and as air is pushed towards the rim of the bottle, it starts expanding. The rapid expansion of the warm air cools the air down.

12

Okafur, Emeka. 2016. “Converting Hot Air to Cool Air Using Zero Electricity with the Eco-Cooler.” n.d. Accessed February 28, 2020. http://timbuktuchronicles.blogspot.com/2016/06/converting-hot-air-to-cool-air-using.html.

Josef Odvárka

Plot 1 (Block + 51) 25 In the 47 Same Air 567

Probe 1 (Week 1)

Elevation of envelope (without latex drapes)

Latex fabrication process using sheet method - layering liquid latex on a surface and blow-drying it

28 Building 568 Conoid In the Same Air

Josef Odvárka

Latex drying

Top-down view of envelope For Probe 1, we started off with intersecting planes along different axes to span the distance between a person sitting down and a person standing up. The size of the planes for the person sitting down (‘cold’ climate) were larger and vice versa for the person standing up (‘hot‘ climate).

The planes were intended to block out more sunlight for the colder climate. The latex was draped in a way to obstruct the view of the person in the ‘cold‘ climate while the person in the ‘hot‘ climate could see freely. However, the envelope was more metaphorical than reflecting the climates we wanted to create.

Josef Odvárka

Plot 1 (Block + 51) 25 In the 47 Same Air 569

Detail of latex interwoven with greyboard

28 Building 570 Conoid In the Same Air

Josef Odvárka

View from ‘cold’ climate

View through the envelope

Josef Odvárka

Plot 1 (Block + 51) 25 In the 47 Same Air 571

Sectional axonomeric

28 Building 572 Conoid In the Same Air

Josef Odvárka

Scale 1:5

Josef Odvárka

Plot 1 (Block + 51) 25 In the 47 Same Air 573

Research Method

Testing the elasticity of latex

28 Building 574 Conoid In the Same Air

Josef Odvárka

3 layers

8 layers

Trial and error - testing how many layers of latex are needed

Josef Odvárka

Plot 1 (Block + 51) 25 In the 47 Same Air 575

Studio Process

576

577

578 Studio Process

Studio Process 579

560 Studio Process

Studio Process 561

562 Studio Process

Studio Process 563

564 Studio Process

Studio Process 565

566 Studio Process

Studio Process 567

Drawing Probe 1 - Rebecca Chong

568 Studio Process

Drawing Probe 1 - Leong Yue Qi

Studio Process 569

Drawing Probe 3 - Rebecca Chong

570 Studio Process

Drawing Probe 5 - Rebecca Chong

Studio Process 571

Drawing Probe 5 - Ryan Neo

570 Studio Process

Studio Process 571

Probe #1 January 13, 2020

1. Find a partner.

2. Construct two climates, two environments, and one envelope between the two heads of your partnership in a maximum area of 500mm x 500 mm x 1000mm.

3. Use your body as the measuring device.

4. Use only the two materials of grey board and latex to construct point 2. At least one body/head part must touch the other head through the material of latex.

5. In some manner the two climates and two environments must contaminate one another.

6. Draw the two climates, two environments and one envelope on min 2 A1 portrait orientation in a sectional oblique drawn in black and white only. The drawing is to be in 1:1.

7. Create a maximum length 20 second film of the experience of the two heads in the two climates, two environments and envelope.

8. Document your process of fabrication and research.

9. The entire probe is to be performed on January 20th, 2020, 9:00am at YIH.

572

Probe #2 February 3, 2020

1.You have a partner.

2. Construct two climates, two environments, and one envelope between the two heads of your partnership in an area of 500mm x 500 mm x 1000mm precisely.

3. Use your body as the measuring device.Your construction must be precisely calibrated and fit to your bodies. Consider position, orientation, vision, sound, smell, etc and precisely select and design accordingly.You are not allowed to use hands to support your construction.

4. Use only the two materials of grey board and latex to construct point 2. At least one body/head part must touch the other head through the material of latex. Consider the material cost and resource consequence of your selection.

5. In some manner the two climates and two environments must contaminate one another in one way.

6. Draw the two climates, two environments and one envelope on min 2 A1 portrait orientation in a sectional oblique drawn in black and white only. The drawing is to be in 1:1 precisely set on the two A1’s.

7. Create a maximum length 20 second film of the experience of the two heads in the two climates, two environments and envelope in black and white.

8. Document your process of fabrication and research and present all of your process and research.

9. Photograph your two climates, two environments, and one envelope in two orientations, black and white. Print each photograph on 300mmx300mm, one image per A1. Pin up in studio.

10. The entire probe is to be performed on February 3rd, 2020, 9:00am at YIH.9:00am at YIH.

Atmospheric Twins 5733

Probe #3

February 10, 2020 1.You have a partner.

2. Construct two climates, two environments, and one envelope between the two heads of your partnership in an area of 500mm x 500 mm x 1000mm precisely. The cuboid volume of 500x500x500 of each head must be fabricated in full and the position of each cuboid must be precisely defined. Poche is to be used as a conceptual framework to determine climatic and positional hierarchy.

3. Use your body as the measuring device to determine the precise position of your heads along the X,Y & Z axis.Your construction must be calibrated and fit to the bodies of your respective team members. The position, structure, and prosthetic attachment must be fabricated with an architectural intent. Consider position, orientation, vision, sound, smell, and weight among others in your design.

You are not allowed to use hands to support your construction.

4. The two bodies must inhabit the constructions for minimum 1 minute and the clothing type, clothing factor, color, dress of each inhabitant is to be defined and must be evident.

5. Use only the two materials of grey board and latex to construct point 2 and point 3. At least one body/head part must touch the other head through the material of latex. The structure of your cuboids must be clearly considered and the fabrication of the cuboids must be with a tectonic intent.

Consider the material cost and resource consequence of your selection in terms of efficiency vs redundancy.

6. In some defined manner, the two climates and two environments must contaminate one another in one way, and by inverse a (or multiple) component (s) of the defined climates must not contaminate each other.

7. Draw the two climates, two environments and one envelope on min 2 A1 portrait orientation in a sectional oblique drawn in black and white only. The drawing is to be in 1:1 precisely set on the A1’s.

Only lines, line weights, and line types are to be made. All of the construction lines must be indicated in the drawing. The drawing must include three positions in time and atmosphere and climate must be shown through line weights and line types from edge to edge of the drawing.

8. Create a maximum length 20 second film of the experience of the two heads in the two climates, two environments and envelope in black and white. No acceleration of time and voice over is allowed in the clip. One title for 3 seconds precedes the film duration – format, colour, and font consistent throughout the studio.

9. Document your process of fabrication and research, presenting all of your process and research in a consistent format for the studio.

10. Photograph your two climates, two environments, and one envelope in two orientations, black and white. Print each photograph on 300mmx300mm, one image per A1. The photographic background must be consistent throughout the studio and the photographs must be done in an orthographic manner related to architectural perception.

11. The entire probe is to be performed on February 10th, 2020, 9:00am at YIH.

2574 Atmospheric Twins

Probe #4

February 17, 2020 1.You have a partner.

2. Construct two climates, two environments, and one envelope between the two heads of your partnership in an area of 500mm x 500 mm x 1000mm precisely. The cuboid volume of 500x500x500 of each head must be fabricated in full and the position of each cuboid must be precisely defined. Poche is to be used as a conceptual framework to determine climatic and positional hierarchy.

3. Use your body as the measuring device to determine the precise position of your heads along the X,Y & Z axis.Your construction must be calibrated and fit to the bodies of your respective team members. The position, structure, and prosthetic attachment must be fabricated with an architectural and structural intent. Consider position, orientation, vision, sound, smell, and weight among others in your design.You are not allowed to use hands to support your construction.

4. The two bodies must inhabit the constructions for minimum 1 minute and the clothing type, clothing factor, color, dress of each inhabitant is to be defined and must be evident.

5. Use only the two materials of grey board and latex to construct point 2 and point 3. At least one body/head part must touch the other head through the material of latex. The structure of your cuboids must be clearly considered and the fabrication of the cuboids must be with a tectonic intent.

Consider the material cost and resource consequence of your selection in terms of efficiency vs redundancy.

6. In some defined manner, the two climates and two environments must contaminate one another in one way, and by inverse a (or multiple) component (s) of the defined climates must not contaminate each other.

7. Draw the two climates, two environments and one envelope on min 2 A1 portrait orientation in a sectional oblique drawn in black and white only. The drawing is to be in 1:1 precisely set on the A1’s.

Only lines, line weights, and line types are to be made. All of the construction lines must be indicated in the drawing. The drawing must include three positions in time and atmosphere and climate must be shown through line weights and line types from edge to edge of the drawing. A full description of your project and head position in its climate must be drawn.

8. Create a maximum length 20 second film of the experience of the two heads in the two climates, two environments and envelope in black and white. No acceleration of time and voice over is allowed in the clip. One title for 3 seconds precedes the film duration – format, colour, and font consistent throughout the studio. The film is to indicate the inhabitation, operation, and experience of your climate.

9. Document your process of fabrication and research, presenting all of your process and research in a consistent format for the studio. Precisely describe and define your climate, atmosphere and envelope; how they perform, and your relationship and position to the current climate of nCoV. 10. Photograph your two climates, two environments, and one envelope in two orientations, black and white. Print each photograph on 300mmx300mm, Two images per A1. The photographic background must be consistent throughout the studio and the photographs must be done in an orthographic manner related to architectural perception.

11. Craft, construct, and define your 7 minute presentation carefully. Rehearse your performance, define where the audience is to sit/stand/ orient and how you will perform your project.

575

Probe #5 March 2, 2020

1. Rework your submission report as per the comments given in the marked up PDF via WhatsApp. 2. All work that is not originally produced by you must have full citation credits and attributions throughout.

3. Include all of the research work, making, and drawing from each of the probes into the report. Curate, though the general rule is add more into the document then less.

4. Draw the two climates, two environments and one envelope on min 2 A1 portrait orientation in a sectional oblique drawn in black, white and gradients of magenta only. The drawing is to be in 1:1 precisely set on the A1’s. Only lines, line weights, and line types are to be made. All of the construction lines must be indicated in the drawing. The drawing must include three positions in time and atmosphere and climate must be shown through line weights and line types from edge to edge of the drawing.

5. Climate, Environment and Envelope must be clearly present and evident in your drawing.

6. The drawing is to be vector based throughout for all those areas done on the computer. Learn illustrator. The full page of each A1 must be filled. Scan and include whatever is handmade, inserting the raster file into the illustrator document and print directly from illustrator. What is vector based must remain vector based.

7. The entire probe is to be performed on March 2nd, 2020, 9:00am at YIH.

2576 Atmospheric Twins

Probe #6 March 9, 2020

1.You have a partner.

2. Construct two climates, two environments, and one envelope between the two heads of your partnership in an area of 500mm x 500 mm x 1000mm precisely. The cuboid volume of 500x500x500 of each head must be fabricated in full and the position of each cuboid must be precisely defined. Poche is to be used as a conceptual framework to determine climatic and positional hierarchy. The position of at least one 500x500x500 must be self-supporting to the ground. Position your body (ies) accordingly.

3. Use your body as the measuring device to determine the precise position of your heads along the X,Y & Z axis.Your construction must be calibrated and fit to the bodies of your respective team members. The position, structure, and prosthetic attachment must be fabricated with an architectural and structural intent. Consider position, orientation, vision, sound, smell, and weight among others in your design.You are not allowed to use hands to support your construction. One cube must be entered independently.

4. The two bodies must inhabit the constructions for minimum 1 minute and the clothing type, clothing factor, color, dress of each inhabitant is to be defined and must be evident.

5. Use only the two materials of grey board and latex to construct point 2 and point 3. At least one body/head part must touch the other head through the material of latex. The structure of your cuboids must be clearly considered and the fabrication of the cuboids must be with a tectonic intent.

Consider the material cost and resource consequence of your selection in terms of efficiency vs redundancy.

6. In some defined manner, the two climates and two environments must contaminate one another in one way, and by inverse a (or multiple) component (s) of the defined climates must not contaminate each other.

7. Draw the two climates, two environments and one envelope on min 2 A1 portrait orientation in a sectional oblique drawn in black and white and gradients of magenta. The drawing is to be in 1:1 precisely set on the A1’s. Only lines, line weights, and line types are to be made. All of the construction lines must be indicated in the drawing. The drawing must include three positions in time and atmosphere and climate must be shown through line weights and line types from edge to edge of the drawing. A full description of your project and head position in its climate must be drawn.

8. The drawing is to be vector based throughout for all those areas done on the computer. Learn illustrator. The full page of each A1 must be filled. Scan and include whatever is handmade, inserting the raster file into the illustrator document and print directly from illustrator. What is vector based must remain vector based.Your drawing must work hard to communicate your climates, environments and envelope.

9. Create a maximum length 20 second film of the experience of the two heads in the two climates, two environments and envelope in black and white. No acceleration of time and voice over is allowed in the clip. One title for 3 seconds precedes the film duration – format, colour, and font consistent throughout the studio. The film is to indicate the inhabitation, operation, and experience of your climate. Be slow and consistent. Use a tripod.

577

Probe #6 March 9, 2020

10. Document your process of fabrication and research, presenting all of your process and research in a consistent format for the studio. Precisely describe and define your climate, atmosphere and envelope; how they perform, and your relationship and position to the current climate of nCoV. 11. Photograph your two climates, two environments, and one envelope in two orientations, black and white. Print each photograph on 300mmx300mm, Two images per A1. The photographic background must be consistent throughout the studio and the photographs must be done in an orthographic manner related to architectural perception.

12. Craft, construct, and define your 7 minute presentation carefully. Rehearse your performance, define where the audience is to sit/stand/ orient and how you will perform your project. Create a 500 word description with text written as you would read it.

13. The entire probe is to be performed on March 9th, 2020, 9:00am at YIH.

2578 Atmospheric Twins

Probe #7 March 16, 2020

1.You have a partner.

2. Construct two climates, two environments, and one envelope between the two heads of your partnership in a minimum area of 500mm x 500 mm x 1000mm to a maximum area of 1800x1800x1800.

Poche is to be used as a conceptual framework to determine climatic and positional hierarchy. The position of at least one 500x500x500 must be self-supporting to the ground. Position your body (ies) accordingly. No secondary support is permitted; for example stool, cabinet, or table.

3. Use your body as the measuring device to determine the precise position of your heads along the X,Y & Z axis.Your construction must be calibrated and fit to the bodies of your respective team members. The position, structure, and prosthetic attachment must be fabricated with an architectural and structural intent. Consider position, orientation, vision, sound, smell, and weight among others in your design.You are not allowed to use hands to support your construction. One cube must be entered independently.

4. The two bodies must inhabit the constructions for minimum 1 minute and the clothing type, clothing factor, color, dress of each inhabitant is to be defined and must be evident in the drawing with requisite data indicated.

5. Use only the two materials of grey board and latex to construct point 2 and point 3. At least one body/head part must touch the other head through the material of latex. The structure of your cuboids must be clearly considered and the fabrication of the cuboids must be with a tectonic intent.

Consider the material cost and resource consequence of your selection in terms of efficiency vs redundancy.

6. In some defined manner, the two climates and two environments must contaminate one another in one way, and by inverse a (or multiple) component (s) of the defined climates must not contaminate each other.

7. Draw the two climates, two environments and one envelope on min 2 A1 portrait orientation in a sectional oblique drawn in black and white and gradients of magenta. The drawing is to be in 1:1 precisely set on the A1’s. Only lines, line weights, and line types are to be made. All of the construction lines must be indicated in the drawing. The drawing must include three positions in time and atmosphere and climate must be shown through line weights and line types from edge to edge of the drawing. A full description of your project and head position in its climate must be drawn. Use sensing devices to measure your climate, environment and envelope. Embed that data into the drawing.

8. The drawing is to be vector based throughout for all those areas done on the computer. Learn illustrator. The full page of each A1 must be filled. Scan and include whatever is handmade, inserting the raster file into the illustrator document and print directly from illustrator. What is vector based must remain vector based.Your drawing must work hard to communicate your climates, environments and envelope.

9. Create a maximum length 30 second film of the experience of the two heads in the two climates, two environments and envelope in black and white. No acceleration of time and voice over is allowed in the clip. One title for 3 seconds precedes the film duration – format, colour, and font consistent throughout the studio. The film is to indicate the inhabitation, operation, and experience of your climate. Be slow and consistent. Use a tripod.

579

Probe #7 March 16, 2020

10. Document your process of fabrication and research, presenting all of your process and research in a consistent format for the studio. Precisely describe and define your climate, atmosphere and envelope; how they perform, and your relationship and position to the current climate of Covid-19.

11. Photograph your two climates, two environments, and one envelope in two orientations, black and white. Print each photograph on 300mmx300mm, two images per A1. The photographic background must be consistent throughout the studio and the photographs must be done in an orthographic manner related to architectural perception.

12. Craft, construct, and define your 7 minute presentation carefully. Rehearse your performance, define where the audience is to sit/stand/ orient and how you will perform your project. Create a 500 word description with text written as you would read it.

13. The entire probe is to be performed on March 16th, 2020, 9:00am at YIH.

2580 Atmospheric Twins

Probe #8 March 23, 2020

1.You have a partner.

2. Construct two climates, two environments, and one envelope between the two heads of your partnership in a minimum area of 500mm x 500 mm x 1000mm to a maximum area of 1800x1800x1800.

Poche is to be used as a conceptual framework to determine climatic and positional hierarchy. The position of at least one climate must be self-supporting to the ground. Position your body (ies) accordingly. No secondary support is permitted; for example stool, cabinet, or table.You need to define and account for the maximum area of the 1800x1800x1800 cuboid. Position your construction deliberately in this larger volume.

3. Use your body as the measuring device to determine the precise position of your heads along the X,Y & Z axis.Your construction must be calibrated and fit to the bodies of your respective team members. The position, structure, and prosthetic attachment must be fabricated with an architectural and structural intent. Consider position, orientation, vision, sound, smell, and weight among others in your design.You are not allowed to use hands to support your construction. One cube must be entered independently.

4. The two bodies must inhabit the constructions for minimum 1 minute and the clothing type, clothing factor, color, dress of each inhabitant is to be designed and must be evident in the drawing with requisite data indicated.

5. Use only the two materials of grey board and latex to construct point 2 and point 3. At least one body/head part must touch the other head through the material of latex. The structure of your cuboids must be clearly considered and the fabrication of your architecture must be with a tectonic intent. Consider the material cost and resource consequence of your selection in terms of efficiency vs redundancy.

6. In some defined manner, the two climates and two environments must contaminate one another in one way, and by inverse a (or multiple) component (s) of the defined climates must not contaminate each other.

7. Draw the two climates, two environments and one envelope on min 2 A1 portrait orientation in a sectional oblique drawn in black and white and gradients of magenta. The drawing is to be in 1:1 precisely set on the A1’s. Only lines, line weights, and line types are to be made. All of the construction lines must be indicated in the drawing. The drawing must include three positions in time and atmosphere and climate must be shown through line weights and line types from edge to edge of the drawing. A full description of your project and head position in its climate must be drawn. Use sensing devices to measure your climate, environment and envelope. Embed that data into the drawing. Use sensing visualization an incorporate that into your architecture.

8. The drawing is to be vector based throughout for all those areas done on the computer. Learn illustrator. The full page of each A1 must be filled. Scan and include whatever is handmade, inserting the raster file into the illustrator document and print directly from illustrator. What is vector based must remain vector based.Your drawing must work hard to communicate your climates, environments and envelope. For ease of e-platform presentations, convert your vector drawing to a jpeg so that line weights are easily communicated.

581

Probe #8 March 23, 2020

9. Create a maximum length 1 minute film of the experience of the two heads in the two climates, two environments and envelope in black and white and where appropriate add color. No acceleration of time and voice over is allowed in the clip. One title for 3 seconds precedes the film duration – format, colour, and font consistent throughout the studio. The film is to indicate the inhabitation, operation, and experience of your climate. Be slow and consistent. Use a tripod. Use VR as appropriate include Oculus Rift, Enscape, etc.

10. Document your process of fabrication and research, presenting all of your process and research in a consistent format for the studio. Precisely describe and define your climate, atmosphere and envelope; how they perform, and your relationship and position to the current climate of Covid-19.

11. Photograph your two climates, two environments, and one envelope in two orientations, black and white. Construct each photograph on 300mmx300mm. The photographic background must be consistent throughout the studio and the photographs must be done in an orthographic manner related to architectural perception.

12. Craft, construct, and define your maximum 7 minute presentation carefully to be presented virtually. Rehearse your performance and record them in a clip which will serve as your presentation format.Your 1 minute is to be included in this 7 minute presentation. The presentation is to ride alongside the A4 report submission.

13. Create a 500 word description with text written as you would read it and add it as text to your A4 report.

14. The entire probe is to be performed on March 23rd, 2020, 9:00am via Zoom.

2582 Atmospheric Twins

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AR2102 Unit 1 2020 Department of Architecture School of Design and Environment 3/29/2020

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