Ret Ke Shahar : Cities of Sand

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

RET KE SHAHAR An exploration in aeolian architecture

Wenjie Cao, Rizal Ambotang, Adam Roggero

AMAL.GAM FEST[val.] 2016 University of Melbourne Daniela Mitterberger, Tiziano Derme

1

RET KE SHAHAR

Wenjie Cao, Rizal Ambotang, Adam Roggero

AMAL.GAM FEST[val.] 2016 University of Melbourne Daniela Mitterberger, Tiziano Derme

INDEX

INTRODUCTION

Studio Brief Project Brief Inspiration Project Abstract

08 10 12 14

PUSHKAR CAMEL FESTIVAL Journey

Rituals Camels

Human - Camel Relationship

18 20 22 24

PROJECT DEVELOPMENT

Journey - Pathfinding Desert - Dune Study Sand - Material Study Camel - Fence and Bacterial Rituals - Spatial Design Digital Simulation Physical Fabrication

APPENDIX BIBLIOGRAPHY

30 36 42 48 56 62 72

82 102

INTRODUCTION

AMAL.GAM2 FEST[val.]

T

he second instalment of Amal.Gam - Amal.Gam (2) FEST situates itself with-

in the realm of festivals, feasts and carnivals and will continue to redefine the required physical space of gestures, behaviours and rituals. Popular-festive forms have the power to create a space of multiplicity, a second unofficial world able to shake up the authoritarian version of language and values. Feasts and more specifically carnivals nowadays represent an exploration in subversion, laughter, ambivalence, becoming and excess, which pushes aside the seriousness and hierarchies of “official” life. The outrageous and contradictory images that make up carnivals and festivals inherit an ambivalence allowing a profound reflection on society. Within this frame architecture doesn’t develop individually but is inherited within the psyche of the ritual, evoking a potential language of the mind adjacent to a collective unconscious, a “Category of Imagination”.

The semester will be dedicated to design an architectural artefact within different existing festivals. This process will follow two streams of research : festivals and anthropological studies, Design and Fabrication research. Each student will be studying a given festival ( Giant Kites of Sagami Festival, Mask festival in Burkina Faso,..) trying to indicate main spatial elements and their relationship within a social context. This analysis will be used to identify a design intervention within the hypothetical framework. The second phase will follow a material driven logic, students through a series of workshops and seminars, will learn how to create feedback from the digital to the analogue using innovative fabrication techniques and software(i.e. algorithmic design and robotic fabrication). Students will conceptualize, design and construct a new notion of ritual-space re-associating the notion of context with festivals and carnival imaginary. ***** Daniela Mitterberger Tiziano Derme

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAMAMAL.GAM FEST[val.]

[1]

Fest[val.]

2

s.17

: RET KE SHAHAR : CITIES OF SAND AN EXPLORATION IN AEOLIAN ARCHITECTURE

Taking the Pushkar Camel Fair as a case study, we aim to create a new annual livestock fair for the camel hearders of Rajasthan in which we ask ourselves: ‘What if we reject holding an event in the same place year after year, what if instead it is brought to the shifting sand dunes from which the very soul of the event originated? What would a festival look like without a fixed location, without a fixed form, and without fixed pathways to travel upon?’

In this new fair the traditional camel herders of Rajasthan will not only participate in the usual trade of camel stock, but will also participate in specific rituals that generate an iterative, layered, moving architecture that would provide an ever-evolving site for future fairs.

Using processes of sand, wind and time the festival site will migrate with the shifting sand dunes of the Thar. This will result in a site that is intimately related to, and entirely dependent upon, both camel culture and the slowly shifting and ever-changing environment.

By holding the fair in the same, established location every year the relationships that has been built over centuries between camel, herder and environment is slowly worn away. Releasing the fair’s architecture from a fixed location refocuses the true ideals of the fair as one of the bond between man and beast and the arduous journeys that both must take to continue thriving together.

// Journey

// Camel-Human Relationship

// Dune Navigation

The annual journey from the villages throughout western Rajastan consists of trekking the Thar desert, farmlands and villages along the route giving opportunities for herders to trade camel resources in exchange for temporary grazing for camels.

Rituals such as camel grooming, shearing and beautifying showcase the deep relationship between human and camel.

Loyalty, obediences and dedication to each other are key attributes of the realtionship demonstrated by the rituals.

Adaptation to the desert environment is also demonstrated in the wayfinding ritual in the desert. Physical and physiological traits of the camel influence the wayfinding approach.

Environmental condition such as wind ane dune formations are also heavily influential.

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11 Wenjie Cao, Rizal Ambotang, Adam Roggero

AMAL.GAM

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

CORE THEMES

~ PROJECT-RELEVANT CONCEPTS ~

INSPIRATION

// SUNNA NO ONNA - WOMAN IN THE DUNES (1964) - Kôbô Abe What is life but an endless cycle of ritual. Woman in the Dunes deals with the choice between working against or with your environment. A man is tricked into collecting sand to be sold by a local village, sand which forever threatens to bury the house within which he is made to live by its constant accumulation. By the end of his ordeal the man’s perceptions of what it means to live his life are drastically changed.

[2]

[3] // SEDIMENTATION Natural structures formed through the gradual layering of material and its solidification, often through compression. Sedimentary structures display their history through their layers, and their whole is made up of a rich history of parts spanning thousands of years. Through a gradual process of accumulation, millimeters at a time, sedimentary structures can grow to immense formations.

[4] // EROSION AND DEPOSITION

BY AEOLIAN TRANSPORT Coutless sand particles travelling through the currents of fluid motion are shifted into complex natural formations that are constantly shifting and evolving. These particles move across a still landscape, accumulating into migrating dunefields that make permanent fixtures near impossible.

// CAMEL-HUMAN RELATIONSHIP OF THE RAIKA PEOPLE

[5]

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Natural Process

[6]

The Raika people of Rajasthan believe that they were chosen by Shiva, the Hindu god, to practice camel husbandry. This proud ethnic group live their entire lives with their camels and develop close relationships with the animals. They are able to identify individual camels by their physical appearance, and some are said to be able to identify camels by the footprints they leave in the sand.

// SUNNA NO ONNA WOMAN IN THE DUNES (1964) - Kôbô Abe What is life but an endless cycle of ritual. Woman in the Dunes deals with the choice between working against or with your environment. A man is tricked into collecting sand to be sold by a local village, sand which forever threatens to bury the house within which he is made to live by its constant accumulation. By the end of his ordeal the man’s perceptions of what it means to live his life are drastically changed.

// EROSION AND DEPOSITION BY AEOLIAN TRANSPORT Countless sand particles travelling through the currents of fluid motion are shifted into complex natural formations that are constantly shifting and evolving. These particles move across a still landscape, accumulating into migrating dunefields that make permanent fixtures near impossible.

// SEDIMENTATION Natural structures formed through the gradual layering of material and its solidification, often through compression. Sedimentary structures display their history through their layers, and their whole is made up of a rich history of parts spanning thousands of years. Through a gradual process of accumulation, millimeters at a time, sedimentary structures can grow to immense formations.

// CAMEL-HUMAN RELATIONSHIP OF THE RAIKA PEOPLE The Raika people of Rajasthan believe that they were chosen by Shiva, the Hindu god, to practice camel husbandry. This proud ethnic group live their entire lives with their camels and develop close relationships with the animals. They are able to identify individual camels by their physical appearance, and some are said to be able to identify camels by the footprints they leave in the sand.

13

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

PROJECT ABSTRACT

landscape resulted in the pattern of movement of herders and their camels between the villages. A path-finding algorithm proposed possible locations for construction.

1

2

3

This project is a proof-of-concept on the development of a non-permanent architecture in a shifting landscape of a desert. The project uses Pushkar camel festival as the contextual basis of the desert biotope. The changing role of the festival from a long-standing camel trading event to a tourist oriented festival highlights the impact of modernity on ritual tradition. This provide an opportunity to move the festival to a location that is true to the spirit of the traditional culture of the camel and Rajasthani herders.

A ritual study establishes the core tradition of the festival as well as the relationship between human and camel. The analysis of the desert biotope provides the contextual details of the project which includes the dunes formation, the Aeolian environment and the associated natural processes that involved in the development of the desert landform. Concurrently, the material study explores the material potential of sand as well as finding a suitable construction technique in the desert environment.

The project attempt to use this opportunity to explore and propose a shifting architecture that is sustainable and performative to the desert biotope.

Using sand as the primary building material, the project proposes the use of natural and man-made processes as a unique construction method for the shifting architecture.

From the material analysis, the project developed construction application for solidification of sand. A sustainable construction approach uses microbial induced cementation of loose sand as the method of solidification. The augmentation of the bacteria onto the target surface is done through the method of spraying to maintain consistent thickness in layering.

The project engaged a series of studies and analysis to establish the framework of the project.

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The analysis of the journey in the changing

Softer layer

Harder layer

Thinner spray

Thicker spray

The project then developed a form generation algorithm (the Game of Life) using the concept of cellular automaton to simulate growth. The form building technique combines a more traditional dune fencing method to provide overall control of the form as well as the initial ground alphamap to provide initial design of the structure. The form generation algorithm also simulates the erosion process of Aeolian abrasion and deflation to sculpt the spaces over time. This natural process also highlights the non-permanence nature of the construction and deconstruction. The shifting nature of the structure is attributed by the combination of sand deposition and the fencing approach. The optimization of the algorithm allows for fine tuning the form to produce ritual specific spatial qualities as well as trading and habitation spaces.

4

The project highlight the viability of the combined natural process with human interventions to produce a shifting architecture in the desert environment. The project also claimed the applicability of a large-scale augmentation of bacteria induced cementation using the spraying technique to build sand-based structure. Further research opportunity in the use of spraying technique and sedimentation-inspired technique of layered solidification can produce practical application for sand based structure that is sustainable and performative to its environment.

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1 New Fair Locations Defined by Changing Path in Thar Desert.

2 Construction with Fences

5 Physical Fabrication Model

3 Sand Dune Migration

4 Construction with Bacterial Spray.

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FESTIVAL

SITE STUDY

~ HOLY CITY OF PUSHKAR ~

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

Figure 1

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

01

JOURNEY TO RITUALS

E VERY YE AR BEFORE THE FULL MOON OF

R I T UA L S S U C H A S T E S T I N G T H E C A M EL S

K A RTIK A (O C TOB ER-NOV EMB ER ) TENS

FOR HEALTH, STRENGTH, AND OBEDIENCE

OF THOUSANDS OF CAMEL HERDERS

ARE A PRECURSOR FOR TR ADE, AND

AND THEIR LIVESTOCK DESCEND

OV E R C E N T U R I E S T H E S E R I T UA L S H AV E

U P O N T H E H O LY C I T Y O F P U S H K A R I N

E VO LV ED ( A N D, A R G UA B LY, D I S TO R T ED)

R A JA STHAN, INDIA FOR THE PUSHK AR

T O I N C L U D E L AV I S H P A G E A N T R Y A N D

C A M E L FA I R . S PA N N I N G F I V E D AY S ,

S H O W C A S I N G . R AT H E R T H A N A M E A N S

THE TR ADITIONAL C AMEL HERDERS OF

O F CELEB R ATIN G THE C A MEL A ND THEIR

R A J A S T H A N U N D E R TA K E A N I M M E N S E

I M P O R TA N C E I N H E R D E R S O C I E T Y, T H I S

PILGRIMAGE FROM THEIR TOWNS

P A G E A N T R Y I S C U R R E N T LY O N LY A

TO TR ADE LIVESTOCK IN THE CIT Y’S

ME ANS OF ENTERTAINING VISITOR S AND

S H OWG RO U N DS . AT T H E FA I R , T R A D I N G

TOURISTS.

Figure 2

02

03

18

04

05

06

07

08

09

10

11

12

(1)

(2)

(3)

(4)

DESERT JOURNEY

DESERT STOP

VILLAGE AND FARMLAND

CAMEL WALKING ON ROADS

Major portion of the journey will trek across the desert

Camels and herders stops overnight to rest.

Herders and camel flocks will cross farmlands and villages.

Herders will provide camel fertilizer and milk in exchange for temporary grazing.

Camel have to walk on roads to destinations. Farmlands are

(5)

(6)

(7)

DESTINATION - PUSHKAR

CAMEL TRADING

CAMEL GROOMING

On arrival in Pushkar herders will setup camps with camel

Camel trading happen two week prior to festival. Trading are done near campsites where the tents are setup.

Camel shearing and grooming demonstrate the deep

(8)

(9)

(10)

(11)

CAMEL DECORATIONS

CAMEL RACE

CAMEL DANCE

CAMEL PAGEANTRY AND BEAUTY CONTEST

Camels were decorated with camel jewellery ,colourful saddles, straps, beads and adornments.

Camel race is an integral part of the festival pageantry mainly to entertain spectators and visitor to Pushkar..

Camel dance is part of the festival’s popular spectator event.

The dance demonstrate deep trust and obedience by the

Camels are decorated with colourful finery and they participated in camel pageant for best decorated camel. The camels are also groomed for beauty contest for their physical attributes such as haircut and eyelashes.

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RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

PUSHKAR CAMEL FESTIVAL A case study

CAMEL JOURNEY

ARRIVAL day 1

Camels herds coming from different villages throughout Rajastan .

Some journeys may take up to three week to arrive at Pushkar

K ARTIK EK ADASHI day 2

day 3

Groups of More camels and livestock camels, herders, including brought in livestock and by herders traders begin throughout to appear from out of Rajastan. Some the desert and groups walks while others set up camp arrive with in outskirt of Pushkar town camels,,buses, trucks and bullock carts.

Arrival continues Number of livestock including to grow rapidly.

Camels are groomed and put up for display to purchasers.

Trading is taking place.

day 4 Gathering of camels reached it climax.

The camels population swell to 50,000 camels along with growing number of visitors. number visitors.

day 5

day 6

Trading The bazaar of reached its tents are set peak among up for the fair the herders selling various products and buyers.

Some the including finery camel herds for camels and are beginning people. to leave as they have concluded their business.

day 9

K ARTIK POORNIMA

day 7

day 8

The auspicious Ekadashi day begins its week of festivities.

Chandrabhaga Fair, a popular day for initiating rituals and customs relating to marriage.

The bazaar of Fairground Pilgrims tents are set is hosting populated up for the fair various the streets of Pushkar as selling various competition well as the products for the camel including pageantry fairground finery for and livestock bazaar as it camels and shows. A craft prepares for the Kartik people. fair is set up religious for visitors and tourists. festival.

Population of people swelled to 200,000.

day 10

day 11

[12]

[8]

[7]

[9]

day 12

The Pushkar Thousands of hindu temples, ashrams devotees and pilgrim heads to rest houses Pushkar Lake to perform are buzzing the bathing with people.

Religious ritual to seek ceremonies salvation. are held at these temples .

[10]

[11]

[13]

7 Camel herds journeys from different part of Rajastan.

Also locally known as Pushkar Mela, the Pushkar Camel Fair is one of the most popular livestock fairs in India and also popular to tourists. It is held during the Kartik month which typically falls on the month of November annually. Held in holy city of Pushkar, the festival coincide with the hindu celebration of Kartik Poornima where hindu devotees would do a pilgrimage to the countless temples in the town as well as performing the bathing ritual on the auspicious Poornima day.

Pushkar derived from word ‘Pushkarni’ means lake, has

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as many as 400 temples and 52 bathing ghats to cater for the religious devotees. It also host to the only temple dedicated to Lord Brahma in the world. The legend goes that Lord Brahma killed the demon Vajra Nabh using a lotus flower. Three sites (Jestha, Madhya and Kanistha Pushkar) in Pushkar were consecrated when these petals dropped. The references to this sacred sites are found in Hindu scriptures, Padma Purana, Srstikhanda.

Interestingly, the Pushkar Fair intertwines camel trading with the traditional mode of a cultural fair. For the

traveler, the village folk and the trader who journey through the sand dunes awaits a spectacular show of livestock trading and events and experience of local culture and customs.

8

Some camels have bullock carts that carries families to the fair.

9

Camel trading in full swing among herders, negotiators and buyers.

10 Camels are involved in competition and dancing events for the amusement of the visitors and tourists.

11 On the eve of Kartik Poornima, devotees gives offering to Lord Brahma. .

12 The day Kartik, masses of devotees heads to the holy lake to perform the ritual bath and women would collect water from the Pushkar lake to pour on idols of Lord Shiva

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RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

CAMEL

ADAPTATIONS

Physical characteristics and adaptation

Environmental associations

(A)

(C)

(B)

(D)

(E)

(F)

(G)

(H)

(I)

510 2150

650

2150

1850

190

160

3000

600

1200

1200

(A)

(C)

(F)

(H)

HUMP

LIPS & NOSTRILS

LEGS

THICK COAT

A camel’s hump is for storage, but unlike common belief that it stores water; a hump actually stores fat tissues. When food the fat is metabolised to provide energy

Thick lips to help the camels to eat the prickly shrubs growing in the deserts without getting cut.

Nostrils can be closed completely so that no sand particles can enter the nose.

The legs are long and thin to help the camel take longer strides in the sand and keep the body as far away as possible from the hot desert surface. They also help bearing heavy load.

The thick fur on a camel’s body helps provide warmth during cold nights and insulate the body from heat during the day. The coat also helps the camel from sweating thus lose water.

600

Figure 3

(B)

(D)

(G)

(H)

KNEES

EYE LASHES AND EYE LIPS

HOOVES

BODY TEMPERATURE

Camels have thick covers on knees. These help when the camel is kneeling down and prevents the knee from getting burned from the hot desert sand

Thick lips to help the camels to eat the prickly shrubs growing in the deserts without getting cut.

Nostrils can be closed completely so that no sand particles can enter the nose.

Camel hooves have a broad, flat leathery pad so that when they walk, the pads spread out and prevent the feet from burying into the hot sand.

A camel is a mammal with fluctuating body temperature to minimize temperature variation with its surrounding thus minimize sweating.

PHYSICAL CHARACTERISTICS The dromedary species of camel is one of the two surviving species of camel on earth. It’s known as a one hump camel with a large, even-toed ungulate (hoofed) to support its weight.

After the Bactrian camel, the dromedary is the largest camel with the male standing at 1.8-2m at the shoulder while the female stands at 1.7-1.9m tall. The male typically weigh between 400-600kg while its counterpart weigh between 300-540 kg.

The hump , 20cm or more tall, is made of fat.

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The dromedaries are social animals which may form herds of individuals with a dominant male in a group.

They are active during the day and feeds on foliage and desert vegetation. Mating occurs annually and peaks in the rainy season; females bear a single calf after a gestation of 15 month Products of the dromedary, including its meat,wool and milk. It’s fully domesticated and commonly used for riding and as a “beast of burden”.

(E)

(D)

(G)

EARS

EYE LASHES & EYE LIDS

FEET

Furry ears prevents the sand from entering the ears.

Long eye lashes keeps sand out of camel’s eyes. Three eye lids to prevent sand getting into the eyes. See through eye lids to see through sand storm.

Large flat feet to prevent camel from sinking into the sand.

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RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

HUMAN - CAMEL RELATIONSHIP Social construct in a biotope

[15]

[16]

[14]

14 Aeolian (wind) transport and deposition process (construction) 15 Erosion by wind , deconstruction

16 Sedimentation process, construction

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RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

CAMEL IRRELEVANCE

17. Camels are headed on paved road to Pushkar instead of their traditional environment of desert.

18. Camels are now becoming more popular as a tourist attraction.

19. Signs of modernity. Bullock carts are common sight at the festival.

[17]

[18]

[19]

Camel relevance Camel and its cultural relationship in the society is losing its relevance due aspects of modernity including religion, technology and modern transportation.

The accessibility to cars, trucks and busses and growing network of paved roads reduced camel’s importance in the society and its cultural values.

The implications to the society specifically the pastoral communities of Raika and the Rabari in the state Rajastan are far-reaching. As they specialised in raising camels, designated as the camel care take by the religion, their way of life is intertwined with the camels. Camel is an integral part of their social

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Structure. Traditionally, female camels are not traded only to be given as part of the dowry accompanying the brides to their new homes. These vegetarian pastoralist do not trade camels for meat either.

Similarly, camel milk is not sold due to the entrenched tradition. However these taboo beginning to disintegrate due to economic pressure to survive.

With restricted area for grazing, and access to cheaper mode of transport as well as modern agricultural machinery, herding camels is no longer viable for these pastoralist. They beginning to break the taboo by starting to sell the camels for

meat which are eaten in neighboring countries like Bangadesh, the middle eastern countries where it’s permissible to eat camel meat.

the festival free from the commercial pressure and retain the historical and cultural significance of the social symbiosis of human and camel relationship.

In consequence to all these factors, the Pushkar camel festival where the herders would trade camels is becoming less important as an event for trading than bringing their camels for tourist attraction and competitions. This trend is reflected in the reduced number of camels traded during the Pushkar festival in recent years.

Therefore , there’s a strong justification to recreate

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PROJECT DEVELOPMENT

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

Figure 5

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

ALONG THE JOURNEY Figure 6

Herein lies a form of dishonest y. By holding the fair in the same, established location eve r y ye a r t h e re lat io ns hips t h at has b e e n built over centuries bet ween c amel, herder a n d e nv iro n m e nt is sl ow l y wo r n aw ay. T h e many sur vival adaptations of the camels themselves are rendered meaningless as they walk along roads adapted to cars before arriving to the wait of tourist s who arrive to revel in their spec t acle (but who are in fac t the festival’s true centre of focus).

2

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T h i s p r o j e c t ’s p r o p o s a l i s t h u s to r e l o c ate

the fair to the other side of the Thar Deser t, to the shif ting sands of the megabarchanoid dunes as they slowly migrate northeast across the state. It is proposed that an architecture is developed that is intimately tied with the environment, the herders and the camels, in a region that better represents the reason for Rajasthan’s proud camel herder traditions. In this way the architec ture intends to refocus the true ideals of the fair as one of the bond bet ween man and beast and the arduous journey that both mus t t ake to continue thriving together.

31

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

PATHFINDING Figure 7

YEAR 01

YEAR 02

YEAR 03

YEAR 04

YEAR 05

YEAR 06

YEAR 07

YEAR 08

YEAR 09

YEAR 10

YEAR 11

B

A

Combined annual paths - 11 years

BACK TO THE DESERT

NEW RITUALS

As herders and camels travel between the towns of the Thar, the addition of simple rituals begin the process of creating an architecture for a yearly camel fair that will grow layer by layer, an architecture that will move with the dunes and with the Raika people as their needs change. The camel herders will guide a process that is realised through the inter-relationship between human activity and natural processes.

As herders and camels travel between the towns of the Thar, the addition of simple rituals begin the process of creating an architecture for a yearly camel fair that will grow layer by layer, an architecture that will move with the dunes and with the Raika people as their needs change. The camel herders will guide a process that is realised through the inter-relationship between human activity and natural processes.

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SIMULATION : Annual path

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FAIR

PROCESS

~ EMERGENT ARCHITECTURE ~ 0

50

RET KEPROPOSAL SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

0 50 100km DESERT TOWNS

100km

0

5

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

10km

Figure 9

Figure 8

PATHFINDING AND NEW FAIR

BETWEEN THE PATHS Combined 5 years

Annual solidification start area

ULATIONS

LAYERING METHOD

YEAR 05

YEAR 04

YEAR 03 YEAR 02 YEAR 01

B

A

1200 950

600

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As herders and camels travel between the towns of the Thar, the addition of simple rituals begin the process of creating an architecture for a yearly camel fair that will grow layer by layer, an architecture that will move with the dunes and with the Raika people as their needs change. The camel herders will guide a process that is realised through the inter-relationship between human activity and natural processes.

35

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

[20]

DUNE RESEARCH

We propose the creation of new, decentralised festival locations that are more intimately related to the herders and camels of Rajasthan.

These locations will be within the migrating sand dunes of the Thar Desert in the west where 20 meter tall dune fields slowly drift north-east across the sub-continent. The physics of these dune fields were studied in order to incorporate them into the architecture’s design. The architecture is thus born from and lives within the bounds of this unique environment.

[21]

[22]

THAR

DUNES PUSHKAR

THE THAR DESERT WITHIN INDIA

PUSHKAR AND THE SAND DUNES OF RAJASTHAN 2

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RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

DUNE TYPES

DESERT DUNES OF THAR

Figure 10

The Thar desert in India is geologically the easternmost extension of the Saharo-Arabian desert. It’s influenced by the south-west geographically distributed monsoon. This monsoonal winds bring rain and effect the wind direction and vegetation cover of the area.

MAP OF THE THAR DESERT

PAR ABOLIC

S TAR

Longitudinal dunes are formed

Parabolic dunes typically found

Star dunes formed in a sandy

in areas where there is moderate

in coastal areas Thy are crescent

desert where the prevailing wind

supply of sand and strong

shaped dunes that are concave

changes frequently. They may

prevailing winds.

upwind and forms in areas in

have multiple arms with irregular

They form long series of ridges

with partial vegetation cover

shapes.

that are parallel to the wind.

and a good supply of sand.

LONGITUDINAL

BARCHANOID DUNES

LONGITUDINAL DUNES

(Seif )

MEGA-BARCHANOID DUNES

BARCHAN

TR ANSVERSE

BARCHANOID

Barchan dunes have crescent

Transaverse dunes are long sand

The barchanoid dunes area

like shapes with horns extended

dunes with wavy ridges along

intermediate dunes between

downwind of the prevailing

the length, They formed rows of

the Barchan and the Transerve.

wind. They are formed where

dunes parallel to each other. The

Started as transverse dunes

there is large supply of sand.

ridges are perpendicular to the

, some dunes develop the

direction of the prevailing wind.

barchan form and may separate into individual barchan dunes along the edges of the dune field where there is less sand.

38

BARCHAN DUNES Increased supply of sand and a strong prevailing wind result in rippled barchan dunes that run perpendicular to the wind.

LINEAR DUNES BARCHANOIDS

Decreased supply of sand and converging winds result in long straight dunes that run parallel to the prevailing winds.

39

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

DUNES FORMATION

DUNES SIMULATION

Figure 11

Figure 12

YEAR 01

YEAR 02 Saltating sand Windward face

Sand accumulates then avalanches down the slip face

Angle of repose

Slip face

10-12o

YEAR 03

Angle of repose 33-34o

Crossbed sets

YEAR 04

Formation Saltation

Dunes form when wind flows over and around obstructions causing the deposition of sand grains.

The depositions will accumulate and to form a deposit of sand. The sand mount will grow in size as well as forming different shapes according to the wind velocity. The forming dunes becomes developing wind barrier resulting in more sand deposition and further growth of the dunes.

YEAR 05

Wind Turbulence Vortices

Wind

C

40

Direction of wind flow

C

slip face

D

crest lines

Dunes have asymmetrical profile with a small windward slope and a steeper downwind (leeward).

Sand grains move ups the windward slope by the process called saltation. The sand grains would accumulate at the leeward side to reach an angle of 33-34o from horizontal where thereafter the slope will collapse and the sand will start to slide down to the base.

D

Figure x. Dune Formation

41

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

PHYSICAL SIMULATION

Prototype 01

Figure 20

Contour model

Rendered model

Prototype 01 Physical model

Prototype 02

Prototype 01 Physical model

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43

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

PHYSICAL MODEL Figure 21

44

45

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

PHYSICAL MODEL Figure 22

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RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

DUNE FENCING

CAMEL FENCE PACKAGE

Figure 13

Figure 14

FENCE PLACEMENT STAGE 1

STAGE 1

INJECTION GROWTH

GROWTH

1.Protable Fence Packge on Camel

fabric mesh

SECOND FENCE

STAGE 2

timber stakes

4400mm

STAGE 2 wind

Fencing

800mm

48

2900mm

2.Fence Dimesion

Dunes form when wind flows over and around obstructions causing the deposition of sand grains. The depositions will accumulate and to form a deposit of sand. The sand mount will grow in size as well as forming different shapes according to the wind velocity. The forming dunes becomes developing wind barrier resulting in more sand deposition and further growth of the dunes.

Dunes have asymmetrical profile with a small windward slope and a steeper downwind (leeward).

2300mm 4000mm

Sand grains move ups the windward slope by the process called saltation. The sand grains would accumulate at the leeward side to reach an angle of 33-34o from horizontal where thereafter the slope will collapse and the sand will start to slide down to the base.

> 400mm depth

3.Fence with Wind Flags 49

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

FENCES AND STRUCTURE Figure 15

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RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

Figure 16

FABRICATION TECHNIQUE

CAMEL BACTERIAL PACKAGE

Bacterial Solution with Sand Solidification

Bacterial Solution with Sand Solidification

Gradient Hardness Related to Alpha-map

[23] Bacillus Pasterurii is the most effective bacterial for increasing cement strength.

Material used

Organism used

% Strength increased

Cement mortar

Shewanella sp.

25.29

Cement mortar

Sporosarcina pasteurii

17

Cement mortar

Bacillus sp. CT-5

36

Cement mortar

Exiguobacterium marinum KNUC513

20.3

Conventional red brick

Bacillus pasteurii

83.9

Concrete

Effective microorganisms

30-50

Concrete Soil-cement block

Effective microorganisms

21.85

Bacillus pasteurii KCTC 3558

7.38

Effective microorganisms

9.79

Softer layer

Harder layer

Thinner spray

Thicker spray

[24] Acadamic Research on Sand Solidification Process of Bacillus Bacterial

Camel Pack for Spray of the Baterial Proportion Spray backpack

Compressor + Mixer + nozzle array

Camel urea Tank

Nozzle Array

Adjustable height tank

52

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RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

FABRICATION DETAILS

CONSTRUCTION IN YEARS

Figure 18

Contour lines

Figure 19

Contour layers 1. First Year Structure and Fences

Layer # 25

Softer solidification, erode easier by wind to carve functional spaces

habitation cave

Soft Nozzle height (from ground) 1.5m

54

2. Second Year Structure and Fences

Harder solidification, creates structural layers and columns

Hard

3.

Third Year Structure and Fences

0.7m

55

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

DIGITAL SIMULATION Figure 23

We began with the simulation of sand dune physics to study the movement of the sand dunes in the Thar desert. From this simulation we were able to understand the natural movements of the local environment and the challenges that would need to be overcome to create a successful architectural response.

We then simulated the movement of the local camel herders within this shifting landscape to understand how their movements could be utilised to begin the processes required to generate useful form.

The result was an ever-changing pathway between villages along which herders travel at regular intervals.

These regular movements were then applied to the solidification process that would create the resultant

56

structures. By using alphamaps were were able to feed simulation the “seed” from which a complex structure would form through natural erosion. This simulation emulated the layering of material over time to “grow” a form that would erode over time, completing our vision of an architecture born from human ritual and dependent on natural processes.

The algorithm used to create our form was designed with certain requirements in mind. We were able to control the level of erosion in the structure through the fading of the alphamaps.

In the digital simulation, we are looking for a audition of the rituals taking place each years to confirm how the construction is conducted by camels and herders, how the space works for the events and how the structure deconstructs by the natural forces.

57

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

RITUAL & SPACES

1. “MAIN STREET”

Figure 24

1. “MAIN STREET” 1. “MAIN STREET” 1. “MAIN Camel STREET” Parade

Camel Parade 2 camels side-by-side Camel Parade Spectators either side 2 camelsonside-by-side Spectators on either side 2 camels side-by-side Camel Parade Spectators on either side Camel Parade 2 camels side-by-side Camel Parade on either side 2Spectators camels side-by-side 2. AUCTION HALL Spectators either side 2 camelson side-by-side

TO TOWN B TO TOWN B

Spectators on either side AUCTION HALL 2.2.AUCTION HALL

TO TOWN B

2. AUCTION HALL 2. AUCTION HALL 2. AUCTION Camel pageantry HALL - dancing

TO TOWN B 1

TO TOWN B

1 “MAIN STREET” 1 1

2

1

2

“MAIN STREET”

“MAIN STREET”

“MAIN STREET” 2 STREET” “MAIN

2 FENCING

2

FENCING

2 2

FENCING

2

SHOWGROUND SHOWGROUND

1 4 1

FENCING

4 4

1

2

2

FENCING

1

SHOWGROUND

4

SHOWGROUND

4

SHOWGROUND

1

2 2

SOLIDIFIED DUNE

2

1

2

1

2 1 1

SOLIDIFIED DUNE

SOLIDIFIED DUNE SOLIDIFIED DUNE SOLIDIFIED DUNE

Camel Auction Camel pageantry pageantry -- dancing Camel dancing Camel Auction Camel 100 prizeAuction camels Camel pageantry - dancing 200 spectators and herders 100 prize Auction camels 100 camels Camel Camel pageantry -prize dancing 200 spectators and herders 200 spectators and herders Camel Auction Camel pageantry - dancing 100 prize camels Camel Auction 200 spectators and herders 100 prize camels 3. HABITATION 200 spectators and herders 100 prize camels 200 spectators and herders 3. HABITATION

HABITATION 3.3.HABITATION 3. HABITATION

Camel & herders rest area 3. HABITATION Casual trading Camel & herdersGrooming rest area Casual trading Camel & & herders herders rest area Camel rest area Up to Grooming 15 camels Casual trading Camel & rest trading area Upherders to 3 Casual herders/family Grooming Up totrading 15 camels Grooming Casual Camel & rest area Upherders to 3 herders/family Grooming Casual trading Up Upto to 15 15 camels camels Grooming Up to to herders/family Up herders/family Up33to 15 camels “MAIN STREET” Up to 3Up herders/family to 15 camels Up to 3“MAIN herders/family STREET”

1

“MAIN STREET” “MAIN STREET” 1. “MAIN STREET” “MAIN STREET” FROM TOWN A

Camel Parade

FROM TOWN A

Parade 2 camelsCamel side-by-side Spectators on either side 2 camels side-by-side Camel Parade Spectators on either side Camel Parade Camel Parade 2 camels side-by-side Camel Parade onside-by-side either side 2 camels 2Spectators camels side-by-side SHOWGROUND Spectators on either side Spectators either side 2 camelson side-by-side SpectatorsSHOWGROUND on either side

As part of moving the festival from Pushkar to the desert, the rituals that have been identified will require specific type of spaces that need to be recreated or establish at the new site. Four main spatial requirements that link to the ritual specific are :

FROM TOWN A FROM TOWN A FROM TOWN A

1) The establishment of a “Main Street” mainly used for procession and primary circulation to reach all the main spaces throughout the new site.

2) Auction Hall, to cater for the business of camel trading and can be used for camel pageantry.

58

1. “MAIN STREET”

1. “MAIN STREET”

3) Habitation spaces, accommodate both the herders and their group of camels. Traditionally, herders would herd up to 15 camels for trading in the festival.

4) A showground large enough to accommodate up to 300 camels at a time for events such as camel racing and pageantry and allow large number of spectators. The showground will have similar qualities to a Roman Forum where spectators can watch these events at an elevated location. Event such as camel racing require significant amount of open space to allow for the racing to happen.

10m 10m

10m 10m 10m 10m

Area 1000 sq m Area Area 1000 1000sq sqmm Area 1000 sq m Area 1000 sq m Area 1000 sq m

Area 450 sq m Area 450 sq m Area Area 450 450 sq sqmm Area 450 sq m Area 450 sq m

SHOWGROUND SHOWGROUND SHOWGROUND Camel grand parade SHOWGROUND

Camel racing Camel grand parade racing Up Camel to 300 camels Camel grand parade 500 spectators and herders Up to 300 camels Camel racing Camel grand parade 500 spectators and herders Camel racing Camel grand parade Camel grand parade Up to 300 camels Camel racing Camel racing 500 spectators and herders Up to 300 camels 500 spectators and herders to 300 camels UpUp to 300 camels spectators herders 500 500 spectators andand herders

59

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

Figure 25

PROTOTYPE: SPATIAL RELATION Space curation

Alphamap

60

Digital Plan

Alphamap

Spatial Relation

1

5

2

6

3

7

4

8

Digital Plan

Spatial Relation

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RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

Figure 26

SPATIAL SIMULATION TEST

INTERIOR SIMULATION TEST

Comparing spatial formation and their density

1

2

3

4

5

6

7

8

9

62

Comparison about interior atmosphere

1

2

3

4

5

6

7

8

9

63

CIRCULATION A

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM Main entry way FEST[val.]

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

Secondary circulation Primary circulation - “Main Street”

FINAL DESIGN SCOPE

Figure 28

Figure 27

A

PROGRAM Final Design - Circulation Analysis

PROGRAM Figure 29

Trading Resting

Final Design - Aphamap

Final Design - Trading and Resting Space Figure 30

EVENT RELATED PROGRAM

EVENT RELATED PROGRAM Final Design - Overall Function Analysis

64

Final Design - Spaces for Celebration

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RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

Figure 31

Camel Trading

Day 1.

First Arrivals Groups of camels, herders, livestock and traders begin to appear from out of the desert and set up camp in outskirt of Pushkar town

Day 2.

Gathering More camels and livestock including brought in by herders throughout Rajastan.

Some groups walks while others arrive with camels,,buses, trucks and bullock carts.

Day 3.

Further Gathering

Day 4.

Gathering Climax

Arrival continues Number of livestock inluding to grow rapidly. Camels are groomed and put up for display to purchasers.

Gathering of camels reached it climax. The camels population swell to 50,000 camels along with growing number of visitors.

Trading is taking place.

Day 5.

Trading Peak Trading reached its peak among the herders and buyers. Some the camel herds are beginning to leave as they have concluded their business.

Market Set-up

Trading

Herders Settlement

Herder Settlement

Show Ground

Trading

Herders Settlement Camel Show Preparation Herder Settlement

Camel Show & Tourism

Trading reached its peak among the herders and buyers.

Some the camel herds are beginning to leave as they have concluded their business.

Day 5.

Groups of Herders Leaving 66

Various Markets for Camel Decoration and Tourists are set up for the preparation of camel shows and the increasing tourists.

Day 6.

Markets and Preparation

Fairground is hosting various competition for the camel pageantry and livestock shows.

A craft fair is set up for visitors and tourists. Population of people swelled to 200,000.

Day 7-9 Preparation and Camel Shows

Day10.

Tourists and Herders Leaving 67

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

Figure 32

DIGITAL SIMULATION Pathway to Resting Caves

68

69

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

Figure 33

DIGITAL SIMULATION From the caves viewing the show ground

70

71

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

Figure 33

FABRICATION TESTING

Physical Fabrication according to Digital simulation

72

73

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

Figure 34

FABRICATION TESTING

Physical Fabrication according to Digital simulation

2

74

75

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

FABRICATION TESTING Figure 35

76

Physical Fabrication according to Digital simulation 77

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

Figure 36

FABRICATIONN TESTING Physical Fabrication according to Digital simulation

78

79

APPENDIX

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

Figure3733 Figure

Figure 38

Method: 1. water: plaster: sand: glue = 7 : 10 : 0 : / 2. water: plaster: sand: glue = 7 : 10 : 3 : / 3. water: plaster: sand: glue = 7 : 10 : 6 : / 4. water: plaster: sand: glue = 7 : 10 : 9 : / 5. water: plaster: sand: glue = 7 : 5 : 5 : 1 6. water: plaster: sand: glue = 7 : 5 : 5 : 2 7. water: plaster: sand: glue = 7 : 5 : 5 : 4 Weaknesses: Require precise control on proceeding time and proportion Most of sand stay in the container during pouring process therefore less sand is actually function within the mixture.

More sand on the surface of the finish rather than the middle.

Potential: Adding sand or white glue makes samples weaker and more difficult to flow.

82

83

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

3.

4.

PLASTER POUR - DIFFERENT METHODS Materials: Sand, salt, water

Figure 39

SALT SOLUTION POUR Materials: Sand, salt, water

Figure 40

^ A technique allows pouring thin plaster liquid with more water. The test demonstrates the importance of creating a controlled method of pouring in future tests and also demonstrates an ability to create fluid forms using solid materials.

Method: Using different proportion of plaster solution solidify sand with different technique such as pouring and injection.

1. A technique allows pouring thick plaster liquid with less water

Strengths: - pouring plaster can solidify sand without heating in one day; - thinner plaster is easier to pour and to combine more sand; - mixing plaster gets harder to flow quickly; - pouring technique will change the form of sand surface; Weaknesses: Little ability to experiment with application methods and relies heavily on the ability to generate form without solution applications.

2. A technique injects thin plaster 10% within 90% sand; 84

Potential: “Freezing� surfaces generated in sand dunes into temporary structures which would dissintegrate over time.

85

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

5.

Figure 41

Figure 42

86

87

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

6.

7.

Figure 43

88

Figure 44

89

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

Figure 45

Figure 46

90

91

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

Figure 47

92

93

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

POURING LAYERING 2 Materials: Sand, plaster, water 10. PLASTER

SOLUTION SPRAY Materials: Sand, salt, water 11. SALT

Figure 49

Figure 48

^ By pouring solution into a single point in the sand it is possible to explore the soaking capabilities of a bonding solution. The salt solution (top) soaks in bulges, creating an interesting play of form on the solid’s exterior. The sugar solution (bottom) was less pronounced.

^ A spray technique allows for an even distribution of hardening solution in a manner that does not disturb the surface of the sand, allowing for the “freezing” of form within a complex form generated in sand.

Method: A salt solution of 15g salt to 100ml water and a solution of 30g sugar to 100ml water was created and poured into a single point in the sand, which was marked by a shallow indentation in the sand surface.

The forms were then baked at 160 degrees for 20 minutes and recovered.

1. A small indentation in the sand was used to pour solution into.

Strengths: The salt solution creates an interesting patterning on the form’s surface due to the way it soaks into the sand.

Method: A salt solution of 25ml salt to 100ml water was created.

The solution was sprayed using a spray bottle. Paper/ transparency templates were cut creating openings according to the contours of the 3D prototype. T Layers are hardened in an oven at 160o C for 10-20mins.

1. A spray nozzle was used to distribute salt solution.

Weaknesses: The solidified layers are brittle and weak especially when the environment is moist (saturated). Salt acts as the binding agent between the loose sand but its deliquescent; absorb water, as such the bond between sand is weakens with the presence of water.

Weaknesses: Both forms are relatively fragile, especially the forms created with the salt solution.

2. After baking the forms were recovered from the sand.

94

Potential: Possible application as a means of creating form through a process of gravity and time, especially interesting if the layers of sand below were shaped to guide the soaking process.

Strengths: Ability to freeze forms generated in sand either by natural processes (sand dunes) or human creation.

Solidification is evenly applicable.

Potential: “Freezing” surfaces generated in sand dunes into

2. The wet sand was then dried in the oven at 160 degrees.

temporary structures which would disintegrate over time.

95

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

12.

FRAGMENT Materials: Sand,PVA,Bondcrete 13. SIMULATION

SAND, PVA, BONCRETE & SPRAYING Materials: Sand, salt, sugar, water

Figure 51

Figure 50

^ PVA diluted in water allows for solution to be sprayed thus allowing even distribution of the solution and maintaining consistent thickness for all layers.

^ A spray technique allows for an even distribution of hardening solution in a manner that does not disturb the surface of the sand, allowing for the “freezing� of form within a complex form generated in sand.

Weaknesses:

Solution ingredient: Ratio: PVA 500g ;Water 250g; Wetting agent (shampoo) 8g/ Bondcrete - not diluted

Layers tend to be thicker than, for example, using salt solution. Average thickness of 3-4mm as compared to 2-3mm for salt solution.

Method:

Comments:

Templates cutouts of contour slices from 3D model x 20 layers. Sequence for each template 1. A small indentation in the sand was used to pour solution

into.

2. After baking the forms were recovered from the sand.

96

1) Spray PVA on exposed sand from the cutout 2) Pour bondcrete on interior portion of the layer 3) Pour thin layer of sand on the exposed surface 4) Spray PVA onto the exposed surface 5) Remove template 6) Harden layer for 20 mins in the oven at 160oC 7) Repeat sequence Strengths: The combination of using the PVA as the binding agent and bondcrete to link the layers together resulted in stronger overall structure.

1. A spray nozzle was used to distribute salt solution.

Spraying using a spray bottle was not ideal in achieving consistent distribution of solution onto the surface. A compressed spray machine similar to the paint spray machine is needed to maintain consistent pressure to spray evenly on the sand surface.

Potentials :

2. The wet sand was then dried in the oven at 160 degrees.

This spraying technique can be the basis of augmenting even distribution of solution onto the sand surface. The technique can be adapted to use the biocementation using bacteria as means of solidification of large scale sand layering.

97

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

FRAGMENT Materials: Sand,PVA,Bondcrete 14. SIMULATION

FRAGMENT Materials: Sand,PVA,Bondcrete 15. SIMULATION

Figure 53

Figure 52

Solution ingredient:

Weaknesses: Layers tend to be thicker than, for example, using salt solution. Average thickness of 3-4mm as compared to 2-3mm for salt solution.

Ratio : PVA 500g/ Water 250g/ Wetting agent (shampoo) 8g Method:

Comments:

Templates cutouts of contour slices from 3D model x 20 layers 1. Natural cantilevered bridge allow movement between major spaces

Sequence for each template

1. Main street with wide open space between suitable for procession and main circulation.

1) Spray PVA on exposed sand from the cutout 2) Pour bondcrete on interior portion of the layer 3) Pour thin layer of sand on the exposed surface 4) Spray PVA onto the exposed surface 5) Remove template 6) Repeat sequence 7) harden in oven every 4 layers of templates

2. Shades generated from cavernous spaces and overhangs provides trading and socialization spaces during the hot period of the day.

98

Strengths: The combination of using the PVA as the binding agent and bondcrete to link the layers together resulted in stronger overall structure.

Spraying using a spray bottle was not ideal in achieving consistent distribution of solution onto the surface. A compressed spray machine similar to the paint spray machine is needed to maintain consistent pressure to spray evenly on the sand surface.

Potentials :

2. Deep cavernous spaces for habitation of herders and camel in a single space.

This spraying technique can be the basis of augmenting even distribution of solution onto the sand surface. The technique can be adapted to use the biocementation using bacteria as means of solidification of large scale sand layering.

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BIBLIOGRAPHY

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

REFERENCES

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

[20] BURDIN 2016. Sandy Dunes in desert.

[1] LASSETER, T. Camels stand tethered at the fairgrounds. In: LASSETER, T. (ed.) Pushkar Camel Fair

[21] GOOGLE EARTH, G. 2016. India.

Lights Up the Indian Thar Desert.

[22] GOOGLE EARTH, G. 2016. The Thar Desert.

[2] Woman in the Dunes, 1964. Directed by TESHIGAHARA, H. [3] Woman in the Dunes, 1964. Directed by TESHIGAHARA, H. [4] DICKEL, M. 2013. desert-columns-trail-147.

[5] LANTING, F. Wind blowing sand off dune, NamibNaukluft National Park, Namibia.

[23] GOOGLE EARTH, G. 2016. The Thar Desert.

[24] SHENG-QIU T, CHUN-MEI J, JING-JING P, SHANSHAN L, JIN-DING C 2013. Effect of Bacillus subtilis natto on growth performance in Muscovy ducks.

[25] SHIPING WEI, H. C., ZHENGLONG JIANG, HAO LIU, HAO HE, NIANQIAO FANG 2015. Biomineralization processes of calcite induced by bacteria isolated from marine sediments.

[6] ENRIQUE, M. 2016. Sinulla on vapaus: kopioida, levittää, näyttää ja esittää teosta.

IMAGE CREDITS

[7] MICHANKOW, J. 2009. Pushkar from above, Rajastan,

Figure 1: Journey to Pushkar (ROGGERO, AMBOTANG,

India.

CAO, 2016)

[8] OLEGD 2009. Pushkar Camel Mela.

[9] PAPPONE, A. 2014. Marwari Men in the Pushkar Camel Fair.

Figure 2: Rituals and Journey (CAO, AMBOTANG, 2016) Figure 3: Camel Adaptation (ROGGERO, AMBOTANG, 2016) Figure 4: Camel and Human Skeleton (CAO, ROGGERO, 2016)

[10] FLEMING, N. 2011. Photo Tour.

[11] UNKNOWN A camel dance performance at the two-day Camel Festival organized by Rajasthan Tourism Department.

[13] UNKNOWN ‫رد ینییآ مسارم کی رد ودنه نانز‬

‫رکشپ‬.

Figure 5: Digital Simulation - Abstract 1 (AMBOTANG, 2016) Figure 6: Villages around Thar Desert (AMBOTANG, 2016) Figure 7: Pathfinding in the Desert (ROGGERO, 2016) Figure 8: New Fair Locations between Paths (ROGGERO, 2016)

[14] UNKNOWN 2016. Fuyaramji shepherds the camels

Figure 9: New Fair Locations with Structure (ROGGERO,

throughout the day. In: DAGA, S. (ed.) The Raikas of

2016)

Rajasthan.

Figure 10: Dune Types in Thar Desert (ROGGERO, 2016)

[15] UNKNOWN The Raikas help shear the camels

Figure 11: Dune Formation (AMBOTANG, 2016)

owned by an NGO in Sadri. In: DAGA, S. (ed.) The Raikas

Figure 12: Dune Migration Simulation (ROGGERO, 2016)

of Rajasthan.

Figure 13: Dune Fencing Diagram (ROGGERO, 2016)

[16] ENRIQUE, M. 2016. Sinulla on vapaus: kopioida,

Figure 14: Fence Package Design (AMBOTANG, 2016)

levittää, näyttää ja esittää teosta.

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RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

Figure 15: Construction with Fences (AMBOTANG, 2016)

Figure 40: Material Study - Plaster Pour (CAO, 2016)

Figure 16: Bacterial Spray Package (AMBOTANG, 2016)

Figure 41: Material Study - Salt (ROGGERO, 2016)

Figure 18: Fabrication Technique (AMBOTANG, 2016)

Figure 42: Material Study - Sugar (ROGGERO, 2016)

Figure 19: Construction through Years (CAO, 2016)

Figure 43: Material Study - Salt Solution Pour

Figure 20: Physical Simulation Technique- Stage 2 (AMBOTANG, 2016) Figure 21: Physical Simulation Model Photo (AMBOTANG, 2016) Figure 22: Physical Simulation Model Photo (AMBOTANG, 2016) Figure 23: Digital Simulation - Abstract 2 (AMBOTANG, 2016) Figure 24: Ritual Spaces Analysis (AMBOTANG, CAO, 2016) Figure 25: Design Prototype Study (CAO, 2016) Figure 26: Spatial Quality Analysis (ROGGERO, 2016) Figure 27: Final Alhpamap and Space Allocation Diagram (CAO, 2016) Figure 28: Pathway Analysis Diagram (CAO, 2016) Figure 29: Space Allocation Diagram - Trading and Resting Space (AMBOTANG, 2016) Figure 30: Space Allocation Diagram - Celebration Space (AMBOTANG, 2016) Figure 31: Design Simulation and Event Schedule (CAO, 2016)

(AMBOTANG, 2016) Figure 44: Material Study - Salt Solution Spray (AMBOTANG, 2016) Figure 45: Material Study - Plaster Pour Layering 1 (CAO, 2016) Figure 46: Material Study - Plaster Pour Layering 2 (CAO, 2016) Figure 47: Material Study - Salt Solution Spray Layering (AMBOTANG, 2016) Figure 48: Material Study - Plaster Pour Layering 3 (CAO, 2016) Figure 49: Material Study - Salt Solution Spray Layering (AMBOTANG, 2016) Figure 50: Material Study - Sand, PVA, Boncrete Spraying (AMBOTANG, 2016) Figure 51: Material Study - Simulation Fragment 1 (AMBOTANG, 2016) Figure 52: Material Study - Simulation Fragment 2 (AMBOTANG, 2016) Figure 53: Material Study - Simulation Fragment 3 (AMBOTANG, 2016)

Figure 32: Space Simulation - Pathway to Resting Caves (AMBOTANG, 2016) Figure 33: Space Simulation - From Caves to Show Ground (AMBOTANG, 2016) Figure 34: Fabrication Testing Model Photography (AMBOTANG, 2016) Figure 35: Fabrication Testing Model Photography (AMBOTANG, 2016) Figure 36: Fabrication Testing Model Photography (AMBOTANG, 2016) Figure 37: Fabrication Testing Model Photography (AMBOTANG, 2016) Figure 38: Material Study - PVA Pour (ROGGERO, 2016) Figure 39: Material Study - Plaster Mixture (CAO, 2016)

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AMAL GRAM

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

RET KE SHAHAR

‘ What if we reject holding an event in the same place year after year, what if instead it is brought to the shifting sand dunes from which the very soul of the event originated? What would a festival look like without a fixed location, without a fixed form, and without fixed pathways to travel upon? ’

FEST[val.] 2016

RET KE SHAHAR // Wenjie Cao, Rizal Ambotang, Adam Roggero // AMAL.GAM FEST[val.]

RET KE SHAHAR An exploration in aeolian architecture

University of Melbourne

Wenjie Cao, Rizal Ambotang, Adam Roggero

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Wenjie Cao, Rizal Ambotang, Adam Roggero

AMAL.GAM FEST[val.] 2016 University of Melbourne Daniela Mitterberger, Tiziano Derme

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