RAN BEN-SHAYA / EXTENDED DESIGN PORTFOLIO / 2020 by Ran Ben Shaya

RAN BEN-SHAYA PORTFOLIO

ARCHITECTURAL DESIGN

WOOD | GRAIN London | UK

Project Mentor: Miraj Ahmed | 2016

In the realm of drawing, paper is the medium to which the work comes to life, a process of exploration that exist for its own sake. In this particular niche, the role of the paper itself is the object of study, or more specifically the original matter from which most papers are produced is the focus of this project; wood.

From Woodgrain To Landscape - A Fictional Survey The contour and section drawings above are fictional translations of the grain pattern of a woodcut I found to be intriguing. Through assigning consistent elevation values to the wood growth layers, a 3 dimensional section was generated and then transformed into a digital 3D model.

Unveiling The Grain Throughout the process of working with the scoring Douglas fir method with the Douglas Fir, a remarkable effect has emerged in the fabrication process: the appearance of a distinct gradient generated by the grain of the Jelutong wood itself. This gradient occurs due to a changing density within the growth layers of the wood; The brighter rings within the texture are less resilient to the laser scoring therefore the tone of the scoring is darker than that of the darker growths layers found within the wood slices.

Wood Cut Collection Of Experimentations.

Laser Scoring Intensity Three main parameters determine the scoring output on a laser cutting machine: 1. Laser Speed 2.Laser Power 3.PPI Multiple tests of use of different laser speed and power (PPI - 500 as a constant) revealed that there is a significant change in the output depending on the speed and power parameters, however quite difficult to systematize due the inconsistency between each piece of wood that all differ in thickness.

Laser Scoring Intensity Calibration Tests On A Douglas Fir Woodcut. Manipulating The Gradient The colored line drawings on the right are essentially ‘blueprints’ with 3 different RGB colors read by the laser cutter. Each color is assigned different speed and power parameters that ultimately affects the relationship between the wood cut and the drawing that is scored onto it.

Color

Speed

Power

PPI

RED

14%

20%

500

MAGENTA

15%

500

BLUE

18%

11%

500

This process of dialogue between multiple pieces of wood constantly shifting between hand-drawing, 3D modeling, digital fabrication and woodwork, places the primary focus on making and exploring this method of work, rather than producing finalized pieces from it. Thus this composition of pieces attempts to view these wooden objects as tactile collisions between the natural and the man-made.

RGB Laser Scoring ‘Blueprints’ Of Drawings Scored Onto The Wood Cuts

KOSHICAR

Koshirakura Village | Niigata | Japan

Mentor: Shin Egashira Collaborator: Maya Kleiman | 2017

This project was initiated in the remote, rural village of Koshirakura in the Niigata prefecture of Japan, under a two decade long collaborative workshop lead by London based Japanese architect Shin Egashira and facilitated by the community leaders of Koshirakura village, creating an exciting platform for cross-cultural, architectural interventions relating to aspects of urban and countryside living. ‘Koshicar’ is part vehicle, part ‘kiosk-wagon’ and part landscape intervention device; It is designed for one purpose and no purpose at all, just vague enough to be interpreted differently by people from various cultural and ethnographic backgrounds. The ‘function’ or purpose of this so called ‘device’ is merely to unveil the behavioural tendencies of the person interacting with it and perhaps allow us to observe the contrast between the individuals who interacted with Koshicar. Rice, rain, mist, smoke, fire, wood, bamboo and one borrowed, rusty fire kettle; These are the elements and ‘ingridients’ from which Koshicar is assembled, referencing the surrounding landscape. The project was documented as a short film (see link bellow) taking ‘Koshicar’ across the village, inviting both foreign workshop participants and local villagers to engage with the vehicle. Absolutely no instructions where given to any of the participants on how to use or interact with the device or any explanations on the ‘functions’ embedded within its design. PERSON

OBJECT

FUNCTION

OBJECT

PERSON

OBSERVATION

(Indistinct Function)

Personal Scale Cultural Scale

The common belief in the necessity of function in devices and ‘prosthetics’ that enhance the human body is inherently engrained in our desire to create and transform matter into form. Perhaps what is most important when observing this man-object relation is not the functional purpose or application of that relation, but rather what that object tells or reveals about the person using it. Thus, what might we discover if we strip the object from any distinct function or cultural appropriation?

Personal Contributions: - Concept Development Of ‘Koshicar’ Narrative - Design & Construction Of ‘Koshicar’ Vehicle - Footage Shooting & Editing Of The Project Film - All Photography of the Vehicle & User Interactions

Click Icon For Film Link

Short atmospheric film documenting interactions of different people (local and foreign) with ‘Koshicar’ as the vehicle travels across the village.

SYLVAN CODA

Bali | Indonesia

Project Mentors: Ricardo De Ostosl, Nanette Jackowski | 2016 -17

‘Sylvan Veil’ - Project Thematic Photograph Pura Gunung Kawi, Ubud, Bali

SYLVAN CODA

Bali | Indonesia

Project Mentors: Ricardo De Ostos, Nanette Jackowski | 2016 -17

Project Synopsis This project is a year long studio project produced in 2nd year of the undergraduate program at the Architectural Association School of Architecture. The forest is an archaic entity that has fascinated, terrified and demarcated the habitual extents of human civilisation. ‘Sylvan Coda’ is a year long research and design project that investigates the friction and search of balance between the sylvan and human worlds through the context of the ancient Balinese village Tenganan Pegrinsingan, known for its extensive forest regulation jural system that has protected the local forest for centuries. The exclusive sylvan knowledge, folklore and rules maintained by the village have been at risk ever since the village library, responsible for documenting and archiving this sylvan knowledge, mysteriously burned down in midst of the 19th century. The library was never again reconstructed and this precious knowledge has been passed along generations through verbal means. In response to this fragile condition of knowledge preservation, a different kind of library is set to be constructed deep inside the forest of Tenganan; not a library of books or manuscripts but a library of cultural elements, pathways and structures designed to celebrate, enhance and preserve the sylvan knowledge of the village through a spatial and sensual experience of the forest in tandem with man-made architectural elements. Perhaps the forest can be investigated as a spatial thinking tool, a place in which we can compose our dreams, fears and imagination through the amplification of our most primal senses to create a whole that is bigger than the sum of it’s parts.

Sylvan

Consisting of or associated with woods; wooded.

Coda

The concluding passage of a piece or movement, typically forming an addition to the basic structure.

Rendered View Of Entrance Stairway Leading To The Forest Pathway & Manuscript Library

Macro Site-Plan Of Village Land, Location & Forest Territory

Rendered Plan Of The ‘Sylvan Coda’ Design Proposal. (Original Scale 1/250)

SYLVAN CODA

Bali | Indonesia

Project Mentors: Ricardo De Ostos, Nanette Jackowski | 2016 -17

Rendered Perspective View Of The Overall ‘Sylvan Coda’ Design Composition

SYLVAN CODA

Bali | Indonesia

Project Mentors: Ricardo De Ostos, Nanette Jackowski | 2016 -17

Sylvan Rules of Tenganan Pegringsingan A segment of rules within a larger framework of village regulations known as Awig-Awig - Ancestral laws dating back to the 11th century protecting and maintaining a scared balance between man and nature. These laws have kept the forest territory of Tenganan as one of the most sustained and preserved forests territories in Bali.

Fallen tree branches found on the forest grounds may be freely taken and collected.

Trees may not be cut down without permission from the village council. If a tree is to be cut down, a new tree must be planted in itâ&#x20AC;&#x2122;s stead.

All trees and plants that are utilised for the dying and weaving process of the Geringsing Sacred Fabric are forbidden to cut down.

Fruits of the forest may not be plucked from trees but may be taken only once they have naturally fallen from the tree.

Design Overview & Architectural Elements Diagram

SYLVAN CODA

Bali | Indonesia

Project Mentors: Ricardo De Ostos, Nanette Jackowski | 2016 -17

Compositional Line Drawing Synthesizing Tenganan Pegrinsingan Village Layout, Mythology, Cultural Beliefs, Native Flora & Sacred Textile Motif

Diagram Of â&#x20AC;&#x2DC;The Great Fire Of 1841â&#x20AC;&#x2122; - Destruction Of The Sacred Manuscript Library Of Tenganan Village

Diagram Of Balinese Cosmological Principles & Hierarchy

SYLVAN CODA

Bali | Indonesia

Project Mentors: Ricardo De Ostos, Nanette Jackowski | 2016 -17

The Possibility Of ‘Ruinification’ This sequence of photographs was taken in multiple sites across Bali. Following observations from a research trip to the island, I began to think of the notion of architectural elements that undergo a process of ‘ruinification’, not from an aspect of destruction but rather from the relationship between architecture and nature and the points of intersection between the two. Particularly in Bali where the separation between the forest and the built environment is very minimal, the forest, overtime, leaves its footprint on, in and around the architecture that surrounds it. Naturally any cracks, nooks and gaps of deterioration of statues balustrades ,walls or any other elements hold the possibility of ‘ruinification’; The Forest’s footprint becomes an additional strata of the architectural composition consistently changing over time.

‘Ruinification’ The traditional understanding of the word ‘ruin’ (verb): Reduce (a building or place) to a state of decay, collapse, or disintegration. ‘Ruinification’ however, is the gradual long term process of unification between the built environment and natural domain that surrounds it.

SYLVAN CODA

Bali | Indonesia

Project Mentors: Ricardo De Ostos, Nanette Jackowski | 2016 -17

Arbora - Experimental Film & Model Hybrid The aim in this model and film composition was the process of making it in itself. From the initial search of a specific piece of wood with sufficient complexity to embed different meanings into it, to curating footage relevant to the context of the forest of Indonesia, I simultaneously began treating and working with the found piece of wood using multiple techniques and materials, while documenting the process of making these interventions within it.

As the film was designed to be tightly linked to the wooden artifact, the majority of the film content is generated by the fabrication and documentation process of the model. Each point of intervention across the model attempts connect or depict a certain element or aspect related the human-forest relationship within Indonesia. This footage was supplemented by excerpts from several videos and documentary films relating to the forests of Indonesia. The annotated diagram above shows the link between specific scenes within the film and their point of origin in the model.

Arbora - As a Sonic Instrument A wireless microphone (A) was embedded in the in the model during performance time transmitting (B) what it is recording into Ableton live software (C) in which various vocoder were synchronized to run in tandem with the film. Each of these vocoders were designed to sonically match the theme of particular scenes throughout the film, abstractly resembling sounds of birds, insects, logging machines, forest fires and human whispers.

A C B

Equipment & Ableton Software Used In Arbora’s ‘Soundscape’

Click Icon For Film Link

Arbora - Thematic, Compositional Research Film.

Model Dimensions - Height 20cm Length 160cm Thickness 8cm

SYLVAN CODA

Bali | Indonesia

Project Mentors: Ricardo De Ostos, Nanette Jackowski | 2016 -17

Multi-Senorial, Instrumental Research Model The model was designed to create a multi-sensorial experience and ultimately questions the ways in which one can inscribe, encode or embed information and meaning into a crafted object. The type of questions this modeling language raises on the prospects of humanforest relationship are:

- How do I preform the act of deforestation? - How do I portray forest fires ? - What are the sounds and scents of this forest?

The diagram bellow maps the composition of interventions that have been preformed on the selected piece of wood, annotating the specific locations of implementation of scents, different patterns and fabrication methods used and the textures created throughout the model composition.

Preliminary Concept Sketch Models

Detail Segments Of â&#x20AC;&#x2DC;Arboraâ&#x20AC;&#x2122; Performative Model.

SYLVAN CODA

Bali | Indonesia

Project Mentors: Ricardo De Ostos, Nanette Jackowski | 2016 -17

Sylvan Coda - Final Model Composition Following the previous model - film composition (titled ‘Arbora’) developed in the contextual research phase of the project, this model portrays the design proposal with building fragments 3D printed in fine copper filament grafted on to a crafted wood piece. As the accurate topography and natural setting of the speculative project site was set deep inside the village’s forest territory, the wooden model base was designed as a 3 dimensional ‘landscape’ treating the natural features of the wood as a micro representation of the unknown forest environment itself.

Sylvan Coda - In Publication The project final model was featured in the book ‘ Scavengers & Other Creatures In Promised Land’ by AA unit masters Ricardo de Ostos and Nannette Jackowski. The architect duo pursue an alternative reading of ‘environment’, in which the brutal and lyrical are juxtaposed through visually compelling narratives of architecture. Illustrating their approach, this book presents ten years of student projects, all prompted by expeditions with their students to extreme geographic context in search of the gripping power of myth and fiction as radical narratives for imagining the near future of cities and forests.

Click Icon For Film Link

Sylvan Coda - Atmospheric film depicting the project architectural design, context and atmospherics.

Final Model Embedded With Design Fragments of The Project Proposal In Scale. Model Dimensions - Length 200cm

SYLVAN CODA

Bali | Indonesia

Project Mentors: Ricardo De Ostos, Nanette Jackowski | 2016 -17

SYLVAN CODA

Bali | Indonesia

Project Mentors: Ricardo De Ostos, Nanette Jackowski | 2016 -17

Field Data Collection: Physical samples collected throughout a research trip in Indonesia. The aim was to be able to trace back to certain textures, colors, woods and other local materials that are directly sourced from the context and land of Indonesia. These sample capsule function not only for their mere content but also as mementos of specific places I have visited, locals I conversed with and fabrication processes or traditional crafts that are associated with specific materials.

Sample Content: Bamboo String Collection Location: Kampung Bukit Duri, Jakarta. Collection Date: 31.12.17 Notes: Given by a local Kampung resident who was in the process of making a Bamboo birdcage.

Sample Content: Volcanic Rock Collection Location: Kusamba Village , Bali. Collection Date: 03.1.17 Notes: Smooth Texture.

Sample Content: Alang-alang Collection Location: Hotel Graha Cakra Sanur Denpasar , Bali. Collection Date: 04.1.17 Notes: A Type of Blady Grass. Flexible, Smooth, Strong (even when dry). Used for roof thatching in traditional Balinese architecture

Sample Content: Unknown Collection Location: Dayak Long House West Kalimantan Borneo Collection Date: 06.1.17 Notes: Spongy, Moss-Like Texture.

Sample Content: Crocodile - Satin Wood (Zanthoxylum rhetsa) Collection Location: Kemenuh Village ( Near Ubud) Bali. Collection Date: 02.1.17 Notes: Creamy-White Colour, Extremely Smooth, Hard. Can be reminiscent to Ivory when waxed or polished.

Sample Content: Black Sand Collection Location: Kusamba Village , Bali. Collection Date: 03.1.17 Notes: Pebbles, Coarse Grains.

Sample Content: Bauxite Soil Collection Location: SJM Forest Base Camp, Borneo. Collection Date: 06.1.17 Notes: Soil Rich With Aluminum. Powdery, leaves Residue When Touched Strong Contrast To Forest Environment.

Sample Content: Meranti Tree Roots Collection Location: SJM Forest Base Camp, Borneo. Collection Date: 06.1.17 Notes: Smooth Texture, Sturdy.

Sample Content: Mahagony Collection Location: Kemenuh Village ( Near Ubud) Bali. Collection Date: 02.1.17 Notes: Hard,Sturdy

Sample Content: Coconut Fiber Collection Location: Kusamba Village , Bali. Collection Date: 03.1.17 Notes: Rough, Stiff, Dry, Hay-Like Texture.

Sample Content: Meranti Tree Bark ( external) Collection Location: SJM Forest Base Camp, Borneo. Collection Date: 06.1.17 Notes: Rough Texture, Slightly Brittle.

Sample Content: Palm Fibers Collection Location: Palm Oil Factory , Pontianak , Borneo. Collection Date: 08.1.17 Notes: Remaining Fibers from the Palm oil production process.

Sample Content: Pule Wood Collection Location: Kemenuh Village ( Near Ubud) Bali. Collection Date: 02.1.17 Notes: Extremely Soft, Smooth Wood Traditionally used for scared Balinese Masks.

Sample Content: Petung - Bamboo Shreds. Collection Location: PT Bamboo Pure Factory,Bali. Collection Date: 04.1.17 Notes: by-product of bamboo treatment process.

Sample Content: Meranti Tree Bark ( internal ) Collection Location: SJM Forest Base Camp, Borneo. Collection Date: 06.1.17 Notes: Stringy Fibers, Deep Red Colour, Sturdy.

Sample Content: Palm Tree Bark Collection Location: Palm Oil Plantation, Pontianak , Borneo. Collection Date: 08.1.17 Notes: Extremely Thin, Brittle, Corrugated Texture.

Sample Content: Raw Kepuh Cotton. Collection Location: Goa Gajah, Elephant Cave, Bali. Collection Date: 02.1.17 Notes: Soft, Unrefined. Taken from a Sacred Silk-Cotton Tree (Kepuh)

Sample Content: Petung - Bamboo Internal Pulp Collection Location: PT Bamboo Pure Factory,Bali. Collection Date: 04.1.17 Notes: Soft, Sparse (Yellow - Internal Side of Bamboo) by-product of bamboo treatment process.

Sample Content: Meranti (Shorea) Tree Sap Collection Location: SJM Forest Base Camp, Borneo. Collection Date: 06.1.17 Notes: Grainy, Powdery

Sample Content: Palm Seed Collection Location: Palm Oil Plantation, Pontianak , Borneo. Collection Date: 08.1.17 Notes: Fruity Scent, Draped In Thin Fibers.

Sample Content: Black Sugar Palm Fiber (Ijuk) Collection Location: Gunung Kawi Temple, Bali. Collection Date: 02.1.17 Notes: Traditionally used in Balinese temple roofs. Incredibly Strong, Durable, Slightly Stiff.

Sample Content: Petung - Bamboo External Pulp Collection Location: PT Bamboo Pure Factory,Bali. Collection Date: 04.1.17 Notes: Stiff, Dense, (Green - External Side of Bamboo, contains chlorophyll from the Bamboo Skin) by-product of bamboo treatment process.

Sample Content: Rice and Bracelet from a Dayak Tribal Ceremony. Collection Location: Dayak Village, SJM Forest Base Camp Borneo Collection Date: 06.1.17 Notes: Part of initial ceremony of dance based Dayak ritual lasting several hours and involves drinking fermented rice drink.

Sample Content: Palm Tree Stems Collection Location: Palm Oil Plantation, Pontianak , Borneo. Collection Date: 08.1.17 Notes: Hollow, Soft, Brittle.

Sample Capsule Dimension: Diameter - 3cm Depth - 1.5cm | Sample Order By Chronological Date of Collection.

SYLVAN CODA

Bali | Indonesia

Project Mentors: Ricardo De Ostos Nanette Jackowski | 2016 -17

Context Diagram Showing Local Usage Of Material Samples Collected In Bali, Indonesia

FORAGING OPERATIONS Oslo | Norway

Project Mentors: Christopher Pierce, Amandine Kastler | 2017 -18

‘Foraging Operations’ - Project Thematic Photograph Sandoya, Norway

FORAGING OPERATIONS Oslo | Norway

Project Mentors: Christopher Pierce, Amandine Kastler | 2017 -18

Project Synopsis This project is a year long studio project produced in the 3nd year of undergraduate program at the Architectural Association School of Architecture. ‘Foraging Operations’ positions modern foraging as the inspiration and motive for the production of architectural constructs, discourse and sensorial relationship with the forests that surround us. The project aims to explore and re-establish the role and meaning of foraging in the Norwegian context both from an architectural perspective and cultural identity. Through close collaboration with the project’s primary client - The forager of renowned 3 Michelin star restaurant; Maeemo, the project aims to create an experiential, logistical and educational framework to be set as the research arm of Maaemo within the natural setting of Ekeberg Park, Oslo.

Problematics Of Maaemo’s Site Relocation The proposed relocation of the restaurant to Ekeberg Hill poses ecological concerns in relation to the existing natural reserve regulations.

Maaemo Restaurant Relocation From Oslo’s Barcode Area To Ekeberg Hill

Ekeberg Natural Reserve Protected Territory Positioning the project on this prescribed section of Ekeberg Hill will require considering the fragility and integrity of the natural reserve. The design proposal attempts to react to the regulation laws of the Ekeberg Natural Reserve protection and therefore relies on the following section of the regulation document; Section 6 - General Dispensation Rules “The managing authority may derogate from the regulations when the purpose of the conservation requires it, as well as for scientific research, work of social significance or in special cases when this does not conflict with the purpose of conservation”.

Viewpoint From Initial Site Location Perscribed By Maaemo

FORAGING OPERATIONS Oslo | Norway

Project Mentors: Christopher Pierce, Amandine Kastler | 2017 -18

Introducing Maaemo

INTRODUCING THE CLIENT: GAUTE VINDEGG Etymological Meaning (Old Norse); Mother - Earth

Over the course of an academic year (2017-2018), I have established a working relationship with the client, discussing the role of foraging in the philosophy of the restaurant (MAAEMO) and how it reflects on Norwegian culture. Throughout our conversations we have come to the understanding that MAAEMO as a restaurant currently lacks an infrastructural and logistical framework to accommodate and develop its foraging operations and research.

Overview MAAEMO is a three Michelin starred restaurant, located in Oslo, Norway. The restaurant is run and co-owned by chef Esben Holmboe Bang and initially opened its doors in 2010.

As a result of these continuous conversations I began formulating the idea of developing what I now call ‘Foraging Structures’; A network of semi-natural structures positioned across a natural setting that would provide working and service stations as well as small scale cultivation structures of edible plants used by the restaurant allowing for educational training of new foragers and exposure of restaurant diners and the general public to have a immersive understanding of the edible wild produce of the Norwegian landscape. The client provided a set of specifications and criteria he would like to be incorporated into the ‘Foraging Structures’ and research facility.

Service Seating Capacity 30 - 32 People + 30 Staff

Entrance To Restaurant

Culinary Approach MAAEMO builds around its local produce driven cuisine with a focus on reflecting the changing seasons and the raw nature of Norway. The restaurant bases its seasonal menu in support of local suppliers from across the country and continuous active foraging carried out by experienced foragers, thus, revitalizing the role of foraging in modern culture.

- Establishing a research and educational arm for Maaemo. - Natural Setting: Natural working environment close to a forest setting. - Minimal Footprint: Minimal disturbance of the existing forest environment. - Plantation Structures: Small scale cultivation of wild edible plants for research and educational functions

Interior Of Restaurant Dining Area

Gaute, Harvesting Birch Sap, Oslo, May 2018

Maaemo Key Figures

“The reasons for becoming a Forager are complex and different. For my part it is a way of understanding the way we live now and maybe something that we lost in the transition, and maybe an never ending (hopefully) excitement about the world around us. Growing things are so mind-boggling that I am frankly more surprised that people accentually find other things exiting. Also, surprisingly enough, actual money grows itself out in nature. You just have to care enough (and taste things that are not that delicious for a long enough time) that you see where beauty fit for plating exist” - Gaute Vindegg

Chef Esben Holboe Bang Restaurant Co-Owner & Head Chef

Rob Drennan Head of Research & Development

Gaute Vindegg Restaurant Forager & Botanical Expert Project Target Client & Collaborator

FORAGING OPERATIONS Oslo | Norway

Project Mentors: Christopher Pierce, Amandine Kastler | 2017 -18

The Norse Myth Of Ask & Embla Ask and Embla are the first two humans in Norse mythology. According to the myth, after the Aesir gods created the cosmos, they fashioned Ask and Embla from two tree trunks ( Ash & Elm trees) that had washed up onto the landmass the gods had recently raised out of the primordial waters. The male was figured from the Ash tree and the female from the Elm. The gods, led by Odin, endowed these newly-enlivened beings with önd (breath/spirit), óðr (ecstasy/inspiration), and lá (vital processes and health). Ask and Embla were then given Midgard, the world of human civilization, for their dwelling-place. They became the father and mother of the entire human species.

ASK Ash

EMBLA Elm

FORAGING OPERATIONS Oslo | Norway

Project Mentors: Christopher Pierce, Amandine Kastler | 2017 -18

Macro Site Analysis - Forest Eco-Regions This macro site map drawing-composition articulates the tremendous biodiversity of the forested areas found in Ekeberg Hill. With over seven different forest regions found in Ekeberg, it currently serves as a foraging ground of countless species of edible wild plants. The drawing also contains information and annotation of pedestrian routes and archaeological findings across Ekeberg Hill.

Macro Site Plan & Analysis - Forest Eco-Regions Survey & Geological Findings

Ekeberg Hill, Tree Species & Forest Eco-Regions Breakdown

FORAGING OPERATIONS Oslo | Norway

Project Mentors: Christopher Pierce, Amandine Kastler | 2017 -18

Ekeberg Hill - A Historical Foraging Grounds Geology and nature have made Ekeberg into an attractive area for exploiting resources and Norwegians have been doing that since time immemorial. For the first 3,000 years, they lived a nomadic life, moved around searching for the food and resources they needed to survive. The edible wild and construction timber was harvested from Ekeberg according to the changing seasons.

FORAGING OPERATIONS Oslo | Norway

Project Mentors: Christopher Pierce, Amandine Kastler | 2017 -18

Deadwood - Decay & Possibility of Regrowth Dead and decaying wood is in fact very much alive. Its is enlivened and inhabited by plants and insects that thrive upon its process of decomposition enabling them to utilize the nutrients stored within the tree which become accessible once the tree begins to undergo the process of decomposition. The more a decaying tree comes in contact with the ground soil, the faster its rate of decomposition becomes. Therefore, in order to slow the rate of decomposition of the decaying wood and prolong its architectural viability, structural supports must be attached to distance it from the ground.

Becoming Deadwood - Diagram Articulating Stages In Decay Of Stags & Fallen Logs

A Collection Of Deadwood & Decomposing Fallen Wood Collected In Various Locations In Norway & UK.

FORAGING OPERATIONS Oslo | Norway

Project Mentors: Christopher Pierce, Amandine Kastler | 2017 -18

Deadwood - Blue-Stained Wood Case Study

Exit holes of Bark Beetle

Cavities created by Bark Beetles for laying eggs

Desaturated areas indicated the parts of the tree artifact that have not been stained by the fungi.

Sectional analysis of beetle & fungi habitat on a decaying tree trunk. Aesthetical Appropriation of Blue Stained Wood Sapwood (xylem) Stained by fungi Inner bark (phloem) Bark Beetle habitat

Adult Beetle

Pupa Bark Beetlecens The blue stain fungus travels from tree to tree on a special structure in the beetleâ&#x20AC;&#x2122;s mouth parts. This is its means to travel to new trees. The fungus helps the beetle by stopping the tree from producing its natural defense resin, and the beetles are hence able to mine and lay eggs while avoiding the treeâ&#x20AC;&#x2122;s defenses.

2-4mm Chlorociboria Aeruginascens Ecology: Saprobic on well decayed, bark-less logs and sticks, including those of both hardwoods and conifers; Grows or appears primarily on Pine, aspen, oak and ash. Discoloration: caused by the production of the pigment Xylindein synthesized by the staining fungi.

Xylindein The blue/green discoloration identified on the tree artifact indicate the presence of Xylindein; A quinone pigment responsible for the blue green characteristics of the infected wood.

Across history blue wood was a desired rare phenomenon used as an exclusive material for artwork and furniture pieces, despite it being considered rotten wood. 14th and 15th century Renaissance Italian craftsmen used the wood to provide the blue/green colours in their intricate inlaid Intarsia designs.

Larva Stage II

Larva Stage I Egg

Decaying Pine Tree Vulnerable to infection by Bark Beetle and Blue Stain Fungi.

14th century Italian inlaid wood Intarsia using blue wood to depict blue elements of the landscape. The highlighted parts show where the blue wood fragments where inlaid within the overall artwork.

Annual cycle of Bark Beetle reproduction within the infected deadwood.

Diagrammatic Analysis, Retracing The Decomposition Process Of A Blue Stained Wood Fragment, Collected In Norway.

FORAGING OPERATIONS Oslo | Norway

Project Mentors: Christopher Pierce, Amandine Kastler | 2017 -18

Micro-Site Discovery Through a ‘deadwood’ foraging hike undertaken within Ekeberg Natural Reserve in extreme snow conditions of winter time, I found a potentially viable deadwood tree trunk that could be used as part of the foraging structures intended for the proposed Maaemo research facilities. Adjacent to the found fallen tree, an intriguing pre-existing abandoned bunker-esque building was set within the reserve, which was later selected for the base of the project design proposal.

Elevation showing dead log and project existing building.

Abandoned concrete building believed to be the only building within the Ekeberg Natural Reserve which is not a listed building and there for suitable for potential extension.

Location of Found Dead Log In Relation To The Entire Ekeberg Site

Plan view of photogrammatry survey conducted in-situ. Scale: 1/300

Photographs of the selected dead log taken in-situ where it was found . The Log appeared to be in early decomposition stages which means it is still structurally strong and can withstand structural interventions. Plan showing dead log location adjacent to an abandoned building on-site which will house part of the foraging test kitchen /studio designed for the client’s requirements

North elevation view of photogrammatry survey conducted in-situ. Scale: 1/300

FORAGING OPERATIONS Oslo | Norway

Project Mentors: Christopher Pierce, Amandine Kastler | 2017 -18

A ‘Photo - Choreographic’ Site Survey A ‘Photo - Choreographic’ Survey was a kind of hyper specific approach to documenting and learning the forested project site location with all its natural features and man-made traces. Thus, the survey drawing bellow depicts a borderline forensic investigation of all the pre-existing elements on site, prior to designing the speculative architectural proposal. The footstep markings in the drawing are linked to a chronological photosequence alongside annotation of all existing trees and exposed rock-beds on site generating a choreography of the very act of surveying a site set within a fragile natural reserve.

Micro Site Cross Section

Site Survey Drawing Showing All Found / Pre-existing Natural & Artificial Elements, Exisiting Buildings & Fallen Trees On Site

Photo Survey Sequence As Mapped In Site Survey Drawing (Left)

FORAGING OPERATIONS Oslo | Norway

Project Mentors: Christopher Pierce, Amandine Kastler | 2017 -18

Floor Plan As Site Plan ‘Foraging Operations’ research & development facility proposed for Maaemo, designed to blend the building floor plan with the outdoors ‘foraging structures’, pathways and foraging spots scattered across the site. Thus, the floor plan is the site and the site is the floor plan, becoming one with the forest, exposed, open and encouraging public engagement.

Project Building Floorplan - Originally Drafted in 1/50 Scale

FORAGING OPERATIONS Oslo | Norway

Project Mentors: Christopher Pierce, Amandine Kastler | 2017 -18

Cross Section - A Foraged Building With foraging culture being the primary element of this project, the notion of foraging for edible wild was translated into â&#x20AC;&#x2DC;architectural foragingâ&#x20AC;&#x2122;, searching for decaying or dead wood to be analyzed, reinforced and ultimately used within the project building extension itself.

Project Cross Section - Originally Drafted in 1/50 Scale

FORAGING OPERATIONS Oslo | Norway

Project Mentors: Christopher Pierce, Amandine Kastler | 2017 -18

Cross Section - Unraveling A Forest Constellation This drawing version of the building cross section unravels its relationship to itâ&#x20AC;&#x2122;s forest surroundings, depicting, edible wild plants, poisonous plants, animals and tree species found on site. The drawing maps the relationship between existing trees and reinforced deadwood pillars erected across the site.

Project Cross Section - Originally Drafted in 1/50 Scale

FORAGING OPERATIONS Oslo | Norway

Project Mentors: Christopher Pierce, Amandine Kastler | 2017 -18

Foraged Produce - Edible Wild Indexing Foraging is an inseparable part of the knowledge utilized by Maaemo to depict the Norwegian landscape within its cuisine. The client supplied a list of over 400 plants that are actively foraged by the restaurant across the changing seasons of the year. The taxonomy drawings bellow are a sample from the digital the foraging database proposed as part establishment of a foraging research center for the restaurant. The plants were digitally drawn and painted by me and botanically verified by Maaemo’s forager (Gaute Vindegg).

Juice

sion

Vineg

Infu

Pickled

uch

sion

Infu

Pickled

STRAWBERRY JORDSBÆR

Growth Stats Botanical Name: Tagetes erecta Category: Perennial, Herbaceous Plant Habitat: Wet Soil,Broad-Leaved Forest, River Streams Growth Height: 20cm (Height) Notes:

Vineg

Juice

Growth Stats Botanical Name: Craterellus cornucopioides Category: Fungi (Edible Mushroom) Habitat: Hardwood forests, Little Streams,Moss Growth Height: Up to 10 cm Notes: Grow especially near oak and beech trees. These mushrooms do not fruit on wood, but near it.

uch

sion

TAGETE

Infu

sion

Vineg

Infu

Pickled

Juice

uch a

ar Vineg

mb Ko Pickled

Juice

ar Vineg

BLACK TRUMPET MUSHROOM KANTARELL

uch

sion

uch

Infu

sion

uch a

Infu

Vineg

sion

Infu

Pickled

Growth Stats Botanical Name: Aronia arbutifolia Category: Deciduous Shrub Habitat: Low Wooded Areas,Swamps Growth Height: 10-15mm (Diameter) Notes: Moist Acidic Soil

Growth Stats Botanical Name: Ribes nigrum Category: Ribes Woody Shrub Habitat: Forest Soils, damp but not waterlogged ground Growth Height: 10-15mm (Diameter) Notes: Drought intolerant

Vineg

Growth Stats Botanical Name: Cantharellus cibarius Category: Fungi (Edible Mushroom) Habitat: Near Hardwood , Oak, Mapel, Pine Growth Height: 3-7cm (Height) Notes: Can’t coexist with blueberries. Prefers damp environment.

uch a

Growth Stats Botanical Name: Myrrhis odorata Category: Herbaceous Perennial Plant Habitat: Well Drained Soil, Woodland Margins,Grasslands Growth Height: 15-25mm (Fruit) Notes:

BLACKCURRANT

BLACKCURRANT SOLBÆR

Juice

Pickled

Juice

CHANTERERELLE SVART TROMPET

Growth Stats Botanical Name: Rosa rubiginosa Category: Perennial Flowering Plant Habitat: Consistently moist soil,Mulch Growth Height: 4-5cm (Flower head diameter) Notes:

Vineg

Juice

Vineg

a uch mb Ko

sion

Infu

uch

sion

Pickled

SWEET SICILY SØT SICILIA

ROSE

Growth Stats Botanical Name: Allium ursinum Category: Perennial herbaceous monocot Habitat: Moist Soil,Deciduous Woodlands Growth Height: 4-6cm (Flower head diameter) Notes: Prefers Acidic Soil

Infu

WILD GARLIC RAMSON

Growth Stats Botanical Name: Juniperus osteosperma Category: Coniferous evergreen tree Habitat: Rocky areas, Old native pine woodland Growth Height: 20-40m Notes:

Pickled

d ea

2.JUNIPER EINER

sion

Infu

uch a

Pickled

Vineg

d ea

Growth Stats Botanical Name: Lavandula spica Category: flowering plants, Lamiaceae (Shrub/Herb) Habitat: Dry, Rocky Soil on Slopes Growth Height: 30cm (Flower Brach) Notes:

sion

Juice

uch a mb Ko

Vineg

Infu

Juice

sion

Infu

Pickled

Vineg

uch a

Growth Stats Botanical Name: Juniperus osteosperma Category: Coniferous evergreen tree Habitat: Rocky areas, Old native pine woodland Growth Height: 20-40m Notes:

LAVENDER LAVENDEL

JUNIPER EINER

Pickled

Growth Stats Botanical Name: Fragaria ananassa Category: Perennial Herbaceous Plant Habitat: Woodlands, Lime Stone, Chalk Growth Height: 2-4cm (Fruit) Notes:

Panoramic Photomontage / Seasonal Timeline Of Project Site Articulating The Annual Foraging Operational Timeline As Stated By Maaemo Forager (Gaute Vindegg)

FORAGING OPERATIONS Oslo | Norway

Project Mentors: Christopher Pierce, Amandine Kastler | 2017 -18

Pre-Existing Building Fragment Model Scaled fragment model of existing bunker building found on the project site which is proposed to be used as the base structure for building proposal of the Maaemo foraging research center. The fragment model is plaster casted and mixed with natural mineral pigment. The wood grafted into the building is made of collected branches of tree limbs gathered throughout the year, attempting to resemble life size deadwood tree trunks.

FORAGING OPERATIONS Oslo | Norway

Project Mentors: Christopher Pierce, Amandine Kastler | 2017 -18

Foraging Structures - Formwork Speculation ‘Foraging Structures’ is a network of semi-natural structures positioned across Ekeberg Hill’s natural setting that would provide working and service stations, edible wild demarcation structures, as well as small scale ‘deadwood cultivation structures’ for edible plants, enabling educational training of new foragers and exposure of restaurant guests and the general public to have an immersive understanding of the edible wild plants native to Norway These fragment models (right) are crafted from foraged pieces of dead or decomposing, small tree limbs which were each placed within different formwork structures designed to prop and support the decaying wood off the ground. The cavities and nooks found within the decomposing wood could then be used for small plant cultivation patches as the structure begins to integrate with its forest surrounding. Each wooden limb was coated with essential oil scents of particular plants that would be cultivated in and around each structure. (Rose, Lavender Scarlet Cup Mushrooms and Moss).

FORAGING OPERATIONS Oslo | Norway

Project Mentors: Christopher Pierce, Amandine Kastler | 2017 -18

Foraging Structures - Birch Sap Harvesting Drawing excerpt from the project cross sections portraying a Birch Sap harvesting ‘Foraging Structure’ on site. The structure serves as an educational marker showcasing how to harvest Birch sap directly from the tree.

Birch Sap Harvesting Produced By Maaemo’s Forager

Project Design Process Sketches

Reinforced Deadwood Pillar Used For The Birch Harvesting Structure

FORAGING OPERATIONS Oslo | Norway

Project Mentors: Christopher Pierce, Amandine Kastler | 2017 -18

‘Deadwood Prosthetic’ - Supporting Structure

Fracture Line

Casting Area

Pre-Drilling For Brass Core Insertion

10cm

7cm

Fractured Tree Limb

Brass Pipe 3mm

Insertion of Brass Pipe Into Tree Limb

Assembly of Formwork For Plaster Cast

Extended Tree Limb

Scale: 1/2

Creating An Extension To A Fractured Decaying Tree Limb / Fragment

FORAGING OPERATIONS Oslo | Norway

Project Mentors: Christopher Pierce, Amandine Kastler | 2017 -18

‘Foraging Structures’ Construction Stages When a tree falls in the forest, it is biologically no longer alive, but it becomes a host for a the life of its fellow forest inhabitants. The tree transforms into a form of supporting system for countless species of plants, insects and fungi that rely on the nutrients stored within it. Thus, deadwood has the potential of becoming an ideal vessel to cultivate plants within. Healthy forests contain many forms of decaying and fallen trees. Through out their magnificent process of decomposition these fallen or decaying trees play a vital role in the biodiversity of the forest but also feature complex forms, cavities and textures that simply cannot be fabricated.

Stage I Foraging For Optimal Deadwood Large scale fallen trees are the primary target deadwood source, some of which function as Nurse Logs. A Nurse Log is a fallen tree or existing tree stump which, as it decays, provides ecological facilitation to seedlings, and provides shade or support to other plants and animals.

Stage II 3D Scanning & Survey These Pieces Of Decaying Wood Are Small Scale Fragments Collected During A Research Trip To Norway In November 2017 Plan

Elevation Sample A

Sample B

14cm

Once a suitable tree is found, the analysis and design stage commences. In order to begin to transform the tree into an architectural construct it is first 3D scanned via Photogrammetry or Terrestrial Laser Scanning methods. Accurate measurements can then be extracted from the 3D scan for the design process.

45cm

Joint Location 6mm Wood Dowel (Back)

Elevation 14cm

Joint Location 6mm Wood Dowel (Front)

Stage III Structural Reinforcement

24cm

45cm

21cm

Analyzing & Joining Decaying Wood Samples To Form A ‘Foraging Structure’ Prototype According The Construction Stages (Left)

Following 3D digital survey of selected deadwood, structural supports are designed and attached to the wood to reinforce it and distance it from the ground in order to slow down its decomposition process, within consideration of the usage of the particular foraging structure.

3D Mesh + Contour

3D Texture Mapping

Stage IV Plantation Once the prosthetic attachments have been made, the planting of specific vegetation,across the foraging structure begins in correlations with micro seasonal consideration and suitability of the site specific climatic conditions.

‘Foraging Structures’ Construction Stages Diagram

Photogrammetry Image Data Position

Photogrammetry Scan Data

FORAGING OPERATIONS Oslo | Norway

Project Mentors: Christopher Pierce, Amandine Kastler | 2017 -18

‘Foraging Structures’ - Vivarium Prototype Constructing an enclosing, controlled environment for the ‘Foraging Structure’ prototype was designed to simulate and test the possibility of cultivating plants within a deadwood vessel. As this was a small scale test, the vivarium was meant to simulate the integration of a ‘Foraging Structure’ within a forest environment (under tree canopies), in which moisture and temperature affects the growth of plant species.

Wardian Case (18th Century) - ‘Vivarium Prototype’ Main Reference

Foraging Structure Compositional Drawing, As Embedded In A Forrest Setting

‘Foraging Structure’ Deadwood ‘Vivarium Prototype’ Side Views

‘Foraging Structure’ Deadwood ‘Vivarium Prototype’ Front View

FORAGING OPERATIONS Oslo | Norway

Project Mentors: Christopher Pierce, Amandine Kastler | 2017 -18

25.1 26.1 27.1 28.1 29.1 30.1 31.1 1.2

2.2

3.2

4.2

Date of Measurement

GRAPH A

100 95 90 85 80 75 70 65 60 55 50 45 40 35 30 25 20 15 10 5 0

Vivarium Humidity and Temperature Measurement Graph Analysis Indication of Moisture Application Into Vivarium

25.1 26.1 27.1 28.1 29.1 30.1 31.1 1.2

Date of Measurement

25.1 26.1 27.1 28.1 29.1 30.1 31.1 1.2

Date of Measurement

GRAPH B

2.2

3.2

2.2

3.2

4.2

Temperature (°C)

30 29 28 27 26 25 24 23 22 21 20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1 0

HR %(humidity)

100 95 90 85 80 75 70 65 60 55 50 45 40 35 30 25 20 15 10 5 0

Temperature (°C)

HR %(humidity)

Foraging Structures - Prototype Monitoring 30 29 28 27 26 25 24 23 22 21 20 19 18 17 16 15 14 13 12 11 10 9 8 7 6 5 4 3 2 1 0

Plants Inserted Into Vivarium

25.1 26.1 27.1 28.1 29.1 30.1 31.1 1.2

Date of Measurement

2.2

3.2

4.2

Requirements: High Moisture Cool Temperarture

4.2

Temperature Moisture Content

HEDERA

PILLOW MOSS

‘Foraging Structure’ Deadwood Vivarium Prototype Elevation Drawing

MAAEDA|FURNISHING THE LANDSCAPE AA Hooke Park | Dorset | UK

Mentors: Shin Egashira, Pedro Jervell| 2017

Cannibalising the installation by Andy Goldsworthy that once stood “pride of place” at the approach to AA Hooke Park, Dorset, UK, the 2015 edition of the Maeda Visiting School sought to develop a poetic connection to the installation that was deemed a health and safety infringement and was set to be dismantled. The installation was reborn as the symbolic front swing gate and its sister, a platform, which offered an alternate route from the tarmac road that lead off into the woods of the Hooke Park campus. The platform promised the walker a path less travelled, but the platform came to an abrupt halt as it ended in a sharp drop. Continuing the work done in the previous Maaeda visiting school, this program edition started out with relatively modest goals: reinforce the platform, remove the scaffolding which had been added as a temporary structure and propose a resolution to the dramatic drop cliff at the end of the platform. In a short span of four active days our team of 12 not only managed to complete the goals but also maintained the visual language first established in 2015. (Text Description is based on ‘AA conversation’ blog post article describing the collaborative project in detail, written by fellow teammate Sean Gwee)

Personal Contributions: - Participation In Design & Construction Of Wood Installation (Team Member) - Photographic Documentation Used In This Page

Click Icon For Project Article

AA conversation blog post describing the collaborative project in detail.

OKACHIMACHI MARKET | A TALE OF TILES Taitō | Tokyo | Japan

Mentor: Shin Egashira Collaborators: Henry Ngo Si Yuan, Michael Arzberger | 2017

This project was produced within a short collaborative workshop facilitated by the department of architecture of Geidai - Tokyo University of The Arts, connecting Japanese and international architecture students with the aim of studying and discussing urban, infrastructural and cultural conditions of the Tokyo Metropolis. ‘A Tale Of Tiles’ emerges from brief but intense research into the historical, retrofitted character of “Ameya-Yokocho” (Candy Alley); an open-air street market that runs along the train-track undercroft between Ueno and Okachimachi stations in Taitō, Tokyo. “Ameya-Yokocho” portrays a visually rich ‘plug-in’ condition in which individual merchants ‘domesticate’ their patch of train-track undercroft as it interlaces with urban-municipal pedestrian infrastructure, cautionary signage and trains station entry points. This bricolage of urban merchant identity and city infrastructure renders a fascinating rhythm and pattern of tiling with remarkable diversity not only across the individual market shops but also throughout the municipal tiling across the market pedestrian path. Thus, observing and surveying this market through its paving as an element of urban stratification and individual identity, establishes an intimate investigation `of ‘clues’ that lie beneath our feet, to better understand the intricacies of the cities we inhabit.

Personal Contributions: - Concept Development & Research Direction - Photographic Documentation & Shop Tile Mapping - Project Thematic Photomontage (Bottom) - Drawing Contribution To Birds-Eye View Drawing (Right)

Old Photograph Of Okachimachi - “Ameya-Yokocho” (Candy Alley)

Digital Photomontage, Of Images Documented “Ameya-Yokocho” Street Market

Mapping The Tile Pattern Of Market Stalls & Municipal Pavements Across Okachimachi Market

Composite ‘Birds-Eye View’ Drawing & Collage Showcasing The ‘Tale Of Tiles’ Mapping of “Ameya-Yokocho” Market

MONUMENT SMOG Beijing | China

Project Mentor: Oliviu Lugojan-Ghenciu | 2015

This project attempts to speculate and narrativise Beijing’s striking air pollution condition as a prevailing element of its socio-cultural urban Identity. While Beijing is not the most polluted city in the world, it has gradually become an icon of ‘airpocalypse’ - The smog capital of the world. It is a paradigm of the visual consequence of man-made pollution, unleashing an industrial condition which China’s energy supply and infrastructure continues to depend upon. Smog is becoming part of the cultural identity of the city, affecting Beijing at every possible scale; from the satellite ‘vistas’ of outer space down to the particle composition of the air. In response to this condition - the project proposes a speculative architectural scenario in which a monumental beacon-esque tower would be erected in Beijing iconic ‘axis of power’, rising tall at the heart of Tiananmen Square. ‘Monument Smog’; A hybrid monument, air pollution indicator and air filtering device dares to accept smog as part of the visual, social and cultural identity of Beijing.

‘Retrofitted’ Chinese Propaganda Collage

‘Monument Smog’ - Performative Simulation

Active Filtration Tower - Passive Indication Beacon

A poster collaged with contemporary pollution masks sampled from Chinese fashion runway shows. The original poster depicts the Forbidden City palace complex of central Beijing, facing the iconic Tiananmen Square.

A prototype demonstrating how the tower could transform into a city-scale, pollution indication ‘beacon’ device as is utilities smog density to dissipate a powerful orb of light codifying the severity of air pollution throughout Beijing in real-time.

Conceptual drawings articulating the performative functions of ‘monument smog’. The drawing above (top) demonstrates a speculation on the integration of an air filtration system into the tower. The drawing bellow demonstrates the relationship of ‘monument smog’ to the Beijing skyline and its beacon-esque, luminous effect in various states of pollution severity within the city.

Forecasting Smog

Click Icon For Film Link

Short thematic film composed with a mix of found footage and self made animated sequences.

Daily Smog measurements referenced from a commonly used pollution forecast app in China. While the weather forecast becomes secondary in its relevance, the app generates practical health suggestions according to the daily air quality measurements in cities across China.

Site Plan - Beijing ‘Axis of Power’

PHANTOM GARMENTS London | UK

Project Mentors: Francesca Silvi & Mattia Santi | 2016

Design Development

This project focuses on the notion that technology in relation to the body can generate a sense of specificity to one’s particular structure, muscle tissue or perhaps even cultural heritage. Following a research phase on digital fashion, New Guinean tribes and processing algorithms, I chose to synthesize the my findings into a design of a set of digital garments inspired by and speculatively tailored to the Huli tribe based in the southern highlands of Papua New Guinea. The design concept is based on two main design components conceptually sourced from the local context.

A - Wigs Worn by Men of the Huli Tribe

Initial mesh duplicate starting modification through control points.

Mali - Wigs worn by the men who are married and traditionally takes a sharper more rectilinear form facing upwards. Haroli - Wigs worn by the men who are bachelors and traditionally take a more downward facing hemispherical form.

B - Birds of Paradise: Constructing ‘Digital Feathers’

Mali Garment

Creating differentiation between Mali and Haroli garments via control point manipulation.

‘Feather’ construction to create a narrow path of vertices’s to run the algorithm in processing. This generates the ‘digital feathers’ seen in some of the garment outputs.

Haroli Garment

Speculative collage overlay of my ‘Phantom Garments’ onto a photograph of men from the Huli tribe, taken by renowned photographer Jimmy Nelson. Garment ‘Digital Shell’ Designs (Yellow Mesh)

A Magnificent set of 42 species of birds found in Eastern Indonesia, Papua New Guinea, and eastern Australia. The birds were a key reference for the digital garment designs not only for the idea on constructing ‘digital feathers’ in processing, but also for the incredible geometries these birds produce with their body for intimidation and attraction purposes. The feathers and body paint used by the Huli Wigmen appeared to be primarily of red and yellow color and there formed the primary color composition chosen to work with while associating Mali Wigmen primarily with the function of intimidation and the Haroli Wigmen with the function of attraction.

Mali

Haroli

Excerpts from the code used in processing to generate the ‘Phantom Garments’.

Grasshopper was utilized primarily for simplifying the final mesh designs as much as possible in order for the exported body mesh to be as light as possible.

Input

Output

Radius in Which Each Spike Looks for Agents “float neighboursRange=100;” “float neighboursRange=250;”

Mesh Vertices Colour “void displayVertices() { stroke(255);” Spike Maximum Length float maxLength= 400;

Click Icon For Film Link

Short film ‘Digital Wigmen’ demonstrating the outputs generated through processing and its aesthetic relation to the Huli tribe.

Parameter Control

Excerpts Of Command Inputs & Outputs In Preliminarily Studies Of The Spike Algorithm

The processing outputs of these garment design were generated in constant shift of the primary parameters in real time, allowing for a more dynamic exploration of form and activation of the spike to generate the overall appearances I was aiming for in each of the Wigmen garments (Haroli & Mali). I perceived these output as interactive dynamic garments potentially responding to the changing condition of intimidation and attraction in the Wigmen’s environment.

Flocking Algorithm Breakdown: The algorithm used via processing is a flocking mesh code that generates a spike pattern. A mapping function was embedded in the code to create a gradient of color on the body mesh in response to the length of the spikes at any given time. This was a way of interpreting the use of color in an attempt to recreate the notion of intimidation and attraction that is so fundamental to the tribes of the Papua Island. Vertices

Agents

Flocking Algorithm Layer Breakdown

Spikes

‘Digital Garments’ Parameter Slider Controls (Left) & Visual Outputs (Right) In Processing

THE COURT

Paris | France

Project Collaborators: Nicholas Lin, Julian Morrisette | 2015

Reinterpreting Centre Georges Pompidou Competition; This proposal for the Centre Pompidou in Paris introduces a transitional gradient and a series of relationships between one’s observation of the activities and culture happening within the building and one’s experience of them from the inside. ‘The Court’ is predominantly defined by a continuous series of soft curves generating a wide range of poches throughout the design. The building features a sequence of concave exteriors, some of which function as mere storefronts and view-ports and others function as open and semi enclosed courtyards often tailored to reflect on the program placed on the interior behind it. The design proposal was conceived through an extensive series of diagrammatic, itterational scaled models placed within the Centre Pompidou’s original site context. ‘The Court’ attempts to elegantly blend in and maximize it’s claim of it’s surrounding territory and therefore becomes an extensions of Paris, absorbing its vibrant atmosphere.

Personal Contributions: - Concept Development & Visual Language - 2D Drawings (Plan, Section & Programme Diagrams) - Co-Fabrication Of Design Development Model Iterations

- Co-Fabrication of Conceptual Model of Final Design Proposal

Plan & Section Drawings of ‘The Court’ Building Proposal

RECEPTION WORKSPACE LIBRARY RESEARCH GALLERY MUSEUM THEATHER

Axonometric Diagram - Program Distribution

Conceptual Scaled Model Of Final Proposed Design, In Relation To Centre Pompidou Original Site

ALEXIS DORNIER STUDIO Ubud | Bali | Indonesia

| 2018 - 2019

Post Riba Part 1 Work Experience Alexis Dornier’s Studio is an Industrial-Tropical-Modern Architecture & Design Studio based in Ubud, Bali, Indonesia. The studio combines and reformulates design methods for each architectural design task, while producing in-house realistic visualisations of architectural project designs, with an emphasis on experimental form and tectonic expression. During my 13 months of work experience in Dornier’s Ubud based studio, I worked on concept and design development of several private residences and the ‘Bugbugan Retreat’ project (Images featured on this pages), as well as research and development focusing on Indonesian vernacular architecture, local materials and artisanal contemporary design.

Click on the link bellow for studio website which I was in charge of revamping and producing content and copyright materials for. ALEXISDORNIER.COM

Exterior Entrance View

Location : Bugbugan, Bali

Project Master Plan Concept Drawing Of ‘Bugbugan Retreat’

Alexis Dornier Architecture

Project : Bugbugan

Rendered Visualizations Of ‘Bugbugan Retreat’ In Concept Design Stage.

Perspective Line Drawing Series Of Completed Villas Design By Alexis Dornier In Bali

Workshop Area

Location : Bugbugan, Bali

Alexis Dornier Architecture

Project : Bugbugan

RAN BEN-SHAYA PORTFOLIO

RESEARCH & CURATION

DON’T PANIC IT’S ORGANIC Ubud | Bali | Indonesia

Project Collaborators: Wayan Purnata , Andika Putra | 2019

‘Don’t Panic It’s Organic’ was a self initiated exhibition that offered a glimpse in the world of Indonesian natural dyes, focusing solely on the colours and their natural source. The exhibition display showcased the dye palette and tools of local dye maker and artist Wayan Purnata alongside industrial natural dye maker Andika Putra (C.V Tarum). A series of photographs and film footage were included in the exhibit depicting both artisanal and industrial production of natural dyes in Bali.

Contextual Background Indonesia is undoubtedly one of the most biologically and ethnically diverse territories of our planet, blending nature, craft and cultural tradition for centuries. Indonesian textiles demonstrate to this day, the precious and complex relationship of its people to the natural environment that surrounds them. Through craft and island specific traditions, exquisite natural dyes are unleashed from trees, leaves, nuts and roots across the Indonesian archipelago.

Click Icon For Film Link

‘Don’t Panic Its Organic’ - Atmospheric Film

DON’T PANIC IT’S ORGANIC Ubud | Bali | Indonesia

Wayan Purnata’s Natural Dye Studio

Project Collaborators: Wayan Purnata , Andika Putra | 2019

Andika Putra’s Natural Dye Factory

MAX CARACAS IS 8° SOUTH Ubud | Bali | Indonesia

Project Collaborators: Maximillian Jencquel | 2019

8° South was a photography exhibition project showcasing a series of carefully composed photographs, distilled from the polychromatic world of the Balinese. With a sense of humour and unpretentious intentions, this exhibit attempted to investigate and experiment with the 'rooster' as an emblem of Balinese culture. The photo series was shot in the midst of 2019 by Venezuelan born photographer, Max Caracas ( Also known as Maximilian Jencquel)

Project Narrative “ It begins with the thematic resurrection of a ten year old photographic memory; An array of flamboyant, artificially coloured cocks caught my undivided attention in the ancient Balinese village of Tenganan Pegrinsingan, Bali in 2009. These quirky looking cocks where cruising around the village as if they where subjects of a Warhol-esque visual feast, which I found to be excitingly disturbing. I felt an urge to document this peculiar marvel and decided to return the following day in the company of my dear friend Wayan Kembar. At hand, was a dusty analogue medium-format Hasselblad camera that I was still using back then. At the time I was not fully satisfied with the photographs and the itch to explore further remained dormant over a period of 10 years, during which I often visited the village. This photographic 'red thread' resurfaced recently when I met Ran Ben-Shaya, a young aspiring architect from Israel, who had just spent several weeks in Tenganan studying their culture. Through several discussions with Ran, it became clear to us that we could associate Balinese culture and it's traditional symbols with the likes of contemporary PopArt and cultural fetishism”. (Co-written by Ran Ben Shaya & Maximilian Jencquel)

Original Photo Series Shot By Max Caracas in 2009

Exhibition Poster Graphics

Exhibition Concept Photographs (Curated & Photographed By Ran Ben Shaya)

MAX CARACAS IS 8Â° SOUTH Ubud | Bali | Indonesia

Project Collaborators: Maximillian Jencquel | 2019

Photographer Max Caracas /Maximilian Jencquel (Curated & Photographed By Ran Ben Shaya)

MAX CARACAS IS 8° SOUTH Ubud | Bali | Indonesia

Project Collaborators: Maximillian Jencquel | 2019

Photographic Series Shot By Max Caracas For ‘8° South’ Exhibition

DESIGN TALKS

Ubud | Bali | Indonesia

Project Collaborators: Agi, Barbara

‘Design Talks’ was a self initiated event series I launched in Ubud, Bali between 2018 - 2019. This series of evening sessions offered curated but casual talks on design,architecture and all that lies in between. For decades, Bali, and more specifically Ubud, has attracted architects,designers and craftsmen from across the globe to explore its seductive atmosphere and timeless tradition of exquisite craft and architectural heritage. ‘Design Talks’ emerged form the desire to establish and facilitate a framework to celebrate and discuss design with no exclusions; western or local, traditional or modern.

DESIGN

#SERIES OF

TALKs

DESIGN TALKS

NIGHTS ABOUT

DESIGN /W WINE

TALKs

NIGHTS ABOUT

DESIGN /W WINE

Sayan

the entrance of Four

7 PM - 10 PM

@workshopbali

the entrance of Four Seasons

Hotel

0 1 I 11 I 18

WALKER ZABRISKIE

01_LIVING THE DREAM

@workshopbali Seasons

Hotel

Sayan

12 I 12 I 18

TONYRAKA YEW KUAN

02_ART & ARCHITECTURE

25 I 04 I 19 EPISODE

QUALITY QUANTITY 7 PM - 10 PM @workshopbali next to the entrance

of Four Seasons Hotel in Sayan

Where product and furniture designers once aspired to get their work mass-manufactured, the post-industrial culture is taking interest in something they haven’t for a while: execution. The public’s new desire to understand the descendant of the product we own and the hands behind them is changing the ways of working for designers. Once being the innovators and artists behind mass-produced products, designers are now considered craftsmen. For the fifth edition of DesignTalk we’ll dive into the intersection between design, idea, craft and execution.

Snapshots From ‘Design Talks’ Event Series Ubud, Bali 2019

To what extent can designers, artists and architects determine the pace and volume of production based on values around execution? And what does it mean for creatives to resist mass production? We’ll get insight to this from some of the best artists, industrial - and interior designers:

April 25 7.00 -10.00PM At Workshop, Jl. Sayan, Ubud Free for public

Speakers Industrial Designer Eva Natasa Conceptual Artist Marco Cassani Industrial Designer Budiman Ong Architect / Interior Designer Maximillian Jenquel.

Industrial Designer Eva Natasa, conceptual artist Marco Cassani, Product Designer Budiman Ong and Architect Maximillian Jenquel.

WORKSHOP

Promotional Posters For The ‘Design Talk’ Event Series

RAN BEN-SHAYA CURRICULUM VITAE

WORK EXPERIENCE

RIBA - AA DIPLOMA CANDIDATE 2021 Architectural Association School Of Architecture CURRENT QUALIFICATIONS RIBA PART 1 (UK-2018) LANGUAGES English Hebrew

RESEARCH & DEVELOPMENT

NATIONALITY French (EU Citizen) Israel

AGE 27

BAMBUJI Ubud, Bali / Playa Pelada, Costa Rica November 2019 - Present

Strategic planning, sourcing, research & development focusing on architecture and local construction techniques. The company identifies as a architecture,interior design and sustainable lifestyle company powered by principles of ‘circular economy’ with its primary target market in Costa-Rica & Bali.

LOCAVORE GROUP Ubud, Bali October 2019 - December 2019

Contextual research and strategic planning for future business and venue expansion of Locavore Group - A fine dining food and beverage group based in Ubud, Bali operated by a team of highly dedicated food enthusiasts whose primary goal is to serve artistically prepared, sustainably sourced and ethnically referenced cuisine.

CONTACT INFORMATION EMAIL ranuu11@gmail.com ran.b.shaya@gmail.com

MOBILE +62 (0) 81236826171 +972 (0) 542063700

SOCIAL MEDIA Ran Ben-Shaya Ranshaya

PROFESSIONAL WORK PLACEMENT ALEXIS DORNIER ARCHITECTURE Ubud - Bali, Indonesia August 2018 - September 2019

EDUCATION HEBREW UNIVERSITY SECONDARY SCHOOL

Completed a full Israeli ‘Bagrut’ Matriculation with a 4.0 GPA. High level Biology, Dramatic Arts,English.

Jerusalem, Israel August 2007 - 2011

AA SHCOOL UNDERGRADUATE PROGRAM London, UK September 2015 - 2021

AA Diploma Undergraduate Program RIBA PART 1 - Completed 2018 RIBA PART 2 - Scheduled Completion 2023

PROFESSIONAL SKILLS

ACADEMIC AWARDS

3D/2D MODELLING Rhinoceros Cinema 4D AutoCad Vectorworks SketchUp pro Grasshopper 3D T-splines

Proficient Proficient Proficient Intermediate Intermediate Basic Basic

AA Bursary (2017-18) Architectural Association Foundation (AAF)

POST EDITING Illustrator Photoshop Indesign After Effects Final Cut Pro Agisoft Point Tools

Proficient Proficient Proficient Intermediate Intermediate Intermediate Basic

RENDERING V Ray C4D Point Tools

FABRICATION 3D Printing Laser Cutting CNC Welding Woodwork

AA Bursary (2016-17) Eileen Gray Bursary Fund AA Media Studies Prize - First Year (2016-17) Awarded to 1st and 2nd Year students for outstanding work in ‘Media Studies’. AA History and Theory Writing Award - Third Year(2017-18) Awarded to one third year student for outstanding written essay. AA Technical Thesis High-Pass - Third Year (2017-18) Awarded to a small selection of third year students.

ARCHITECTURAL COPYWRITING BYO LIVING Jakarta, Java, Indonesia August 2019 - October 2019

Indonesian weaving sustainable technology company, utilising natural and recycled weaving materials based on traditional Indonesian weaving techniques.

PRANALA ASSOCIATES Bandung, Java, Indonesia August 2019 - October 2019

Indonesian architecture firm focusing on high-residential and commercial projects with particular emphasis on superior construction quality and structural precision.

SELF INITIATED PROJECTS PROJECT ETERE (Co-Founder) Ubud, Bali, Indonesia January 2019 - Present

‘Project Etere’ is an experimental, collaborative architectural project attempting to synthesize and interlink the seemingly disparate realms of property development, social impact and contemporary art - Specifically targeting locally owned, abandoned or incomplete buildings as its architectural points of intervention.

MAX CARACAS IS 8° SOUTH Ubud,Bali, Indonesia April 2019 - July 2019

Curation & concept development. A photography exhibit investigating and experimenting with the ‘rooster’ as an emblem of Balinese culture. The exhibit was in collaboration with architect and photographer Maximilian Jencquel who captured the exhibit photo series.

DESIGN TALKS Ubud, Bali, Indonesia October 2018 - April 2019

‘Design Talks’ is a series of curated events that facilitate a framework to promote & discuss design with no exclusion, western or local, traditional or modern enabling casual discourse with no ulterior motives, free and open for all.

INTERNSHIP CHARLES TASHIMA ARCHITECTURE London, UK July 2016 - September 2016 ACTIVE MATTER | AUGMANITY LAB Rehovot, Israel April 2016

TECHSO

Proficient Intermediate Intermediate

Architectural practice that combines and reformulates design methods for each architectural design task, currently working on high-end private residential, hospitality and culinary related projects. - Working on schematic design development of ongoing and new projects, both in 2D drawing,3D modelling and design visualization renderings. - Business development, research and special projects - Public relations, media management, client and publication correspondent.

Tel-Aviv, Israel February 2014 - April 2014

Involved in design work, 3D modelling, rendering and graphic design. The firm mainly focuses on residential projects in London, primarily utilizing reclaimed materials. Member of research team at Augmanity Lab led by Dr. Ido Bachelet in collaboration with ShaGa Shyovits Architects, Israel. Conducting material systems interdisciplinary research utilising biological principles and architectural form finding. Techso - Israel Medical simulation Start-up company currently developing medical simulations and 3d printed models for the medical sector. I was involved in the design process of the medical simulations and 3D printed model production.

NATIONAL SERVICE

Proficient Proficient Intermediate Intermediate Intermediate

NA LAGA’AT CENTER Jaffa Port, Israel May 2012 - February 2014

One of a kind cultural centre that employs deaf-blind,deaf and blind individuals. Active Roles: - Sign language interpreter and marketing Sign language Interpreter working with the Deaf-Blind ensemble- ‘Not By Bread Alone’ theatre show. - Manager of all internet content & social media of The Na Laga’at Foundation.

ACADEMIC REFERENCE LETTER

EMPLOYMENT REFERENCE LETTER

04 JUNE 2018

04 To JUNE whom2018 it may concern,

Dear Hiring Manager,

Ran Ben Shaya was one of thirteen 2nd and 3rd year students attending To whom it may Intermediate Unitconcern, 3 in 2016/17, an undergraduate design unit under our direction at the Architectural Association, School of Architecture in London.

Ran Ben-Shaya has been an integral part of Alexis Dornier Architects during this last year (August 2018 – September 2019).

Ran Shaya was one ofambitious, thirteen 2nd and and 3rd year students attendingand As aBen student Ran is highly driven talented. His interests Intermediate Unit 3 in 2016/17, an undergraduate design unit under production are unique bringing together artistic sensibilities, a great our leveldirection of at the Architectural Association, School of Architecture in London. intellectual engagement and a very good material awareness.

His involvement in the company included the assesment and development of a strategic outlook for the studio in terms of public relations and other potential initiatives that have brought tremendous opportunities and progress to the ﬁrm.

As student Ranproject is highly ambitious, and talented.how Hisforest interests Forahis 2nd year ‘Sylvan Coda’driven Ran investigated andand human production unique bringing togethervillage artisticinsensibilities, a great level of the culture are are experienced in a traditional Bali, Indonesia. Following intellectual engagement a veryconsistently good material awareness.a Balinese archive unit trip to Indonesia Ranand worked on developing exploring a landscape scheme. Utilising model making technics and great sense For his 2nd project ‘Sylvan Coda’ Ran investigated forest and human of craft and year context reading the design organises organichow materials in semi open culture are experienced in a traditional village in Bali, Indonesia. Following the architectures. In parallel he also developed 3d visualisations and digital unit trip to Indonesia worked on developing Balinese archive animations. His final Ran models wereconsistently one of the highlights of theaAA’s end of the exploring a landscape scheme. Utilising model making technics and great year show ‘Projects Review’. We have also featured his work in our latest sense book of craft and context reading the design organises organic materials in semi open about the discussions during our 10 years of teaching at the AA. architectures. In parallel he also developed 3d visualisations and digital animations. models were he onehas of the highlights AA’s end of the High This year, inHis hisfinal 3rd year studies, been awardedofathe Technical Studies year show ‘Projects Review’. We have also featured his work in our latest Pass while his History and Theory essay has been singled out as the bestbook in the about the discussions during our 10 years of teaching at the AA. whole third year at the AA School. This in his year studies, he has been awarded Technical Studies High As ayear, person Ran3rd is inquisitive, independent minded andahighly intelligent. Pass while his History and Theory essay has been singled out as the best in the whole third year at theRan AABen School. We strongly support Shaya’s application. He could make a significant contribution in a working environment. He will be a fantastic asset to a good As a person Ran is inquisitive, independent minded and highly intelligent. office.

We strongly support Ran Ben Shaya’s application. He could make a significant contribution Sincerely, in a working environment. He will be a fantastic asset to a good office.

Ran’s ability to establish relationships of all different sorts has led to beneficial improvements in the studio’s use of new or local materials and identifying collaborators to broaden the firm’s horizons and scope. His developed ability to integrate into the team was accompanied by bringing new things to the table. As a separate project, he was in charge of revamping our website and curated its content in an avant-garde fashion. His ability to critically reflect on existing structures makes him not only a good team member but also a potential team leader, with vast potential for raising critical architectural design questions. Ran defines his design drivers by accumulating a substantial body of research taken prior to starting a design task. This makes projects stronger and fundamentally more effective from communication and pitch,all the way to the final formal outcome. Moreover, Ran‘s networking skills reflect on his tireless passion for the new, the yet unexplored and the overall ability to work on himself and evolve as a practicing architect. Sincerely, Alexis Dornier

Sincerely,

Ricardo de Ostos

Nannette Jackowski

Director | NaJa & deOstos | London

Ricardo de Ostos

Unit Master | Architectural Association

Nannette Jackowski

Director | NaJa & deOstos | London

Unit Master | Architectural Association

Ubud, 30.10.19

ALEXIS DORNIER Jalan Raya Penestanan, Kelod 1, 80571 Ubud, Bali ofﬁce@alexisdornier.com, + 62 822 366 282 32 www.alexisdornier.com

About Ricardo De Ostos & Nanette Jackowski:

About Alexis Dornier Studio

Co-Founders of NaJa & DeOstos studio. Nannette has worked for Wilkinson Eyre and Zaha Hadid. Ricardo has worked for Peter Cook, Future Systems and Foster + Partners. He has taught at Lund University in Sweden and was an associate professor at École Spéciale d’Architecture in Paris. Ricardo currently runs studio units both at the Architectural Association and The Bartlett (UCL).

Alexis Dornier’s Studio is an industrial-tropical-modern architecture & design studio based in Ubud, Bali, Indonesia. The studio combines and reformulates design methods for each architectural design task. An architectural task is its own case, its own matter, problem and affair. A set of rules form a logical and comprehensive design narrative that leads to efficiency and a strong expression of our built environment.

Contact Information: academic@naja-deostos.com

Contact Information: adornier@gmail.com |

+447732416763- Ricardo De Ostos +447882045310- Nanette Jackowski

+62 822-3662-8232 - Alexis Dornier

PERSONAL STATEMENT

My name is Ran Ben-Shaya and I am an Israeli-French, 27 year old architect currently enrolled in the undergraduate program of the Architectural Association, recently completed RIBA Part 1 qualification (2018). Throughout the three years of my architectural education at the AA, my work has been driven by the aim to develop the ability to observe and study cultures and their relationship to the contexts from which they originate. I believe an architectural project goes far beyond the extents of a physical building and the urban fabric of the cities we inhabit,but rather on the social, infrastructural and natural networks that sustain and enable the human world. The work in my intermediate years of study has revolved around human-forest relationships as they contextually manifest through aspects of craft, myth, folklore, borders and natural versus artificial constructs. The forest has taught me to utilise my intuition and sensorial skills in my work, embracing the unknown and seductive force of the natural world that surrounds us. Overtime, I learned to compose contextual research with digital tools and tactile craft, alongside local engagement with the people that inhabit the site and context of my architectural projects thus far. I believe working collectively, reaching out to local figures and collaborating with people from different professional fields is essential for creating meaningful and sensitive work. Furthermore, in pursuit of better understanding the scope of my own calling as an architect and researcher and a deeper understanding of the friction between the human and natural domains, I set my European life and eduction on a two year â&#x20AC;&#x2DC;hiatusâ&#x20AC;&#x2122; and moved to Bali, Indonesia in the summer of 2018. Bali enabled me to focus on gaining architectural experience and self-initiated, contextual research within an island undergoing extensive architectural and tourism development at the cost of resource depletion, erasure of ancestral lands and severe pollution.

Ran Ben-Shaya