Y2S2 | unSTRUCTURED | Shawn Lee

unSTRUCTURED shawn lee | ng wei liang

why why why why why why

knot? knot? knot? knot? knot? knot?

Shawn Lee (A0216396X) | Ng Wei Liang (A0216377Y) Studio Yuan Chao | AR2102 Design Studio

CONTENT

01 Establishing Persona 02 Site Analysis 03 Biomimicry:

Learning from the Natives

04 Material Exploration

05 Iterative Process

06 Production Process

07 unSTRUCTURED

08 Speculative Exercise

09 Film Stills

By Shawn Lee and Ng Wei Liang

ESTABLISHING PERSONA

QUESTIONNAIRE

PERSONA

To find out more about what outdoor artists do, we carried out a simple survey, asking about their process and needs when doing art outdoor. We collected responses from 7 watercolour hobbyists, with ages ranging from 18-30 years old.

/ PERSONAL What are some of the equipment you

What are some of the factors you seek

bring along with you for a sketching /

when looking for comfort before/during

painting trip?

painting?

1. Foldable Chair 2. Watercolour Brushes 3. Palette of Paint 4. Sketchbooks/Paper

1. Shady Spots 2. Cooling Devices (Clothes or Breeze) 3. Seating and comfort 4. Water

What are some of the locations you

What kind of subjects do you like to

frequent when sketching/painting?

sketch/paint?

1. Nature Based places 2. Town/CBD Area 3. Shophouses 4. Beaches 5. Sidewalks

1. Architecture/buildings 2. Streetscapes 3. Landscapes 4. People

Who Am I? 23 Years Old Holds a Day Job Nature Inspired Art

What I am looking for in Comfort?

What is the duration of your average sketching/painting trip?

60 mins to 240 mins

/ EMOTIONAL What motivates you to sketch/paint?

K A I W EN

Do you prefer to sketch alone or in a group?

1. Relieving stress 2. Relaxing, visually appreciating the environment 3. To practice drawing 4. To slow down the pace of life 5. Peace and tranquility 6. Personal Enjoyment

Staying Dry and Cool Adequate Lighting Conditions Raincoat to Keep Dry Proper Seating Away from Insects/Mosquitos

1. Proper Seat 2. Wearing of Cr

Frequent Locations I go to: Nature Based places Town/CBD Area Shophouses Beaches

/ WEATHER BASED What are the precautions you take when it comes to adapting to the ever-changing weather in Singapore?

1. Umbrella 2. Look for shaded area 3. Wear light attires 4. Weather Forecasts

/ SCENARIO BASED

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Ergonomics Artist/Crea

Scenario 1: Imagine that you are in a forest to paint the scene of the forest while it is raining (forest rainscape); What are some of the things you might do/ need in order to be comfortable in that environment for a period of time?

Scenario 2: Now imagine that you are in an urban environment (eg. sidewalk) to paint the urban streetscape/ urban activities happening around you; What are some of the things you might do/ need in order to be comfortable in that environment for a period of time?

1. Staying and dry and cool 2. Adequate light conditions 3. Raincoat to keep dry 4. Proper seating 5. Away from mosquitos/insects 6. Cover and concealment 7. Jacket to keep warm

1. Look for shaded area 2. Keeping cool 3. Away from human and vehicular tra c 4. Less noise pollution

My Motivations to Paint: Relieve Stress and feel Peaceful Visually appreciating the environment Peace and Tranquility Personal Enjoyment

The Tools I use: Foldable Chair Canvas Natural Materials

Customisin the Creatu to its user (User Speci

Blending t creature in its surroundin

Designing comfortab seating arrangeme

PERSONA

MAPPING THE NEEDS PERSONA

Assemblage Artist, Forest Rainscape

Design Issue How can the shelter allow the persona to collage natural elements comfortably in the forest rainscape?

KAI WEN

Who Am I? 23 Years Old Holds a Day Job Nature Inspired Art

Ergonomics

Climatic

Psychological

am looking for in Comfort?

Staying Dry and Cool quate Lighting Conditions Raincoat to Keep Dry Proper Seating ay from Insects/Mosquitos

Ergonomics of the Artist/Creature

Light Conditions

Humidity and Sun

Shelter

Personal Comfort

1. Proper Seating 2. Wearing of Creature

Promoting adequate Lighting

Keeping cool and dry under shade

Minimising contact from rain

Creating personal contentment

Customising the Creature to its user (User Specific)

Mirrors to reflect light

Breathable Skin

Overhangs

Playing with colour/scent/ textures

Blending the creature into its surrounding

Harnessing natural light sources

Channeling Wind

Waterproof Materials

Designing a comfortable seating arrangement

Open / Transluscent Roof

Evaporative Cooling using water

Interactive Facade that reacts to sun/rain

quent Locations I go to: Nature Based places Town/CBD Area Shophouses Beaches

y Motivations to Paint:

eve Stress and feel Peaceful appreciating the environment Peace and Tranquility Personal Enjoyment

The Tools I use: Foldable Chair Canvas Natural Materials

Shading while still providing adequate light

Coney Island Also known as Pulau Serangoon, Coney Island is located off the coast of Punggol, spanning a 100ha plot of mixed reclaimed land. After land reclaimation projects was completed since the 1970s, the park officially opened on the 10 October 2015.

Despite being a man made forest, the systems and ecosystems forged on the island cannot be recreated.

The rustic state of the natural land is preserved, and it features environmentally friendly approach to using rainwater for toilets and solar powered pumps. There is neither electricity or running water leading to the island.

The island park is home to many different habitats and terrains, home to the ubiquitous Casuarina Trees along with 86 other tree species, 157 animal species and 80 species of birds.

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Also known as Pulau Serangoon, Coney Island is located off the coast of Punggol, spanning a 100ha plot of mixed reclaimed land, the park officially opened on the 10 October 2015. Despite being a man made forest, the systems and ecosystems forged on the island cannot be recreated.

The rustic state of the natural land is preserved, with environmental features like rainwater collection and no running electricity or water to the island.

The park is also home to many habitats and terrains and home to the ubiquitous Casuarina Trees along with 86 other tree species, 157 animal species and 80 species of birds.

SITE ANALYSIS// CONEY ISLAND

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FOREST STRATIFICATION

Main dirt path stretches the length of Coney Island.

Emergent Layer: Casuarina Equisetifolia Understory Layer: Cycas Edentata & Fan Palm Forest Floor: Low to High vegetations/Boston Ferns

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SITE MAP

a. Along the main dirt path

b. Amongst sparse trees

c. Along coast lines

d. Amongst dense trees

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Climatic Data of Coney Island Sun: With the presence of varying tree cover throughout the island, the sunlight and heat varied. Also, the border of the island has more direct sunlight and similar climate conditions to mainland. Wind: With the presence of more trees, we tend to experience lesser wind speed. Also, with the island surrounded by the sea, the coastal path tends to be cooler compared to the denser forest areas.

GENERAL CLIMATIC OBSERVATIONS Sun: With the presence of varying tree cover throughout the island, the sunlight and heat varied. Also, the border of the island has more direct sunlight and similar climate conditions to mainland.

Wind: With the presence of more trees, we tend to experience lesser wind speed. Also, with the island surrounded by the sea, the coastal path tends to be cooler compared to the denser forest areas.

Left: Wind and Temperature Data collected with a anemometer.

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To understand the forest, we looked at several native animals and insects

BIOMIMICRY: LEARNING FROM THE NATIVES

found in Coney Island and derived at the Common Tailorbird. It has a unique construction of its nest; using spider silk or fibers to weave leaves together, using its beak as a needle.

OBSERVATIONS Weaving Technique/Binding Scavenged Natural Materials

C O M M O N TA I L O R B I R D Orthotomus Sutorius

DESIGN CONSIDERATIONS 1. Climatic Strategies (Comfort)

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2. Portability (Usability) 3. Weaving (Form)

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MATERIAL TESTING We tried a series of fabrics and materials to understand the innate properties of each, before making a decision for which is best suited to adapt to the design. Also, we explored fabric treatments that allows waterproofing qualities. Above all, we took a naturalistic and sustainable route for all materials and treatment in order to be aligned to our biomimetic design.

These are the materials we will be testing.

waxed

unwaxed

Burlap

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Stretch Fabric

Sheer Weave

Two Toned

Full Cotton

Experiment One

Light Source

Light Experiment This experiment aims to find out how different types of fabrics, with varying properties, allow varying amount of light to pass through. We will be conducting the same experiment twice; once with a thin layer of beeswax, and the other without this layer.

Concealed and controlled box

Units of Measurement: Lumens Control Experiment Readings: 362 Lumens

Light Meter

Burlap

39 lumens

65 lumens

Stretch Fabric

100 lumens

120 lumens

Sheer Weave

237 lumens

214 lumens

Two Toned

waxed

113 lumens

117 lumens

Full Cotton

unwaxed

100 lumens

122 lumens

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Experiment Two

Waterproofing Analysis

Water Source

This experiment analyses the waterproofing quality of each fabric, treated or untreated. It uses a steady stream of

Fabric of Choice

water over a duration of 10 seconds, to see how much water seeps through the fabric and into the collection point below. The experiment will be repeated twice for different treatments with beeswax.

Custom Frame/ Stand

Water Collection Point

Units of Measurement: grams Control Experiment Readings: 0 grams

Stretch Fabric

Sheer Weave

Two Toned

Full Cotton

80 grams

58 grams

374 grams

43 grams

0 grams

60 grams

76 grams

257 grams

29 grams

0 grams

waxed

unwaxed

Burlap

Waterproofing Experiment Video 16

Experiment Three

Tensile Strength

30kg Weight source

the experiment uses a constant weight to understand the tensile properties of different fabrics with different surface treatment. The selected fabric will be stretched and attached over a fixed metal frame with the weight lowered onto it. The weight is maintained over a duration of 30 seconds before repeating the experiment.

Fabric of choice stretched

Metal frame

Stretch Fabric

Sheer Weave

Two Toned

Full Cotton

stretched

not stretched

Burlap

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ITERATIVE PROCESS We began our iterative process by analysing the basic form and climatic responses, in order to create the basis of sheltering from the rain. Starting with an umbrella form, we moved on to customise the structure to the user’s needs, then

DIGITAL FORM GIVING

into the the site and environmental context.

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PHYSICAL PROTOTYPING

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INTERIM ONE

Through our investigative process, we wanted to integrate the idea of modular tessellations with fabric, to shape around the persona. Also, with our previous material analysis, we went ahead with burlap due to its durability and permeability. The construction is done with stitching of the modules together, in keeping with our sustainable means and mimicking the tailorbird’s technique.

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interim two

The main development from the previous interim, was the application of a soft structure, utilising just rope and waxed fabric. The idea was to create a lightweight, portable shelter that shapes to its environmental context.

We started the design process with a natural fiber rope grid structure, before mapping fabric panels based off the persona’s ergonomics and needs. We kept the similar materiality, and embellished the shelter with further details such as the eyelets, to provide structural integrity to the fabric panels.

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Above: Setting up

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Means of donning the ‘Creature’

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Sitting

Standing

Lying

Overlayed

Ergonomic configurations of the shelter

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Anthropometric measurements and considerations

Comfortable tying heights correlating to user height

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The search for a modular design became our priority as it meant greater

FINAL PRODUCTION/ PROCESS

control over movement as well as providing the waxed fabric with structure.

Thus, we decided to use the rope as a skeletal grid, forming a frame for the fabric to be sewn on. Thus, we derived a diagrid structure, made from a 3x3 square grid, comprising of 2 fabric component within each square.

PART MODEL 1:1 SCALE

The design comprises of an outer layer that shields from the elements and the inner piece functions as a backsplash, preventing direct contact with the rain. The panel also provides good airflow and unobstructed diffused lighting.

The final panel is able to expand and contract, resulting in different configurations. For instance, when the panels contract, a greater aperture allows an exchange of air circulation. Whilst the expanded state closes the gaps between the 2 layers, increasing the waterproofing capabilities of the panels.

Back of panels

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Contracted Panels; Creating mini overhangs

Contracted State

Expanded State

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1:3 FULL SCALE MODEL

With the design of a panel, the next task was to tessellate this pattern across a form. This process was interesting to see how the diagrid affected the overall typology that can be produced.

Stemming from our previous Interim 2 findings, we went ahead to keep the similar single point origin, hung from a branch, with the panels radiating from there. This created a cascading form of grid that was effective in its shape to allow rain to roll off the surface.

Also, this allowed us to perceive the possible points to pull the grid, to adapt the model in any configuration of trees.

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Point of Convergence on Model

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Inner triangular component

Knot and Panel woven detail

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unstructured

Process Images

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unSTRUCTURED

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Utilising the forest as his muse, our painter seeks solace beyond the concrete jungle into the peaceful forest, painting the forest rainscape. Inspired by the naturalistic forms he surrounds himself with, he turns to biomimicry to provide a simple shelter. unSTRUCTURED explores the adaptability of form, providing a lightweight yet waterproof envelope, shaping to its environment and providing comfort for the painter in the rain. Beyond physical responses, the envelope cocoons the painter, providing a hideout from the beautiful yet hostile forest ecosystem.

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Side Profile of Envelope

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Climatic Section

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Left: Shelter’s adaptation to Site Context Above: Exploded Axonometric of Shelter and Components 42

Knot and Panel Detail

User Journey - A narrative

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THE URBAN ‘FABRIC’ A Speculative Exercise The shelter for the painter augments into a shelter between buildings.

As the Urban Heat Island effect (UHI) in Singapore increases, trees are planted to mitigate heat gain on surfaces. However, the majority of roads are still left bare without any shading from the sun, increasing the amount of latent heat absorbed onto these surfaces.

In this speculative analysis, we situate this proposed concept into the heart of our financial district. By implementing an adaptable fabric over the roads, it reflects and filters solar radiation, keeping the roads and pavements cool. The fabric that was once attached to the trees in the jungle is replaced by the surrounding buildings, weaving amidst the everyday working class.

Site: Junction along Marina Blvd by Singapore Momentum Sculpture

Climate Mitigation As seen in Figure 1, the UHI is most apparent in the south of Singapore, where the mass of buildings are, encompassing the central business district.

One major factor that drives the increasing UHI in Singapore is incoming Solar radiation, whih heats up roads and buildings, with this stored heat slowly releasing back into the environment. With more than 9000 lane kilometres of roads in Singapore, as seen in Figure 2, this takes up 12% of Singapore’s land.

By targeting roads in Singapore, the design can be implemented to reduce overall heat absorption and exposure through the act of shading and reflection FIG 1: Urban Heat Index, 2018

https://www.coolingsingapore.sg/urban-heat-island

of solar radiation. Accompanied by the surrounding tropical envelope, this creates additional evaporative cooling and protection against the UHI effect in Singapore.

The adaptable fabric latches onto the existing buildings on both sides of the roads, shading solar radiation from the roads, allowing less absorption of heat onto these surfaces. However, the envelope also allows an even dispersion of light throughout, creating a semi permeable micro-climate.

The grid structure can be mapped to each specific road layout, exposing existing green spaces whilst shading the asphalt and concrete surfaces.

FIG 2: Site Road Map, Google Maps 44

Climatic responses of shelter

User Perspective View

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FILM STILLS

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unSTRUCTURED | painting in the unforgiving forest | 2021